176Booklet 16/9/09 14:21 Page 1

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The Carols Album The Hymns Album Huddersfield Choral Society / Joseph Cullen Huddersfield Choral Society / Joseph Cullen SIGCD108 SIGCD079

The magnificent Huddersfield Choral Society celebrate the Christmas Featuring some of the nation’s most loved hymns sung by the grand season with heart-warming arrangements of our favourite carols. forces of the Huddersfield Choral Society, this collection attempts to cover an unaffected, pure lyricism through to a vast, full-throated sound that might shake the rafters of the sturdiest church.

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 176Booklet 16/9/09 14:21 Page 3

The Crucifixion (1887) Stainer: The Crucifixion music - they certainly were, but little of it was indigenous. While Haydn, Mozart and Beethoven A meditation on the sacred Passion of the Holy Redeemer In the monumental Victorian era, with Britain had rapidly become staples of the orchestral, John Stainer (1840 - 1901) ruling the waves and at the zenith of its economic, chamber and instrumental classical canon, music Words by W. J. Sparrow Simpson (1860 - 1952) military, industrial and imperial power, artists, for religious purposes had been somewhat stifled architects, poets and polymaths seemed to be ever since the Puritan tirades against liturgical 1. And They Came To A Place [1.25] 12. So Thou Liftest Thy Divine Petition [4.34] ten-a-penny. The likes of Paxton, Alfred Waterhouse and theatrical music. The oratorios of Handel Named Gethsemane 13. The Mystery Of Intercession [4.34] and George Gilbert Scott were erecting the grandest neatly side-stepped these issues by being neither or most innovative structures, from sophisticated liturgical in initiation nor purely theatrical in 2. The Agony [6.32] 14. And One Of The Malefactors [2.36] private residences and places of worship to the conception. Instead they were regarded as merely 3. Processional To Calvary [9.30] 15. The Adoration Of The Crucified [1.31] grandiose schemes of Whitehall and the Crystal sacred and dramatic, which seemed even 4. And When They Were Come [1.04] 16. When Jesus Therefore Saw His Mother [2.52] Palace. Alma-Tadema, Burne-Jones, Millais and to please everyone, even many a hard-line 5. The Mystery Of The Divine Humiliation [2.26] 17. Is It Nothing To You? [1.08] co. visited classical poise, pre-Raphaelite beauty Nonconformist. This template was set before 6. He Made Himself Of No Reputation [1.20] 18. The Appeal Of The Crucified [5.03] and artistic controversy on the Royal Academy, while Victoria became monarch and Handelian oratorio, 7. The Majesty Of The Divine Humiliation [4.01] 19. After This, Jesus Knowing That All [2.13] Dickens, Wilde, Tennyson, Carroll and the Brownings rather than opera, was setting the musical pulse of 8. And As Moses Lifted Up The Serpent [1.17] Things Were Now Accomplished measured conservatism with outright scandal, the nation. By the time Victoria and Albert were 9. God So Loved The World [3.18] 20. For The Love Of Jesus [2.07] either on the stage or in published volumes. Queen and Prince Consort, Mendelssohn was And then there were others, such as John Ruskin already well known in Britain, having edited a few 10. Litany Of The Passion [4.01] Total Timings [62.09] and William Morris whose brilliance shone over of Handel’s oratorios for publication in London and 11. Jesus Said, ‘Father, Forgive Them’ [0.47] numerous arts and disciplines. was busily breathing Bach’s St Matthew Passion Mark Taylor High Priest back to life again in the public consciousness. His Raymond Ellis First Malefactor While Great Britain was making the running in oratorio, Elijah, composed for the Birmingham Lyndon Wilkinson Second Malefactor most of the arts and crafts, music seemed barely Festival in 1846, and now with an English text, to be on the agenda - at least so far as home- further endeared him to the British public and HUDDERSFIELD CHORAL SOCIETY grown talent was concerned. Britain, the Germans’ helped re-invigorate English composers into JOSEPH CULLEN CONDUCTOR ‘Land without music’ in the Nineteenth Century, moving toward the European mainstream. ANDREW KENNEDY TENOR • NEAL DAVIES BASS • DARIUS BATTIWALLA ORGAN certainly comes up short when musical luminaries Also featuring The Huddersfield Choral Society Youth Choir and are the name of the game. This is hardly to say This was the musical scenario into which John Huddersfield Choral Society Chamber Choir that the British Isles were not awash with great Stainer was born and bred: Handel and Mendelssohn www.signumrecords.com - 3 - 176Booklet 16/9/09 14:21 Page 5

remained the staple diet, supplemented by a host Magdalen College, Oxford, and even picked up a andCrucifixion he retained the post for a decade, retiring in and, aside from being the assistant sub-organist of native English oratorios often written in pale few degrees along the way, prior to landing 1899. Two years later, he died of heart failure, on at St Paul’s was also the organist at St Marylebone imitation of the two German titans. Stainer was the plum job as organist to St Paul’s Cathedral, 31 March, whilst holidaying in Verona. The (The church has kept up a fine tradition of born into a family of modest means in Southwark in 1872. may be his only tangible musical performing the oratorio on every Good Friday since on 6 June 1840 and was taught organ from an legacy, but he is perhaps even better remembered the premiere). Scored for tenor and bass soloists, early age by his schoolmaster father. By 1848 the It was at St Paul’s where Stainer would make his by musicologists for his contributions to the choir and organ, Stainer conceived The Crucifixion young Stainer was a Probationer at St Paul’s mark as a composer of cathedral music and discipline. His edition of Early Bodleian Music is as ‘A Meditation on the Sacred Passion of the Holy Cathedral Choir School, and was elevated to a full hymns. He completed many a service for use in St recognised as the earliest attempt by an English Redeemer’, a work that would not be too taxing for chorister the following year. He quickly became Paul’s and anthems and hymns which were extremely scholar to investigate music before the great the average village choir and which might also one of the leading solo boys and is known to have popular amongst the Anglican community of his Renaissance figures of Palestrina, Lassus, immediately engage an audience. Given its sung at some extremely prestigious events, such day. Composition aside, he was a tireless worker Victoria and Tallis. Other volumes on musical immense popularity, Stainer obviously succeeded as the funerals of artist J.M.W. Turner and the for those around him, raising the standard of the terminology, the organ, composition, harmony and in the latter. As to the forces: while the choir parts Duke of Wellington, in 1852. In 1854 he was choir to new heights, augmenting its numbers and choral music sold, in total, hundreds of thousands are more than manageable for a decent amateur appointed organist at the Church of St Peter & St making sure that salaries were raised to of copies during Stainer’s lifetime, the royalties choir, the organist has to be more than competent, Benet, Paul’s Wharf, London. Two years later he appropriate levels. He also introduced weekly leaving him a very wealthy man in later life. As a andCrucifixion the singers, who carry most of the narrative, met Sir Frederick Ouseley, then Professor of Music choral celebrations of communion and processions founder member of the Musical Association, need to be quite exceptional amateurs and at Oxford who, as a prodigious youth, had while providing adequate rehearsal time to cope President of the Royal College of Organists and preferably professionals. The structure of The impressed no less a figure than Mendelssohn. with an expanded and enhanced repertory. His many other professional bodies, and co-founder of is inspired by J.S. Bach, the scheme of Ouseley used his considerable social rank and good works must have been well noted in high august societies and institutions such as the arias recitatives, choruses and chorales (hymns) wealth for the good of music and recognised real places as in 1881 he was made principal of the Oxford Philharmonic Society and the Associated reflecting that of the St John and St Matthew talent in Stainer, quickly offering the sixteen-year- National Training School for Music and his Board of the Royal Schools of Music, he worked Passions. Unlike the passions, however, there is no old the post of first organist at St Michael’s generous offices were rewarded by Queen Victoria tirelessly for the improvement of music appreciation orchestra to provide light and shade to College, Tenbury. This was quite a break for the in 1888 with a Knighthood. In the same year he and education, and enhanced standards throughout accompaniments and add piquancy or punch to young Stainer, as he was now effectively under resigned his post at St Paul’s due to his declining the country as a whole. the drama. It is testament to Stainer’s economy of Ouseley’s guidance. Later in life, he was ever keen eyesight (he was already blind in one eye due to a scale and his deft organ writing that we are barely to acknowledge this period as of the utmost childhood accident), though by the next year had The Crucifixion was composed in 1886-87 and aware of a solitary instrument accompanying the significance in his musical development. Now well rested enough to take on the post of Professor of first performed in St Marylebone Parish Church on choir and soloists. Central to the work’s structure established as an organist, he soon passed Music at Oxford. Once again his administrative Good Friday 1887. The work’s dedicatee, William and impact are the five hymns which are through various posts at St Edmund Hall and and scholarly skills were employed to great effect Hodge was a pupil and friend of the composer interspersed throughout the oratorio. These are

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intended for congregational participation and are The Crucifixion Jesu, Lord Jesu, bowed in bitter anguish, and as key to the work’s success as even the most bearing all the evil we have done, lyrical passages for the solo voices or organ. The Music by John Stainer (1840 - 1901) Oh, teach us, teach us how to love Thee for congregation is invited to stand for these hymns Text by The Reverend Thy love, and so directly take part in a communal William J. Sparrow-Simpson (1859 - 1952) Help us to pray, and watch, and mourn with celebration at this crucial point in the liturgical Thee. year. While the first performance was a success, 1. Recit.: And they came to a place named the libretto, by the Reverend William Sparrow- Gethsemane Could ye not watch with Me? even so: Simpson would soon attract ferocious criticism And they came to a place named Gethsemane, Willing in heart, but the flesh is vain. and the music has also been vilified down the and Jesus saith to His disciples: Sit ye here, Back to Mine agony I must go, years. It is true that there are some cloying while I shall pray. Lonely to pray in bitterest pain. sentimental passages by Sparrow-Simpson and perhaps, at times, an excess of High Victorian 2. The Agony And they laid their hands on Him, and took piety from Stainer, too - the ‘Fling wide the gates’ Could ye not watch with Me one brief hour? Him, and led Him away to the high priest. chorus has taken many a critical bashing – but Could ye not pity My sorest need? And the high priest asked Him and said unto there are many more passages of real beauty and Ah! if ye sleep while the tempests lower, surely, Him, Art Thou the Christ, the Son of the invigorating drama. The Crucifixion can still bat My friends, I am lone indeed. Blessed? with the best of them every season, its many Jesus said, I am: and ye shall see the Son of performances and broadcasts every year at Jesu, Lord Jesu, bowed in bitter anguish, and man sitting on the right hand of power, and Passiontide gladly attended and participated in bearing all the evil we have done, coming in the clouds of heaven. with great British gusto. Oh, teach us, teach us how to love Thee for Then the high priest rent his clothes, and saith: Thy love; What need we any further witnesses? Ye have © M Ross Help us to pray, and watch, and mourn with heard the blasphemy. Thee. And they all condemned Him to be guilty of John Stainer death. And they bound Jesus and carried Could ye not watch with Me one brief hour? Him away, and delivered Him to Pilate. Did ye not say upon Kedron’s slope, And Pilate, willing to content the people, Ye would not fall into the Tempter’s power? released Barabbas unto them, and delivered Did ye not murmur great words of hope? Jesus, when he had scourged Him, to be

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crucified. Thou art come from above, in Thy power and Evermore for human failure Robed in Heaven’s supremest splendour, And the soldiers led Him away. love, By His Passion we can plead; But in weakness and surrender, To endure and suffer and die. God has borne all mortal anguish, Thou hangest here. 3. Processional to Calvary Then on to the end, my God and my Friend, Surely He will know our need. Who can be like Thee? Fling wide the gates! for the Saviour waits To suffer, endure, and die. Pilate high in Zion dwelling? To tread in His royal way; From the ‘Holy, Holy, Holy, Rome with arms the world compelling, He has come from above, in His power and 4. Recit.: And when they were come We adore Thee, O most High’, Proud though they be? love, And when they were come to the place called Down to earth’s blaspheming voices Thou art sublime, Thou art sublime: To die on this Passion day. Calvary, there they crucified Him and the And the shout of ‘Crucify’. Far more awful in Thy weakness, malefactors, one on the right, and the other More than kingly in Thy meekness, His Cross is the sign of a love divine, on the left. Cross of Jesus, Cross of Sorrow, Thou Son of God, Thou Son of God. His crown is the thorn-wreath of woe, Where the Blood of Christ was shed Glory, and honour: He bears His load on the sorrowful road, 5. The Mystery of the divine Humiliation Perfect man on thee was tortured, Let the world divide and take them; And bends ‘neath the burden low. Cross of Jesus, Cross of Sorrow, Perfect God on thee has bled. Crown its monarchs and unmake them; Where the Blood of Christ was shed, But Thou, Thou wilt reign. How sweet is the grace of His sacred Face Perfect man on thee was tortured, 6. Recit.: He made Himself of no reputation Here in abasement; crownless, poor, disrobed, And lovely beyond compare; Perfect God on thee has bled. He made Himself of no reputation, and took and bleeding; Though weary and worn, with the merciless scorn upon Him the form of a servant, and was There, in glory interceding, Of a world He has come to spare. Here the King of all the ages, made in the likeness of men: Thou art the King, Thou art the King! Throned in light ere worlds could be, and being found in fashion as a man, There, in glory interceding, there, in glory The burden of wrong, that earth bears along, Robed in mortal flesh is dying, He humbled Himself, and became obedient interceding, Past evil, and evil to be, Crucified by sin for me. unto death, ev’n the death of the Cross. Thou art the King, All sins of man since the world began, Thou art the King, They are laid, dear Lord, on Thee. O mysterious condescending! 7. The Majesty of the divine Humiliation Thou art the King! O abandonment sublime! King ever glorious, King ever glorious! Then on to the end, my God and my Friend, Very God Himself is bearing The dews of death are gath’ring round Thee; With Thy banner lifted high! All the sufferings of time! Upon the Cross Thy foes have bound Thee - Then on to the end, my God and my Friend, Thy strength is gone, Thy strength is gone. With Thy banner lifted high, Not in Thy Majesty,

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8. Recit.: And as Moses lifted up the serpent By Thy look so sweet and lowly, 11. Recit.: Jesus said, ‘Father, forgive them’ Yet, in the midst of the torture and shame, And as Moses lifted up the serpent in the While they smote Thee on the Face, Jesus said, ‘Father, forgive them; for they know Jesus, the Crucified, breathes my name! wilderness, even so must the Son of Man be By Thy patience, calm and holy, not what they do.’ Wonder of wonders, oh! how can it be? lifted up; In the midst of keen disgrace: Jesus, the Crucified, pleads for me! That whosoever believeth in Him should not Crucified, I turn to Thee, 12. Duet: So Thou liftest Thy divine petition perish, but have everlasting life. Son of Mary, plead for me. So Thou liftest Thy divine petition, Lord, I have left Thee, I have denied, Pierc’d with cruel anguish through and through; Followed the world in my selfish pride; 9. Chorus: God so loved the world By the hour of condemnation, So Thou grievest o’er our lost condition, Lord, I have joined in the hateful cry, God so loved the world, that He gave His only By the blood which trickled down, Pleading, ‘Ah, they know not what they do.’ Slay Him, away with Him, crucify! begotten Son, that whoso believeth in Him When, for us and our salvation, Oh! ‘twas love, in love’s divinest feature, Lord, I have done it, oh! ask me not how; should not perish, but have everlasting life. Thou didst wear the robe and crown: Passing o’er that dark and murd’rous blot, Woven the thorns for Thy tortured Brow: For God sent not His Son into the world to Crucified, I turn to Thee, Finding e’en for each low-fallen creature, Yet in His pity so boundless and free, condemn the world; but that the world Son of Mary, plead for me. Though they slay Thee - one redeeming spot. Jesus, the Crucified, pleads for me! through Him might be saved. Yes! and still Thy patient Heart is yearning By the path of sorrows dreary, With a love that mortal scarce can bear; Though thou hast left Me and wandered away, 10. Litany of the Passion By the Cross, Thy dreadful load, Thou in pity, deep, divine, and burning Chosen the darkness instead of the day; Holy Jesu, by Thy Passion, By the pain, when, faint and weary, Liftest e’en for me Thy mighty, mighty prayer. Though thou art covered with many a stain By the woes which none can share, Thou didst sink upon the road: So Thou pleadest, e’en for my transgression, Though thou hast wounded Me oft and again, Borne in more than kingly fashion, Crucified, I turn to Thee, Bidding me look up, and trust, and live; Though thou hast followed thy wayward will; By Thy love beyond compare: Son of Mary, plead for me. So Thou murmurest Thine intercession, Yet, in My pity, I love thee still. Crucified, I turn to Thee, Bidding me look up and trust and live; Wonder of wonders it ever must be! Son of Mary, plead for me. By the Spirit which could render So Thou pleadest, Yea, he knew not, yea, he Jesus, the Crucified, pleads for me! Love for hate and good for ill, knew not; for My sake forgive. By the treachery and trial, By the mercy, sweet and tender, Jesus is dying, in agony sore, By the blows and sore distress, Poured upon Thy murderers still: 13. The Mystery of Intercession Jesus is suffering more and more, By desertion and denial, Crucified, I turn to Thee, Jesus, the Crucified, pleads for me, Jesus is bowed with the weight of His woe, By Thine awful loneliness: Son of Mary, plead for me. While He is nailed to the shameful tree, Jesus is faint with each bitter throe. Crucified, I turn to Thee, Scorned and forsaken, derided and curst, Jesus is bearing it all in my stead, Son of Mary, plead for me. See how His enemies do their worst! Pity Incarnate for me has bled;

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Wonder of wonders it ever must be I adore Thee, I adore Thee! Is it nothing to you, all ye that pass by? O come unto Me, This awful price, Jesus, the Crucified, pleads for me! Born of woman, yet Divine: I laid My eternal power aside, Redemption’s tremendous sacrifice, Stained with sins I kneel before Thee, I came from the Home of the Glorified, Is paid for you, is paid for you - 14. Recit.: And one of the malefactors Sweetest Jesu, I implore Thee A babe, in the lowly cave to lie; Oh! why will ye die? And one of the malefactors which were hanged, Make me ever only Thine. Is it nothing to you, all ye that pass by? O come unto Me, railed on Him saying, ‘If Thou be the Christ, I wept for the sorrows and pains of men, For why will ye die? save Thyself and us.’ 16. Recit.: When Jesus therefore saw His Mother I healed them and helped them, and loved O come unto me. But the other, answering, rebuked him, saying, When Jesus therefore saw His Mother, and the them - but then, but then, ‘Dost not thou fear God, seeing thou art in disciple standing by, whom He loved, They shouted against Me. 19. Recit. & Chorus: After this, Jesus knowing the same condemnation? He saith unto His Mother, ‘Crucify! Crucify! Crucify!’ that all things were now accomplished And we indeed justly; for we receive the due ‘Woman, behold thy son.’ Is it nothing to you? After this, Jesus knowing that all things were reward of our deeds: But this man hath done Then saith He to the disciple, Behold Me and see: pierced through and now accomplished, saith: ‘I thirst.’ nothing amiss.’ ‘Behold thy mother!’ through When Jesus had received the vinegar, He saith: And he said unto Jesus, ‘Lord, remember me There was darkness over all the land. With countless sorrows - and all is for you; ‘It is finished. Father, into Thy hands I when Thou comest into Thy Kingdom.’ And at the ninth hour Jesus cried with a loud For you I suffer, for you I die. commend My spirit.’ And Jesus said unto him, ‘Verily I say to thee, voice, saying, ‘My God, My God, why hast Is it nothing to you, all ye that pass by? And He bowed His Head, and gave up the today shalt thou be with Me in Paradise.’ Thou forsaken Me?’ Oh! men and women, your deeds of shame, ghost. Your sins without reason and number and 15. The Adoration of the Crucified 17. Recit.: Is it nothing to you? name, 20. For the Love of Jesus I adore Thee, I adore Thee! Is it nothing to you, all ye that pass by? I bear them all on the Cross on high. All for Jesus - all for Jesus, Glorious ere the world began; Behold, and see if there be any sorrow like unto Is it nothing to you? This our song shall ever be; Yet more wonderful Thou shinest, My sorrow, which is done unto Me, Is it nothing to you that I bow My Head? For we have no hope, nor Saviour, Though divine, yet still divinest wherewith the Lord hath afflicted Me in the And nothing to you that My Blood is shed? If we have not hope in Thee. In Thy dying love for man. day of His fierce anger. O perishing souls, to you I cry, Is it nothing to you? All for Jesus - Thou wilt give us I adore Thee, I adore Thee! 18. The Appeal of the Crucified O come unto Me, by the woes I have borne, Strength to serve Thee, hour by hour; Thankful at Thy feet to be; From the Throne of His Cross, the King of By the dreadful scourge, and the crown of None can move us from Thy presence, I have heard Thy accent thrilling, grief thorns, While we trust Thy love and power. Lo! I come, for Thou art willing Cries out to a world of unbelief: By these, I implore you to hear My cry, Me to pardon, even me. Oh! men and women, afar and nigh, Is it nothing to you? - 12 - - 13 - 176Booklet 16/9/09 14:21 Page 15

All for Jesus - at Thine altar All for Jesus - all for Jesus - includedKingdom Mendelssohn’s Elijah, the Brahms, Verdi Requiem - broadcast on BBC Radio 3 - under Thou wilt give us sweet content; This the Church’s song must be; and Mozart Requiems, Elgar’s three great oratorios Vasily Petrenko in Liverpool Metropolitan Cathedral There, dear Lord, we shall receive Thee Till, at last, her sons are gathered The Dream of Gerontius, The Apostles and The as part of the city’s European Capital of Culture In the solemn Sacrament. One in love and one in Thee. and Britten’s War Requiem. Handel’s 2008 celebrations. Messiah has been an annual Christmas event in All for Jesus - Thou hast loved us; Amen. Huddersfield since 1864 and is still hugely In 2009 a performance of Britten’s War Requiem in All for Jesus - Thou hast died; popular, drawing capacity audiences over two Porto under Christoph König was followed by a All for Jesus - Thou art with us; © Copyright 1887, 1915 Novello & Company Limited. evenings. Lightness and flexibility combine with visit to Orkney for two concerts - including All for Jesus Crucified. All Rights Reserved. International Copyright Secured. awesome grandeur to bring this choral Vaughan Williams’ A Sea Symphony with Martyn Reproduced by permission. masterpiece to life for modern audiences. Brabbins - as part of the St Magnus Festival.

The Society regularly accepts invitations from In 2010/11 the Society celebrates its 175th season. BIOGRAPHIES orchestras and concert promoters for overseas A recent major sponsorship deal with the University engagements. In 2007 the choir undertook three of Huddersfield has strengthened links between foreign tours: to Brno in the Czech Republic for two town and gown, and a greater range of opportunities concerts in the Easter Festival of Sacred Music; to for shared activities with the university’s renowned The Huddersfield singers from a wide area across Yorkshire and the Antwerp for Vaughan Williams A Sea Symphony department of music. Choral Society north of England. with Philippe Herreweghe; and to Japan for Britten’s War Requiem with the Osaka Symphony The Society supports two junior choirs - the Youth Founded in 1836, the Huddersfield Choral Society The Society has performed in many of the world’s Orchestra and Chorus under Takuo Yuasa. A return Choir and Young Voices - which are directed by has long been a major part of the town’s vibrant great musical centres. Its special quality is the visit of the Osaka choir to Huddersfield is professional musicians and have their own musical tradition. Under a succession of unique ‘Huddersfield Sound’ - a thrilling full- scheduled for April 2010 for a combined independent concert programmes. distinguished principal conductors and chorus bodied and firm blended tone, flexible enough for performance of Handel’s Judas Maccabaeus. masters it has developed an international both the most shattering climaxes and for the Details of all concerts and events, how to join the reputation as the UK’s leading choral society. softest but focused pianissimos. The Society commissioned a new choral work, choir and how to become a subscriber can be Although enjoying a close working relationship Agamemnon’s Tomb, by John Pickard, which was found at www.huddersfieldchoral.com with many leading professional orchestras and The Society promotes its own professional premièred in Huddersfield Town Hall in May 2008. conductors, the Society is an independent and subscription concert season in Huddersfield Town Autumn 2008 saw an invitation from the Royal self-governing amateur choir, drawing talented Hall, its home since 1881. Recent concerts have Liverpool Philharmonic Orchestra for a Verdi

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joseph cullen ANDREW KENNEDY Concert engagements include Jaquino Fidelio, Francesco Benvenuto Cellini and Mozart Requiem Described by Opera News as “clearly a name to Following on successful concerts in the City of Andrew Kennedy studied at King’s College, for the LSO/Sir Colin Davis (all recorded for the watch”, Grammy Award winning Joseph Cullen is London Festival he will direct from the keyboard a Cambridge and the Royal College of Music in LSO Live CD label); Novice Billy Budd (LSO/Harding, one of the most exciting talents to emerge in the series of programmes built around Bach Cantatas London. He was a member of the Young Artists recorded on EMI/Virgin Classics); Tom Rakewell UK in recent years. His experience spans a range in New Year 2010. Programme at the Royal Opera House, Covent The Rake’s Progress (Stresa Festival/Noseda), of prestigious appointments, including Director of Garden where he performed many solo principal OrfeoTobia in Haydn Orfeo e Euridice (Boston Handel the London Symphony Chorus, Chorus Master of roles. Andrew has won numerous prizes and and Haydn Society/Norrington); Tobia Il Ritorna di the Huddersfield Choral Society and Chorus awards including the 2005 BBC Cardiff Singer of (OAE/Norrington); Mozart Requiem and Young Director of the Academy of St Martin-in-the-Fields. the World Rosenblatt Recital Prize. He is a Borletti- Man in Korngold’s Das Wunder der In 2008 he made his debut at the Grant Park Buitoni Trust Award winner and won the (LPO/Jurowski); Finzi Intimations of ImmortalityHeliane Festival in Chicago where he conducted Russian prestigious Royal Philharmonic Society Young (BBCSO/Daniel); Mozart Mass in C Minor (Hallé England programmes, including Rachmaninov’s The Bells Artists’ Award in 2006. He was also a member of Orchestra/Elder); St. Matthew Passion (Netherlands to audiences of up to 14,000 in the Jay Pritzker BBC Radio 3 New Generation Artists Scheme. Philharmonic/Colin Davis) and Elgar Spirit of Auditorium in Millennium Park. at the 2007 Last Night of the BBC Proms. OperaticNight’s rolesDream include Tamino The Magic Flute PerformancesHorn and Strings of Britten include Nocturne (BBC Joseph has worked closely with some of the world’s (English National Opera); Flute A Midsummer National Orchestra of Wales), Serenade for Tenor, leading conductors including Sir Simon Rattle, Sir (Royal Opera Covent Garden); (CBSO, BBC Scottish Symphony Neville Marriner, Sir Mark Elder, Michael Tilson Jaquino Fidelio (Glyndebourne Festival); Ferrando Orchestra and BBC National Orchestra of Thomas, Valery Gergiev, Bernard Haitink, Richard Così fan tutte (Glyndebourne Touring Opera); Wales and at the BBC Proms with the Nash Hickox and Sir Colin Davis, with whom he won a Nemorino L’elisir d’amore (Opera North); Tom Ensemble/Edward Gardner) and Les Illuminations 2006 Grammy Award for the LSO Live recording of RakewellClemenza The di TitoRake’s Progress (La Monnaie and (Edinburgh International Festival/Scottish Ensemble Verdi’s Falstaff. Opéra de Lyon and recently released on DVD); Vere and with the Orchestre de Picardie). Billy Budd (Houston Grand Opera), Tito La Joseph led the LSO Chorus and the City of London (Opéra de Lyon) and his La Scala Andrew’s fast growing discography includes four Sinfonia in Holst’s Hymn of Jesus and Vaughan debut of Tom Rakewell. solo albums (‘On Wenlock Edge’ with the Dante Williams’ Toward the Unknown Region in October Quartet/Simon Crawford Philips for Signum 2009, and on Good Friday 2010 will conduct them Classics; ‘Strauss Songs’ with Roger Vignoles for in Bach’s St Matthew Passion at the Barbican. Hyperion; ‘The Dark Pastoral’ with Julius Drake

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and Simon Russell Beale for Altara Classics and NEAL DAVIES ‘The Curlew’ with Simon Lepper for Landor Records) and two shared recital discs (‘On Buying Neal Davies was born in Newport, Gwent and the Netherlands Philharmonic Orchestra and de A Horse’ and a recording of Liszt songs both with studied at King’s College, London, and the Royal Waart, the Orchestra of the Age of Enlightenment Iain Burnside for Signum Classics). Andrew will Academy of Music, of which he was made a Fellow and Brüggen, the Chamber Orchestra of Europe and record his first orchestral album of Gluck, Berlioz in 2003. He continued his studies at the International Harnoncourt, the Detroit Symphony and McGegan, and Mozart arias later on this year. Opera Studio, Zurich, under the patronage of the Minnesota Orchestra and Vänskä, Les Violons Isolde Dame Gwyneth Jones. He won the Lieder Prize at du Roy and Labadie, The Akadamie fur Alte Musik Future engagements include Shepherd Tristan und the 1991 Cardiff Singer of the World Competition. Berlin and Creed, the Halle and Mark Elder, the Glyndebourne Festival Opera, BBC He made his professional debut with the Coburg City of Birmingham Symphony under Oramo and Philharmonic and Gianandrea Noseda, the Opera. Since 1992 he has been a regular guest at the Vienna Philharmonic and Daniel Harding. Philharmonia Orchestra and Esa-Pekka Salonen, the Edinburgh Festival and at the BBC Proms. Royal Philharmonic Orchestra and Daniele Gatti, Night’s Dream His operatic appearances have included Rameau’s and Wigmore Hall recitals with Malcolm Martineau His recordings include Britten’s A Midsummer Platéeclemenza(London, di Tito Edinburgh Festival), Handel’s and Roger Vignoles. Andrew will also sing major under Sir Colin Davis for Philips, Giulio Cesare and Figaro (Le nozze di Figaro) all for roles in Houston Grand Opera, Welsh National Opera, Messiah, Theodora and Saul under Paul McCreesh the Royal Opera; Handel’s L’Allegro, Publio (La Opéra National de Lyon and Grange Park Opera. for Deutsche Grammophon, Vivaldi Cantatas and ), Zebul (Jephtha), Ariodates Handel’s L’Allegro under Robert King for Hyperion, (Xerxes) and Kolenaty (The Makropoulos Case) for Dutilleux songs under Yan-Pascal Tortelier for English National Opera; Handel’s Radamisto for Chandos and he takes part in the the Hyperion the Opera de Marseille; Handel’s Theodora with

© Ben Ealovega complete Schubert Edition. Les Arts Florissants and William Christie (Paris and Salzburg); Handel’s Orlando with the Gabrieli His concert engagements have included both the Consort; Leporello for Scottish Opera; Britten’s Cleveland and Philharmonia Orchestras under von Curlew River at the Edinburgh Festival; Handel’s Dohnanyi, the Gabrieli Consort and McCreesh, the Belshazzar under Jacobs in Aix-en-Provence, Oslo Philharmonic under Jansons, the BBC Berlin and Innsbruck; He made his debut with Symphony under Boulez, the Royal Liverpool Lyric Opera of Chicago as Major General Stanley, Philharmonic under Altrichter and Schwarz, the under Sir Andrew Davis, in their new production of Academy of St Martin-in-the-Fields and Marriner, The Pirates of Penzance.

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Darius Battiwalla

Future engagements include Sharpless, Pappageno Darius Battiwalla has given organ recitals at Darius teaches organ improvisation and continuo and his first Don Alfonso (Cosi fan tutte) for Welsh cathedrals and concert halls including Leeds Town at the Royal Northern College of Music, enjoys arranging National Opera, Ko-Ko (The Mikado) for the Lyric Hall, Westminster Abbey, York Minster and Bath for both choir and instruments and has had OperaNight’s of Dream Chicago, Agrippina for the Deutsche Abbey. Recent highlights include a complete arrangements broadcast on radio and television; he Staatsoper, Berlin and Bottom (A Midsummer performance of Messiaen’s L’Ascension at the also improvises accompaniments for silent films. ) for Garsington Opera. Bridgewater Hall, Manchester, the solo part in Janácek’s Glagolitic Mass with the Hallé and Mark Elder, and a recital from the St. Magnus Festival broadcast on Radio 3. He is a regular organist for the BBC Philharmonic Orchestra and has played on many of their recordings for Chandos Records. He was the organist for Simon Rattle’s recent recording of Mahler’s Eighth Symphony.

Darius has been music director of the Sheffield Philharmonic Chorus for six years, preparing them for visiting orchestras and conductors, and conducting the occasional concert himself. He is also a visiting chorus master for Huddersfield Choral Society, CBSO chorus and the Netherlands Radio Choir, and an occasional conductor of the © Sussie Ahlburg BBC Daily Service singers.

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The Huddersfield Choral Society would like to thank the following for their sponsorship of this recording:

The Friends of The Huddersfield Choral Society Tony and Karen Moyle The University of Huddersfield Wendy Moores — In memory of Doug Moores, from his girls. Anon Cynthia Pratt Tony and Janet Booth Gerald and Christina Sutton David Burgess Graham Smelt Jim Cowell M A and J Taylor Jeremy and Jayne Garside Sue Turnbull Mrs. C B Haywood Barrie and Judith Williams Mr. J D Haywood Susan Wilkinson — No. 14: And one of the malefactors - Harry Hayes For Lyndon Wilkinson, Bass, to celebrate a lifetime of singing. Elaine Lee Adrian Lee Mrs. A M Morton Brenda Mosley

© Greaves Photographers, Huddersfield

Recorded at Huddersfield Town Hall, UK, on 13 - 15 June 2009 P 2009 Signum Records Ltd. Producer - John H West C 2009 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.

Engineer - Mike Hatch Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Assistant Engineer - Alex Foster 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 Cover Image - Shutterstock 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, Design and Artwork - Woven Design www.wovendesign.co.uk without prior permission from Signum Records Ltd.

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