RES10184 SA CRED MUSICB O SINGUNT SAINT THOMASCHOIROFMEN&BO FIFTH A CONCERT RO JOHN SCO VENUE Y HENR O THEL , NEWY TT Y AL ORK Y PURCELL ORD YS , O Sing Unto The Lord Sacred Music by

Henry Purcell (1759-95) 1. O sing unto the Lord, Z44 [11:27]

2. Remember not, Lord, Z50 [3:03]

Daniel DeVeau treble 6 3. Jehova, quam multi sunt hostes mei, Z135 [6:09] Eric Brenner countertenor 4 4. Evening Hymn, Z193 [4:05] Saint Thomas of Men & Boys, [3:30] Fifth Avenue, New York 5. O God, thou art my God, Z35 6. Morning Hymn, Z198 [2:46] Concert Royal James Richman artistic director 7. I was glad, Z19 [4:06] Frederick Teardo organ 8. Hear my prayer, O Lord, Z15 [2:27] John Scott conductor & solo organ 9 9. Voluntary in G major, Z720 [3:19]

10. Te Deum in D major, Z232 [13:05]

About Saint Thomas Choir of Men & Boys and John Scott: Total playing time [54:03] ‘[...] an intensely dramatic reading [...] Scott and his magnificent choir capture the fervent writing in all its rich variety’ The Observer

‘[Scott] and his New York forces achieve some memorable results, not least the clarity of their sound’ Choir & Organ O Sing Unto the Lord: Dido and Aeneas. In the midst of this activity The latter theme appears in many psalm But like Uriah, Absalom will be killed in battle. Sacred Music by he also found time to compose domestic texts, with perhaps no better example than The pathos of this chapter of the Davidic drama music for the King’s Violins as well as some Psalm 96, O sing unto the Lord, Z44, possibly is not lost on Purcell, whose music combines In the span of 112 years between the death very earthy songs for an evening in the composed in 1688. With the King’s string traditional homophonic church-style writing of Henry VIII in 1547 and the birth of Henry Nobleman’s and Gentlemen’s Catch Club. band displayed prominently in an opening with recitative surprisingly akin to the Purcell the foundations were laid for a world overture, the musical textures alternate Monteverdian operatic style. Chromaticism power: separation from Rome during Henry’s His royal patronage left nothing to be desired: continually from a full choral tutti to a quartet exquisitely portraying David in introspection life, naval victory over Spain in 1588, and the he was appointed organist of the Chapel in the central section, surrounded by brief ‘I laid me down and slept’ (’ego cubui et reign of Elizabeth I that saw the birth of a Royal in 1682, an appointment renewed by instrumental refrains and topped and tailed dormivi’) gives way to glory in a final colonial empire. Civil war erupted, followed successive monarchs in 1685 and 1689. As with ‘Alleluias’. They each depict the glory cry of victory. briefly by tyrannical Puritanism, and then by court composer Purcell’s duties included of God beside the insignificance of man- the birth of a new parliamentary democracy. provision of music for ceremonial occasions made gods. Two hymns penned by William Fuller (1608- It was into this turbulent English landscape including coronations and funerals. The 1675), Lord Bishop of Lincoln, offer an aside that Purcell was born in 1659. Yet within composition of music for Queen Mary’s In contrast, the following five-part to Purcell’s choral writing. As non-liturgical, two decades, London was, as never before, funeral foreshadowed his own death by a Remember not, Lord, Z50, turns from the devotional pieces, the composer allows a alive with a youthful zeal that extended to few months: in his thirty-sixth year he was splendour of God to the weakness of solo line to emerge freely above the basso all arts, including music, at the centre of buried in on 26 humankind. Dating from 1680, it is classic continuo. In the Evening Hymn, Z193 (‘Now which flourished the young Henry Purcell. November 1695 four days after St Cecilia’s Purcell with its striking sensitivity to harmony that the sun hath veiled’), a hypnotic ground Day, for which he himself had penned and text in the underlaying of the vocal lines. bass supplies the substructure for a melodic Purcell’s was a life full to the brim with splendid music including two superb odes Again one senses the unseen presence of line that turns and twists evermore intricately music. He began as a choirboy in the Chapel and the Te Deum in D major, Z232. London’s love monarchy in this anthem with the king’s as the bass repeats. A wonderful contrast in Royal and by 1673 was assistant to the for the ever-youthful genius is inscribed on unworthy subjects begging to be spared of the music mirrors the serenity of the setting curator of the King’s instruments. By 1677 his epitaph: their misdeeds. sun and the joy within of God’s blessings; it he was appointed composer-in-ordinary for is displayed especially in the intricate brocade Here lyes Henry Purcell Esq., who left this life the King’s Violins (the royal orchestra); in of a closing ‘Hallelujah’ that is as long as the and is gone to that blessed place where only A setting in Latin, Jehova, quam multi sunt 1679, at the age of twenty, he succeeded his harmony can be exceeded. hostes mei, Z135, brings us back to the hymn itself. An alternate example of the his teacher, , as organist of Psalms; and as the oft-set Psalm 51, this composer’s melodic resourcefulness follows Westminster Abbey. Soon after he began Running through this disc of some of Purcell’s version of Psalm 3 depicts the wild, with the Morning Hymn, Z198 (‘Thou wakeful writing music for the theatre, and composed best-known sacred music, is a sense of fluctuating emotions of King David. Whereas shepherd’). The hymn’s simplicity is striking incidental music for no fewer than thirty- majesty: the greatness of God as the ultimate the Miserere (the opening of Psalm 51) is an and its declamatory, recitative-like form nine plays. Over the fifteen years remaining reflection of the power and grandeur of outpouring of his guilt for the death of Uriah, breaks into danceable joy briefly before a to him he created a string of magnificent monarchy, along with its reverse image: the this psalm is a lament for Absalom, his final cadence. masques leading finally to the operatic unworthiness of the servant to his master. beloved son, who has risen up against him. With verses from Psalm 63, O God, thou art larger work, the austere economy of this brief immediate success led to a second dialogue between the two violins and voice. my God, Z35, Purcell has created the anthem is definitively English: the grey, lowlight performance before the King and Queen a The chorus ‘O Lord in thee have I trusted’ quintessential example of the Protestant melancholy is reminiscent of Dido’s Lament few weeks later in the Chapel Royal. It was brings back the full choral and instrumental anthem. It is concise, in four-parts, without or of Benjamin Britten more than two described by a fellow composer, Thomas forces finally as the reappearing light, Italianate recitative or melismatic lines. centuries later. Tudway, as the work ‘[...] which set Mr. affirming our trust and hope in God. The harmony and text underlay are also Purcell eminently above any of his straightforward with a concluding ‘Hallelujah’ An ideal foil is a brief organ interlude, one of contemporarys’ and by 1698 it was © 2010 Malcolm Bruno that has subsequently been transformed few organ works by Purcell that have come performed regularly in St Paul’s Cathedral into the much loved hymn-tune Westminster down to us. This Voluntary in G major, Z720, at the annual service for the Sons of the Abbey. Verses from another Psalm (122), was published a few years before his death Clergy. I was glad, Z19, provided the perfect narrative and employs an improvisational style, so for the coronation of James II in 1685. In a common in the early Italian baroque. It finds The Te Deum in D major shows Purcell at jubilant triple metre, this psalm, originally its way through the composer’s characteristic his finest, its architecture linking the opening portraying pilgrims returning to Jerusalem, dissonances and concludes with a fugue. trumpet fanfares and strings to the is transformed into the homecoming of the magnificent choral tutti after which soaring tribes of England to London for the The Te Deum in D major, Z232 one of the trumpets immediately scale down to the enthronement of their new monarch. Its ancient hymns of the Church traditionally solo voices of cherubim and seraphim. brief central section, in a more stately 4/4, associated with St Augustine, dates from the The alternation between different forces is a plea for peace and prosperity, which fourth century. Its structure follows the and moods continues throughout with had particular resonance for a land just Trinitarian design of the Apostle’s Creed and some of the most exquisite word painting freed from civil war. It reverts to triple time concludes with an additional eight verses of for choral and solo voices in juxtaposition. again for peace be within thy walls before petitions taken from the Psalms. Having The majestic ‘Holy, Holy, Holy’ is only the a heraldic doxology to conclude. subsequently become associated with the first example with a number of beautifully monastic office of Matins, it entered the etched dialogues between solo voices to Hear my prayer, O Lord, Z15, the opening Anglican liturgy as a canticle in the service follow, such as ‘When thou took’st upon verse of Psalm 102, offers a very different, of Morning Prayer. Composed with a thee’. The colour of distant harmonies used rich eight-part choral texture that we might companion Jubilate, Purcell’s setting was by Purcell to evoke such phrases as ‘the associate more with Mendelssohn’s choral- first heard in 1694 on St Cecilia’s Day. In sharpness of death’ then finds its climax in writing in the early-nineteenth century than London, the feast day of the patron saint of the alto solo ‘Vouchsafe, O Lord’ as the the English Baroque. Dating from 1682, its music was celebrated with special music, shadows of D minor overtake the sense of ‘cry’ to God is effected by the dissonance of so Purcell, as on previous occasions, added celebration. Nearing the end, this longest colliding semitones, coming to a climax in all the trimmings including a full complement individual section takes, with unequalled the penultimate bar. Perhaps part of a of strings and ceremonial trumpets. Its expressiveness, the form of an intimate Texts & Translations 2. Remember not, Lord, Z50 Remember not, Lord, our offences, 1. O sing unto the Lord, Z44 nor the offences of our forefathers; O sing unto the Lord a new song. Alleluia. neither take thou vengeance of our sins, Sing unto the Lord all the whole earth. Alleluia. but spare us, good Lord, spare thy people, Sing unto the Lord and praise his Name: whom thou hast redeemed be telling of his salvation from day to day. with thy most precious blood, Declare his honour unto the heathen, and be not angry with us for ever. and his wonders unto all people. Spare us, good Lord. Glory and worship are before him, power and honour are in his sanctuary. From The Litany The Lord is great and cannot worthily be praised, the Lord is great: he is more to be feared than all gods. 3. Jehova, quam multi sunt hostes mei, Z135 As for all the gods of the heathen, Jehova, quam multi sunt hostes mei, they are but idols: quam multi insurgunt contra me. but it is the Lord that made the heavens. Quam multi dicunt de anima mea, O worship the Lord, in the beauty of holiness: non est ulla salus isti in Deo plane. Let the whole earth stand in awe of him. At tu, Jehova, clypeus es circa me, Tell it out among the heathen that the Lord is King; Gloria mea, et extollens caput meum. and that it is he who hath made the round Voce mea ad Jehovam clamanti, world so fast that it cannot be moved; respondit mihi e monte sanctitatis suae maxime. And how that he shall judge the people Ego cubui et dormivi, ego expergefecime, righteously. quia Jehova sustentat me. Alleluia. Amen. Non timebo a myriadibus populi, quas circum disposuerint metatores contra me. Psalm 96 Surge, surge Jehova, fac salvum me, Deus mi. Qui percussisti omnes inimicos meos maxilliam dentes improborum confregisti. Jehova est salus super populum tuum, sit benedictio tua maxime. Lord, how are they increased that trouble me! 5. O God, thou art my God, Z35 6. Morning Hymn, Z198 7. I was glad, Z19 many are they that rise against me. O God, thou art my God: early will I seek thee. Thou wakeful shepherd that does Israel keep, I was glad when they said unto me: Many one there be that2 say of my soul, My soul thirsteth for thee, Raised by thy goodness from the bed of sleep, We will go into the house of the Lord. There is no help for him in his God. my flesh also longeth after thee To thee I of5fer up this hymn 3 For thither the tribes go up, But thou, O Lord, art my defender; in a barren and dry land where no water is. 13 As my best morning sacrifice; even the tribes of the Lord: thou art my worship, and the lifter up of my head. Thus have I looked for thee in holiness, May it be gracious in thine eyes to testify unto Israel, and to give thanks I did call upon the Lord with my voice, that I might behold thy power and glory. To raise me from the bed of sin. unto the Name of the Lord. and he heard me out of his holy hill. For thy loving kindness is better than life itself: And do I live to see another day? For there is the seat of judgement: I laid me1 down and slept, and rose up again; my lips shall praise 12thee. I vow, My God, henceforth to walk thy ways, even the seat of the house of David. for the Lord sustained me. As long as I live will I magnify thee in this manner And sing thy praise all these few days O pray for the peace of Jerusalem: I will not be afraid for ten thousands of the people, and lift up my hands in thy Name. Thou shalt allow. they shall prosper that love thee. that have set themselves against me round about. Because thou hast been my helper, Could7 I redeem the time I have mis-spent Peace be within thy walls: Up, Lord, and help me, O my God, therefore under the shadow of thy wings in sinful merriment, and plenteousness within thy palaces. for thou smitest all mine enemies upon will I rejoice. Could I untread those paths I led11 Glory be to the Father and to the Son: the cheek-bone; Hallelujah. I would so expiate each past offence that and to the Holy Ghost; thou has broken the teeth of the ungodly. ev’n from thence As it was in the beginning, is now, Salvation belongeth unto the Lord; 9 Psalm 63:1-5, 8 The innocent should wish themselves like me and ever shall be: and thy blessing is upon thy people. When with such crimes they such repentance see. world without8 end, 4 With joy I’d sing away my breath, Amen. Psalm 3 Yet who can die so to receive his death? 6 :1, 4-7 Bishop William Fuller 4. Evening Hymn, Z193 Now that the sun has veiled his light 8. Hear my prayer, O Lord, Z15 and bid the world goodnight, Hear my prayer, O Lord, 10 to the soft bed my body I dispose, and let my crying come unto thee. but where, where shall my soul repose? Dear God, even in thy arms and can there Psalm 102:1 be any so sweet security! Then to thy rest, O my soul! And singing praise the mercy that prolongs thy days. Hallelujah.

Bishop William Fuller (1608–1675) 10. Te Deum in D major, Z232 and we worship Thy Name, Concert Royal Baroque Violin We praise Thee, O God, we acknowledge ever world without end. James Richman, Artistic Director Cynthia Roberts, concertmaster Thee to be the Lord: Vouchsafe, O Lord, to keep us this day Claire Jolivet, principal second All the earth doth worship Thee, without sin; Concert Royal, one of the first original Dongmyung Ahn the Father everlasting: O Lord, have mercy upon us: O Lord, instrument ensembles in New York, Judson Griffin To Thee all Angels cry aloud: let Thy mercy lighten upon us: was founded by Artistic Director James Beth Wenstrom The Heavens and all the Powers therein: As our trust is in Thee. Richman, harpsichordist and leader in To Thee Cherubin and Seraphin continually do cry, O Lord, in Thee have I trusted: Holy, Lord God of Sabaoth: Heaven and let me never be confounded. the early music field. Performing the music Baroque Viola earth are full of the Majesty of Thy Glory: of the seventeenth and eighteenth David Miller, principal The glorious company of the Apostles praise Thee: centuries exclusively on original Alissa Smith The goodly fellowship of the Prophets praise Thee: instruments, Concert Royal presents The noble army of Martyrs praise Thee: a multifaceted approach to the period Baroque Cello The Holy Church throughout all the world by programming all genres of music Christine Gummere, continuo doth acknowledge Thee; from orchestral, vocal, and chamber music Katharine Rietman The Father of an infinite Majesty; to opera and opera-ballet. The ensemble Thine honorable, true, and only Son; has been in the forefront of the Baroque Violone Also the Holy Ghost, the Comforter. and Classical revival in the United States, Anne Trout Thou art the King of Glory O Christ; with innovative performances of the major Thou art the everlasting Son of the Father, repertoire of the period featuring Baroque Trumpet When Thou took’st upon Thee to deliver man, the foremost performers and scholars in Nathan Botts, principal Thou did’st not abhor the Virgin’s womb, When Thou had’st overcome the sharpness of the field. This work has included Louis Hanzlik death, Thou did’st open the the first ongoing program of Baroque Kingdom of Heaven to all believers: opera on original instruments Theorbo Thou sittest at the right hand of God, with period costumes and staging, as Hank Heijink in the Glory of the Father. well as premieres from the chamber We believe that Thou shalt come to be our Judge: music and chamber orchestra repertoire. Organ We therefore pray Thee help Thy servants, Frederick Teardo* whom Thou hast redeemed with Thy precious blood; Make them to be numbered with Thy * Associate Organist, Saint Thomas Church Saints in glory everlasting. With thanks to the Rector, the Wardens, O Lord, save Thy people and bless Thine heritage. and the Vestry of Saint Thomas Church Govern them and lift them up forever. Fifth Avenue for their encouragement Day by day we magnify Thee, and support of this recording. John Scott (1956-2015) Paris, the Aarhus Organ Festival in Denmark, sonatas of Elgar, organ music by William Cologne Cathedral, Disney Hall in Los Angeles Mathias, Maurice Duruflé and Mendelssohn, John Scott was born in 1956 in Wakefield, and London’s Royal Albert Hall. as well as two discs of music by Marcel Dupré. Yorkshire, where he became a Cathedral He has also recorded the solo organ part in chorister. While still at school he gained At St Paul’s he played a complete cycle of Janacek’s Glagolitic Mass with the London the diplomas of the Royal College of the organ works of J.S. Bach in 2000 and Symphony Orchestra, conducted by Michael Organists and won the major prizes. In followed this in subsequent years with the Tilson Thomas, and made a recording 1974 he became Organ Scholar of St John’s organ symphonies of Vierne and Widor, as at the organ of Washington’s National College, Cambridge, where he acted as well as the complete organ works of Franck Cathedral for the JAV label. assistant to Dr George Guest. His organ and Buxtehude. At Saint Thomas Church, studies were with Jonathan Bielby, Ralph Fifth Avenue, New York, he performed In the summer of 2004, after a 26 year Downes, and Dame Gillian Weir. He made complete cycles of the organ works of association with St Paul’s Cathedral, he his debut in the 1977 Promenade Concerts Buxtehude in 2007, Messiaen in 2008 and took up the post of Organist and Director of in the Royal Albert Hall; he was the youngest the six organ symphonies of Louis Music at Saint Thomas Church, Fifth Avenue, organist to appear in the Proms. Vierne in 2009. In 2014, he was one of the New York, where he directed the renowned featured organists in the re-opening Gala choir of men and boys. He was awarded the On leaving Cambridge, he was appointed and subsequently gave the first solo recital LVO in the New Years Honours List of 2004, Assistant Organist at London’s two Anglican on the restored organ in London’s Royal a personal gift from HM Queen Elizabeth II, Cathedrals: St Paul’s and Southwark. In Festival Hall and gave the opening recital in recognition of his work at St Paul’s 1985 he became Sub-Organist of St Paul’s of the organ in the new Musikkens Hus Cathedral. He was awarded an honorary Cathedral, and in 1990 he succeeded Dr in Aalborg, Denmark. In June, he gave the doctorate from Nashotah House Seminary Christopher Dearnley as Organist and premiere of Nico Muhly’s Patterns for the in Wisconsin in 2007. Director of Music. American Guild of Organists National Convention in Boston. As an organist, John performed in five continents, premiered many new works American Guild of Organists. He was a past In addition to his work as a conductor and written for him, and worked with various President of the Incorporated Association of organist, John published a number of specialist ensembles. He was a first-prize Organists and served as a member of a number choral compositions and arrangements and winner from the Manchester International of international competition juries, including he jointly edited two compilations of Organ Competition (1978) and the Leipzig those in Manchester, Dublin, Chartres, Dallas, liturgical music for the Church’s year, J.S. Bach Competition (1984). In 1998 he St Albans and Erfurt. Highlights of his career published by Oxford University Press. was nominated International Performer include recitals at the Thomaskirche, Leipzig, John’s many recordings include the organ of the Year by the New York Chapter of the Symphony Hall, Birmingham, Notre Dame in

The Saint Thomas Choir & Choir School Convention in Houston, Texas. Treble Alto John William Rodland Carson Eric Brenner 1, 4, 8 & 10 The Saint Thomas Choir of Men and Boys is In addition to the annual performances of Daniel Santiago Castellanos * 1, 7 Matthew Brown 10 considered by many to be the leading Handel’s Messiah, concerts at Saint Thomas Alistair Chase Corey-James Crawford 1 ensemble of its kind in the Anglican choral Church have included Requiems by Fauré, William Christopher Clark Daniel Scarozza 1 tradition in the United States. The Choir Brahms, Mozart, Duruflé, Victoria and Howells; Marcus Eugenio Axel d’Aquino Geoffrey D. Williams 5, 10 performs regularly with Orchestra of St. Luke’s, Bach’s Passions, Mass in B Minor and Motets; Daniel Abraham DeVeau ** 6, 7 William Zukof 7 or with the period instrument ensemble, the U.S. premiere of John Tavener’s Mass; the Benjamin Bae Stackhouse Ferriby Concert Royal, as part of its own concert U.S. premiere of Nico Muhly’s work My Days Andrew Godwin Jones Tenor series. Its primary raison d’être, however, is with viol consort Fretwork; Handel’s Israel in Aidan Elder McGiff Gregg M. Carder 7, 10 to provide music for five choral services Egypt; a program of Handel and Purcell’s William Tennien Murphy Matthew Hensrud each week. Live webcasts of all choral Baroque masters conducted by John Scott Ryan Christopher Newsome John Cleveland Howell services and further information including and Richard Egarr along with Juilliard 415 and William James Paris David Vanderwal 5 recordings of the choir may be found at MacMillan’s Seven Last Words from the Cross, Massimo August Pellegrini Steven Caldicott Wilson 3, 10 www.SaintThomasChurch.org. conducted by David Hill. In 2014, the Boy Daniel Antonio Pepe Choristers performed in Bach’s St Matthew Joshua Ross Bass Supplementing its choral services and concert Passion at the Park Avenue Armory as part Samuel Edward Sargunam Scott Dispensa 1, 10 series over the past four decades, the Choir of Lincoln Center’s White Light Festival with James Everett Schreppler Richard Lippold 1, 10 has toured throughout the U.S. and Europe the Berliner Philharmoniker under the direction Simon Minor Scott-Hamblen Craig Phillips 1, 10 with performances at Westminster Abbey of Peter Sellars and conductor Sir Simon Rattle. Alexander David Seeley Mark Sullivan and St Paul’s Cathedral in London; King’s Alexander David Simcox Christopher Trueblood 1, 3, 5 & 7 College, Cambridge; Windsor; Edinburgh; The Gentlemen of the Saint Thomas Choir are Julian Philip Wesley Turner St Albans; the Aldeburgh Festival; and the professional singers; the Boy Choristers attend Calvin Jeffrey Wentling Vatican. In February 2012, the Boys of the the Saint Thomas Choir School. The Saint Sidney Alan Wright * Recipient of the Ogden Northrop Lewis, Jr. Choir traveled to Dresden to give the premiere Thomas Choir of Men and Boys is represented Ryoan Yamamoto Choristership of Lera Auerbach’s Dresden Requiem with by Karen McFarlane Artists, Inc. Justin Y. Yoo ** Recipient of the Frances S. Falconer the Dresden Staatskapelle in the Frauenkirche (www.concertorganists.com) and records Choristership and Semper Oper. Later in 2012, the Choir exclusively for Resonus Classics. Superscript numbers indicate soloists in was invited to perform in the Thomaskirche various tracks at the Leipzig BachFest, a highlight of their Founded in 1919, the Saint Thomas Choir School June 2012 tour to Germany and Copenhagen. is the only boarding school solely for choristers Domestically, the Choir most recently toured in the United States, and one of only three the Southeastern United States and was a schools of its type remaining in the world today. featured performer at the National AGO More titles from Resonus Classics Sergei Rachmaninoff: Vespers (All-Night Vigil), Op. 37 Saint Thomas Choir of Men & Boys, Fifth Avenue, New York John Scott (conductor) RES10169

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© 2017 Resonus Limited è 2010 Saint Thomas Church under exclusive licence to Resonus Limited Recorded in Saint Thomas Church, Fifth Avenue, New York Producer & editor: Malcolm Bruno Engineer: John C. Baker Production assistant: Claudette Mayer Remastering engineer: Adam Binks Executive producers: Adam Binks & Jacqueline R. Slater Cover image: Westminster Abbey by MemoryCatcher (Creative Commons – pixabay.com)

RESONUS LIMITED – UK

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