William Turner (1651–1740): Sacred Choral Music

DCD34028-right reading.indd, Spread 1 of 10 - Pages (20, 1) 3/28/07 8:33 PM

DCD34028

(1651–1740) Sacred Choral Works

Untitled-2.indd 1

The Choir of Gonville & Caius College, Cambridge Yorkshire Baroque Soloists Geoffrey Webber

3/29/07 8:40:16 PM

DCD34028-right reading.indd, Spread 2 of 10 - Pages (2, 19) 3/28/07 8:33 PM

William Turner: Sacred Choral Music

Dunedin Consort: In Chains of Gold Susan Hamilton, soprano; Clare Wilkinson, mezzo soprano; Ashley Turnell, tenor; Warren Trevelyan-Jones, tenor; Matthew Brook, bass; John Kitchen, organ (DCD34008)

William Turner (1651-1740) 1 Te Deum (1696)

[18:09]

7 Magnificat (Service in A)

[4:23]

2 Lord, thou hast been my refuge

[5:56]

8 Nunc Dimittis (Service in A)

[2:27]

3 My soul truly waiteth

[3:49]

9 O Lord, God of hosts, hear my prayer

[4:10]

4 Hear my prayer, O Lord

[7:06]

10 The Lord is righteous

[5:30]

5 The Queen shall rejoice (1702)

[2:50]

11 Jubilate Deo (1696)

[8:28]

6 Jubilate Deo (Service in E)

[3:19]

Total playing time

[66:14]

All first recordings

Daniel Jordan bass (tracks 1, 2, 11) The Choir of Gonville & Caius College, Cambridge Julia Doyle soprano (tracks 1, 11) William Purefoy countertenor (tracks 1, 2, 11) Yorkshire Baroque Soloists (Peter Seymour director) William Towers countertenor (tracks 1, 11) Geoffrey Webber conductor Paul Thompson tenor (tracks 1, 2, 10) Recorded in Pembroke College Chapel on 1–4 July 2006, by kind permission of the Master & Fellows of Pembroke College, Cambridge.

Producer: Paul Baxter Engineer: Adam Binks 24-Bit digital editing: Adam Binks 24-Bit digital mastering: Paul Baxter Design: Drew Padrutt Photography © Delphian Records Ltd

Untitled-2.indd 2

The music editions for this recording were prepared by Peter Seymour (Te Deum in D), Bryan White (Jubilate in D) and Geoffrey Webber. Thanks are due to the following for help with the planning and production of this CD: Canon Brian Watchorn and Dr Sam Barrett of Pembroke College, Helen Ashby, Celia Cobb, Keri Dexter, Don Franklin, Joseph Harper, Margaret Hebden, Clare Lloyd, Brian Watt and David Wright.

Photograph editing: Dr Raymond Parks Cover image: Entry of Charles II to London on the occasion of his Restoration in 1660; Courtesy of Guildhall Library, City of London

The Dunedin Consort, praised by critics for their ‘clear-textured beauty and a thrilling intensity’, surveys the Roman Catholic music of William Byrd and Thomas Tallis on this recording, in which Byrd’s Mass for Five Voices is presented as a full service. The intimacy of single-voicing in motets like Tallis’s O nata lux and Salvator Mundi creates an atmosphere of quiet devotion not soon to be forgotten.

‘Highlight of the disc (along with the ravishing little organ hymns played

by John Kitchen) is the seamless and soaring performance of Byrd’s five part Mass, unforced, flowing, immaculately poised, and delivered with a certainty of the faith that inspired it.’

- The Herald, 19 July 2003 Instruments from the Raymond Russell Collection Volume II John Kitchen, keyboards (DCD34039) Known collectively as the Raymond Russell collection of Early Keyboard Instruments, this company of harpsichords, virginals, spinets, organs and fortepianos is one of the most important of its kind in the world today.

Resident keyboard expert John Kitchen puts another nine instruments through their paces in a recital that is both entertaining and illuminating Known collectively as the Raymond Russell collection of Early Keyboard Instruments, this company of harpsichords, virginals, spinets, organs and fortepianos is one of the most important of its kind in the world today.

Resident keyboard expert John Kitchen puts another nine instruments through their paces in a recital that is both entertaining and illuminating ‘performances are stylish and sympathetic and the music and instruments are beautifully matched’ – The Gramophone, September 2005

3/29/07 8:40:18 PM

DCD34028-right reading.indd, Spread 3 of 10 - Pages (18, 3) 3/28/07 8:33 PM Notes on the music

Early music on Delphian The Red Red Rose: Concerto Caledonia Songs and tunes from 18th century Scotland Mhairi Lawson, soprano; Jamie MacDougall, tenor directed by David McGuinness, harpsichord (DCD34014) Concerto Caledonia bring their exuberant flair for early Scottish music to love songs from the time of Robert Burns, and baroque/ Cape Breton virtuoso David Greenberg brings along some wild fiddling from the Golden Age of the Scots violin. The original version of Robert Burns’s most famous song The Red Red Rose appears here in its first ever recording.

‘The funkiest album of Burns songs I’ve ever heard… …a fresh look at Scottish music in the 18th century: outstanding playing and the singing is characterful and expressive.’

– BBC Radio 3 CD Review, January 2005

La Preciosa – The Guitar Music of Gaspar Sanz (c.1640-c.1710) Gordon Ferries, Baroque Guitar (DCD34036) Baroque guitarist Gordon Ferries visits the music of seventeenthcentury Spain’s fiery streets – a time when the five course guitar produced a sense of abject horror in the morally inclined, citing associations with popular ballads, taverns, criminality, sensuality and in particular dancing. Ferries assumes the role with panache and breath-takingly virtuosic flair.

‘Stylish and accessible baroque from an exponent whose star is in the ascendant.’

– Classical Guitar, March 2004

Untitled-2.indd 3

It is easy to forget that our great English spent the next decades of his long life as one choral tradition was once silenced by Act of of the leading composers and singers of his Parliament. England’s Cathedrals were utterly day, serving in the Chapel Royal, at St Paul’s deprived of choral music for over a decade, and Cathedral (from 1683) and at Westminster although the Restoration of the Monarchy in Abbey (from 1699). Cambridge University 1660 subsequently ushered in one of the finest awarded him the D.Mus. degree in 1696, the periods of English music, both sacred and citation noting that ‘only Purcell himself [was] secular, the road to recovery for church music more learned’. His long career witnessed not was initially a slow and difficult one, since so only the earliest re-awakening of English church much continuity of experience had been lost. music at the Restoration but its full period of But a new spirit of confidence and expectancy flowering in subsequent generations; he outlived is palpable in much of the new music most of his contemporaries and died in 1740, composed immediately after 1660, notably in the year before Handel composed his Messiah. the music of William Child whose anthems had texts such as ‘O Lord, grant the King a long life’, Turner’s large output of church music remains and ‘If the Lord had not been on our side’. very little known today and only a small fraction of it has been published. The only work The recovery was quickest in London, where recorded on this CD to have been previously the major establishments assembled the finest available in print is the anthem Lord, thou hast young choristers from around the country. been our refuge, which first appeared in William At Westminster Abbey three precocious Boyce’s collection Cathedral Music. Whilst teenagers jointly composed the so-called Club his music never matches the finest works of Anthem: Pelham Humfrey (b. 1647), John Purcell most commentators have found much Blow (b. 1649), and the youngest of the three, to admire in his work, though opinion has been William Turner (b. 1651). Turner was brought divided with regard to his effectiveness in wordto London from Oxford where he had sung at setting. John Caldwell has written that Turner’s Christ Church, but in 1667 when he was only ‘capacity for vocal expression was somewhat sixteen (just about the earliest age at which limited’ (The Oxford History of English Music, a boy’s voice typically broke at that time) he vol. 1), though in the most recent survey became Master of the Choristers at Lincoln of the English church music of the period Cathedral, an appointment that can be seen as (Restoration Cathedral Music 1660-1714), further evidence of the initially slow rebuilding Ian Spink notes that Turner’s ‘ability to match of the tradition outside the capital. However, in the music sensitively to the words, avoiding 1672 he was back in London where he awkwardness of line and harmony

3/29/07 8:40:19 PM

DCD34028-right reading.indd, Spread 4 of 10 - Pages (4, 17) 3/28/07 8:33 PM Notes on the music

The Choir of Gonville & Caius College, Cambridge

Yorkshire Baroque Soloists

regular liturgical style of Canticles employed […] shows a good deal more polish than either Humfrey or Blow’. But with no collected for the service of Matins into a large-scale edition of Turner’s work as yet available, a wider festive celebration featuring extended solo assessment and appreciation of Turner’s output singing and an instrumental accompaniment has yet to develop. Certain aspects of Turner’s for strings and trumpets. Its first performance anthems might help explain why his music has was such a success that John Blow wrote a never achieved a regular status in the traditional similar setting for the celebrations in 1695, but on the eve of its performance tragedy struck, as English church music repertoire: they contain Purcell died. A year later it was William Turner comparatively little writing for trebles, and include almost no ‘full anthems’, i.e. settings who composed the third setting in this unique trio of works, still very much aping Purcell’s predominantly for full choir. Both factors model. Perhaps not surprisingly, Turner very may reflect the fact that Turner was never in consciously paid tribute to the great master charge of any choristers in London, perhaps not only in general style and manner, but with partly because he was too much in demand the occasional specific musical reference, as a counter-tenor. Moreover, as with many other London verse anthems of the period, none more poignant than the short phrase used by Purcell at the beginning of his alto solo the sometimes long and taxing solo parts for ‘Vouchsafe, O Lord’, possibly sung by Turner the lower voices (counter-tenor downwards) himself in 1694, which Turner places in the first may have been better suited to Turner and violin part as a reflective postscript to the trio his London colleagues than the provincial laysection setting the same text. Those familiar clerks of the period. This recording presents a cross-section of Turner’s sacred music, ranging with Purcell’s setting will notice other links such as the staggered entry of the voice parts on the from small-scale liturgical works to one of his word ‘All’ at ‘All the earth doth worship thee’ or grandest creations, the Te Deum and Jubilate in D, and is the fruit of an editorial collaboration the strict contrapuntal interplay of themes at the concluding ‘Amen’ of the Jubilate Deo. But with Peter Seymour (University of York) and Bryan White (University of Leeds). even though the general conception and style of Turner’s setting is wholly indebted to Purcell, Henry Purcell’s well-known Te Deum and Turner’s work is far from being a pale imitation, Jubilate in D was composed in 1694 for the and maintains a high level of accomplishment St Cecilia’s Day celebrations held annually throughout. Needless to say, the counter-tenor in London. Recognised in its day as a new voice is very much to the fore, the Jubilate Deo departure for English church music, Purcell’s containing the unusual four-part verse texture of setting represents a transformation of the treble, two counter-tenors and bass. But

Sopranos Jenna Cooper (3, 8, 9) Helena Culliney (3, 7, 8) Augusta Hebbert (3, 11) Cerian Holland Clare Lloyd (1, 4, 7, 8, 9) Charlotte Roberts (3, 7) Helen Roche Emma Walshe (7, 8)

Violin Simon Jones Andrea Morris

Altos Hannah Cooke (3, 7, 8) Fiona Mackay (3, 4, 7, 8) Helena Nicholls (3, 7, 8, 11) Richard Northcott

Violone Kate Aldridge

Tenors Pierre Dechant (7, 8, 11) Joseph Harper (4, 7, 8, 9) Matthew Knight Laurence Panter Andrew Taylor (3, 7, 8)

Trumpet Crispian Steele-Perkins David Staff

Viola Alan George Cello Rachel Gray

Theorbo Lynda Sayce

Organ Peter Seymour (director)

Basses James Halliday (3, 7, 8) John Herford (4, 7, 9) John Kelly Hugh Miall Alexander Patton (8, 11) Edward Willis Organ Francesca Massey (2, 3, 7, 8, 9) Thomas Hewitt Jones (4, 6, 10) (Solo items in parentheses)

Untitled-2.indd 4

3/29/07 8:40:20 PM

DCD34028-right reading.indd, Spread 5 of 10 - Pages (16, 5) 3/28/07 8:33 PM Francesca Massey include The Opera Group, Opera North, ENO, Francesca Massey was born in Birmingham Scottish Opera, English Touring Opera, the Festival in 1982. During her gap-year she became the d’Aix en Provence and Grange Park Opera. first-ever female Organ Scholar of St. George’s Chapel, Windsor. She later read music at Thomas Hewitt Jones Cambridge, where she was both an Organ and Academic Scholar at Gonville and Caius Thomas Hewitt Jones studied at the Royal College. After graduating, Francesca held the College of Music Junior Department and at positions of Acting Precentor and Assisting Dulwich College before becoming Organ Organist at Caius, and Assistant Organist Scholar at Caius College in October 2003 at the University Church, Great St. Mary’s.

– his teachers have included Martin Baker and In September 2006 she gained an ABRSM Ann Elise Smoot. Concert highlights include postgraduate scholarship to study at the Royal a performance of the organ part of Mahler’s Northern College of Music, and became Organ Eighth Symphony with Sir Simon Rattle and the Scholar at Manchester Cathedral.

National Youth Orchestra at the BBC Proms, as well as many solo recitals at venues including Francesca won several prizes in the FRCO Gloucester, Winchester and Chester Cathedrals. diploma, and has been awarded the prestigious Ian Fleming Award by the Musicians’ Thomas is a composition student of Paul Benevolent Fund, and the Worshipful Company Patterson, and previous teachers include David of Musicians’ WT Best Memorial Scholarship McBride, Timothy Blinko and Avril Anderson. and Silver Medal. She has studied with His works have been heard in concerts all Jeremy Filsell, Kevin Bowyer, David Goode over the country, and in broadcasts on radio and Andrew Fletcher, as well as performing in and television. Recent premieres include his masterclasses under Gillian Weir, Naji Hakim, Organ Concerto at St John’s, Smith Square, Harald Vogel, Colm Carey and Jennifer Bate. an orchestral piece War in the Royal Festival Francesca has given recitals at many venues Hall, and his electric cello concerto, The Blue both in the UK and abroad.

Cello in Edinburgh. Thomas has worked with ensembles such as The Britten Sinfonia, Sounds Positive, the NYO Sinfonietta, and the Orchestra of the Royal Opera House, winning numerous awards, including the BBC Proms/ Guardian Young Composer Competition.

Untitled-2.indd 5

the tenor and bass soloists also have much to contribute, and the chorus sections are strong and animated in nature, often laden with rich seventh-chord harmonies and false relations.

of the finest moments (as at ‘in the imagination of their hearts’ in the Magnificat), and the anthem is very fine indeed; note the harmonic progression at the end of the first chorus, the splendid six-part verse that follows ‘He is my defence so that I shall not greatly fall’ (in The earliest works by Turner on this recording which it is unsurprisingly the counter-tenor are probably Lord, thou hast been our refuge and O Lord God of hosts, hear my prayer, which part that supplies the seventh notes and final Spink notes as listed in a Chapel Royal list of false relation at the cadence), and the rousing 1676. They both show Turner’s gift for fitting the rhythms of the final chorus set to the text ‘and music sensitively to the text, the most notable thou rewardest every man according to his work’, perhaps chosen with the craftsmen and passages in Lord, thou hast been our refuge builders of St Paul’s in mind. including the dramatic rendition of ‘and fade away suddenly like the grass’ and the reflective Turner seems not to have composed much chorus ‘For a thousand years in thy sight are towards the end of his life, and his later works but as yesterday’. Turner’s penitential style is date from around 1700. The Lord is righteous arguably heard at its finest in the slightly later anthem Hear my prayer, O Lord, where his has a lively obbligato part for the organ, and melodic gifts are matched by some well-judged although no stop indications are given in the turns of harmony, such as the twist from F# manuscript sources it may well have been major to D major when the bass solo answers composed with some of the new solo stops the tenor at ‘For my days are consumed away being added to organs at this time in mind, like smoke’. Spink notes that Turner seems to perhaps specifically those available on the new have entered a new phase of creative energy Bernard Smith organ built for St Paul’s. One following the opening of the new St Paul’s piece with a certain date is The Queen shall rejoice, described in its principal source as Cathedral in 1697, and has suggested that the sumptuous six-part scoring of the Service in ‘Being the 2nd Anthem sung at the Coronation A major (with its companion anthem My soul Solemnity of Queen Ann, April 23rd, 1702’. truly waiteth upon thee) may have been directly It is one of Turner’s very few full anthems, inspired by the new building. The Magnificat, characterised by lively rhythms and some Nunc Dimittis and anthem are all included in effective tonal contrasts, thereby striking a good this recording because of their consistently high balance between joyfulness and solemnity. quality of inspiration, with Turner’s trade-mark lush seventh harmonies providing many © 2007 Geoffrey Webber

3/29/07 8:40:21 PM

DCD34028-right reading.indd, Spread 6 of 10 - Pages (6, 15) 3/28/07 8:33 PM Texts 1 Te Deum (1696)

We praise thee, O God: we acknowledge thee whom thou hast redeemed with thy precious blood. to be the Lord.

Make them to be numbered with thy Saints: in All the earth doth worship thee the Father glory everlasting. everlasting.

O Lord, save thy people: and bless thine heritage.

To thee all Angels cry aloud: the heav’ns and all Govern them: and lift them up for ever. the powers therein.

Day by day: we magnify thee; To thee Cherubim and Seraphim continually do cry, And we worship thy Name: ever world without end.

Holy, Holy, Holy: Lord God of Sabaoth; Vouchsafe, O Lord: to keep us this day without sin.

Heaven and earth are full of the Majesty of thy glory. O Lord, have mercy upon us: have mercy upon us.

The glorious company of the Apostles praise thee: O Lord, let thy mercy lighten upon us: as our the goodly fellowship of the Prophets praise thee. trust is in thee.

The noble army of Martyrs praise thee: O Lord, in thee have I trusted: let me never be the holy Church throughout all the world doth confounded. acknowledge thee; The Father of an infinite majesty: thine honourable, true and only Son, also the Holy Ghost, the Comforter.

Thou art the King of Glory O Christ: thou art the everlasting Son of the Father.

When thou tookest upon thee to deliver man: thou didst not abhor the Virgin’s womb.

When thou hadst overcome the sharpness of death: thou didst open the kingdom of heav’n to all believers.

Thou sittest at the right hand of God: in the glory of the Father.

We believe that thou shalt come: to be our Judge.

We therefore pray thee, help thy servants:

Untitled-2.indd 6

leaving the Academy he appeared extensively as Since then he has been active on the London scene, particularly in the field of early music. a soloist in Sir John Eliot Gardiner’s Bach Cantata Apart from solo concerts with choral societies Pilgrimage, including appearances in the Berlin across the country he has performed as Philharmonie, the Dijon Auditorium, the Metz Arsenal, Buckingham Palace and the final concerts a step-out soloist for Simon Rattle, Roger Norrington, Richard Hickox and Emmanuel in New York.

Haïm. He recently made his solo debut at the BBC Proms with Sakari Oramo and the CBSO William has performed with many well-known ensembles and conductors including the City of in Bernstein’s Chichester Psalms.

Birmingham Symphony Orchestra, BBC National Daniel Jordan Orchestra of Wales, the Scottish Chamber Orchestra, the City of London Sinfonia, the Daniel Jordan began his musical training as a Gabrieli Consort; and Sir Roger Norrington, chorister at Portsmouth Cathedral, and later at Paul McCreesh, Emmanuelle Haïm and Barry Wells Cathedral School. Daniel was awarded Wordsworth. William’s operatic engagements a Choral Scholarship to St. John’s College, have included roles at the Royal Opera House Cambridge, reading for a degree in Music. While Covent Garden, the Aldeburgh Festival, Opera North, the London Handel Festival, the Almeida in the choir he toured extensively in Europe, Canada, USA, South Africa, Australia and Japan; Festival and Grange Park Opera. sang on numerous recordings; and was Musical Director of the Gentlemen of St. John’s.

Paul Thompson Paul was a choral scholar at Caius from 1994 to 1997. While there he took part in many broadcasts and recordings – including the choir’s recording of Bach’s St Mark Passion – and toured Italy, Spain and the USA. After a brief spell as a Lay Clerk at Christ Church Cathedral, Oxford he completed his training as a postgraduate at the Royal Academy of Music, where he studied with David Lowe and Antony Saunders.

On leaving Cambridge he won a scholarship to the Royal Academy of Music on the PostGraduate Performance Course. In 2001 he graduated with distinction from the Opera Course, with support from the R.A.M and a Countess of Munster Trust Star Award.

Daniel has sung as a soloist with the English Concert, the Monteverdi Choir and Florilegium and as a member of Pro Cantione Antiqua, the Clerk’s Group and the King’s Consort, while opera credits

3/29/07 8:40:22 PM

DCD34028-right reading.indd, Spread 7 of 10 - Pages (14, 7) 3/28/07 8:33 PM

William Purefoy editing and research projects. He is a committee William Purefoy attended the Opera Course member for the Royal College of Organists and at the Guildhall School of Music and Drama, the Church Music Society, and his publications where he received the John Clifford Pettican include North German Church Music in the Age Award and was a finalist in the 1997 Gold of Buxtehude (OUP, 1996) and, as co-editor, the Medal Competition. In 1995 he was a finalist Cambridge Companion to the Organ (CUP, 1998 in the Kathleen Ferrier Awards and a winner of and The Restoration Anthem (CMS/OUP, 2003/7). the NFMS Young Concert Artists Award.

He studies with David Pollard.

Julia Doyle William has sung in opera and concert Born and educated in the north of England, around the world, appearing with the English Julia Doyle read Social and Political Sciences as Concert, The Sixteen, Orchestra of the Age of a Choral Scholar at Gonville and Caius College, Enlightenment, City of London Sinfonia, New Cambridge. During her career as a soprano Julia London Consort, Irish Chamber Orchestra, has performed as a soloist and consort singer Bournemouth Symphony Orchestra, Musicians all over the world and with many prestigious of the Globe, La Cetra, Le Concert d’Astrée, groups such as Camerata Salzburg, the English Purcell Quartet, Concordia, and I Fagiolini.

Baroque Soloists, the Endymion Ensemble, He has given recitals at the Wigmore Hall, Tenebrae, the Hanover Band and the English Barbican and Purcell Room among many other Concert and with a number of prominent venues. Operatic engagements have included conductors including Sir Roger Norrington, English National Opera, Scottish Opera, the Sir John Eliot Gardiner and Stephen Cleobury.

Classical Opera Company, the Early Opera Company and Staatsoperhannover. William is Her forthcoming engagements include also active as a recording artist with releases a programme of Handel and Bach at the on the ASV and Argo labels.

Wigmore Hall with the King’s Consort; a tour of Switzerland with the Lausanne Sinfonietta; a William Towers programme of works by Christopher Page with Fretwork; Bach, Handel and Telemann cantatas William Towers read English at Gonville & Caius with the Xacona in Valencia; engagements with College, Cambridge and was a postgraduate the Academy of Ancient Music and the English scholar at the Royal Academy of Music where he Baroque Soloists; and a recording of Couperin won several prizes for singing and acting, graduating Leçon de Tenebre and Charpentier duets. with Distinction, the Dip.RAM and the Clifton prize A graduate of Magdalen College, Oxford, for the best final recital. In his first year after

Untitled-2.indd 7

2 Lord, thou hast been our refuge

3 My soul truly waiteth Lord, thou hast been our refuge: from one My soul truly waiteth still upon God: for of him generation to another. cometh my salvation.

Before the mountains were brought forth, or He is my defence, so that I shall not greatly fall. ever the earth and the world were made: And that thou Lord art merciful: thou art God from everlasting and world for thou rewardest every man according to his work.

Psalm 62, vv 1, 2 & 12 without end.

Thou turnest man to destruction: again thou say’st, come again ye children of men.

4 Hear my prayer, O Lord Hear my prayer, O Lord: For a thousand years in thy sight are but as and let my crying come unto thee. yesterday: Hide not thy face from me in the time of my trouble: seeing that is past as a watch in the night.

As soon as thou scatt’rest them they are even incline thine ear unto me when I call, O hear me and that right soon. as a sleep: For my days are consumed away like smoke: and fade away suddenly like the grass.

For when thou art angry all our days are gone: and my bones are burnt up as it were a fire-brand. we bring our years to an end as it were a tale For the voice of my groaning: my bones will scarce cleave to my flesh. that is told.

The days of our age are three-score years and ten, My heart is smitten down and wither’d like grass: and though men be so strong that they come so that I forget to eat my bread.

Psalm 102, vv 1-5 & 24 to four-score years: yet is their strength then but labour and sorrow, so soon passeth it away and we are gone.

Psalm 90, vv 1-5, 9 & 10

3/29/07 8:40:23 PM

DCD34028-right reading.indd, Spread 8 of 10 - Pages (8, 13) 3/28/07 8:33 PM

Texts 5 The Queen shall rejoice

7 Magnificat (Service in A) The Queen shall rejoice in thy strength O Lord: My soul doth magnify the Lord: and my spirit exceeding glad shall she be of thy salvation. hath rejoiced in God my Saviour.

For thou shalt prevent her with the blessings For he hath regarded: the lowliness of his of goodness: handmaiden. and shalt set a crown of pure gold upon her head. For behold, from henceforth: all generations Her honour is great in thy salvation: shall call me blessed. glory and great worship shalt thou lay upon her. For he that is mighty hath magnified me: and For thou shalt give her everlasting felicity: holy is his name.

And make her glad with the joy of thy countenance And his mercy is on them that fear him: Halleluiah. throughout all generations.

Psalm 21, vv 1, 3, 5 & 6 He hath shewed strength with his arm: he hath scattered the proud in the imagination 6,11Jubilate Deo of their hearts.

O be joyful in the Lord, all ye lands: He hath put down the mighty from their seat: serve the Lord with gladness and come before and hath exalted the humble and meek. his presence with a song.

He hath filled the hungry with good things: and Be ye sure that the Lord he is God: the rich he hath sent empty away.

It is he that hath made us and not we ourselves, He remembering his mercy hath holpen his we are his people and the sheep of his pasture. servant Israel: O go your way into his gates with thanksgiving, as he promised to our forefathers, Abraham and into his courts with praise: and his seed, for ever. be thankful unto him and speak good of his Name. Glory be to the Father: and to the Son, and to For the Lord is gracious, his mercy is everlasting: the Holy Ghost.

And his truth endureth from generation As it was in the beginning, is now, and ever to generation shall be: world without end, Amen.

Glory be to the Father: and to the Son, and to Luke 1, vv 46-55 the Holy Ghost.

As it was in the beginning, is now, and ever shall be: world without end, Amen.

Yorkshire Baroque Soloists Yorkshire Baroque Soloists (YBS) was formed and Mozart’s Requiem (York Records). Further in 1973 by Peter Seymour to perform a recent recordings have included Psalms and repertoire from the 17th and 18th centuries for motets by Tomás Luis de Victoria, Monteverdi’s forces ranging from chamber to orchestral size. Vespro Della Beata Vergine and Motets of the The group has performed and recorded in most Bach Family.

European countries and forms the basis of the baroque and classical parts of York Early Music Geoffrey Webber Festival. Further festival appearances have included Swaledale Festival, Ryedale Festival Geoffrey Webber began his musical education and Festival Mitte Europa in Germany and the as a chorister at Salisbury Cathedral, and, after Czech Republic. Much of the orchestra’s work being Music Scholar at The King’s School, has been with Yorkshire Bach Choir.

Worcester, he was elected to an Organ Scholarship at New College, Oxford, in 1977. At In recent York Early Music Festivals the Oxford his academic tutors and organ teachers BBC and WDR have recorded the group’s included Edward Higginbottom, John Caldwell, performances of Handel’s Semele and James Dalton, Nicholas Danby and Gillian Weir.

Alexander’s Feast, Bach’s Cantatas for the After graduating with a First he remained in Feast of St Michael, Purcell’s Come ye Oxford to pursue research into German church Sons of Art and The Yorkshire Feast Song, music of the seventeenth century, combining Blow’s Welcome every guest, Clarke’s Music this with activities as an organist and conductor. on the Death of Henry Purcell, Haydn’s He served as Acting Organist at both New Theresienmesse, Purcell’s Dioclesian and a College and Magdalen College, and was psalm sequence of music by Charpentier. appointed as Assisting Organist at Magdalen In recent seasons YBS has also performed College in 1982 and University Organist and programmes of Purcell’s music on an Early Director of Music at the University Church Music University Network Tour and recorded in 1984. During this time he also became for the BBC a programme of music by Biber Director of the Edington Festival, a festival of including his Missa Alleluia. Other recordings music within the liturgy at Edington, Wiltshire. have included a further BBC programme of After completing his doctorate in 1989 he was music by Muffat and Biber. appointed Precentor and Director of Music at Gonville & Caius College, Cambridge, and he Commercially released recordings have now also serves as an Affiliated Lecturer in the included Bach’s Motets and Festal Mass at the Faculty of Music, dividing his time between Imperial Court in Vienna, 1648 (Carlton) conducting, organ playing, lecturing, teaching,

Psalm 100

Untitled-2.indd 8

3/29/07 8:40:25 PM

DCD34028-right reading.indd, Spread 9 of 10 - Pages (12, 9) 3/28/07 8:33 PM The Choir of Gonville & Caius College, Cambridge The Choir of Gonville & Caius College, Cambridge is one of Britain’s leading collegiate choirs. Gonville and Caius College was founded in 1348 but the musical tradition stems from the late-nineteenth century when the wellknown composer of church music Charles Wood became Organist. The choir in Wood’s day contained boy trebles, but is now a mixed undergraduate ensemble and is directed by Geoffrey Webber.

for the choir by leading composers such as James Macmillan. The choir has also appeared on television programmes on BBC 1, BBC 2, Channel 4 and on several foreign networks.

The choir’s recordings have specialised in the re-discovery of forgotten choral repertories, including previously unpublished music from within the English choral tradition and beyond.

A series of highly acclaimed discs on the ASV/Sanctuary label has included music by The choir sings chapel services during the Samuel Wesley, William Child, Edmund Rubbra, University term and has a busy schedule of Patrick Hadley and Rebecca Clarke, Joseph concerts, recordings and broadcasts. The choir Rheinberger, Giacomo Puccini and Leonardo also travels extensively abroad, performing Leo. The choir has recorded reconstructions at a variety of venues ranging from major – the Latin Mass in E Flat by Janácek and the concert halls to universities, cathedrals and St. Mark Passion by J. S. Bach – programmes churches in Europe, America and beyond, of Swiss choral music (in conjunction with often in connection with other professional the National Library of Zürich), the complete ensembles such as Opera Northern Ireland anthems of Charles Wood and a disc of music and the Philharmonia Baroque Orchestra of

by John Sanders (Priory). A DVD of music by San Francisco. The choir also gives a number Francis Poulenc featuring the choirs of St John’s, of concerts in the UK each year, appearing in Clare and Caius Colleges, has been also been venues such as St John’s, Smith Square and at released, and other collaborations include a the Spitalfields Festival in London, and many recording of music by John Rutter with the other venues across the country. choir of King’s College, Cambridge and the City of Birmingham Symphony Orchestra (EMI).

Live radio broadcasts on BBC Radio 3 and 4 The choir’s recent releases include a recording form a regular feature of the choir’s schedule. of modern and medieval music entitled All the Broadcasts of Choral Evensong have been ends of the earth (Signum Classics), a recording notably adventurous in content and have ranged of 16th-century music with the reconstructed from baroque anthems with period instruments Two Tudor Organs by Goetze and Gwynn (OxRecs), and a disc of music by Charles to Russian and Greek Orthodox music, South African music, and music composed especially Gounod (Centaur). ˆ

www.cai.cam.ac.uk

Untitled-2.indd 9

choir@cai.cam.ac.uk

8 Nunc Dimittis (Service in A)

Lord, now lettest thou thy servant depart in Glory be to the Father: and to the Son, and to peace: according to thy word. the Holy Ghost.

For mine eyes have seen: thy salvation, As it was in the beginning, is now, and ever Which thou hast prepared: before the face of shall be: world without end, Amen. all people; Psalm 84, vv 8 -13 To be a light to lighten the Gentiles: and to be the glory of thy people Israel.

10The Lord is righteous Glory be to the Father: and to the Son, and to The Lord is righteous in all his ways: the Holy Ghost. and holy in all his works.

As it was in the beginning, is now, and ever The Lord is nigh unto all them that call upon him: shall be: world without end, Amen. yea all such as call upon him faithfully.

Luke 2, vv 29-32 He will fulfil the desire of them that love him: but scattereth abroad all the ungodly.

My mouth shall speak the praise of the Lord: 9 O Lord God of hosts and let all flesh give thanks unto his holy Name O Lord God of hosts, hear my prayer: for ever and ever. hearken O God of Jacob.

Behold O God our defender: and look upon the face of thine Anointed.

For one day in thy courts is better than a thousand.

I had rather be a door-keeper in the house of my God: than to dwell in the tents of ungodliness.

For the Lord God is a light and defence: The Lord will give grace and worship, and no good thing shall he withhold from them that live a godly life.

O Lord God of hosts: blessed is the man that putteth his trust in thee.

Psalm 145, vv 17-21

3/29/07 8:40:26 PM

DCD34028-right reading.indd, Spread 10 of 10 - Pages (10, 11) 3/28/07 8:33 PM

Untitled-2.indd 10

3/29/07 8:40:42 PM