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Download Booklet 572653bk Rutter US_572653bk Rutter 02/02/2011 12:54 Page 12 RUTTER Gloria • Magnificat • Te Deum Elizabeth Cragg, Soprano The Choirs of St Albans Cathedral Ensemble DeChorum • Tom Winpenny, Organ This recording was generously supported by Neil Baker in memory of his wife Katherine. Andrew Lucas, Conductor Thanks are also due to the Dean and Chapter of St Albans Cathedral, The Fraternity of the Friends of St Albans Abbey, the St Albans Cathedral Music Trust, Borras Construction Ltd., and Thomas Hewitt Jones for their generous assistance with this project. 8.572653 12 572653bk Rutter US_572653bk Rutter 02/02/2011 12:54 Page 2 John Rutter (b. 1945) Abraham and his seed for ever. the heavens and all the Powers therein. To thee Cherubin and Seraphin: Gloria • Magnificat • Te Deum 0 Gloria Patri, et Filio, continually do cry, The three works heard on this recording span a period of work had its première well away from our own music et Spiritui Sancto. Holy, Holy, Holy, Lord God of Sabaoth; just over fifteen years, from 1974 to 1990. All three are critics and in the friendlier climate of America, where a Heaven and earth are full festive and celebratory in character, composed for joyful firestorm of performances followed in the late 1970s and Glory be to the Father, and to the Son, of the Majesty of thy Glory. occasions, and all three use the resources of voices and 1980s, continuing as a steady flow to this day. Gradually and to the Holy Ghost. The glorious company of the Apostles praise thee, instruments together. The Gloria (1974) is the earliest, (as with much of my other work) the Gloria began to The goodly fellowship of the Prophets praise thee. and represented a milestone in my career because it was filter back to the land where it was written and across the *Sancta Maria, succurre miseris, The noble army of Martyrs praise thee. the first major commission I had received from overseas. world, something I could not have predicted. Much of iuva pusillanimes, refove flebiles: The holy Church throughout all the world I was approached out of the blue by a concert choir in the credit must go to Mel Olson (who died, too young, a ora pro populo, intervene pro clero, doth acknowledge thee; the American midwest called the Voices of Mel Olson, while ago but whose support and friendship I still miss) intercede pro devote femineo sexu: The Father of an infinite Majesty, who wanted me to compose an accessible but because, in telling me what he was looking for in a new sentiant omnes tuum iuvamen, Thine honourable, true, and only Son; challenging choral work of about twenty minutes’ choral work, he was telling me what thousands of other quicumque tuum sanctum implorant auxilium. Also the Holy Ghost, the Comforter. duration which I was to come over and guest-conduct. choral directors were looking for too. Alleluia. Thou art the King of Glory, O Christ. Their conductor visited me in Cambridge to discuss the The Magnificat was the result of an invitation from a Thou art the everlasting Son of the Father. commission, and the guidelines were laid down: a New York-based concert organization called Holy Mary, succour those in need, When thou tookest upon thee to deliver man: familiar text, preferably sacred; instrumental MidAmerica Productions which specializes in giving help the faint-hearted, console the tearful: thou didst not abhor the Virgin’s womb. accompaniment, but (for budgetary reasons) less than an large-scale choral/orchestral concerts in Carnegie Hall. I pray for the laity, assist the clergy, When thou hadst overcome the sharpness of death: orchestra; no professional soloists; and a positive, had been guest-conducting a number of their concerts intercede for all devout women: thou didst open the Kingdom of heaven ‘upfront’ quality so that a non-specialist audience could for some two years when I was asked to write a forty- may all feel the power of your help, to all believers. enjoy the music at first hearing. All this steered my minute work for one such concert, in May 1990. The whoever prays for your holy aid. Thou sittest at the right hand of God: thoughts towards the text of the Gloria, which forms a chorus, numbering over 200 voices, was made up of Alleluia. in the glory of the Father. complete section of the familiar Ordinary of the Mass, hand-picked choirs from all over the United States, *Antiphon at Feasts of the Blessed Virgin Mary We believe that thou shalt come: beginning with the words of the angels to the shepherds every one of them happy and excited at the prospect of to be our Judge. on Christmas Night, not often set to music on its own. joining forces in the magnificent setting of Carnegie Sicut erat in principio, We therefore pray thee, help thy servants: Asking myself what instruments the angels would have Hall, and I also had the resources of orchestra and et nunc, et semper, et in saecula saeculorum. whom thou hast redeemed with thy precious blood. played as heralds of the glad tidings, the answer was soloist(s) available. Within these parameters, I was Amen. Make them to be numbered with thy Saints: obviously trumpets, and that chimed in with what I knew given a completely free hand, and I immediately felt I in glory everlasting. to be a fine tradition of brass playing in the midwest, wanted to write something joyous because that would As it was in the beginning, O Lord, save thy people: and bless thine heritage. where marching bands are an established part of school reflect the mood of the performers. Having written the is now, and ever shall be, world without end. Govern them: and lift them up for ever. and college life. I decided to supplement a brass reflective and subdued Requiem four years earlier, I Amen. Day by day we magnify thee; ensemble accompaniment with timpani, percussion and wanted my next large-scale choral work to be as And we worship thy Name: organ, and I set to work. The music was written quickly different as possible, and the text of the Magnificat ! TE DEUM ever world without end. in the spring of 1974, and in looking back at it now I find seemed an obvious choice. Composers seem to have (Early Church hymn, possibly 6th cent.) Vouchsafe, O Lord: to keep us this day without sin. a mixture of influences: Walton (who knew a thing or fought shy of writing extended settings of it (though O Lord, have mercy upon us. two about brass bands, and about festive and ceremonial there are many short Anglican liturgical settings), We praise thee, O God: O Lord, let thy mercy lighten upon us: writing), Stravinsky, Poulenc, and, running like a thread probably because of the daunting shadow cast by J. S. we acknowledge thee to be the Lord. As our trust is in thee. through the whole work, Gregorian chant. Eclecticism Bach, and I had avoided it myself because I could not All the earth doth worship thee: O Lord, in thee have I trusted: was less acceptable at that time in European musical think how I would set it to music except that I knew the Father everlasting. let me never be confounded. circles than it is now, so perhaps it was fortunate that the Gregorian chant would feature in some way. The answer To thee all angels cry aloud: 8.572653 2 11 8.572653 572653bk Rutter US_572653bk Rutter 02/02/2011 12:54 Page 10 The rose is called Mary, heaven’s queen. *Sanctus, Sanctus, Sanctus came from looking at the context of the words: the the soloist a final say before the music comes to a Out of her bosom a blossom sprang. Dominus Deus Sabaoth. Virgin Mary has learned that she is to give birth to Jesus, jubilant conclusion. Pleni sunt caeli et terra gloria tua. and she is pouring out her joy to her cousin Elizabeth, in The version of the work heard on this recording is The first branch was of great honour: Hosanna in excelsis. words which recall the Song of Hannah from the Old one with chamber orchestra and organ accompaniment, That blest Marie should bear the flow’r; Testament, combining faith, trust, and wonder. The which I made shortly after the first performance, with There came an angel from heaven’s tower Holy, Holy, Holy, Magnificat is known as the Canticle of the Blessed the needs of smaller choirs in mind. To break the devil’s bond. Lord God of hosts. Virgin Mary, and it is mainly in the sunny southern The Te Deum sprang from rather more Anglican soil. Heaven and earth are filled with thy glory. countries – Spain, Mexico, Puerto Rico – that Mary is In 1988 the Guild of Church Musicians (a British-based The second branch was great of might, Hosanna in the highest. most celebrated and enjoyed. This led me to conceive church music organization doing much good work) That sprang upon Christmas night; the music as a bright Latin-flavoured fiesta. On feast celebrated its centenary, marked by a service of The star shone over Bethlem bright, *from the Ordinary of the Mass days of the Virgin Mary in Latin countries, the thanksgiving in Canterbury Cathedral, and I was invited That man should see it both day and night. population sings, dances, dresses in its most colourful to compose a succinct Te Deum for performance on this 7 Et misericordia eius clothes, processes in the open air, and celebrates.
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