Britten The Choral Edition

The Finzi Singers Paul Spicer © Brian Seed / Lebrecht Music & Arts Photo Library

Benjamin Britten, at the seashore, Aldeburgh, June 1964 Benjamin Britten (1913 – 1976)

The Choral Edition

COMPACT DISC ONE

1 Hymn to St Peter, Op. 56a* 5:57 Julie Cooper soprano

2 A Hymn of St Columba* 2:04

3 A Hymn to the Virgin 2:43 Julie Cooper soprano Stephen Carter alto Mark Milhofer tenor Matthew Brook bass

3 Hymn to St Cecilia, Op. 27 10:34 Carys Lane soprano Belinda Yates soprano Kathryn Cook alto Andrew Carwood tenor Matthew Brook bass 4 I ‘In a garden shady this holy lady’ – 2:44 5 II ‘I cannot grow’ – 2:06 6 III ‘O ear whose creatures cannot wish to fall’ 5:44

Rejoice in the Lamb, Op. 30* 17:02 Carys Lane soprano Richard Wyn Roberts alto James Gilchrist tenor Simon Preece bass 7 ‘Rejoice in God, O ye Tongues’ – 1:29 8 ‘Let Nimrod, the mighty hunter’ – 1:19 9 ‘Hallelujah from the heart of God’ – 1:04 10 ‘For I will consider my Cat Jeoffry’ – 2:20 11 ‘For the Mouse is a creature of great personal valour’ – 0:58 12 ‘For the flowers are great blessings’ – 2:05 13 ‘For I am under the same accusation with my Saviour’ – 2:49 14 ‘For H is a spirit and therefore he is God’ – 1:07 15 ‘For the instruments are by their rhimes’ – 2:29 16 ‘Hallelujah from the heart of God’ 1:18

4 Choral Dances from ‘Gloriana’ 9:32 17 1 Time 1:26 18 2 Concord 2:17 19 3 Time and Concord 1:26 20 4 Country Girls – 0:58 21 5 Rustics and Fishermen – 1:00 22 6 Final Dance of Homage 2:16

A.M.D.G. 18:33 23 1 Prayer I 2:17 24 2 Rosa Mystica 4:44 25 3 God’s Grandeur 3:30 26 4 Prayer II 2:36 27 5 O Deus, ego amo Te 1:34 28 6 The Soldier 2:09 29 7 Heaven-Haven 1:26 TT 67:10

5 COMPACT DISC TWO

1 Jubilate Deo* 2:40 in E flat major • in Es-Dur • en mi bémol majeur

2 Te Deum* 8:37 in C major • in C-Dur • en ut majeur Carys Lane soprano

3 Antiphon, Op. 56b* 6:05 Olive Simpson soprano Rachel Wheatley soprano Rachel Elliot soprano

Missa brevis, Op. 63* 10:20 4 I Kyrie – 1:58 5 II Gloria – 2:40 Robert Burt intonation Rachel Wheatley soprano Carys Lane soprano Lindsay Wagstaff soprano 6 III Sanctus – 1:35 7 IV Benedictus – 1:56 Carys Lane soprano Lindsay Wagstaff soprano 8 V Agnus Dei 2:09

6 9 A Wedding Anthem, Op. 46* 9:45 Carys Lane soprano Mark Milhofer tenor

10 Sweet Was the Song the Virgin Sung 3:00 Susanna Spicer alto

A Ceremony of Carols, Op. 28† 21:47 11 1 Procession – 1:29 12 2 Wolcum Yole! – 1:22 13 3 There is no Rose – 2:26 14 4a That yongë child – 1:41 Olive Simpson soprano 15 4b Balulalow – 1:15 Carys Lane soprano 16 5 As dew in Aprille – 0:55 17 6 This little Babe – 1:25 18 7 Interlude – 3:51 19 8 In Freezing Winter Night – 3:30 Carys Lane soprano Kathryn Cook alto 20 9 Spring Carol – 1:07 Rachel Wheatley soprano Rachel Elliot soprano 21 10 Deo Gracias – 1:10 22 11 Recession 1:32

7 23 Festival Te Deum, Op. 32* 6:36 Lindsay Wagstaff soprano

24 Jubilate Deo* 2:33 in C major • in C-Dur • en ut majeur TT 72:04

COMPACT DISC THREE

Five Flower Songs, Op. 47 11:16 1 1 To Daffodils 2:10 2 2 The Succession of the Four Sweet Months 1:47 3 3 Marsh Flowers 2:19 4 4 The Evening Primrose 2:39 5 5 Ballad of Green Broom 2:02

6 Advance Democracy 2:53

Sacred and Profane, Op. 91 15:45 7 1 St Godric’s Hymn 1:34 8 2 I mon waxe wod 0:43 9 3 Lenten is come 2:11 10 4 The long night 1:21 11 5 Yif ic of luve can 2:59

8 12 6 Carol 1:20 13 7 Ye that pasen by 2:12 14 8 A death 2:54

A Boy Was Born, Op. 3‡ 31:16 Jonathan Cannock treble Semi-chorus: Helen Groves • Mhairi Lawson soprano Kathryn Cook • Elinor Carter alto James Gilchrist • Andrew Carwood tenor Michael McCarthy • Charles Gibbs bass 15 Theme. A Boy Was Born – 2:04 16 Variation I. Lullay, Jesu – 4:38 17 Variation II. Herod – 2:15 18 Variation III. Jesu, As Thou Art Our Saviour – 2:56 19 Variation IV. The Three Kings 4:13 20 Variation V. In the Bleak Mid-winter – 5:29 21 Variation VI (Finale). Noel! 9:37 TT 61:42

Susan Drake harp† Andrew Lumsden organ* Lichfield Cathedral Choristers‡ The Finzi Singers Paul Spicer

9 The Finzi Singers Paul Spicer director

COMPACT DISC ONE COMPACT DISC TWO COMPACT DISC THREE soprano soprano soprano Belinda Yates Rachel Wheatley Olive Simpson Emma Brain-Gabbot Rachel Elliot Helen Groves Carys Lane Olive Simpson Joanne Lunn Lindsay Wagstaff Carys Lane Mhairi Lawson Julie Cooper Lindsay Wagstaff Lindsay Wagstaff alto alto alto Richard Wyn Roberts Susanna Spicer Kathryn Cook Kathryn Cook Richard Wyn Roberts Richard Wyn Roberts Stephen Carter Kathryn Cook Elinor Carter Caroline Stormer Stephen Carter Stephen Carter tenor tenor tenor Mark Milhofer Mark Milhofer Andrew Carwood James Gilchrist Steven Harrold Steven Harrold Andrew Carwood Robert Burt Nicholas Hurndall Smith Nicholas Hurndall Smith Vernon Kirk James Gilchrist bass bass bass Robert Hollingworth Robert Hollingworth Matthew Brook Simon Preece Simon Preece Simon Preece John Bernays John Bernays Robert Hollingworth Charles Gibbs Charles Gibbs Michael McCarthy Matthew Brook Stephen McCarthy Charles Gibbs

10 Lichfield Cathedral Choristers Andrew Lumsden director

Andrew James (head chorister) Samuel Frankland (deputy head chorister) Edward Bass Jonathan Cannock Matthew Cannock Russell de Chernatony Frederick Fisher Anthony Wiles Benjamin Beavan Adrian Kindred Timothy Emberson Alexander Robinson David Shipley Andrew Tipple Thomas Woltynski Henry Saklatvala

11 Britten: Choral Works

COMPACT DISC ONE A Hymn of St Columba A Hymn of St Columba (Regis regum rectissimi), Hymn to St Peter for chorus and organ, was composed in The Hymn to St Peter, Op. 56a was composed December 1962 and first performed the in 1955 to mark the quincentenary of the following year by The Ulster Singers, conducted Church of St Peter Mancroft, Norwich, where it by Havelock Nelson, to mark the 1400th received its first performance on 20 November anniversary of Columba’s missionary voyage under the direction of the church’s master of from Ireland to Iona. The setting by Britten music, C.J.R. Coleman, who had conducted the of the saint’s words demonstrates how premiere of A Hymn to the Virgin, at Lowestoft, even in a minor composition – the Hymn lies, twenty-four years earlier. chronologically, between two major works, The words are taken from the Gradual of War Requiem and the Cello Symphony – the the Feast of St Peter and St Paul; the music is composer could respond with immense largely based on the plainsong ‘Tu es Petrus’, sensitivity and consummate craftsmanship. the Alleluia and Verse for the Common of Holy Popes. An organ introduction states the first A Hymn to the Virgin two lines of the plainsong, the second of which Britten wrote A Hymn to the Virgin on 9 July is then compressed into an ostinato pattern to 1930 during his final term at Gresham’s School, accompany the broad, pentatonic shape of the Holt, while the sixteen-year-old composer was hymn (‘Thou shalt make them Princes over all convalescing in the school sanatorium. It was the earth’). A miniature scherzo (‘Instead of thy premiered as the first of ‘Two Choral Songs’ at fathers’), with canonic choral entries, provides a concert in St John’s Church, Lowestoft, given a moment of contrast before the reprise of by the Lowestoft Musical Society, conducted the hymn. The return of the home tonality of by C.J.R. Coleman. The anonymous fourteenth- B flat is marked by the intoning of the plainsong century text in praise of the Virgin is set with by a treble soloist, with homophonic choral great simplicity and freshness for two contrasted responses translating the Latin text. groups of voices, one large, the other small.

12 Hymn to St Cecilia the powerful serenity of Auden’s words. The In 1935 Britten first considered the possibility section’s overlapping phrases yield material of a work inspired by the patron saint of music. for the simple refrain, which is presented His diary for 19 January reads, ‘I’m having great in unison at its first hearing but made difficulty in finding Latin words for a proposed progressively richer in harmonic texture at “Hymn to St. Cecilia”. Spend morning hunting’, its two subsequent appearances. A delicate and on 25 January, ‘I have the scheme but E major scherzo (‘I cannot grow’) embraces no notes yet for my St. Cecilia Hymn’. This a dual sense of time by combining fast particular ‘scheme’ was abandoned until the reiterations with a canto fermo-like element. later collaboration with the poet W.H. Auden The final stanza, with its touching, Lydian- produced an appropriate text. inflected soprano solo (‘O dear white children’) Although Auden and Britten first discussed reflecting Auden’s imagery of lost innocence, the work in 1940, composition was not begun culminates in a sequence of vocal cadenzas, until June 1941, when a first performance was in which instrumental sonorities are imitated contemplated by the Elizabethan Singers (in (violin, timpani, flute, trumpet) before a final which Peter Pears was the tenor), to take place rendition of the refrain settles on a heavenly in New York some time towards the end of E major. that year. But Britten was unable to complete the work in time, and when he left the United Rejoice in the Lamb States in March 1942 only the first two stanzas In March 1943 Walter Hussey, the enlightened were ready. The sublime Hymn to St Cecilia, vicar of St Matthew’s, Northampton, Op. 27 was eventually brought to completion approached Britten with a request to compose during his return passage to the UK, on 2 April. ‘some music for our Jubilee celebrations next The first performance, a radio broadcast, was September’, and concluded his letter with given by the BBC Singers conducted by Leslie something of an apology for what he believed Woodgate on St Cecilia’s Day 1942, 22 November to be his impertinence: (also Britten’s twenty-ninth birthday), as part of I hope you will forgive me and put it down to the ‘Music-Lover’s Calendar’. enthusiasm for a great ‘bee’ of mine – closer The refreshing diatonicism of the opening association between the arts and the Church. section of the Hymn to St Cecilia (C and Hussey could not have found a more willing E major) shows how acutely Britten was able collaborator, for when Britten replied, he too to locate a precise musical image to match declared an interest in bringing the arts and the

13 Church into closer contact. Britten chose as his until February 1953 – because of indecisions text extracts from Christopher Smart’s Jubilate and uncertainties at Covent Garden, where Agno, a rambling poem of the mid-eighteenth The Royal Ballet wished for a much longer century, composed largely in a madhouse. scene in which to make its contribution at the The poem had only been published in 1939, gala premiere. Britten, however, insisted on under the title Rejoice in the Lamb, when Auden retaining his original structure for this scene, brought it to Britten’s attention. in which six brief tableaux are introduced by The cantata, Rejoice in the Lamb, Op. 30, the Spirit of the Masque. These introductions shows the influence of Purcell on Britten, are usually omitted when the Choral Dances whose enthusiasm for his great forebear was are performed independently of the opera. fuelled in the 1940s by making realisations of The first dance, ‘Time’, is a lively C major songs for recitals with Pears and by becoming madrigal-inspired creation characterised familiar with some of the great verse anthems by syncopations and hemiolas, with a more in performances directed by Michael Tippett harmonically adventurous contrasting section at Morley College. Indeed, by its division into in baroque dotted rhythms. ‘Concord’ follows, ten sections, with solos and choruses, and its in which Britten encapsulates the Queen’s acute response to Smart’s ‘mad’ visions, with calm by a total lack of harmonic discord. ‘Time the organ brilliantly characterising the cat and and Concord’ is a graceful canon between mouse of the treble and alto solos, Rejoice the female and male voices. The fourth in the Lamb is a kind of twentieth-century dance, ‘Country Girls’, begins antiphonally response to the seventeenth-century verse with a leaping soprano line in opposition to anthem. an earth-bound alto part, before the ideas are combined. ‘Rustics and Fishermen’ is a Choral Dances from ‘Gloriana’ breathless scherzo for divided male chorus. The set of six ‘choral dances’ is taken from The sixth dance, ‘Final Dance of Homage’, Act II, Scene 1 of Britten’s coronation opera, returns to the C major of ‘Time’, the canonic the scene in which Elizabeth I is shown on a entries evolving a texture of great richness. royal progress to Norwich, the loyal citizens of which present a choreographed masque in the A.M.D.G. Queen’s honour. This was in fact the last scene A.M.D.G. (1939), seven unaccompanied of the opera to be written – composition of settings of poems by Gerard Manley Hopkins, Gloriana occupied Britten from September 1952 was among the first compositions Britten

14 wrote after his arrival in the United States in had made a quite different, though equally 1939. The work was intended for a professional dramatic, setting for chorus and orchestra. vocal group, of which Pears was a member, © Philip Reed to perform in London in November 1939. But the outbreak of war prevented Pears from returning to the UK, and A.M.D.G. remained unperformed. It was withdrawn by the COMPACT DISC TWO composer, and its opus number (17) allocated to Paul Bunyan. The first performance was Sweet Was the Song the Virgin Sung given by the London Sinfonietta Voices in the In his diary entry for 12 January 1931, Britten Purcell Room, London, on 21 August 1984. recorded the composition of a small carol, The work’s title is an abbreviation for for women’s voices, Sweet Was the Song Ad majorem Dei gloriam (To the greater glory the Virgin Sung. The inspiration for this piece of God), a motto that occurs throughout the (written during Britten’s second term at the writings of Ignatius de Loyola (1491 – 1556), Royal College of Music) was an anthology the founder of the Jesuit order of which of Christmas carols given to him by his Hopkins was a member. Britten’s response to elder sister, Barbara, in November 1930, Hopkins’s evocative, often sensual, religious which provided most of the texts for a five- verse recalls and develops the virtuoso movement Christmas Suite, Thy King’s Birthday. choral-writing first explored in A Boy Was The Suite was never heard in its entirety during Born (1933). While ‘Prayer II’ and ‘Heaven- Britten’s lifetime, but ‘Sweet Was the Song’ was Haven’ are essentially simple conceptions, revised for performance at the 1966 Aldeburgh many of the other settings reveal Britten’s Festival. continuing predilection for instrumentally inspired textures and genres: for example, A Ceremony of Carols the brassy D major march of ‘The Soldier’, and Although one of the last projected works by the waltz of ‘Rosa Mystica’. ‘God’s Grandeur’ Britten was a substantial Christmas sequence, is perhaps the most ambitious of the set and his fascination with the theme of Christmas is makes enormous demands on the singers. most evident in works from early 1930s: both It was, in fact, Britten’s second attempt at A Hymn to the Virgin and I Saw Three Ships (the setting this Hopkins poem: in 1938, in the BBC latter revised in 1967 as The Sycamore Tree) radio ‘oratorio’ The World of the Spirit, Britten were composed in the summer of 1930,

15 Thy King’s Birthday a year later and A Boy Was framing device some twenty years later in the Born in 1932 – 33. In all of these works Britten’s Church Parables. Britten had been introduced early affinity with choral music, and in particular to the singing of plainsong at Gresham’s: its with music for the church, is clear. Britten’s lasting impression can be heard in many of his upbringing – contact with St John’s Church compositions. Unlike the tautly constructed at Lowestoft and singing in the Chapel Choir church operas, here the derivation of motivic at Gresham’s School – would have ensured material from the chant is confined to the harp a knowledge of, if not an affection for, the interlude alone. standard repertoire. It is perhaps no coincidence, then, that on his return journey from the United Te Deum States in 1942, at a time when he was keenly The instrumental music of the early 1930s conscious of returning to his ‘roots’, Britten shows Britten as an earnest young composer, should have been attracted once again to the eager to absorb influences from the Continent idea of a Christmas choral work. The mediaeval (note, for instance, the echoes of Schoenberg and early English texts for A Ceremony of and of the Second Viennese School in the Carols, Op. 28 were selected largely from a Sinfonietta, Quartettino, and Elegy for solo viola). poetry anthology purchased by the composer In contrast, his music for the church, although in Halifax, Nova Scotia, and a substantial part sounding a distinctive voice, clearly grows from of the music was composed while he was the tradition of English church choral music so aboard the MS Axel Johnson. Britten’s choice of familiar to Britten. It is a group of works which in harp as accompaniment to the boys’ choir – an many senses stands apart from the rest of the unusual decision for a work often performed composer’s œuvre, almost entirely lacking the in a church – may well have been influenced tensions of the dramatic or instrumental music. by the recent commission for a harp concerto. Here Britten appears stylistically at ease, though The instrument is treated with characteristic never platitudinous, sanctimonious, or routine. sensitivity to timbre: one example is the minute Britten’s first canticle setting, the Te Deum distinction between D flat and C sharp at the in C major for choir and organ, was written in opening of ‘That yongë child’ in an uncanny July 1934 for Maurice Vinden and the Choir of imitation of the text’s ‘hoarse’ nightingale. St Mark’s, North Audley Street, London. The processional and recessional plainsong was added after the composer’s return to Jubilate Deo in E flat major England, anticipating the use of plainsong as a Three weeks later Britten composed (for the

16 same choir) a companion setting of Jubilate forthcoming retirement, rapidly composed Deo, in E flat major, although the latter was the Missa brevis in D, Op. 63. The work, withdrawn and not published until after the remarkably concise in scope, exploits to the composer’s death. Both works, as much at full the incisive timbre of the treble voices in home in the parish church as in the cathedral, music brimming with rhythmic vitality. Britten build on the choral foundations of Stanford succeeds in creating a variety of effects – and Ireland as opposed to the more grandiose from the joyous bell-like affirmation of the settings of, say, Howells. ‘Sanctus’ to the innocent organum of the ‘Benedictus’ – but reserves a darker note for Festival Te Deum the ‘Agnus Dei’, with its disturbingly bleak A decade after his first Te Deum setting, Britten plea for peace. was commissioned to write a piece to mark the centenary of St Mark’s Church, Swindon. Antiphon The Festival Te Deum, Op. 32 is unusual for its Antiphon, Op. 56b, written in 1956 for the use of independent metres in the choir and centenary of St Michael’s, Tenbury, takes its organ accompaniment: an original approach cue from the text by George Herbert. ‘Praised to the text which contrasts markedly with be the God of love / Here above / And here the traditional chordal textures of the earlier below’ is illustrated musically by a jubilant setting (a work memorably described by choir unison and ‘swinging’ organ part, an Constant Lambert as ‘drab and penitential’). ethereal treble solo and the contrasting earthy sound of low triads from the altos, tenors, and Jubilate Deo in C major basses. The musical symbolism (a fragmented In 1961 Britten composed a second Jubilate imitative texture for ‘He our foes in pieces Deo, in C major, at the request of the Duke of brake’ and the closing ‘Who hath made of Edinburgh as a companion to the Te Deum of two folds one’, in which the persistent treble 1934. repetition of ‘one’ – at first answered by the searching ‘two’ of the lower voices – at last Missa brevis finds the correct answer, the tonic chord Britten much admired the hard-edged sound ‘one’) might appear naive in description, but of the Westminster Cathedral choristers in performance, with the spatial separation cultivated by their director, George Malcolm, of the heavenly and the earthly emphasised and, on learning in 1959 of Malcolm’s by the placing of the treble solos in a gallery

17 away from the choir, the result is remarkably ‘Time to arise Democracy’, but also conveys touching. the deeper sense of foreboding which infected other works from this period. A Wedding Anthem A Wedding Anthem, Op. 46, rarely performed A Boy Was Born because of the occasional nature of Ronald At the time he composed his first major choral Duncan’s text, was composed for the marriage work, A Boy Was Born, Op. 3, Britten was a between the Earl of Harewood and Marion Stein student at the Royal College of Music, the staff in September 1949. It is a beautifully crafted of which included John Ireland, Ralph Vaughan piece for soprano and tenor soloists, choir, and Williams, and Herbert Howells, three stalwart organ, in which Britten once more responds members of the English choral establishment. playfully to the symbolism of the text. Yet in many ways the work shows the greater influence of his first teacher, Frank © Judith LeGrove Bridge, who had encouraged him to look beyond his immediate horizon to new music and ideas from the Continent. The first two COMPACT DISC THREE opus numbers which Britten produced, Sinfonietta (Op. 1) and Phantasy (Op. 2), show Advance Democracy a preoccupation with solving formal problems, Advance Democracy, written in November not least by the technique of variation which 1938 at a time of anxiety and continued he had encountered in Schoenberg’s music: political unrest in Europe (the letters Britten the Sinfonietta’s second movement is a set of wrote during this period document his variations, while the Phantasy is crafted as a disillusionment following the failed Munich single, motivically integrated movement. Both Agreement), is a work for eight-part chorus works, then, provided useful experience for to a text by Randall Swingler (1909 – 1967), a the ambitious decision which Britten made to member of the Communist Party and editor structure his first large-scale choral work as a of Left Review. Britten ably illustrates the set of variations. somewhat crude imagery of ‘Across the On 12 November 1932 Britten noted in his darkened city the frosty searchlights creep’ diary: (sharp punctuating chords against an arching Go to Whiteley’s in morning to have hair wordless melody) and the forced jubilation of cut, & then on to St. Martin’s Lane to Chatto

18 & Windus to get a copy of Ancient English Chorus, conducted by Leslie Woodgate. Carols. I am setting some in a work for chorus Critical response, as might be expected when soon, I expect.1 dealing with such an accomplished work from A Boy Was Born, subtitled ‘choral variations a nineteen-year-old, was divided between for men’s, women’s and boys’ voices, admiration and the well-worn criticism that unaccompanied’, takes as its theme an while ‘clever’, the solving of technical problems anonymous sixteenth-century text set in pure, had occupied the composer’s mind to the chorale-like homophony. In the following six exclusion of musical ideas. Grace Williams variations, Britten’s achievement lies as much (1906 – 1977), a composer friend of Britten’s, in the transformation of the theme as in the skill wrote soon after the first broadcast that she with which the eight-part chorus is handled: the had found A Boy Was Born ‘too reactionary’ textures of the choral accompaniment are clearly and ‘too typically English’ in places; yet Britten informed by recent experience with writing for was never again to attempt an unaccompanied instruments. For example, the first variation is choral work in such a radical form. heard against a rocking figure (‘Lullay’) which builds from a pair of voices to all eight, together Five Flower Songs with the boys’ chorus, and the fourth variation If A Boy Was Born was a product of his early plots the texted voices against a wordless, quasi- experimental years, when Britten was most instrumental ostinato. Variation V, ‘In the Bleak open to influences from abroad, the Five Flower Mid-winter’, offers perhaps the most advanced Songs, Op. 47 can be seen as equally firmly response to the text – in this case a combination rooted in the ‘English’ period of his œuvre of Christina Rossetti’s verse and the anonymous which followed his return from the United fifteenth-century Corpus Christi Carol – with the States in 1942. Two works composed before ancient carol declaimed in almost free rhythm and after the Flower Songs aptly demonstrate above the modern text in the lower voices. the inspiration that Britten was drawing A Boy Was Born was first heard on 23 February from his national heritage at the time: Spring 1934 as a broadcast by the BBC Wireless Symphony (1949) is a superb choral celebration of English poetry, and Lachrymae (1950) takes as its theme an ayre by the Elizabethan 1 The quotation from the diaries of Benjamin Britten is composer John Dowland. The Five Flower Songs, © the Trustees of the Britten – Pears Foundation and may not be further reproduced without the written permission composed in spring 1950 as a gift for Dorothy of the Trustees. and Leonard Elmhirst (the owners of Dartington

19 Hall) on the occasion of their twenty-fifth straightforward of the set, but its tonal wedding anniversary, fit comfortably into ambiguities and dramatic pauses are potently the tradition of the English part-song, as memorable. ‘I mon waxe wod’ is notable for the exemplified by the works of C.V. Stanford. The way in which Britten divides its text amongst texts are further settings of poets represented the sections of the choir, a procedure used in Spring Symphony – Robert Herrick and John to still greater effect in the fifth piece, ‘Yif ic Clare – with the addition of ‘Marsh Flowers’ by of luve can’, in which the sopranos’ metrically George Crabbe, the Aldeburgh poet. Contrasts unaligned descant strikes a note of intensity abound within the set: ‘To Daffodils’ is rare even for Britten. This mood is countered characterised by the lively rhythmic interaction abruptly by the ironic ‘Carol’, the opening folk- between voices, ‘The Succession of the Four like phrase of which is transformed into the Sweet Months’ introduces each month with tenors’ heartfelt cry in the passiontide motet a playful fugato, ‘Marsh Flowers’ is a stark ‘Ye that pasen by’. The final piece, ‘A death’, is answer to Crabbe’s typically grim text, and a macabre portrait which nonetheless ends ‘The Evening Primrose’ offers a point of radiant in ironic fashion with the words (in modern stillness. The concluding ‘Ballad of Green English) ‘For the whole world I don’t care one Broom’ tells its tale to an accompaniment jot’. From a composer who had composed reminiscent of strummed guitar chords and Death in Venice (1973) and Canticle V: The Death ends with an evocation of clanging church bells of St Narcissus (1974), and was by this stage as the boy weds his ‘Lady in full bloom’. seriously ill, could this be seen as a further confrontation with the subject of mortality? Sacred and Profane © Judith LeGrove Sacred and Profane, Op. 91, completed in January 1975 for the Wilbye Consort and its director, Peter Pears, is a cyclic setting of Susan Drake is one of Europe’s finest harpists, English verse from the twelfth to fourteenth highly praised for her outstanding musicianship centuries. For a work which is motivically and technique. She is the only harpist ever to unified, it contains uneasy stylistic contrasts have won the coveted award of the National which stem not merely from the juxtaposition Federation of Music Societies, and the award of sacred and secular. A glance at the first of the Music Trades’ Association for the best piece, an invocation by St Godric to the solo instrumental record of the year for her Virgin Mary, would suggest it to be the most recording Echoes of a Waterfall. Her other

20 recordings have also received high critical the Bournemouth Symphony Orchestra, and acclaim worldwide. Her concert tours have London Mozart Payers. As a soloist, he has taken her throughout the UK and continental appeared with the London Philharmonic Europe to the USA, Australia, and Singapore. Orchestra at the Royal Festival Hall, the English Susan Drake has been professor of harp at the Chamber Orchestra at the Barbican, and the National Youth Orchestra of Great Britain. City of Birmingham Symphony Orchestra in Symphony Hall, Birmingham. Frequently Born in 1962, Andrew Lumsden was educated touring abroad, he has appeared at recital at Winchester College and The Royal Scottish venues in Bergen, San Francisco, Saint-Tropez, Academy of Music and Drama before going Harare, and Sydney, among many others, and up to St John’s College, Cambridge as Organ conducted choral courses in New York City, Scholar, where he was an assistant to Pennsylvania, Quebec, and Delaware. Dr George Guest. After three years as Assistant Organist at Southwark Cathedral, he was The Lichfield Cathedral Choristers form the top appointed Sub-Organist at Westminster Abbey. line of the Cathedral Choir, which also consists He was also a regular broadcaster on the BBC’s of nine Vicars Choral. Together they provide Daily Service and Choral Evensong. In 1992 the music for the daily round of services – he was appointed Organist and Master of the the Opus Dei. The boys are educated at the Choristers at Lichfield Cathedral, going on to Cathedral School, which is partly housed in the record several CDs with the Cathedral Choir magnificent seventeenth-century Old Bishop’s and tour France, Germany, Italy, and the USA. Palace within the Close. The choir broadcasts With Robert Sharpe, he oversaw the complete regularly on radio and television, but its musical rebuilding and extension of the Cathedral’s Hill life is not all based on the Cathedral. Besides organ by Harrison and Harrison. In September projects such as this recording, it has also 2002, succeeding David Hill, he took up his appeared in concert with Sir Simon Rattle current appointment as Organist and Director and Dame Kiri Te Kanawa and has toured the of Music at Winchester Cathedral. The Choir has USA, Germany, France, and Italy (a tour which continued to record and broadcast frequently, included a Papal Audience). Current Directors of and performed at prestigious venues both Music are Ben and Cathy Lamb. at home and abroad. As conductor of the Waynflete Singers, Andrew Lumsden works Founded by Paul Spicer in 1987 for a Festival regularly with orchestras such as Florilegium, of British Music given under the auspices

21 of The Finzi Trust, The Finzi Singers were for Birmingham Conservatoire, where he also many years regarded as major exponents of directs the chamber choir. He has been Artistic British twentieth-century choral music, in Director of the Lichfield International Arts which they specialised. Their discography Festival and the Abbotsholme Arts Society, for Chandos, including many first recordings, Senior Producer for BBC Radio 3 in the Midlands, covered a considerable amount of rarely heard and a much sought-after recording producer. British music, demonstrating the wealth and His highly acclaimed biography of Herbert breadth of this repertoire for the first time. Howells, published in August 1998, has been They gave many concerts and broadcasts reprinted twice, and a large-scale biography of and commissioned a considerable amount of Sir George Dyson will be published in 2014. He new music from composers such as Michael has written a widely used volume on English Berkeley, Judith Bingham, John Joubert, David Pastoral Partsongs for Oxford University Press Matthews, Stephen Pratt, Jeremy Dale Roberts, and countless articles for periodicals, besides Sir John Tavener, and James Wishart. being a contributor to the Dictionary of National Biography. He has been commissioned by A chorister at New College, Oxford, Paul Spicer the Britten – Pears Foundation and Boosey studied composition with Herbert Howells and & Hawkes to write the first practical guide organ with Richard Popplewell at the Royal to all Benjamin Britten’s choral music and College of Music in London, where he himself is producing similar guides for all James taught between 1995 and 2008. He is best MacMillan’s growing choral output. He is in known as a choral conductor, partly through considerable demand as a composer. Paul the many CDs he made with The Finzi Singers Spicer is a Fellow of the Royal Society of for Chandos Records. He has led Bach choirs Arts, an Honorary Research Fellow of the in Chester and Leicester, became conductor University of Birmingham, an Honorary Fellow of the Bach Choir in Birmingham in 1992, and of Birmingham Conservatoire, a Trustee of also conducts the Whitehall Choir in London. The Finzi Trust, Vice-President of The Herbert He now teaches choral conducting at the Howells Society, and Advisor to the Sir George Universities of Oxford and Durham and at the Dyson Trust.

22 Susan Drake Britten: Chorwerke

CD 1 planus (Sopransolo) zurück, wobei der Chor die homophonen Responsorien des lateinischen Hymn to St Peter Texts übersetzt. Die Hymn to St Peter (Hymne an den Heiligen Petrus) op. 56a entstand im Jahr 1955 anläßlich A Hymn of St Columba der Fünfhundertjahrfeier der Kirche St. Peter A Hymn of St Columba (Ein Lied von Sankt Mancroft in Norwich und wurde dort am Columba) (Regis regum rectissimi) für Chor 20. November uraufgeführt. Der Dirigent war und Orgel, das Britten im Dezember 1962 der Organist der Kirche, C.J.R. Coleman, der schon schrieb, wurde im folgenden Jahr von den vierundzwanzig Jahre zuvor die Uraufführung der Ulster Singers unter Havelock Nelson zu Hymn to the Virgin in Lowestoft geleitet hatte. Ehren von St. Columba uraufgeführt, einem Der Text ist dem Graduale des Fests der gebürtigen Iren, der 1400 Jahre zuvor auf die Apostel Petrus und Paulus entnommen; die schottische Insel Iona auswanderte und dort Musik beruht überwiegend auf dem Cantus ein Kloster gründete. Brittens Vertonung der planus “Tu es Petrus”, dem Halleluja und Vers Worte des Heiligen beweist, daß er auch bei des Commune sanctorum für einen oder mehrere dieser weniger bedeutenden Komposition, Päpste. Eine Introduktion auf der Orgel bringt die chronologisch zwischen zwei großform­ die beiden ersten Zeilen des Cantus planus, atigen Werken steht, nämlich dem War die zweite zu einem Ostinato komprimiert, Requiem und der Sinfonie für Cello und das die geräumige pentatonische Gestalt des Orchester, beträchtliche Sensibilität und eine Hymnus (“Thou shalt make them Princes over hervorragende Satztechnik ins Spiel brachte. all the earth” – “Du sollst sie erheben zu Fürsten über die Erde”) begleitet. Ein winziges Scherzo A Hymn to the Virgin (“Instead of thy Fathers” – “Statt deinen Vätern”) Die Hymn to the Virgin (Hymne an die Jungfrau mit kanonischen Einsätzen des Chors bildet vor Maria) schrieb der sechzehnjährige Komponist der Reprise des Hymnus einen kurzen Kontrast. am 9. Juli 1930 im letzten Schulsemester Die Grundtonart B-Dur kehrt mit dem Cantus in Gresham’s School, Holt, während der

24 Rekonvaleszenz im Krankenzimmer, und sie waren nur die beiden ersten Strophen fertig. wurde als erstes zweier “Chorischer Lieder” Schließlich wurde die erlesene Hymn to in der Kirche St. John’s, Lowestoft, von der St Cecilia (Hymne an die Heilige Cäcilie) dortigen Musikgesellschaft unter der Leitung op. 27 am 2. April während der Heimreise an von C.J.R. Coleman uraufgeführt. Die schlichte, Bord vollendet und erstmals am 22. November lebendige Vertonung des anonymen Texts 1942, dem Festtag der hl. Cäcilie (und Brittens aus dem vierzehnten Jahrhundert zu Ehren neunundzwanzigsten Geburtstag), von den der Jungfrau erfordert zwei kontrastierende BBC Singers unter der Leitung von Leslie Stimmgruppen – eine große und eine kleine. Woodgate bei einer Rundfunksendung der Reihe “Music-Lover’s Calendar” gesungen. Hymn to St Cecilia Die erfrischende Diatonik des ersten Im Jahr 1935 befaßte sich Britten erstmals Abschnitts in C- und E-Dur beweist, daß mit dem Plan einer Komposition über die Britten genau den rightigen musikalischen Schutzheilige der Musik. In seinem Tagebuch Ausdruck für die kraftvolle Gelassenheit von für den 19. Januar steht: “Ein großes Problem Audens Text finden konnte. Der sich aus den ist die Beschaffung eines lateinischen Textes überlappenden Phrasen entwickelnde Refrain für die ‘Hymn to St Cecilia’, die mir vorschwebt. erklingt zunächst unisono, entfaltet aber Verbrachte den Vormittag mit der Suche”, und in den beiden Reprisen einen harmonisch am 25. schrieb er: “Ich habe die Vorlage, aber zunehmend angereicherten Satz. Im duftigen noch keine Noten für meine ‘Hymn to St Cecilia’.” Scherzo in E-Dur (“I cannot grow” – “Ich kann Diese “Vorlage” wurde denn auch beiseite nicht wachsen”), das sich auf zwei Zeitebenen gelegt, bis in Zusammenarbeit mit dem zu bewegen scheint, sind behend wiederholte Dichter W.H. Auden der geeignete Text Phrasen mit einer Art Cantus firmus kombiniert. zustande kam. Die letzte Strophe enthält ein ergreifendes, Obwohl sich Auden und Britten schon lydisch angehauchtes Sopransolo (“O dear 1940 über das Werk besprachen, wurde white children” – “Ihr lieben weißen Kinder”), die Komposition erst im Juni 1941 in Angriff das Audens Vorstellungen über die verlorene genommen; das Ensemble Elizabethan Singers, Unschuld ausdrückt, und gipfelt in einer Folge dessen Tenor Peter Pears war, plante, es gegen von Kadenzen, die das Kolorit verschiedener Jahresende in New York uraufzuführen. Indes Instrumente (Geige, Pauken, Flöte, Trompete) konnte Britten den Termin nicht einhalten; als nachahmen. Dann erklingt der Refrain zum er im März 1942 die Vereinigten Staaten verließ, letzten Mal und schließt in himmlischem E-Dur.

25 Rejoice in the Lamb Interpretationen an der Volkshochschule Im März 1943 wandte sich Walter Hussey, Morley College vertraut. Infolge der Gliederung der freisinnige Pfarrer der St. Matthews- in zehn Abschnitte mit Solos und Chören und Kirche in Northampton, an Britten und bat der einsichtigen Reaktion auf Smarts “irre” ihn, “für unser Jubiläum im September etwas Visionen, darunter die blendende Orgelpartie zu komponieren”. Der Brief schloß mit einer für die Charakterisierung der Katze und Maus in Abbitte für seine vermeintliche Dreistigkeit: den Sopran- und Altsoli, ist Rejoice in the Lamb Ich hoffe, Sie werden mir verzeihen und es gewissermaßen die Antwort des zwanzigsten meiner Begeisterung für mein besonderes Jahr­hunderts auf das Verse Anthem des Steckenpferd zuschreiben – eine engere siebzehnten Jahrhunderts.­ Verbundenheit zwischen Kunst und Kirche. Einen bereitwilligeren Mitarbeiter hätte Choral Dances from ‘Gloriana’ er gar nicht finden können: In seinem In der ersten Szene des zweiten Akts von Antwortschreiben erklärte Britten, auch er Brittens Krönungsoper, in dem die sechs sei um bessere Kontakte zwischen der Kunst “Chorische Tänze” vorgetragen werden, und der Kirche bemüht. Für seinen Text wählte ist Königin Elizabeth I. auf Reisen und die der Komponist Auszüge aus Christopher Bürger von Norwich führen ihr zu Ehren ein Smarts Jubilate Agno, einer verworrenen Maskenspiel auf. Britten arbeitete an der Oper Dichtung aus der Mitte des achtzehnten von September 1952 bis Februar 1953; infolge Jahrhunderts, die zum Teil im Irrenhaus der Unschlüssigkeit am Opernhaus Covent entstanden war. Als sie 1939 endlich unter Garden, dessen Ballett einen ausführlicheren dem Titel Rejoice in the Lamb veröffentlicht Beitrag zur Galapremiere zu machen bestrebt wurde, lenkte Auden Brittens Aufmerksamkeit war, wurde diese Szene zu allerletzt fertig. darauf. Indes ließ sich der Komponist von seinem Die Kantate, Rejoice in the Lamb (Freut euch ursprünglichen Konzept nicht abbringen, des Lamms) op. 30, bezeugt Purcells Einfluß in dem der Geist der Maske sechs kurze auf Britten, der in seinem Enthusiasmus Bilder vorführt. Diese Einleitungen werden für seinen großen Vorfahren in den 1940er zumeist gestrichen, wenn die Choral Dances Jahren noch bestärkt wurde, als er dessen unabhängig von der Oper aufgeführt werden. Lieder für Recitals mit Peter Pears aussetzte; Der erste Tanz, “Time” (Zeit), in C-Dur ist mit Purcells großen Verse Anthems war er ein heiteres, dem Madrigal nachgearbeitetes durch die von Michael Tippett geleiteten Gebilde mit Synkopen und Hemiolen; der

26 kontrastierende Mittelteil mit barocker konnte, wurde das Werk nicht aufgeführt, punktierter Rhythmik ist harmonisch etwas sondern von Britten zurückgezogen und gewagter. Der nächste Tanz, “Concord’ die Opuszahl (17) der Operette Paul Bunyan (Eintracht), ist durch das Fehlen der geringsten zugeteilt. Die Uraufführung fand erst am Dissonanz gekennzeichnet und fängt auf 21. August 1984 mit dem Vokalensemble diese Weise die Stimmung vollkommener Ruhe London Sinfonietta Voices in Londons Purcell ein. “Time and Concord” (Zeit und Eintracht) Room statt. ist ein anmutiger Kanon der Frauen- und Der Titel ist eine Abkürzung von Ad majorem Männerstimmen. Der vierte Tanz, “Country Dei gloriam – zur größeren Ehre Gottes. Dieses Girls” (Ländliche Maiden), beginnt mit einer Motto durchzieht die Schriften von Ignatius Antiphon, in der sich die hüpfende Sopranlinie von Loyola (1491 – 1556), dem Begründer des dem erdgebundenen Altpart entgegenstellt; Jesuitenordens, dem Hopkins angehörte. schließlich kommen die beiden Stimmen Brittens Reaktion auf Hopkins’ evokative, zusammen. “Rustics and Fishermen” (Bauern manchmal sinnliche religiöse Lyrik greift auf und Fischer) ist ein atemberaubendes Scherzo den schon in A Boy Was Born (Ein Knabe ward für den geteilten Männerchor. Im sechsten geboren – 1933) ergründeten Chorsatz zurück, Stück, “Final Dance of Homage” (Huldigender der hier ausgebaut wird. Die Konzeption von Tanz zum Abschluß), dessen kanonische “Prayer II” (Gebet II) und “Heaven-Haven” Einsätze sich zu einem üppigen Satz entfalten, (Himmelshafen) ist im Grunde genommen kehrt das C-Dur von “Time” wieder. unkompliziert, doch in mehreren anderen Nummern gibt sich Brittens Vorliebe für den A.M.D.G. auf instrumentaler Inspiration beruhenden Unter den ersten Werken, die Britten 1939 nach Vokalsatz zu erkennen, so im grellen D-Dur- der Ankunft in den Vereinigten Staaten schrieb, Marsch “The Soldier” (Der Soldat) und dem befanden sich A.M.D.G., sieben A-Cappella- Walzer “Rosa Mystica”. Am gewagtesten ist Vertonungen von Gedichten des katholischen wohl “God’s Grandeur” (Gottes Hoheit), das Priesters Gerard Manley Hopkins. Sie waren für enorme Ansprüche an die Sänger stellt. Mit ein Ensemble von Berufssängern bestimmt, dieser Dichtung hatte sich Britten schon dem Peter Pears angehörte, und sollten im vorher auseinandergesetzt: 1938 hatte er in November 1939 in London vorgetragen werden. der Rundfunksendung des Quasi-Oratoriums Da Pears aber infolge des Kriegsausbruchs The World of the Spirit (Die Welt des Geistes) nicht nach Großbritannien zurückkehren einen ganz anderen, freilich ebenso

27 dramatischen Zugang zum Text gefunden, bei frühen dreißiger Jahren am deutlichsten dem er Chor und Orchester einsetzte. bemerkbar: Sowohl A Hymn to the Virgin als auch I Saw Three Ships (letzteres 1967 als © Philip Reed The Sycamore Tree neu bearbeitet) wurden im Übersetzung: Anne Steeb / Bernd Müller Sommer 1930 komponiert, Thy King’s Birthday ein Jahr später und A Boy Was Born 1932 / 33. In allen diesen Werken wird Brittens frühe CD 2 Neigung zu Chormusik und speziell solcher für die Kirche deutlich. Brittens Vorgeschichte – Sweet Was the Song the Virgin Sung Kontakt zur Kirchengemeinde St. John’s in In seinem Tagebucheintrag für den 12. Januar Lowestoft und Mitgliedschaft im Kirchenchor 1931 hat Britten die Komposition eines kleinen von Gresham’s School – wird die Kenntnis Carol für Frauenstimmen mit dem Titel Sweet des Standardrepertoires, wenn nicht gar ein Was the Song the Virgin Sung (Ein reizend Lied liebevolles Verhältnis zu ihm gewährleistet die Jungfrau sang) vermerkt. Die Inspiration haben. Darum ist es wohl auch kein Zufall, daß des Stücks (das Britten im zweiten Semester Britten 1942 auf der Rückreise aus den USA, am Royal College of Music schrieb) war eine zu einer Zeit, als ihm deutlich bewußt war, daß Anthologie von Weihnachtsliedern, die ihm er zu seinen “Wurzeln” zurückkehrte, erneut seine ältere Schwester Barbara im November auf den Gedanken kam, ein weihnachtliches 1930 geschenkt hatte und das die Mehrheit Chorwerk zu schreiben. Die mittelalterlichen der Texte für Thy King’s Birthday lieferte, und altenglischen Texte zu A Ceremony of eine fünfsätzige Weihnachtssuite. Die Suite Carols (Festliche Gesänge) op. 28 entstammen war zu Brittens Lebzeiten nie vollständig zu hauptsächlich einer Gedichtsammlung, die der hören, aber “Sweet Was the Song” wurde zur Komponist in Halifax in Nova Scotia gekauft Aufführung beim Aldeburgh Festival 1966 hatte, und ein erheblicher Teil der Musik wurde überarbeitet. komponiert, während er sich an Bord der MS Axel Johnson befand. Brittens Wahl der Harfe A Ceremony of Carols als Begleitinstrument des Knabenchors – eine Eines von Brittens letzten geplanten Werken ungewöhnliche Entscheidung für ein Stück, war eine umfangreiche Weihnachtssequenz, das oft in der Kirche aufgeführt wird – könnte doch seine Faszination für das Thema von dem kurz zuvor erteilten Auftrag beeinflußt Weihnachten macht sich in Werken aus den gewesen sein, ein Harfenkonzert zu schreiben.

28 Das Instrument wurde mit typischem Gespür sich um eine Gruppe von Werken, die sich in für Timbre eingesetzt: Ein Beispiel ist die vielerlei Hinsicht vom übrigen Schaffen des feine Unterscheidung zwischen Des und Komponisten abhebt und der fast zur Gänze Cis zu Beginn von “That yongë child” (Das die Spannungen der dramatischen oder kleine Kind), eine gespenstische Imitation der instrumentalen Musik abgehen. Hier erscheint “heiseren” Nachtigall aus dem Text. Der Cantus Britten stilistisch ungezwungen, jedoch nie planus zum Ein- und Auszug wurde nach der platt, scheinheilig oder schablonenhaft. Rückkehr des Komponisten hinzugefügt; er Brittens erste Canticumvertonung, das Te ist ein Vorgriff auf den zwanzig Jahre später Deum in C-Dur für Chor und Orgel, wurde im stattfindenden Einsatz eines Cantus planus als Juli 1934 für Maurice Vinden und den Chor von Rahmen für die Kirchenparabeln. Britten war St. Mark’s in der Londoner North Audley Street in Gresham’s School mit dem Choralgesang geschaffen. bekannt gemacht worden, dessen nachhaltiger Eindruck in vielen seiner Kompositionen Jubilate Deo in Es-Dur herauszuhören ist. Anders als bei den straff Drei Wochen später komponierte Britten gefügten liturgischen Dramen beschränkt sich (für denselben Chor) mit Jubilate Deo in hier die Ableitung motivischen Materials aus Es-Dur das passende Gegenstück, das dem Choral auf das Harfeninterludium. jedoch zurückgezogen und erst nach dem Tod des Komponisten veröffentlicht wurde. Te Deum Beide Werke, die in der Gemeindekirche Die Instrumentalmusik der frühen dreißiger und in der Kathedrale gleichermaßen Jahre zeigt Britten als ernsten jungen heimisch sind, bauen auf den chorischen Komponisten, der begierig kontinental­ Grundfesten Stanfords und Irelands auf, nicht europäische Einflüsse aufnimmt (man auf den prunkvollen Vertonungen, wie sie beachte zum Beispiel die Anklänge an beispielsweise Howells hervorgebracht hat. Schönberg und die Zweite Wiener Schule in der Sinfonietta, dem Quartettino und der Elegy für Festival Te Deum Solobratsche). Im Gegensatz dazu läßt seine Ein Jahrzehnt nach seiner ersten Musik für die Kirche zwar eine charakteristische Te-Deum-Vertonung wurde Britten damit Stimme erklingen, geht jedoch eindeutig aus beauftragt, zur Hundertjahrfeier von St. Mark’s der Tradition englischer Kirchenchormusik Church in Swindon ein Stück zu schreiben. hervor, die Britten so vertraut war. Es handelt Das Festival Te Deum op. 32 ist insofern

29 ungewöhnlich, als es für den Chor und die Antiphon Orgelbegleitung voneinander unabhängige Antiphon op. 56b, 1956 zur Hundertjahrfeier Taktarten einsetzt: ein originelles Herangehen von St. Michael’s in Tenbury entstanden, lehnt an den Text, der sich erheblich von den sich an einen Text von George Herbert an. herkömmlichen akkordischen Strukturen der “Praised by the God of love / Here below / And älteren Vertonung unterscheidet (einem Werk, here above” (Gepriesen sei der Gott der das Constant Lambert treffend als “trist und Liebe / Hier drunten / Und hier droben) wird bußfertig” beschrieben hat). musikalisch durch ein jubelndes Unisono des Chors und eine “swingende” Orgelstimme, Jubilate Deo in C-Dur ein vergeistigtes Sopransolo und den damit 1961 komponierte Britten auf Wunsch des kontrastierenden robusten Dreiklängen von Herzogs von Edinburgh nach einem Gegenstück Alt-, Tenor- und Baßstimmen. Der musikalische zum Te Deum von 1934 ein zweites Jubilate Deo, Symbolismus einer gebrochen imitativen diesmal in C-Dur. Struktur für “He our foe in pieces brake” (Bricht unsern Gegnern das Genick) und “Who hath Missa brevis made of two folds one” (Der aus zwei Herden Britten empfand große Bewunderung für den eine hat gemacht) (dort findet das unablässig glasklaren Klang der Choristen von Westminster wiederholte “eine” der Sopranstimmen – dem Cathedral, den deren Leiter George Malcolm zunächst das forschende “zwei” der tieferen kultivierte, und als er 1959 erfuhr, daß Malcolm Stimmen antwortet – abschließend die richtige demnächst in den Ruhestand treten würde, Antwort, den Tonikaakkord “eins”), mag so komponierte er rasch die Missa brevis in D op. 63. beschrieben naiv erscheinen. Bei Aufführungen Das Werk, das vom Umfang her bemerkenswert ist jedoch das Ergebnis, da die räumliche kurz gefaßt ist, schöpft mit Musik, die vor Trennung des Himmlischen und des Irdischen rhythmischer Vitalität überschäumt, das durch Aufstellen der Sopransolisten in einigem schneidende Timbre der Sopranstimmen voll Abstand zum Chor auf einer Empore betont aus. Es gelingt Britten, eine Vielzahl von Effekten wird, erstaunlich ergreifend. zu erzeugen – von der freudig glockenhellen Bekräftigung des “Sanctus” bis hin zum keuschen A Wedding Anthem Organum des “Benedictus”. Eine düsterere Note A Wedding Anthem (Ein Hochzeitsanthem) hebt er allerdings für das “Agnus Dei” mit seinem op. 46, das selten aufgeführt wird, weil beunruhigend trostlosen Friedensappell auf. Ronald Duncans Text auf einen bestimmten

30 Anlaß zugeschnitten ist, wurde zur Hochzeit Jubilierens von “Time to arise Democracy” (Zeit, des Grafen Harewood mit Marion Stein im aufzuwachen, Demokratie); zugleich vermittelt September 1949 komponiert. Es ist ein schön die Komposition ein tieferliegendes Gefühl gefügtes Stück für Sopran- und Tenorsolisten, düsterer Vorahnung, das auch andere Werke Chor und Orgel, in dem Britten wieder einmal dieser Zeit durchdringt. spielerisch auf den Symbolismus des Textes eingeht. A Boy Was Born Zu der Zeit, als er sein erstes größeres © Judith LeGrove Chorwerk, A Boy Was Born (Ein Knabe ward Übersetzung: Anne Steeb / Bernd Müller geboren) op. 3 komponierte, studierte Britten am Royal College of Music, zu dessen Dozenten John Ireland, Ralph Vaughan Williams CD 3 und Herbert Howells gehörten, drei eifrige Verfechter des englischen Chorwesens. In Advance Democracy vieler Hinsicht jedoch zeigt die Komposition den Advance Democracy (Vorwärts mit der Einfluß seines ersten Lehrers Frank Bridge, der Demokratie), entstanden im November 1938 ihn ermutigt hatte, über seinen unmittelbaren in einer Zeit der Angst und fortgesetzten Horizont hinaus den Blick auf neue Musik politischen Unruhe in Europa (Brittens Briefe und Konzepte vom europäischen Festland aus der Zeit belegen seine Enttäuschung über zu richten. Die ersten beiden Werksnummern das Scheitern des Münchner Abkommens), ist Brittens, die Sinfonietta (op. 1) und die Phantasy ein Werk für achtstimmigen Chor geschrieben, (op. 2), zeigen seine Beschäftigung mit auf einen Text von Randall Swingler formalen Problemen, die er häufig mit Hilfe der (1909 – 1967), Mitglied der Kommunistischen Variationstechnik löste, der er in Schönbergs Partei und Herausgeber der Zeitschrift Left Musik begegnet war: Der zweite Satz der Review. Britten gelang eine gute Umsetzung Sinfonietta ist ein Variationszyklus, während der etwas groben Metaphorik von “Across the die Phantasy als ein motivisch einheitlicher darkened city the frosty searchlights creep” Einzelsatz gestaltet ist. Diese beiden Werke (Über die verdunkelte Stadt kriechen die lieferten ihm somit wertvolle Erfahrungen bei frostigen Suchscheinwerfer) (hart pulsierende seinem Entschluß, sein erstes großangelegtes Akkorde kombiniert mit einer geschwungenen Chorwerk in Form eines Variationszyklus zu wortlosen Melodie) sowie des forcierten strukturieren.

31 Am 12. November 1932 schrieb Britten in sein quasi instrumentalen Ostinato ab. Variation V “In Tagebuch: the Bleak Mid-winter” (Im trostlosen Mittwinter) Morgens zu Whiteley’s zum Haareschneiden, behandelt den Text – eine Kombination der & dann weiter in die St. Martin’s Lane zu Dichtung Christina Rossettis und des anonymen Chatto & Windus, um einen Band mit Ancient Corpus-Christi-Carols aus dem fünfzehnten English Carols zu kaufen. Ich denke, ich Jahrhundert – auf besonders innovative Weise: werde einige davon bald für ein Chorwerk Das altertümliche Carol wird hier in nahezu freien verwenden.1 Rhythmen über dem in den tieferen Stimmen A Boy Was Born, mit dem Untertitel gesungenen modernen Text deklamiert. “Chorvariationen für unbegleitete Männer-, A Boy Was Born wurde erstmals am Frauen- und Knabenstimmen”, verarbeitet 23. Februar 1934 vom BBC Wireless Chorus einen anonymen Text aus dem sechzehnten unter Leslie Woodgate im Rundfunk aufgeführt. Jahrhundert, der in reiner, choralhafter Wie bei einem so ambitionierten Werk eines Homophonie vertont ist. Bei den sich Neunzehnjährigen nicht anders zu erwarten, anschließenden sechs Variationen zeigt sich reichte die Reaktion der Kritik von Bewunderung Brittens Geschick sowohl in der Transformation bis zu dem üblichen Einwand, die Musik sei des Themas als auch in der Behandlung des zwar clever, das Lösen technischer Probleme achtstimmigen Chores; die Satztechniken habe den Komponisten jedoch dazu verleitet, der chorischen Begleitung zeugen eindeutig den musikalischen Gehalt zu vernachlässigen. von kurz zuvor gesammelten Erfahrungen Die mit Britten befreundete Komponistin Grace im Komponieren für Instrumente. Die erste Williams (1906 – 1977) schrieb kurz nach der Variation zum Beispiel erklingt zu einer ersten Radioaufführung, sie habe A Boy Was wiegenden Figur (“Lullay”), die sich von Born stellenweise “zu reaktionär” und “zu zwei Stimmen zu sämtlichen acht Stimmen typisch englisch” gefunden; tatsächlich jedoch gemeinsam mit dem Knabenchor aufbaut, sollte Britten nie wieder ein unbegleitetes und die vierte Variation setzt die textierten Chorwerk von solch radikaler Form schreiben. Stimmen vor dem Hintergrund eines wortlosen, Five Flower Songs Während A Boy Was Born das Produkt von 1 Das Copyright für das Zitat aus Benjamin Brittens Tagebüchern liegt bei den Treuhändern der Britten – Pears Brittens frühen experimentellen Jahren ist, Foundation und darf ohne deren schriftliche Genehmigung in denen er für Einflüsse aus dem Ausland nicht weiter reproduziert werden. am empfänglichsten war, sind die Five Flower

32 Songs (Fünf Blumenlieder) op. 47 ebenso Primrose” (Die Nachtkerze) bietet einen Moment eindeutig in seiner “englischen” Schaffensphase strahlender Ruhe. Die abschließende “Ballad of verankert, die sich an seine Rückkehr aus den Green Broom” (Die Ballade vom grünen Ginster) Vereinigten Staaten 1942 anschloß. Zwei Werke, erzählt ihre Geschichte zu einer Begleitung, die vor und nach den Flower Songs komponiert die an gebrochene Gitarrenakkorde erinnert, wurden, illustrieren treffend, welche Inspiration und endet mit einer Reminiszenz an läutende Britten zu der Zeit aus seinem kulturellen Kirchenglocken, zu denen der Junge sein “in Erbe bezog: Spring Symphony (1949) ist eine voller Blüte stehende Dame” heiratet. exzellente chorische Umsetzung englischer Dichtkunst, und Lachrymae (1950) verwendet Sacred and Profane ein Ayre des elisabethanischen Komponisten Sacred and Profane (Kirchliche und weltliche John Dowland. Die im Frühjahr 1950 als Stücke) op. 91, eine zyklische Vertonung Geschenk für Dorothy und Leonhard Elmhirst englischer Dichtung aus dem zwölften bis (die Besitzer von Dartington Hall) anläßlich vierzehnten Jahrhundert, wurde im Januar ihres fünfundzwanzigsten Hochzeitstages 1975 für das Wilbye Consort und dessen Leiter komponierten Five Flower Songs gehören, wie Peter Pears fertiggestellt. Für ein motivisch C.V. Stanford dargelegt hat, eindeutig in die einheitliches Werk enthält die Komposition Tradition des englischen Ensembleliedes. Für eine Reihe eigenwilliger stilistischer Kontraste, die Texte griff Britten auf Robert Herrick und die sich nicht nur aus der Gegenüberstellung John Clare zurück – die gleichen Dichter, die er von geistlich und weltlich begründen lassen. auch für Spring Symphony heranzog; außerdem Das erste Stück, eine Invokation St. Godrichs, vertonte er “Marsh Flowers” (Sumpfblumen) gerichtet an die Jungfrau Maria, scheint auf den des Aldeburgher Poeten George Crabbe. Der ersten Blick die unkomplizierteste Komposition Zyklus ist voller Kontraste: “To Daffodils” (An des Zyklus zu sein, ihre tonale Ambivalenz die Narzissen) ist durch seinen lebhaften und dramatischen Pausen jedoch sind nicht rhythmischen Austausch zwischen den leicht zu vergessen. “I mon waxe wod” (Ich Stimmen charakterisiert, “The Succession muß wahnsinnig werden) ist bemerkenswert of the Four Sweet Months” (Die Abfolge der für die Art, in der der Komponist den Text vier lieblichen Monate) stellt jeden Monat im Chor verteilt – eine Methode, die er mit mit einem spielerischen Fugato vor, “Marsh noch größerem Effekt im fünften Stück, “Yif Flowers” ist eine kraftvolle Antwort auf Crabbes ic of luve can” (Wenn ich von Liebe weiß), charakteristisch düsteren Text, und “The Evening anwendet, wo der metrisch ungebundene

33 Diskant der Soprane eine selbst für Britten Auch ihre übrigen Einspielungen wurden von ungewöhnliche Intensität erreicht. Einen der Kritik überaus positiv aufgenommen. Kontrast zu der hier vermittelten Stimmung Konzerttourneen führten sie durch England bildet das ironische “Carol” (Weihnachtslied), und Europa sowie in die USA, nach Australien dessen anfänglich volksliedhafte Setzweise und nach Singapur. Sie ist Dozentin für Harfe sich in der Passionsmotette “Ye that pasen am National Youth Orchestra of Great Britain by” (Ihr, die ihr des Weges kommt) in einen gewesen. tiefempfundenen Aufschrei der Tenöre wandelt. Das abschließende Stück, “A death” (Ein Tod), ist Andrew Lumsden wurde 1962 geboren und ein makabres Porträt, das sich zum Ende hin bei besuchte die Privatschule Winchester College den Worten “For the whole world I don’t care one und die Royal Scottish Academy of Music jot” (Um die Welt schere ich mich dann nicht) and Drama (heute: Royal Conservatoire of ins Ironische wandelt. Sollte dies, aus der Feder Scotland) in Glasgow, bevor er am St. John’s eines Komponisten stammend, der zuvor schon College der Universität Cambridge als Orgel- Death in Venice (1973) und Canticle V: The Death Stipendiat studierte und dort Dr. George Guest of St Narcissus (1974) geschrieben hatte und assistierte. Nach drei Jahren als Assistant zu diesem Zeitpunkt bereits ernsthaft erkrankt Organist an der Southwark Cathedral wurde er war, eine weitere Auseinandersetzung mit der zum Sub-Organist an der Westminster Abbey menschlichen Sterblichkeit darstellen? ernannt. Zugleich wirkte er regelmäßig an den BBC-Gottesdienstsendungen Daily Service © Judith LeGrove und Choral Evensong mit. Nachdem er 1992 Übersetzung: Stephanie Wollny zum Organist und Master of the Choristers an der Lichfield Cathedral ernannt worden Die für ihre außergewöhnliche Musikalität war, nahm er mehrere CDs mit dem dortigen und Spieltechnik gerühmte Susan Drake ist Kathedralchor auf und ging auf Gastspielreisen eine der hervorragendsten europäischen nach Frankreich, Deutschland, Italien und Harfenistinnen. Als bisher einzige Meisterin in die USA. Gemeinsam mit Robert Sharpe ihres Instruments hat sie die begehrte beaufsichtigte er die tiefgreifenden Umbau- Auszeichnung der National Federation of Music und Erweiterungsarbeiten an der Hill-Orgel Societies sowie für ihre CD Echoes of a Waterfall der Kathedrale durch die Firma Harrison and den Preis der Music Trades’ Association für die Harrison. Im September 2002 übernahm er in beste Soloeinspielung des Jahres erhalten. der Nachfolge von David Hill seine derzeitige

34 Aufgabe als Organist und Director of Music an wie der vorliegenden Aufnahme ist der Chor der Winchester Cathedral. Der Chor hat seine im Konzertsaal mit Sir Simon Rattle und lebhafte Aufnahme- und Konzerttätigkeit an Dame Kiri Te Kanawa und auf Tournee in den namhaften Adressen des In- und Auslands USA, Deutschland, Frankreich und Italien fortgesetzt. Als Dirigent der Waynflete Singers (samt päpstlicher Audienz) aufgetreten. Die arbeitet Andrew Lumsden regelmäßig mit musikalische Leitung liegt derzeit bei Ben und Orchestern wie Florilegium, dem Bournemouth Cathy Lamb. Symphony Orchestra und den London Mozart Payers zusammen. Solistisch ist er mit dem Die Finzi Singers, 1987 von Paul Spicer für ein London Philharmonic Orchestra in der Royal Festival britischer Musik unter dem Patronat Festival Hall London, dem English Chamber des Finzi Trust gegründet, galten jahrelang als Orchestra im Londoner Barbican und dem City führende Exponenten britischer Chormusik des of Birmingham Symphony Orchestra in der zwanzigsten Jahrhunderts. In Zusammenarbeit Symphony Hall Birmingham aufgetreten. Im mit Chandos baute der Chor eine umfangreiche Rahmen seiner häufigen Auslandstourneen Diskographie mit zahlreichen Erstaufnahmen hat er Recitals u.a. in Bergen, San Francisco, auf, in der die ganze Fülle und Breite dieses Saint-Tropez, Harare und Sydney gegeben und oft vernachlässigten Repertoires zum Chorseminare in New York City, Pennsylvania, Ausdruck kam. In vielen Konzerten und Quebec und Delaware geleitet. Rundfunksendungen führten die Finzi Singers auch eigene Auftragskompositionen von Die Lichfield Cathedral Choristers singen die Komponisten wie Michael Berkeley, Judith Oberstimmen im Kathedralchor, dem außerdem Bingham, John Joubert, David Matthews, neun Chorvikare angehören; gemeinsam liefern Stephen Pratt, Jeremy Dale Roberts, Sir John sie die Musik für die Tagesliturgie – das Opus Tavener und James Wishart auf. Dei. Die Knaben werden in der angeschlossenen Schule unterrichtet, die zum Teil noch in dem Paul Spicer begann seine musikalische prachtvollen alten Bischofspalast aus dem Ausbildung als Chorist am New College Oxford. siebzehnten Jahrhundert auf dem Gelände Er studierte Komposition bei Herbert Howells der Kathedrale untergebracht ist. Der Chor ist und Orgel bei Richard Popplewell am Royal regelmäßig in Funk und Fernsehen zu erleben, College of Music in London, wo er dann von aber sein musikalisches Dasein beschränkt 1995 bis 2008 selber unterrichtete. Man kennt sich nicht auf die Kathedrale. Neben Projekten ihn vor allem als Chordirigenten, nicht zuletzt

35 durch die zahlreichen CDs, die er mit den Finzi ein weit verbreitetes Buch über English Pastoral Singers für Chandos Records aufgenommen Partsongs für die Oxford University Press hat. Er hat Bach-Chöre in Chester und Leicester verfasst, zahllose Beiträge für Zeitschriften dirigiert, 1992 die Leitung des Birmingham geschrieben und am Dictionary of National Bach Choir übernommen und dirigiert auch den Biography mitgearbeitet. Von der Britten – Pears Whitehall Choir in London. Derzeit unterrichtet Foundation und dem Verlag Boosey & Hawkes er Chordirigieren an den Universitäten Oxford und erhielt Paul Spicer den Auftrag, einen ersten Durham sowie am Birmingham Conservatoire, praktischen Leitfaden für die gesamte Chormusik wo er auch den Kammerchor leitet. Paul Spicer Benjamin Brittens zu verfassen; ein ähnliches hatte die künstlerische Leitung des Lichfield Projekt verfolgt er im Hinblick auf das wachsende International Arts Festivals und der Abbotsholme Chorschaffen von James MacMillan. Auch er Arts Society, war leitender Redakteur beim selber ist als Komponist vielgefragt. Paul Spicer Kultursender BBC Radio 3 in der Region Midlands ist Fellow der Royal Society of Arts, Honorary und gefragter Tonmeister. Im August 1998 Research Fellow der Universität Birmingham, erschien seine vielbeachtete, inzwischen Honorary Fellow des Birmingham Conservatoire, zweimal neuaufgelegte Biographie von Herbert Treuhänder des Finzi Trust, Vizepräsident der Howells, und eine umfangreiche Biographie von Herbert Howells Society und Berater des Sir George Dyson ist für 2014 geplant. Er hat Sir George Dyson Trust.

36 Andrew Lumsden Andrew

Jim Pascoe Britten: Œuvres pour chœur

DISQUE COMPACT UN par une intonation du plain-chant confiée à un solo de soprano, tandis que des réponses Hymn to St Peter chorales homophoniques reprennent, en le L’Hymn to St Peter (Hymne à Saint Pierre), traduisant en anglais, le texte latin. op. 56a, a été composé en 1955 pour le cinquième centenaire de l’église St Peter A Hymn of St Columba Mancroft à Norwich, où il a été créé le A Hymn of St Columba (Un hymne de Saint 20 novembre sous la direction du maître de Columba) (Regis regum rectissimi) pour chœur chapelle de l’église, C.J.R. Coleman, qui avait et orgue a été composé en décembre 1962 et dirigé la création de l’Hymn to the Virgin, à créé l’année suivante par The Ulster Singers, Lowestoft, vingt-quatre ans plus tôt. sous la direction de Havelock Nelson, pour Les paroles sont empruntées au graduel célébrer le 1400e anniversaire du voyage de de la fête de Saint Pierre et Saint Paul; la Columba, missionnaire irlandais, à l’Île d’Iona. musique repose essentiellement sur le plain- La façon dont Britten met en musique les chant “Tu es Petrus”, sur l’Alléluia et sur les paroles de Saint Columba montre comment, versets du Commun des Souverains Pontifs. même dans une œuvre mineure – l’Hymn se Une introduction confiée à l’orgue expose les situe chronologiquement entre deux œuvres deux premières lignes du plain-chant, dont la majeures, le War Requiem (Requiem de guerre) deuxième se condense ensuite en un ostinato et la Symphonie concertante pour violoncelle pour accompagner la large forme pentatonique et orchestre –, le compositeur sait faire de l’hymne (“Thou shalt make them Princes preuve d’une immense sensibilité et d’un art over all the earth”; “Tu les feras Princes de toute consommé. la terre”). Un scherzo miniature (“Instead of thy fathers”; “À la place de tes pères”), avec des A Hymn to the Virgin entrées chorales en canon, offre un moment de Britten écrivit l’Hymn to the Virgin (Hymne à la contraste avant la reprise de l’hymne. Le retour Vierge) le 9 juillet 1930 à la fin de ses études à la tonalité d’origine de si bémol est marqué à la Gresham’s School de Holt; le compositeur

38 alors âgé de seize ans était en convalescence quitta les États-Unis en mars 1942, seules les au sanatorium de cette école. L’œuvre fut deux premières strophes étaient prêtes. Britten créée comme le premier de “Two Choral Songs” acheva finalement le sublime Hymn to St Cecilia (Deux Chants choraux) à un concert de l’église (Hymne à Sainte Cécile) le 2 avril, au cours de Saint-Jean de Lowestoft, concert donné par la la traversée de retour vers la Grande-Bretagne. Musical Society de Lowestoft, sous la direction La création, radio-diffusée, fut confiée aux BBC de C.J.R. Coleman. Le texte anonyme du Singers sous la direction de Leslie Woodgate, quatorzième siècle à la louange de la Vierge est le jour de la Sainte-Cécile, le 22 novembre mis en musique avec beaucoup de simplicité et 1942 (également jour du vingt-neuvième de fraîcheur pour deux groupes contrastés de anniversaire de Britten), dans le cadre du voix, l’un étoffé, l’autre réduit. “Music-Lover’s Calendar”. Le diatonisme rafraîchissant de la section Hymn to St Cecilia initiale de l’Hymn to St Cecilia (ut et mi En 1935, Britten commença à penser pour la majeur) montre avec quelle finesse Britten première fois à une œuvre inspirée par la sait situer une image musicale précise pour Sainte patronne de la musique. Son journal qu’elle corresponde à la puissante sérénité indique à la date du 19 janvier: “J’ai beaucoup de des paroles d’Auden. Dans cette section, les mal à trouver des mots latins pour l’‘Hymn to phrases qui se chevauchent produisent le St Cecilia’ que je me propose d’écrire. J’ai passé la matériau du refrain simple, qui est présenté matinée en chasse.” Et à celle du 25: “J’ai le plan, à l’unisson lors de sa première exposition, mais pas encore les notes, pour mon l’‘Hymn to mais dont la texture harmonique s’enrichit St Cecilia’.” Il renoncera à ce “plan” spécifique progressivement aux deux apparitions lorsque sa collaboration ultérieure avec le poète suivantes. Un délicat scherzo en mi majeur W.H. Auden aura donné naissance à un texte (“I cannot grow”; “Je ne peux grandir”) donne approprié. l’impression d’une dualité de tempo, mêlant Bien qu’Auden et Britten aient commencé à de rapides réitérations à une sorte de cantus parler de cette œuvre en 1940, sa composition firmus. La strophe finale, avec son touchant ne fut entreprise qu’en juin 1941, lorsqu’une solo de soprano aux inflexions lydiennes création fut projetée à New York pour la fin de (“O dear white children”; “Ô chers blancs l’année, par les Elizabethan Singers (dont Peter enfants”), qui reflète le style imagé d’Auden Pears était le ténor). Mais Britten ne parvint pas sur l’innocence perdue, culmine dans une série à achever l’œuvre en temps voulu et lorsqu’il de cadences vocales, où sont imitées des

39 sonorités instrumentales (violon, timbales, de Purcell sur Britten; l’enthousiasme suscité flûte, trompette), avant l’ultime retour du refrain en lui par son grand ancêtre avait été alimenté, qui s’installe sur un mi majeur céleste. dans les années quarante, par la réalisation de chants pour des récitals qu’il donnait avec Rejoice in the Lamb Peter Pears et par la découverte de certains En mars 1943, le Révérend Walter Hussey, des grands verse anthems lors d’exécutions curé éclairé de l’église Saint-Matthieu de dirigées par Michael Tippett à Morley College. Northampton, demanda à Britten de composer En fait, la cantate Rejoice in the Lamb est une “de la musique pour les célébrations du sorte de réponse du vingtième siècle au verse cinquantième anniversaire de la consécration anthem du dix-septième par sa division en de l’église en septembre prochain” et conclut dix sections, avec solos et chœurs, et par sa lettre en faisant, en quelque sorte, amende la perspicacité avec laquelle elle traduit les honorable pour ce qu’il croyait être de visions “folles” de Smart, l’orgue caractérisant l’impertinence de sa part: brillamment les parties du chat et de la souris J’espère que vous me pardonnerez et confiées respectivement à des solos de que vous attribuerez cette démarche à soprano et d’alto. l’enthousiasme pour ce qui est chez moi une grande “marotte”, une association plus Choral Dances from “Gloriana” étroite entre les arts et l’Église. Les six “danses chorales” sont tirées de Hussey n’aurait pas pu trouver de collaborateur la première scène de l’acte II de l’opéra de mieux disposé, car lorsque Britten lui Britten composé pour le couronnement de répondit, il déclara s’intéresser également à la reine Elisabeth II; cette scène retrace une un rapprochement plus étroit entre les arts visite royale d’Elisabeth I à Norwich, dont et l’Église. Britten tira son texte du Jubilate les fidèles citoyens présentent un masque Agno de Christopher Smart, poème décousu dansé en l’honneur de la reine. C’est en fait du milieu du dix-huitième siècle composé en la scène de l’opéra que Britten a écrite en grande partie dans un asile. Le poème n’avait dernier – la composition de Gloriana l’a occupé été publié qu’en 1939 sous le titre Rejoice in de septembre 1952 à février 1953 – en raison the Lamb lorsqu’Auden le porta à l’attention de d’indécisions et d’incertitudes émanant de Britten. Covent Garden, car le Royal Ballet désirait La cantate, Rejoice in the Lamb (Réjouissez- apporter sa contribution au gala de la première vous en l’Agneau), op. 30, montre l’influence avec une scène beaucoup plus longue. Britten

40 insista toutefois pour conserver la structure accompagnement sur des poèmes de Gerard originelle de cette scène, dans laquelle six Manley Hopkins. Cette œuvre figure parmi les brefs tableaux sont annoncés par l’Esprit du premières composées par Britten après son Masque. Ces introductions sont généralement arrivée aux États-Unis en 1939. Destinée à omises lorsque l’on donne les Choral Dances un ensemble vocal professionnel dont faisait séparément. partie Pears, elle devait être créée à Londres en La première danse, “Time” (Temps), est novembre 1939. Mais la déclaration de guerre une création animée en ut majeur inspirée du empêcha Pears de retourner en Grande- madrigal et caractérisée par des syncopes et Bretagne et A.M.D.G. ne fut pas exécuté. Le des hémioles, avec une section constrastante compositeur retira cette œuvre et attribua son plus aventureuse sur le plan harmonique, numéro d’opus (17) à Paul Bunyan. Elle fut créée en rythmes pointés baroques. Vient ensuite par les London Sinfonietta Voices le 21 août “Concord” (Concorde), où Britten traduit le 1984, à la Purcell Room de Londres. calme de la reine par une absence totale de Le titre de l’œuvre est une abréviation d’Ad dissonance harmonique. “Time and Concord” majorem Dei gloriam (À la plus grande gloire de (Temps et Concorde) est un gracieux Dieu), épigraphe omniprésente dans les écrits canon entre les voix de femmes et les voix d’Ignace de Loyola (1491 – 1556), fondateur de d’hommes. La quatrième danse, “Country l’ordre des Jésuites dont faisait partie Hopkins. girls” (Jeunes campagnardes) commence de La réponse de Britten aux poèmes religieux manière antiphonale par une ligne de soprano évocateurs et souvent sensuels de Hopkins bondissante qui contraste avec une partie rappelle et développe l’écriture chorale virtuose d’alto plus terre à terre, avant la fusion de tout d’abord explorée dans A Boy Was Born ces deux éléments. “Rustics and Fishermen” (Un enfant est né) (1933). Alors que “Prayer II” (Paysans et pêcheurs) est un scherzo haletant (Prière II) et “Heaven-Haven” (Havre céleste) pour chœur d’hommes divisé. La sixième sont des conceptions essentiellement simples, danse, “Final Dance of Homage” (Danse finale un grand nombre des autres poèmes mis en d’hommage), revient à la tonalité d’ut majeur musique par Britten révèlent sa prédilection de “Temps”, les entrées en canon créant une permanente pour les textures et les genres texture d’une grande richesse. d’inspiration instrumentale: par exemple, la marche en ré majeur de “The Soldier” A.M.D.G. (Le Soldat), aux sons cuivrés, et la valse de A.M.D.G. se compose de sept chants sans “Rosa Mystica”. “God’s Grandeur” (Grandeur de

41 Dieu) est peut-être la plus ambitieuse et exige A Ceremony of Carols énormément des chanteurs. Il s’agit, en fait, de Bien que l’une des dernières œuvres que la seconde tentative de Britten pour mettre en Britten ait eue en projet fut une importante musique ce poème de Hopkins: en 1938, dans suite de Noël, sa fascination pour le thème l’oratorio radiodiffusé à la BBC The World of the de Noël transparaît très nettement déjà au Spirit (Le Monde de l’esprit), Britten avait écrit travers de certaines pièces datant du début une musique totalement différente, quoique tout des années trente. En effet, tant A Hymn to the aussi dramatique, pour chœur et orchestre. Virgin que I Saw Three Ships, remanié en 1967 et devenu The Sycamore Tree, furent composés © Philip Reed au cours de l’été 1930. Thy King’s Birthday vit Traduction: Marie-Stella Pâris le jour un an plus tard et A Boy Was Born, en 1932 – 1933. Dans ces diverses œuvres, les affinités que Britten avait montrées comme DISQUE COMPACT DEUX jeune compositeur pour la musique choral, et en particulier pour la musique sacrée, Sweet Was the Song the Virgin Sung sont manifestes. L’éducation de Britten – les Dans son journal, à la date du 12 janvier 1931, contacts avec St John’s Church à Lowestoft Britten note la composition d’un petit chant et le fait d’avoir chanté dans le Chapel Choir de Noël pour voix de femmes, Sweet Was the à la Gresham’s School – ont sans doute été Song the Virgin Sung (Douce était la chanson à l’origine de sa connaissance du répertoire de la Vierge). Cette pièce (écrite au cours de classique et de sa prédilection pour celui-ci. son deuxième trimestre au Royal College of Ce n’est peut-être pas par hasard, qu’au retour Music) lui avait été inspirée par une anthologie des États-Unis en 1942, à une époque où il était de chants de Noël que lui avait offerte sa sœur profondément conscient de retourner vers ses aînée, Barbara, en novembre 1930. C’est dans “racines”, Britten fut attiré une fois encore par ce recueil que fut puisée la plupart des textes la composition d’une œuvres réunissant des d’une Suite de Noël en cinq mouvements chants de Noël. Les textes anglais anciens, intitulée, Thy King’s Birthday. La Suite ne fut médiévaux pour certaines, de A Ceremony of jamais interprétée dans son entièreté au cours Carols (Un festival de chants de Noël) furent de la vie de Britten, mais “Sweet Was the Song” sélectionnés en grande partie dans une fut remaniée pour être exécutée au Festival anthologie poétique acquise par le compositeur d’Aldeburgh en 1966. à Halifax en Nouvelle-Écosse. C’est alors qu’il

42 était à bord du MS Axel Johnson que Britten la Seconde École viennoise sont manifestes, en composa en grande partie la musique. par exemple, dans la Sinfonietta, le Quartettino Britten choisit la harpe pour accompagner le et dans l’Élégie pour alto solo. Par contre, chœur de jeunes garçons – choix inhabituel sa musique sacrée, si elle paraît originale, pour une œuvre souvent exécutée dans est issue, de toute évidence, de la tradition une église – sous l’influence probable d’une de musique sacrée chorale en Angleterre, si récente commande d’un concerto pour harpe. familière à Britten. Il s’agit d’une série de pièces L’instrument est traité avec une particulière qui, à bien des égards, est isolé de l’ensemble sensibilité pour son timbre. La distinction de l’œuvre du compositeur et qui est presque infime entre le ré bemol et le ut dièse au début entièrement dépourvue des tensions inhérentes de “That yongë child” (Le Petit Enfant) qui imite à la musique dramatique ou instrumentale. Ici, étrangement le “chant rauque” du rossignol Britten semble à l’aise, stylistiquement parlant, en est un exemple. Le plain-chant dans la sans jamais manquer d’originalité ou se montrer “Procession” et la “Récession” ont été ajouté moralisateur ou routinier. par Britten après son retour en Angleterre. Il Le premier cantique mis en musique par anticipe ainsi le recours au plain-chant comme Britten, le Te Deum en ut majeur pour chœur et élément de structure, quelque vingt ans plus orgue, fut composa en juillet 1934 pour Maurice tard, dans les Church Parables (paraboles Vinden et le chœur de St Mark’s, North Audley destinées à être mise en scène à l’église). Street à Londres. Britten avait été initié à l’intreprétation du plain-chant à Gresham: son empreinte est Jubilate Deo en mi bémol majeur manifeste dans plusieurs de ses compositions. Trois semaines plus tard, Britten composa, Contrairement aux “opéras d’église” de pour le même chœur, son pendant, le Jubilate construction rigide, seul l’interlude à la harpe Deo en mi bémol majeur, qui fut retiré et ne fut est émaillé, ici, de motifs empruntés au chant. publié qu’après le décès du compositeur. Les deux œuvres, qui se prêtent aussi bien à être Te Deum exécutées dans une église paroissiale que La musique instrumentale du début des dans une cathédrale, sont construites sur les années trente donne de Britten l’image éléments de la tradition chorale de Stanford d’un compositeur jeune et sérieux, avide et d’Ireland, et contrastent avec les mises de se laisser imprégner par les tendances en musique plus grandioses de Howells, par continentales: des échos de Schoenberg et de exemple.

43 Festival Te Deum joie retentissante du “Sanctus”, pareille au Dix ans après ce premier Te Deum, Britten son d’une cloche, à l’organum candide du reçoit en commande une pièce pour marquer “Benedictus” –, mais il réserve une note plus le centenaire de St Mark’s Church à Swindon. austère pour l’”Agnus Dei” qui implore la paix Le Festival Te Deum, op. 32, est inhabituel par sur un ton d’une inquiétante désolation. l’indépendance métrique dans les parties chorales et dans l’accompagnement à l’orgue. Antiphon Il s’agit d’une approche originale du texte Antiphon (Refrain), op. 56b, composé en 1956 qui contraste nettement avec les textures pour le centenaire de St Michael’s à Tenbury, traditionnelles tissées d’accords du premier s’inspire du texte de George Herbert. “Praised by Te Deum (œuvre dont Constant Lambert donne the God of love / Here above / And here below” une description mémorable et qualifie de “terne (Que sur la terre / Et dans les cieux / Le Dieu et contrite”). d’Amour soit loué) est illustré par un unisson radieux exécuté par le chœur et une intervention Jubilate Deo en ut majeur “dynamique” de l’orgue, un solo aérien des En 1961, Britten compose un second Jubilate sopranos contrastant avec les accords parfaits Deo, cette fois en ut majeur, à la demande du dans les graves, chantés par les altos, les ténors duc d’Édimbourg, pour faire pendant au Te et les basses. La description du symbolisme Deum de 1934. musical (une texture partiellement imitative pour “He our foes in pieces brake” – Il a anéanti Missa brevis nos ennemis – et le vers final “Who hath made Britten admirait beaucoup les sonorités of two folds one” – Qui de deux troupeaux en fit acérées propres aux choristes de la cathédrale un – où la répétition constante par les sopranos de Westminster, cultivées par leur directeur, de “un”, avec en réponse dans un premier temps George Malcolm. Et lorsqu’il apprend, en 1959, le “deux” pénétrant des voix basses, trouve le prochain départ de Malcolm à la retraite, enfin la réplique adéquate, l’accord sur la note Britten compose rapidement la Missa brevis en fondamentale sur le mot “un”) peut apparaître ré majeur, op. 63. L’œuvre, remarquablement naïve. Toutefois, l’effet produit, avec cette concise, fait abondamment appel au timbre distanciation dans l’espace entre “ciel” et “terre”, incisif des sopranos dans une musique accentuée par le placement des sopranos d’une vivacité rythmique débordante. Britten solos dans une galerie éloignée du chœur, est réussit à créer une variété d’effets – de la particulièrement émouvant.

44 A Wedding Anthem les torches glaciales promènent leurs lueurs A Wedding Anthem (Un psaume nuptial), fureteuses) – par des accords ponctuant op. 46, rarement exécuté du fait que le texte de énergiquement une ondoyante mélodie sans Ronald Duncan est un texte de circonstance, paroles – et la jubilation contrainte de “Time to fut composé pour le mariage du comte de arise Democracy” (Le temps de la Démocratie Harewood avec Marion Stein en septembre est venu), mais il lui imprime aussi le caractère 1949. C’est une pièce magnifiquement écrite d’un présage comme il le fait pour d’autres pour soprano et ténor solos, chœur et orgue, œuvres datant de la même période. dans laquelle Britten, une fois de plus, donne joyeusement la réplique au symbolisme du A Boy Was Born texte. À l’époque où il compose sa première œuvre chorale majeure, A Boy Was Born (Un garçon © Judith LeGrove est né), op. 3, Britten est étudiant au Royal Traduction: Marie-Françoise de Meeûs College of Music et John Ireland, Ralph Vaughan Williams ainsi que Herbert Howells, trois piliers de la musique chorale anglaise, font partie DISQUE COMPACT TROIS de son équipe. Cependant, à divers égards, l’œuvre témoigne de l’influence prédominante Advance Democracy de son premier professeur, Frank Bridge, Advance Democracy (Progresse Démocratie), qui l’avait encouragé à regarder au-delà composé en novembre 1938 à l’époque où, de son horizon immédiat dans la direction en Europe, régnaient l’inquiétude et une de la musique nouvelle et des conceptions instabilité politique constante (les lettres de du continent. Les deux premiers opus de Britten datant de cette période témoignent Britten, la Sinfonietta (op. 1) et la Phantasy de sa désillusion suite à l’échec dec accords (op. 2), font montre du souci du compositeur de Munich), est une œuvre pour chœur à huit de résoudre des problèmes de forme en ne voix d’après un texte de Randall Swingler négligeant certes pas la technique de la (1909 – 1967), membre du parti communiste variation qu’il avait rencontrée dans la musique et éditeur de la Left Review. Britten illustre de Schoenberg: le deuxième mouvement de habilement les images assez crues de “Across la Sinfonietta est un ensemble de variations the darkened city the frosty searchlights tandis que la Phantasy est conçu comme un creep” (Au travers des ténèbres de la ville mouvement unique, intégré quant au motif.

45 Ces deux œuvres sont, dès lors, pour Britten, La première variation, par exemple, se une expérience utile quant à son ambitieuse détache sur un motif de berceuse (“Lullay”) décision de structurer sa première œuvre qui se développe au départ de deux voix chorale de grande envergure sous forme d’une pour s’étendre à l’ensemble des huit voix, série de variations. incluant le chœur de jeunes garçons, et dans Le 12 novembre 1932, Britten note dans son la quatrième variation, le texte des différentes journal: voix se détache sur un ostinato sans paroles, Me suis rendu chez Whiteley’s ce matin presque instrumental. C’est peut-être la pour me faire couper les cheveux puis à cinquième variation, “In the Bleak Mid-winter” St. Martin’s Lane chez Chatto & Windus pour (Au cœur de l’hiver glacial), qui répond le mieux y chercher une copie de Ancient English au texte – en ce cas une combinaison de la Carols [Chansons anglaises anciennes]. Je poésie de Christina Rossetti et du Corpus pense inclure bientôt des arrangements de Christi Carol, une chanson anonyme datant du certaines d’entre elles dans une œuvre pour quinzième siècle: les paroles de la chanson chœur.1 sont déclamées en rythme presque libre et se A Boy Was Born, sous-titré “variations chorales superposent au texte moderne aux voix graves. pour voix d’hommes, de femmes et de jeunes A Boy Was Born fut diffusé pour la première garçons, sans accompagnement”, a pour fois le 23 février 1934 par la BBC Wireless thème un texte anonyme du seizième siècle Chorus sous la direction de Leslie Woodgate. que l’auteur a conçu en homophonie pure, L’accueil de la critique, comme on pouvait selon le procédé choral. Dans les six variations s’y attendre dans le cas d’une œuvre aussi successives, l’art de Britten réside tout autant accomplie écrite par un jeune homme de dix- dans la transformation du thème que dans neuf ans, est partagé entre l’admiration et le l’habileté avec laquelle il traite le chœur à reproche quelque peu coutumier selon lequel, huit voix: les textures de l’accompagnement dans cette pièce néanmoins “ingénieuse”, la choral sont manifestement inspirées par ses résolution de problèmes techniques a occupé récentes expériences d’écriture instrumentale. l’esprit du compositeur à l’exclusion de toute idée musicale. Grace Williams (1906 – 1977), amie compositeur de Britten, écrit peu après 1 Les droits sur la citation extraite du journal de Benjamin Britten appartiennent au Trustees of the Britten – Pears cette première diffusion qu’elle a trouvé Foundation et celle-ci ne peut être reproduite sans A Boy Was Born “trop réactionnaire” et “trop l’autorisation écrite de cette Fondation. typiquement anglais” par endroits. Britten

46 n’allait jamais plus s’essayer à une approche rythmique animée des différentes voix tandis aussi radicale d’une œuvre chorale sans que dans “The Succession of the Four Sweet accompagnement. Months” (La Succession des quatre mois exquis), un fugato enjoué introduit chacun Five Flower Songs des mois. “Marsh Flowers” est une réponse Si l’on peut considérer que A Boy Was Born austère au texte très lugubre de Crabbe et est le fruit de la période expérimentale de “The Evening Primrose” (La Primevère vespérale) Britten marquée par sa grande ouverture aux est imprégné d’une radieuse sérénité. Le dernier influences étrangères, la pièce Five Flower morceau, “Ballad of Green Broom” (Ballade du Songs (Cinq Chants de fleur), op. 47, s’enracine, vert genêt) conte sa propre histoire sur un elle, tout aussi fermement, dans sa période accompagnement qui rappelle le raclement “anglaise” qui suit son retour des États-Unis des cordes de la guitare et se termine par une en 1942. Deux œuvres composées, l’une avant évocation de sonneries de cloches célébrant les et l’autre après Flower Songs, témoignent de épousailles du jeune homme et de la “Lady in full la manière dont Britten s’inspirait à l’époque bloom” (Jeune fille à la fleur de sa beauté). de son héritage national: Spring Symphony, écrite en 1949, est une superbe célébration Sacred and Profane chorale de la poésie anglaise et Lachrymae Sacred and Profane (Sacré et profane) est (1950) a pour thème un “ayre” du compositeur achevé en janvier 1975 et destiné au Wilbye élisabéthain John Dowland. Les Five Flower Consort et à son chef, Peter Pears. Il s’agit d’une Songs, composés au printemps de 1950 pour mise en musique cyclique de poèmes anglais Dorothy et Leonard Elmhirst (les propriétaires des douzième, treizième et quatorzième siècles. de Dartington Hall) à l’occasion de leurs noces Pour une œuvre au motif unique, elle contient d’argent, s’inscrivent certes dans la tradition du des contrastes stylistiques perturbants qui ne chant polyphonique anglais dont l’exemple fut proviennent pas seulement de la juxtaposition donné par C.V. Stanford. Il s’agit d’arrangements des éléments sacrés et profanes. Un rapide de textes de poètes représentés dans la Spring aperçu de la première pièce, une invocation de Symphony, Robert Herrick et John Clare, auxquels St Godric à la Sainte Vierge, donne à penser qu’il s’ajoute “Marsh Flowers” (Fleurs des marécages) s’agit de la plus limpide du recueil, mais ses de George Crabbe, le poète d’Aldeburgh. Les ambiguïtés tonales et ses silences dramatiques contrastes abondent dans la pièce: “To Daffodils” sont impressionnants. “I mon waxe wod” (Aux jonquilles) se distingue par l’interaction (Je dois devenir fou) est remarquable par

47 la manière dont Britten répartit les textes monde à avoir remporté le prix très recherché entre les différentes sections du chœur, que décerne la National Federation of procédé utilisé avec plus d’effet encore dans Music Societies et celui de la Music Trades’ la cinquième pièce, “Yif ic of luve can” (Si j’ai Association pour le meilleur enregistrement de de l’amour quelque science) où le déchant musique instrumentale soliste de l’année avec des sopranos, métriquement non aligné, crée son disque Echos of a Waterfall. Ses autres une impression d’intensité, rare même chez enregistrements lui ont également value les Britten. Ce climat est brusquement contrarié louanges de la critique dans le monde entier. par le “Carol” (Chanson) ironique dont la Les tournées de concerts de Susan Drake phrase introductive de caractère folklorique l’ont menée dans toute la Grande-Bretagne, se métamorphose en une exclamation tout en en Europe, aus États-Unis, en Australie et à sincérité lorsque les ténors chantent le motet Singapour. Elle a été professeur de harpe au pour la semaine de la Passion, “Ye that pasen National Youth Orchestra de Grande-Bretagne. by” (Vous qui passez). La pièce finale, “A death” (Une mort), est un portrait macabre Né en 1962, Andrew Lumsden fait ses études qui termine ironiquement néanmoins sur les au Collège de Winchester et à la Royal Scottish mots (en anglais moderne) “For the whole world Academy of Music and Drama avant d’entrer I don’t care one jot” (Du monde entier, je n’ai que au St John’s College de Cambridge comme faire). De la part d’un compositeur qui avait écrit spécialiste de l’orgue; il y est assistant Death in Venice en 1973 et Canticle V: The Death du Dr George Guest. Pendant trois ans, il of St Narcissus en 1974, et qui était gravement est organiste assistant à la cathédrale malade à ce moment, ceci peut-il être de Southwark, puis est nommé organiste considéré comme une nouvelle confrontation suppléant à l’abbaye de Westminster. avec le thème de la mortalité? Il participe en outre régulièrement aux programmes du BBC’s Daily Service et Choral © Judith LeGrove Envensong (Service quotidien et Office choral Traduction: Marie-Françoise de Meeûs du soir diffusés à la BBC). En 1992, il est nommé organiste et chef des Choristes à la cathédrale Susan Drake compte parmi les meilleures de Lichfield; il enregistre plusieurs CD avec le harpistes européennes; elle est vivement chœur de la cathédrale et fait des tournées appréciée pour sa musicalité et sa technique en France, en Allemagne, en Italie et aux remarquables. Elle est la seule harpiste au États-Unis. Avec Robert Sharpe, il supervise la

48 reconstruction et l’agrandissement de l’orgue septième siècle, dans l’enceinte même de cette Hill de la cathédrale construit par Harrison and cathédrale. Le chœur passe régulièrement à Harrison. En septembre 2002, il succède à la radio et à la télévision, mais sa vie musicale David Hill et reprend ses fonctions d’organiste ne repose pas entièrement sur la cathédrale. et directeur de la musique à la cathédrale de Outre des projets comme cet enregistrement, Winchester. Le chœur continue à enregistrer et il s’est produit en concert avec Sir Simon Rattle à participer souvent à des émissions de radio; et Dame Kiri Te Kanawa et a fait des tournées il se produit dans des endroits prestigieux aux États Unis, en Allemagne, en France et en au Royaume-Uni comme à l’étranger. Comme Italie (cette tournée comprenait une audience chef des Waynflete Singers, Andrew Lumsden papale). Les directeurs de la musique actuels travaille régulièrement avec des orchestres sont Ben et Cathy Lamb. tels le Florilegium, le Bournemouth Symphony Orchestra et les London Mozart Players. Fondés par Paul Spicer en 1987 pour un En soliste, il s’est produit avec le London festival de musique britannique donné sous Philharmonic Orchestra au Royal Festival Hall, les auspices du Finzi Trust, The Finzi Singers l’English Chamber Orchestra au Barbican et le sont considérés depuis de nombreuses City of Birmingham Symphony Orchestra au années comme de grands défenseurs de la Symphony Hall de Birmingham. Ses fréquentes musique chorale britannique du vingtième tournées à l’étranger l’amènent à donner des siècle, dans laquelle ils se sont spécialisés. récitals à Bergen, San Francisco, Saint-Tropez, Leur discographie pour Chandos, qui comprend Harare et Sydney, notamment, et à diriger de nombreuses œuvres enregistrées pour la des cours de musique chorale à New York, en première fois, couvre une somme considérable Pennsylvanie, au Québec et dans le Delaware. de musique britannique rarement exécutée, montrant pour la première fois la richesse Les Choristes de la cathédrale de Lichfield et l’étendue de ce répertoire. Ils ont donné sont les voix les plus aiguës du chœur de la une multitude de concerts et participé à de cathédrale, qui se compose aussi de neuf nombreuses émissions radio; ils ont aussi chantres. Ensemble, ils assurent la contribution commandé beaucoup de musique nouvelle musicale pendant les services quotidiens – à des compositeurs tels Michael Berkeley, l’Opus Dei. Les garçons suivent leur scolarité Judith Bingham, John Joubert, David Matthews, à l’École de la cathédrale située au sein de Stephen Pratt, Jeremy Dale Roberts, Sir John l’ancien et magnifique palais épiscopal du dix- Tavener et James Wishart.

49 Choriste au New College d’Oxford, Paul Spicer l’objet de deux réimpressions; une importante étudie la composition avec Herbert Howells biographie de Sir George Dyson sera publiée et l’orgue avec Richard Popplewell au Royal en 2014. Il est l’auteur d’un ouvrage que l’on College of Music de Londres, où il enseigne utilise beaucoup sur les English Pastoral lui-même de 1995 à 2008. Il est surtout Partsongs (Chants pastoraux anglais) chez connu comme chef de chœur, en partie par Oxford University Press et d’innombrables le nombreux CD enregistrés avec les Finzi articles pour des périodiques; il participe en Singers pour Chandos Records. Il dirige les outre au Dictionary of National Biography. La chœurs Bach à Chester et Leicester, devient Fondation Britten – Pears et Boosey & Hawkes chef du Bach Choir de Birmingham en 1992 et lui ont commandé le premier guide pratique de dirige aussi le Chœur de Whitehall à Londres. toute la musique chorale de Benjamin Britten Il enseigne maintenant la direction chorale et il travaille à un guide analogue consacré à aux universités d’Oxford et de Durham et au l’ensemble de l’œuvre chorale (très fournie) Conservatoire de Birmingham, où il dirige de James MacMillan. Paul Spicer est un en outre le chœur de chambre. Directeur compositeur très recherché. Il est membre de artistique du Festival international des la Royal Society of Arts et chercheur honoraire arts de Lichfield et de l’Abbotsholme Arts à l’Université de Birmingham, chargé de cours Society, producteur en chef de BBC Radio 3 honoraire au Conservatoire de Birmingham, dans les Midlands, c’est un producteur très membre du conseil d’administration du Finzi recherché dans le domaine phonographique. Trust, vice-président de la Herbert Howells Sa biographie de Herbert Howells, publiée en Society et conseiller du Sir George Dyson août 1998, a connu un grand succès et a fait Trust.

50 COMPACT DISC ONE

1 Hymn to St Peter Thou shalt make them Princes over all the earth, They shall remember thy name, O Lord, Thou shalt make them Princes. Instead of thy fathers, Sons are born to thee: Therefore shall the people praise thee, Alleluia. Tu es Petrus… Thou art Peter. Et super hanc petram… And upon this rock Aedificabo Ecclesiam… I will build my church. Alleluia, Alleluia, Alleluia.

Extract from Gradual of the Feast of St Peter and St Paul

2 A Hymn of St Columba Regis regum rectissimi King of kings and of lords most high, Prope est dies domini, Comes his day of judgement nigh: Dies irae et vindictae, Day of wrath and vengeance stark, Tenebrarum et nebulae, Day of shadows and cloudy dark. Regis regum rectissimi. King of kings and of lords most high.

Diesque mirabilium Thunder shall rend that day apart, Tonitruorum fortium, Wonder amaze each fearful heart. Dies quoque angustiae, Anguish and pain and deep distress Maeroris ac tristitiae. Shall mark that day of bitterness. Regis regum rectissimi. King of kings and of lords most high.

51 In quo cessabit mulierum That day the pangs of lust will cease, Amor et desiderium, Man’s questing heart shall be at peace; Nominumque contentio Then shall the great no more contend Mundi hujus et cupido, And worldly fame be at an end. Regis regum rectissimi. King of kings and of lords most high.

St Columba (521 – 597)

3 A Hymn to the Virgin Of one that is so fair and bright Velut maris stella Like the star of the sea Brighter than the day is light, Parens et puella: Mother and maiden; I cry to thee, thou see to me, Lady, pray thy Son for me, Tam pia, So Holy, That I may come to thee. Maria!

All this world was forlorn Eva peccatrice, Because of Eve’s sin, Till our Lord was born De te genetrice. Of you his mother. With ave it went away Darkest night, and comes the day Salutis; Of salvation; The well springeth out of thee. Virtutis. Goodness.

Lady, flow’r of ev’rything, Rosa sine spina, Rose without thorn, Thou bare Jesu, Heaven’s King. Gratia divina: Grace divine:

52 Of all thou bear’st the prize, Lady, queen of paradise Electa: Chosen one Maid mild, mother es You Effecta. Became.

Anonymous

Hymn to St Cecilia 4 I In a garden shady this holy lady With reverent cadence and subtle psalm, Like a black swan as death came on Poured forth her song in perfect calm: And by ocean’s margin this innocent virgin Constructed an organ to enlarge her prayer, And notes tremendous from her great engine Thundered out on the Roman air.

Blonde Aphrodite rose up excited, Moved to delight by the melody, White as an orchid she rode quite naked In an oyster shell on top of the sea; At sounds so entrancing the angels dancing Came out of their trance into time again, And around the wicked in Hell’s abysses The huge flame flickered and eased their pain.

Blessed Cecilia, appear in visions To all musicians, appear and inspire: Translated Daughter, come down and startle Composing mortals with immortal fire.

53 5 II Where Hope within the altogether strange I cannot grow; From every outworn image is released, I have no shadow And Dread born whole and normal like a beast To run away from, Into a world of truths that never change: I only play. Restore our fallen day; O re-arrange. O dear white children casual as birds, I cannot err; Playing among the ruined languages, There is no creature So small beside their large confusing words, Whom I belong to, So gay against the greater silences Whom I could wrong. Of dreadful things you did: O hang the head, Impetuous child with the tremendous brain, I am defeat O weep, child, weep, O weep away the stain, When it knows it Lost innocence who wished your lover dead, Can now do nothing Weep for the lives your wishes never led. By suffering. O cry created as the bow of sin All you lived through, Is drawn across our trembling violin. Dancing because of you No longer need it O weep, child, weep, O weep away the stain. For any deed. O law drummed out by hearts against the still I shall never be Long winter of our intellectual will. Different. Love me. That what has been may never be again. Blessed Cecilia, appear in visions To all musicians, appear and inspire: O flute that throbs with the thanksgiving breath Translated Daughter, come down and startle Of convalescents on the shores of death. Composing mortals with immortal fire. O bless the freedom that you never chose. 6 III O ear whose creatures cannot wish to fall, O trumpets that unguarded children blow O calm of spaces unafraid of weight, About the fortress of their inner foe. Where Sorrow is herself, forgetting all The gaucheness of her adolescent state, O wear your tribulation like a rose.

54 Blessed Cecilia, appear in visions Let Jakim with the Satyr bless God in the To all musicians, appear and inspire: dance. Translated Daughter, come down and startle Let David bless with the Bear – The beginning Composing mortals with immortal fire. of victory to the Lord – to the Lord the perfection of excellence – © 1941 W.H. Auden (1907 – 1973) 9 Hallelujah from the heart of God, and Reprinted by permission of Curtis Brown Ltd from the hand of the artist inimitable, and from the echo of the heavenly harp in sweetness magnifical and mighty. Rejoice in the Lamb Chorus Soprano 7 Rejoice in God, O ye Tongues; give the glory 10 For I will consider my Cat Jeoffry. to the Lord, and the Lamb. For he is the servant of the Living God, duly Nations, and languages, and every Creature, and daily serving him. in which is the breath of Life. For at the first glance of the glory of God in the East he worships in his way. Let man and beast appear before him, and magnify his name together. For this is done by wreathing his body 8 Let Nimrod, the mighty hunter, bind a Leopard seven times round with elegant quickness. to the altar, and consecrate his spear For he knows that God is his Saviour. to the Lord. For God has blessed him in the variety of his Let Ishmael dedicate a Tyger, and give praise movements. for the liberty in which the Lord has let him For there is nothing sweeter than his peace at large. when at rest. Let Balaam appear with an Ass, and bless the For I am possessed of a cat, surpassing in Lord his people and his creatures for a beauty, from whom I take occasion to reward eternal. bless Almighty God. Let Daniel come forth with a Lion, and praise God with all his might through faith in Alto Christ Jesus. 11 For the Mouse is a creature of great personal Let Ithamar minister with a Chamois, and valour. bless the name of Him, that cloatheth the For – this is a true case – Cat takes female mouse – naked. male mouse will not depart, but stands threat’ning and daring.

55 ...If you will let her go, I will engage you, For L is love and therefore he is God. as prodigious a creature as you are. For M is musick and therefore he is God.

For the Mouse is a creature of great personal 15 For the instruments are by their rhimes. valour. For the Shawm rhimes are lawn, fawn, For the Mouse is of an hospitable disposition. moon, boon, and the like. For the harp rhimes are sing, ring, string Tenor and the like. 12 For the flowers are great blessings. For the cymbal rhimes are bell, well, toll, soul For the flowers have their angels even the and the like. words of God’s Creation. For the flute rhimes are tooth, youth, suit, For the flower glorifies God and the root mute and the like. parries the adversary. For the Bassoon rhimes are pass, class and For there is a language of flowers. the like. For flowers are peculiarly the poetry of Christ. For the dulcimer rhimes are grace, place, beat, heat and the like. Chorus For the Clarinet rhimes are clean, seen and 13 For I am under the same accusation with the like. my Saviour – For the trumpet rhimes are sound, bound, For they said, he is besides himself. soar, more and the like. For the officers of the peace are at variance For the TRUMPET of God is blessed with me, and the watchman smites me intelligence and so are all the instruments with his staff. in HEAVEN. For Silly fellow! Silly fellow! is against me For GOD the father Almighty plays upon and belongeth neither to me nor to my the HARP of stupendous magnitude and family. melody. For I am in twelve HARDSHIPS, but he that For at that time malignity ceases and the was born of a virgin shall deliver me out of devils themselves are at peace. all. For this time is perceptible to man by a remarkable stillness and serenity of soul. Recitative (bass) and Chorus 14 For H is a spirit and therefore he is God. For K is king and therefore he is God.

56 Chorus 19 3. Time and Concord 16 Hallelujah from the heart of God, and from From springs of bounty, the hand of the artist inimitable, and from Through this county, the echo of the heavenly harp in sweetness Streams abundant, magnifical and mighty. Of thanks shall flow.

Christopher Smart (1722 – 1771) Where life was scanty, from Jubilate Agno Fruits of plenty, Swell resplendent From earth below! Choral Dances from ‘Gloriana’ 17 1. Time No Greek nor Roman, Yes he is Time, Queenly woman Lusty and blithe! Knew such favour, Time is at his apogee! From Heav’n above. Although you thought to see A bearded ancient with a scythe, As she whose presence, No reaper he Is our pleasance, That cries ‘Take heed!’ Gloriana, Gloriana, Time is at his apogee! Hath all our love! Young and strong in his prime! Behold the sower of the seed! 20 4. Country Girls Sweet flag and cuckoo flower, Cowslip and columbine, 18 2. Concord Kingcups and sops in wine, Concord is here Flower deluce, Our days to bless And calaminth, And this our land to endue Harebell and hyacinth, With plenty, peace and happiness. Myrtle and bay, and with rosemary between, Norfolk’s own garlands for her Queen. Concord and Time, Each needeth each: 21 5. Rustics and Fishermen The ripest fruit hangs where From fen and meadow Not one, but only two can reach. In rushy baskets

57 They bring ensamples of all they grow. 24 2. Rosa Mystica In earthen dishes In the gardens of God, in the daylight divine, Their deep-sea fishes; Find me a place by thee, mother of mine. Yearly fleeces, Woven blankets; The Rose in a Mystery, where is it found? New cream junkets, Is it anything true? Does it grow upon ground? – And rustic trinkets It was made of earth’s mould, but it went On wicker flaskets, from men’s eyes, Their country largess, And its place is a secret, and shut in the skies. The best they know. In the gardens of God, daylight divine, 22 6. Final Dance of Homage I shall look on thy loveliness, mother of mine. These tokens of our love receiving, O take them, Princess great and dear, But where was it formerly? Which is the spot From Norwich city you are leaving, That was blest in it once, though now it is That you afar may feel us near. not? – It is Galilee’s growth; it grew at God’s will Reprinted by permission of the And broke into bloom upon Nazareth Hill. Estate of William Plomer (1903 – 1973)

Mother of mine, I shall keep time with thee,

A.M.D.G. Tell me the name now, tell me its name. 23 1. Prayer I The heart guesses easily, is it the same? – Jesu that dost in Mary dwell, Mary, the Virgin, well the heart knows, Be in thy servants’ hearts as well, She is the Mystery, she is that Rose. In the spirit of thy holiness, In the fulness of thy force and stress, Mother of mine, I shall come home to thee. In the very ways that thy life goes, And virtues that thy pattern shows, Is Mary that Rose then? Mary the Tree? In the sharing of thy mysteries; But the Blossom, the Blossom there, who And every power in us that is, can it be? – Against thy power put under feet Who can her Rose be? It could be but One: In the Holy Ghost, the Paraclete Christ Jesus our Lord, her God and her Son. To the glory of the Father. Amen.

58 In the gardens of God, daylight divine Because the Holy Ghost over the bent Shew me thy son, mother, O mother of mine. World broods with warm breast and with ah! bright wings. Does it smell sweet, too, in that holy place? The world is charged with the grandeur of God. Sweet unto God, and the sweetness is grace; The breath of it bathes the great heaven above, 26 4. Prayer II In grace that is charity, grace that is love. Thee, God, I come from, to thee go, All day long I like a fountain flow, To thy breast, to thy breast, to thy glory divine, From thy hand out, swayed about Draw me by charity, mother of mine. Mote-like in thy mighty glow.

25 3. God’s Grandeur What I know of thee I bless, The world is charged with the grandeur of God, As acknowledging thy stress It will flame out, like shining from shook foil; On my being and as seeing It gathers to a greatness, like the ooze of oil. Something of thy holiness. Crushed. Why do men then now not reck his rod? Once I turned from thee and hid, Generations have trod, have trod, have trod; Bound on what thou hadst forbid; And all is seared with trade; bleared, Sow the wind I would, I sinn’d: smeared with toil; I repent of what I did. And wears man’s smudge and shares man’s smell: the soil Bad I am, but yet thy child. Is bare now, nor can foot feel, being shod. Father, be thou reconciled. The world is charged with the grandeur of God. Spare thou me, since I see With thy might that thou art mild. And, for all this, nature is never spent; There lives the dearest freshness I have life before me still deep down things; And thy purpose to fulfill; And though the last lights of the Yea a debt to pay thee yet: black West went Help me, sir, and so I will. Oh, morning, at the brown brink eastward, springs –

59 27 5. O Deus, ego amo Te It fancies, feigns, deems the artist after his art; (O God, I love thee) And fain will find as sterling all as all is smart O God, I love thee, I love thee – And scarlet wear the spirit of war there express. Not out of hope of heaven for me Mark Christ our King. He knows war, served this Nor fearing not to love and be soldiering through; In the everlasting burning. He of all can handle a rope best. There he bides Thou, thou, my Jesus, after me in bliss Didst reach thine arms out dying, Now, and seeing somewhere some do all that For my sake suffer’dst nails and lance, man can do, Mocked and marrèd countenance, For love he leans forth, needs his neck must fall Sorrows passing number, on, kiss, Sweat and care and cumber, And cry ‘O Christ-done deed! So God-made- Yea and death, and this for me, flesh does too:’ And thou couldst see me sinning: “Were I come o’er again’ cries Christ ‘it should Then I, why should not I love thee, be this”. Jesu, so much in love with me? Not for heaven’s sake; not to be 29 7. Heaven-Haven Out of hell by loving thee; I have desired to go Not for any gains I see; Where springs not fail, But just the way thou didst me To fields where flies no sharp and sided hail I do love and I will love thee: And a few lilies blow. What must I love thee, Lord, for then? – For being my king and God. Amen. And I have asked to be Where no storms come, 28 6. The Soldier Where the green swell is in the havens dumb, Yes. Why do we all, seeing of a soldier, And out of the swing of the sea. bless him? Bless, Gerard Manley Hopkins (1844 – 1889) Our redcoats, our tars? Both of these being, the from The Poems of Gerard Manley Hopkins, greater part, edited by W.H. Gardner and N.H. MacKenzie, But frail clay, nay but foul clay. Here it is: the fourth edition © 1967 The Society of Jesus heart, Reprinted by permission of Oxford University Press Since, proud, it calls the calling manly, gives a guess That, hopes that, makes-believe, the men must be no less, 60 COMPACT DISC TWO Heav’n and earth are full of the Majesty of Thy Glory. 1 Jubilate Deo The glorious company of the Apostles praise O be joyful in the Lord, all ye lands: serve Thee: the goodly fellowship of the Prophets the Lord with gladness and come before praise Thee. his presence with a song. The noble army of Martyrs praise Thee. Be ye sure that the Lord he is God: it is he that The Holy Church thro’out all the world doth hath made us and not we ourselves; we acknowledge Thee, the Father of an infinite are his people, and the sheep of his Majesty. pasture. Thine honourable, true, and only Son; also the O go your way into his gates with thanksgiving, Holy Ghost, the Comforter. and into his courts with praise: be thankful Thou art the King of Glory, O Christ: thou art the unto him, and speak good of his name. everlasting Son of the Father. For the Lord is gracious, his mercy is When Thou tookest upon Thee to deliver man, everlasting: and his truth endureth from thou didst not abhor the Virgin’s womb. generation to generation. When Thou had’st overcome the sharpness of Glory be to the Father, and to the Son, and to death, thou did’st open the Kingdom of the Holy Ghost. Heav’n to all believers. As it was in the beginning, is now and ever Christ! shall be: world without end. Thou sittest at the right hand of God in the Amen. Glory of the Father. We believe that Thou shalt come to be our judge. 2 Te Deum We therefore pray Thee help Thy servants We praise Thee, O God, we acknowledge Thee whom Thou hast redeemed with Thy to be the Lord. precious blood. All the earth doth worship Thee, the Father Make them to be number’d with Thy Saints in everlasting. glory everlasting. To Thee all Angels cry aloud, the Heav’ns and O Lord, save Thy people and bless Thine all the Pow’rs therein. heritage: govern them and lift them up To Thee Cherubim and Seraphim continually forever. do cry, Day by day we magnify Thee and we worship Holy, Holy, Holy, Lord God of Sabaoth! Thy name ever world without end.

61 Vouchsafe, O Lord, to keep us this day without sin, O Lord, have mercy upon us. O Lord, let Thy mercy lighten upon us, as our trust is in Thee. O Lord, in Thee have I trusted: let me never be confounded.

3 Antiphon Praised be the God of Love, Here below And here above, Who hath dealt his mercies so To his friend And to his foe: That both grace and glory tend, Us of old And us in th’ end. The great shepherd of the fold Us did make, for us was sold.

He our foes in pieces brake, Him we touch And he we take. Wherefore since that he is such We adore And we do crouch, Lord, thy praises should be more, We have none And we not store. Praised be the God alone Who hath made of two folds one.

George Herbert (1593 – 1633)

62 Missa brevis 4 I. Kyrie Kyrie eleison, Lord have mercy, Christe eleison, Christ have mercy, Kyrie eleison. Lord have mercy.

5 II. Gloria Gloria in excelsis Deo. Glory to God in the highest. Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. Laudamus te. Benedicimus te. Adoramus We praise you, we bless you, we adore you, te. Glorificamus te. we glorify you. Gratias agimus tibi propter magnam gloriam We give you thanks for your great glory. tuam. Domine Deus, Rex coelestis, Deus Pater Lord God, heavenly King, God the Father omnipotens. almighty. Domini Fili unigenite Jesu Christe. Lord, only-begotten Son, Jesus Christ, Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father, Qui tollis peccata mundi, miserere nobis. You take away the sins of the world, have mercy on us. Qui tollis peccata mundi, suscipe You take away the sins of the world, receive deprecationem nostram. our prayer. Qui sedes ad dexteram Patris, miserere nobis. You sit at the right hand of the Father, have mercy on us. Quoniam tu solus sanctus, tu solus Dominus, For you alone are holy, you alone are the Lord, tu solus Altissimus, tu solus Jesu Christe, you alone are the Most High, you alone are Jesus Christ. Cum Sancto Spiritu in gloria Dei Patris. With the Holy Spirit, in the glory of God the Father. Amen. Amen.

63 6 III. Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Holy, holy, holy, Lord God of power. Sabaoth. Pleni sunt caeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Osanna in the highest.

7 IV. Benedictus Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Hosanna in excelsis. Osanna in the highest.

8 V. Agnus Dei Agnus Dei, qui tollis peccata mundi: miserere Lamb of God, who takes away the sins of the nobis. world, have mercy upon us. Agnus Dei, qui tollis peccata mundi: miserere Lamb of God, who takes away the sins of the nobis. world, have mercy upon us. Agnus Dei, qui tollis peccata mundi: dona nobis Lamb of God, who takes away the sins of the pacem. world, grant us peace.

9 A Wedding Anthem Now let us sing gaily Ave Maria! And may the Holy Virgin Who was the Mother of Jesus Grant that these two children May live together happily For Faith releases Gaiety As marriage does true Chastity! Ave Maria!

See how the scarlet sun Overthrows the heavy night

64 And where black shadows hung There reveals a rose, a rose so pure and white, Thus did Jesus bring To the blind world of man That faith which is their sight And Love that is their light. Ave Maria!

As mountain streams find one another Till they are both merged there – in a broad, peaceful river As it flows to the sea and in it are lost forever, So those who love seek one another But when they are joined here – to Christ’s Love, oh so tender Though their years may be brief yet through Him they love forever!

Now let us sing gaily These two they are not two Love has made them one Amo Ergo Sum! I love and so I live! And by its mystery Each is no less but more Amo Ergo Sum! I love and so I live! For to love is to be And in loving Him, I love Thee! Amo Ergo Sum! I love and so I live!

65 Per vitam Domini Through the life of our Lord Spes nobis cantavit. Hope has sung to us. Per fidem Domini Through the faith of our Lord Lux diem novavit. Light has renewed the day. Per mortem Domini, Through the death of our Lord Mors mortem fugavit, Death has cast aside death. Amen! Amen!

Ronald Duncan (1914 – 1982) © 1949 by Boosey & Co., Ltd Reproduced by permission of Boosey & Hawkes Music Publishers Ltd

10 Sweet Was the Song the Virgin Sung Sweet was the song the Virgin sung, When she to Bethlem Juda came, And was delivered of a Son, That blessed Jesus hath to name. Lulla, lulla, lulla, lullaby, Lulla, lulla, lulla, lullaby, Sweet Babe, sang she. My Son and eke a Saviour born, Who hast vouchsafed from on high To visit us that were forlorn. Lalula, lalula, lalulaby, Sweet Babe, sang she, And rocked Him sweetly on her knee.

From William Ballet’s Lute Book in the Library of Trinity College, Dublin

66 A Ceremony of Carols 11 1. Procession Hodie Christus natus est: Today Christ is born: Hodie Salvator apparuit: Today our Saviour has appeared: Hodie in terra canunt angeli laetantur Today angels sing on earth and archangels archangeli: rejoice: Hodie exsultant justi dicentes: Today the righteous speaking are overjoyed: Gloria in excelsis Deo. Glory to God in the Highest. Alleluia! Alleluia!

12 2. Wolcum Yole! Wolcum be thou hevenè king, Wolcum Yole! Wolcum, born in one morning, Wolcum for whom wesall sing! Wolcum be ye, Steven and Jon, Wolcum, Innocentes every one, Wolcum, Thomas marter one, Wolcum be ye good Newe Yere, Wolcum, Twelfthe Day both infere, Wolcum, seintes lefe and dere, Wolcum Yole, Wolcum! Candelmesse, Quene of bliss, Wolcum bothe to more and lesse. Wolcum be ye that are here, Wolcum Yole, Wolcum alle and make good cheer. Wolcum alle another yere, Wolcum Yole, Wolcum!

13 3. There is no Rose There is no rose of such vertu As is the rose that bare Jesu. Alleluia,

67 For in this rose conteinèd was Heaven and earth in litel space, Res miranda. A wondrous event. By that rose we may well see There be one God in persons three, Pares forma. Equal in form. The aungels sungen the shepherds to: Gloria in excelsis, Deo! Glory to God in the highest. Gaudeamus, Let us rejoice, Leave we all this werldly mirth, And follow we this joyful birth. Transeamus. Let us follow thee. Alleluia, Res miranda, A wondrous event, Pares forma, Equal in form, Gaudeamus, Let us rejoice, Transeamus. Let us follow thee.

14 4a. That yongë child That yongë child when it gan weep With song she lulled him asleep: That was so sweet a melody It passèd alle minstrelsy. The nightingalë sang also: Her song is hoarse and nought thereto: Whoso attendeth to her song And leaveth the first then doth he wrong.

15 4b. Balulalow O my deare hert, young Jesu sweit, Prepare they creddil in my spreit, And I sall rock thee to my hert, And never mair from thee depart.

68 But I sall praise thee evermoir His battering shot are babish cries, With sanges sweit unto thy gloir; His arrows looks of weeping eyes, The knees of my hert sall I bow, His martial ensigns Cold and Need, And sing that richt Balulalow! And feeble Flesh his warrior’s steed.

16 5. As dew in Aprille His camp is pitchèd in a stall, I sing of a maiden that is makèles: His bulwark but a broken wall; King of all kings The crib his trench, haystalks his stakes; To her son she ches. Of shepherds he his muster makes; He came al so stille And thus, as sure his foe to wound, There his moder was, The angels’ trumps alarum sound. As dew in Aprille That falleth on the grass. My soul, with Christ join thou in fight; He came al so stille Stick to the tents that he hath pight. To his mother’s bour, Within his crib is surest ward; As dew in Aprille This little Babe will be thy guard. That falleth on the flour. If thou wilt foil thy foes with joy, He came al so stille Then flit not from this heavenly Boy. There his moder lay, As dew in Aprille 18 7. Interlude That falleth on the spray. Moder and mayden was never none but she: 19 8. In Freezing Winter Night Well may such a lady Goddes moder be. Behold, a silly tender babe, in freezing winter night, 17 6. This little Babe In homely manger trembling lies This little Babe so few days old, Alas, a piteous sight! Is come to rifle Satan’s fold; The inns are full; no man will yield All hell doth at his presence quake, This little pilgrim bed. Though he himself for cold do shake; But forced he is with silly beasts For in his weak unarmèd wise In crib to shroud his head. The gates of hell he will surprise. This stable is a Prince’s court, This crib his chair of State; With tears he fights and wins the field, The beasts are parcel of his pomp, His naked breast stands for a shield; The wooden dish his plate.

69 The persons in that poor attire His royal livries wear; The Prince himself is come from heav’n; This pomp is prizèd there. With joy approach, O Christian wight, Do homage to thy King, And highly praise his humble pomp, Which he from Heav’n doth bring.

20 9. Spring Carol Pleasure it is to hear iwis, the Birdès sing, The deer in the dale, the sheep in the vale, the corn springing, God’s purvayance for sustenance. It is for man. Then we always to him give praise, And thank him than.

21 10. Deo Gracias Deo gracias! Thanks be to God! Adam lay ibounden, bounden in a bond; Four thousand winter thought he not to long. Deo gracias! Thanks be to God! And all was for an appil, an appil that he tok, As clerkès finden written in their book. Deo gracias! Thanks be to God! Ne had the appil takè ben, The appil takè ben, Ne haddè never our lady A ben havenè quene. Blessed be the time That appil takè was. Therefore we moun singen. Deo gracias! Thanks be to God!

70 22 11. Recession Hodie Christus natus est: Today Christ is born: Hodie Salvator apparuit: Today our Saviour has appeared: Hodie in terra canunt angeli laetantur Today angels sing on earth and archangels archangeli: rejoice: Hodie exsultant justi dicentes: Today the righteous speaking are overjoyed: Gloria in excelsis Deo. Glory to God in the Highest. Alleluia! Alleluia!

23 Festival Te Deum We praise Thee, O God, we acknowledge Thee to be the Lord. All the earth doth worship Thee, the Father everlasting. To Thee all Angels cry aloud the Heav’ns and all the Pow’rs therein. To Thee Cherubim and Seraphim continually do cry, Holy, Holy, Holy, Lord God of Sabaoth! Heav’n and earth are full of the Majesty of Thy Glory. The glorious company of the Apostles praise Thee: the goodly fellowship of the Prophets praise Thee. The noble army of Martyrs praise Thee. The Holy Church thro’out all the world doth acknowledge Thee, the Father of an infinite Majesty, Thine honourable, true, and only Son; also the Holy Ghost, the Comforter. Thou art the King of Glory, O Christ: thou art the everlasting Son of the Father.

71 When Thou tookest upon Thee to deliver man, Be ye sure that the Lord he is God: it is he that thou didst not abhor the Virgin’s womb. hath made us and not we ourselves; we are When Thou had’st overcome the sharpness of his people, and the sheep of his pasture. death, thou did’st open the Kingdom of O go your way into his gates with thanksgiving, Heav’n to all believers. and into his courts with praise: be thankful Thou sittest at the right hand of God in the unto him, and speak good of his name. Glory of the Father. For the Lord is gracious, his mercy is We believe that Thou shalt come to be our everlasting: and his truth endureth from judge. generation to generation. We therefore pray Thee help Thy servants Glory be to the Father, and to the Son, and to whom Thou hast redeemed with Thy the Holy Ghost. precious blood. As it was in the beginning, is now and ever Make them to be number’d with Thy Saints in shall be: world without end. glory everlasting. Amen. O Lord, save Thy people and bless Thine heritage: govern them and lift them up forever. COMPACT DISC THREE Day by day we magnify Thee and we worship Thy name ever world without end. Five Flower Songs Vouchsafe, O Lord, to keep us this day without 1 1. To Daffodils sin, Fair daffodils, we weep to see O Lord, have mercy upon us. You haste away so soon; O Lord, let Thy mercy lighten upon us, as our As yet the early rising sun trust is in Thee. Has not attained his noon. O Lord, in Thee have I trusted: let me never be Stay, stay, confounded. Until the hasting day Has run But to evensong; 24 Jubilate Deo And, having prayed together, O be joyful in the Lord, all ye lands: serve We will go with you along. the Lord with gladness and come before Fair daffodils his presence with a song. We have short time to stay; as you. We have as short a Spring; As quick a growth to meet decay,

72 As you, or anything. In ev’ry chink delights the fern to grow You haste away so soon. With glossy leaf and tawny bloom below; We die, The few dull flowers that o’er the place are As your hours do, and dry away spread Like to the Summer’s rain; Partake the nature of their fenny bed, Or as the pearls of morning’s dew These, with our seaweeds rolling up and down, Ne’er to be found again. Form the contracted Flora of our town.

Robert Herrick (1591 – 1674) George Crabbe (1754 – 1832)

2 2. The Succession of the Four Sweet Months 4 4. The Evening Primrose First, April, she with mellow showers When once the sun sinks in the west, Opens the way for early flowers, And dewdrops pearl the evening’s breast; Then after her comes smiling May Almost as pale as moonbeams are, In a more rich and sweet array, Or its companionable star, Next enters June and brings us more The evening primrose opes anew Gems than those two that went before, Its delicate blossoms to the dew Then (lastly), July comes and she more And, hermitlike, shunning the light, Wealth brings in than all those three. Wastes its fair bloom upon the night; Who, blindfold to its fond caresses, Robert Herrick Knows not the beauty he possesses. Thus it blooms on while night is by; 3 3. Marsh Flowers When day looks out with open eye, Here the strong mallow strikes her slimy root, ’Bashed at the gaze it cannot shun, Here the dull nightshade hangs her deadly It faints and withers and is gone. fruit, John Clare (1793 – 1864) On hills of dust the henbane’s faded green, And pencil’d flower of sickly scent is seen, Here on its wiry stem, in rigid bloom, 5 5. Ballad of Green Broom Grows the salt lavender that lacks perfume, There was an old man liv’d out in the wood, At the wall’s base the fiery nettle springs And his trade was a-cutting of Broom, green With fruite globose and fierce with poison’d Broom, stings;

73 He had but one son without thought, without At market and fair, all folks do declare, good, There’s none like the Boy that sold Broom, Who lay in his bed till ’twas noon, bright noon. green Broom.

Anonymous The old man awoke one morning and spoke, He swore he would fire the room, that room, If his John would not rise and open his eyes And away to the wood to cut the Broom, green 6 Advance Democracy Broom. Across the darkened city The frosty searchlights creep So Johnny arose and slipp’d on his clothes Alert for the first marauder And away to the wood to cut Broom, green To steal upon our sleep. Broom, We see the sudden headlines He sharpen’d his knives, and for once he Float on the muttering tide, contrives We hear them warm and threaten To cut a bundle of Broom, green Broom. And wonder what they hide. There are whispers across tables, When Johnny pass’d under a Lady’s fine house, Talks in a shutter’d room. Pass’d under a Lady’s fine room, fine room, The price on which they bargain She call’d to her maid: ‘Go fetch me’, she said, Will be a people’s doom. ‘Go fetch me the boy that sells Broom, green There’s a roar of war in the factories, Broom.’ And idle hands on the street, And Europe held in nightmare When Johnny came in to the Lady’s fine house, By the thud of marching feet. And stood in the Lady’s fine room, fine room, Now sinks the sun of surety, ‘Young Johnny,’ she said, ‘Will you give up your The shadows growing tall Trade Of the big bosses plotting And marry a Lady in bloom, full bloom?’ Their biggest coup of all. Is there no strength to save us? Johnny gave his consent, and to church they No power we can trust, both went, Before our lives and liberties And he married the Lady in bloom, full bloom. Are powder’d into dust.

74 Time to arise Democracy, Time to rise up and cry That what our fathers fought for We’ll not allow to die. Time to decide. Time to resolve divisions, Time to renew our pride, Time to burst our house of glass. Rise as a single being In one resolve arrayed: Life shall be for the people That’s by the people made.

Randall Swingler (1909 – 1967) Reproduced by kind permission of Boosey & Hawkes Music Publishers Ltd

Sacred and Profane Sacred and Profane 7 1. St Godric’s Hymn 1. St Godric’s Hymn Sainte Marye Virgine, St Mary, the Virgin, Moder Jesu Christes Nazarene, Mother of Jesus Christ of Nazareth, Onfo, schild, help thin Godric, Receive, defend and help thy Godric, Onfang, bring heyilich with thee in Godes (and,) having received (him,) bring (him) on Riche. high with thee in God’s Kingdom.

Sainte Marye, Christes bur, St Mary, Christ’s bower, Maidenes clenhad, moderes flur, Virgin among maidens, flower of motherhood, Dilie min sinne, rix in min mod, Blot out my sin, reign in my heart, Bring me to winne with the self God. (and) bring me to bliss with that selfsame God.

Mid-twelfth century

75 8 2. I mon waxe wod 2. I must go mad Foweles in the frith, Birds in the wood, The fisses in the flod, The fish in the river, And I mon waxe wod: And I must go mad: Mulch sorw I walke with Much sorrow I live with For beste of bon and blod. For the best of creatures alive.

Later-thirteenth century

9 3. Lenten is come 3. Spring has come Lenten is come with love to toune, Spring has come with love among us, With blosmen and with briddes roune, With flowers and with the songs of birds, That all this blisse bringeth. That brings all this happiness. Dayeseyes in this dales, Daisies in these valleys, Notes swete of nightegales, The sweet notes of nightingales, Uch fowl song singeth. Each bird sings a song. The threstelcok him threteth oo. The thrush wrangles all the time. Away is huere winter wo Gone is their winter woe When woderofe springeth. When the woodruff springs. This fowles singeth ferly fele. These birds sing, wonderfully merry, The wilteth on huere wynne wele, And warble in their abounding joy, That all the wode ringeth. So that all the wood rings.

The rose raileth hire rode, The rose puts on her rosy face, The leves on the lighte wode The leaves in the bright wood Waxen all with wille. All grow with pleasure. The mone mandeth hire ble, The moon sends out her radiance, The lilye is lossom to se, The lily is lovely to see, The fennel and the fille. The fennel and the wild thyme. Wowes this wilde drakes, These wild drakes make love, Miles murgeth huere makes, Animals (?) cheer their mates, Ase strem that striketh stille. Like a stream that flows softly.

76 Mody meneth, so doth mo; The passionate man complains, as do more: Ichot ich am on of tho I know that I am one of those For love that likes ille. That is unhappy for love.

The mone mandeth hire light, The moon sends out her light, So doth the semly sonne bright, So does the fair, bright sun, When briddes singeth breme. When birds sing gloriously. Deawes donketh the dounes, Dews wet the downs, Deores with huere derne rounes Animals with their secret cries Domes for to deme. For telling their tales. Wormes woweth under cloude, Worms make love under ground, Wimmen waxeth wounder proude, Women grow exceedingly proud, So well it wol hem seme. So well it will suit them. Yef me shall wonte ville of on, If I don’t have what I want of one, This wunne wele I wole forgon, All this happiness I will abandon, And wiht in wode be fleme. And quickly in the woods be a fugitive.

Late-thirteenth / early-fourteenth century

10 4. The long night 4. The long night Mirie it is, while sumer ilast, Pleasant it is, while summer lasts, With fugheles song. With the birds’ song. Oc nu necheth windes blast, But now the blast of the wind draws nigh And weder strong. And severe weather. Ey! Ey! What this night is long! Alas! How long this night is, And ich, with well michel wrong, And I, with very great wrong, Soregh and murne and fast. Sorrow and mourn and fast.

Early-thirteenth century

11 5. Yif ic of luve can 5. If I know of love Whanne ic se on Rode When I see on the Cross Jesu, my lemman, Jesu, my lover,

77 And besiden him stonden And beside him stand Marye and Johan, Mary and John, And his rig iswongen, And his back scourged, And his side istungen, And his side pierced, For the luve of man; For the love of man, Well ou ic to wepen, Well ought I to weep And sinnes for to leten, And sins to abandon, Yif ic of luve can, If I know of love, Yif ic of luve can, If I know of love, Yif ic of luve can. If I know of love.

Early-fourteenth century

12 6. Carol 6. Carol Maiden in the mor lay, A maiden lay on the moor, In the mor lay; Lay on the moor; Sevenight fulle, A full week, Sevenight fulle, A full week, Maiden in the mor lay; A maiden lay on the moor; In the mor lay, Lay on the moor, Sevenightes fulle and a day. A full week and a day.

Welle was hire mete. Good was her food. What was hire mete? What was her food? The primerole and the – The primrose and the – The primerole and the – The primrose and the – Welle was hire mete. Good was her food. What was hire mete? What was her food? The primerole and the violet. The primrose and the violet.

Welle was hire dring, Good was her drink. What was hire dring? What was her drink? The chelde water of the – The cold water of the – The chelde water of the – The cold water of the –

78 Welle was hire dring. Good was her drink. What was hire dring? What was her drink? The chelde water of the welle-spring. The cold water of the well-spring.

Welle was hire bowr. Good was her bower. What was hire bowr? What was her bower? The rede rose and the – The red rose and the – The rede rose and the – The red rose and the – Welle was hire bowr. Good was her bower. What was hire bowr? What was her bower? The rede rose and the lilye flour. The red rose and the lilyflower.

Early-fourteenth century

13 7. Ye that pasen by 7. You that pass by Ye that pasen by the weiye, You that pass by the way, Abidet a little stounde. Stay a little while. Beholdet, all my felawes, Behold, all my fellows, Yef any me lik is founde. If any like me is found. To the Tre with nailes thre To the Tree with three nails Wol fast I hange bounde; Most fast I hand bound; With a spere all thoru my side With a spear all through my side To mine herte is mad a wounde. To my heart is made a wound.

Mid-fourteenth century

14 8. A death 8. A death Wanne mine eyhnen misten, When my eyes get misty, And mine heren sissen, And my ear full of hissing, And my nose coldet, And my nose gets cold, And my tunge foldet, And my tongue folds, And my rude slaket, And my face goes slack, And mine lippes blaken, And my lips blacken, And my muth grennet, And my mouth grins,

79 And my spotel rennet, And my spittle runs, And mine her riset, And my hair rises, And mine herte griset, And my heart trembles, And mine honden bivien, And my hands shake, And mine fet stivien – And my feet stiffen – Al to late! Al to late! All too late! All too late! Wanne the bere is ate gate. When the bier is at the gate.

Thanne I schel flutte Then I shall pass From bedde to flore, From bed to floor, From flore to here, From floor to shroud, From here to bere, From shroud to bier, From bere to putte, From bier to grave, And te putt fordut. And the grave will be closed up. Thanne lyd mine hus uppe mine nose. Then rests my house upon my nose. Of al this world ne give I it a pese! For the whole world I don’t care one jot.

Thirteenth century Translation: R.T. Davies Reproduced by permission of Faber and Faber Ltd

A Boy Was Born 15 Theme. A Boy Was Born A boy was born in Bethlehem; Rejoice for that, Jerusalem!

Alleluya.

He let himself a servant be, That all mankind he might set free:

Alleluya.

80 Then praise the Word of God who came Lullay, Jesu, lullay, lullay! To dwell within a human frame: Mine own dear mother, sing lullay!

Alleluya. ‘Now, dear mother, sing lullay, And put away all heaviness; Sixteenth-century German carol Into this world I took the way, Again to (heaven) I shall me dress, 16 Variation I. Lullay, Jesu Where joy is without end ay.’ Lullay, Jesu, lullay, lullay! Mine own dear mother, sing lullay! So blessed a sight it was to see, Lullay, Jesu, lullay, lullay! How Mary rocked her Son so free; Anonymous (before 1536) So fair she rocked and sang ‘by-by’.

Mine own dear mother, sing lullay! 17 Variation II. Herod Lullay, Jesu, lullay, lullay! Noel!

‘Mine own dear Son, why weepest Thou thus? (A boy was born in Bethlehem.) Is not Thy father King of bliss? Have I not done that in me is? Noel! Your grievance, tell me what it is.’ Herod that was both wild and wode, Lullay, Jesu, lullay, lullay! Full much he shed of Christian blood, Mine own dear mother, sing lullay! To slay the Child so meek of mood, That Mary bare, that clean may [maid]. ‘Therefore, mother, weep I nought, But for the woe that shall be wrought Noel! To me, ere I mankind have bought.’ Herod slow with pride and sin Lullay, Jesu, lullay, lullay! Thousands of two year and within; The body of Christ he thought to win ‘Ah, dear mother! Yet shall a spear And to destroy the Christan fay [faith]. My heart in sunder all to-tear; No wonder though I careful were.’ Noel!

81 Mary with Jesu forth yfraught [laden], 19 Variation IV. The Three Kings As the angel her taught, Three kings there came fro Galilee To flee the land till it were sought, Into Bethlehem, that fair city, To Egypt she took her way. To seek Him that should ever be by right-a, Lord and king and knight-a. Noel! They took their leave, both old and ying, Now Jesus that didst die for us on the Rood, Of Herod (Noel!), that moody king; And didst christen innocents in their blood, They went forth with their offering by light-a, By the prauer of Thy mother good, By the star that shone so bright-a. Bring us to bliss that lasteth ay. Till they came into the place Noel! Where Jesus and His mother was, Anonymous (before 1536) Offered they up with great solace in fere-a [together] Gold, incense, and myrrh-a. 18 Variation III. Jesu, As Thou Art Our Saviour Jesu, Jesu, Jesu, Jesu, Forth then went these kingës three, Save us all through Thy virtue. Till they came home to their country; Glad and blithe they were all three Jesu, as Thou art our Saviour Of the sight that they had see bydene-a That Thou save us fro dolour! [together]. Jesu is mine paramour. Blessed be Thy name, Jesu. Anonymous (fifteenth century)

Jesu was born of a may [maid], 20 Variation V. In the Bleak Mid-winter Upon Christëmas Day, In the bleak mid-winter She was may beforn and ay [after], Frosty wind made moan, Blessed be Thy name, Jesu. Earth stood hard as iron, Water like a stone; Jesu, Jesu, Jesu, Jesu, Snow had fallen, Save us all through Thy virtue. Snow on snow… Anonymous (fifteenth century)

82 He bare him up, he bare him down, 21 Variation VI (Finale). Noel! He bare him into an orchard brown. Noel! Wassail! Good day, good day, Lully, lulley, lully, lulley, My Lord Sir Christëmas, good day! The falcon hath borne my make [mate] away. Good day, Sir Christëmas our King, …Frosty wind made moan, For every man, both old and ying, Snow on snow… Is glad of your coming.

In that orchard there was an hall Good day, good day, That was hangëd with purple and pall. My Lord Sir Christëmas, good day!

And in that hall there was a bed, Godës Son so much of might It was hangëd with gold so red. From heaven to earth down is light And born is of a maid so bright. Lully, lulley, lully, lulley, The falcon hath borne my make [mate] away. Good day, good day, My Lord Sir Christëmas, good day! …In the bleak mid-winter Our King! Noel! Long ago. Snow on snow… Hosanna! This night a Child is born. In that bed there lieth a knight, His woundës bleeding, day and night. Get ivy and hull [Holly], woman, deck up thine house, By that bedside kneeleth a may [maid], And take this same brawn for to seethe and And she weepeth both night and day. to souse; Provide us good cheer, for thou knowest the Lully, lulley, lully, lulley, old guise, The falcon hath borne my make [mate] away. Old customs that good be, let no man despise. At Christmas be merry and thank God of all, And by that bedside there standeth a stone, And feast thy poor neighbours, the great and Corpus Christi written thereon. the small.

Christina Georgina Rossetti (1830 – 1994) and Anonymous (fifteenth century) 83 Yea, all the year long have an eye to the poor, Glory to God on high, and jolly mirth And God shall send luck to keep open thy door. Twixt man and man, and peace on earth! Good fruit and good plenty do well in thy loft, Then lay for an orchard and cherish it oft. This night a Child is born; The profit is mickle, the pleasure is much; This night a Son is given; At pleasure with profit few wise men will This Son, this Child grutch. Hath reconciled For plants and for stocks lay aforehand to cast, Poor man that was forlorn, But set or remove them, while Twelve-tide And the angry God of heaven. do last. Hosanna, sing Hosanna!

Noel! Now, now that joyful day, That blessed hour is come, Welcome be Thou, heaven-king, That was foretold Welcome born in one morning, In days of old, Welcome for whom we shall sing, Wherein all nations may Welcome Yule. Bless the virgin’s womb. Hosanna, sing Hosanna! Noel! Let heaven triumph above, Welcome be ye that are here, Let earth rejoice below; Welcome all, and make good cheer, Let heaven and earth Welcome all another year! Be filled with mirth, Welcome Yule! For peace and lasting love Noel! Our King! Noel! Atones your God and you. Hosanna, sing Hosanna! (Wassail! Wassail! Lully, lulley, lully, lulley! Sing Noel! Noel! Noel! Thomas Tusser (1524 – 1580) / Herod that was both wild and wode! Francis Quarles (1592 – 1644) / Mine own dear mother, Jesu, Jesu!) Anonymous (fifteenth century)

84 Paul Spicer

Emotion Studios You can now purchase Chandos CDs or download MP3s online at our website: www.chandos.net

For requests to license tracks from this CD or any other Chandos discs please find application forms on the Chandos website or contact the Finance Director, Chandos Records Ltd, direct at the address below or via e-mail at [email protected].

Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: [email protected] Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201

www.facebook.com/chandosrecords www.twitter.com/chandosrecords

Recorded in association with DaRaBeSC Ltd, Computer Systems Procurement Professionals

Mediaeval pronunciation: Alison Wray

86 Recording producer Richard Lee Sound engineer Ben Connellan Assistant engineers Richard Smoker (CD 1) and Annabel Weeden (CD 2) Editors Peter Newble (CD 1) and Rachel Smith (CDs 2 and 3) Mastering Jonathan Cooper Recording venues Rosslyn Hill Chapel, Hampstead, London: 23 and 24 October 1995 (CD 1) & 7 and 8 March 1996 (CD 2); Church of St Augustine, Kilburn, London: 28 and 29 April 1997 (CD 3) Front cover Montage by designer incorporating the original CD covers which included a reproduction of The Ploughman (1827) by Edward Calvert (1799 – 1883), courtesy of the Tate Gallery, London Design and typesetting Cassidy Rayne Creative (www.cassidyrayne.co.uk) Booklet editor Finn S. Gundersen Publishers Faber Music Ltd (A.M.D.G., Jubilate Deo in C, Sweet Was the Song the Virgin Sung, Sacred and Profane), Oxford University Press (Jubilate Deo in E flat, Te Deum in C, A Boy Was Born), Winthrop Rogers Edition, Hawkes & Son (London) Ltd (Advance Democracy), Boosey & Hawkes Music Publishers Ltd (other works) p 1997, 1998, and 1999 Chandos Records Ltd This compilation p 2013 Chandos Records Ltd Digital remastering p 2013 Chandos Records Ltd c 2013 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK

87 BRITTEN: THE CHORAL EDITION – The Finzi Singers BRITTEN: THE CHORAL EDITION – The Finzi Singers 3 -disc set CHAN 10771(3) X

Benjamin Britten (1913 – 1976) The Choral Edition

COMPACT DISC ONE TT 67:10

Hymn to St Peter* • A Hymn of St Columba* • A Hymn to the Virgin • Hymn to St Cecilia • Rejoice in the Lamb* Choral Dances from ‘Gloriana’ • A.M.D.G.

COMPACT DISC TWO TT 72:04 Recorded in association with DaRaBeSC Ltd, Computer Systems Jubilate Deo in E flat major* • Te Deum* • Antiphon* Procurement Professionals Missa brevis* • A Wedding Anthem* • Sweet Was the Song the

Virgin Sung • A Ceremony of Carols† • Festival Te Deum* *

/ Jubilate Deo in C major / Spicer Spicer Spicer COMPACT DISC THREE TT 61:42

Five Flower Songs • Advance Democracy • Sacred and Profane A Boy Was Born‡ Susan Drake harp† Andrew Lumsden organ* Lichfield Cathedral Choristers‡ p 1997, 1998, and 1999 Chandos Records Ltd CHAN 10771(3) X CHAN 10771(3) X The Finzi Singers This compilation p 2013 Chandos Records Ltd Digital remastering p 2013 Chandos Records Ltd Paul Spicer c 2013 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England

p 2012 Chandos Records Ltd c 2012 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England