Sleeper's Prayer Choral Music from North America

SLEEPER'S PRAYER CHORAL MUSIC FROM NORTH AMERICA

CHOIR OF MERTON COLLEGE, OXFORD BENJAMIN NICHOLAS SLEEPER'S PRAYER CHORAL MUSIC 1 Nico Muhly (b. 1981) Senex puerum portabat f [7:18] FROM NORTH AMERICA 2 David Lang (b. 1957) again (after ecclesiastes) [4:22] 3 Nico Muhly Rev’d Mustard His Installation Prelude organ solo c [3:05] CHOIR OF MERTON COLLEGE, OXFORD 4 David Lang if I sing (after psalm 101) [3:46] Benjamin Nicholas conductor, solo organ a 5 Nico Muhly A Hymn on the Nativity d [4:29] 6 Nico Muhly Take care (Hudson Preludes, No. 1) organ solo d [4:47] 7 Libby Larsen (b. 1950) I will sing and raise a psalm c [5:06] with Choristers of Merton College, Oxford b 8 Nico Muhly A Song of Ephrem the Syrian b [5:25] c d Alex Little , Tom Fetherstonhaugh organ 9 David Lang sleeper’s prayer d [7:20] e Claire Wickes flute 10 Philip Glass (b. 1937) Satyagraha, Act III: Conclusion organ solo a [7:43] f arr. Michael Riesman (b. 1943), adapted Donald Joyce Merton Brass (1952–1998)

11 Abbie Betinis (b. 1980) Cedit, hyems e [3:20] 12 arr. Gerre Hancock (1934–2012) Deep river [3:20] 13 Stephen Paulus (1949–2014) The Road Home [3:28] arr. from a tune (‘Prospect’) in The Southern Harmony, 1835

Total playing time [63:35]

Tracks 4, 5, 8 & 9 are premiere recordings Track 11 is a premiere recording of the version for full choir This recording has been made possible by a grant from The Reed Foundation.

Recorded on 30 June & 1-2 July 2019 Cover & design: John Christ delphianrecords in the Chapel of Merton College, Oxford Photography: Delphian Records Ltd @ Producer/Engineer: Paul Baxter Booklet editor & translations: Henry Howard 24-bit digital editing: Matthew Swan Delphian Records Ltd – Edinburgh – UK @delphianrecords 24-bit digital mastering: Paul Baxter www.delphianrecords.co.uk @delphian_records With thanks to the Warden and Fellows of the House of Scholars of Merton College, Oxford Notes on the music

The University of Oxford consists of 45 northern wall of its glorious medieval chapel, by a Sunday choir of volunteer singers, drawn Given the strong Anglo-American bonds on colleges and halls – autonomous, self- which flanks the street alongside. The fact largely from Oxford’s student population which the new choral foundation and the new governing communities in which, broadly, that Merton Chapel lies in this unprotected and conducted by a student musician. But in organ rest, it’s not surprising that the choir’s students and teachers live and eat, study and position, instead of being buried deep behind 2008 the bold step was taken to establish a latest recording should turn its attention to the socialise, and to which every member of the the college walls, is accounted for by the new choral foundation, properly funded with sacred repertoire from the present generation university must belong. Scattered across the fact that for centuries it was one of the city’s scholarships for talented student singers of American composers, exploring currents and city, the earliest were founded in the thirteenth parish churches as well as the college’s own and organists, and charged with singing the trends in the music of some leading figures, and century; the most recent was established place of worship. And its location on Merton services nearly every day, under the direction their individual answers to the question of how in 2019. Many of the oldest resemble small Street means that, entering the college of a professional church musician. The funding to find a voice both authentic and appropriate fortresses: enclosed by high walls, heavily through the gatehouse, one of the first things for this remarkable venture was provided for the sacred music of our own day. secured with turrets and battlements, and the visitor sees is the stone tracery and through the Foundation of the American entered from the street through a gatehouse glass of the chapel’s mighty east window, businessman and philanthropist Reed Rubin, Nico Muhly aptly links US to UK since, though protected by imposing, ironclad doors (a completed in 1294. a former student at Merton. Just a few years a former student of Columbia University and reminder that relations between the university later, as part of the celebrations to mark the the Juilliard School and currently living in New and the city – ‘town and gown’ in Oxford The chapel itself is T-shaped, its medieval college’s 750th anniversary, the decision York, he is a regular visitor to Britain and has parlance – have not always been harmonious). chancel having been expanded in the late was taken to replace the chapel’s organ with collaborated with a number of prestigious thirteenth and early fourteenth centuries by a much larger instrument, more suited to British choirs and ensembles. He has worked in Some colleges announce their presence two transepts, surmounted by a colossal the needs of the expanded daily liturgy. The a wide range of musical genres, and his music boldly, either through their architecture (as tower, a plan that became (without the tower) contract was awarded to the American firm of displays a glittering range of connections and with Tom Gate, the mighty Tudor tower which the prototype for many other college chapels in Dobson Pipe Organ Builders from Iowa, and associations, from pop to the minimalists – forms the entrance to Christ Church) or through succeeding centuries. And this design – like a the new instrument was installed in 2014. leavened by a huge affection for the English their location (as with Queen’s, University and truncated, small cathedral – perhaps accounts choral tradition, especially its sixteenth- and Brasenose colleges, all of which sit squarely on for the chapel’s famously beautiful acoustic, In the decade or so since it was established, seventeenth-century composers. In fact the High Street, Oxford’s main thoroughfare). with a sound which is always clear and the new Merton College Choir has gone inspiration for using the text of Senex puerum Others lie in quieter waters, away from the transparent and a resonance that warms and from strength to strength: its daily work, portabat, the Muhly piece with which the hurly-burly of the city centre, and Merton encourages, but never obscures. leading the worship in chapel, has become an programme opens, came from the composer College is one of these – tucked away on a back important part of Oxford’s choral landscape; himself who, as a young chorister, had fallen street, overlooking the fields and meadows The primary purpose of the chapel, since the a highly adventurous commissioning policy in love with the setting by William Byrd. The which lead to the River Thames. college’s foundation in 1264, has been to act has added many important new works both words tell of the elderly Simeon, assured by as the focus for its Christian community, with to its own repertoire and to the liturgy more God that he will not die before he has seen the Although mostly walled and gated in typical services held every day for visitors and college generally; and the choir’s now regular concert Messiah, holding the infant Jesus in his arms. collegiate fashion, an unusual feature of members alike. In recent years, the musical performances and Delphian album releases The repeated notes treading throughout the Merton’s border with the outside world is the element of these services had been provided have brought admiring reviews. piece perhaps suggest the weary footsteps Notes on the music

of the old man while the glorious climax, sustained and lushly chordal – is one of Muhly’s specially by Lang for this recording project, depicting Christ’s coming into a wintry, troubled accompanied by Stravinskian brass chords, Hudson Preludes and is dedicated to the as a ‘thank you’ to the Merton choir. world – portrayed at the outset by the bleak, recalls the moment of Christ’s birth. composer’s friend and frequent collaborator, lonely sound of a solo flute but evolving into the organist James McVinnie. Minimalism itself is one of the most influential joyous cries which bid winter depart because A Hymn on the Nativity sets words by of all developments in contemporary music and Christ has come. the seventeenth-century English poet and David Lang’s music embraces a number of a musical language which is almost hypnotic in playwright Ben Jonson. It joyfully describes forms, but a common thread is that of physical the way it uses patterns of repetition to break The range of music on this recording the manger scene while reminding us that ‘this drama: many of his pieces are operas, or free of the narrative nature of traditional forms. demonstrates the powerful diversity and babe, all innocence’ is yet ‘A martyr born in our operatic, or incorporate (or imply) movement Indeed the composer of the next work in this confident eclecticism which characterises defence’ – Muhly clothing the words in music of and staged action. In again, words from the recording, Philip Glass, prefers to use the label American sacred music today: sometimes tender, hushed excitement. A Song of Ephrem biblical book of Ecclesiastes describe the ‘music with repetitive structures’. The piece is acknowledging Old World traditions, more often the Syrian, the fourth-century poet and mystic cycle of earthly existence: human life, the sun, a transcription for solo organ of the conclusion creating something entirely free of them. So, for who is venerated today as a saint in both the winds and rivers – all come round again, Lang to Act III of Glass’s opera Satyagraha, based the last two pieces in this recording, it seems Orthodox and Catholic churches, ecstatically illustrating this through a circular sequence loosely on the life of Mahatma Gandhi. The appropriate to honour two musical traditions finds ‘fire and spirit’ in the Christian sacraments. of repeated broken chords. A project to mark music seems particularly suited to the organ’s which are uniquely American. In Deep river, Muhly’s music, rapturous and richly chordal, the eightieth anniversary of the Nederlands capacity to produce mechanistic-sounding Gerre Hancock produces a powerful, richly includes a part for the Merton girl choristers – Kamerkoor (with the object of performing lines and evenly terraced dynamic changes. harmonised arrangement of a well-known the newest members of the college’s choral musical versions of all 150 biblical psalms) spiritual – a musical repertoire born out of the foundation – and was commissioned last year was the spur for if I sing, Lang’s paraphrase Mechanistic is not a word which could be sufferings of slavery but which has come to have by The Reed Foundation. of Psalm 101. The words seemed, he says, used to describe the music of Libby Larsen, its a power and significance which is now universal to want to open a negotiation with God or fluid flexibility perhaps having its roots in the – while in The Road Home, Stephen Paulus Gloriously decorated in gilt and the college at least ‘better understand the terms of the plainsong hymns she learnt as a schoolgirl. Like adapts a sturdy tune from an early nineteenth- colours – blue and scarlet – the new Dobson relationship’ and Lang’s music aims to ‘keep many American composers of today (including century Southern Baptist hymnal to newly organ is an instrument designed not only that quality of negotiation all the way through’. those on this recording) her inspiration and written words whose opening line, ‘Where is to provide a rich musical counterpart to the Lang also wrote his own text for sleeper’s influences come from a magpie-like diversity the road I can call my own?’ might serve as the singing of the choir but also to do justice to all prayer – a psalm-like plea for peace at rest of sources – poets, architects, painters and motto for this whole collection. the major schools of solo organ composition. and safety upon rising, accompanied by a philosophers, as well as music from boogie- Nico Muhly’s Rev’d Mustard His Installation fractured organ part which ‘seems gentle but woogie to Lutosławski. I will sing and raise © 2020 Michael Emery Prelude looks back, in the styling of its title, isn’t, really’. In the work’s original version, a psalm sets a hymn of praise by St Francis Michael Emery was Senior Producer for the BBC to Tudor England and was composed for the composed as an eightieth-birthday tribute of Assisi in music of breathless and barely Singers from 1992 to 2015 and is now Artistic Director installation of a clergyman friend in his new to the father of American minimalism, Steve contained excitement. In Cedit, hyems, Abbie to the choirs of Danish Radio in Copenhagen. He is a London parish; the piece is a brilliant and playful Reich, the words were sung by a solo treble. Betinis sets even more ancient words, by the former Organ Scholar of Merton College. toccata. By contrast, Take care – thoughtful, The choral arrangement heard here was made fourth-century Christian poet Prudentius, Texts and translations

1 Senex puerum portabat 4 if I sing (after psalm 101) Senex puerum portabat, puer autem The old man carried the boy, but the boy if I sing of mercy, if I sing of justice, if I sing your praises, will you come to me? senem regebat, quem virgo peperit, et was the old man’s king, whom a virgin bore, if I am true, if I am pure, if I know no evil things, will you come to me? post partum virgo permansit: ipsum quem yet after giving birth remained a virgin: the if I’m not proud of eye or heart, will you come to me? genuit, adoravit. one that she bore, she worshipped. I see the faithful. I try so hard to follow them. Hodie Christus natus est, hodie Salvator Today Christ is born, today a Saviour has I see the liars. I try so hard to push them away. apparuit: hodie in terra canunt angeli, appeared: today the angels sing on earth, every day I fight this fight, to push the bad away. Will you come to me? laetantur archangeli. Hodie exsultant iusti, and archangels rejoice. Today the righteous dicentes: Gloria in excelsis Deo. rejoice, saying: Glory to God in the highest. come to me. Alleluia. Alleluia. David Lang, after Psalm 101 Magnificat antiphons for the Feast of the Purification of the BVM and for Christmas Day

5 A Hymn on the Nativity

2 again (after ecclesiastes) I sing the birth was born tonight, The Father’s wisdom willed it so, The author both of life and light; The Son’s obedience knew no No, people come and people go – the earth goes on and on The angels so did sound it, Both wills were in one stature; the sun rises, the sun sets – it rushes to where it rises again And like the ravished shepherds said, And as that wisdom had decreed, the wind blows round, round and round – it stops, it blows again Who saw the light, and were afraid, The Word was now made flesh indeed, all the rivers run to the sea, but the sea is never full – from where the rivers run they run again Yet searched, and true they found it. And took on him our nature. these things make me so tired – I can’t speak, I can’t see, I can’t hear The Son of God, the eternal King, What comfort by him do we win? what happened before will happen again That did us all salvation bring, Who made himself the Prince of sin, I forgot it all before. And freed the soul from danger; To make us heirs of glory? I will forget it all again. He whom the whole world could not take, To see this babe, all innocence, David Lang (b. 1957), after Ecclesiastes 1: 4–11 The Word, which heaven and earth did make, A martyr born in our defence, Was now laid in a manger. Can man forget this story?

Ben Jonson (1572–1637), slightly altered Texts and translations

7 I will sing and raise a psalm 9 sleeper’s prayer My heart is ready, O God, my heart is ready. I will sing and raise a psalm. when sleep falls upon my eyes in life Arise my glory, arise psalter and harp. I will arise at dawn, I will praise you let me lie down in peace in peace among the people, O God. I will say a psalm to you among the people. let me rise up again in peace now and forever Since your mercy is exalted even unto the skies, and your truth even to the no evil dreams by day clouds be exalted above the heavens, O God. And may your glory be no sleep of death by night above all the earth! Amen. no snare when I lie down no sorrow when I rise up Words collected from the Psalms by St Francis of Assisi (c.1181/2–1226); translation from Francis and Clare by Regis J. Armstrong O.F.M. and Ignatius C.Brady O.F.M. no terror by night let me lie down in peace © 1982 The Missionary Society of St Paul the Apostle in the State of New York no arrow by day let me rise up again in peace no thousand at my left at my right hand no ten thousand at my right at my left hand 8 A Song of Ephrem the Syrian let me lie down in peace before me let me rise up again in peace behind me Behold: Fire and Spirit in the womb that bore you. let me find my better self above me Behold: Fire and Spirit in the river where you were baptised. when I go out Fire and Spirit in our baptism: in the Bread and the Cup, Fire and Holy Spirit. David Lang when I come in In your Bread is hidden a Spirit not to be eaten, when I lie down In your Wine dwells a Fire not to be drunk. when I rise up Behold: Spirit in your Bread, Fire in your Wine, A wonder set apart, yet received by our lips.

11 Cedit, hyems 13 The Road Home Nox, et tenebrae, et nubila Night, and shadows, and the world’s Tell me, where is the road Rise up, follow me, confusa mundi et turbida, melancholy, troubled confusion: light I can call my own, Come away, is the call, lux intrat, albescit polus, comes in, the sky whitens, Christ comes That I left, that I lost, With the love in your heart Christus venit, discedite! – begone! So long ago? As the only song; All these years I have wandered, There is no such beauty Aurelius Prudentius Clemens (348–c.413), from ‘Hymnus Matutinus’ (Cathemerinon II) Oh when will I know As where you belong: There’s a way, there’s a road Rise up, follow me, Cedit, hyems, tua durities, Winter, your harshness has given way, That will lead me home? I will lead you home. frigor abiit; rigor et glacies the frost has gone; stiffness and brumalis et feritas, rabies, wintry ice and wildness, fury, sloth After wind, after rain, Michael Dennis Browne (b. 1940) torpor et improba segnities, and wicked sluggishness, pallor and When the dark is done, pallor et ira, dolor et macies. anger, grief and famine. As I wake from a dream In the gold of day, Nunc amor aureus advenies, Now, golden love, you will arrive, Through the air there’s a calling indomitos tibi subiicies, subjecting those yet untamed to your From far away, tendo manus … power: I give you my hand … There’s a voice I can hear That will lead me home. Bayerische Staatsbibliothek München, Clm 4660 (‘Carmina Burana’), c.1230, f. 56v (no. 135)

12 Deep river Deep river, my home is over Jordan. Deep river, Lord, I want to cross over into campground. Oh don’t you want to go to that gospel feast, that promised land where all is peace?

Traditional African-American Biographies

Described by Gramophone as ‘one of the UK’s releases (In the Beginning, DCD34072 and at Merton College, girl choristers have been the Royal College of Organists, Alex has finest choral ensembles’, the Choir of Merton Gabriel Jackson: The Passion of our Lord Jesus introduced into the choral foundation, the gained recognition in various international College, Oxford is known as one of the most Christ, DCD34222) were Gramophone ‘Editor’s Passiontide at Merton festival has been competitions, including taking third prize and exciting university choirs in the country. In Choice’. In 2016 Merton College became the established, and the Dobson organ has been the Bach Prize at the 2018 Northern Ireland addition to their term-time duties singing in first college in the university to introduce girl installed in the College Chapel. Benjamin was International Organ Competition. Having the thirteenth-century chapel on Sundays, choristers. The twenty-four young singers elected a Bodley Fellow of Merton in 2018. previously studied with David Dunnett in Tuesdays and Thursdays, an extensive touring attend a dozen different schools across Oxford Norwich and William Whitehead in Oxford, schedule has seen the choir perform in the and sing Evensong on Wednesdays during Since 2006 Benjamin has recorded for Alex now travels to Copenhagen for lessons USA, Hong Kong, Singapore, France, Italy and term, as well as joining the College Choir for Delphian, and projects with Merton College with renowned Swedish organist Hans Fagius, Sweden, and in 2016 the choir sang the first special services and concerts. Choir include discs of Gabriel Jackson, Richard with a grant from the Eric Thompson Trust. Anglican service in St Peter’s Basilica, Rome, Allain, and a recording of Christmas music which was broadcast on BBC Radio 3. The Benjamin Nicholas is Reed Rubin Director with the Oxford Philharmonic Orchestra. With As well as his work at Merton, Alex is also choir’s commitment to contemporary music has of Music at Merton College, Oxford and has Tewkesbury Abbey Schola Cantorum he has accompanist of the Oxford Bach Choir, organist led to commissions from numerous composers. led the choir on many international tours, recorded discs of Weelkes, Mozart, Stanford of the Sheldonian Theatre, and a chorus master In 2014, the choir premiered Birtwistle’s including concerts in New York, Washington, and Rutter, and solo organ recordings include and repetiteur with the Oxford Alternative Choral Prelude, and at the Cheltenham Music Stockholm, Singapore and Paris, and at the the music of Elgar. Orchestra, where he has worked on operas by Festival it gave the first performance of new Cheltenham Music and Three Choirs festivals. Verdi, Tchaikovsky, Mozart and Steve Reich. works by Judith Weir, Dobrinka Tabakova, Appointed Music Director of the Oxford Bach Benjamin was a chorister at Norwich Cathedral Kerry Andrew and Hannah Kendall. Other Choir in 2018, he has appeared with the City before holding organ scholarships at Chichester Tom Fetherstonhaugh is an instrumentalist concert appearances have included ‘Choral at of Birmingham Symphony Orchestra, City of Cathedral, Lincoln College, Oxford and St Paul’s and conductor, and divides his time between Cadogan’, the Christmas Festival at St John’s, London Sinfonia, Royal Philharmonic Orchestra Cathedral. After a period as Director of Music playing the organ, the piano, and conducting. Smith Square, and the Temple Church. At the and London Mozart Players, in major choral of St Luke’s Church, Chelsea, he was Director As organ scholar at Merton College, he is the 2019 Three Choirs Festival, Merton College works such as Elgar’s The Dream of Gerontius of Tewkesbury Abbey Schola Cantorum and principal accompanist for the two college Choir gave a concert to mark Sir James and The Apostles, Vaughan Williams’ Sea Director of Choral Music at Dean Close School. choirs, playing for the weekly pattern of MacMillan’s sixtieth birthday including his Symphony and Verdi’s Requiem. From 2011 to 2016 he served the Edington services, as well as BBC live broadcasts and masterpiece Seven Last Words from the Cross. Music Festival, first as conductor of the Schola international tours. During his time in Oxford, The choir’s festival ‘Passiontide at Merton’ A regular guest conductor, Benjamin has and then as Festival Director. Tom has performed the complete Beethoven has an established place in Oxford’s musical conducted the Holst Singers in concerts violin sonatas in the Holywell Music Room (on calendar, and has led to exciting collaborations in London, and has recorded with the BBC Alex Little has been Assistant Organist at piano), and has been the artistic director and with such groups as The Cardinall’s Musick Singers. As an organist he has appeared in Merton College, Oxford since 2018, having conductor of Oxford University Sinfonietta for and The Marian Consort. A relationship with concert with The Tallis Scholars, and this previously held the post of organ scholar. two seasons. After Merton he will take up a Delphian Records has enabled the choir to build season will give solo concerts in Germany, He completed both his undergraduate and scholarship at the Royal Academy of Music to a significant discography, of which two recent Belgium and Italy. During Benjamin’s time master’s degrees at Merton. A Fellow of study orchestral conducting. Choir of Merton College, Oxford Merton College Choristers

Sopranos Tenors Raphaela Goeldner-Thompson Lia Breingan Matthew Bannatyne Weijean Tan Eleanor Bufton-Lowe Joseph Beesley Katherine Scott Elizabeth Curtis Clement Collins-Rice Emily Meredith Katie Diss Samuel Costello Safi Banerji Annis Easton Jack Granby Anna Samuel Charlotte Kilpatrick Louis Morford Charlotte Baker Francesca Millar Joseph Shailer Monica Selzer Anna Mullock Rose Okeke Isobel Sanders Basses Hattie Kerr Eppie Sharp Max Cheung Sophie Meredith Aine Smith Thomas Herring Zhara Gathenya-Kamau Jonathan Hobbs Anastasia Goeldner-Thompson Altos Joe Morford Anna Donskikh Isabelle Blain Sam Moriarty Asha Banerji LucyAnne Fletcher Joseph Rhee Eleanor Peverall Lucy Gibbs William Thomson Charlotte Westhaver Elena Grant Jonathan Wolstenholme Phoebe Hutt Alice Hilder Jarvis Hannah Rowe Emma Kavanagh Assistant Organist Freya Underwood Katalin Oldland Alex Little Caroline Winkler

Organ Scholar Tom Fetherstonhaugh

Merton Brass

Rebecca Toal, Kaitlin Wilde, Katie Lodge trumpets Laetitia Stott horn Jane Salmon, James Harold, Ross Anderson trombones Johnny Mayers tuba Also available on Delphian

Richard Allain: Choral Music The Merton Collection: Merton College at 750 Choir of Merton College, Oxford / Benjamin Nicholas Choir of Merton College, Oxford / Benjamin Nicholas & Peter Phillips DCD34207 DCD34134 Celebrating ten years since the inception of Merton College’s choral In 2014, the University of Oxford’s Merton College celebrates its 750th foundation, the choir’s seventh Delphian recording is the first in a series of year. Benjamin Nicholas and Peter Phillips’ specially conceived journey close collaborations between the choir and individual living composers. through seven centuries of choral repertoire provides a bird’s-eye view of Richard Allain writes music across a wide spectrum of genres; he and some important moments in musical history, and features two composers Benjamin Nicholas have put together a programme showcasing his oeuvre personally associated with the College – John Dunstaple and Lennox – from a setting of the Evening Canticles, animated then impassioned, to Berkeley – as well as three new works commissioned for the anniversary a sumptuous reimagining of the spiritual Don’t you weep when I am gone celebrations. The choir, a relatively recent addition to this illustrious college’s and Allain’s most performed work, the wedding anthem Cana’s Guest. complement of treasures, gives stylish and committed performances in the famous acoustic of Merton’s thirteenth-century chapel. ‘beautifully shaped performances by a finely constituted and fearless mixed choir … The sound is rich and full, allowed to breathe in an ideal ‘fine musicianship, commitment and versatility’ acoustic’ — BBC Music Magazine, October 2018 — Choir & Organ, January/February 2014

Gabriel Jackson: The Passion of our Lord Jesus Christ The Marian Collection Emma Tring soprano, Guy Cutting tenor ; Choir of Merton College, Oxford; Choir of Merton College, Oxford / Benjamin Nicholas & Peter Phillips Oxford Contemporary Sinfonia; Benjamin Nicholas conductor DCD34144 DCD34222 Benjamin Nicholas again draws from the landmark collection of more than Strikingly coloured and richly imaginative, Gabriel Jackson’s re-telling of fifty-five works written in celebration of the College’s 750th anniversary. the age-old story of Christ’s betrayal and crucifixion interweaves biblical Here, a new work by Judith Weir (newly appointed Master of the Queen’s narrative, English poetry and Latin hymns, culminating in a rare setting of Music) heads a set of the four Marian antiphons, all specially commissioned poetry by T.S. Eliot – himself an alumnus of Merton College, Oxford, which from female composers, while two further premiere recordings represent commissioned the present work as part of its extensive Merton Choirbook the work of regular Merton collaborators Gabriel Jackson and Matthew project. Shorter items from the Choirbook have featured on previous Martin. At the other end of the chronological spectrum, Peter Phillips’ Delphian releases by the choir; now, The Passion of our Lord Jesus Christ expert direction of Byrd’s rarely performed Salve Regina, a bold statement is revealed as one of the project’s crowning glories. Under the direction of Catholic faith from Reformation England, and of John Nesbett’s late of longtime Jackson collaborator Benjamin Nicholas, and with soloists 15th-century Magnificat, a piece whose neglect on disc is astonishing, and instrumentalists hand-picked by the composer, it receives here a completes this portrait in sound of a woman who is at once virgin and performance to match the work’s own harrowing drama and dark ecstasy. mother, human and God-bearer, suppliant and Queen of Heaven. ‘This outstanding recording bursts with energy’ ‘astonishing versatility’ — BBC Music Magazine, June 2019, CHORAL & SONG CHOICE — Gramophone, December 2014 DCD34232