2CD SET MASS in B MINOR 2 Patrem Omnipotentem (Coro) [2.00] J.S

2CD SET MASS IN B MINOR 2 Patrem omnipotentem (coro) [2.00] J.S. BACH 3 Et in unum Dominum Jesum Christum (soprano & alto) [4.35] 4 Et incarnatus est de Spiritu Sancto (coro) [3.21] 5 Crucifixus etiam pro nobis (coro) [2.40] CD 1 6 Et resurrexit tertia die (coro) [4.16] MISSA 7 Et in Spiritum Sanctum (bass) [5.23] Kyrie 8 Confiteor unum baptisma (coro) [4.01] 1 Kyrie eleison (coro) [8.50] 9 Et expecto resurrectionem mortuorum (coro) [2.17] 2 Christe eleison (soprano 1 & 2) [4.30] 3 Kyrie eleison (coro) [2.21] Sanctus 0 Sanctus (coro) [4.43] Gloria 4 Gloria in excelsis Deo (coro) [1.38] oSANNA, Benedictus, Agnus Dei et Dona nobis pacem 5 Et in terra pax (coro) [4.33] q Osanna in excelsis (coro) [2.45] 6 Laudamus te (soprano) [4.23] w Benedictus qui venit (tenor) [4.34] 7 Gratias agimus tibi (coro) [2.15] e Osanna in excelsis (coro) [2.49] 8 Domine Deus, Rex coelestis (soprano & tenor) [5.15] r Agnus Dei (alto) [5.32] 9 Qui tollis peccata mundi (coro) [2.43] t Dona nobis pacem (coro) [2.25] 0 Qui sedes ad dexteram Patris (alto) [4.14] q Quoniam tu solus sanctus (bass) [4.44] Total timings [53.24] w Cum Sancto Spiritu (coro) [4.13]

Total timings [49.42] Bethany Seymour soprano Sally Bruce-Payne soprano/alto Jason Darnell tenor Joshua Ellicott tenor Peter Harvey bass CD 2 Yorkshire Bach Choir, Yorkshire Baroque Soloists Symbolum Nicenum (credo) Peter Seymour director 1 Credo in unum Deum (coro) [2.02] www.signumrecords.com MASS IN B MINOR, BWV 232 Symbolum Nicenum) dates from the late 1740s; such as concerto grosso and operatic aria. He Mary’s name holy in ‘Quia respexit’ (ecce enim J. S. BACH to complete the Mass setting Bach used a Sanctus even shows that he has the confidence to deliver ex hoc beatam/for behold, from henceforth I shall written for Christmas 1724 and then added four the unexpected, here with a choral invasion be called blessed). Towards the end of his life, Bach became re-workings of cantata movements for ‘Osanna’, into the aria ‘Quia respexit’ to the text ‘omnes concerned with the need to prepare new ‘Benedictus’, ‘Agnus Dei’ and ‘Dona nobis generationes’ (all generations) in place of the In the ‘great Catholic Mass’ (as C.P.E. Bach compositions or revisions of earlier works that pacem’. The last of these is actually Bach’s repeated first section of what should have been described it) Bach takes his teaching and would summarise not only his own skills but third use of this well constructed piece as it a da capo aria. Alongside his employment of communicative purpose to greater depths. The those of the whole Baroque era, then being originated in Cantata 29 and was then adapted new forms, Bach also shows his mastery of communication with the innocent, uninformed elbowed aside by the emerging galant and as ‘Gratias agimus tibi’ in the 1733 Missa. There older contrapuntal techniques used not only listener is present in the ecstatic dancing vision classical styles. Large-scale collections from are suggestions that Bach might have put the according to the strict rules which govern it of heaven in the ‘Gloria’ and the ensuing, equally the 1740s such as Musikalisches Opfer (Musical full Mass together in preparation for the but also again breaking the ‘rules’ in ‘Omnes ecstatic earthly peace in ‘Et in terra pax’; the Offering) and Die Kunst der Fuge (The Art of rededication of Dresden Hofkirche in 1751. Many generationes’ with the fugal entries being more informed will recognise the plainchant Fugue) demonstrated his ability to write music commentators have noted not only historical presented across two rising scales. theme of the ‘Credo’, the use of a sarabande of great beauty within the most abstruse but also musical reasons for this thesis, such as form for ‘Crucifixus’ – at the structural centre contrapuntal forms and the collection of organ the plentiful use of wind obbligatos for the arias Magnificat is here described at some length of the Symbolum Nicenum as it is in the cello chorales now known as the Eighteen is among – very much to the taste of Dresden audiences. because in many ways it proved a training and keyboard suites and representing the most his finest works for the instrument. Against this ground for Bach for the Mass in B Minor. In the important and dramatic parts of the argument – background the Mass in B Minor (a title first used Bach wrote little music setting Latin texts. Apart earlier piece he was communicating with the as well as its chromatic falling ground bass line. in the 19th century) can be seen as a monument from the Mass performed here and the original uninformed listener (and performer), especially The more informed might also have heard the to what its composer considered his God–given versions of various parts of it (though sometimes in his more obvious word painting and joyous chiasmus (cross) reference between the vertical genius as a composer of sacred music. originally with German texts) there are five other orchestration (Mary’s excitement at her news, orchestral writing and the horizontal choral lines settings of the ‘Sanctus’, four missae breves and heard in the two opening movements), but also in the same movement. The key at the start of In fact, the movements that comprise the Mass the famous Magnificat of 1723, originally in Eb with the informed listener or performer such as the movement is E minor, associated with sadness date from widely separated phases of Bach’s but re-worked in D major in the 1730s. Magnificat with his use of the relative minor for Mary’s more and pain; but the movement ends in G major, career. The ‘Kyrie’ and ‘Gloria’ (which were was an opportunity for Bach to establish himself intimate, personal thoughts in ‘Quia respexit’ associated with happiness, blessedness and actually entitled Missa) were composed for the at Leipzig both in terms of his credentials as a or his use of the diminished 5th (as well as its victory. The following movement, ‘Et resurrexit’, services mourning the recently deceased Elector composer and as a communicator, as a teacher. doubled version giving a diminished 7th) for is in the festive, earth-rejoicing key of D Major of Saxony and celebrating his son’s ascension In Magnificat he shows his mastery of the latest ‘inanes’ (empty) in ‘Esurientes’, and again to and this wild dance is scored for the whole in 1733; the ‘Credo’ (originally entitled the compositional fashions, often in miniature form suggest doubt that all generations will call festival orchestra.

- 4 - - 5 - The centrality of this movement within Bach’s will mein Heiland sterben’ (My Saviour is willing The palindrome is a useful confirmation of what homophonically (i.e. vertically) at the start of faith is confirmed by a technique employed to die out of love) and again tells us Bach’s should be audible, and should encourage the the movement and again at bar 42 (half-way by Bach, by no means uniquely, of setting a essential message for this particular performers to make clear to the listeners this through the movement) and each time is set lengthy section as a structural palindrome, a composition. The palindrome in the Symbolum statement of belief. As such, it is an invaluable against contrapuntal (i.e. horizontal) material figure which itself represents Christ on the Nicenum is very clear though not, of course, source of communication from Bach to us, though in the other voices and instruments. Again he Cross. This technique, perhaps more than any until we get to its conclusion or examine the I doubt that when he composed the Mass he presents an aural and visual chiasmus (cross) other, provides an insight into Bach’s mind; score afterwards. But it does clarify to us the was thinking of performances more than 250 figure. What the addition of these words also even the title of this section – Symbolum centrality of Christ’s death within Bach’s faith. years after his death. achieves is to make the number of letters in the Nicenum – hints at his purpose. The ‘trunk’ of As we, for the first time, hear the ‘Crucifixus’ complete text total 84. Pure chance? Perhaps, but the palindrome tells us what Bach considers to the clues are aural with the orchestration, the One further example of Bach’s extraordinary use it is the same number as there are bars in the be the central message of his composition. In key, the dance form, the vertical and horizontal of symbolism and, perhaps, one where he movement. So what? Well, in musico-numerological Matthäus-Passion this trunk includes the settings and the chromatic falling bass offering communicates essentially with God rather than terms, JS BACH = 41; 41 + 43=84. This spells: soprano recit ‘Er hat uns allen wohlgetan’ (He plenty of reason to take note. The palindrome with us – and certainly not in order to indicate ‘I, JS Bach, believe’! has done good to us all) and aria ‘Aus Liebe confirms what we have heard. how we should perform his music (as opposed to the information discussed above) – is to Wilfrid Mellers wrote: “Truly this work is one be found in the first two movements of the of the greatest manifestations of man’s 1 - Credo C plainsong cantus firmus chorus Symbolum Nicenum. The ‘Credo’ has 43 entries essentially religious spirit and, like Beethoven’s of the plainchant melody first sung by the tenors; Missa Solemnis, an immortal testimony to his 2 - Patrem omnipotentem 2 fugato chorus in musico-numerological terms CREDO (I quest for eternal truth.” 3 - Et in unum Dominum C aria (canonic) believe) equals 43. In Bach’s manuscript of the next movement, ‘Patrem omnipotentem’, Peter Wollny agrees: “In the complexity and 4 - Et incarnatus est 3/4 fugato chorus he surprisingly writes “84” at the end; as it consistency of its conception and its 5 - Crucifixus 3/2 chaconne/passacaglia happens there are 84 bars in the movement, monumental and elevated character, the Mass in but it is unusual for him to have shown that he B Minor undoubtedly embodies one of the greatest 6 - Et resurrexit 3/4 fugato chorus has counted them. He adds the text ‘Credo in artistic achievements of western culture.” 7 - Et in Spiritum Sanctum 6/8 aria (operatic: modified da capo) unum Deum’ to this second movement although we have already heard this text in the ‘Credo’ Peter Seymour 8 - Confiteor C plainsong cantus firmus chorus and would not usually expect it to be repeated 9 - Et expecto C fugato chorus in a subsequent movement. ‘Credo’ appears

- 6 - - 7 - TEXTS 7 Coro Chorus Gratias agimus tibi We give thanks to Thee CD1 propter magnam gloriam tuam. for Thy great glory.

Missa 8 Soprano solo. Tenore solo Duet (Soprano, Tenor) Kyrie Domine Deus, Rex coelestis, O Lord God, heavenly King, Deus Pater omnipotens. God the Father Almighty. 1 Coro Chorus Domine Fili unigenite, O Lord, the only-begotten Son, Kyrie eleison. Lord, have mercy upon us. Jesu Christe altissime. Jesus Christ most high. Domine Deus, O Lord God, 2 Soprano 1 & 2, solo Duet (2 Sopranos) Agnus Dei, Lamb of God, Christe eleison. Christ, have mercy upon us. Filius Patris. Son of the Father.

3 Coro Chorus 9 Coro Chorus Kyrie eleison. Lord, have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the world, miserere nobis. have mercy upon us. Gloria Qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostram. receive our prayer. 4 Coro Chorus Gloria in excelsis Deo. Glory be to God on high 0 Alto solo Aria (Alto) Qui sedes ad dexteram Patris, Thou that sittest at the right hand of the Father, 5 Coro Chorus miserere nobis. have mercy upon us. Et in terra pax And on earth peace hominibus bonae voluntatis. goodwill towards all men. q Basso solo Aria (Bass) Quoniam tu solus sanctus, For Thou only art Holy, 6 Soprano solo Aria (Soprano) tu solus Dominus, Thou only art the Lord, Laudamus te, We praise Thee, tu solus altissimus, Jesu Christe. Thou only art the Most High, Jesus Christ. benedicimus te, we bless Thee, adoramus te, we worship Thee, glorificamus te. we glorify Thee.

- 8 - - 9 - w Coro Chorus 4 Coro Chorus Cum Sancto Spiritu With the Holy Spirit Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost in gloria Dei Patris. in the glory of God the Father. ex Maria virgine, of the Virgin Mary, Amen. Amen. et homo factus est. and was made man.

CD2 5 Coro Chorus Crucifixus etiam pro nobis And was crucified also for us SYMBOLUM NICENUM (CREDO) sub Pontio Pilato, under Pontius Pilate, passus et sepultus est. He suffered and was buried. 1 Coro Chorus Credo in unum Deum, I believe in one God, 6 Coro Chorus Et resurrexit tertia die, And the third day He rose again, 2 Coro Chorus secundum scripturas; according to the scriptures; Credo in unum Deum, I believe in one God, et ascendit in coelum, and ascended into heaven, Patrem omnipotentem, The Father Almighty, sedet ad dexteram Dei Patris. and sitteth at the right hand of God the Father. factorem coeli et terrae, Maker of heaven and earth, Et iterum venturus est cum gloria And He shall come again with glory visibilium omnium et invisibilium. and of all things visible and invisible. judicare vivos et mortuos, to judge both the quick and the dead, cujus regni non erit finis. whose Kingdom shall have no end. 3 Soprano solo, Alto solo Duet (Soprano, Alto) Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, 7 Basso solo Aria (Bass) Filium Dei unigenitum, the only-begotten Son of God. Et in Spiritum Sanctum And I believe in the Holy Ghost et ex Patre natum ante omnia saecula. begotten of his Father before all worlds. Dominum et vivificantem, the Lord and giver of life, Deum de Deo, lumen de lumine, God of God, Light of Light, qui ex Patre Filioque procedit; who proceedeth from the Father and the Son; Deum verum de Deo vero, very God of very God, qui cum Patre et Filio simul who with the Father and the Son together genitum, non factum, begotten, not made, adoratur et conglorificatur; is worshipped and glorified; consubstantialem Patri, being of one substance with the Father, qui locutus est per Prophetas. who spoke by the prophets. per quem omnia facta sunt. by whom all things were made. Et unam sanctam catholicam And I believe in one Holy Catholic Qui propter nos homines Who for us men et apostolicam ecclesiam. and Apostolic church. et propter nostram salutem and for our salvation descendit de coelis. came down from heaven.

- 10 - - 11 - 8 Coro Chorus r Alto solo Aria (Alto) Confiteor unum baptisma I acknowledge one baptism Agnus Dei, Lamb of God, in remissionem peccatorum. for the remission of sins. qui tollis peccata mundi, who takest away the sins of the world, miserere nobis. have mercy upon us. 9 Coro Chorus Et expecto resurrectionem mortuorum And I look for the Resurrection of the dead t Coro Chorus et vitam venturi seculi, Amen. and the life of the world to come, Amen. Dona nobis pacem. Grant us peace.

SANCTUS

0 Coro Chorus Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth! Lord God of Sabaoth! Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory.

OSANNA, BENEDICTUS, AGNUS DEI et DONA NOBIS PACEM q Coro Chorus Osanna in excelsis. Hosanna in the highest. w Tenore solo Aria (Tenor) Benedictus qui venit Blessed is He who cometh in nomine Domini. in the name of the Lord. e Coro Chorus Osanna in excelsis. Hosanna in the highest.

- 12 - - 13 - JASON DARNELL JOSHUA ELLICOtT BIOGRAPHIES Jason Darnell studied at the Britten-Pears Joshua Ellicott was born in Manchester and School and at University of York. Jason performs read Music at University of York before BETHANY SEYMOUR SALLY BRUCE-PAYNE throughout Europe and has recorded and continuing his vocal studies at the Guildhall broadcast for ITV, Channel 4, BBC Radios 3 & School of Music and Drama. A milestone in Bethany Seymour was born in York and graduated Sally Bruce-Payne was born in London, living 4, Polish Radio 2 and EBU. For the latter he his thriving career came in 2006 when he won with first-class honours from University of Leeds first in the cloisters of Westminster Abbey, gave the world premiere of Zebrowski the International Vocal Competition in where she read music. Her studies at Leeds where her father was assistant organist. Magnificat and Wanski Missa de Nativitate ‘s-Hertogenbosch, The Netherlands. His career included an Erasmus-exchange programme She studied at Bristol University, the Royal Domini. He has also performed and recorded is now becoming as varied as it is distinguished studying at the Musikhochschule in Köln with College of Music and now enjoys a world wide with the ensembles Corona Coloniensis, with interests ranging from early music to Barbara Schlick. Since then she has sung with solo career working with many of the leading Vocalsolisten Ratisbona, Red Byrd and contemporary repertoire and from recitals and Hermann Max and the Rheinische Kantorei in conductors, orchestras and choirs in the world. Yorkshire Baroque Soloists. CD releases concerts through to opera, performed with some festivals in Knechtsteden, Leipzig and Erfurt. include Monteverdi Vespers for Yorkshire Bach of the finest ensembles and musicians. Recent In England she sings with Yorkshire Bach Choir Sally has recently released a disc of rare Handel Choir, two programmes of sacred and performances have included Handel with and Yorkshire Baroque Soloists with whom she English Cantatas with The Brook Street Band secular music by Gombert with The Sound the English Concert and Scottish Chamber has performed at Leipzig Bach Festival, Köthen and Bach’s Pergolesi Stabat Mater with The Bach and the Fury for ORF and Blow Venus and Orchestra; Birtwistle with the London Sinfonietta; Bach Festival, Merseburg Orgeltage, Aarhus, Players. Other commercial recordings include Adonis for Wigmore Live. Baroque operatic Bach with The King’s Consort and the Rotterdam Düsseldorf, Ryedale, York Early Music Festivals Schubert and Haydn masses with Sir John Eliot appearances include the title role in Philharmonic Orchestra and Beethoven with and Bach Christmas Oratorio in Leipzig. She Gardiner and Boulanger Du fond de l’abîme with Monteverdi’s opera Il Ritorno di Ulisse in the BBC Symphony Orchestra. In opera he has has also recorded Bach St John Passion with the London Symphony Orchestra and Gardiner. Patria at the Temple of Octavia, Corinth; sung for Scottish Opera, English Touring Opera, Yorkshire Baroque Soloists. Vivaldi Giustino and Handel Theodora Opera North and La Monnaie, Brussels. Joshua Operatic appearances include Handel at the at the Megaron, Athens; odes by Purcell has continued to work regularly with Peter Recent performances have included Handel Gottingen Festival and at the Halle Handel and Blow at Leipzig Bach Festival and York Seymour and Yorkshire Baroque Soloists since Solomon, Mozart Requiem, Bach motets (in Spain, Festival as well as Handel and Arne at Linbury; Early Music Festival. He has also recorded his time as a student in York and has also with Rheinische Kantorei), Bach Mass in B Minor also Handel and Offenbach at the Covent Bach St John Passion with Yorkshire recorded Monteverdi Vespers and Bach St (Amsterdam Concertgebouw also with Rheinische Garden Festival and Vivaldi for BBC Radio 3. Baroque Soloists. John Passion with them. Kantorei) and Purcell King Arthur (York Early Music Festival with Yorkshire Baroque Soloists).

- 14 - - 15 - PETER HARVEY YORKSHIRE BACH CHOIR Tenor 1 The choir has recorded for ITV and Channel 4 as Jason Darnell, Chris Palmer well as on many occasions for WDR-Köln and BBC Peter Harvey studied at Magdalen College, Oxford Soprano 1 Nick Salmon, Sam Weatherstone Radio 3 in programmes from Monteverdi to Haydn. and then at the Guildhall School of Music and Fabienne Brooksbank, Ruth McCartney Drama in London. His broad repertoire includes Judith Cunnold, Wendy Goodson Tenor 2 Commercial recordings have included Mozart works from the early Baroque to contemporary Julia Haigh, Katy Mahon David Bowden, Joshua Ellicott Requiem (in the completion the choir composers, although he is principally known Anna Page, Bethany Seymour Paul Gameson, Chris Hughes, commissioned from Duncan Druce and now through his performances as soloist with Marina Theodoropoulou Stephen Ryle, Jonathan Tyrens published by Novello); Bach Motets (Carlton); ensembles specialising in Early Music, including A Festal Mass at the Imperial Court in Vienna, the English Baroque Soloists, The Gabrieli Soprano 2 Bass 1 1648 (Carlton); Psalms and motets by Tomás Consort, The King’s Consort, The Purcell Quartet, Louisa Dobson, Louise Eekelaar Nick Ashby, Ted Comer Luis de Victoria; Monteverdi Vesperae della Collegium Vocale of Ghent, Les Talens Lyriques, Caroline Gilderdale, Judith Hartley David Forsdike, John Holland-Avery Beata Vergine (in the voices/continuo version); Il Seminario Musicale and The Netherlands Jess Main, Ruth Oxley Toby Wallis, and Motets of the Bach Family. Bach Society. Jane Troughton, Jane Wainwright Isabel White Bass 2 Recent seasons’ repertoire has included music Peter Harvey’s 80 solo recordings cover a Brook Adams, Tom Appleton by Purcell and Handel for the Chapels Royal; wide variety of works from the 17th century to Alto 1 John Bradley, Rex Godby Handel Messiah; music by Palestrina and the present day, and from the well–loved to Sam Bardsley, Fiona Constantine Robert Mason, Guy Tudor Allegri for the Sistine Chapel; Bach St the completely unknown. However, the music Helena Culliney, Helena Daffern Matthew Passion; English 17th century spiritual of J.S. Bach forms the core of his repertoire, both Freya Jacklin, Bridget Lindley Yorkshire Bach Choir was formed in 1979 by music by Gibbons, Weelkes, Tomkins, Jeffreys; in performances and recordings. He has made Rhiannon Morgan, Jo Roberts Peter Seymour and performs a mixture of a music of the Spectacular Italian Baroque various CDs with The Purcell Quartet, including Michelle O’Rourke cappella and accompanied choral music (with including Handel Dixit Dominus, Vivaldi Gloria and their solo–voice recordings of the four Lutheran Yorkshire Baroque Soloists) from the mid-16th Scarlatti Dixit Dominus; also Handel Saul, Masses, and a CD of early cantatas from the Alto 2 to early 19th centuries. The choir promotes a Haydn Stabat Mater and Michael Haydn Mühlhausen period. He has also been a regular Rachel Adie-Rhodes, Cara Curran subscription series in York but in recent seasons Requiem, Bach Lutheran Masses and cantatas soloist on Sir John Eliot Gardiner’s ‘Bach Cantata Sarah Douglass, Neil Jenkins has also appeared at Leipzig Bach Festival, alongside programmes of Bach family motets, Pilgrimage’ recordings and performed on Edward McMullan, Gillian Parker Festival Mitte Europa, York Early Music Festival, Victoria and the Spanish Renaissance, and Gabrieli Consort’s solo–voices version of St Caroline Sartin, Gwendolyn Wellmann, Beverley Early Music Festival, Swaledale, Warwick, Charpentier and the French Baroque. Matthew Passion. Rachel Wyllie Ryedale and Northern Aldeborough Festivals. www.yorkshirebachchoir.org.uk

- 16 - - 17 - YORKSHIRE BAROQUE Trumpet SOLOISTS Crispian Steele-Perkins, Ross Brown, George Parnaby Violin 1 Lucy Russell, Huw Daniel, Horn Jean Paterson, Jonathan Sparey Roger Montgomery

Violin 2 Timpani Daniel Edgar, Nia Lewis Graham Walker Carolyn Sparey, Miranda Walton Organ Viola Robert Patterson Duncan Druce, Clare Barwick Harpsichord Cello Peter Seymour Rachel Gray, Tim Smedley Nicholas Stringfellow Yorkshire Baroque Soloists was formed in 1973 by Peter Seymour to perform a repertoire from Violone the 17th and 18th centuries for forces ranging Carina Cosgrave from chamber to orchestral size. The group has performed and recorded in most European Flute countries and forms the basis of the baroque Edwina Smith, Sarah McNulty and classical parts of York Early Music Festival.

Oboe Much of the orchestra’s work has been with Anthony Robson, Cherry Forbes Yorkshire Bach Choir and recent performances have included Bach Christmas Oratorio, Mozart Bassoon Requiem and C Minor Mass, Cantatas for the Alastair Mitchell, Andrew Watts Feast of St Michael by Bach and Monteverdi

- 18 - - 19 - Vespers of 1610. Commercially released Herbst performed a programme of music by Crispian Steele-Perkins, Lucy Russell, Simon Recent scholarly performing editions have recordings have included the Mozart, Victoria, Bach, Torelli and Handel from Bach’s library Jones, Anthony Robson and Pamela Thorby. included Sweelinck Cantiones Sacrae, A Gabrieli Monteverdi and Bach CDs with YBC. In 2010 from his time at Köthen. He is keyboard player with Compagnia Missa Quando lieta sperai, anthologies of YBS recorded Bach St John Passion for www.yorkshirebachchoir.org.uk/ybs.shtml d’Istrumenti who are an Ensemble in Residence Victoria psalms and antiphons (1600), motets Signum Records. at University of York. by members of the Bach family and celebratory PETER SEYMOUR odes by John Blow (Ode on the Death of YBS performed a programme for Channel 4 As conductor he has performed much of the Mr Henry Purcell) and Daniel Purcell. These about Bach’s work in Leipzig in which, amongst Peter Seymour studied at Huddersfield School standard Renaissance, Baroque and Classical are published by York Early Music Press. He is other compositions, they performed Bach of Music and at University of York, including choral repertoire and has conducted the currently preparing editions of music for St Ascension Oratorio. In recent York Early Music post–graduate work researching into the various recordings made by YBC and YBS. He Cecilia’s Day and other similar occasions by Festivals the BBC and WDR have recorded performance of Baroque music. In July 1994 he has also conducted much of the large-scale Turner, Blow and Daniel Purcell. the group’s performances of Handel Semele, was awarded the degree of DMus at University 19th and 20th century choral repertoire. As a Alexander’s Feast, Bach Cantatas for the of York for research into performing style. solo keyboard player on harpsichord, Feast of St Michael, Purcell Come ye Sons He is Professor of Music and Organist at the fortepiano and organ he has recorded music of Art, The Yorkshire Feast Song, Blow Welcome University of York and director of Yorkshire by Bach, Buxtehude, Böhm, Pachelbel, Bruhns, every guest (edited by Peter Seymour), Clarke Baroque Soloists, Yorkshire Bach Choir and Purcell, Blow, Prendcourt, Stanley, Arne Music on the Death of Henry Purcell, Haydn Corona Coloniensis and has worked and and Duphly; a major project for WDR-Köln was Theresienmesse, Mozart Requiem, Purcell recorded in most European countries. He is also to record C.P.E. Bach’s last six volumes of Dioclesian and a psalm sequence of music an artistic adviser to York Early Music Festival. keyboard works. by Charpentier. Additionally, there have been He has recorded regularly both as conductor recordings of Schütz (St John Passion, Seven and keyboard player for WDR–Köln, BBC and He has performed at many festivals throughout Last Words, Resurrection History) and some other radio stations. As a keyboard player he Europe, most recently in Festival Mitte Europa new editions (also by Peter Seymour) of has appeared with singers Yvonne Seymour, (in Germany and Czech Republic), Merseburg biblical narratives by Purcell and Blow. Stephen Varcoe, Emma Kirkby, Lynne Dawson, Orgeltage, Köthener Herbst, Knechsteden, YBS recently performed Purcell Fairy Queen Mhairi Lawson, Barbara Schlick, James Düsseldorf, Aarhus and Corfu and directed and Dido & Aeneas in Festival Mitte Europa Bowman, Thomas Guthrie, Thomas Thomaschke, Christmas Oratorio, St Matthew Passion and Dido (in Germany and Czech Republic). In 2009, David Thomas, Christoph Prégardien, Ian & Aeneas in Hong Kong. YBS presented a Purcell Day of three concerts Partridge, James Gilchrist, Roderick Williams in Merseburg (Germany) and at Köthener and Matthew Brook as well as instrumentalists

- 20 - - 21 - Recorded 16-18 April 2010 in Sir Jack Lyons Concert Hall, University of York, UK

Producer - Mark Rowlinson Recording Engineer - Mike Cox Editor - Craig Jenkins

Organ by Geoffrey Coffin and harpsichord by Dennis Woolley tuned to A=415 Hz, Valotti temperament.

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- 22 - - 23 - ALSO AVAILABLE on signumclassics

St John Passion, BWV 245 Yorkshire Baroque Soloists SIGCD209

“… as dramatically coherent and satisfying as I’ve heard for a while … this is a St John which carries open-hearted conviction and character before it.” Gramophone

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