(1653–1706)

Pachelbel: Ingressus in G minor Pachelbel: Magnificat in F major [A minor] P98 [G major] P253 Pachelbel: Ingressus in C minor Johann Krieger (1652–1735): 27. Sonata [1.50] 36. Magnificat [2.36] [originally in D minor] P92 Sonata à 5 in A minor 28. Deus in adiutorium [1.24] 37. Deposuit [0.50] 1. Sonata [0.57] 14. Allegro [3.19] 29. Gloria [1.22] 38. Sicut locutus est [0.52] 2. Deus in adiutorium [1.37] 15. Adagio [0.54] 30. Sicut erat [0.49] 39. Sicut erat, Amen [1.53] 3. Gloria patri [2.12] 16. Allegro [0.59] 31. Et in secula seculorum [3.21] 4. Sicut erat [3.02] 17. Presto [0.44] Pachelbel: Ingressus in B-flat major 18. Adagio [1.04] Johann Caspar Kerll (1627–1693): [C major] P88 Pachelbel: Magnificat in C major Sonata à 5 in G minor 40. Deus in adjutorium [1.21] [orig. E-flat major] P250 Pachelbel: Ingressus in E minor 32. Allegro [1.06] 41. Sicut erat [1.58] 5. Sonata [1.04] [G minor] P96 33. [Vivace] [0.36] 6. Magnificat [0.52] 19. Sonata [1.06] 34. [Andante] [1.02] Total Timings [72.49] 7. Et exultavit [1.46] 20. Deus in adiutorium [1.17] 35. Allegro [1.17] 8. Quia respexit [1.34] 21. Domine ad adiuvandum [1.14] 9. Et misericordia [2.33] 22. Gloria [1.45] 10. Fecit potentiam [2.51] 23. Gloria Patri, Sicut erat [3.47] 11. Suscepit Israel [1.59] 12. Gloria [4.14] Pachelbel: Ingressus in G major 13. Sicut erat [2.53] [A major] P97 The King’s Singers 24. Sonata [1.50] Charivari Agréable 25. Gloria Patri [1.22] Directed by Kah-Ming Ng 26. Sicut erat [3.15]

www.signumrecords.com A Perfect and Rare Virtuoso keyboard variations entitled Musicalische Bach clan. His prospects fizzled out when the court Pachelbel was released from service in the nick of Sterbens-Gedancken. The bitterness of such tragedy went into mourning after the death of his patron’s time, arriving in 1690 at Stuttgart three months The music contained in this CD represents a did not, however, deter Pachelbel from remarrying brother. It turned out not to be the hoped-for before the birth of Carl Theodorus. Pious and selection of Vespers movements written by the in 1684: thereafter followed another son, stillborn, graduate job which might showcase the gifts of musical (given, occasionally, to composing organist Johann Pachelbel. They have in common before Wilhelm Hieronymus arrived in 1686, followed a progressive composer who had cut his teeth ), the duchess was unfortunate to have been the distinctively sonorous scoring of four or two years later by a daughter Amalia. serving as Vicarius (assistant) to the organist married into a family with a worrying medical five-part choir, accompanied by a six-part string of the Stephansdom in Vienna. Here he met (and history. Her father-in-law Eberhard III died of orchestra to which is added, at the composer’s Erfurt was one of Thuringia’s most important and probably studied with) Johann Caspar Kerll, who a stroke six months after her wedding, which express request, a bassoon. The manuscripts of prosperous cities. At the heart of the Reformation, moved to Vienna also in 1673. promptly elevated her to Herzogin; three years later, most of Pachelbel’s Vespers music are to be found Erfurt University’s most famous alumnus was she was widowed when Duke Wilhelm Ludwig died in the Tenbury collection of Oxford University’s . When in June 1678 Pachelbel took Better than Eisenach, Erfurt nonetheless had its of a heart attack. Bodleian Library. That Oxford should come to be up the position of organist at the Predigerkirche, drawbacks. Pachelbel’s contractual obligations the unique source might be related to a concatenation he was to remain in the city for 12 years, his – in addition to the musical, directorial, There is no record of Pachelbel’s productivity of unforeseen twists of fate and fortune. The longest tenure in any one place. There he first administrative and pedagogic duties required during his sojourn in Stuttgart, which in any case Vespers might never have come to be written had lodged in the home of Johann Christian Bach, of organists of major congregations – included could scarcely have been conducive to musical Pachelbel been successful in his attempts at director of the town musicians, probably in an annual re-audition on the anniversary of his endeavour. Württemberg’s foreign policy was being a court musician. And had his second the same room that had been occupied by appointment, during which half-hour recital conducted by the co-regent, the duchess’s surviving son Carl Theodorus not abandoned his Johann Christian’s first cousin Johann Ambrosius he was expected to demonstrate his vocational brother-in-law Duke Friedrich Carl, who initially fatherland for the New World, the Vespers might Bach, father of the famous Johann Sebastian. progress by drawing on the resources of the organ in managed to extract from France a generous never have fetched up in Oxford. Pachelbel’s connections with the Bachs were ‘delightful and euphonious harmony’. Unlike subsidy for standing aloof from the nine-year War intricate: he later bought the house from Christian’s , Pachelbel, nevertheless, of the Palatinate Succession (a.k.a. the War of Carl Theodorus would have been his fourth son, widow, and Pachelbel was godfather to Johann kept on the good side of the city and church the League of Augsburg, the first war in which no but both Pachelbel’s first son and wife died in Sebastian’s sister, Johanna Juditha, and teacher to authorities, flourishing as an outstandingly German prince fought on the French side). 1683, victims of the most vicious plague in their eldest brother Johann Christoph. successful organist, composer and teacher. The duchy’s neutrality – initially brokered but ’s history since the time of the Black Death Eventually the needs of his growing family ultimately scuppered by the newly-created Elector and the Thirty Years War. Its epicentre, Erfurt, The demands of his new position would have been prompted Pachelbel to consider a change of of Hanover – collapsed, and Württemberg, which lost half its population within a couple of years. a welcome relief, for Pachelbel had just wasted environment. His feelers stretched to the court landed on the wrong side of the fence, found Pachelbel commemorated his devastating familial a whole year, from May 1677, as court organist of Württemberg, then ruled by the regent itself in the crossfire as King Louis XIV set out losses by publishing in the same year a set of in Eisenach, the ancestral foraging ground of the Duchess Magdalena Sibylla von Hesse-Darmstadt. to consolidate his gains in the Holy Roman

- 4 - - 5 - Empire before the Emperor Leopold I could extricate Following the example of the regent of Thomaskirche, causing the cantor of the local The elaborate Vespers liturgy of the St Sebald himself from war with the Turks. Friedrich Carl fled Württemberg, Pachelbel, sought refuge in his Latin school Johann Kuhnau in 1709 to voice conformed to the altkirchlich practices of the at the start of the war in 1688 to with hometown of Nuremberg. There he was immediately his concern that the ‘carnal desires of the early Reformation, with some modifications of the his nephew Eberhard Ludwig, but was eventually snapped up by Erfurt’s neighbouring town of Gotha worldly-minded’ had wafted into church music. original Catholic rite. Beginning with the opening captured by the French in 1692 and brought as municipal organist at the Margarethenkirche. versicle ‘Deus in adjutorium meum intende’ to Versailles. He did not stay long though. Immediately after German Protestant vocal church music can be [referred to in Lutheran terminology as the the death of – organist of broken into several discrete repertories. The lowest Ingressus], and the response ‘Domine ad With Württemberg serving as a doormat for Nuremberg’s Sebalduskirche, whose pupils had common denominator is the simple unison chorale; adjuvandum me festina’, there follows a sequence the criss-crossing armies, primarily the French included Pachelbel himself, as well as Johann for the somewhat more sophisticated congregation, of psalms, hymns and motets (often replaced by Blitzkrieg on Bavaria – whose claim to the see of Krieger – the authorities in Nuremberg contrived there is the motet (in parts, with accompaniment); sacred songs in the German vernacular), finished Cologne ignited the whole affair – and the ravaging to parachute their celebrated son Pachelbel into the most prestigious and thus costliest to put on off in a flamboyant fashion with a Magnificat. of the Palatinate, Pachelbel was forced to flee the plummiest position they had to offer. This fait – as this involves professionals – is the concerted The variety inherent in the service allowed for the ducal capital of Stuttgart. Yet there may have accompli was brought about by circumventing the music or cantata. That David Schedlich was also much use of polyphonic or concerted music been another reason for his hasty departure. With usual audition, and dispensing with the courtesy of writing concerted Vespers for the Lorenzkirche in – these were opportunities seized by the the co-regent in the clutches of the French, the inviting the organists of the city’s lesser churches the 1690s might not simply have been competition organist and Director chori musici Pachelbel. By duchess petitioned Emperor Leopold to proclaim to apply. with St Sebald or St Egidien; it may well have been blurring the traditional distinctions of theatre, her son Eberhard Ludwig duke of Württemberg a manifestation of Nuremberg’s observance to the chamber and church, he simply reflected even before he had reached his majority. The The influence of the post-reformation church on letter of Martin Luther’s reforms, among which was contemporary tastes in fusing the profane with emperor acceded to the request in 1693, and the daily life can never be overstated. High festival the preservation the Roman Catholic liturgical the sacred. This trend had many champions, new 16-year old duke embarked on a career of days were ‘great days of fasting, penitence and calendar and Latin Mass. Not only did Luther not numbering among them the devotional poet and an absolute prince, in the process becoming prayer’: all commerce and trade had to stop want the devil to have the best tunes, but he – a pastor Erdmann Neumeister (1671–1756) and widely regarded as weak and philistine, and during the service in order to ‘promote devotion’. gifted musician in his own right – emphatically the composer–keyboardist polymath Johann preferring hunting to governing. No wonder that St Sebald’s, much of which liturgy was still sung encouraged vocal and instrumental church Mattheson, both of whom believed that opera’s Pachelbel turned down a request to return to in Latin, offered the most musically sumptuous music, positioning this ‘excellent gift of God … next power to stir the passions could be appropriated Stuttgart, even after things had quietened down presentation of Vespers in the whole of Protestant to theology’ and awarding it the ‘highest praise’ for the church. Pachelbel used a panoply of forms after the young duke’s installation and the release Germany. Underlying this may have been an possible. He clearly appreciated the power of a and textures to underpin his melodic genius, at of the duke’s uncle Friedrich Carl in France. issue of rivalry. In Georg Philipp Telemann’s well-executed musical performance in facilitating the same time blending the south-German newer theatrical style of music for the the clergy’s communication with the congregation. idiom with the cosmopolitan Italian style he had Neukirche enticed worshippers to defect from the absorbed during his apprenticeship in Vienna.

- 6 - - 7 - His distinctive re-shaping of an older musical Nevertheless, it is hard to resist the temptation that of his father (in which case they would be depression, religious persecution, military tradition affirmed Pachelbel’s status as a seminal to draw parallels with the Bach family. J. S. autographs). They bear few scars associated conscription, and forced labour. giant straddling both late seventeenth- and early Bach’s considerable Nachlaß (musical estate) with the wear and tear of use, with the exception eighteenth-century German church music. was carved up between his widow Anna Magdalena of some gnaw marks, presumably from rodents, Carl Theodorus (now known as Charles Theodore and two eldest sons. The first, also named Wilhelm thus occasioning some musical reconstruction Patchable or Perchival) headed for the German More is the pity that little is known about the (Friedemann), ‘got most of it’ (according to the by the author of this essay. Germany experienced settlements. He is first recorded assisting in the status of his vocal music after his death. Whether biographer Johann Nicolaus Forkel), and eventually in 1720–50 a population spurt that returned to installation of a new organ in Newport, Rhode his successors at St Sebald let his music lie he sold off piecemeal the contents of his the status quo ante bellum of the beginning of Island, in 1733. In 1736 he gave one of the first dormant remains in the realm of speculation; any father’s (and also his own) library, thus leaving the seventeenth-century. What turned out to be publicly-advertised concerts in New York, followed evidence to the contrary has yet to surface or was his family in penury. Musicologists rue with the vanguard of America’s German colony were a year later by a harpsichord recital in Charleston, presumably destroyed in World War II. Given there ill-concealed dismay the cycles of cantatas, emigrants from the Palatinate who were trying to South Carolina, which he made his home after is little to suggest that the provisions for concerted keyboard pieces and chamber music squandered escape the wars of Louis XIV: more than 13,000 becoming organist of St Philip’s Church in 1740. Latin Mass and Vespers had been scaled down, into oblivion by Wilhelm, notwithstanding his left in 1709 alone. The tide continued unstemmed Tenure thus secured, he advertised in 1749 the person best placed to revive Pachelbel’s music brilliance as an inspired improviser and composer from other German provinces, and between 1727 his plans to open a singing school. Alas, soon would have been his eldest surviving son Wilhelm for the keyboard. Bach’s second son – perhaps not and 1754 some 2000 a year arrived via Rotterdam after this, he was ‘afflicted with a lameness in his Hieronymus, who arrived at the helm of St Sebald co-incidentally named – Carl (Philipp Emanuel) and London, the disaffected demographics hands’ and died within a year. via a circuitous route which traced some of his was a considerably more successful career ranging from Pietists to Silesian refugees. By father’s footsteps. Wilhelm was groomed by his musician. Fortunately for posterity, C.P.E. was 1750 the number of German settlers in the There was evidently neither occasion nor talent to father to audition for the famous Lübeck organist a keen archivist of his family’s works, and his British colonies is estimated to have reached perform his father’s Vespers music, for their style Dietrich Buxtehude, whose linking to the job of a extensive collection was eventually lodged in 100,000. Such a wealth of human resources would in any case have been at odds with the condition of marriage to his daughter drove away the Staatsbibliothek zu Berlin. prompted the Quaker colony in Pennsylvania prevailing Protestant propensity for gravity, some serious contenders, viz. Wilhelm’s exact to advertise in German newspapers, soliciting simplicity and restraint. Just as well then that he contemporaries J. S. Bach, A seemingly worthier custodian of his own settlers for the western frontiers. Despite the left the scores in London, already one of the and . Wilhelm’s compositional inheritance was Carl Theodorus Pachelbel, misery of traversing mountains, and dangers publishing powerhouses of Europe as well as style displays little influence of his father – nor, who packed a bunch of manuscripts on his of crossing oceans, the promise of a free and an international clearing house for music. The for that matter, any signs of originality – and so immigration to the colonies. The scores he vast New World proved too alluring for those earliest documented mention of the Vespers is it leaves us to conjecture as to his view about the offloaded at the halfway pit-stop of London seeking escape from natural catastrophes, in a sale catalogue for an auction conducted in continuing value of his father’s music in a world appear to be fair (and, therefore, reference) epidemics, crop failures, food supply crises, 1779 by Christie & Ansell, in which is also where tastes were rapidly changing. copies, quite possibly written in Carl’s hand and overpopulation, lack of farmland, economic noted the purchase by the organist Marmaduke

- 8 - - 9 - Overend of his teacher William Boyce’s collection. surely not have lost so much of its lustre since Texts Fecit potentiam in brachio suo, The manuscripts subsequently passed through 1692, when his father had been headhunted dispersit superbos mente cordis sui; several owners before finally being purchased by for an organist’s post in Oxford. This curious INGRESSUS deposuit potentes de sede St Michael’s, Tenbury. When the college closed, its proposition is mentioned in Mattheson’s et exaltavit humiles; impressive library passed to Oxford University’s indispensable biographical lexicon, the Grundlage Deus in adjutorium meum intende, esurientes implevit bonis Bodleian Library. einer Ehren-Pforte (1740), but remains Domine ad adjuvandum me festina. et divites dimisit inanes. uncorroborated. Johann Pachelbel’s contemporaries Gloria Patri, et Filio, et Spiritui Sancto. Suscepit Israel puerum suum, Boyce would have been too young to acquire the and students were in accord about one thing Sicut erat in principio, et nunc, et semper, recordatus misericordiae, scores for himself, for he was still apprenticed though: he was ‘a perfect and rare virtuoso’, to et in sæcula sæculorum. Amen sicut locutus est ad patres nostros, to Maurice Greene in the early 1730s. Greene, cite the testimonial of the Eisenach Kapellmeister Abraham et semini ejus in saecula. however, had both the means (being of Daniel Eberlin. The distortion of Pachelbel’s O God, come to my assistance; Gloria Patri, et Filio, et Spiritui Sancto. gentry stock) and the inclination. He had posthumous reputation brought about by his O Lord, make haste to help me. Sicut erat in principio, et nunc, et semper, hoped – forlornly, it turned out – to present a captivating but ubiquitous ‘Canon à 3’ – which Glory be to the Father and to the Son and to et in sæcula sæculorum. Amen. comprehensive collection of ancient and modern has obscured his impressive oeuvre of keyboard, the Holy Spirit; church music to every cathedral in the country; chamber and vocal works – can now be corrected As it was in the beginning is now and ever shall My soul doth magnify the Lord : and my spirit hath his entire library was bequeathed to Boyce. by a knowledge of his Vespers. They are an eloquent be, world without end. Amen. rejoiced in God my Saviour. Another plausible route may have been through embodiment of exceptional vocal writing and a For he hath regarded : the lowliness of his Boyce’s other teacher Johann Christoph Pepusch, fitting fin de siècle summation of all that is MAGNIFICAT handmaiden. the leading German émigré in London who Carl endearing about seventeenth-century music. For behold, from henceforth : all generations Theodorus would undoubtedly have called on, After three centuries of quiescence, Pachelbel’s Magnificat anima mea Dominum, shall call me blessed. perhaps with a view to gauging the market Vespers may now be restored to the canon of et exsultavit spiritus meus in Deo salvatore meo, For he that is mighty hath magnified me : and value from such an avid antiquarian, one who choral masterpieces. quia respexit humilitatem ancillae suae. holy is his Name. had in 1729 given up composing to dedicate Ecce enim ex hoc beatam me dicent omnes And his mercy is on them that fear him : throughout the last 23 years of his life to the study of ©2010 Kah-Ming Ng, Oxford generationes, all generations. ‘ancient musick’. quia fecit mihi magna, He hath shewed strength with his arm : he qui potens est, hath scattered the proud in the imagination of Having carted the manuscripts thus far, Carl et sanctum nomen ejus, their hearts. Theodorus would have been loath to offer them et misericordia ejus in progenies et progenies He hath put down the mighty from their seat : up on a silver platter. The Pachelbel brand would timentibus eum. and hath exalted the humble and meek.

- 10 - - 11 - He hath filled the hungry with good things : and the rich he hath sent empty away. BIOGRAPHies He remembering his mercy hath holpen his servant Israel : as he promised to our forefathers, Abraham and his seed for ever. CHARIVARI AGRÉABLE new and very exciting phase of the early music Glory be to the Father and to the Son and to revival, one that enriches the existing repertory and v v the Holy Spirit; Violin: Bojan Cicic,/ Linda Hannah-Andersson can bring us ever closer to the spirit of the original As it was in the beginning is now and ever shall be, Viola: Heather Birt, Rachel Stott music’ (Gramophone). world without end. Amen. Viola da gamba: Peter Wendland Bassoon: Michael Brain The ensemble specializes in the ingenious use of Violone: Elizabeth Harré period instruments to produce ‘ravishing sonorities Theorbo: Manuel Minguillon Nieto and full-bodied textures’ (Gramophone) with Chamber organ: David Bannister, Kah-Ming Ng ‘their powerful cohesion, warm sound, and their Harpsichord: Kah-Ming Ng eloquent authority’ (Diapason). The group has ‘carved something of a niche for itself in Charivari Agréable is recognized as ‘one of the imaginative and well-thought-out programming’; classiest baroque bands’ (The Observer), whose ‘its work is the fruit of both scholarly research and ‘musical intuitions are always captivating’ charismatic musicianship, a combination that (Goldberg). ‘Charivari Agréable is one of the puts it at the forefront of period-instrument most versatile Early Music groups around at the ensembles’ (BBC Music Magazine). With a moment; under its benign director, Kah-Ming chronological remit spanning epochs from the Ng, it appears to be infinitely adaptable, finding Renaissance to the Early Classical, the ensemble musicians who can fit into any of its many appears in many guises, from a continuo band, and varied programmes’ (International Record a viol consort, and an Elizabethan mixed consort, Review). The group has been hailed for its ‘thinking to a baroque orchestra and many other musicians who treat music of the past more surprising – yet historical – combinations. creatively’ via their arrangements of music, ‘based on a greater knowledge of the historical and Charivari Agréable (trans. ‘pleasant tumult’, from social contexts for the music’. They represent ‘a Saint-Lambert’s 1707 treatise on accompaniment)

- 12 - - 13 - was formed at the University of Oxford in 1993, including Buckingham Palace; recent and THE KING’S SINGERS The King’s Singers are David Hurley (countertenor), and within the year became prize-winners of an forthcoming engagements include major festivals Paul Phoenix (tenor), Philip Lawson (baritone), international Early Music Network (UK) competition, in the UK, and tours to Austria, Belgium, the David Hurley, countertenor Christopher Gabbitas (baritone), Stephen Connolly made its debut at the Wigmore Hall, and recorded Czech Republic, Denmark, Finland, Germany, Timothy Wayne-Wright, countertenor (bass) and Timothy Wayne-Wright (countertenor). the first of many subsequent live concerts for the Hungary, The Netherlands, Slovenia, Spain, Paul Phoenix, tenor The ensemble has a huge range of some three BBC, including Radio 3’s ‘In tune’, ‘Music Restor’d’, Sweden, South-East Asia, Turkey, and the USA. Philip Lawson, baritone and a half octaves, from Connolly’s low B-flat up and ‘The Early Music Show’. Charivari Agréable Christopher Gabbitas, baritone to Hurley’s high F. There have only ever been has since recorded for New York’s WNYC, and www.charivari.co.uk Stephen Connolly, bass twenty-two King’s Singers including the current many other European radio stations, including the six – very few given the demanding nature of the European Broadcasting Union. Charivari Agréable The King’s Singers are truly remarkable, described full-time job which requires a unique blend of CDs have garnered such awards as the Diapason by The Times as a group that has “stayed in musicianship, vocal ability and charisma, not to d’Or, Gramophone Editor’s Choice, International character over four decades, yet retuned itself to mention the stamina to be on tour for nine months Record Review’s ‘Best CD of the Year’, Classic the times” and by Gramophone as “enchanting the of the year. The repertoire in a single concert might FM’s Choice’, BBC Music Magazine’s ear from first to last note”. This celebrated group range from Renaissance polyphony, madrigals ‘Outstanding CD of the Month’, MusicWeb continues to be one of the most sought-after and and world or folk music to contemporary International’s ‘Recording of the Year 2007’ critically acclaimed vocal ensembles in the world, classical or contemporary pop, because the ethos and top-star reviews by Goldberg and Classic performing a rich and varied repertoire from of The King’s Singers has always been that it’s all FM Magazine. Gesualdo to György Ligeti and Michael Bublé. about the music. Internationally recognised for their work in the Apart from hosting an annual summer festival classical field, in early music in particular, they With a discography of over 100 releases The King’s of early music in Oxford, the ensemble regularly retain the sparkle that delights so many fans Singers have garnered both awards and significant expands into Oxford’s resident period-instrument when they perform much loved numbers from critical acclaim. Their recent studio album Simple orchestra, Charivari Agréable Simfonie. The the lighter end of the repertoire. Whatever Gifts was awarded a Grammy in 2009. In addition orchestra has on-going collaborations with some the repertoire The King’s Singers are instantly to this their DVD Live at the BBC Proms, a concert forty vocal groups – choral societies and recognisable from their spot-on intonation, their recording of their 2008 BBC Proms performance professional choirs alike – all over the UK, and impeccable vocal blend, the flawless articulation from the Royal Albert Hall, won the title of Best has been conducted by many musicians of renown, of the text and incisive timing. Concert DVD at the MIDEM Classical Awards including Sir Charles Mackerras. The ensemble 2010. An EP titled From the Heart including John has appeared at all prominent venues in London, Brunning’s Pie Jesu and a special re-working of

- 14 - - 15 - My Heart is a Holy Place by contemporary US Leonard The King’s Singers arrangements are composer Patricia van Ness was released in February sung by schools, college choirs and amateur and 2010. This year will also see the release in the UK professional ensembles the world over. Two DVDs of The King’s Singers new album Swimming over are available through Hal Leonard: King’s Singers: London, a disc that crosses genre borders in a way A Workshop features excerpts from master classes similar to Simple Gifts, using smooth jazz as the and concerts and follows the earlier video The inspiration for new pieces and arrangements with Art of The King’s Singers, a documentary-style The King’s Singers signature style and standards. program illustrating the everyday life of the sextet on the road, as well as in rehearsal, performance The King’s Singers maintain a deep commitment and master-class settings. to new choral music and have commissioned over 200 works from a host of prominent contemporary Visit www.kingssingers.com for the latest news, composers including Richard Rodney Bennett, blog entries, video blogs, Tweets and YouTube Luciano Berio, Peter Maxwell Davies, György Ligeti, updates. Steve Martland, Gian Carlo Menotti, Krzysztof Penderecki, Ned Rorem, John Rutter, Gunther Schuller, Toru Takemitsu, and John Tavener. This season The King’s Singers will premiere works by Ivan Moody, Gabriela Lena Frank, John McCabe, Bob Chilcott and Eric Whitacre.

In addition to their sold-out concerts worldwide, The King’s Singers efforts to share their artistry extends to numerous workshops and master classes. The King’s Singers have clocked up phenomenal sales of sheet music through three publishers over the years with over two million pieces of print in circulation with one publisher alone. Currently published by US giant Hal © Marco Borggreve

- 16 - - 17 - kah-minG ng (Freiburg) and Christopher Kite (London). He is a winner of the Guildhall School’s Early Music Kah-Ming Ng studied at Monash University, Competition and a Fellow (in Harpsichord) of the Melbourne (where he obtained a B.E. in civil Trinity College of Music London. Kah-Ming regularly engineering), the State Academy of contributes reviews and articles to leading Music (as a DAAD scholar), and the London specialist music journals; he wrote the entries ACKNOWLEDGEMENTS Guildhall School of Music (as an FCO scholar). on English and French baroque ornamentation Dr Glyn Redworth for daubing patches of purple in an otherwise pale prose. He then went to Oxford University (as a British in the revised New Grove Dictionary of Music & Dr Harry Diack Johnstone for positing the probability of Maurice Greene’s involvement in the purchase of the MSS from Council Chevening scholar), to read for a Musicians. In between his performing and directing, Carl Theodorus Pachelbel. performance M.Phil. at St Anne’s College, and he squeezes in some adjudicating (of competitions later a D.Phil. at Keble College, where he wrote and examinations) and lecturing, his most recent Recorded at St Andrew’s Church, Toddington, Gloucestershire, 23–25 June 2009 a doctoral thesis on continuo accompaniment in position being Course Coordinator & Lecturer in Producer, Engineer and Editor - Adrian Hunter its social and artistic context. His harpsichord Early Music Studies (2004—6) at the Faculty of Booklet notes - Kah-Ming Ng teachers included Elizabeth Anderson (Melbourne), Music, Oxford University. Cover Image - St Sebald Church, Nuremberg - Shutterstock Harald Hoeren (Cologne), Michael Behringer Pitch - A=415Hz, keyboards tuned by Kah-Ming Ng to a 1/6-comma circular temperament

The music by Pachelbel recorded on this CD is performed using editions prepared by Kah-Ming Ng, and remain the copyright of Charivari Agréable. The work numbers refer to the catalogue compiled by Jean M Perreault. For details of the ensemble’s publications and discography, please visit www.charivari.co.uk

Design and Artwork - Woven Design www.wovendesign.co.uk

℗ 2010 The copyright in this recording is owned by Signum Records Ltd. © 2010 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. 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 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.

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- 18 - - 19 - The King’s Singers & Charivari Agréable on signumclassics

SIGCD090 SIGCD119 SIGCD041 SIGCD049 Landscape & Time Siglo de Oro Modus Phantasticus Harmonia Caelestis

SIGCD121 SIGCD147 SIGCD069 SIGCD086 Simple Gifts Romance du Soir Esperar Sentir Morir The Virtuoso Godfather

SIGCD150 SIGCD177 SIGCD093 SIGCD157 Live at the BBC Proms From the Heart The Oxford Psalms The Original Brandenburg Concertos

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