St Mark Passion Missa Wellensis Locus iste

WELLS CATHEDRAL MATTHEW OWENS John Joubert (b. 1927) St Mark Passion, Missa Wellensis & Locus iste

Missa Wellensis, Op. 174 (2013) Peter Auty Narrator – 1. Kyrie [4:21] 2. Gloria [4:22] Benjamin Bevan Jesus – baritone 3. Sanctus [3:10] Richard May cello 4. Benedictus [2:29] David Bednall organ 5. Agnus Dei [3:40]

Christopher Sheldrake Judas – baritone 6. Locus iste, Op. 175 (2013) [4:10] Craig Bissex Pilate – baritone Iain MacLeod-Jones Centurion – tenor St Mark Passion, Op. 180 (2015) 7. At the House of Simon the Leper [7:53] Wells Cathedral Choir 8. The Upper Room [10:47] Matthew Owens conductor 9. Gethsemane [10:43] 10. The Praetorium [8:56] 11. Golgotha [9:19]

About Wells Cathedral Choir & Matthew Owens: Total playing time [69:56]

‘The Choir of Wells Cathedral [... is] one of ’s best-kept secrets [...] an album full of unexpected delights.’ World premiere recordings Classic FM

‘Seamlessly blended by choirmaster Matthew Owens, who has cultivated a bright, gleaming sonority’ BBC Music Magazine John Joubert: Choral Works for RAM. Joubert made the journey to London Wells Cathedral in 1946. His composition teachers included Theodore Holland, Howard Ferguson, and With his total of opus numbers rapidly , and the move to London opened approaching the 200 mark, John Joubert’s up a whole glittering world of - and creative output covers all musical formats, concert-going to him, hearing performances ranging from opera to instrumental solos. from the world’s greatest artistes. A constant thread throughout his seventy- plus years of composing has been the In 1950 he was appointed to the University English choral tradition, with which he of Hull (living in an apartment which was first became acquainted as a schoolboy later taken over by the university’s librarian in South Africa. – Joubert grumbles ironically that the blue plaque now commemorating Joubert was born in on 20 March the poet makes no acknowledgement of 1927 into a family of Huguenot and Dutch himself), where he remained as lecturer descent, and was educated at the Diocesan until 1962, when he moved to the University College in Rondebosch. The director of of , with its prestigious music music there was Claude Brown, a former department under the professorship of the assistant to Sir Ivor Atkins at Worcester legendary Anthony Lewis. Cathedral, and therefore in direct contact with Sir . John once told me Over the years, he moved from Lecturer to how proud he was of this link he had with Senior Lecturer, and eventually to Reader the great . in Music. A brief sabbatical in 1979 saw him spending time as visiting at the During his late teens John Joubert had University of Otago in New Zealand. something of a creative crisis, juggling aspirations to become either a painter or a John Joubert took early retirement from composer. Composition lessons with W.H. the in 1987, Bell, who had taught at London’s Royal since when, a little tuition at Birmingham Academy of Music (RAM) until emigrating to Conservatoire and some private coaching John Joubert South Africa in 1912, helped decide him, aside, he has been able to devote himself (Photography: Graham Boulton) and he won a Performing Rights Society entirely to composition. Much choral music scholarship for himself to study at the has resulted – including the oratorio Wings of Faith (premiered by during These new recordings therefore preserve The ‘Gloria’ begins in the warm, confident blazing ‘Osanna’. the nationwide ‘Joubertiade’ celebrating for all time the rewarding results of this key of A major, modulating swiftly to the his 80th birthday in 2007), the Rochester relationship between a veteran composer, even brighter F-sharp major. The opening Various warm-sounding keys are explored triptych Blest Glorious Man, and An English Wells Cathedral Choir, and indeed the lines are repeated between soprano and in the ‘Benedictus’, with the chorus , a counterpart to the Brahms youngsters at the Cathedral School. alto (in fourths) and tenor and bass, and sustaining chords under solos in succession German Requiem, premiered with a libretto SATB soloists contribute to ‘Domine Deus’. for soprano, alto, tenor, and bass. The by Nicholas Fisher at the Gloucester Three All three works performed here reveal ‘Osanna’ this time is surprisingly subdued, Festival in 2010. In addition, Joubert characteristics which have always been One of the endearing, listener-friendly ending on a C-sharp major chord. Often saw the completion and triumphant features of Joubert’s choral style: an aspects of John Joubert’s compositional Joubert’s final chords are in second inversion, premiere and recording of his lifetime inevitability of rhythmic underlay in his style is the use of memorable, easily- something which creates an airborne labour of love, the opera Jane Eyre. word-setting, with music virtually bouncing identifiable motifs, such as the little lightness to his conclusions. off the text: and an expressive use of descending scale which we hear for A new stimulus since the completion of tonality, texture, and tessitura, gradually ‘Domine Fili unigenite’ (itself a Quietly reflective, the ‘Agnus Dei’ is in the Jane Eyre has been Joubert’s involvement creating tension and eventually bringing subconscious reminiscence of ‘Qui long-prepared key of B-flat major, with a with Wells Cathedral in Somerset. He led about an emotional release which just propter nos homines’ in the ‘Credo’ of serenely rocking, almost lullaby-like ‘dona a masterclass in composition at Wells seems so ‘right’. Joubert’s Missa Beati Ioannis, composed nobis pacem’ bringing the Mass to a calm, Cathedral School in June 2013, delivering in 1962). settled ending. some pithy but always constructive Missa Wellensis, Op. 174 observations, and he had two new works, The returning word ‘Gloria’ underpins Locus iste, Op. 175 the Missa Wellensis, Op. 174 and the Commissioned by Cathedral Commissions ‘Qui sedes ad dexteram Patris’, and exultant motet Locus iste, Op. 175 premiered in for Wells Cathedral Choir, this ‘Short Mass’ word-repetitions build to a triumphant ‘in Another commission from Cathedral the Cathedral on 16 June that year, as (it has no ‘Credo’) is resourcefully written Gloria Dei Patris’ before all the excitement Commissions for Wells Cathedral Choir, part of the festival new music wells for unaccompanied SATB chorus, the subsides into a pianissimo F-sharp major this unaccompanied motet takes as its where he was composer-in-residence. various parts often divided. ‘Amen’. text lines from the Gradual of the Mass Joubert’s relationship with Wells came for the Dedication of a Church. to a climax on Palm Sunday 2016, his The ‘Kyrie’, as so often in Joubert’s settings The ‘Sanctus’ returns us to the bleak, B-flat 89th birthday, when the Choir of of the text, makes an urgent, appeal, here minor key-signature with which the Mass Joubert’s setting opens with a G-based Wells Cathedral under its director in block chords in the key of B-flat minor. had opened, the sombre, dense textures tonality fluctuating between minor and Matthew Owens gave the premiere of There is a shift to F major for ‘Christe here far removed from what one would major. Voices are divided, the texture is his St Mark Passion, Op. 180 in a liturgical eleison’, solo soprano moving gradually expect in a paean of praise. Joubert moves dense. Melodic lines ascending from the setting. The work was given a repeat into modal territories, before a sturdy to the relative major (D-flat) for a ‘pleni depths are answered in descending performance on Palm Sunday the next return to ‘Kyrie’. sunt coeli’ florid in triplet movement, inversions, all of this giving structural year. fugal and sequential, moving towards a cohesion as the lines gradually rise. This miniature is a fine example of the and memories of the work’s eloquence and organ, the chorus only eventually Why not join this exciting project and composer’s expressive use of tonality, inform the restless cello writing here, with entering with ‘Drop, drop, slow tears’. receive special benefits as a commissioner? texture and tessitura before it at last comes angry tremolandi, resonant pizzicato For further details please contact: to an end on a comforting, quietly solid chords, and singing reflections and Jesus is taken to ‘The Praetorium’ for [email protected] G major chord. commentaries. questioning by Pilate, and here the chorus or visit www.cathedralcommisions.co.uk. is vicious (just as in Bach’s turbae) in its St Mark Passion, Op. 180 In addition to the cello there is an important lust for the destruction of a man they had * * * part for organ, supporting the SATB choir, adored only a few days earlier. And we end There are many aspects to this work which and the five soloists: in addition to the here with the Passion Chorale, ‘O sacred This recording was made possible through a put it firmly in the line of descent from Narrator there are Jesus, Judas and Pilate head’, again a link with both Bach Passions. major donation from an anonymous benefactor the two great Passions (St Matthew and (all baritones), and the Centurion (tenor). and the generosity of the following donors: St John) by : the The final scene is Golgotha, and after Jesus’ demanding role for solo tenor as the The Passion begins ‘At the House of Simon death the cello returns to the music of the Bronze Patrons Narrator (Evangelist in Bach’s settings), the Leper’, with the anointing of Christ’s Passion’s very beginning, before the growing Prebendary Helen Ball OBE and Mr Iain Ball and the involvement both of the Chorus feet to the indignation of his pennywise triumph in a confident D major of all of us Mr Sean and Mrs Sarah Donoghue, and Orla as representatives of the common people, entourage. The choral hymn which ends the singing ‘When I survey the wondrous cross’. Mrs Merida Drysdale and the congregation itself, joining in the section, subtly introduced by the organ, is Dame Elizabeth Gass singing of appropriate hymns selected ‘Vexilla Regis’, and cannot help but remind © 2017 Christopher Morley Prebendary Adrian I’Anson here from The English Hymnal. As Joubert’s the listener of Gustav Holst’s The Hymn of Mr Simon and Mrs Alice McVeigh St Mark was premiered in a liturgical Jesus. * * * Mr Christopher Morley context, this last requirement is especially Ms Joanna Robertson appropriate. We move directly into ‘The Upper Room’, Cathedral Commissions the chorus desperately muttering ‘Is it I?’, Silver Patrons Another, more subliminal link is Joubert’s much in the manner of the calls of ‘Peter Missa Wellensis, Locus iste, and St Mark Mr Gary Davison busy part for a solo cello to underpin the Grimes!’ in that opera by Joubert’s beloved Passion were all commissioned by Cathedral The Reverend Canon Rob and Mrs Anna Morris Narrator’s narratives, reminding us that . We get another scent of Commissions of Wells Cathedral. The scheme, Mr John Owens the cello is an important continuo partner that composer in troubled organ writing founded in 2006, has commissioned new in the recitatives of Bach’s Passions. It was which recalls Britten’s Rejoice in the Lamb. works by some of the UK’s finest : Gold Patrons only a few years before the composition That aside, listen for the wonderful Michael Berkeley, Judith Bingham, Jonathan The Darragh Family Charitable Trust of the St Mark Passion that Joubert enharmonic release at ‘Kingdom of God’. Dove, Gabriel Jackson, John Joubert, Sir Mr Philip and Mrs Caroline Dukes composed his Cello , premiered James MacMillan, Sir Peter Maxwell Davies, Mr John Joubert in Shrewsbury by Raphael Wallfisch and ‘Gethsemane’, the third movement, is an Tarik O’Regan, Howard Skempton, Sir John Mr Peter and Dr Jenny Kingston the Northern Chamber Orchestra in 2012, extended narrative scena for soloists, cello Tavener, and Judith Weir, among others. Mr Cameron Marshall

Texts & Translations Tu solus Altissimus, Jesu Christe. 3. Sanctus 6. Locus iste, Op. 175 Cum Sancto Spiritu in gloria Dei Patris. Amen. Sanctus, Sanctus, Sanctus Missa Wellensis, Op. 174 Dominus Deus Sabaoth. Locus iste a Deo factus est, Glory to God in the highest, Pleni sunt coeli et terra gloria tua. inestimabile sacramentum, 1. Kyrie and on earth peace to men of good will. Osanna in excelsis. irreprehensibilis est. Kyrie eleison, We praise You, Christe eleison, We bless You, Holy, holy, holy Lord, God of power and might, This place was made by God. Kyrie eleison. We adore You, heaven and earth are full of Your glory. a priceless mystery; We glorify You, Hosanna in the highest. it is beyond reproach. Lord have mercy, We give thanks to You Christ have mercy, For your great glory, Gradual for the dedication of a church Lord have mercy. Lord God, Heavenly King, 4. Benedictus God the Almighty Father. Benedictus qui venit in nomine Domini. Lord Jesus Christ, only-begotten Son, Osanna in excelsis. St Mark Passion, Op. 180 2. Gloria Lord God, Lamb of God, Son of the Father, Gloria in excelsis Deo. You take away the sins of the world, Blessed is he who comes in the name of the Lord. 7. At the house of Simon the Leper Et in terra pax hominibus have mercy on us. Hosanna in the highest. Narrator: bonae voluntatis. You take away the sins of the world, After two days was the feast of the passover, Laudamus te. hear our prayer. and of unleavened bread: and the chief priests Benedicimus te. You sit at the right hand of the Father, 5. Agnus Dei and the scribes sought how they might take him Adoramus te. have mercy on us. Agnus Dei, qui tollis peccata mundi, by craft, and put him to death. But they said, Glorificamus te. For You alone are holy, miserere nobis. Gratias agimus tibi You alone are the Lord, Agnus Dei, qui tollis peccata mundi, Chorus: propter magnam gloriam tuam. You alone are the Most High, Jesus Christ, miserere nobis. Not on the feast day, lest there be an uproar Domine Deus, With the Holy Spirit Agnus Dei, qui tollis peccata mundi, of the people. Rex caelestis, in the glory of God the Father. Amen. dona nobis pacem. Deus Pater omnipotens. Narrator: Domine Fili unigenite, Lamb of God, You take away the sin of the world, And being in Bethany in the house of Simon the Jesu Christe. have mercy on us. Leper, as he sat at meat, there came a woman Domine Deus, Agnus Dei, Filius Patris, Lamb of God, You take away the sin of the world, having an alabaster box of ointment of spikenard Qui tollis peccata mundi, miserere nobis. have mercy on us. very precious; and she brake the box, and poured Qui tollis peccata mundi, suscipe Lamb of God, You take away the sin of the world, deprecationem nostram. grant us peace. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Sanctus. Tu solus Dominus. it on his head. And there were some that had Whom by the Cross thou dost restore, Jesus: King of Kings yet born of Mary, indignation within themselves, and said, Preserve and govern evermore. It is one of the twelve, that dippeth with me As of old on earth He stood, in the dish. The Son of man indeed goeth, as Lord of Lords in human vesture, Chorus: Mark 14:1-9 (King James) & it is written of him: but woe to that man by In the body and the blood; Why was this waste of the ointment made? Venantius Honorius Clementianus Fortunatus whom the Son of man is betrayed! good were He will give to all the faithful For it might have been sold for more than three (c. 540-c. 600) it for that man if he had never been born. His own self for heavenly food. hundred pence, and have been given to the poor. (trans. John Mason Neale (1818-66)) Chorus: Rank on rank the host of heaven, Narrator: Is it I? Spreads its vanguard on the way, And they murmured against her. And Jesus said, 8. The Upper Room As the light of light descendeth Narrator: Narrator: From the realms of endless day, Jesus: And his disciples went forth, and came into the And as they did eat, Jesus took bread, and That the pow’rs of hell may vanish Let her alone; why trouble ye her? she hath city, and found as he had said unto them: and blessed, and brake it, and gave to them, and As the darkness clears away. wrought a good work on me. For ye have the they made ready the passover. And in the evening said, poor with you always, and whensoever ye will he cometh with the twelve. And as they sat and Mark 14:16-25 (King James) & ye may do them good: but me ye have not always. did eat, Jesus said, Jesus: Liturgy of St James She hath done what she could: she is come Take, eat: this is my body. (trans. Gerard Moultrie (1829-85)) aforehand to anoint my body to the burying. Jesus: Verily I say unto you, wheresoever this gospel Verily I say unto you, One of you which eateth with Narrator: shall be preached throughout the whole world, me shall betray me. And he took the cup, and when he had given 9. Gethsemane this also that she hath done shall be spoken of thanks, he gave it to them: and they all drank of it. Narrator: for a memorial of her. Narrator: And he said unto them, And they came to a place which was named And they began to be sorrowful, and to say unto Gethsemane: and he saith to his disciples, Chorus: him one by one, Jesus: The royal banners forward go, This is my blood of the new testament, which is Jesus: The cross shines forth with mystic glow; Chorus: shed for many. Verily I say unto you, I will drink Sit ye here, while I shall pray. Where he in flesh, our flesh who made, Is it I? no more of the fruit of the vine, until that day Our sentence bore, our ransom paid. that I drink it new in the kingdom of God. Narrator: Narrator: And he taketh with him Peter and James and John, O cross, our one reliance hail! and another said, Chorus: and began to be sore amazed, and to be very heavy; So may thy power with us avail Let all mortal flesh keep silence, And saith unto them, To give new virtue to the saint, Chorus: And with fear and trembling stand; And pardon to the penitent. Is it I? Ponder nothing earthly minded, Jesus: For with blessing in his hand, My soul is exceeding sorrowful unto death: To thee eternal Three in One, Narrator: Christ our God to earth descendeth tarry ye here, and watch. Let homage meet by all be done: And he answered and said unto them, Our full homage to demand. Narrator: Judas, one of the twelve, and with him a great Which brought from Heav’n but he answered nothing. And Pilate asked him And he went forward a little, and fell on the multitude with swords and staves, from the The news and Prince of Peace. again, saying, ground, and prayed that, if it were possible, chief priests and the scribes and the elders. the hour might pass from him. And he said, And he that betrayed him had given them a Cease not, wet eyes, Pilate: token, saying, His mercies to entreat; Answerest thou nothing? behold how many Jesus: To cry for vengeance things they witness against thee. Abba, Father, all things are possible unto thee; Judas: Sin doth never cease. take away this cup from me: nevertheless not Whomsoever I shall kiss, that same is he; Narrator: what I will, but what thou wilt. take him, and lead him away safely. In your deep floods, But Jesus yet answered nothing; so that Pilate Drown all my faults and fears; marvelled. Now at that feast he released unto Narrator: Narrator: Nor let his eye them one prisoner, whomsoever they desired. And he cometh, and findeth them sleeping, And as soon as he was come, he goeth See sin, but through my tears And there was one named Barabbas, who had and saith unto Peter, straightway to him, and saith, committed murder in the insurrection. And the Mark 14:32-49 (King James) & multitude crying aloud began to desire him to Jesus: Judas: Phineas Fletcher (1582-1650) do as he had ever done unto them. But Pilate Simon, sleepest thou? couldest not thou Master, master; answered them, saying, watch one hour? Watch ye and pray, lest ye enter into temptation. The spirit truly is Narrator: 10. The Praetorium Pilate: ready, but the flesh is weak. and kissed him. And they laid their hands on Narrator: Will ye that I release unto you the King of the Jews? him, and took him. And one of them that And straightway in the morning the chief priests Narrator: stood by drew a sword, and smote a servant held a consultation with the elders and scribes Narrator: And again he went away, and prayed, and of the high priest, and cut off his ear. And and the whole council, and bound Jesus, and But the chief priests moved the people, that he spake the same words. And when he returned, Jesus answered and said unto them, carried him away, and delivered him to Pilate. should rather release Barabbas unto them. he found them asleep again, (for their eyes And Pilate asked him, And Pilate answered and said again unto them, were heavy,) neither wist they what to answer Jesus: him. And he cometh the third time, and saith Are ye come out, as against a thief, with swords Pilate: Pilate: unto them, and with staves to take me? I was daily with Art thou the King of the Jews? What will ye then that I shall do unto him whom you in the temple teaching, and ye took me ye call the King of the Jews? Jesus: not: but the scriptures must be fulfilled. Narrator: Sleep on now, and take your rest: it is enough, And he answering said unto him, Narrator: the hour is come; behold, the Son of man is Narrator: And they cried out again, betrayed into the hands of sinners. Rise up, And they all forsook him and fled. Jesus: let us go; lo, he that betrayeth me is at hand. Thou sayest it. Chorus: Chorus: Crucify him, crucify him, crucify him. Narrator: Drop, drop, slow tears, Narrator: And immediately, while he yet spake, cometh And bathe those beauteous feet, And the chief priests accused him of many things: Narrator: To hold me that I quail not And at the ninth hour Jesus cried with a Then Pilate said unto them, In death’s most fearful hour; loud voice, saying, That I might fight befriended, Pilate: And see in my last strife Jesus: Why what evil hath he done? And they cried out To me thine arms extended My God, my God, why hast thou forsaken me? the more exceedingly, Upon the cross of life. Narrator: Chorus: Mark 15:1-9 & 11-15 (King James) & and gave up the ghost. And when the centurion, Crucify him, crucify him, crucify him. Paul Gerhardt (1607-76) from a fourteenth-century which stood over against him, saw that he so Latin hymn (trans. Robert Bridges (1844-1930)) cried out, and gave up the ghost, and said, Narrator: And so Pilate, willing to content the people, Centurion: released Barabbas unto them, and delivered 11. Golgotha Truly, truly this man was the Son of God. Jesus, when he had scourged him, to be crucified. Narrator: And they clothed him with purple, and platted a Chorus: Chorus: crown of thorns, and put it about his head, When I survey the wondrous Cross O sacred head, sore wounded, And began to salute him, On which the Prince of glory died, Defiled and put to scorn; My richest gain I count but loss O kingly head surrounded Chorus: And pour contempt on all my pride. With mocking crown of thorn: Hail, King of the Jews! What sorrow mars thy grandeur? See from his head, his hands, his feet, Can death thy bloom deflow’r Narrator: Sorrow and love flow mingled down; O countenance whose splendour And when they had mocked him, they took off Did e’er such love and sorrow meet, The hosts of heav’n adore the purple from him, and put his own clothes on Or thorns compose so rich a crown? him, and led him out to crucify him. And when In thy most bitter passion they had crucified him, they parted his garments, Were the whole realm of nature mine, My heart to share doth cry, casting lots upon them, what every man should That were a present far too small; With thee for my salvation take. And the superscription of his accusation Love so amazing, so divine, Upon the cross to die. was written over, demands my soul, my life, my all. Ah, keep my heart thus moved To stand thy Cross beneath, Chorus: Mark 15: 17-18, 20, 24, 26, 33-34, 37 & 39 To mourn thee, well-beloved, THE KING OF THE JEWS. (King James) & Matthew Owens (Photography: Iain MacLeod-Jones) Yet thank thee for thy death. Isaac Watts (1674-1748) Narrator: My days are few, O fail not, And when the sixth hour was come, there was With thine immortal power, darkness over the whole land until the ninth hour. 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Photography: Tom Lindsey (I Puritani), Marcello (La Bohème), and Naxos disc All Shall be Well, including the performances I have heard’. performance at the examination for FRCO Lescaut (Manon). He has also worked with world premiere recording of Roxanna and a recording of improvisations with Garsington Opera, Glyndebourne Festival Panufnik’s work of the same name, which He was cellist of the Angell Piano Trio for Malcolm Archer received excellent reviews. Opera, English Touring Opera, Opera was chosen as BBC Radio 3 CD of the week. twenty years, who were Ensemble-in- He has improvised live on radio, and Holland Park, Longborough Festival Opera, Residence at Aldeburgh and performed performed extensively in the UK and abroad, Lausanne Opera, Opéra de Dijon, and at Following on from winning the BBC TV worldwide. including a recital at Notre-Dame de Paris. Aix-en-Provence. On the concert platform, Young Musician of the Year String Section, He also appeared as stunt-organist on Dr Benjamin has worked with The English his London debut recital at the Purcell Room Richard teaches cello at Wells Cathedral Who. Concert, Bach Collegium Japan, The included the world premiere of Five Duos Specialist Music School and is co-founder/ Hanover Band, the BBC Philharmonic, the for cello and piano by Colin Matthews. A Artistic Director of Encore Music Projects His compositions are widely recorded, and Stavanger Orchestra, and the recital of Bach Solo Suites in Switzerland International Summer School. He is an the album Hail, gladdening light was a Colorado Symphony Orchestra, among gained critical acclaim for ‘absolute Associate of the Gramophone Editor’s Choice. The recording many others. Recordings with London Early perfection and virtuosity’. He also gave a and plays an Old English cello of 1789, of his Requiem received similar accolades, Opera, ‘Handel in Italy Volumes 1 & 2’, on televised recital for the series Solo, featuring by William Forster. and a further recording, Flame Celestial, the Signum Classics label were critically British musicians, and has performed as received a Gramophone Recommendation. acclaimed. soloist and chamber musician with Nigel His largest work to date, Welcome All Kennedy as well as recently collaborating David Bednall (organ) Wonders, was commissioned by The with the Brodsky Quartet. Queen’s College, Oxford, and their recording Richard May (cello) David Bednall is recognised as one of the on Signum Classics has garnered superb Richard studied in London with Florence leading choral composers of his generation international critical acclaim. The recording As one of Britain’s foremost cellists of his Hooton, winning a Scholarship to the Royal and studied for a PhD in Composition with of his Stabat Mater on Regent with Jennifer generation, Richard May pursues an Academy of Music, and subsequently with Professor John Pickard at the University Pike (violin) and the Chapel Choir of international career as soloist and William Pleeth, then later with Thomas of Bristol. He is a Teaching Fellow and Benenden School under Edward Whiting chamber musician, performing Demenga at the Basel Konservatorium. He Organist of The University of Bristol, Sub was an Editor’s Choice in the Awards with such orchestras as the Basel Symphony, also won awards to study at Banff, Yale, Organist at Bristol Cathedral, and conducts Edition of Gramophone 2016. Recent Ulster and BBC Philharmonic, including Prussia Cove, and La Chaux-de-Fonds, with The University Singers. He was Organ projects include a BBC Commission for appearances at Carnegie Hall, Wigmore such artists as Paul Tortelier, Aldo Parisot, Scholar of The Queen’s College, Oxford, James Gilchrist, Philip Dukes, and Anna Hall, Barbican and Southbank Centres, and Ralph Kirshbaum, and with held a number of posts at Gloucester Tilbrook, which was premiered in Hull at festivals in Salzburg, Berlin, London, and András Schiff. Past prizes include National Cathedral, and was Assistant Organist at in July 2017. Aldeburgh. He has performed live on Federation of Music Societies Award and Wells Cathedral. His teachers included television and radio, both nationally and EMI Jacqueline du Pré Competition, when Dr Naji Hakim and David Briggs. internationally, and recently featured as The Times wrote of the Shostakovich soloist in works for cello and choir on the Sonata ‘simply one of the most gripping He won prizes in improvisation and Wells Cathedral Choir Queen’s Music), Tarik O’Regan, John Rutter, Howard Skempton, and Sir John Tavener. Wells Cathedral Choir was hailed in 2011 by an international jury from Gramophone Wells Cathedral Choir broadcasts regularly magazine as the greatest choir with children on BBC Radio 3 and its innovative recordings in the world, and the sixth greatest overall. over the last eleven years for Hyperion The choir celebrated its 1100th birthday in Records and Regent Records have won 2009: boys first sang at Wells Cathedral in international praise and has had two discs 909 and the full choral tradition dates back made Editor’s Choice in Gramophone over 800 years. In 1994 the choral foundation magazine. at Wells was enriched by the addition of girl choristers. Today the choir consists of 18 boy As well as the liturgical musical repertoire choristers, 18 girl choristers and 12 Vicars the choir performs larger scale choral works Choral (the men of the choir). The boys and in concert, with recent collaborations

y: Iain MacLeod-Jones) girls usually sing separately with the Vicars including the BBC National Orchestra of

aph Choral but occasionally come together for Wales (Britten War Requiem), Jools Holland

ogr larger events and tours. and his band (Jools Holland Mass), Wells Cathedral Oratorio Society (Britten St Nicolas (Phot The choir is at the heart of the worshipping and War Requiem), Dame Felicity Lott, Dame life of the Cathedral, and sings a wide Emma Kirkby, James Bowman CBE, and repertoire of music ranging from the Wells Cathedral School Chamber Orchestra tmas 2015 Renaissance period to the present day. It (at a royal gala concerts at the Royal Opera sings throughout the cathedral’s festival, House, Covent Garden, and St James’s al, Chris launched in June 2008: new music wells, Palace, London). In September 2014 the giving a number of premieres as well as choristers sang with the Berlin Radio Choir thedr featuring music from the previous forty and the Berlin Philharmonic Orchestra

ells Ca years. It has premiered works from some under the baton of Sir Simon Rattle OM, in a of today’s finest composers, including performance of Bach’s St Matthew Passion s of W Lord (Michael) Berkeley CBE, Judith Bingham, at the BBC Proms. er t Geoffrey Burgon, Bob Chilcott, Jonathan Dove, Gabriel Jackson, John Joubert, Sir The choir has toured extensively with recent James MacMillan CBE, Sir Peter Maxwell tours to France, Germany, The Netherlands, Davies CH CBE (former Master of the Hong Kong, and Beijing. The boy and girl choris Matthew Owens (conductor) of the Cathedral Organists’ Association (2010-13). Matthew Owens became Organist and Master of the Choristers of Wells Cathedral As Musical Director of the Wells Cathedral in 2005, having previously been Organist Oratorio Society, a chorus of over 150 singers, and Master of the Music at St Mary’s he has performed the major works of the Episcopal Cathedral, Edinburgh, and Sub repertoire with some of the south of Organist of Manchester Cathedral. In England’s leading professional orchestras. addition to being responsible for the Matthew has directed choral workshops 1100-year-old tradition of daily sung worship and summer schools throughout the UK at Wells Cathedral, Matthew has toured, and abroad – including recent visits to broadcast, and recorded extensively with Australia, China, Germany, Hong Kong, Wells Cathedral Choir. He is the Founder Luxembourg, New Zealand, and the USA – Artistic Director of three initiatives at and has made over thirty recordings as a Wells: Cathedral Commissions, a scheme conductor with major labels including which commissions new works from Hyperion, Signum, and Resonus Classics. pre-eminent British composers; the cathedral’s innovative festival, new music As an organist, Matthew has given recitals wells; and its counterpart, in Australia, France, Ireland, Spain, Wells. Switzerland, New Zealand, the USA, and throughout the UK, including many festival Matthew was educated at Chetham’s School appearances, and is currently performing of Music; The Queen’s College, Oxford; the the complete works of Bach at Wells Cathedral Royal Northern College of Music; and the over a series of thirty-six recitals. He has Amsterdam Conservatorium. Studying with championed new music, particularly of Gordon Stewart, Margaret Phillips, and British composers, conducting over 190 Jacques van Oortmerssen, he won all the world premieres, including works by major prizes in the diplomas of the Royal leading composers ranging from Jools Matthew Owens with John Joubert following the first performance of the St Mark Passion College of Organists. From 1994-99, he Holland to Sir James MacMillan, and John on the occasion of the composer’s 89th birthday, 20 March 2016. was Tutor in Organ at the RNCM and Rutter to Sir Peter Maxwell Davies. As a (Photography: Jacinth Latta) Chetham’s, and worked for BBC Religious composer himself, he is published by Broadcasting; he was Conductor of The Oxford University Press, Novello, and Exon Singers (1997-2011), and President the RSCM. More titles from Resonus Classics Wells Cathedral Choir Countertenor John Buckland (tracks 1-6 only) A Wells Christmas Boy Choristers Simon Clulow Wells Cathedral Choir Tom Bates Aidan Cruttenden (tracks 1-6 only) Matthew Owens (conductor) Henry Dukes (Deputy Head Chorister) Theo Golden RES10176 Xavier Hobday-Padamadan Stephen Harvey (soloist tracks 2 & 4) ‘[...] Matthew Owens and his combined Wells Alexei James-Cudworth Tim Wilson Cathedral forces of boys and girls present a Hugh Latta (Head Chorister) beautifully sung and exceptionally well-recorded Ozzie Latta Tenor disc’ Ross Lloyd Alexander James Edwards (tracks 1-6 only) Choir & Organ James MacGeoch Edward Goater (soloist tracks 2 & 4) Bailey Roberts (Deputy Head Chorister) Oscar Golden-Lee Sergei Rachmaninoff: Vespers (All-Night Vigil), Op. 37 Taylor Thompson Iain MacLeod-Jones Saint Thomas Choir of Men & Boys, Jack Wilde Fifth Avenue, New York Girl Choristers John Scott (conductor) Harriet Carlill Bass RES10169 Carla Coombs Craig Bissex (soloist track 8) ‘It is a magnificent rendition, showing just how this Erin Davies William Drakett (tracks 1-6 only) masterpiece has been convincingly absorbed into the Madeline Davis Mike Entwistle (tracks 1-6 only) wider choral tradition, and I recommend it very Orla Donoghue Andrew Kidd highly indeed.’ (Head Chorister, soloist tracks 2 & 4) Christopher Sheldrake (soloist tracks 2 & 4) Gramophone (Editor’s Choice) Cecilia Fawden William White Eliza Green Madeleine Hughes © 2017 Resonus Limited Eliza Mead è 2017 Resonus Limited Beth Mitton Recorded in Wells Cathedral, Somerset on 17-18 May & 7-8 June 2017 by kind permission of the Chapter. Thanks are due to the following in their Producer, engineer & editor: Adam Binks Jessica Morrell (soloist tracks 2 & 4) assistance with the making of this recording: Recorded at 24-bit/96kHz resolution Sophie Morrell Cover image: Wells Cathedral Crucifixion Triptych, centre panel, Harriet Perring oil on linen, 213x183 (2012), by Richard Pomeroy (Deputy Head Chorister, soloist tracks 1, 8 & 11) Mrs Diana Armstrong, Mrs Sarah Donoghue, Astrid Rose-Edwards Mrs Karen Green, Mrs Violaine James-Cudworth, RESONUS LIMITED – UK Ms Anna Joubert, Mr James Kealey, [email protected] Dr Alex and Mrs Debbie Kolombos, www.resonusclassics.com Mr Richard Pomeroy, and Mr Andrew John Smith RES10198