CONDUCTOR’S REFLECTIONS a hypnotic, repetitive, healing atmosphere, ASH WEDNESDAY in which waves of sound wash over the Ash Wednesday marks the start of Lent, the listener without surprises. This is conducive forty-day period of fasting and penitence to meditation, to reflection, to worship - for which precedes Easter. Ashes are placed on believers it cleanses the soul, and that is at the worshippers’ foreheads in the shape of a cross, heart of the Lenten journey. For non-believers 1 The Preces William Byrd (c.1539-1623) [1.39] as a sign of repentance. Evensong on this day it can be equally restorative to one’s mental health and well-being. Edwin Fischer regarded 2 Miserere mei, Deus Gregorio Allegri (1582-1652) [13.08] has been an especially important service in the liturgical year at St John’s; the BBC started the two movements of Beethoven’s Piano 3 The First Lesson Isaiah 1 vv. 10-18 [2.03] transmitting it live in 1972. For several decades Sonata Op. 111 as symbolising “here and 4 Magnificat The Short Service Thomas Weelkes (c.1576-1623) [3.03] the service was broadcast annually; more beyond”. It is the latter, a sense of the 5 The Second Lesson Luke 15 vv. 11-end [3.21] recently it has been biennial. 2019 was a live transcendent, to which we aspire in music- 6 Nunc Dimittis The Short Service Thomas Weelkes [1.38] broadcast year, however the recording on this making within the liturgy. After our Choir 7 The Apostles’ Creed [1.05] release uses our own microphones, permanently sings a radio broadcast, the thing that pleases 8 The Responses William Byrd [6.25] installed in St John’s College Chapel for me most is when a listener writes in to say 9 Ne irascaris, Domine William Byrd [10.54] webcasting, rather than those of the BBC. that they could sense a prayerful quality 0 The Prayers [2.29] over the radio. It has interested me to learn q Prelude in E Minor, BWV 548i Johann Sebastian Bach (1685-1750) [7.40] A regular feature of the service is the singing that some musicologists feel uncomfortable of Gregorio Allegri’s famous setting of Psalm discussing the religious aspects of the 51, Miserere mei, Deus. The evolution of this performance of sacred music; conversely, people Total timings: [53.22] work is described later in the booklet by speak of the religious quality of Beethoven’s our Organ Scholar, James Anderson-Besant. (secular) Op. 111. Some choirs treat it as a set of variations, with different embellishments in each verse. That There is a particular frisson to a live broadcast of the Allegri, with its famous top Cs. In THE CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE is interesting in a concert, or as part of an JAMES ANDERSON-BESANT ORGAN academic study. However, in an act of worship, 2019 I had trained up two boys who could ANDREW NETHSINGHA DIRECTOR my strong preference is to stick with the one sing the high solo pretty perfectly - my plan familiar version throughout, despite its lack was to alternate them during the five top Cs, of strict authenticity. The aim is to conjure up thus reducing the pressure on each boy. All www.signumrecords.com - 3 - was going swimmingly the previous evening, mentioned that our daily routines include distance from the congregation; the choir The recording will be released around the same but on the morning of Ash Wednesday I 8 a.m. Chorister rehearsals. Sir Colin was stalls for Weelkes’s Short Service, so as to time as our Dean, Mark Oakley, releases a book received a text message to say that one of these astonished and asked, “why on earth don’t facilitate antiphonal effects; the sanctuary on George Herbert’s poems, called My Sour soloists was ill - and a couple of hours later you get an assistant to direct those”? In fact, again for the Byrd motet Ne irascaris, Domine Sweet Days. I hope some people may choose to he went home. The remaining boy, 13-year- you couldn’t possibly do that without losing - this time striving for a sense of intimacy enjoy the book and the recording in tandem old Freddie Harrison, sailed through the solos the essence of the Choir. The early morning on the radio, engendered by a reduced number because, as Mark said in his first sermon here: with extraordinary composure and artistry, rehearsals are where one creates and nurtures of singers standing close to one another. In this “I believe that when we walk in here [The with half a million people listening. If there’s the sound and character of the Choir; every recording we are not seeking to be compared Chapel], we walk into a poem. The liturgy a more challenging vocal solo for a singer year is a subtly different vintage of wine, in against studio and concert performances by is poetry in motion, and we sometimes fail of any age, then I’d like to know what it is! a way that doesn’t happen to the same extent mixed-voice professional choirs. Rather we are to understand its density of suggestion, the It is moving to remember that by the time with orchestras. wanting to present a snapshot of an honest, eavesdropping on the soul, the sensitive state this recording comes out, Freddie will have reverential service - a real act of liturgy using of consciousness that its poetry can prompt”. left the Choir and his voice will probably have For Byrd’s Ne irascaris, Domine I kept in mind the beautiful Book of Common Prayer, as Andrew Nethsingha changed so that he will never sing treble again. the thought of it being sung secretly behind we do each day. Ian Bostridge has written Naturally I hope that our present Choristers closed doors, at a time when Catholics were of “the unrepeatability and ineffability will go on to have wonderful adult voices, being persecuted; this is deeply personal, of the singular live performance”. This is THE MUSIC like Sir Simon Keenlyside who sang treble intimate music. The Israelites’ sorrow at their something I feel particularly strongly in a vocal in the very first Ash Wednesday broadcast exile from Jerusalem mirrored the recusant ensemble where around a third of the Gregorio Allegri (1582-1652) here. But - imagine going to a museum to Byrd’s desolation at the lack of Catholicism in membership changes every year. Miserere Mei, Deus look at a precious Ming vase, in the certain England. Whilst singing the motet I asked knowledge that by the time you next visit the Choristers to imagine they were in Central The treble soloist and I had discussions about Gregorio Allegri’s famous setting of Psalm the museum the vase will have been dropped Park just after 9/11, mourning the loss of the best word underlay for “Jerusalem” in the 51 is something of a one-hit wonder, and is on the ground. It’s important to take a friends and colleagues who had died; I am final phrase containing a top C. It seems we notable in its rich and mysterious heritage. The photograph of the vase that can be kept forever. fortunate to have Choristers with such mature didn’t come to a definite conclusion, and I famous version sung by St John’s is a product artistry and musical empathy. smile when I hear him hurriedly change vowel of all sorts of traditions, transcriptions and A few years before he died, Sir Colin Davis during the final high note - a record of a horrendous mistakes! Barely anything at came to Cambridge to receive an Honorary We used different parts of the College Chapel unique event in time. Ash Wednesday would all survives intact from what was sung in Degree. In conversation with my colleague Sir for the service; the sanctuary for Miserere be pointless if we didn’t have imperfections! Allegri’s time, making the story of this ‘work’ Stephen Cleobury at King’s College, Stephen mei, Deus, to create a sense of space and all the more interesting.

- 4 - - 5 - The trail begins in the Sistine Chapel in 1514 to the repetitive nature of the falso bordone Chapel worked at a higher pitch than elsewhere. Lincoln Cathedral, where the bulk of his under Pope Leo X, when the tradition of structure, alternating between chorus and solo Later, in 1880 the editors of the first edition music for Queen Elizabeth’s Anglican Church singing Psalm 51 (“Have mercy upon me, verses with plainsong verses in between, the of Grove’s Dictionary of Music and Musicians was written. He became a Gentleman of the O God”) to a special musical setting during feat was by no means extraordinary. The Pope accidentally inserted a section of Mendelssohn’s Chapel Royal in 1572 alongside his friend Holy Week was started. There came to be gave him a knighthood anyway. Threats of higher transposition into the solo verse. This and mentor Thomas Tallis, and together the twelve settings in use by Allegri’s time (including excommunication from the Catholic Church has been reproduced in later performing two of them embarked on a publishing his own, written circa 1638), all founded for disseminating copies at this time are almost editions, solidifying into practice the bizarre venture – the 1575 Cantiones Sacrae – with on an old principle of falso bordone, where the certainly complete myth, though it is true that solo verses surviving to this day, resulting in support from the Queen in the form of a text is chanted to chords in speech rhythm. the Vatican closely guarded the work. It only the lone top C and a striking (but inadvertent!) monopoly on music printing in London. Despite its basis on these simple chanted handed out a few copies to important figures change of mode. A-flats are abruptly introduced This, along with Byrd’s later publications in chords, Allegri’s original version was written like Emperor Leopold I. Even then they did and each verse ends with a Phrygian cadence 1589 and 1591, sets Latin texts, almost certainly with his choir’s strange and complex system so without the secret abbellimenti written in; into a ‘Tierce de Picardie’ on G – completely designed to be performed not in Anglican of ornamentation (or abbellimenti) in mind Leopold complained that his score bore little out of keeping with the rest of the setting. worship but rather in the home. The fact that – a system that would come to define much resemblance to what he remembered hearing. This is what The Choir of St John’s sings, along this music was so publicly available is evidence of the Sistine Chapel Choir’s mysticism. with the final chorus verse which probably of the Queen’s ‘middle path’ in her attitude Singers would have known instinctively from Charles Burney published an edition in 1771 does survive fairly intact from Allegri’s original. towards national religious practice, as a the ‘in-house’ tradition how to embellish soon after meeting Mozart, and it is possible Editions in this format, including George Protestant with a fondness for the ritual and a particular phrase, and this has its roots in that it was based on a copy Mozart might have Guest’s, are sung by cathedral and collegiate ceremony of the old Catholic church. singers’ improvising over a plainsong cantus given to him. Burney’s is different to other choirs across the country with no attempt or firmus (fixed tune). versions from the time, and is notable in its claim at authenticity, but without apology, The Preces and Responses complete lack of any ornamentation. Even the representing a history of changing practices. Fast-forward 150 years and the abbellimenti iconic treble top Cs aren’t to be found here – Byrd composed several settings of the Preces practices had changed: thus the music of the or, indeed, anywhere else at this point. William Byrd (c.1539-1623) and Responses, of which this is the best Miserere was already rather detached from known. Written for the services of Matins and its original form. Then, in 1770, the story In 1831 Mendelssohn made his own transcription Not much at all is known about William Evensong within the new Anglican Church goes that the 14-year-old Wolfgang Amadeus from the Vatican, which, intriguingly, he Byrd’s early life, but he may well have been (probably when Byrd was at Lincoln), they Mozart heard the Sistine Chapel Choir wrote a fourth higher than had been previously a chorister at St Paul’s Cathedral, as his two represent the simplicity of word setting required singing the Miserere twice during Holy Week, notated, giving rise to some top Cs in the solo verse brothers were. In 1563, Byrd was appointed by the liturgy of the time. Cranmer’s often- and made his own transcription by ear. Due treble part. Perhaps this was because the Sistine Organist and Master of the Choristers at quoted instruction that there should be “for

- 6 - - 7 - every syllable, a note” was a reaction against of Psalm 137 (“By the waters of Babylon we rather evocative of the refrain from Tallis’s Thomas Weelkes (baptised 1576-1623) the complex and florid church music of the sat down and wept”), could be considered as Lamentations of Jeremiah: “Jerusalem, Jerusalem, The Short Service pre-Reformation period, and many shared expressions of Byrd’s personal desperation at the convertere ad Dominum Deum tuum” his view. Erasmus himself, upon attending a state of English Catholicism. Of Byrd’s three (Jerusalem, Jerusalem, return unto the Lord The lifetime of Thomas Weelkes saw the service in King’s College Chapel, Cambridge, ‘Jerusalem motets’ in his 1589 publication, thy God). From this follows an astonishing styles of Anglican church music evolve remarked that “the congregation cannot Ne irascaris, Domine has always been the best set of 54 entries on the words “desolata from their infancy in Byrd’s time. The Short hear one distinct word”. Byrd’s setting of the known and most performed. est”, utterly despondent at the captivity of Service, one of Weelkes’s many settings of the Responses almost entirely adheres to Cranmer’s the Lord’s people in Babylon. The shape canticles appointed for Matins and Evensong, directive, save for some movement in the The start of the motet is derived (slightly of these entries is subtly altered from represents a tradition well into its maturity, inner parts and a brief melisma (multiple unexpectedly) from a song called O doux regard G-F#-E-E-D to G-F#-E-G-D, recalling the descending from the first simple English notes per syllable) sung by the trebles on the by the Flemish composer Philip van Wilder, start of Civitas, before the final cadential canticles by Tallis and Tye. It was probably word “joyful”. The “Amen” following the final who worked in Henry VIII’s court in the first motif ripples upwards from the lower parts. written while Weelkes was serving as Organist chanted collect is more drawn-out than the half of the 16th century. It is dark in tone, The motet ends with a sense of calm and Master of the Choristers at Chichester others, and has a striking ‘English cadence’. and comparatively low in the voices’ ranges and tranquillity. Cathedral, where he worked from around This is a technique where two parts move to a compared with the rest of the piece. A section 1601 until his death. Although biased by resolution in opposite directions, resulting in a in homophony – “Ecce” (look!) – draws our I have always been amazed at how Byrd creates Cathedral Chapter’s view of Weelkes, virtually simultaneous clash or ‘near miss’. However, the attention to the plight of the captives in exile, such a resigned and “desolata” atmosphere all records of his employment paint him sonority here is only conjectural, as the second and the first half concludes with an affirmative without the use of a minor mode or extensive in a thoroughly negative light. After being Alto part has had to be completely reconstructed, set of imitative entries on the text “populus dissonance. Perhaps another composer such charged for absence from the Bishop’s the original having been lost. tuus omnes nos” (we are all thy people). as Tomkins might have set it in the latter way, visitation in 1609, he was regularly noted The second part Civitas sancti tui begins using the ‘English’ false relations and clashes to for public drunkenness, and was reported to Ne Irascaris, Domine inconspicuously, but the polyphony soon illustrate the pain of exile. However, it is the the Bishopin 1616 for being a “notorious draws to a halt at a cadence on E major. A subtlety of word-setting and expressive use of swearer and blasphemer”. He was fired in When Byrd published his Liber Sacrarum section of incredible poignancy then unfolds, imitation and texture that make Ne irascaris, 1617, but somehow managed to get his job Cantionum in 1589, he was in a phase of setting starting with an implicitly hushed return to Domine stand out as a true masterpiece. An back by 1622. Stories passed down from Latin texts on persecution, with one theme G major where two groups of voices sing “Sion apt comment is passed down from an lay-clerk to lay-clerk suggest that he even appearing most often: the biblical captivity of deserta facta est” (Sion is made a wilderness). anonymous copyist in the time of Byrd, once urinated onto the Dean’s head from the the Israelites in Babylon. These references, Out of this emerge the voices in imitation simply annotating his manuscript “good song”. organ loft. familiar to church liturgy in the poignant words repeating the cry “Jerusalem, Jerusalem”,

- 8 - - 9 - The simple and syllabic Short Service is Johann Sebastian Bach (1685-1750) Prelude, and those that do occur are generally later became associated with those who had so called to distinguish it from the ‘Verse’ Prelude in E minor (BWV 548i) the impetus for a new idea or section, committed grave public sins, in preparation services (where solo verses with independent diminishing any sense of finality and instead for their readmission to the rites of the organ accompaniment alternate with full Johann Sebastian Bach’s Prelude in E minor heightening tension throughout. It is only at Church at Easter. The modern-day period of choir responses) and ‘Great’ services (employing (BWV 548i) is one of the most large-scale the very end therefore, following the last of Lent which commences on Ash Wednesday a variety of verses with divided sets of parts and arguably most harmonically driven of all four sustained pedal points on A, D, G and is symbolic of the forty days Jesus spent in and more extended imitation, all doubled Bach’s Preludes; its attached “Wedge” Fugue finally B (the ‘dominant’ of the piece), that the wilderness after his baptism and before by the organ). Although Weelkes’s choir at is the longest of his output in that genre. It the cadence truly resolves without interruption, his public ministry. On this day, the crosses Chichester is thought to have been rather was almost certainly composed in Leipzig bringing to a close one of Bach’s greatest from the previous Palm Sunday are burned small in size, larger choral traditions elsewhere between 1727 and 1736, making it one of organ movements. and used to mark the sign of the cross on have provided an opportunity to adapt the last of the Preludes and Fugues Bach wrote, James Anderson-Besant the foreheads of worshippers, who thereby his music as it has been passed on. For the majority having been written before 1720. commit themselves to a season of fasting, example his original ‘full’ setting of an self-examination, and prayer. Alleluia for Chichester was changed at The Prelude displays a grand architecture of THE ASH WEDNESDAY SERVICE Durham so that the music alternated structure and tonality. The powerful theme The Opus Dei (the Work of God) is upheld between the ‘Decani’ and ‘Cantoris’ sides of at the start, underpinned by an articulated For many years now, Choral Evensong on by Anglicans today through the offices of the choir, creating a spatial effect. This is how ‘pedal point’ (a prolonged note above which Ash Wednesday has held a particularly Morning and Evening Prayer, which have the St John’s Choir sing Weelkes’s Short the harmony changes), is used as a refrain cherished place in the life of St John’s been the framework of daily Anglican worship Service today, with movement from side to throughout the piece in alternation with College Chapel. In this recording of since Thomas Cranmer adapted the monastic side marked in by the editor. The simple various ‘verses’ in contrasting styles. This is Evensong, a rite which forms part of the daily pattern of prayer almost 500 years ago. The text-setting shows echoes of Cranmer’s “for known as ritornello form, and is typical of round of worship offered at St John’s, ancient words of Evening Prayer - or the sung version, every syllable, a note” well into the 17th much Baroque instrumental music, especially words and music invite us to reflect upon Evensong - remain as Cranmer left them, century, and this lent much inspiration to the the Concerto Grosso. One of the verses which this most solemn of holy days. yet they offer fresh meaning to those who later services of Humfrey, Blow and Purcell. is expanded upon and developed in the Prelude seek to encounter God in our own age. The is a manuals-only section in the reduced By tradition, Christians strive to deepen their unchanging text of The Preces, Magnificat, scoring of three parts. Another is characterised discipleship during Lent, in expectation of Nunc Dimittis, and Responses is included daily, by a harmonic progression rising in semitones the celebration of Christ’s passion and yet crucially its musical setting (along with the and a pedal part in the style of a ‘walking resurrection. Lent originated as a time of specifically-appointed readings, prayers, and the bass’. There are remarkably few cadences in the preparation for baptismal candidates, and anthem) sets the tone of the liturgy. Evensong

- 10 - - 11 - on Ash Wednesday is a turning point in the themes resonate powerfully today. TEXTS Christian year: it offers the opportunity to MISERERE MEI, DEUS make the connection between our life and This rather sombre dimension should not Gregorio Allegri the life of God through soul-searching music obscure Lent’s renewing purpose, however. and words. Liturgical customs such as the absence of Miserere mei, Deus, Have mercy upon me, O God, flowers, the veiling of bejewelled crosses, secundum magnam misericordiam tuam : after thy great goodness : The Lenten liturgy mirrors the plainer, the shutting of triptychs and the wearing of Et secundum multitudinem miserationum According to the multitude of humbler lives of penitent Christians through linen vestments do not seek to condemn; tuarum, thy mercies, the simple adornment of the space, restrained rather, they provide the backdrop to a life in dele iniquitatem meam. do away mine offences. use of the organ, and abandonment of more which Christians may see more clearly the Amplius lava me ab iniquitate mea : Wash me throughly from my wickedness : extravagant musical works. And yet, the love of Christ, acknowledge their own et a peccato meo munda me. and cleanse me from my sin. season offers some of the most sublime church shortcomings, and grow in self-awareness. In Quoniam iniquitatem meam ego cognosco : For I acknowledge my faults : music in the repertoire. Witness the setting both the first lesson (in which Isaiah condemns et peccatum meum contra me est semper. and my sin is ever before me. of Psalm 51 by Allegri, handed down to the waywardness of Judah and Jerusalem) Tibi soli peccavi, et malum coram te feci : Against thee only have I sinned, and done this us in a version containing the famous top and in the second lesson (the Parable of the ut iustificeris in sermonibus tuis, et vincas evil in thy sight : that thou mightest be justified Cs of a lone treble, the evoked emotions Prodigal Son), the underlying message is cum iudicaris. in thy saying, and clear when thou art judged. of which are surely intensified in the that of redemption. As the Advent candle in Ecce, enim in iniquitatibus conceptus sum : Behold, I was shapen in wickedness : atmosphere of a live broadcast. The beautifully a dark Cambridge winter anticipates the et in peccatis concepit me mater mea. and in sin hath my mother conceived me. simple Preces and Responses by Byrd, and birth of Christ, so too does the season of Ecce enim veritatem dilexisti : But lo, thou requirest truth in the inward parts : Weelkes’s Short Service, are both products of Lent, with etymological roots in the Old incerta et occulta sapientiae tuae and shalt make me to understand wisdom Cranmer’s stipulation that the texts should English word for ‘springtime’, fill Christians manifestasti mihi. secretly. be “understanded of the people”. By contrast, with hope in the knowledge of Christ’s Asperges me hyssopo, et mundabor : Thou shalt purge me with hyssop, and I shall be Byrd’s astonishing anthem in Latin, Ne resurrection. Ash Wednesday marks the lavabis me, et super nivem dealbabor. clean : thou shalt wash me, and I shall be whiter irascaris, Domine, paints a picture of the beginning of this journey of renewal, urged than snow. Catholic composer lamenting his own exile. on by the Collect’s petition for perfect Auditui meo dabis gaudium et laetitiam : Thou shalt make me hear of joy and gladness : The readings from the Book of Isaiah and remission and forgiveness. et exsultabunt ossa humiliata. that the bones which thou hast broken may the Gospel of Luke speak of vanity, social John Challenger Averte faciem tuam a peccatis meis : rejoice. Turn thy face from my sins : injustice, the exploitation of the powerless, and et omnes iniquitates meas dele. and put out all my misdeeds. the squandering of precious resources. These

- 12 - - 13 - Cor mundum crea in me, Deus : Make me a clean heart, O God THE SHORT SERVICE Glory be to the Father, and to the Son : et spiritum rectum innova in visceribus meis. and renew a right spirit within me. Thomas Weelkes and to the Holy Ghost; Ne proiicias me a facie tua : Cast me not away from thy presence : As it was in the beginning, is now, et spiritum sanctum tuum ne auferas a me. and take not thy holy Spirit from me. Magnificat `````and ever shall be : Redde mihi laetitiam salutaris tui : O give me the comfort of thy help again : My soul doth magnify the Lord : world without end. et spiritu principali confirma me. and stablish me with thy free Spirit. and my spirit hath rejoiced in Amen. Docebo iniquos vias tuas : Then shall I teach thy ways unto the wicked : God my Saviour. Luke 1 vv. 46-55 et impii ad te convertentur. and sinners shall be converted unto thee. For he hath regarded : Libera me de sanguinibus, Deus, Deus salutis Deliver me from blood-guiltiness, O God, thou the lowliness of his hand-maiden. Nunc Dimittis meae : that art the God of my health : For behold, from henceforth : et exsultabit lingua mea iustitiam tuam. and my tongue shall sing of thy righteousness. all generations shall call me blessed. Lord now lettest thou thy servant Domine, labia mea aperies : Thou shalt open my lips, O Lord : For he that is mighty hath magnified me : depart in peace : et os meum annuntiabit laudem tuam. and my mouth shall shew thy praise. and holy is his Name. according to thy word. Quoniam si voluisses sacrificium, dedissem For thou desirest no sacrifice, else would I And his mercy is on them that fear him : For mine eyes have seen : utique : give it thee : throughout all generations. thy salvation, holocaustis non delectaberis. but thou delightest not in burnt-offerings. He hath shewed strength with his arm : Which thou hast prepared : Sacrificium Deo spiritus contribulatus: The sacrifice of God is a troubled spirit : he hath scattered the proud in the before the face of all people; cor contritum et humiliatum, Deus, non a broken and contrite heart, O God, shalt thou imagination of their hearts. To be a light to lighten the Gentiles : despicies. not despise. He hath put down the mighty from their seat : and to be the glory of thy people Israel. Benigne fac, Domine, in bona voluntate tua O be favourable and gracious unto Sion : and hath exalted the humble and meek. Sion : build thou the walls of Jerusalem. He hath filled the hungry with good things : Glory be to the Father, and to the Son : ut aedificentur muri Jerusalem. Then shalt thou be pleased with the sacrifice and the rich he hath sent empty away. and to the Holy Ghost; Tunc acceptabis sacrificium iustitiae, of righteousness, with the burnt- He remembering his mercy hath holpen As it was in the beginning, is now, oblations, et holocausta : offerings and oblations : his servant Israel : and ever shall be : tunc imponent super altare tuum vitulos. then shall they offer young bullocks upon as he promised to our forefathers, world without end. thine altar Abraham and his seed for ever. Amen. Psalm 51 Luke 2 vv. 29-32

- 14 - - 15 - NE IRASCARIS, DOMINE Trebles Counter Tenors James Conway William Byrd Adam Ahmad Hugh Cutting 2 Matthew Gibson Felix Bamford Alec D’Oyly Simon Grant Ne irascaris, Domine, satis, Be not wroth very sore, O Lord, William Buttery Alexander Simpson Oliver Morris 2 et ne ultra memineris iniquitatis nostrae : neither remember iniquity for ever: Jaylen Cheng Laurence Trowsdale-Stannard William O’Brien Lewis Cobb 2 Thomas Watts Ecce, respice, populus tuus omnes nos. behold, see, we beseech thee, we are all thy people. Herbert Howells Organ Scholar Joshua Davidson Tenors Glen Dempsey Civitas sancti tui facta est deserta, Thy holy cities are a wilderness, George Ducker Lorenzo Granado Jack Bazalgette Sion deserta facta est, Jerusalem desolata est. Zion is a wilderness, Jerusalem a desolation. Junior Organ Scholar Alfred Harrison 2 Benedict Flinn 1,8 2 Gopal Kambo James Anderson-Besant * Isaiah 64 vv. 9-10 Harry L’Estrange Henry Laird Toby L’Estrange Director of Music Louis Watkins Jonathan Mews Andrew Nethsingha Lucas Nair-Grepinet Basses THE CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE Ewan Tatnell James Adams Numbers indicate soloist credits for each CD track 2 * Thomas Watkin Thomas Butler This organist was playing for the service

The Choir of St John’s College, Cambridge of eminent Directors of Music, recently Dr is one of the finest collegiate choirs in the George Guest, Dr Christopher Robinson and world, known and loved by millions from Dr David Hill. its broadcasts, concert tours and recordings. Founded in the 1670s, the Choir is known The Choir is made up of around 20 Choristers for its distinctive rich, warm sound, its and Probationers from St John’s College expressive interpretations and its breadth School and around 15 Choral Scholars who of repertoire. Alongside these musical are members of St John’s College, its primary characteristics, the Choir is particularly proud purpose being to enhance the liturgy and of its happy, relaxed and mutually supportive worship at daily services in the College atmosphere. The Choir is directed by Chapel. The Choir has a diverse repertoire

© Nick Rutter Rutter © Nick Andrew Nethsingha following a long line spanning over 500 years of music. It is also

- 16 - - 17 - renowned for championing contemporary (works by Vaughan Williams); Advent Live (a JAMES ANDERSON-BESANT music by commissioning new works, including collection of live recordings from the College JUNIOR ORGAN SCHOLAR recent compositions by Judith Bingham, Chapel’s Advent Carol Services, broadcast Julian Anderson, Anna Semple, Lara Weaver, each year by the BBC); Locus Iste, the James Anderson-Besant is Organ Scholar at David Nunn, Cecilia McDowall, and the Choir’s 100th commercial recording which St John’s College, Cambridge, holding the College’s former Composer in Residence, celebrated the 150th anniversary of the post of Junior Organ Scholar from 2017-19 Michael Finnissy. Consecration of St John’s College Chapel, and and Herbert Howells Organ Scholar from Magnificat, a recording of six settings of the 2019. He is in his final year studying Music. Each term the Choir sings Bach Cantatas Evening Canticles. In his role as Organ Scholar he accompanies liturgically with St John’s Sinfonia, its period the Choir in its daily round of services under instrument ensemble. This Bach series is now The Choir also performs concerts outside of the direction of Andrew Nethsingha, and entering its second decade. Cambridge and tours internationally each also assists in the training of the boy year. Recent destinations have included Choristers. James has broadcast live on The Choir brings the ‘St John’s Sound’ to listeners France, the Netherlands, Sweden, Denmark, BBC Radio 3 and Radio 4, and his playing around the world through its weekly webcasts France, Germany, Hungary, Hong Kong and will feature in a number of upcoming recordings, (available at www.sjcchoir.co.uk). The Choir Singapore. It also performs regularly in the including a première recording of music has also live-streamed video broadcasts of UK, with venues including Symphony Hall, by Michael Finnissy. Chapel services on Facebook, in association Birmingham, Royal Albert Hall and Royal Ealovega © Benjamin with Classic FM. In addition to regular Festival Hall, London. He recently gave recitals at King’s, Queens’ enjoys conducting, having organised and radio broadcasts in this country and abroad, and St John’s Colleges as well as Truro and directed a performance of Bach’s Christmas the Choir releases multiple recordings each St Alban’s Cathedrals, and looks forward to Oratorio in 2019. He has plans to conduct year. In May 2016 the College launched upcoming engagements at Stockholm Cathedral Bach’s St John Passion in 2020. its new ‘St John’s Cambridge’ recording and Trinity College, Cambridge. James won label (in conjunction with Signum Classics) second prize at the 2019 Northern Ireland James was a music and academic scholar at on which the Choir has released the BBC International Organ Competition, and was Abingdon School, and in his final year was Music Magazine award-winning recording of also Organ Scholar for the Charles Wood Organ Scholar of the Cathedral Singers of Jonathan Harvey’s music: DEO; Christmas Summer School and Festival in Armagh, Christ Church, Oxford. He spent his gap year with St John’s; KYRIE (works by Poulenc, giving him the opportunity to work under as Organ Scholar of Gloucester Cathedral, Kodály and Janáček); Mass in G minor Dr David Hill and Philip Scriven. James also where he accompanied services sung by all

- 18 - - 19 - four cathedral choirs, helped train the choristers ANDREW NETHSINGHA, Symphony, Beethoven’s 9th Symphony, Mozart Players, Britten Sinfonia, Orchestra of and assisted in a primary school singing DIRECTOR OF MUSIC Britten’s War Requiem, Brahms’s Requiem, Elgar’s St Luke’s (New York), Aarhus Symfoniorkester, outreach programme. James’ year at Gloucester ST JOHN’S COLLEGE, CAMBRIDGE The Dream of Gerontiusand The Kingdom, BBC Concert Orchestra. Venues have included was especially exciting due to the addition Walton’s Belshazzar’s Feast, Poulenc’s Gloria the BBC Proms, Amsterdam Concertgebouw, of the first ever girl choristers in the Performing in North America, South Africa, and Duruflé’s Requiem. He has also worked Verbier Festival, Tokyo Suntory Hall, cathedral’s history. the Far East, and throughout Europe, Andrew with: the Royal Philharmonic Orchestra, City Konzerthaus Berlin, and Singapore Esplanade. Nethsingha has been Director of Music at St of Birmingham Symphony Orchestra, London For seven years James learned the organ with John’s College, Cambridge since 2007. He James Brown, and he now studies with Stephen has helped to set up the recording label, Farr. He would love to pursue a career in ‘St John’s Cambridge’, in conjunction with cathedral music. Signum Classics. His first disc on this label, DEO (music by Jonathan Harvey), was a 2017 BBC Music Magazine Award winner.

Andrew Nethsingha was a chorister at Exeter Cathedral, under his father’s direction. He later studied at the Royal College of Music, where he won seven prizes, and at St John’s College, Cambridge. He held Organ Scholarships under Christopher Robinson at St George’s Windsor, and George Guest at St John’s, before becoming Assistant Organist at Wells Cathedral. He was subsequently Director of Music at Truro and Gloucester Cathedrals, and Artistic Director of the Gloucester Three Choirs Festival.

Andrew’s concerts conducting the Philharmonia Orchestra have included: Mahler’s 8th © James Beddoe © James

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Acknowledgements The Choir would like to thank those who continue to support the ‘St John’s Cambridge’ recording label through The CD Recording Fund, in particular Mr Archie Burdon-Cooper.

Publishers Allegri; Byrd (Oxford University Press) Weelkes (Stainer and Bell)

Scripture passages for the First and Second Lessons are from the New Revised Standard Version Bible, copyright © 1989 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide.

Recorded live in St John’s College Chapel, Cambridge, UK P 2020 The copyright in this sound recording is owned by Signum Records Ltd on Wednesday 6th March, 2019 © 2020 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

Any unauthorised broadcasting, public performance, copying or re-recording Post-production - Matthew Bennett & Dave Rowell of Signum Compact Discs constitutes an infringement of copyright and will Locus Iste Vaughan Williams Reader for First Lesson - Harry Redding render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights Choir of St John’s College, Cambridge Choir of St John’s College, Cambridge Reader for Second Lesson - Sarah Cox reserved. No part of this booklet may be reproduced, stored in a retrieval system, Andrew Nethsingha Director Andrew Nethsingha Director Prayers - The Rev’d Carol Barrett Ford or transmitted in any form or by any means, electronic, mechanical, photocopying, SIGCD567 SIGCD541 recording or otherwise, without prior permission from Signum Records Ltd. Dean - The Rev’d Canon Mark Oakley H H H H H ‘a glint of sunlight, inspired and inspiring’ H H H H H ‘Formidably attractive’ Project Manager - James Proctor SignumClassics, Signum Records Ltd., Suite 14, BBC Music Magazine Choral CD of the Month, BBC Music Magazine 21 Wadsworth Road, Perivale, Middlesex UB6 7LQ, UK. Cover Image – Shutterstock, edited by Premm Design ‘Director Andrew Nethsingha shapes a performance of +44 (0) 20 8997 4000 E-mail: [email protected] ‘Beautifully captured’ Design and Artwork – Woven Design profound dignity and power, beautifully sung by this www.signumrecords.com BBC Radio 3, Record Review www.wovendesign.co.uk always impressive choir’ The Guardian

signumclassics Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 22 - ALSO AVAILABLE

Jonathan Harvey: Deo Kyrie Choir of St John’s College, Cambridge Choir of St John’s College, Cambridge Andrew Nethsingha Director Andrew Nethsingha Director SIGCD456 SIGCD489 HHHHH ‘ecstatic…the Choir tackles it all with “The treble voices of St John’s bring an ineffably poised gravity... confidence and clarity’ The Observer a signal virtue of this new recording is the moulded caress of every luscious harmony in what are predominantly HHHHH ‘characterful yet authoritative performances of homophonic works” Gramophone Magazine which they can be justly proud’ Choir & Organ

signumclassics Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 SIGNUMCLASSICS ASH WEDNESDAY | CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE SIGCD605 0 2 5 0 6 0 2 1 2 [1.39] [2.03] [3.03] [3.21] [1.38] [1.05] [6.25] [2.29] [7.40] 5 [53.22] [13.08] [10.54] 3 6 LC15723 DDD 24 bit digital recording William Byrd (c.1539-1623) Byrd William Gregorio Allegri (1582-1652) Allegri Gregorio Isaiah 1 vv. 10-18 1 vv. Isaiah Thomas Weelkes (c.1576-1623) Thomas Luke 15 vv. 11-end 15 vv. Luke Thomas Weelkes Thomas William Byrd Byrd William William Byrd Byrd William Johann Sebastian Bach (1685-1750) Bach Sebastian Johann 2020 Signum Records

P © 2020 Signum Records ORGAN SIGCD605

Preces The timings: Total mei, Deus Miserere The First Lesson The The Short ServiceShort The Magnificat The Second Lesson The The Short ServiceShort The Dimittis Nunc Creed Apostles’ The Responses The irascaris, Domine Ne Prayers The 548i , BWV in E Minor Prelude ASH WEDNESDAY ASH 1 2 3 4 5 6 7 8 9 0 q THE CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE JOHN’S COLLEGE, THE CHOIR OF ST ANDERSON-BESANT JAMES ANDREW NETHSINGHA DIRECTOR ANDREW Middlesex UB6 7LQ, United Kingdom. Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, www.signumrecords.com