Schütz: Die Vögel unter dem Himmel (Sacred Choral Music)

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Heinrich Schütz Die Vögel unter dem Himmel

DCD34043

Customer : Tintoy Catalogue No. : DCD34043 Job Title : Heinrich Schütz

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Die Vögel unter dem Himmel

Song of Songs Laudibus Mike Brewer, conductor (DCD34042)

Heinrich Schütz (1585-1672): Sacred choral music The National Youth Choir of Great Britain Mike Brewer conductor John Kitchen solo organ Samuel Scheidt (1587-1654) 1

Heinrich Scheidemann (1595-1663)

Modus pleno organo pedaliter a 6 (from Tabulatura nova)

10 Toccata G-dur

[5.04]

[1.22]

Heinrich Schütz Heinrich Schütz

11 Herr, unser Herrscher SWV 27

Wie lieblich sind deine Wohnungen SWV 29 [7.37] 3 Ich weiß, daß mein Erlöser lebt SWV 393 [2.37]

12 Cantate Domino canticum novum SWV 81

2

[4.37] [3.22]

13 Meine Seele erhebt den Herren

(Deutsches Magnificat) SWV 494

[7.37]

Samuel Scheidt 4

Ein kindelein so lobelich (from the Görlitzer Tabulatur-Buch)

Samuel Scheidt [3.28]

(from the Görlitzer Tabulatur-Buch)

Heinrich Schütz 5

Die Himmel erzählen die Ehre Gottes SWV 386

6

So fahr ich hin zu Jesu Christ SWV 379

[2.54]

15 Singet dem Herrn einneues Lied SWV 35

[5.31]

Jan Pieterszoon Sweelinck (1562-1621) 16 Puer nobis nascitur

Da Jesus an dem Kreuze (from the Görlitzer Tabulatur-Buch)

[2.17]

[3.07]

Heinrich Schütz 17 Alleluja! Lobet den Herren

Heinrich Schütz

in seinem Heiligtum SWV 38 (Edward Batting organ)

8

Die mit Tränen säen werden mit Freuden ernten SWV 378

[3.26]

9

Aus der Tiefe ruf ich, Herr, zu dir SWV 25

[4.23]

Recorded on 16 & 17 September 2006, 12 & 13 April 2007 in St Alban the Martyr, Holborn; and 4 & 5 August 2007 in Merton College Chapel, University of Oxford.

Producer: Paul Baxter

‘This is choral singing of the very first rank’ – International Record Review, February 2007

Heinrich Schütz [4.30] [2.43]

Samuel Scheidt 7

14 Ein feste Burg ist unser Gott

The Song of Songs stands apart from its biblical surroundings as one of the supreme love poems of world literature, a celebration of erotic love in the form of a dialogue between a bridegroom and his bride, invoking all the senses, the fragrance of wine, blossom, fruits and spices. Ranging widely over five centuries, from the relative asperity of Dunstaple to the lush exoticism of Daniel-Lesur, this cherry-picked assortment of sweetmeats is given exultant life by Mike Brewer and Laudibus.

Total playing time

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

Photograph editing: Dr Raymond Parks Delphian Records Ltd – Edinburgh – UK www.delphianrecords.co.uk © 2008 Delphian Records P 2008 Delphian Records

[9.39]

[74.16]

Instruments from the Raymond Russell Collection Volume II John Kitchen (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 ‘John Kitchen gives magnificent performances’ – Gramophone, June 2002

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The National Youth Choir on Delphian Giles Swayne: Convocation The National Youth Choir of Great Britain Laudibus Mike Brewer, conductor Michael Bonaventure, organ Stephen Wallace, counter-tenor (DCD34033) When a powerful team of new music exponents come together, magic will happen; when the music is by Giles Swayne, a composer whose light shines brilliantly in its own unique direction, the results will entrance. This disc offers a bracing sonic experience – vividly communicative music performed with rare verve, passion, and youthful vibrancy.

‘Swayne is a master’ – The Independent, September 1999 Richard Allain: When I’m Gone John Harle, soprano saxophone National Youth Choir of Great Britain Laudibus Mike Brewer, conductor (DCD34026) Allain has developed a unique musical dialect malleable enough to cover the gamut of liturgical purposes represented on this disc. Whether refracted through the facets of spiritual, carol, motet or Mass setting, his is a music that can only be added to the list of languages from which we should all take inspiration.

‘Magical moments abound’ – Gramophone, October 2004

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Notes on the Music Revered by his contemporaries as the ‘Orpheus of our time’ and regarded by history as the greatest German composer before Bach, Heinrich Schütz dedicated his long and illustrious career first and foremost to the music of the church. His work, an ideal marriage of the Protestant traditions of his homeland and the new Italian styles of the early Baroque, possesses an uncanny ability to illuminate the emotional core of a text with the most economical of expressive means – be it the jubilation of Psalm 100 or the anguished pleas of Psalm 130 (‘Out of the depths’).

Throughout his life, Schütz returned to the same texts – in particular the Psalms – refining his response and compositional technique to a fine point; the present recording allows the listener to trace this development from his first sacred collection, the Psalmen Davids of 1619, to his last, the Schwanengesang, completed at the age of eighty-six in 1671.

Schütz showed an early aptitude for music, singing ‘securely and very well, with particular grace’. In 1598, Landgrave Moritz of HessenKassel, himself an accomplished composer, stayed at the inn in Köstritz; hearing Schütz sing, he asked to take him to Kassel to join his court there. From Kassel, Schütz matriculated at the University of Marburg in 1608 to study Law, but once again Landgrave Moritz intervened, suggesting he take the opportunity while Giovanni Gabrieli was still alive to go to Venice and study with him. Thus it was that Schütz spent the next three years under the tutelage of the great Venetian master, studying organ playing and composition and evidently gaining high favour, for Gabrieli left Schütz one of his rings when he died in 1612, at the beginning of Schütz’s fourth year in Venice.

The years in Venice proved the defining formative experience of his musical life and work. Schütz was eager to absorb the latest Schütz’s early development as a composer developments of the Italian seconda pratica was gradual and careful – even cautious, and at the same time to acquire a solid by the standards of his day. Apart from an contrapuntal technique. His first publication, in apprentice volume of madrigals, he published 1611, was a book of Italian madrigals, soundly nothing until the age of 33, determined to worked if not particularly remarkable by get a thorough grounding in his art first; such the standards of Monteverdi or d’India. The caution was advisable, however, given the influence of Gabrieli was to be seen to far repeated attempts by his parents to persuade more wide-ranging effect in the monumental him to undertake a career in Law. Certainly, Psalmen Davids, which Schütz published in Schütz’s musical education had been decidedly 1619, having worked on them probably at least fortuitous and unplanned. The son of a well-to- since his return to Germany in 1613. These are do innkeeper in Köstritz, near Gera in Saxony, the real fruits of his Venetian years,

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a compendium of polychoral magnificence, twenty-six settings for double, triple or quadruple choir (some choirs designated for voices, others for instruments) that have their direct origin in the cori spezzati style designed

by Gabrieli for St Mark’s.

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for climaxes, alternating them, now in quick succession, now in longer paragraphs, as the text allows. Nor does this technical prowess lack expressivity: the Psalmen Davids inherit all of Gabrieli’s dramatic and colourful harmonic palette, as well as the modern Italian taste for bold chromaticism in the service of intense By the time Schütz published the Psalmen emotions; thus the extraordinary opening six Davids he had left Kassel and entered the chords of Wie lieblich sind deine Wohnungen, service of the Elector Johann Georg I of Saxony, or the madrigalisms of Aus der Tiefe. in Dresden. Since 1613, Johann Georg’s Kapellmeister Rogier Michael had been in The Psalmen Davids are an achievement of semi-retirement, and Schütz, though nominally epochal importance in German music; for his deputy, found himself at the age of thirty Schütz, they signalled the end of his long de facto head of one of the finest musical apprenticeship and the beginning of his establishments in Germany. Opportunities for artistic maturity. Their publication held another large-scale works of the size of the Psalmen significance for him too, for it coincided Davids were suddenly readily forthcoming, with his marriage to Magdalena Wildeck, and Schütz poured his new skills into their whom he married on 1 June 1619. The next composition. His main interest in these works few years seem to have been happy and seems to have been the range of textures productive ones for Schütz, and in 1623 he obtainable from the polychoral medium, which published his Resurrection Story (Historia der… he explores with a masterly ingenuity and Aufferstehung…Jesu Christi), following it two variety, without a trace of the predictability years later with the Cantiones Sacrae, op. 4. that can arise from the constant alternation of Very different in scale from the Psalmen Davids, choirs. In Herr, unser Herrscher, for three choirs, the Cantiones comprise thirty-one motets, and Alleluja! Lobet den Herren, for four choirs, mostly in four parts and conceived mainly for a Schütz skilfully interleaves majestic tuttis with cappella performance, although Schütz added lighter-scored sections; in his busy, doublean optional basso seguente at the request of choir setting of Psalm 98, Singet dem Herrn his publisher. This must have represented for ein neues Lied, he provides a masterclass Schütz the opposite technical challenge from in constantly varying textures, moving the grandiosity of his first collection of sacred from imitative exposition to declamatory music: to compress the same variety and homophony, bringing the choirs together breadth of expression into

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Rachel Coward Rachel Doherty Rebecca Hutter Sarah Mapplebeck Sarah Thornhill Vassilena Milonidis Alto II Amelia Hudson Amelia Okell Anil Chopra Beth Mackay Bethan Langford Carla Matthews Charlotte Kitson Elizabeth Curwen Elizabeth Jarrett Emily Skinner Emma Stannard Esther Zuke Hannah Trenner Helen Hutchinson Katie Lee Krishanthi Gill Laura Baker Pipp Saul-Harrah Rozanna Madylus Sarah Rudebeck

Tenor I Alex Bowden Alexander Berman Chris Palmer Christopher Hann Christopher Palmer Edmund Chan Felix Leach Fergus Brignall Kieran Morris Michael Bradley Robbie Jacobs Sam Furness Simon Marsh Tim Lawrence

Tenor II Adam Smith Adam Treadaway Andrew Bartlett Anthony Harris David Pim Francis Powesland Jack Furness Jonathan Cooke Laurence Panter Luke Sinclair Matthew Thomson

Michael Hickman Robin Firth Sam Robinson Samuel Morris Ted Lougher Thomas Cooke William Morgan Bass I Adam Smith Adam Treadaway Alexander Hargreaves Amar Shah Andrew Martin Anthony Harris Callum Baxter Chris Hughes Christopher Argyrakis Christopher Hughes Christopher Wheeler David Horton David le Provost Edmund Latham Edward Turner Greg Hallam Huw Leslie Joachim Cassel Jolyon Loy Jonathan Bell

Julian Guidera Muir Hewitt Nick Lockyer René Bloice-Sanders Robert Garland Simon Hall Stefan Hargreaves Stefan Porter Tom Innes Bass II Alexei Kalveks Andrew Booth Bartholomew Lawrence Dominic Barberi Emile Perkins Freddie Coltart James Ramsden Jamie Wardynski John Murton Laurence Kirkby Peter Bardsley Philip Batty Reuben McNaughton Sandy Walker Stuart Ruff

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The National Youth Choir of Great Britain Soprano I Adele Clarkson Alessandra Sorrentino Alexia Prakas Alice Usher Alison Seal Anna Gillingham Catherine Bell Charlotte Trepess Emily Haig Emily Meredith Emily Owen Emma Hopegood Emma Walshe Felicity Martin Georgina Easton Hannah Berridge Hannah Campbell Hannah Dobra Heather Caddick Helen Lewis Helen McCombie Helen Vincent Holly Moore Jenni France Jennifer Stafford Jenny Sidebottom Josephine OrganJennings

Julia Sitkovetsky Laura Attridge Laura Braithwaite Lisa Swayne Louise Wayman Lucy Hughes Lucy Potterton Marie Macklin Rachael Robinson Rachel Spencer Rebecca Hardwick Rebecca Lallemant Roseanne Havel Ruth Waters Sarah Bowe Zoe Brown Soprano II Alison Hill Alicia Clarke Anna Goldbeck-Wood Catherine Whately Charlotte Broadbent Charlotte Brosnan Chloe Treharne Claire Lewis Elaine Tate Eleanor Bacon Eleanor Caine

Eleanor Mulindi-King Elizabeth Stock Emily Cooper Emily Dickens Emily Garland Emma Price Esther Nosworthy Felicity Davies Fenella Shelton Fiona Harper Francesca Geach Gillian Plummer Jenni Harper Jennie Marsden Jessica Dandy Judith Durrant Katherine Higgins Laura Cheetham Laura Wright Natasha Harbinson Olivia Brown Pippa Woodrow Rebecca Williams Rosie Deeks Sarah Champion Sarah Griffiths Sarah Rea Sian Rogers Sophie Cox

Tempe Nell Alto I Abigail Berry Alex Davies Alice Hubbard Angharad Lyddon Bethan Moore Bethany Remfry Bethia Hourigan Charlotte Ramsbotham Delphine Gatehouse Eleanor Minney Eleanor Whittingham Emily Jane Cooper Emma Price Eve Langford Faith Fairbairn Felicity Buckland Flora Pethybridge Francesca Mastaglio Heather White Jenna Hoyle Jessica Dandy Johanne Stephenson Lucinda Cox Lucy Feldman Martha McLorinan Nancy Cole

just four parts. In this respect, the Cantiones are perhaps even more remarkable than the Psalmen Davids, as Schütz is able to integrate his mastery of Baroque expressive devices with the stile antico idiom, providing settings whose power is directly proportional to their miraculous clarity. Cantate Domino canticum novum is a fleet-footed example of the style, bursting into effervescent streams of scalic figures and delighting in very close canonic entries, as if the voices were tumbling over one another in their joy.

For Schütz, joy was short-lived: on 6 September 1625, shortly after the publication of the Cantiones, his wife Magdalena died.

They had been married six years; Schütz was grief-stricken, and, contrary to the custom of the time, never remarried. The next twenty years were to see many further personal reversals and bereavements, including that of his elder daughter Anna Justina in 1638, as plague and the depredations of the Thirty Years War, which Saxony entered in 1631, took their toll. In spite of this, Schütz continued to consolidate his position as the pre-eminent composer in Germany, publishing a measured stream of major works, including the Symphoniae Sacrae (three volumes, 1629, 1647 and 1650), the Musicalische Exequien (1636) and the Kleiner Geistlichen Concerten (two volumes, 1638 and 1639). Schütz was not confined to the increasingly impoverished court at Dresden, but allowed to take several

extended leaves of absence in the service of other noble employers. Chief among these was Crown Prince Christian of Denmark, for whose marriage service Schütz was invited to Copenhagen in 1633 to oversee the music.

Schütz remained in Denmark for eighteen months, and returned there the following decade for a period of nearly three years, from 1642-4. Most of the music Schütz wrote on these and other occasions has been lost, including a large number of theatrical and other secular works: our picture of Schütz would be very different indeed were we able today to survey the entire breadth of his output.

In 1646, Schütz was asked to give his judgement on an artistic dispute that had arisen between two minor composers, Paul Siefert and Marco Scacchi, each accusing the other of contrapuntal incompetence. In spite of his well-known insistence on rigorous contrapuntal training, Schütz declined to become embroiled, though he privately favoured Scacchi. This affair would have little importance were it not that in 1648 Schütz published a volume entitled Geistliche ChorMusic, dedicated to the city council of Leipzig and the Thomaskirche choir, which he evidently intended to serve as examples of model textsetting and compositional technique: a practical answer, perhaps, to those who had looked to him for guidance during the dispute. Although Schütz’s preface to the volume emphasises this didacticism of intent, these are no mere

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John Kitchen text-book exemplars but the fully-fledged but more slowly, for although he could still products of a master, touching astonishing ‘work out my compositions as soundly and as heights of expressivity with unparalleled well as before, it all takes much longer and economy. The six-part setting of Die Himmel is more difficult to achieve.’ Yet he did not erzählen die Ehre Gottes, which exists in a put down his pen for good until 1671, when, version dating back to the 1630s, generates at the age of eighty-six, a year before his great excitement from the judicious alternation death, he completed his Schwanengesang of tutti- and lighter contrapuntal sections; Ich (swansong), a complete setting of Psalm 119 weiss, dass mein Erlöser lebt, in seven parts, together with a setting of Psalm 100 and the provides a model of movement between Deutsch Magnificat, SWV494. In its doubletriple and duple time in different textural choir textures the Schwanengesang distantly combinations. Similarly moving between recalls the sumptuous settings of the Psalmen triple and duple time, Die mit Tränen saen is Davids – the aged composer remembering his yet more striking, a miniature drama of grief earliest works, though the spirit and the means and consolation that Schütz portrays with the have changed in the half-century that separates utmost sincerity and tenderness. So far ich hin them; at the end of the manuscript score of zu Jesu Christ sets the fifth verse of the funeral the Magnificat, Schütz writes ‘FINIS’ – an end chorale Wenn mein Stündlein vorhanden ist, to his long life’s work. and neatly evokes the tread of the pilgrim soul towards Jesus with a slow rising motif that © 2008 James Weeks moves through all the parts at the start of the work, later sinking into a mysterious harmonic James Weeks is a composer and conductor. He is the slumber at the words ‘so schlaf ich ein und director of contemporary specialists EXAUDI Vocal ruhe fein’.

Schütz’s activities at Dresden continued unabated – in spite of his regular entreaties to be spared his duties and allowed to retire – until the death of Elector Johann Georg I, his master for more than forty years, in 1657.

Thereafter he continued to compose, including Die Sieben Worte (1657), Historia der…Geburt…

Jesu Christi (published in part in 1664) and the four Passions (mid-1660s),

Ensemble; his music is represented by the British Music Information Centre.

After completing degrees at Glasgow University, John Kitchen went to Cambridge carrying out research into seventeenth-century French harpsichord music. Whilst there he was organ scholar of the Clare College, and studied the organ with Gillian Weir. From 1976 until 1988 he was Lecturer in Music and University Organist at the University of St Andrews. He is now Senior Lecturer and University Organist at the University of Edinburgh.

For many years John played with the Scottish Early Music Consort as harpsichordist, organist and fortepianist, and is a member of several other ensembles. He gives many solo recitals, both in the UK and overseas. In addition, he is conductor of the Edinburgh University Singers, and organist of Old St Paul’s Episcopal Church in Edinburgh. In 2002 he was appointed Edinburgh City Organist, with promotional and curatorial duties attached to the renowned 1913 Norman and Beard organ in the city’s Usher Hall.

He records regularly for the BBC and has made many commercial recordings. Amongst John’s recordings for Delphian was the first solo disc recorded on the recently-restored Usher Hall Organ (DCD34022), and two recordings showcasing the Raymond Russell Collection in Edinburgh (DCD34001 & DCD34039). For Priory Records John has recorded the complete solo organ works of Johann Ludwig Krebs on six discs, and two discs of Victorian organ sonatas. In addition to performance and recording work, John is in constant demand as a lecturer and reviewer.

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Note on the organ music

Mike Brewer OBE Recognised as a leading figure in choral music, Mike Brewer is in demand throughout Britain and worldwide for vocal and conducting workshops and as a guest conductor of choirs.

His annual tours take in the USA, Singapore, New Zealand, Australia, South Africa, Mexico, Venezuela and the Seychelles as well as regular visits within Europe. He is an adviser on world music to the IFCM and is assessor to Mexico’s choral programme.

Mike Brewer’s books for Faber Music include the best selling Kickstart Your Choir, Warmups, Improve Your Sightsinging (with Paul Harris) and Finetune Your Choir. Hamba Lulu, his set of African songs is performed worldwide. Recently published by Faber are Playpiece, commissioned for the Aberdeen Festival, Worldsong, performed in the Schools’ Proms 2005, and a second set of African Songs, Babevuya.

Mike is a gold medallist double bass player Mike is also consultant for over 20 prizeand was a Churchill Fellow for 2002/3. He was winning UK choirs, including the world appointed OBE in 1995. famous girls’ choir, Cantamus, and has often served as adjudicator for the finals of the ‘Choir of the Year’ and the National Festival of Music for Youth in the UK as well as many international competitions.

Mike has been Musical Director of the National Youth Choirs of Great Britain (NYC), since 1983, and the organisation has grown to include some seven choirs and over 500 singers. Mike also conducts Laudibus, the award-winning chamber choir of outstanding NYC members and graduates, which also records on the Delphian label. Recent critically acclaimed recordings by Laudibus include Song of Songs (DCD34042) and discs of the choral music of Giles Swayne and Richard Allain with the NYC (DCD34033 & DCD34026).

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Schütz’s extensive output includes not a note of organ music – at least none has come down to us. Therefore, organ music by some of his contemporaries complements the vocal music in this recording.

Christmas; the sombre Da Jesus an der Kreuze stund is for Passiontide; and Ein feste Burg is Luther’s great ‘battle-hymn of the Reformation’.

Sweelinck’s prolific output of keyboard works embraces both the sacred and secular; many The Dutch composer and organist Sweelinck were no doubt played in the daily concerts he was a major figure in the development of North gave in the Oude Kerk in Amsterdam where he German organ music, and taught both Scheidt was organist for many years. This was a civic and Scheidemann. In 1618 Scheidt worked with rather than an ecclesiastical post, as the Dutch Schütz (and Michael Praetorius) when all three Calvinists did not permit organ music during the had to provide music for a special occasion in services. The organ – owned by the city – was, Magdeburg Cathedral, and the two men must however, often played before or after services. have known each other well. It is likely also that The variations on the medieval Christmas song Schütz and Scheidemann were acquainted.

Puer nobis nascitur demonstrate Sweelinck’s imaginative variation technique.

Scheidt’s Modus ludendi comes from his renowned Tabultura nova of 1624, a major Scheidemann’s output is largely for the organ, publication designed to provide organ music for and contains examples of free and choralethe Lutheran liturgy (although it also contains based works in many forms. He succeeded his secular music). Scheidt includes two short father as organist at St Katharinen, Hamburg, but imposing pieces in six-part counterpoint in and remained in post until his death (of the which four voices are played on the manuals plague) in 1663. The present Toccata seems and two on the pedals. That included here to have been a favourite in the composer’s is based on the plainchant Benedicamus own time, as it has come down to us in many Domino, and would have played on full organ sources, and in variant versions. A highlyat the close of the Lutheran Mass. His final embellished right-hand melody, played on publication was the Görlitzer Tabulatur-Buch of a prominent solo stop such as a cornet or 1650, which presents 100 chorales for organ sesquialtera, is supported by left hand and in four-part harmony. These may have been pedals; the latter part of the piece exploits the intended to accompany the singing, or perhaps echo effects which Scheidemann (and Scheidt) to provide preludes or interludes. Three learned from the master, Sweelinck. contrasting examples are offered: the gentle Ein Kindelein so löbelich is associated with © 2008 John Kitchen

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Texts and translations

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The National Youth Choir of Great Britain

2 Wie lieblich sind deine Wohnungen SWV 29

How lovely are your dwelling places, Wie lieblich sind deine Wohnungen, O Lord of hosts!

Herre Zebaoth!

Mein Seel verlanget und sehnet sich nach den My soul yearns and pines for the courts of the Lord, Vorhöfen des Herren; mein Leib und Seele freuet sich in dem my heart and soul cry out to the living God. lebendigen Gott.

Denn der Vogel hat ein Haus funden und die Even the sparrow has found a home, and the swallow a nest Schwalbe ihr Nest, to place its young: your altars, daß sie Junge hekken, nämlich deine Altar, O Lord of hosts, my King, and my God. Herre Zebaoth, mein König und mein Gott.

Wohl denen, die in deinem Hause wohnen, die Blessed are they that dwell in your house: they shall praise you continually, Selah. loben dich immerdar, Sela.

Wohl den Menschen, die dich für ihre Stärke Blessed are the men whose strength is in you, whose hearts are set on pilgrimage. halten und von Herzen dir nachwandeln.

Die durch das Jammertal gehen und graben As they pass through the valley of Baca, make it a well, daselbst Brunnen. the rain also fills it.

Und die Lehrer werden mit viel They go from strength to strength, Segen geschmücket; God shows himself sie erhalten einen Sieg nach dem andern, to them in Zion. daß man sehen muß, O Lord God of hosts, hear my prayer: der rechte Gott sei zu Zion. listen, God of Jacob, Selah.

Herr Gott Zebaoth, höre mein Gebet, vernimms, Behold, God, our shield, and look upon the Gott Jakob, Sela. face of your anointed!

Gott, unser Schild, schau doch; siehe an das For a day in your courts is better Reich deines Gesalbten! than a thousand at my own devices, Denn ein Tag in deinen Vorhöfen ist besser, I would rather guard the door denn sonst tausend. in the house of my God, Ich will lieber der Tür hüten in meines than dwell a long time in the tents of the wicked.

Gottes Hause For the Lord God is a rampart and shield, denn lange wohnen in der Gottlosen Hütten. the Lord bestows mercy and honour; Denn Gott der Herr ist Sonn und Schild; der No good thing will be withheld from them Herr gibt Gnad und Ehre. whose life is blameless.

Er wird kein Gutes mangeln lassen den Frommen, O Lord of hosts, blessed is the man who trusts Herr Zebaoth, wohl dem Menschen, der sich in you. auf dich verläßt!

Psalm 84

Made up of 140 young voices, the National Youth collaborated with many local choirs and musical Choir (NYC) is the senior of the six choirs which groups. NYC is proud to be a prime mover in make up the National Youth Choirs of Great Britain, promoting singing for young people as part of the under the overall directorship of Mike Brewer Music Manifesto.

OBE and Associate Director Greg Beardsell. Each choir meets for two residential courses during NYC often performs new music, and has the year with regular concerts throughout the UK. commissioned from and recorded works by NYC also tours abroad regularly and on a number Jonathan Harvey, Colin Riley, Paul Reade, Giles of occasions has visited Australia, New Zealand Swayne, Tarik O’Regan and Gabriel Jackson, and the Pacific Islands as well as the USA, South and also by its composer-in-association Richard Africa and Europe.

Allain. For the choir’s 25th anniversary gala in April 2008, NYC commissioned a new work by Since its inaugural concert in the Royal Albert American composer Eric Whitacre, which was Hall in 1983, NYC has garnered an enviable premiered with the Kings Singers at Symphony reputation for being one of the most flexible vocal Hall, Birmingham. ensembles in the world. The choir has performed alongside many leading musicians including the The Royal Albert Hall remains a regular Kings Singers, Harry Christophers and the Sixteen, concert venue; NYC performed Karl Jenkins’ George Shearing and Richard Rodney Bennett, Peace Mass The Armed Man which was later and collaborated with musicians from many recorded, and went on to become a best-seller places, including India, South America, the Pacific and Classic FM’s record of the week. With Islands, Africa and the gospel tradition.

Delphian, the choir has recorded discs of the music of Richard Allain (DCD34026) and Giles Throughout its existence, NYC’s UK profile has Swayne (DCD34033). A disc of works for grown significantly, and in recent years the choir multiple choirs will be released in the autumn has performed in parliament for the anniversary of 2008, and future projects will include the of the abolition of the slave trade, at the National music of Kenneth Leighton. Following on from Gallery, at the reopening of the Royal Festival Hall, the critical success of Song of Songs, (also a in a number of television documentaries, and Classic FM record of the week), NYC’s chamber sung with the National Youth Orchestra in the choir, Laudibus, will record an anniversary disc BBC proms. The choir has also sung at the FA cup of music by Ralph Vaughan Williams and a final and at international rugby matches. Thanks to programme of music by Baltic composers. sponsorship through Youth Music, NYC has been involved in outreach throughout the country, and

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sind fröhlich vor dem Herrn; denn er kommt, das Erdreich zu richten.

Er wird den Erdboden richten mit Gerechtigkeit und die Völker mit Recht.

Ehre sei dem Vater und dem Sohn und auch dem heilgen Geiste, wie es war im Anfang, jetzt und immerdar und von Ewigkeit zu Ewigkeit, Amen.

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sing together for joy; let them sing before the Lord, for he comes to judge the earth.

He will judge the world in righteousness and the peoples with equity.

Glory be to the Father, and to the Son, and to the Holy Ghost; as it was in the beginning, is now, and ever shall be. Amen.

Psalm 98

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Ich weiß, daß mein Erlöser lebt SWV 393 Ich weiß, daß mein Erlöser lebt, und er wird mich hernach aus der Erden auferwekken, und werde mit dieser meiner Haut umgeben werden, und werde in meinem Fleisch Gott sehen, denselben werd ich mir sehen, und meine Augen werden ihn schauen, ich und kein Fremder.

I know that my redeemer lives, and that he shall stand at the latter day upon the earth.

And though this body be destroyed, even then, in my flesh shall I see God; whom I shall see for myself and my own eyes shall behold him, I, and no stranger.

Job 19, vv. 25-27

17 Alleluja! Lobet den Herren in seinem Heiligtum SWV 38

Alleluja!

Lobet den Herren in seinem Heiligtum, lobet ihn in der Feste seiner Macht.

Lobet ihn in seinen Taten, lobet ihn in seiner großen Herrlichkeit.

Lobet ihn mit Posaunen, lobet ihn mit Psaltern und Harfen.

Lobet ihn mit Pauken und Reigen, lobet ihn mit Saiten und Pfeifen.

Lobet ihn mit hellen Cymbalen, lobet ihn mit wohl klingen den Cymbalen.

Alles was Athem hat, lobe den Herrn.

Alleluja!

Alleluja!

Praise God in his sanctuary: Praise him in his mighty firmament.

Praise him for his mighty acts: Praise him according to his excellent greatness.

Praise him with the sound of the trumpet; Praise him with the lute and harp!

Praise him with the timbrel and dance; Praise him with stringed instruments and flutes!

Praise him with loud cymbals; Praise him with clashing cymbals!

Let everything that has breath praise the Lord.

Alleluja!

Psalm 150

5 Die Himmel erzählen die Ehre Gottes SWV 386

Die Himmel erzählen die Ehre Gottes, und die Feste verkündigen get seiner Hände Werk.

Ein Tag sagt’s dem andern, und eine Nacht tut’s kunder andern.

Es ist keine Sprache noch Rede, da man nicht ihre Stimme höre.

Ihre Schnur gehet aus in alle Lande und ihre Rede an der Welt Ende.

Er hat der Sonnen eine Hütten in derselben gemacht, und die selbige gehet heraus wie ein Bräu tigam aus seiner Kammer und freuet sich wie ein Held, zu laufen den Weg. Sie gehet auf an einem Ende des Himmels, und läuft um bis wieder an dasselbige Ende, und bleibt nichts für ihrer Hitz verborgen.

Ehre sei dem Vater und dem Sohn und auch dem heilgen Geiste; wie es war im anfang, jetzt und immerdar und von Ewigkeit zu Ewigkeit. Amen.

The heavens declare the glory of God; the skies proclaim the work of his hands.

Day after day they pour forth speech; night after night they display knowledge.

There is no speech or language where their voice is not heard.

Their voice goes out into all the earth, their words to the ends of the world.

In the heavens he has pitched a tent for the sun, which is like a bridegroom coming forth from his pavilion, like a champion rejoicing to run his course.

It rises at one end of the heavens and makes its circuit to the other; nothing is hidden from its heat.

Glory be to the Father, and to the Son, and to the Holy Ghost; as it was in the beginning, is now, and ever shall be. Amen.

Psalm 19, vv. 1-6

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So fahr ich hin zu Jesu Christ SWV 379 So fahr ich hin zu Jesu Christ, mein Arm tu ich ausstreken, so schlaf ich ein und ruhe fein, kein Mensch kann mich aufwekken, denn Jesus Christus Gottes Sohn, der wird die himmelstür auftun, mich führen zum ewigen Leben.

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Thus I go hence to Jesus Christ, I stretch out my arm, thus I fall asleep and rest soundly, no one can wake me except for Jesus Christ, son of God, who will open the gate of heaven and lead me to eternal life.

Nikolaus Herman (c. 1480-1561)

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Die Hungrigen füllet er mit Gütern und lässt die He has filled the hungry with good things and sent Reichen leer. the rich away empty.

Er denket der Barmherzigkeit und hilft seinem He has come to the aid of his Diener Israel auf. servant Israel, to remember his promise of mercy, Wie er gered’t hat unsern Vätern, Abraham und The promise made to our ancestors, to Abraham seinem Samen ewiglich. and his children for ever.

Ehre sei dem Vater und dem Sohn und auch Glory be to the Father, and to the Son, and to the Holy Ghost; dem heilgen Geiste; wie es war im anfang, jetzt und immerdar und as it was in the beginning, is now, and ever shall be. Amen. von Ewigkeit zu Ewigkeit. Amen.

Luke 2, vv. 29-32

8 Die mit Tränen säen werden mit Freuden ernten SWV 378

Die mit Tränen säen, werden mit Freuden ernten.

Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.

They that sow in tears shall reap in joy.

He that goes forth and weeps, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.

Psalm 126, vv. 5-6

9 Aus der Tiefe ruf ich, Herr, zu dir SWV 25

Aus der Tiefe ruf ich, Herr, zu dir. Herr, höre meine Stimme, laß deine Ohren merken auf die Stimme meines Flehens.

So du willst, Herr, Sünde zurechnen, Herr, wer wird bestehen?

Denn bei dir ist die Vergebung, daß man dich fürchte.

Ich harre des Herren; meine Seele harret, und ich hoffe auf sein Wort.

Meine Seele wartet auf den Herren von einer Morgenwache bis zur andern.

Israel, hoffe auf den Herren, denn bei dem

Out of the depths I call to you, O Lord: Lord, hear my cry.

Let your ears be attentive to my cry for mercy.

If you kept a record of our sins, Lord, who could stand their ground?

But forgiveness is with you, that you may be revered.

I await the Lord, my soul awaits, and I place my hope in his word.

My soul awaits the Lord more than they that watch for the morning; Israel, place your hope in the Lord.

15 Singet dem Herr ein neues Lied

Singet dem Herrn ein neues Lied, denn er Sing to the Lord a new song, for he has done tut Wunder. marvellous things; Er sieget mit seiner Rechten und mit seinem his right hand and his holy arm have worked heilgen Arm. salvation for him.

Der Herr lässet sein Heil verkündigen; The Lord has made his salvation known and vorden Völkern läßt er seine revealed his righteousness Gerechtigkeit offenbaren. to the nations.

Er gedenket an seine Gnade und Wahrheit dem He has remembered his love and his Hause Israel. faithfulness to the house of Israel; Aller Welt Enden sehen das Heil all the ends of the earth have seen the salvation unsers Gottes. of our God. Jauchzet dem Herren, alle Welt, singet, rühmet Shout for joy to the Lord, all the earth, burst und lobet! into jubilant song with music; Lobet den Herren mit Harfen, mit Harfen make music to the Lord with the harp, with the und Psalmen! harp and the sound of singing, Mit Drommeten und Posaunen jauchzet vor with trumpets and the blast of the ram’s horn dem Herrn, dem Könige! shout for joy before the Lord, the King.

Das Meer brause und was drinnen ist, Let the sea resound, and everything in it, der Erdboden und die drauf wohnen. the world, and all who live in it.

Die Wasserströme frohlocken, und alle Berge Let the rivers clap their hands, let the mountains

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Herr, unser Herrscher, wie herrlich ist dein Lord our Lord, how excellent is your Nam’ in allen Landen! name in all the earth!

Ehre sei dem Vater und dem Sohn und auch Glory be to the Father, and to the Son, and to dem heilgen Geiste; the Holy Ghost; wie es war im anfang, jetzt und immerdar und as it was in the beginning, is now, von Ewigkeit zu Ewigkeit. Amen. and ever shall be. Amen.

Psalm 8

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Herren ist die Gnade und viel Erlösung bei ihm. Und er wird Israel erlösen aus allen seinen Sünden.

Ehre sei dem Vater und dem Sohn und auch dem heilgen Geiste; wie es war im anfang, jetzt und immerdar und von Ewigkeit zu Ewigkeit. Amen.

For in the Lord is much mercy, and with him is plenteous redemption; And he shall redeem Israel from all its sins.

Glory be to the Father, and to the Son, and to the Holy Ghost; as it was in the beginning, is now, and ever shall be. Amen.

Psalm 130

12 Cantate Domino canticum novum SWV 81

Cantate Domino canticum novum; laus eius in ecclesia sanctorum.

Lætetur Israel in eo qui fecit eum, et filiæ Syon exultent in rege suo.

Laudent nomen ejus in tympano et choro: in psalterio psalant ei.

O sing unto the Lord a new song; and his praise in the company of saints.

Let all of Israel rejoice in its maker, let the children of Zion be joyful in their king.

Let them praise his name with dancing, make music to him with tambourine and harp.

Psalm 149, vv. 1-3

13 Meine Seele erhebt den Herren (Deutsches Magnificat) SWV 494

Meine Seele erhebt den Herren, und mein Geist freuet sich Gottes, meines Heilandes.

Denn er hat die Niedrigkeit seiner Magd angesehen.

Siehe, von nun an werden mich selig preisen alle Kindeskind.

Denn er hat große Ding’ an mir getan, der ta mächtig ist und des Name heilig ist.

Er übet Gewalt mit seinem Arm, und zerstreuet, die hoffärtig sind, in ihres Herzens Sinn.

Er stößet die Gewaltigen vom Stuhl und erhöhet die Niedrigen.

My soul proclaims the greatness of the Lord, my spirit rejoices in God my Saviour; he has looked with favour on his lowly servant.

From this day all generations will call me blessed; the Almighty has done great things for me and holy is his name.

He has shown strength with his arm and has scattered the proud in their conceit, Casting down the mighty from their thrones and lifting up the lowly.

11 Herr, unser Herrscher SWV 27

Herr, unser Herrscher, wie herrlich ist dein Nam’ in allen Landen, da man dir danket im Himmel.

Aus dem Munde der jungen Kinder und Säuglinge hast du eine Macht zugerichtet um deiner Feinde willen, daß du vertilgest den Feind und den Rachgierigen.

Denn ich werde sehen die Himmel, deiner Finger Werk, den Monden und die Sterne, die du bereitest.

Was ist der Mensch, daß du sein gedenkest, und des Menschen Kind, daß du dich sein annimmst?

Du wirst ihn lassen ein’ kleine Zeit von Gott verlassen sein, aber mit Ehren und Schmuck wirst du ihn krönen.

Du wirst ihn zum Herren machen über deiner Hände Werk.

Alles hast du unter seine Füße getan, Schaf und Ochsen allzumal, darzu auch die wilden Tier, die Vögel unter dem Himmel und die Fisch im Meer, und was im Meer gehet.

Lord our Lord, how excellent is your name in all the earth!

Whoever sings your praises above the heavens, through the mouths of children and babies, you make him a fortress, against your enemies, that you might subdue the enemy and the rebel.

When I consider the heavens, the work of your fingers, the moon and the stars you set firm, what is man, that you are mindful of him, or the son of man, that you care for him?

For you have made him a little less than a god, have crowned him with glory and honour.

You have made him lord of the works of your hands, put all things under his feet, all sheep and oxen, and even the wild beasts, the birds in the sky, the fish in the sea, when he makes his way across the sea.

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With thanks to Michael Harris, Gabriel Jackson and Benjamin Nicholas.