LPO-0050 CD booklet

VAUGHAN WILLIAMS The First Nowell

BACH

Cantata 63

MENDELSSOHN Vom Himmel hoch

VLADIMIR JUROWSKI conductor LISA MILNE soprano RUXANDRA DONOSE mezzo soprano ANDREW STAPLES tenor CHRISTOPHER MALTMAN baritone LONDON PHILHARMONIC ORCHESTRA and CHOIR

BACH Cantata 63: Christen, Ätzet Diesen Tag The season of Christmas is rich in music for worship and for concert performance.

Naturally, most of it draws on parts at least of the Nativity story. But there is no direct reference to this narrative in the text of Bach’s Christmas cantata Christen, ätzet diesen Tag. In fact, when the work was written, at the court of Weimar in 1714 or ’15, it may have been intended for the feast of the Reformation.

But when Bach moved to Leipzig in 1723 and took over responsibility for music in the city’s two principal churches, he performed it on his first Christmas Day; and he re-used it for at least one subsequent Christmas. The work is certainly scored on the large scale appropriate to the festival: four soloists and four-part choir, strings, organ, three oboes with a bassoon, and no fewer than four trumpets with timpani. The full forces are deployed in the celebratory opening chorus; its more lightly scored middle section includes a dazzlingly intricate illustration of the word ‘Strahl’, ‘ray’.

Next is an extended, meditative recitative for alto, accompanied by strings and twice breaking into rhythmic arioso (a vocal style between recitative and aria). Soprano and bass have a duet thanking God for his gifts; the slow tempo, minor tonality and winding oboe obbligato create a mood of great seriousness.

A tenor recitative describes Jesus as ‘the Lion from David’s tribe’, and ends with scale figures

in the accompaniment suggesting arrows from his bow. A second duet, for alto and tenor with string accompaniment, calls Christians to the dance in the light-footed rhythm of the passepied. A bass recitative, again shading into arioso, is richly accompanied by all the oboes and the bassoon as well as strings. The work’s unusually symmetrical plan is completed by a final chorus matching the first in its festive scoring and grand scale; the outer sections contain an extended episode in fugal texture, while the middle section includes a striking passage of counterpoint on a double-stranded idea representing the threat of Satan.

MENDELSSOHN Vom Himmel hoch Bach provided the models for Mendelssohn’s series of choral cantatas, which includes his Weihnachtslied or ‘Christmas song’ of 1830/31.

This draws on Martin Luther’s Christmas Eve hymn Vom Himmel hoch, setting seven of its fifteen verses for solo soprano and baritone, five-part chorus (with two soprano lines), and small orchestra. The first two verses are combined in the imposing opening chorus, which has an orchestral introduction suggesting the angel descending with the Christmas message; the hymn melody makes its first appearance in a contrapuntal treatment of its first line, and is stated in full at the very end of the movement. The third verse is set as a gentle baritone aria; the

fourth in a plain, but subtly reharmonised, statement of the chorale. The following soprano aria has a characteristically delicate accompaniment of flutes, clarinets, two-part violas and two-part cellos. The baritone is accompanied by strings in a declamatory arioso, which leads, with a sudden harmonic shift, into the closing chorus on Luther’s last verse. This restates the chorale, surrounded by jubilant figuration, until it reaches the final line – at which point the textures open out towards an emphatic conclusion.

VAUGHAN WILLIAMS The First Nowell Vaughan Williams’s lifelong love of Christmas and Christmas carols found its final expression in The First Nowell, a Nativity play with a spoken text based on mediaeval mystery plays. He was asked to write it in the summer of 1958, for a London charity matinée that December, and began work immediately; but he died before completing the score, which was finished from his plan and sketches by his long-time copyist and assistant Roy Douglas.

The complete piece requires not only soloists, chorus and orchestra but also a substantial acting cast; but the published score also includes instructions for a shorter concert version without speech or stage action. This is effectively a suite of arrangements of Christmas songs, some familiar and others less well known – including several lovely

folk melodies collected by Vaughan Williams himself around half a century earlier. The Prelude, after an introduction hinting at The First Nowell, is made up of the wassailing song God rest you merry, gentlemen and This is the truth sent from above. The scene of the Annunciation makes use of the mediaeval Latin carol Angelus ad virginem and the Salutation Carol. The journey of Joseph and Mary brings three related carols, the Cherry Tree Carol, As Joseph was a-walking and O, Joseph being an old man truly, before ending with In Bethlehem City. The shepherds approach the stable to the strains of the Sussex Carol, and leave to a reprise of the verse of the Salutation Carol, Tidings true. The procession of the Three Kings is marked by Philipp Nicolai’s Lutheran chorale How brightly shone the morning star. And the inevitable finale is the Cornish carol The First Nowell. © Anthony Burton

BACH Cantata 63: Christen, ätzet diesen Tag 01 Chorus Christen, ätzet diesen Tag In Metall und Marmorsteine!

Kommt und eilt mit mir zur Krippen Und erweist mit frohen Lippen Euren Dank und eure Pflicht; Denn der Strahl, so da einbricht, Zeigt sich euch zum Gnadenscheine.

Christians, engrave this day in metal and marble stone!

Come and hurry with me to the manger and prove with happy lips your thanks and your duty; for the ray that there breaks in is shown to you as the light of grace.

02 Mezzo soprano O sel’ger Tag! o ungemeines Heute, An dem das Heil der Welt, Der Schilo, den Gott schon im Paradies Dem menschlichen Geschlecht verhieß, Nunmehro sich vollkommen dargestellt Und suchet Israel von der Gefangenschaft und Sklavenketten des Satans zu erretten.

Du liebster Gott, was sind wir Armen doch?

Ein abgefallnes Volk, so dich verlassen; Und dennoch willst du uns nicht hassen; Denn eh wir sollen noch nach dem Verdienst zu Boden liegen, Eh muss die Gottheit sich bequemen, Die menschliche Natur an sich zu nehmen Und auf der Erden Im Hirtenstall, zu einem Kind zu werden.

O unbegreifliches, doch seliges Verfügen!

Oh blessed day! Oh extraordinary today, on which the saviour of the world, the Schilo [Messiah], whom God already in paradise promised to the human race, now reveals himself fully and seeks from the imprisonment and slave chains of Satan to rescue Israel.

Dear God, what are we then in our wretchedness?

A fallen people, who forsake you; and nevertheless you do not choose to hate us; for before we should lie on the earth according to our deserts, before that the deity must condescend to take human nature upon himself and on the earth in the shepherds’ stall to become a child.

Oh incomprehensible but blessed decree!

03 Soprano and bass Gott, du hast es wohl gefüget, Was uns jetzo widerfährt.

Drum laßt uns auf ihn stets trauen Und auf seine Gnade bauen, Denn er hat uns dies beschert, Was uns ewig nun vergnüget.

God, you have well ordained what now happens to us.

Therefore let us always trust in him and build on his grace, for he has bestowed on us what delights us now and for ever.

04 Tenor So kehret sich nun heut Das bange Leid, Mit welchem Israel geängstet und beladen, In lauter Heil und Gnaden.

Der Löw’ aus Davids Stamme ist erschienen, Sein Bogen ist gespannt, das Schwert ist schon gewetzt, Womit er uns in vor'ge Freiheit setzt.

In this way now today is transformed the anxious suffering with which Israel was distressed and burdened into pure salvation and grace.

The lion from the stock of David has appeared, his bow is stretched, his sword is already sharpened, with which he places us in our former freedom.

05 Mezzo soprano and tenor Ruft und fleht den Himmel an, Kommt, ihr Christen, kommt zum Reihen, Ihr sollt euch ob dem erfreuen, Was Gott hat anheut getan!

Da uns seine Huld verpfleget Und mit so viel Heil beleget, Daß man nicht g'nug danken kann.

Call and implore heaven, come, you Christians, come into the ranks, you should rejoice on account of that which God has done today!

Since his graciousness maintains us and endows us with such great salvation that sufficient thanks cannot be given.

06 Bass Verdoppelt euch demnach, ihr heißen Andachtsflammen, Und schlagt in Demut brünstiglich zusammen!

Steigt fröhlich himmelan Und danket Gott für dies, was er getan!

For this reason be redoubled, you hot flames of devotion, and strike in humility ardently together!

Mount joyfully to heaven and thank God for what he has done!

07 Chorus Höchster, schau in Gnaden an Diese Glut gebückter Seelen!

Laß den Dank, den wir dir bringen, Angenehme vor dir klingen, Laß uns stets in Segen gehn, Aber niemals nicht geschehn, Daß uns Satan möge quälen.

Highest, look with grace on this ardour of souls who bow [in worship].

Let the thanks, which we bring you, resound pleasingly before you.

Let us always go with your blessing but never let it happen that Satan may torment us.

Translation by Francis Browne (bach-cantatas.com)

MENDELSSOHN Vom Himmel hoch 08 Chorus Vom Himmel hoch, da komm ich her, Ich bring euch gute neue Mär.

Der guten Mär bring ich so viel, Davon ich sing’n und sagen will.

Euch ist ein Kindlein heut geborn, Von einer Jungfrau auserkorn.

Vom Himmel hoch, da komm ich her, Ich bring euch gute neue Mär.

Euch ist ein Kindlein heut geborn Von einer Jungfrau auserkorn, Ein Kindelein, so zart und fein, Das soll euer Freud und Wonne sein.

From heav’n on high I come to you; I bring you joyful news and true.

The joyful news I bring this day, I now shall sing and I shall say.

For you this day a child is born, Born of a virgin pure and fine.

From heav’n on high I come to you: I bring you joyful news and true, For you this day a child is born, Born of a virgin pure and fine.

This beautiful and winsome boy Shall be your gladness and your joy.

09 Baritone Es ist der Herr Christ, unser Gott, Der will euch führn aus aller Not. Er will euer Heiland selber sein, Von allen Sünden machen rein.

Er bringt euch alle Seligkeit, Die Gott der Vater, hat bereit.

Es ist der Herr Christ, unser Gott.

Er bringt euch alle Seligkeit, Die Gott der Vater hat bereit, Es ist der Herr Christ, unser Gott.

He is the Christ, our blessed Lord, And he will keep you from all want.

Your King and Saviour he shall be, And from transgression make you free.

He brings you all the blessedness That God will give you in his grace.

He is the Christ, our blessed Lord.

He brings you all the blessedness That God will give you in his grace He is the Christ our blessed Lord.

10 Chorus Er bringt euch alle Seligkeit, Die Gott der Vater hat bereit, Daß ihr mit uns im Himmelreich Sollt leben nun und ewiglich.

He brings you all the blessedness That God will give you in his grace, That you in heav’n eternally May dwell with us in harmony.

11 Soprano Sei willekomm, du edler Gast, Den Sünder nicht verschmähet hast, Und kommst ins Elend her zu mir, Wie soll ich immer danken dir?

Und wär die Welt vielmal so weit, Von Gold und Edelstein bereit, So wär sie doch dir viel zu klein, Zu sein, ein kleines Wiegelein.

Be welcome now, O noble guest, For sinners thou hast not despised; Thou com’st in meekness now to me, How then shall I give thanks to thee?

And if the world were great indeed, Adorned with precious stones and gold, It still would seem too small to be A cradle fit to give to thee.

12 Baritone Das also hat gefallen dir, Die Wahrheit anzuzeigen mir.

Wie aller Welt Macht, Ehr und Gut Vor dir nichts gilt, nichts hilft noch tut.

And therefore, Lord, it pleases thee To manifest this truth to me: All worldly honour, power and wealth For thee are of no help or worth.

13 Chorus Lob, Ehr sei Gott im höchsten Thron, Der uns schenkt seinen ein’gen Sohn; Des freuen sich der Engel Schar, Und singen uns solch neues Jahr.

Praise God upon his heav’nly throne, Who sends to us his only Son. The angels greet us with good cheer, And sing us all a bright new year.

VAUGHAN WILLIAMS The First Nowell 14 Chorus God rest you merry, gentlemen, Let nothing you dismay, Remember Christ our Saviour Was born on Christmas day, To save our souls from Satan's power When we were gone astray.

And it’s tidings of comfort and joy.

God bless the master of this house, And send him long to reign, And many a merry Christmas May live to see again.

Among your friends and kindred That live both far and near, And God send you a happy new year.

Baritone This is the truth sent from above, The truth of God, the God of love, Therefore don’t turn me from your door, But hearken all both rich and poor.

The first thing which I do relate Is that God did man create; The next thing which to you I’ll tell Woman was made with man to dwell.

Chorus And we were heirs to endless woes, Till God the Lord did interpose; And so a promise soon did run That he would redeem us by his son.

15 Soprano Angelus ad Virginem Subintrans in conclave, Virginis formidinem Demulcens, inquit, ‘Ave! Ave regina virginum; Coeli terraeque Dominum.

Concipies et paries In tacta salutem hominum; Tu porta coeli facta, Medela criminum.’

(Gabriel from Heav’n’s high king Came unto the maiden lowly, Brought to her blissful tiding And salutation holy.

Hail be thou, Mary, virgin bright; For God his Son, that heav’nly light, Conceive thou shall and bear withal In season ’gainst death and hell to fight.

Thou art the door of Heaven, And gateway to delight.’)

16 Chorus Nowell, Nowell, Nowell, Nowell!

This is the salutation of the angel Gabriel.

Tidings true there become new, Sent from the Trinity

By Gabriel to Nazareth, City of Galilee.

‘A clean maiden, a pure virgin, By her humility Shall now conceive the Person Second in deity.’

Nowell, Nowell, Nowell, Nowell!

This is the salutation of the angel Gabriel.

‘Hail virgin celestial, The meek’st that ever was!

Hail, temple of the Deity!

Hail, mirror of all grace!

Hail, virgin pure! I thee ensure, Within a little space Thou shalt conceive, and him receive That shall bring great solace.’

17 Chorus Joseph was an old man, And an old man was he, He married sweet Mary The Queen of Galilee.

Joseph and Mary walked Through an orchard green, Where was berries and cherries As thick as might be seen.

O then bespoke Mary With words so meek and mild, ‘Pluck me one cherry, Joseph, For I am with child.’

O then bespoke Joseph, With answer most unkind, ‘Let him pluck thee a cherry That got thee with child.’

Then bowed down the highest tree Unto the Virgin’s hand.

Then she cried ‘See, Joseph, I have cherries at command.’

O eat your cherries, Mary, O eat your cherries now, O eat your cherries, Mary, That grow upon the bough.’

18 Soprano As Joseph was a-walking, He heard an angel sing: ‘This night there shall be born On earth our Heavenly King.

He neither shall be born In housen nor in hall, Nor in the place of Paradise, But in an ox’s stall.

He neither shall be clothed In purple nor in pall, But all in fair linen As wear the babies all.

He neither shall be rocked In silver nor in gold, But in a wooden cradle That rocks upon the mould.’

19 Baritone O, Joseph being an old man truly, He married a virgin fair and free; A purer virgin could no man see Than he chose for his wife and his dearest dear.

They lived both in joy and bliss; But now a strict commandment is, In Jewry land no man should miss To go along with his dearest dear.

Unto the place where he was born, Unto the Emperor to be sworn, To pay a tribute that’s duly known, Both for himself and his dearest dear.

Chorus The king of all power was in Bethlehem born, Who wore for our sakes a crown of thorn.

Then God preserve us both even and morn

For Jesus’ sake, our dearest dear!

20 Chorus In Bethlehem City in Judea it was That Joseph and Mary together did pass, All for to be taxed when thither they came, For Caesar Augustus commanded the same.

Then let us be merry, cast sorrow aside, Our Saviour Christ Jesus was born on this tide.

But Mary’s full time being come as we find, She brought forth her first born to save all mankind; The inn being full, for the heavenly guest No place could she find to lay Him to rest.

Then let us be merry, cast sorrow aside, Our Saviour Christ Jesus was born on this tide.

Then they were constrained in a stable to lie, Where horses and asses they used for to tie.

Their lodging so simple they took it no scorn, But against the next morning, our Saviour was born.

Then let us be merry, cast sorrow aside, Our Saviour Christ Jesus was born on this tide.

21 Baritone and chorus On Christmas night all Christians sing, To hear the news the angels bring; News of great joy, news of great mirth, News of our merciful King’s birth.

All out of darkness we have light, Which made the angels sing this night, ‘Glory to God and peace to men,

Peace, now and for evermore, Amen.’

22 Chorus Tidings true there become new, Sent from the Trinity

By Gabriel to Nazareth, City of Galilee.

A clean maiden, a pure virgin, By her humility Shall now conceive the Person Second in deity.

23 Chorus How brightly shone the morning star, Which led the three Kings from afar, Rejoicing in its brightness; Rich gifts they brought to his presence Of gold and myrrh and frankincense, As tokens of his greatness.

Hail, King! Hail, King!

Thus we greet him and salute him: ‘Glorious art thou King of men and Lord of Angels.’

Now when these kings their gifts had given The star still shone for them from heaven, To light them on their journey.

So home they went in hope and joy; The star shone bright to show the way That led to their own country.

Hail, King! Hail, King!

Thus we greet him and salute him: ‘Glorious art thou

King of men and Lord of Angels.’

24 Interlude 25 Soprano, baritone and chorus The first Nowell the angel did say Was to certain poor shepherds in fields as they lay; In fields where they lay keeping their sheep, On a cold winter’s night that was so deep.

Nowell, Nowell, Nowell, Nowell, Born is the King of Israel.

They looked up and saw a star Shining in the east, beyond them far; And to the earth it gave great light, And so it continued both day and night.

Nowell, Nowell, Nowell, Nowell, Born is the King of Israel.

And by the light of that same star Three wise men came from country far; To seek for a King was their intent, And to follow the star wheresoever it went.

Nowell, Nowell, Nowell, Nowell, Born is the King of Israel.

Then let us all with one accord Sing praises to our heavenly Lord, That hath made heaven and earth of naught, And with his blood mankind hath bought.

Nowell, Nowell, Nowell, Nowell, Born is the King of Israel.

Vladimir Jurowski was born in Moscow, but in 1990 moved with his family to Germany, where he completed his musical studies at the High Schools of Music in Dresden and in Berlin. In 1995 he made a highly successful début at the Wexford Festival conducting Rimsky-Korsakov’s May Night, which launched his international career. Since then he has worked with the world’s leading orchestras and opera houses such as the Berlin Philharmonic, Royal Concertgebouw, Dresden Staatskapelle and Philadelphia orchestras as well as the Royal Opera House Covent Garden, Opéra Bastille de Paris, La Scala Milan and Metropolitan Opera New York.

In January 2001 Vladimir Jurowski took up the position of Music Director of Glyndebourne Festival Opera. In 2005 he was appointed Principal Guest Conductor of the Russian National Orchestra and granted the title of “Special Artist” of the Orchestra of the Age of Enlightenment. In September 2007 he became the London Philharmonic Orchestra’s twelfth Principal Conductor.

LISA MILNE soprano © Clive Barda

© Richard Cannon

VLADIMIR JUROWSKI conductor

Scottish soprano Lisa Milne studied at the Royal Scottish Academy of Music and Drama.

In opera, recent appearances have included Pamina (Die Zauberflöte) and Susanna (Le nozze di Figaro) at the Metropolitan Opera New York; and Pamina (Rodelinda and Theodora), Marzelline (Fidelio) and Micäela (Carmen) at the Glyndebourne Festival Opera. She appears regularly at English National Opera and Scottish Opera. She has also appeared with the Dallas Opera, Stuttgart Opera, Royal Danish Opera, at the Göttingen Handel Festival and on tour with the Salzburg Festival.

A frequent guest at the major festivals, her many concert engagements have included appearances with the Boston Symphony Orchestra and Levine, the Berlin Philharmonic with Rattle, the Rotterdam Philharmonic Orchestra with Gergiev, the Dresden Staatskapelle with Ticciati, the Budapest Festival Orchestra with Ivan Fischer and the New York and Vienna Philharmonic Orchestras with Harding.

Her many recordings include Mahler's Symphony No. 2 with Fischer – winner of a Gramophone Award. She was awarded an MBE in the Queen’s Birthday Honours in 2005.

RUXANDRA DONOSE mezzo soprano ANDREW STAPLES tenor Romanian-born mezzosoprano Ruxandra Donose has captured critical and popular acclaim in leading opera houses and concert halls around the world. Her voice has been described as an “incredibly exciting, flowing mezzo-soprano, which has no breaks and a flawless timbre.” Her expressive vocalism, thoughtful musicianship, and elegant stage presence allow her to pursue an extensive operatic and orchestral repertoire. Her engagements have led her all over the world, from the Royal Opera House Covent Garden in London to the Metropolitan Opera New York, from San Francisco Opera to The Opera National de Paris, Berlin, Madrid and Tokyo.

Ruxandra Donose has worked with some of the world’s finest conductors including Claudio Abbado, Sergiu Celibidache, Seiji Osawa, Zubin Mehta, Charles Dutoit, Christoph von Dohnany, Mariss Jansons, Donald Runnicles and Vladimir Jurowski. Her recordings include Schubert’s Ständchen (Philips), Dvorak’s Stabat Mater with Giuseppe Sinopoli (Deutsche Grammophon), Mahler’s Das Lied von der Erde with Michael Halasz (Naxos), Bach’s Mass in B minor with Sergiu Celibidache, Beethoven’s Ninth Symphony with Béla Drahos (Naxos), and Cherubino (Le nozze di Figaro) with Bertrand de Billy (Arte Nova).

Andrew Staples sang as a chorister in St Paul’s Cathedral before winning a Choral Scholarship to King’s College Cambridge, where he gained a degree in Music. He was the first recipient of the RCM Peter Pears Scholarship, sponsored by the Britten Pears Foundation, at the Royal College of Music.

His concert performances have included Schumann’s Das Paradies und die Peri with the Berlin Philharmonic Orchestra and the Orchestra of the Age of Enlightenment with Rattle, Tavener’s The Veil of the Temple in New York, Britten’s Serenade for Tenor, Horn and Strings with the Swedish Chamber Orchestra and Mozart’s Requiem with the Scottish Chamber Orchestra conducted by Andrew Manze.

On stage he has performed in Haydn’s Philemon und Baucis conducted by Trevor Pinnock, and Don Ottavio (Don Giovanni) with Andrew Parrott and the London Mozart Players. He made his Royal Opera House debut as Jacquino (Fidelio) returning for Narraboth in Salome and sang Belfiore (La finta giardiniera) for the National Theatre, Prague.

Winner of the Lieder Prize at the 1997 Cardiff Singer of the World Competition Christopher Maltman studied singing at the Royal Academy of Music.

Operatic appearances include Don Giovanni at the Salzburg Festival and in Cologne; Papageno, Guglielmo and Marcello at the Royal Opera House Covent Garden; Papageno and Silvio at the Metropolitan Opera New York and Billy Budd at Welsh National Opera and in Turin, Munich, Frankfurt and Seattle.

His future engagements include returns to the Salzburg Festival and to the Royal Opera House Covent Garden and his débuts at the Gran Teatro del Liceu in Barcelona, the Paris Opera and the Vienna State Opera.

A renowned concert performer and recitalist, he has appeared with major orchestras across Europe and the USA. A prolific recording artist, his recording of Schumann’s Dichterliebe for Hyperion was released to tremendous critical acclaim. He has recently recorded Schumann’s Liederkreis, Op.24, with Graham Johnson, a Debussy album with Malcolm Martineau and a disc of English songs with Roger Vignoles.

LONDON PHILHARMONIC CHOIR © GreenEgg Ltd

© Levon Biss

CHRISTOPHER MALTMAN baritone

The London Philharmonic Choir was founded in 1947 as the chorus for the London Philharmonic Orchestra. It is widely acclaimed as one of the nation’s finest choirs and consistently meets with critical acclaim.

Continuing to perform regularly with the London Philharmonic Orchestra, the London Philharmonic Choir also works with many other orchestras throughout the United Kingdom and makes annual appearances at the BBC Proms. It has performed under some of the world’s most eminent conductors – among them Pierre Boulez, Sir Mark Elder, Sir John Eliot Gardiner, Bernard Haitink, Kurt Masur, Sir Roger Norrington, Sir Simon Rattle, Sir Georg Solti and Klaus Tennstedt. The London Philharmonic Choir has participated in more than seventy recordings, including a Gramophone-Awardwinning performance of Mahler’s Eighth Symphony under Klaus Tennstedt. The Choir often travels overseas and in recent years it has appeared at the Canary Islands and Lucerne music festivals, and given concerts in Europe, Hong Kong, Malaysia and Australia.

London Philharmonic Orchestra

© Patrick Harrison

The London Philharmonic Orchestra is known as one of the world’s great orchestras with a reputation secured by its performances in the concert hall and opera house, its many award-winning recordings, its trail-blazing international tours and its pioneering education work. Distinguished conductors who have held positions with the Orchestra since its foundation in 1932 by Sir Thomas Beecham include Sir Adrian Boult, Sir John Pritchard, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt, Franz Welser-Möst and Kurt Masur. Vladimir Jurowski was appointed the Orchestra’s Principal Guest Conductor in March 2003 and became Principal Conductor in September 2007, succeeding Kurt Masur.

The London Philharmonic Orchestra has been resident symphony orchestra at Southbank Centre’s Royal Festival Hall since 1992 and there it presents its main series

of concerts between September and May each year. In summer, the Orchestra moves to Sussex where it has been Resident at Glyndebourne Festival Opera for over 40 years. The Orchestra also performs at venues around the UK and has made numerous tours to America, Europe and Japan, and visited India, Hong Kong, China, South Korea, Australia, South Africa and Abu Dhabi.

The London Philharmonic Orchestra made its first recordings on 10 October 1932, just three days after its first public performance.

It has recorded and broadcast regularly ever since, and in 2005 established its own record label. These recordings are taken mainly from live concerts given by conductors including LPO Principal Conductors from Beecham and Boult, through Haitink, Solti and Tennstedt, to Masur and Jurowski. www.lpo.org.uk

JOHANN SEBASTIAN BACH (1685–1750) 01–07 27:39 Cantata 63: Christen, ätzet diesen Tag

08–13 13:47

FELIX MENDELSSOHN (1809–1847) Vom Himmel hoch

14–25 28:19

RALPH VAUGHAN WILLIAMS (1872–1958) The First Nowell

VLADIMIR JUROWSKI conductor LISA MILNE soprano RUXANDRA DONOSE mezzo soprano ANDREW STAPLES tenor CHRISTOPHER MALTMAN baritone LONDON PHILHARMONIC ORCHESTRA and CHOIR Margaret Faultless guest leader Vesselin Gellev leader (tracks 14–25) Neville Creed chorus master

Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL, London

LPO – 0050