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Also available: STAINER The Crucifixion James Gilchrist, Tenor • Simon Bailey, Bass Choir of Clare College, Cambridge Timothy Brown

8.554659

8.554791

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Sir John Stainer (1840–1901) The Crucifixion

1 Recitative: And they came to a place named Gethsemane (Tenor) 1:32 Also available: 2 The Agony (Bass Solo and Chorus) 6:24 Recitative: And they laid their hands on Him (Tenor and Bass) 3 Processional to Calvary (Tenor and Chorus) 10:04 4 Recitative: And when they were come (Bass) 1:00 5 Hymn: The Mystery of the Divine Humiliation 3:00 6 Recitative: He made Himself of no reputation (Bass) 1:21 7 The Majesty of the Divine Humiliation (Tenor) 4:14 8 Recitative: And as Moses lifted up the serpent (Bass) 1:12 9 Chorus: God so loved the world 3:34 0 Hymn: Litany of the Passion 4:19 ! Recitative: Jesus said, “Father, forgive them” (Tenor and Chorus) 0:47 @ Duet: So Thou liftest Thy divine petition (Tenor and Bass) 4:51 # Hymn: The Mystery of Intercession 5:09 $ Recitative: And one of the malefactors (Tenor, Bass and Chorus) 2:38 % Hymn: The Adoration of the Crucified 1:46 8.555795 ^ Recitative: When Jesus therefore saw His mother (Tenor, Bass and Chorus) 2:55 & Recitative: Is it nothing to you? (Bass) 1:14 * Chorus: The Appeal of the Crucified 6:10 ( Recitative: After this, Jesus knowing that all things were now accomplished 2:12 (Tenor and Chorus) ) Hymn: For the love of Jesus 2:28

James Gilchrist, Tenor • Simon Bailey, Bass 8.557277 Choir of Clare College, Cambridge • Stephen Farr, Organist Timothy Brown

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Sir John Stainer (1840–1901) The Crucifixion Also available: Sir John Stainer was organist of St Paul’s Cathedral and events. This procedure was never used by Handel, but professor of music at Oxford, but he made it his special comes directly from Bach oratorios. vocation to provide good music for parish choirs of Stainer, however, plays down the dramatic elements moderate abilities, publishing a large number of of the passion story, which in any case were not his anthems, chants and hymn tunes with this end in view. forte, especially those that dwell on Christ’s physical Though undoubtedly there was a financial motive, the agony; Christianity had become more humane in the cult of simplicity also suited Stainer’s temperament and intervening 150 years. The words ‘scourged him’ are philosophy. He made himself an expert in the art of given no musical illustration. Instead, Stainer depicts drawing emotion and depth of meaning out of Jesus in Gethsemane as a pathetic man, begging for the commonplace melody and harmony. sympathy of his followers. Perhaps the key of C sharp In 1887 Stainer conceived the novel idea of writing minor is meant to embody the sharpness of death, but music for Passion Week that was well within the reach this would hardly affect the listeners or even the of village choirs. The librettist, W.J. Sparrow-Simpson participants. The expressive song ‘Could ye not watch (1859-1952), was the son of a colleague at St Paul’s, and with me’ is in varied strophic form with chorus. The the first performance was at St Marylebone Parish highest note is skilfully reserved for the word ‘agony’ in Church in London. The Crucifixion was not only well the last verse, and the voice then descends to the depths received, but has outlived almost all church choir music of woe. of its period, becoming a great popular favourite in the After a dramatic recitative comes the most teeth of astoundingly harsh judgements by some critics ambitious number, Processional to Calvary, described and historians. The qualities that have endeared it to as if by a Christian bystander. One hears Christ and his 8.555255 many generations are those that Stainer had consciously followers approaching during the long organ cultivated as a happy medium between contrapuntal introduction in A minor: first a quiet march which will elaboration and melodramatic tone-painting. be the recurring theme of the rondo structure, then Stainer was writing at a time when Bach’s Passions (moving to the major mode) a lyrical melody had been only recently introduced to the British oratorio accompanied by repeated chords, lieder style. The public, and had at last dislodged Handel from his place chorus enters during the next statement of the rondo as the unquestioned master of sacred choral music. The theme with a peremptory ‘Fling wide the gates!’, and Crucifixion followed the Lutheran Passions in several although there is no mention of gates in the biblical respects. Never an oratorio, it was a ‘Meditation’, account, the repeated cry is an effective way of designed to form an integral part of an Anglican service, integrating this movement, with echoes as if the order using the normal resources of choir and organ, and was being passed from soldier to soldier. The ‘gates’ bringing in the congregation in several simple hymns theme merges into the rondo theme and passes through 8.555792 (though Stainer composed new tunes where Bach had various keys before the tenor solo returns to the lyrical adapted ones already well known). The libretto theme, in the remote key of A flat major: ‘How sweet is alternates biblical prose narrative with newly composed the grace of His sacred Face’. Here the bystander verse expressing a Christian’s response to the successive catches a glimpse of the divine countenance as Jesus

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passes by, while the dotted rhythms of the marchers end of the coda with subdominant harmony is not Is it nothing to you that I bow My Head? ) No. 20 – Hymn: For the love of Jesus recede into the background. This idea, perhaps original, but it is nowhere more moving in its effect. And nothing to you that My Blood is shed? All for Jesus – all for Jesus, suggested by the ‘Reconnaissance’ in Schumann’s All but one of the remaining four hymns are in O perishing souls, to you I cry, This our song shall ever be; Carnaval, is rather beautifully expressed by Stainer trochaic metre, which gives them a certain sameness. Is it nothing to you, all ye that pass by? For we have no hope, nor Saviour, here, but inevitably the insistent chorus march breaks The main movements dwell on some of the last words If we have not hope in Thee. into the dream (‘Then on to the end’), and finally from the Cross, each of which is first stated in a choral O come unto Me – by the woes I have borne, recedes into the distance, towards Calvary. recitative. The duet So Thou liftest Thy divine petition is By the dreadful scourge, and the crown of thorns, All for Jesus – Thou wilt give us The crucifixion itself is described in a short disturbingly emotional, using a harmonic system we By these, I implore you to hear My cry, Strength to serve Thee, hour by hour, chromatic recitative. The reaction comes in the first and now associate with Wagnerian myth rather than Is it nothing to you, all ye that pass by? None can move us from Thy presence, best of the congregational hymns, ‘Cross of Jesus’, a Christian feeling; indeed faint echoes of Tristan can be While we trust Thy love and power. truly stirring tune which has become a standard in many heard. This is relieved by a dactylic hymn ‘Jesus, the O come unto Me – this awful price, hymnals. The Majesty of the Divine Humiliation is a Crucified, pleads for me’. The scene of the two Redemption’s tremendous sacrifice – All for Jesus – at Thine altar bold experiment in free-form construction, held together malefactors returns to more matter-of-fact description. Is paid for you – Oh, why will ye die? Thou wilt give us sweet content; by a flexible ‘motto’ theme. It suffers from an After ‘My God, why hast thou forsaken me?’, Is it nothing to you, all ye that pass by? There, dear Lord, we shall receive Thee impossibly wide range of emotion, inherent in the Sparrow-Simpson invokes famous words from the Old In the solemn Sacrament. mystery of the crucifixion, where the humiliation of Testament: Is it nothing to you, all ye that pass by? ( No. 19 – Recitative (Tenor and Chorus) Jesus is seen as a triumph; Stainer feels compelled to (Lamentations i. 12), which return to the prevailing After this, Jesus knowing that all things were now All for Jesus – Thou hast loved us; express this with blaring organ chords at the end, which message of the work, one of rebuke for humanity’s accomplished, saith, “I thirst.” All for Jesus – Thou hast died; jar against the prevailing mood of sympathy with the indifference to Christ’s sacrifice. The same phrase is When Jesus had received the vinegar, All for Jesus – Thou art with us; sufferings of the human Jesus. subtly adapted as a refrain in the last extended chorus, He saith, “It is finished All for Jesus Crucified. The ‘quartet or chorus’ that follows, God so loved The Appeal of the Crucified. The death of Christ is set in Father, into Thy hands I commend My spirit.” the world, is the one choral movement using biblical comparatively plain harmony, and at last in And he bowed His Head, and gave up the ghost. All for Jesus – all for Jesus, words, and as such it is precisely one of those simple unaccompanied recitative, before the hymn For the love (St John xix. 28, 30) This the Church’s song must be; anthems in which Stainer excelled — and indeed it of Jesus rounds off the work. Till, at last, her sons are gathered quickly became well known when it was separately Stainer’s deeply felt Meditation can still have a One in love and one in Thee. Amen. published in that form. It is self-sufficient; it can be, and telling effect in the context for which it was designed, a often is, sung unaccompanied. The simple ternary parish celebration of Christ’s Passion. To appreciate it in structure with coda is easily grasped. Stainer, a master of concert or recorded form requires a conscious historical © Copyright 1887, 1915 Novello & Company Limited biblical word setting, happily emphasizes ‘so’ in the effort to overcome ingrained prejudices against things All Rights Reserved. International Copyright Secured opening phrase, and also uses musical accent to Victorian — prejudices which are themselves now Reprinted by permission reinforce the antithesis: ‘God sent not his son into the completely out of date. world to condemn the world; but that the world through him might be saved.’ The return of the title phrase at the Nicholas Temperley

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comest into Thy Kingdom.” And Jesus said unto & No. 17 – Recitative (Bass) James Gilchrist him, “Verily I say to thee, today shalt thou be It is nothing to you, all ye that pass by? James Gilchrist, a former chorister at New College, Oxford, began his working life as a doctor, turning in 1996 to with Me in Paradise.” (St. Luke xxiii. 39–43) Behold, and see if there be any sorrow like a full-time career in music, which brought collaboration with leading ensembles and colleagues. His operatic unto My sorrow, which is done unto Me, performances include the rôles of Quint in Britten’s The Turn of the Screw, Ferrando in Così fan tutte, Scaramuccio % No. 15 – Hymn: wherewith the Lord hath afflicted Me in the in Richard Strauss’s Ariadne auf Naxos, and Evandre in Gluck’s Alceste, while his many recordings include Bach’s The Adoration of the Crucified day of His fierce anger. St Matthew Passion and St John Passion (Naxos 8.557296-97), Missa Brevis and Cantatas, Rachmaninov’s Vespers, I adore Thee, I adore Thee! (Lamentations i. 12) sacred music by Schütz, Rameau’s Cantatas and St Mark Passion, songs by Percy Grainger, sacred music by Glorious ere the world began; Kuhnau, and the title rôle in Britten’s Albert Herring. He is among the leading British tenors in eighteenth-century Yet more wonderful Thou shinest, * No. 18 – The Appeal of the Crucified (Chorus) repertoire, to which he adds an interest in contemporary music, with a number of first performances to his credit. Though divine, yet still divinest From the Throne of His Cross, the King of grief In Thy dying love for man. Cries out to a world of unbelief: Oh! men and women, afar and nigh, Simon Bailey I adore Thee, I adore Thee! Is it nothing to you, all ye that pass by? The bass-baritone Simon Bailey was born in Lincoln and read music at Clare College, Cambridge. He later studied Thankful at Thy feet to be; at the Royal Northern College of Music with Neil Howlett, before beginning a two-year contract at the La Scala I have heard Thy accent thrilling, I laid My eternal power aside, Academy, Milan. In August 2002 he joined the ensemble of Opera Frankfurt as a company principal. There he has Lo! I come, for Thou art willing I came from the Home of the Glorified, appeared as Papageno in Die Zauberflöte and Dulcamara in L’elisir d’amore. Other rôles in Frankfurt include Me to pardon, even me. A babe, in the lowly cave to lie; Swallow in Peter Grimes, Alidoro in La Cenerentola, Don Alfonso in Così fan tutte, Don Basilio in Il Barbiere di Is it nothing to you, all ye that pass by? Siviglia, Lord Sidney in Il viaggio a Reims, Angelotti in Tosca, Monsieur de Brétigny and Lescaut in Massenet’s I adore Thee, I adore Thee! Manon, Claudio in Handel’s Agrippina, Klingsor in Parsifal, the Animal Tamer/Acrobat in Lulu, Ferryman in Born of woman, yet Divine, I wept for the sorrows and pains of men, Curlew River and the title rôle in Don Giovanni. Awards include the 1999 American Express/Opera Holland Park Stained with sins I kneel before Thee, I healed them, and helped them, and loved them Award for Outstanding Operatic Achievement, the Concorso Internazionale dell’Accademia del Teatro alla Scala Sweetest Jesu, I implore Thee, – but then 1999, the Concorso Vocale Internazionale di Musica Sacra 2004, and success as a semi-finalist in the Placido Make me ever only Thine. They shouted against Me – Crucify! Domingo Operalia competition 2003. His exceptional vocal range has enabled him to perform a rich variety of rôles Is nothing to you, all ye that pass by? across the bass and baritone repertoire in the course of an international career that has brought appearances from La ^ No. 16 – Recitative (Tenor, Bass and Chorus) Scala, Milan to the Athens Festival, and from Cambridge to Lima. When Jesus therefore saw His mother, and the Behold Me and see: pierced thro’ and thro’ disciple standing by, whom He loved, He saith With countless sorrows – and all is for you; unto His mother, “Woman, behold thy son!” For you I suffer, for you I die, Stephen Farr Then saith He to the disciple, “Behold thy Is it nothing to you, all ye that pass by? Stephen Farr is Organist of Guildford Cathedral and is widely regarded as one of the finest organists of his mother!” generation, with a virtuoso technique and an impressive stylistic grasp of a wide-ranging repertoire. He was born in There was darkness over all the earth. Oh! men and women, your deeds of shame, London in 1967 and read music at Cambridge, where he was Organ Scholar of Clare College. After graduating with And at the ninth hour Jesus cried with a loud voice, Your sins without reason and number and name; first class honours in 1987, he gained a Master’s degree in Musicology, before moving in 1990 to become Sub saying, “My God, my God, why hast Thou I bear them all on the Cross on high; Organist and later a Lecturer in Music at Christ Church, Oxford. He became Sub-Organist of Winchester Cathedral forsaken Me?” Is it nothing to you, all ye that pass by? in 1996 and was appointed to his present position in 1999. A pupil of Robert Munns and David Sanger in London (St. John xix. 26, 27; St. Matthew xxvii. 45; and Cambridge, and of Piet Kee in Haarlem and Hans Fagius in Copenhagen, Stephen Farr enjoys an active St. Mark xv. 34) international career as a recitalist and soloist, in addition to his work as a continuo player and accompanist in collaboration with leading ensembles and soloists.

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The Choir of Clare College, Cambridge ! No. 11 – Recitative (Tenor and Chorus) Lord, I have left Thee, I have denied, Jesus said: Father, forgive them; Followed the world in my selfish pride; In addition to its primary task of leading chapel services, the for they know not what they do. Lord, I have joined in the hateful cry, Choir of Clare College gives frequent concerts, both in the (St. Luke xxiii. 34) Slay Him, away with Him, crucify! United Kingdom and abroad. It has toured to many countries, Lord, I have done it, oh! ask me not how; including the United States of America, Russia, the Middle @ No. 12 – Duet (Tenor and Bass) Woven the thorns for Thy tortured Brow; and Far East, and countries within Western and Eastern So Thou liftest Thy divine petition, Yet in His pity so boundless and free, Europe. The choir performs frequently in Britain’s major Pierced with cruel anguish thro’ and thro’; Jesus, the Crucified, pleads for me! concert halls with many of the country’s leading orchestras, So Thou grievest o’er our lost condition, and regularly contributes to the Choral Evensong broadcasts Pleading, “Ah! they know not what they do.” Though thou hast left Me and wandered away, on BBC Radio 3. In 2000 it became the first Oxbridge mixed- Chosen the darkness instead of the day; voice choir to perform at the BBC Proms, singing Bach’s St Oh! ’twas love, in love’s divinest feature, Though thou art covered with many a stain, John Passion. Outstanding successes in recent seasons have Passing o’er that dark and murderous blot; Though thou hast wounded Me oft and again; included sell-out tours throughout Europe with leading period Finding, e’en for each low-fallen creature, Though thou hast followed thy wayward will; instrument orchestras, and highly acclaimed performances at Tho’ they slay Thee – one redeeming spot. Yet in My pity, I love thee still. many major European music festivals, including the Munich Wonder of wonders it ever must be! Opera Festival and the Salzburg Festival. The choir regularly Yes! and still Thy patient Heart is yearning Jesus, the Crucified, pleads for me! commissions new music and has had works written for it by With a love that mortal scarce can bear; Christopher Brown, Andrew Carter, Herbert Howells, Nico Muhly, Julian Phillips, Tarik O’Regan, John Rutter and Thou in Pity, deep, divine, and burning, Jesus is dying, in agony sore, Giles Swayne. The choir has made many acclaimed CD recordings, including a release of Rutter’s Requiem (Naxos Liftest e’en for me Thy mighty prayer. Jesus is suffering more and more, 8.557130), which was an Editor’s Choice in the May 2003 edition of The Gramophone and topped the classical Jesus is bowed with the weight of His woe, charts several weeks running. So Thou pleadest, e’en for my transgression, Jesus is faint with each bitter throe. Bidding me look up and trust and live; Jesus is bearing it all in my stead, SOPRANO ALTO TENOR BASS So Thou murmerest Thine intercession, Pity Incarnate for me has bled; Ruth Abbott Annie Beaumont Patrick Ashcroft Richard Bannan Yea, he knew not – for My sake, forgive. Wonder of wonders it ever must be! Charmian Bedford Georgia Black Gerald Beatty Nicholas Collon Jesus, the Crucified, pleads for me! Philippa Boyle Jennifer Brentnall Benjamin Breakwell Andrew Davies † # No. 13 – Hymn: Claire Buckley Peter Crawford David Lunn Christopher Elcombe The Mystery of Intercession $ No. 14 – Recitative (Tenor, Bass and Chorus) Esther Chadwick Elisabeth Fleming Philip Martin Jonathan Midgley † Jesus, the Crucified, pleads for me, And one of the malefactors which were hanged, Rosemary Galton Sarah Shorter Matthew Ross David Neal * While He is nailed to the shameful tree, railed on Him, saying, “If Thou be the Christ, save Eleanor Helps Daniel Wellings Benjamin Winpenny Edward Parkes Scorned and forsaken, derided and curst, Thyself and us.” But the other, answering, rebuked Laura Honey Edward Young Graham Ross See how His enemies do their worst! him, saying, “Dost not thou fear God, seeing thou Catherine Markall Yet, in the midst of the torture and shame, art in the same condemnation? And we indeed Katrina Morley-Fletcher Jesus, the Crucified, breathes my name! justly; for we receive the due reward of our deeds: Amy Riach Wonder of wonders, oh! how can it be? but this man hath done nothing amiss.” And he Nicola Thompson * Bass soloist from the choir The Agony Jesus, the Crucified, pleads for me! said unto Jesus, “Lord, remember me when Thou † Bass soloists from the choir And one of the malefactors

Jamie McVinnie – registrant

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Glory and honour: By the treachery and trial, Timothy Brown Let the world divide and take them; By the blows and sore distress, Timothy Brown received his initial musical training as a chorister at Westminster Abbey, and later as a member of Crown its monarchs and unmake them; By desertion and denial, King’s College Choir, Cambridge. For many years he conducted the Cambridge University Chamber Choir and is But Thou wilt reign. By Thine awful loneliness: now the director of the London-based professional chamber choir, English Voices. He has been guest chorus-master Crucified I turn to Thee, at the Berlin Staatsoper and at the Flanders Opera, and is a popular conductor at singing weeks, including Europa Here in abasement; Son of Mary, pray for me. Cantat and the Berwang Holiday Music Course. In November 2002 he directed a project with the Berlin-based RIAS Crownless, poor, disrobed, and bleeding: radio choir. He has edited a number of choral volumes for Faber Music and is a contributing editor to the complete There, in glory interceding, By Thy look so sweet and lowly, edition of music by William Walton, published by Oxford University Press. Thou art the King! While they smote Thee on the Face, By Thy patience, calm and holy, 8 No. 8 – Recitative (Bass) In the midst of keen disgrace: And as Moses lifted up the serpent in the Crucified, I turn to Thee, wilderness, even so must the Son of man be lifted Son of Mary, pray for me. up; that whosoever believeth in Him should not perish, but have everlasting life. By the hour of condemnation, (St. John iii. 14, 15) By the blood which trickled down, When, for us and our salvation, 9 No. 9 – Chorus Thou didst wear the robe and crown: God so loved the world, that He gave His only Crucified, I turn to Thee, begotten Son, that whoso believeth in Him should Son of Mary, pray for me. not perish, but have everlasting life. For God sent not His Son into the world to condemn the world; By the path of sorrows dreary, but that the world through Him might be saved. By the Cross, Thy dreadful load, (St. John iii. 16, 17) By the pain, when, faint and weary, Thou didst sink upon the road: 0 No. 10 – Hymn: Crucified, I turn to Thee, Litany of the Passion Son of Mary, pray for me. Holy Jesu, by Thy Passion, By the woes which none can share, By the Spirit which could render Borne in more than kingly fashion, Love for hate and good for ill, By Thy love beyond compare: By the mercy, sweet and tender, Crucified, I turn to Thee, Poured upon Thy murderers still: Son of Mary, pray for me. Crucified, I turn to Thee, Son of Mary, pray for me. Naxos Radio 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Accessible Anywhere, Anytime • Near-CD Quality www.naxosradio.com

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The Crucifixion: A Meditation on the Sacred Passion of the Holy Redeemer CHORUS From the “Holy, Holy Holy, Text selected and written by Rev. W.J. Sparrow-Simpson Then on to the end, my God and my Friend, We adore Thee, O most High,” With Thy banner lifted high! Down to earth’s blaspheming voices 1 No. 1 – Recitative (Tenor) sitting on the right hand of power, and coming in Thou art come from above in Thy power and love, And the shout of “Crucify!” And they came to a place named Gethsemane: the clouds of heaven. Then the high priest rent his To endure and suffer and die. and Jesus saith to His disciples, Sit ye here, clothes and saith, What need we any further Cross of Jesus, Cross of Sorrow, while I shall pray. witnesses? Ye have heard the blasphemy. 4 No. 4 – Recitative (Bass) Where the Blood of Christ was shed; (St. Mark xiv. 32) And they all condemned Him to be guilty of death. And when they were come to the place called Perfect Man on thee was tortured, And they bound Jesus, and carried Him away, Calvary, there they crucified Him, and the Perfect God on thee has bled! 2 No. 2 – The Agony (Bass and Chorus) and delivered Him to Pilate. malefactors, one on the right, and the other BASS And Pilate, willing to content the people, on the left. 6 No. 6 – Recitative (Bass) Could ye not watch with Me one brief hour? released Barabbas unto them, and delivered Jesus, (St. Luke xxiii. 33) He made Himself of no reputation, and took upon Could ye not pity My sorest need? when he had scourged Him, to be crucified. Him the form of a servant, and was made in the Ah! If ye sleep while the tempests lower, And the soldiers led Him away. 5 No. 5 – Hymn: likeness of men: Surely, My friends, I am lone indeed! (St. Mark xiv. 46, 53, 61–64; xv. 1, 15, 16) The Mystery of the Divine Humiliation And being found in fashion as a man, He humbled Cross of Jesus, Cross of Sorrow, Himself, and became obedient unto death, even CHORUS 3 No. 3 – Processional to Calvary (Tenor and Chorus) Where the Blood of Christ was shed, the death of the Cross. Jesu, Lord Jesu, bowed in bitter anguish, CHORUS Perfect man on thee was tortured, (Philippians ii. 7, 8) And bearing all the evil we have done, Fling wide the gates, for the Saviour waits Perfect God on thee has bled! Oh, teach us how to love Thee for Thy love; To tread in His royal way; 7 No. 7 – The Majesty of the Divine Help us to pray, and watch, and mourn with Thee. He has come from above, in His power and love, Here the King of all the ages, Humiliation (Tenor) To die on this Passion Day. Throned in light ere worlds could be, King ever glorious! BASS Robed in mortal flesh is dying, The dews of death are gathering round Thee; Could ye not watch with Me one brief hour? His Cross is a sign of a love divine, Crucified by sin for me. Upon the Cross Thy foes have bound Thee – Did ye not say upon Kedron’s slope? His Crown is the thorn-wreath of woe, Thy strength is gone. Ye would not fall into the Tempter’s power? He bears His load on the sorrowful road, O mysterious condescending! Did ye not murmur great words of hope? And bends ’neath the burden low. O abandonment sublime! Not in Thy Majesty, Could ye not watch with Me? even so:- Very God Himself is bearing Robed in Heaven’s supremest splendour, Willing in heart, but the flesh is vain. TENOR All the sufferings of time! But in weakness and surrender, Back to Mine agony I must go, How sweet is the grace of His sacred Face, Thou hangest here. Lonely to pray in bitterest pain. And lovely beyond compare; Evermore for human failure Tho’ weary and worn with the merciless scorn By His Passion we can plead; Who can be like Thee? Recitative (Tenor and Bass) Of a world He has come to spare. God has borne all mortal anguish, Pilate high in Zion dwelling, And they laid their hands on Him, and took Him. Surely He will know our need. Rome with arms the world compelling, And led Him away to the high priest. The burden of wrong that earth bears along, Proud tho’ they be? And the high priest asked Him, and said unto Him, Past evil, and evil to be, - This – all human thought surpassing – Art Thou the Christ, the Son of the Blessed? All sins of man since the world began, This is earth’s most awful hour, Thou art sublime: Jesus said, I am: and ye shall see the Son of man They are laid, dear Lord, on Thee. God has taken mortal weakness! Far more awful in Thy weakness, God has laid aside His Power! More than kingly in Thy meekness, Thou Son of God. 8.557624 8 9 8.557624 557624bk Stainer US 17/03/2005 02:28pm Page 8

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Jamie McVinnie – registrant

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Sir John Stainer (1840–1901) The Crucifixion

James Gilchrist, Tenor • Simon Bailey, Bass 8.557277 Choir of Clare College, Cambridge • Stephen Farr, Organist Timothy Brown

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Also available: STAINER The Crucifixion James Gilchrist, Tenor • Simon Bailey, Bass Choir of Clare College, Cambridge Timothy Brown

8.554659

8.554791

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CMYK N N

AXOS Modelled on the great passion settings of J.S. Bach, Stainer’s Crucifixion is amongst the most AXOS popular of all English choral works and vividly portrays the events of the Passion of Christ. Scored for tenor and bass soloists, organ and mixed choir, the piece combines recitatives, solos, and masterful choruses that range from the graphic mob shouts of Crucify Him to the ethereally beautiful meditation at the work's centrepiece God so loved the world. DDD STAINER: STAINER: Sir John 8.557624

STAINER Playing Time (1840–1901) 66:47 The Crucifixion The Crucifixion A Meditation on the Sacred Passion of the Holy Redeemer The Crucifixion 1 And they came to a place 1:32 ! Jesus said, “Father, forgive 0:47 named Gethsemane them” 2 The Agony 6:24 @ So Thou liftest Thy divine 4:51 3 Processional to Calvary 10:04 petition 4 And when they were come 1:00 # The Mystery of Intercession 5:09 5 The Mystery of the Divine 3:00 $ And one of the malefactors 2:38 Humiliation % The Adoration of the 1:46

6 He made Himself of 1:21 Crucified www.naxos.com Made in Canada Sung texts included Booklet notes in English h

no reputation ^ When Jesus therefore saw 2:55 &

7 The Majesty of the Divine 4:14 His mother g

Humiliation & Is it nothing to you? 1:14 2005 Naxos Rights International Ltd. 8 And as Moses lifted up 1:12 * The Appeal of the Crucified 6:10 the serpent ( After this, Jesus knowing 2:12 9 God so loved the world 3:34 ) For the love of Jesus 2:28 0 Litany of the Passion 4:19 James Gilchrist, Tenor • Simon Bailey, Bass Choir of Clare College, Cambridge • Stephen Farr, Organist Timothy Brown 8.557624 Recorded in Guildford Cathedral, Guildford, Surrey, UK, from 21st to 22nd June 2004 8.557624 Producer: Andrew Walton (K&A Productions Ltd.) • Engineer: Eleanor Thomason Post-production: Andrew Walton • This recording has been made and edited at 24bit resolution Booklet Notes: Nicholas Temperley • Publisher: Novello and Company Ltd. For a detailed track list please see the booklet