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DDD The orchestral parts and scores of thefollowing works are available from: 8.557572 ARTARIA EDITIONS LTD PO Box 9836 Te Aro Wellington NEW ZEALAND Johann Nepomuk http://www.artaria.com

Sources HUMMEL The works on this disc, published by Artaria Editions, have been edited by Allan Badley. The sources upon which the editions used in this recording have been made are:

Missa Solemnis in C Te Deum Edited by Allan Badley - Artaria Editions AE412 Edited by Allan Badley - Artaria Editions AE419 Missa Solemnis London, The British Library London, The British Library Te Deum

Patricia Wright Zan McKendree-Wright Patrick Power David Griffiths

TOWER Voices New Zealand New Zealand Symphony Orchestra Uwe Grodd 8.557572 12 557572 bk Hummel US 2/04/2004 02:12pm Page 2

Johann Nepomuk Hummel (1778-1837) Confiteor unum baptisma I acknowledge one baptism Missa Solemnis in C • Te Deum in remissionem peccatorum. for the forgiveness of sins. et exspecto resurrectionem mortuorum. And I look for the resurrection of the dead By 1803 it had become apparent to Joseph Haydn that he reforms introduced by Joseph II in 1783. More Et vitam venturi sæculi. and the life of the world to come. was no longer capable of fulfilling his duties as importantly, he instigated the tradition of having a new Amen. Amen. Kapellmeister at the Esterházy court. Accordingly, he Mass performed annually on the name-day of his wife, recommended the appointment of Mozart’s former pupil Princess Maria Hermenegild. In the first fifteen years of 5 Sanctus 5 Sanctus Hummel for the post of Concertmeister and divided his his reign Fuchs, Hummel and Beethoven all wrote Sanctus, Sanctus, Sanctus Holy, Holy, Holy existing duties between Hummel, Johann Nepomuk Masses for the occasion, in addition to Haydn’s six Dominus Deus Sabaoth, Lord God of Hosts, Fuchs, the Vice-Kapellmeister, and the Kammer- magnificent settings which ended in 1802 with the Pleni sunt cæli et terra gloria tua. Heaven and earth are full of thy glory. musikdirektor Luigi Tomasini. Hummel’s contract Harmoniemesse. These performances generally took Hosanna in excelsis. Hosanna in the highest. became effective from 1st April 1804 and in a resolution place in September on the Princess’s name-day in the signed by Prince Nicolaus II on 23rd June 1804 his Bergkirche in Eisenstadt. 6 Benedictus 6 Benedictus responsibilities were outlined in some detail: “... the Hummel’s five settings of the Mass were composed Benedictus qui venit Blessed is he that cometh Concertmeister Hummel is to have the direction of between 1804 and 1808. The Mass in E flat, Op. 80, the in nomine Domini. in the name of the Lord. cantatas, oratorios and such music pieces as do not fall second of Hummel’s Masses to be published, was Hosanna in excelsis Hosanna in the highest. under the genre of church music, and altogether in almost certainly composed before the Mass in B flat, rehearsals and productions of his own works”. The Op. 77. The D minor Mass was begun in August 1805, 7 Agnus Dei 7 Agnus Dei general divisions of responsibility - Fuchs church music, the Missa Solemnis in C, composed for the wedding of Agnus Dei, qui tollis O Lamb of God, that takest Tomasini instrumental music and Hummel secular vocal Princess Leopoldina Esterházy, was completed in March peccata mundi, away the sins of the world, music including opera - were not adhered to rigorously 1806 and the final work, the Mass in D, Op. 111, the so- miserere nobis. have mercy upon us. and this created a good deal of tension within the called Third Mass, was written in 1808. It was perhaps Agnus Dei, qui tollis O Lamb of God that takest prince’s musical establishment. Although Fuchs appears to this work - or conceivably the Missa Solemnis in C, peccata mundi, away the sins of the world, as a rather pedantic individual in the historical record, it which is known to have been performed in April 1808 - miserere nobis. have mercy upon us. is impossible not to feel a measure of sympathy for him, that Haydn was alluding when he remarked to the Agnus Dei, qui tollis O Lamb of God, that takest given Hummel’s arrogant and inconsiderate behaviour composer during Hummel’s visit to his home in Vienna peccata mundi, away the sins of the world, at times. Hummel seems to have been a very casual the following month: ‘Well, dear Hummel, I’ve already dona nobis pacem. grant us thy peace. disciplinarian and there is no doubt that the overall heard that you’ve written such a beautiful Mass and was standard of the Esterházy Kapelle declined as a result. pleased about it. I often said to you that you would be He was summarily dismissed after a chaotic somebody. Continue like this and consider that performance on Christmas Day 1808 and it was only everything beautiful and good comes from above’. after repeated requests to be taken back into service that Hummel’s autograph score of the Missa Solemnis in Prince Nicolaus II relented. C was completed in March 1806, three months after the Prince Nicolaus II Esterházy (1765-1833) Te Deum. Hummel carefully noted on the last page of succeeded his father as the reigning prince in 1794. He the autograph that the work had been composed for the was a difficult man, severe and uncongenial by nature wedding of Princess Leopoldina Esterházy [Marzo 806 / and thoroughly debauched in his private life. Although composta all’occasione / dello sposalizio di S. Alt. / la music did not occupy a central place in his life, he did Principessa Leopoldina / d’Esterhazy; eseguito ai have a strong and genuine interest in church music. He Aprille 808.] Hummel’s reference to a performance in began to build up his library’s holdings in this area, April 1808 is puzzling, since surely the work was which had languished since the death of Haydn’s performed as intended during the wedding celebrations predecessor, Gregor Werner, and perhaps as a in 1806. It appears, after all, to have been completed in consequence of the wide-sweeping church music good time for the occasion. Princess Maria Leopoldina 8.557572 2 11 8.557572 557572 bk Hummel US 2/04/2004 02:12pm Page 10

miserere nobis. of the Father, have mercy upon us. Josepha Aloysia Esterházy von Galantha (1788-1846), in the long and distinguished Viennese tradition of C Quoniam tu solus sanctus; For thou only art holy; the daughter of Prince Nicolaus II and Princess Marie major festive Masses. In contrast, the quiet opening of Tu solus Dominus; thou only art the lord; Hermenegild Esterházy, married Moritz Joseph Johann the succeeding Allegro moderato, scored for winds Tu solus Altissimus, Jesu Christe, thou only, O Christ, Baptist Viktor von Liechtenstein (1775-1819) in alone, is an astonishingly modern touch. The choral cum Sancto Spiritu, with the Holy Spirit art most high Eisenstadt on 13th April 1806. It must have ranked as writing is lyrical but not without its moments of drama; in gloria Dei Patris. in the glory of God the Father. the Society Wedding of the Year, given the enormous the accompaniment, which benefits enormously from Amen. Amen. wealth, power, influence and prestige of the two Hummel’s brilliant handling of his orchestral forces, families. That Hummel was invited to compose the work infuses the Kyrie with tremendous drive and verve. 4 Credo 4 Credo for the occasion is a clear indication of his high The Gloria is a highly original movement. Shunning Credo in unum Deum, I believe in one God, professional standing with the Prince. Perhaps the the conventional division of the Gloria into three or Patrem omnipotentem, the Father almighty, failure of Beethoven’s C major Mass the following year more interlinked sections, Hummel sets the text in a factorem cæli et terræ, maker of heaven and earth, (the Prince felt compelled to write to a friend: single large-scale movement unified by the use of a visibilium omnium et invisibilium. of all things visible and invisible, “Beethoven’s Mass is unbearably ridiculous and recurring theme which is developed as the movement et in unum Dominum, Jesum Christum, And in one Lord, Jesus Christ, detestable, and I am not convinced that it can ever be unfolds. Given the length of the text, Hummel’s filium Dei unigenitum; only son of God; performed properly. I am angry and mortified”) should preference for homophonic choral textures is hardly et ex Patre natum ante omnia sæcula. and born of the Father eternally, be viewed as much in the context of Hummel’s personal surprising, but his employment of blocks of Deum de Deo, lumen de lumine, God of God, light of light, triumph in 1806 as in terms of the poor performance and a cappella writing is startling and with their pseudo- Deum verum de Deo vero, true God of true God, challenging nature of the work. It is unlikely that Haydn modal harmonies he successfully creates a sense of genitum non factum, begotten, not made, attended the ceremony, given his poor state of health, timelessness and even of mystery which is highly consubstantialem Patri; of one substance with the Father, but he was fond of Princess Leopoldina and doubtless effective. per quem omnia facta sunt. by whom all things were made. took a close personal and professional interest in her The Credo is another singularly impressive Qui propter nos homines et propter nostram He who for mankind wedding celebrations. movement with much to commend it. At its heart lies a salutem descendit de cælis, and for our salvation descended from heaven. The composition of the Missa Solemnis seems to sublimely beautiful setting of the Et incarnatus (in the et incarnatus est de Spiritu Sancto, and was incarnate by the Holy Spirit, have caused Hummel a great deal more trouble than the radiant key of A major) which slips seamlessly into the ex Maria virgine et homo factus est. of the Virgin Mary and was made man. Te Deum. It is clear from the autograph that after intense, concentrated Crucifixus,which is remarkable Crucifixus etiam pro nobis sub Pontio Pilato, He was crucified even for us under Pontius Pilate, Hummel completed the work, presumably in March for its unstable chromatic harmonies and nervous, passus et sepultus est, he died and was buried; 1806 as indicated on the score, he revised it at a later but shuddering string figuration. Not unexpectedly, there are et resurrexit tertia die and he rose again on the third day unspecified date. The evidence for this comes not only strong thematic links between the outer sections of the secundum Scripturas, according to the Scriptures, in the form of numerous cancellations and re-workings Credo although little in the way of bald, literal et ascendit in cælum: and ascended into heaven: in the main body of the score, but also in the presence of repetition. Hummel again eschews formal counterpoint sedet ad dexteram Patris. and is seated at the right hand of the Father. interleaved pages in the hand of a copyist. The auxiliary but the choral writing is varied and animated Et iterum venturus est cum And again he will come score (the instrumentation was too large for Hummel to nonetheless. He also uses the voices in pairs which lends gloria iudicare vivos et mortuos; with glory to judge the living and the dead, write a complete system on a single page) largely a new element of variety to the musical texture. cuius regni non erit finis. whose kingdom will have no end. escaped this process of revision and thus preserves the Unusually, the Sanctus-Benedictus is the longest Et in Spiritum Sanctum, And I believe in the Holy Spirit, original form of the bassoon, trumpet and timpani parts. movement in the entire Mass, owing, one assumes, to Dominum et vivificantem, the Lord and giver of life, The Missa Solemnis is a worthy successor to the late the occasion for which the work was composed. It also qui ex Patre Filioque procedit, who proceeds from the Father and the Son, Haydn Masses. Its brilliant orchestration, inventive and presents an interesting performance problem in that the qui cum Patre et Filio simul who with the Father and the Son flexible choral writing and technical resourcefulness are autograph calls for vocal soloists in the twenty-bar adoratur et conglorificatur, is likewise worshipped and glorified. the work of an experienced and gifted composer. While Sanctus (with a brief flourish in the Osanna) but not in qui locutus est per Prophetas. who has spoken through the Prophets. the work obviously owes much to the example of the late the Benedictus. This is a wasteful use of musical Et unam, sanctam, catholicam, And I believe in one, holy, catholic, Haydn Masses it is no pale, bloodless imitation. The resources by any stretch of the imagination and it seems et apostolicam Ecclesiam. and apostolic church. Kyrie is a deeply satisfying movement. The Grave highly likely that the soloists were also intended to sing opening is at once highly dramatic and yet firmly rooted the Benedictus, the vocal writing of which is in many 8.557572 10 3 8.557572 557572 bk Hummel US 2/04/2004 02:12pm Page 4

respects quite different in character to that found in the 1800 for the precedent of an Esterházy musician usque in aeternum. for ever. remainder of the work. The martial opening of the responding to an external commission for a work of this Per singulos dies Day by day Benedictus is again reminiscent of Haydn, although its type. benedicimus te. we bless thee. more relaxed continuation is perhaps more appropriate Unlike the problematic autograph score of the Missa Et laudamus nomen tuum in saeculum, And we praise thy name, for ever to a nuptial Mass. Solemnis, which also exists in the form of a score and et in saeculum saeculi. and ever world without end. The Agnus Dei, like the earlier Et incarnatus, appendix, the Te Deum is relatively straightforward. Dignare Domino die isto, Vouchsafe, O Lord, to keep us displays once again Hummel’s ability to write There are occasional corrections, changes in text sine peccato nos custodire. this day without sin. outstandingly beautiful music within the rather severe underlay and, of course, the inevitable minor Miserere nostri, Domine. O Lord, have mercy upon us. restrictions of convention, a gift surely remembered by uncorrected errors which are to be found in any Fiat misericordia tua, Domine, super nos, O Lord, let thy mercy lighten up on us Prince Nicolaus when he encountered Beethoven’s Mass manuscript source. There are, however, a number of quemadmodum speravimus in te. as our trust is in thee. the following year. The Dona nobis is ushered in with a other annotations and deletions which are a good deal In te, Domine, speravi: O Lord, in thee have I trusted, blaze of C major before settling down into an impressive more troublesome and indeed ‘revisions’ which appear non confundar in aeternum. let me never be confounded. double fugue. The Mass ends in an exultant, almost in many respects to be inferior to the original text and savage surge of power that must have thrilled its first wholly lacking in corroborative support in the form of audience and, one hopes, the newly-married Princess instrumental doubling. This recording is based where Missa Solemnis in C major Missa Solemnis in C major Leopoldina. possible on the original readings. The autograph score of the Te Deum is dated 1st Unlike Haydn’s Te Deum which sets the text 2 Kyrie 2 Kyrie January 1806. In the inventory of the Esterházy music sequentially with no repetition of earlier material, Kyrie eleison Lord, have mercy library, prepared by Hummel at the Prince’s behest, the Hummel reintroduces short phrases late in the work Christe eleison Christ, have mercy Te Deum is described as having been composed for a (from bar 425) before the text ‘ ... nomen tuum in Kyrie eleison Lord, have mercy Friedensfeyer, or celebration of a Peace Treaty. The saeculum, et in saeculum saeculi’. This marks a rather most likely candidate for this is the Treaty of Pressburg, interesting departure from the usual practice in Viennese 3 Gloria 3 Gloria signed on 26th December 1805, which marked the end church music, although one not without precedent, and Gloria in excelsis Deo Glory be to God on high, of the war between the Austro-Russian Alliance and in a small way it anticipates Beethoven’s surprise et in terra pax hominibus and on earth peace France following Napoleon’s brilliant victory at reintroduction of ‘Gloria in excelsis Deo’ after the bonae voluntatis. to men of good will. Austerlitz on 2nd December. Given his interest in monumental ‘In gloria Dei Patris’ fugue in the Missa Laudamus te, We praise thee, church music and the magnitude of the event, one can Solemnis. benedicimus te, we bless thee, imagine Nicolaus instructing Hummel to compose a The Te Deum is an immensely attractive work. The adoramus te, we worship thee, grand Te Deum to mark the occasion. John Eric Floreen, orchestration blazes with bright primary colours and the glorificamus te, we glorify thee, however, the leading authority on Hummel’s church choral writing is fluid and attractive. Although relatively gratias agimus tibi propter we give thanks to thee for music, questions whether the work was ever performed short in duration, the Te Deum contains moments of magnam gloriam tuam, thy great glory, in Eisenstadt. Not only is there no mention of the work great emotional gravity as well as pure transcendent joy. Domine Deus, Rex Cælestis, O Lord God, heavenly King, in the diary of Joseph Rosenbaum, a close friend of If indeed Hummel did compose the work to celebrate the Deus Pater omnipotens. God the Father Almighty. Haydn and a valuable primary source of information Peace of Pressburg, one might argue that the Alliance’s Domine Fili unigenite, O Lord, the only-begotten Son from this period, but more significantly there is no defeat at Austerlitz received a far greater musical Jesu Christe; Jesus Christ; record of a set of parts for the work in the Esterházy memorial than did Wellington’s victory at the Battle of Domine Deus, Agnus Dei, O Lord God, Lamb of God, archives. This lack of evidence is not in itself conclusive Vittoria a few years later. Filius Patris, Son of the Father, but it does raise questions as to whether Hummel qui tollis peccata mundi, that takest away the sins of the world, actually composed the work for the Prince. After all, one miserere nobis. have mercy upon us. need only look as far as Haydn’s great Te Deum of 1799- Allan Badley Qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostrum. receive our prayer. Qui sedes as dexteram Patris Thou that sittest at the right hand

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1 Te Deum 1 Te Deum Patricia Wright Te Deum laudamus, We praise thee, O God, te Dominum confitemur. We acknowledge thee to be the Lord. Patricia Wright began her vocal training in New Zealand with Dame Sister Mary Leo. A Queen Elizabeth II Arts te aeternum Patrem All the earth doth worship thee, Council Grant then enabled her to further her studies in Australia with Dame Joan Hammond, and in London. While omnis terra veneratur. the Father everlasting, in the United Kingdom she won second prize in the Benson & Hedges Gold Award for Singers, and represented Tibi omnes Angeli, To thee all Angels cry aloud, New Zealand in the Cardiff Singer of the World competition. Her critically acclaimed performances in lieder and tibi Coeli et universae Potestates. the Heavens, and all the Powers therein. oratorio led her to every major concert hall in Britain. She has made numerous BBC Radio 3 recordings. She has Tibi Cherubim et Seraphim, To thee Cherubim and Seraphim performed regularly with major orchestras, opera companies, festivals and choral societies in New Zealand, incessabili voce proclamant: continually do cry, Australia, Britain and Ireland, in a repertoire ranging from Bach to Richard Strauss, both in the concert hall and in Sanctus, sanctus, sanctus Holy, holy, holy leading operatic rôles. She boasts an equally varied series of recordings. Dominus, Deus Sabaoth. Lord, God of hosts. Pleni sunt coeli et terra Heaven and earth are full majestatis gloriae tuae. of the majesty of thy glory. Zan McKendree-Wright Te gloriosus Apostolorum chorus, The glorious company of the Apostles, te Prophetarum laudabilis numerus. the goodly fellowship of the Prophets Mezzo-soprano Zan McKendree-Wright has performed extensively to critical acclaim, both here in NZ and abroad. te Martyrum candidatus laudat exercitus. the noble army of Martyrs praise thee. Her Australian oratorio soloist credits include Bach’s Magnificat and Easter Oratorio, Vivaldi’s Magnificat, Te per orbem terrarum The holy Church throughout all the world Verdi’s Requiem, and Handel’s Messiah. Her opera performances include Ottone in Handel’s Agrippina, the title sancta confitetur Ecclesia, doth acknowledge thee, role in Britten’s The Rape of Lucretia, and Judith in Bartók’s Bluebeard’s Castle. In 2000, Zan was a Resident Patrem immensae majestatis; the Father of an infinite majesty; Artist with Dicapo Opera in NYC where, among other roles, she sang Bianca in Britten’s The Rape of Lucretia. Zan venerandum tuum verum thine honourable, true, McKendree-Wright is now based in Auckland and her performances in New Zealand include Verdi’s Requiem with et unicum Filium; and only Son; the NZSO, concert performances with the Auckland Philharmonia and Christchurch Symphony orchestras, the roles Sanctum quoque Paraclitum Spiritum. also the Holy Ghost, the Comforter. of Orfeo in Gluck’s Orfeo et Euridice, Sesto in Mozart’s La Clemenza di Tito for the Auckland Chamber Orchestra, Tu Rex gloriae, Christe. Thou art the King of Glory, O Christ. and Marcellina in The Marriage of Figaro for NBRNZ Opera. Zan recently performed the title role of Carmen for Tu Patris sempiternus es Filius. Thou art the everlasting Son of the Father. Wanganui Opera, had a recital at Sydney’s Government House, and was a soloist in Beethoven’s Symphony No. 9 Tu ad liberandum When thou took'st upon thee for the Auckland Philharmonia Engagements in 2004 include Handel’s Messiah for the Auckland Choral Society, suscepturus hominem, to deliver man, Dorabella in Così fan tutte for NBRNZ Opera, and the roles of Flosshilde in Das Rheingold and Götterdämmerung, non horruisti Virginis uterum. thou didst not abhor the Virgin's womb. and Schwertleite in Die Walküre for State Opera of South Australia’s production of Wagner’s Ring Cycle. Tu devicto mortis aculeo, When thou hadst overcome the sharpness of death, aperuisti credentibus regna. thou didst open the Kingdom of Heav'n to all believers. Patrick Power Tu ad dexteram Dei sedes, Thou sittest at the right hand of God, in gloria Patris. in the glory of the Father. Patrick Power is one of the most distinguished singers New Zealand has produced. After intensive University study Judex crederis We believe that thou shalt come in New Zealand and Italy, he began his international career as a Principal Lyric Tenor with the Norwegian Opera in esse venturus. to be our judge. Oslo. Full-time engagements followed in Krefeld and Munich. His début at Glyndebourne Opera Festival was in Te ergo quaesumus, We therefore pray thee, 1979, followed by his début as The Simpleton in Tarkovsky and Abbado’s Boris Godunov at the Royal Opera famulis tuis subveni, help thy servants, House Covent Garden in 1981. His freelance career has seen him sing over sixty rôles with major opera houses quos pretioso sanguine redemisti. whom thou hast redeemed with thy precious blood. across Europe and North America. He has moved into spinto repertoire in recent years. He has sung an extensive Aeterna fac cum Sanctis tuis Make them to be number'd with thy Saints, repertoire of concert works which he has performed with many of the great orchestras of the world under the most in gloria numerari. in glory everlasting. distinguished conductors. He has recorded works for Decca, CBS Masterworks, Phillips, EMI and now Naxos. In Salvum fac populum tuum, Domine, O Lord, save thy people, 2003 he was made an Officer of the New Zealand Order of Merit in the Queen’s Birthday Honours list for his et benedic hereditati tuae. and bless thine heritage. services to Opera both in New Zealand and internationally. It has been a particular pleasure to record this Hummel Et rege eos, et extolle illos Govern them, and lift them up Mass with the New Zealand Symphony Orchestra with which (as the NZBC Symphony) he sang his first professional engagement in 1974. 8.557572 8 5 8.557572 557572 bk Hummel US 2/04/2004 02:12pm Page 6

David Griffiths New Zealand Symphony Orchestra

David Griffiths was born in Auckland and educated at Auckland University, where he graduated M.Mus with First The New Zealand Symphony Orchestra is the country’s national orchestra and enjoys a lively profile both inside Class Honours in 1973. He travelled to England and studied singing with Otakar Kraus and David Pollard, during and outside New Zealand. International quality concerts performed by major artists to well-filled halls are testament this time singing with the BBC Singers and appearing as a soloist with many choral societies. On his return to New to the orchestra’s developing reputation, with programmes of traditional and contemporary repertoire. The New Zealand he won the New Zealand Herald Aria and the 1983 Mobil Song Quest. Since then he has built a reputation Zealand Symphony Orchestra gave its first public performance in March 1947 and its first (and current) Music as one of New Zealand’s leading recitalists and opera and oratorio soloists. He has sung with all the major choral Director was appointed in 1999. The orchestra plays more than a hundred performances each year; these include societies in New Zealand and has undertaken several leading rôles with Opera Otago, including those of Zurga in seasons of major symphonic repertoire in seven centres and also a wide range of special programmes. The orchestra Bizet’s The Pearl Fishers, Dr Malatesta in Don Pasquale and Dr Falke in Die Fledermaus. He has performed in is involved in education projects, performs family and schools concerts, accompanies opera and ballet productions several of the Wellington International Arts Festivals to much critical acclaim. Since his return to Auckland he has and records for television, films (including The Lord of the Rings: The Fellowship of the Ring) and radio. It made a number of appearances with Opera New Zealand, in addition to concert engagements in New Zealand and commissions and performs New Zealand music and has a long recording history, which has seen it move into the a concert tour of Germany. He took the title-rôle in the première of John Rimmer’s opera Galileo. He is Lecturer in world market and win international awards. The orchestra also administers the New Zealand Symphony Orchestra Voice at Waikato University and an International Artist for Radio New Zealand Concert FM. Chamber Orchestra, which has its own series, and the New Zealand Symphony Orchestra National Youth Orchestra. Highlights of the orchestra’s tours outside New Zealand are the much-celebrated visit to Seville to perform at the 1992 Expo with Dame Kiri Te Kanawa under the baton of Conductor Laureate Franz-Paul Decker. More recently TOWER Voices New Zealand there have been the performances at the Summer Sydney Olympic Arts Festival in 2000, the televised Millennium Concert with Kiri Te Kanawa at Gisborne, which was screened world-wide, and recent recordings such as the high- TOWER Voices New Zealand was formed in 1998 as a nationally selected chamber choir of the highest calibre. flying Lilburn Three Symphonies (Naxos 8.555862). The orchestra continues to collaborate with conductors and Adding to the well-established reputation and base of the TOWER New Zealand Youth Choir, TOWER Voices New soloists of the highest international distinction. Zealand provides a senior choir, flexible in size, and capable of performing a wide repertoire. The choir made its début at the 1998 New Zealand Festival in a recital with the New Zealand Chamber Orchestra and Keith Lewis and then later in the year won gold and silver awards at the Tolosa International Choral Competition in the Basque region Uwe Grodd of Spain. In March 1999 there were performances of Fauré’s Requiem and Poulenc’s Gloria with the New Zealand Symphony Orchestra, and in 2000 the choir appeared at the New Zealand Festival in a solo recital and with the New The flautist and conductor Uwe Grodd has performed and recorded internationally since 1978 Zealand Symphony Orchestra in Gluck’s Orphée et Eurydice. Participation in the International Chamber Music and is based in New Zealand. In his native Germany he studied the flute with Werner Peschke Festival led to collaboration with the prestigious Aradia Ensemble from Canada, resulting in the completion of a and conducting with Manfred Schreier. After graduating from Mainz University the major world première recording of Mass settings by Vanhal for Naxos. In 2001 the choir was resident at the International influences on his career came from the guidance of two of Europe’s finest musicians, Sergiu Summer School for Conductors in Auckland and then represented New Zealand at the first Asia South Pacific Celibidache and the flautist/composer Robert Aitken. Success in international master classes and Symposium on Choral Music in Singapore, undertaking workshops and master-classes, and giving the closing competitions, including those in Lugano and Zlin, was followed by a prestigious scholarship for concert. Successful concerts and collaborations have continued, with appearances in Auckland, Hamilton and Napier further studies at the Banff Centre, Canada. Uwe Grodd has performed as soloist with most and other musical centres. The Musical Director, Karen Grylls, is a graduate of both Otago and Auckland orchestras in New Zealand and toured extensively around the country with several chamber universities, with post-graduate studies at the University of Washington. After four years’ study in the USA, she music ensembles as well as throughout North America and Europe. He is currently Associate returned to New Zealand to a position with the School of Music at the University of Auckland. She is much in Professor of Flute and Conducting at the University of Auckland School of Music, and has been demand as a choral director and as a clinician, and has several CD recordings to her credit. Her reputation for Conductor and Musical Director of the Auckland University Orchestra since 1989. He has been Artistic Director of excellence and innovation in choral work is well known in New Zealand. the International Chamber Music Festival of New Zealand since 1998, and, since 1993, Musical Director of the Manukau City Symphony Orchestra. He is the founder and Artistic Director of Flute Fest New Zealand. In 2003 he conducted the opening gala concert of the Halle Handel Festival, followed by a successful run of the newly rediscovered Handel opera Imeneo. Uwe Grodd records for Naxos and in 2000 won the ‘Best 18th Century Orchestral Recording’ category at the prestigious Cannes Classical Awards for his compact disc recording of symphonies by J.B.Vanhal (Naxos 8.554341) with the Nicolaus Esterhazy Sinfonia. This was followed up by a recording of the symphonies of Ignaz Pleyel (Naxos 8.554696) with the Capella Istropolitana, one of three finalists for the category of ‘Best 18th and 19th Century Recording’. Other Naxos recordings by Uwe Grodd include symphonies by Cannabich and Dittersdorf, and, as a flautist, of flute sonatas by Kuhlau. 8.557572 6 7 8.557572 557572 bk Hummel US 2/04/2004 02:12pm Page 6

David Griffiths New Zealand Symphony Orchestra

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DDD The orchestral parts and scores of thefollowing works are available from: 8.557572 ARTARIA EDITIONS LTD PO Box 9836 Te Aro Wellington NEW ZEALAND Johann Nepomuk http://www.artaria.com

Sources HUMMEL The works on this disc, published by Artaria Editions, have been edited by Allan Badley. The sources upon which the editions used in this recording have been made are:

Patricia Wright Zan McKendree-Wright Patrick Power David Griffiths

TOWER Voices New Zealand New Zealand Symphony Orchestra Uwe Grodd 8.557572 12 557572 rr Hummel US 2/04/2004 02:13pm Page 1

CMYK N AXOS Hummel’s small but important corpus of sacred works belongs to a period of unparalleled richness in the history of church music. Between 1796 and 1808 first Haydn, then Hummel and Beethoven composed an extraordinary series of Masses for Prince 8.557572 Nicolaus II Esterházy. Hummel’s Missa Solemnis in C, recorded here for the first time, is DDD a worthy successor to the late Haydn Masses but no pale, bloodless imitation. Its brilliant orchestration, inventive and flexible choral writing and technical resourcefulness are the 8.557572

work of an experienced and gifted composer. Completed a few months earlier, the HUMMEL: exuberant Te Deum recalls all the brilliance and verve of Haydn’s great Te Deum of 1799. Playing Time 56:59 Johann Nepomuk HUMMEL (1778-1837) Missa Solemnis • Te Deum

1 Te Deum 12:01 Missa Solemnis in C major 44:58 2 Kyrie 6:42

3 Gloria 7:32 www.naxos.com Made in Canada Includes sung texts and translations Booklet notes in English h

4 Credo 10:03 & g

Missa Solemnis • Te Deum Te Missa Solemnis • 5 Sanctus* 4:07 2004 Naxos Rights International Ltd. 6 Benedictus 8:15 7 Agnus Dei 8:20 Patricia Wright, Soprano • Zan McKendree-Wright, Alto Patrick Power, Tenor • David Griffiths, Bass HUMMEL: Donald Armstrong, Violin* • TOWER Voices New Zealand New Zealand Symphony Orchestra • Uwe Grodd 8.557572 Recorded at the Michael Fowler Centre, Wellington, New Zealand, 3rd to 5th February 2003 Producer and Engineer: Tim Handley • Publisher: Artaria Editions • Booklet Notes: Allan Badley Cover Picture: Christ the Saviour of the world, 18th century Mexican by an unknown artist

AXOS (The Art Archive / Queretaro Museum, Mexico / Dagli Orti) N