Jesu dulcis Memoria
for Soprano Solo and SATB a cappellaforces: SATB Choir, Soprano
published by: Oxford University Press
This piece can be found within the Latin text anthology, Cantica Nova, published by Oxford University Press.
This short piece was composed at the request of Oxford University Press for inclusion in Cantica Nova, its anthology of contemporary Latin motets. It bears a dedication to the memory of Anne Coggan, daughter of the late Archbishop of Canterbury, a much-loved member of the Cathedral community at Winchester and also a family friend. The strophic arrangement of the text is mirrored by a loosely variation-based form, beginning with monody (an unaccompanied solo), passing through more exultant moments and eventually placing the soprano soloist voice in front of a hushed chorus backdrop.
This work is featured on a Signum worldwide release  of choral and solo organ music by Francis Pott [SIGCD 080] performed by the Choir of Christ Church Cathedral, Dublin, under its then Director of Music, Judy Martin, with Tristan Russcher, organ.
Choir and Organ
First comes the word and here we have a composer who has an implicit understanding and love of the text, which manifests itself throughout his music. Judy Martin is a choral director who has a perfect understanding of this relationship. She draws from the mixed-voice choir of Christ Church Cathedral, Dublin, in beautifully expressive and finely honed performances. This elegant and individual music gains its own momentum as it builds toward each climax. Choral works include the Mass in five parts, Turn our Captivity, A Remembrance and O Lord, support us all the day long. The composer’s organ writing is represented by his stunning Introduction, Toccata and Fugue, which is given a first-rate performance by the cathedral’s young Australian organist Tristan Russcher. Highly Recommended.
The Times, May 2006
The music of Francis Pott is rapidly gaining attention for its silky lines and sensitivity. The items that give the album its title, Meditations and Remembrances, are settings of the 17th-century thinker Thomas Traherne. One senses Pott’s pleasure at painting the word “love” with such glowing warmth in A Meditation. He is well served by a beautifully tuned choir. The Osanna in the Five-Part Mass is light and crisp and Psalm 126 ends with the sort of melismatic Amen for which the Church was once reprimanded.