BYRD BRITTEN | q Choral Music by William Byrd (1540-1623) [1.52] Choristers & Benjamin Britten (1913-1976) Bertie Baigent organ w Gloria [2.39] 1 O Lord, make thy servant, Elizabeth our Queen William Byrd [2.50] Choristers College Choir Bertie Baigent organ Edmund Goodman, Westcott Stark, William Barbrook treble solos 2 A Hymn of St Benjamin Britten [2.07] e Chapel Choir [1.34] Bertie Baigent organ Choristers Bertie Baigent organ 3 William Byrd [6.37] r College Choir Benedictus [1.54] Choristers 4 Benjamin Britten [2.21] Bertie Baigent organ Chapel Choir Gus Richards & Jacob Fitzgerald treble duet Jordan Wong organ t [2.21] 5 William Byrd [3.53] Choristers Chapel Choir Bertie Baigent organ 6 Laudibus in sanctis William Byrd [5.02] y Quomodo cantabimus William Byrd [8.07] College Choir College Choir 7 Hymn to St Peter Benjamin Britten [5.43] u in C Benjamin Britten [8.10] Combined Choirs Combined Choirs Jordan Wong organ Benjamin Scott-Warren, Dorothy Hoskins, Harriet Hunter solo trio Bertie Baigent organ 8 Praise our Lord, all ye gentiles William Byrd [2.32] Total timings: [67.09] Combined Choirs 9 Antiphon Benjamin Britten [5.58] Track 10 is played on the ‘Sutton’ Organ, built by & Sons in 1849. All other accompanied tracks feature the main chapel organ, built by Orgelbau Kuhn in 2007. College Choir Julia Sinclair soprano solo I Sapphire Armitage soprano solo II THE CHOIR OF COLLEGE, CAMBRIDGE Dorothy Hoskins soprano solo III Jordan Wong organ BERTIE BAIGENT & JORDAN WONG ORGAN MARK WILLIAMS DIRECTOR 0 The Queen’s Alman William Byrd [3.26] Bertie Baigent organ www.signumrecords.com William Byrd (1540-1623) and Benjamin Britten 1976, both his pacifism and his sexual orientation words are sung simultaneously. In the sumptuous would have been shocking to contemporary ears, (1913-76), their respective careers separated (a crime until the Sexual Offences Act was Amen section the soprano line holds a long is widely regarded to be a subtle reference to by about three hundred and fifty years, share passed in 1967) made him an outsider. He was note above the interweaving of the other five parts. the importance of the word verum (meaning one very significant characteristic. They were created a Companion of Honour and accepted true) and the significance of the Roman both, in quite different ways, outsiders. As the Order of Merit, but he had previously The Nunc dimittis recorded here – a for Catholic belief in transubstantiation, a doctrine a devout Catholic existing within an alien declined a knighthood. the Feast of the Purification – is not a setting which was abandoned by the reformed Church. environment – a state which ultimately intended for or , but is taken viewed Catholicism as the equivalent of This disc brings together two of Britain’s most from the Gradualia, a great cycle of liturgical In Laudibus in sanctis Byrd sets an anonymous sedition – Byrd was obliged to pursue a celebrated composers whose lives and beliefs settings for the Catholic calendar from Advent Latin paraphrase of Psalm 150, a rare example kind of double life. In the 20th century estranged them from the British establishment. to Trinity, published in two volumes in 1605 of his use of a complete psalm. This, the Shostakovich’s situation was not dissimilar, as Throughout history, there are many examples and 1607. In the passage beginning Quia opening piece of the 1591 Cantiones Sacrae he tried to steer a course between the opposing of oppressive circumstances inspiring powerful viderunt Byrd employs some false relations, publication and one of Byrd’s most popular demands of the Soviet authorities and his own music of protest. In Byrd and Britten, this and the bell-like descending scales at Lumen, motets, is written in elegiac couplets and is creative instinct. Byrd’s name appeared on a protest is subtly portrayed through the immediately inverted in the other parts, reflect characterised by abundant syncopation – “a list of recusants – those who maintained their choice and setting of text, through the use of earlier figures at saltare tuum and quod parasti. battery of very lively contrasted rhythms”, in loyalty to the and refused to allegory and through a certain melancholy which Joseph Kerman’s words. Byrd also plays with attend services. The term is often intangible but undoubtedly present. Also from the Gradualia sequence is the 4-part the kind of word-painting more customarily is now used more generally but it originated in motet Ave verum corpus, intended for the Feast found in madrigals. Kerman describes it as Byrd’s lifetime. Composers such as Dowland While Byrd was employed at Lincoln Cathedral, of Corpus Christi and one of Byrd’s most employing “a style … designed to dazzle and Philips chose foreign exile, whereas Byrd, serving from March 1563 as organist and master frequently performed and recorded works. Byrd Morley and his admirers in the 1590’s”. White and others remained in England and of the choristers, he was asked to maintain a wrote a dozen pieces for this feast-day and expressed their spiritual exile in music of supply of divine services, but also of “songs” associated rites. Biographer Kerry McCarthy Praise our Lord, all ye gentiles (a setting of emotional intensity. for use in church. These were what we now writes “One household near Byrd’s in rural Psalm 117) appears in the 1611 songbook, understand as English church anthems. O Lord, Essex showed a remarkable mixture of piety and sub-titled “, songs and sonnets, some Like Byrd, Britten became highly regarded by make thy servant, Elizabeth our Queen, a audacity by leading a Corpus Christi procession solemn, others joyful, framed to the life of the establishment for his artistic achievements, nation-uniting prayer for the health and welfare around their gardens in 1605” – “the house the words.” It has been noted that Byrd always but reservations regarding his homosexuality of Queen Elizabeth I, is an example of this new being watched” … “which we knew not till renders the Latin Dominus or Greek Kyrios as prevented his complete acceptance. Although style, with words adapted from Psalm 21. Its the next day.” The opening harmony, with the “our Lord” rather than “the Lord”. This was he was elevated to the House of Lords in June intricacy is such that at one point six different mediant shift between the Ave and Verum, which widely recognised as a specifically Catholic

- 4 - - 5 - usage. George Abbot, Archbishop of Canterbury now employed in Prague, sent Byrd his 8-part instruction to sing “with fire” reflects Columba’s The beginning of Herbert’s poem – “Praised be from 1611, observed “... our English people do motet Super flumina Babylonis, a setting of the missionary zeal. the God of Love/Here below/And here above” practise it if they savor of Popery.” first three verses of a well-known song of – and its ending – “Praised be the God alone/ captivity, Psalm 137 (136 in the ). Its In 1961 Britten added to his 1934 Te Deum Who hath made of two folds one” – gave Byrd composed more than forty keyboard works meaning ‘By the waters of Babylon, we sat a setting of Jubilate Deo, words from Psalm rise to Britten’s division of the choir into but inclusion of lost or fragmentary pieces down and wept when we remembered thee, 100. The relatively conventional earlier piece two groups. The composer’s use of bitonality would increase the number to over 60. The O Zion’ would not have been lost on Byrd, who was negatively – and rather unfairly – reviewed reaches its apotheosis in the final section Queen’s Alman is a group of variations on a reciprocated by setting the next four verses by Constant Lambert as “drab and where the solo trio and main choir alternate well-known Italian melody which had become of the same psalm, also in eight parts and penitential”. The Jubilate Deo, written in response chords until they settle on a consonance on equally popular in England. The melody itself in the same key. The translation of Quomodo to a request by the Duke of Edinburgh for the final word ‘one’. This invigorating piece has a structure of four bars plus eight bars. cantabimus (How shall we sing the Lord’s song performance in St George’s Chapel Windsor, is among the more neglected of Britten’s Together with the works of several other late in a strange land) can leave little doubt about is arresting, uplifting and inventive, with a works. It was sung at his memorial service in Elizabethan and early Jacobean composers, Byrd’s feelings as a recusant Catholic in the quieter middle section between the joyful outer Westminster Abbey. The Queen’s Alman appears in the Fitzwilliam newly-protestant England. sections, and a jaunty organ part. Virginal Book, so-called because it was the Britten composed his Missa Brevis in 1959 for 7th Viscount Fitzwilliam who bequeathed Britten composed for Hymn to St Peter dates from 1955. Britten the boys of Westminster Cathedral and their the volume to Cambridge University in 1816. chorus and organ in December 1962, about wrote this piece for the quincentenary of the director George Malcolm. Malcolm, about to This very large manuscript collection is held eighteen months after the . The Church of St Peter Mancroft in Norwich. With retire from that post, had cultivated a tone in the museum founded that year and named piece was intended to mark the 1,400th words from the of the Feast of St Peter which happened to perfectly suit Britten’s after him. anniversary of the saint’s missionary voyage and St Paul, the work is based on the approach to boys’ choral writing – bright and from Ireland to the small island of Iona in Tu es Petrus, played initially by the organ sharp-edged, rather than the smoother effect of In 1584 Byrd engaged in a dialogue in motet the Inner Hebrides. From there, where he before the first choral entry. The middle section later cathedral tradition. This concise has form with Philippe de Monte (1521-1603). De founded a monastery, he made further trips has the character of a scherzo and is marked no and is accompanied by organ. Monte had travelled to England as a singer in to the Scottish Highlands. The premiere of “quickly and lightly”. Marked Slowly moving (passionato), the broad the Royal chapel choir forming part of the Britten’s piece was given in Gartan, County Kyrie is followed by a setting of the Gloria Spanish King Philip II’s entourage as he Donegal, (Saint Columba’s birthplace) on Britten composed Antiphon for chorus and (marked Lively) which has an infectious rythmic celebrated his marriage to Queen Mary. The 2nd June 1963. The words of the hymn organ in March 1956. A setting of words by quality – notated in 7/8 almost throughout. In 11-year-old Byrd is believed to have met him (Regis Regum Rectissimi) are attributed to George Herbert, the piece was written for the the Sanctus (Broadly) Britten employs in quick on that occasion. Thirty years later de Monte, Saint Columba (521-597). Britten’s performing centenary of St Michael’s College, Tenbury. succession the full range (all twelve notes) of

- 6 - - 7 - the chromatic scale, to symbolise Pleni sunt TEXTS caeli et terra gloria tua (Heaven and earth are full of Thy glory). The Benedictus (again Broadly 1 O Lord, make thy servant, Elizabeth – Slow and gentle) features two solo treble our Queen voices and the finalAgnus Dei (Slow and solemn) William Byrd has regular semitonal clashes of B flat and A in the organ part. A climax to fortissimo O Lord, make thy servant Elizabeth our Queen is followed by a quick diminuendo to the to rejoice in thy strength: final staccato “dona nobis pacem”. give her her heart’s desire, and deny not the request of her lips; The 20-year-old Britten dedicated his Te Deum but prevent her with thine everlasting blessing, in C to Maurice Vinden and the Choir of St and give her a long life, even for ever and ever. Mark’s, N. Audley St., London. In 1936 the BBC Amen. commissioned Britten to make a version for harp/ piano with strings. Above a syncopated organ Words: Adapted from Psalm 121 for Queen Elizabeth I ostinato, C major arpeggios form the basis of much of the opening material, but Britten – like 2 A Hymn of St Columba any top-rank composer – avoids banality or Benjamin Britten triteness. In the serene middle section a solo treble sings Thou art the King of Glory, O Christ Regis regum rectissimi The day of the Lord is nigh, (here sung by two sopranos and a treble), prope est dies domini, the day of the most righteous before the more animated and affirmative mood dies irae et vindictae, the day of wrath and vengeance, of the opening section returns. Relatively tenebrarum et nebulae, of darkness and shadow, conventional, this early Te Deum is a deeply Regis regum rectissimi. the day of the most righteous King of Kings. rewarding work, undeservedly among Britten’s Diesque mirabilium And the day of marvellous more neglected compositions. tonitruorum fortium, strong thunderings, © 2016, Philip Borg-Wheeler dies quoque angustiae, even the day of despair, maeroris ac tristitiae. of sorrow and misery, The interior of Jesus College Chapel Regis regum rectissimi. the day of the most righteous King of Kings.

- 8 - - 9 - In quo cessabit mulierum In that day will cease women’s hath made us and not we ourselves; amor et desiderium, love and desire, We are his people, and the sheep of his pasture. hominumque contentio men’s strife and the yearnings O go your way into his gates with thanksgiving, mundi huius et cupido. of this world; and into his courts with praise. Regis regum rectissimi the day of the Lord is nigh, Be thankful unto him, and speak good of his name. prope est dies domini. the day of the most righteous King of Kings. For the Lord is gracious, his mercy is everlasting, and his truth endureth from generation to Words: attributed to St. Columba (521–597) generation. Glory be to the Father, and to the Son, and to the 3 Nunc Dimittis Holy Ghost. William Byrd As it was in the beginning, is now and ever shall be, world without end, Amen. Nunc dimittis servum tuum, Domine, Lord, now lettest thou thy servant depart in peace secundum verbum tuum, in pace: according to thy word. Words: Psalm 100 Quia viderunt oculi mei salutare tuum; For mine eyes have seen thy ; Quod parasti ante faciem omnium populorum: Which thou hast prepared before the face of all 5 Ave verum corpus Lumen ad revelationem gentium, people; To be a light to lighten the Gentiles, William Byrd et gloriam plebis tuae Israel. And to be the glory of thy people Israel. Ave verum corpus, natum de Maria Virgine, Hail true body, born of the Virgin Mary, Words: Luke 2: 29–32; Tract for the Purification of the Blessed vere passum, immolatum in cruce pro homine: Truly suffering, was sacrificed on the cross for all, Virgin Mary Cujus latus perforatum, unde fluxit sanguine. From whose pierced side flowed blood, Esto nobis praegustatum in mortis examine. Be for us a foretaste in the final judgment. 4 Jubilate Deo O Dulcis, O pie, O Jesu fili Mariae, O sweet, O merciful, O Jesus, Son of Mary, Benjamin Britten Miserere mei. Amen. Have mercy on me. Amen.

O be joyful in the Lord, all ye lands. Words: c. 14th century, attributed to Pope Innocent VI; Serve the Lord with gladness and come before his Sequence for the Feast of Corpus Christi presence with a song. Be ye sure that the Lord he is God : it is he that

- 10 - - 11 - 6 Laudibus in sanctis Therefore shall the people praise thee, . William Byrd Tu es Petrus, et super hanc petram aedificabo ecclesiam meam. Alleluia. Laudibus in sanctis Dominum celebrate Praise God in his holy places; (Thou art Peter, and upon this rock I will build my supremum: Firmamenta sonent inclyta facta Dei; Let the heavens echo the glorious deeds of God. church. Alleluia.) Inclyta facta Dei cantate sacraque potentis. Sing the glorious deeds of God and with holy voice Voce potestatem saepe sonate manus. sound forth the power of his mighty hand. Let the Words: from the Gradual for the Feast of St Peter and St Paul Magnificum Domini cantet tuba warlike trumpet sound forth the Lord’s magnificent martia nomen: name; 8 Praise our Lord, all ye Gentiles Pieria Domino concelebrate lyra. Celebrate the Lord with the lyre. Let the resounding William Byrd Laude Dei resonent resonantia tympana summi: drums ring with the praise of the most high, the Alta sacri resonent organa laude Dei. loud organs with the praise of God. Praise our Lord all ye Gentiles, Hunc arguta canant tenui psalteria corda Let the melodious psaltery sing to him with strings, praise him all ye people, Hunc agili laudet laeta chorea pede. the joyful dance praise him with agile foot. Let Because his mercy is confirmed upon us, Concava divinas effundant cymbala laudes, the hollow cymbals pour forth , the and his truth remaineth for ever. Amen. Cymbala dulcesona laude repleta Dei. sweet-sounding cymbals full of the praise of God. Omne quod aethereis in mundo Let everything on earth that feeds upon the air of Words: Psalm 117 vescitur auris, heaven, Halleluia canat tempus in omne Deo. Sing Alleluia in every season to God. 9 Antiphon Benjamin Britten Words: Psalm 150 paraphrased in elegiac verse Praised be the God of Love, 7 Hymn to St Peter Here below and here above, Benjamin Britten Who hath dealt his mercies so To his friend and to his foe: Thou shalt make them Princes over all the earth : That both grace and glory tend They shall remember thy name, O Lord, Us of old and us in th’end. Thou shalt make them Princes. The great shepherd of the fold Instead of thy fathers, Sons are born to Thee : Us did make for us was sold.

- 12 - - 13 - He our foes in pieces brake, suscipe deprecationem nostram. world, receive our prayer. Him we touch and Him we take. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of the Father, Wherefore since that he is such, miserere nobis. have mercy upon us. We adore and we do crouch. Quoniam tu solus sanctus, For thou only art holy; Lord, thy praises should be more, tu solus dominus, Thou only art the Lord; We have none and we no store. tu solus altissimus, Jesu Christe, Thou only, O Christ, Praised be the God alone, cum Sancto Spiritu, with the Holy Ghost, art the Most High, Who hath made of two folds one. in Gloria Dei Patris. Amen. in the glory of God the Father. Amen.

Words: George Herbert (1593–1633) Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth, Lord God of hosts, q - t Missa Brevis pleni sunt coeli et terra gloria tua. heaven and earth are full of thy glory. Benjamin Britten in excelsis. Hosanna in the Highest.

Kyrie eleison, Lord have mercy, Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord. Christe eleison, Christ have mercy, Hosanna in excelsis. Hosanna in the Highest. Kyrie eleison. Lord have mercy. Agnus Dei, qui tollis peccata mundi, O , that takest away the sins of the , Glory be to God on high, miserere nobis. world, have mercy upon us. et in terra hominibus bonae voluntatis. and in earth peace, goodwill towards men. Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takest away the sins of the Laudamus te, benedicimus te, adoramus te, We praise thee, we bless thee, dona nobis pacem. world, grant us thy peace. glorificamus te, gratias agimus tibi, we worship thee, we glorify thee, we give thanks propter magnam gloriam tuam, to thee for thy great glory, Words: The of the Mass Domine Deus, rex coelestis, O Lord God, heavenly King, Deus Pater omnipotens. God the Father almighty. Domine fili unigenite, Jesu Christe: O Lord, the only-begotten Son, Jesus Christ: Domine Deus, Agnus dei, Filius Patris, O Lord God, Lamb of God, Son of the Father, qui tollis peccata mundi, miserere nobis. that takest away the sins of the world, have mercy Qui tollis peccata mundi, upon us. Thou that takest away the sins of the

- 14 - - 15 - y Quomodo cantabimus The goodly fellowship of the Prophets : praise thee. O Lord, in thee have I trusted : let me never be William Byrd The noble army of Martyrs : praise thee. confounded. The holy Church throughout all the world : doth Quomodo cantabimus canticum Domini How shall we sing the Lord’s song acknowledge thee; Words: Early Christian hymn, attributed to Nicetas, Bishop of in terra aliena? in a strange land? The Father : of an infinite Majesty; Remnesia (4th century) Si oblitus fuero tui, Hierusalem, If I forget thee, O Jerusalem, Thine honourable, true : and only Son; oblivioni detur dextera mea. let my right hand forget her cunning. Also the Holy Ghost : the Comforter. Adhaereat lingua mea faucibus meis, If I do not remember thee, Thou art the King of Glory : O Christ. si non meminero tui; let my tongue cleave to the roof of my mouth; Thou art the everlasting Son : of the Father. Si non proposuero Hierusalem If I prefer not Jerusalem When thou tookest upon thee to deliver man : thou in principio laetitiae meae. in my mirth. didst not abhor the Virgin’s womb. Memor esto, Domine, Remember the children of Edom, O Lord, When thou hadst overcome the sharpness of filiorum Edom in die Hierusalem. in the day of Jerusalem. death : thou didst open the kingdom of heaven to all believers. Words: Psalm 137: 4-7 Thou sittest at the right hand of God : in the Glory of the Father. u Te Deum We believe that thou shalt come : to be our Judge. Benjamin Britten We therefore pray thee, help thy servants : whom thou hast redeemed with thy precious blood. We praise thee, O God : we acknowledge thee to Make them to be numbered with thy Saints : in be the Lord. glory everlasting. All the earth doth worship thee : the Father O Lord, save thy people : and bless thine heritage. everlasting. Govern them : and lift them up for ever. To thee all Angels cry aloud : the Heavens, and all Day by day : we magnify thee; the Powers therein. And we worship thy name : ever world without end. To thee Cherubim, and Seraphim : continually do cry, Vouchsafe, O Lord : to keep us this day without sin. Holy, Holy, Holy : Lord God of Sabaoth; O Lord, have mercy upon us : have mercy upon us. Heaven and earth are full : of the Majesty of thy glory. O Lord, let thy mercy lighten upon us : as our trust The glorious company of the Apostles : praise thee. is in thee.

- 16 - - 17 - THE CHOIR OF blend and shape” the choirs have given recent JESUS COLLEGE, CAMBRIDGE concerts in Ireland, the Ukraine, Germany, France and the USA. The Choristers have Jesus College Cambridge is distinctive in represented the UK in international festivals maintaining two choirs: the Chapel Choir, and in March 2013 the College Choir undertook dating from the foundation of the College in a pioneering project in the slums of Mumbai 1496 and re-founded and endowed in 1849, with the charity Songbound, continuing that which is made up of boy choristers and adult international educational work with a tour of male singers; and the College Choir, formed Sri Lanka in December 2014. Members of the in 1982 following the admission of women College Choir study a wide array of subjects undergraduates, which has female sopranos and the boy choristers, aged 8 to 14, are and altos. The adult male singers form the drawn from local schools. ‘back row’ for both choirs. Each ensemble has developed a distinctive reputation and The College Choir sings two services of repertoire, while combining for key events and Choral Evensong each week and regularly large-scale projects in the College Chapel performs at College feasts, additional services (which dates back to the twelfth century) and and concerts throughout the United Kingdom The Combined Choirs elsewhere. Whilst their principal responsibility and abroad. Recently, the Choir has given is to sing for services in the College’s ancient well-received performances of Bach’s The travel: the Choir has given recent concerts in century, but in 1849 the Choir was re-endowed and beautiful Chapel, the Choirs regularly Matthew Passion, Handel’s Dixit Dominus and Toulon and Sri Lanka where the choir undertook and provision was made for “six singing boys” collaborate with professional orchestras and Rossini’s Petite Messe Solennelle; participated a pioneering project leading singing workshops to adorn the worship of the newly-restored instrumental ensembles, including Britten in the BBC Proms as part of the University’s with children. They performed in Hong Kong Chapel. Since then, trebles from all over Sinfonia, Fretwork and the Saraband Consort. 800th anniversary celebrations; and recorded and China in April 2016. Cambridge have volunteered to sing for College The Choirs also have an expanding discography, broadcasts for BBC TV and Radios 2, 3 and 4. services. The College does not maintain a recording for the Signum label. Their last disc, The Choir also has a rapidly expanding The all-male Chapel Choir is one of only choir school, but instead recruits choristers from The Evening Hour, was released to critical discography. Praised by The Times for their three college choirs of its kind in Cambridge, a wide range of local schools. acclaim in February 2016, entering the UK “energy, verve, immaculate tuning and and is highly regarded. It is thought that boys Specialist Classical Charts in the top ten. beguiling tone”, Jesus Choral Scholars enjoy may have sung in the Chapel from the The Chapel Choir sings for two of the four Praised by The Sunday Times for their “exquisite an exciting schedule of European and long-haul foundation of the College in the fifteenth Choral each week, and also

- 18 - - 19 - participates in services, events and concerts Majestys Sagbutts and Cornetts, Bach’s St Soprano Bass outside of the usual weekly routine. Recent John Passion and Haydn Nelson Mass with Sapphire Armitage Harry Cheatle performances have taken the full Choir to the Saraband Consort, and Elgar’s Dream of Charlotte Barrett-Hague Max Cockerill * venues as diverse as the Abbaye de Solesmes, Gerontius in Ely Cathedral, all under the Sarah Hargrave Amatey Doku †† France and the Nicolaikirche in Leipzig. In direction of Mark Williams. In December 2010 Dorothy Hoskins Peter Lidbetter Harriet Hunter George Raikes 2008, 2010 and 2012, the trebles collaborated the Combined Choirs toured together for Eleanor Hussey Louis Wilson with the Choir of King’s College and the the first time in several years, performing Anna Nicholl Academy of Ancient Music for performances of in a variety of venues along the East Syamala Roberts Choristers Bach’s St Matthew Passion. The Choir also Coast of the United States of America, Serena Shah Theo Amies leads singing days which see hundreds of and featuring on television stations including Julia Sinclair William Barbrook local schoolchildren visiting Jesus College BBC1, ITV, CNN and ABC, and on BBC Radio 5 Catherine White ** Oliver Dunlop Chapel to take part in vocal workshops and Live. They then toured Germany together in July Jacob Fitzgerald Deputy Head Chorister a final concert. In June 2016 they appeared 2012, performing in Arnstadt, Bad Langensalza, Alto Tobias Fitzgerald † in the Rencontres Internationales de Choeurs Halle and Leipzig. In December 2012 they William Fairbairn Edmund Goodman Head Chorister Toby Hadden d’Hommes in Switzerland. undertook a tour of the west coast of the Daniel Gethin Anna Harrison Oliver Norfolk United States of America, performing in Seattle, Emma Kavanagh Gus Richards Deputy Head Chorister Occasionally, the College and Chapel Choirs Portland, Oakland and San Francisco. In July Naomi Reiss Massimiliano Rigatti-Luchini join together for services and concerts, forming 2015 they appeared together in Lille, France Matthew Rogers Benjamin Scott-Warren an ensemble of nearly fifty singers, known as and in December 2016 in Padua and Venice, Thomas Rothwell Eddie Smith the Combined Choirs. Recent projects have Italy. This is the sixth disc to be recorded by Victoria Taylor Westcott Stark included Britten’s War Requiem in King’s the Combined Choirs of Jesus College, Cambridge College Chapel under David Hill; two for Signum Classics. Tenor Organ Scholars Christmas Celebration concerts with the Royal Jack Bazalgette Bertie Baigent Jordan Wong Philharmonic Orchestra, directed by John Jake Dyble Amar Gandhi Rutter; Britten’s St Nicolas with Britten Sinfonia; * Hamish Macgregor only tracks 7 & 8 ** Fauré’s Requiem and works by Poulenc and Toby Miller only track 16 † Rodney Bennett, also with Britten Sinfonia; Gary Rushton only tracks 2, 4, 5 Bach’s St Matthew Passion in St Edmundsbury †† only tracks 1, 3, 7, 8, 9, 16 Cathedral, Monteverdi’s with His

- 20 - - 21 - MARK WILLIAMS Cambridge Early Music, Songbound and the Orchestra, the Cambridge Singers, the Muze Music Trust in Zambia. He is the Honorary Bournemouth Symphony Orchestra, The King’s Mark Williams was Director of Music, College President of the Chamber Choir of Erne Consort, The Sixteen, Arcangelo and Retrospect Lecturer and Fellow at Jesus College Cambridge Integrated College in Enniskillen and the Chief Ensemble. He is the Music Consultant for between 2009 and 2016. Following a year as Guest Conductor of the City of London Choir. the British television crime drama ‘Endeavour’. Organ Scholar of Truro Cathedral in Cornwall, he went on to take up the Organ Scholarship Mark Williams has performed on a number of In January 2017, Mark Williams took up at Trinity College Cambridge where he was film soundtracks, and appears on CD with the the post of Informator Choristarum, Organist also awarded an academic scholarship. At the Choir of Jesus College Cambridge, the Choir and Tutorial Fellow in Music at Magdalen age of 21, he was appointed Assistant Organist of Trinity College Cambridge, the Royal College, Oxford. of St Paul’s Cathedral in London and Director Philharmonic Orchestra, the London Philharmonic of Music at St Paul’s Cathedral School. He relinquished both posts in April of 2006 in order to pursue his growing freelance career. This recording was made possible by generous donations from Friends and Patrons of the Choir of Jesus College, Cambridge Described as ‘the shooting star of the international organ scene’ by the Berliner Recorded in the Chapel of Jesus College, Cambridge, 27-30 June 2016, by kind permission of the Master and Fellows. Zeitung and ‘a brilliant, fiery talent’ by The Producer and Editor – Chris Hazell Oregonian newspaper, he has appeared as Recording Engineer – Mike Hatch organist and harpsichordist nationally and Cover Image – Shutterstock internationally with many of the UK’s leading Design and Artwork – Woven Design www.wovendesign.co.uk ensembles, including the London Philharmonic P 2016 The copyright in this sound recording is owned by Signum Records Ltd Orchestra, the City of London Sinfonia and © 2016 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd the Gabrieli Consort and Players. As a conductor has given solo recitals and led masterclasses in Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action he has worked with Britten Sinfonia, the choral training, singing and organ performance by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. London Mozart Players, the Saraband Consort in the UK, the USA, Asia and Africa. A Fellow SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. and City of Prague Philharmonic Orchestra. He of the Royal College of Organists, he is a +44 (0) 20 8997 4000 E-mail: [email protected] is the Artistic Director of the International Freeman of the City of London, and a trustee of www.signumrecords.com William Byrd Festival in Portland Oregon, and the Oundle Music Trust, the Harlton Organ Trust,

- 22 - - 23 - ALSO AVAILABLE on signumclassics

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“Fresh, engaging performances of works spanning the church “The Choir have a delicacy and a musical responsiveness that’s year … The Rorem and MacMillan pieces get especially fine particularly suited to this softer-edged programme of evening performances.” BBC Music Magazine music.” Gramophone

“This is a fine recital, which has been planned discerningly and “A gorgeous blended sound...the atmospheric singing of the performed with great skill and commitment.” choristers is of a high standard.” Music Web International Early Music Review

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD481 BLACK Job Title: BYRD

SIGNUM CLASSICS SIGCD481 BYRD BRITTEN | Choral Music by William Byrd (1540-1623)

& Benjamin Britten (1913-1976) BYRD

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1 O Lord, make thy servant, Elizabeth our Queen William Byrd [2.50] BRITTEN 2 A Hymn of St Columba Benjamin Britten [2.07] 3 Nunc dimittis William Byrd [6.37]

4 Jubilate Deo Benjamin Britten [2.21] WILLIAMS / CAMBRIDGE COLLEGE, JESUS OF CHOIR 5 Ave verum corpus William Byrd [3.53] 6 Laudibus in sanctis William Byrd [5.02] 7 Hymn to St Peter Benjamin Britten [5.43] 8 Praise our Lord, all ye gentiles William Byrd [2.32] 9 Antiphon Benjamin Britten [5.58] 0 The Queen’s Alman William Byrd [3.26] q - t Missa Brevis Benjamin Britten [10.11] y Quomodo cantabimus William Byrd [8.07]

CHOIR OF JESUS COLLEGE, CAMBRIDGE / WILLIAMS u Benjamin Britten [8.10]

Total timings: [67.09] BRITTEN

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THE CHOIR OF JESUS COLLEGE, CAMBRIDGE BYRD BERTIE BAIGENT & JORDAN WONG ORGAN

MARK WILLIAMS DIRECTOR LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD481 CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2016 Signum Records DDD SIGCD481 © 2016 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 04812 2 SIGNUM