My Belovedanthems by Spake Henry Purcell & Pelham Humfrey

Iestyn Davies James Gilchrist Choir of St John’s College, Neal Davies Cambridge St John’s Sinfonia CHANDOS early music Andrew Nethsingha Henry Purcell, 1695

Painting by John Closterman (1660 – 1711) / © De Agostini / Lebrecht Music & Arts Photo Library Henry Purcell (1659 – 1695)

1 Remember not, Lord, our offences, Z 50 3:21 Full anthem for five-part choir

2 Jehova, quam multi sunt hostes mei, Z 135*† 6:32 Latin motet for soloists, five-part choir, and continuo

3 O sing unto the Lord, Z 44*†‡ 13:07 Verse anthem for soloists, four-part choir, strings, and continuo Peter Hicks treble

3 Pelham Humfrey (1647 – 1674)

4 O Lord my God*†‡ 12:28 Verse anthem for soloists, four-part choir, strings, and continuo

Magnificat and Nunc dimittis 5:52 from Evening Service in E minor for six-part semi-chorus, four-part choir, and organ Peter Hicks • Alec D’Oyly trebles Tom Blackie • James Imam counter-tenors Julian Gregory tenor Huw Leslie bass 5 Magnificat 3:39 6 Nunc dimittis 2:11

Henry Purcell

7 Behold, now, praise the Lord, Z 3*†‡ 6:10 Verse anthem for soloists, four-part choir, strings, and continuo

8 My beloved spake, Z 28*†‡§ 11:20 Verse anthem for four-part choir, strings, and continuo

4 9 Hear my prayer, O Lord, Z 15 2:40 Full anthem for eight-part choir

10 Rejoice in the Lord alway, Z 49*†‡ 8:04 ‘Bell Anthem’ Verse anthem for soloists, four-part choir, strings, and continuo TT 69:41

Iestyn Davies counter-tenor‡ James Gilchrist tenor* Neal Davies bass† David Stout baritone§ John Challenger organ Choir of St John’s College, Cambridge St John’s Sinfonia Margaret Faultless leader Andrew Nethsingha

Pitch: A = 440 Hz Temperament: Vallotti

5 Choir of St John’s College, Cambridge Andrew Nethsingha Director of Music John Challenger Assistant Organist Freddie James Organ Scholar treble counter-tenor bass Ethan Bamber Thomas Blackie Joseph Ataman Maximilian Boorman Nicholas Edwards Geoffrey Clapham Francis Bushell James Imam Tristan Hambleton* Jason Cobb Simon Nathan Jonathan Hyde William Collison Alexander Simpson Huw Leslie Alec D’Oyly Basil McDonald Peter Hicks tenor Augustus Perkins Ray Matthew Holman Kieran Brunt Alexander Jones John Clapham Andrew Jones Guy Edmund-Jones *Tristan Hambleton replaced Basil Robert Murray John Julian Gregory McDonald in Remember not, Lord, our Peter Nethsingha Samuel Oladeinde offences, Magnificat and Nunc dimittis, and Rufus Pawsey Hear my prayer, O Lord. Justin Stollery Michael Tuft Jed Upjohn

6 St John’s Sinfonia violin Margaret Faultless Simon Jones viola Jane Rogers bass violin Andrew Skidmore great bass viol William Hunt theorbo Elizabeth Kenny organ John Challenger

7 Iestyn Davies Iestyn

C Iestyn Davies and Marco Borggreve James Gilchrist James

operaomnia.co.uk Humfrey / Purcell: Anthems

Pelham Humfrey upstart who ‘disparages everybody’s skill Pelham Humfrey (1647 – 1674) was born but his own’. Humfrey was pretentious, during the English Civil War. He learnt to ambitious, and arrogant, yet talented, well walk and talk beneath the umbrella of the trained, and industrious. Moreover, Humfrey Commonwealth, began his schooling under possessed a killer instinct, well expressed the gaze of the Protectorate, witnessed the by the Commonwealth’s motto, under the Restoration of the monarchy at the age banner of which the young Pelham had of twelve, studied in France and Italy as a grown up: ‘Pax quaeritur bello’ – ‘Peace is teenager, was appointed Gentleman of the sought through war’. The music of Humfrey is Chapel Royal before he was twenty, became commensurately wilful and uncompromising, Master of the Children of the Chapel and the composer’s rise to fame was self- Royal at twenty-five, and died when he propellingly meteoric. was twenty-six. Humfrey may have been a musical legend in his own time, but Samuel O Lord my God Pepys was unimpressed by the manners of Although Pelham Humfrey bullishly adopted the composer: ‘without question he is a good the affectionate aesthetic of the emerging musician; but his vanity doth offend me.’ high baroque, there are inevitably elements As a young man, on his return from living of the English Golden Age of yesteryear that abroad, Humfrey delighted in demeaning surface in his music, however unwillingly or the country of his birth by comparing its subconsciously. The very first entry of the artistic endeavours unfavourably with those bass voice in the mournful verse anthem at the court of Louis XIV. Pelham Humfrey O Lord my God is clearly influenced by John projected the image of a well-travelled Dowland’s celebrated ‘Lachrimae Pavan’ of sophisticate (‘an absolute Monsieur’, to almost eighty years earlier. And while the use Pepys’s withering description), and the string writing and the vocal declamation of famous diarist clearly had little time for an Humfrey’s verse anthem are generally forward

9 looking, there are plenty of moments in which Henry Purcell early-seventeenth-century viol consort practice In the spring of 1673, just over a year before is invoked. That is to say, for every exotically Pelham Humfrey’s premature death, the contemporary Italian sixth (used, for instance, voice of the thirteen-year-old Henry Purcell to paint the words ‘melting wax’), there is (1659 – 1695) began to break. Young Henry a string passage the false relations of which could no longer reliably sing treble in hanker after the sound world of the courts Humfrey’s Chapel Royal choir, but he was of Charles II’s father and grandfather, rather provided for, and made himself useful at than of the Restoration and its continental court by repairing, maintaining, and tuning counterparts. As the anthem proceeds, the musical instruments. bass adopts the role of operatic protagonist while the alto and tenor become awestruck Jehova, quam multi sunt hostes mei sycophants. Had Humfrey lived into his One of Purcell’s finest teenage works is the thirties, there is no doubt that he would have Latin-texted domestic anthem Jehova, quam found the lure of the stage as irresistible as did multi sunt hostes mei. Elliptical modulations his younger contemporary Henry Purcell. and unconventional melodic twists within a formal collage testify to a youthful technique, Magnificat and Nunc dimittis but the depth of emotion at key points in the Humfrey’s Magnificat and Nunc dimittis in text is remarkable. E minor are, by contrast, designed simply to be functionally effective and liturgically Remember not, Lord, our offences appropriate. The text setting is naturalistic and There are no solecisms in the two full anthems direct, and the antiphonal drama provided Remember not, Lord, our offences and Hear my by the contrast of full choir and solo voices prayer, O Lord. The former is still the work of would have been enhanced in Humfrey’s own a young man, although one who – at the age performance by placing the soloists in the of twenty – had just been appointed organist galleries of Whitehall Chapel. Where music at Westminster Abbey. Its five voices are for the Office was concerned, the ostentatious handled with consummate care to create an Humfrey knew when to subjugate his ego to atmospheric setting: music responds to text the job in hand. in simple homophony; then follows a central

10 restless contrapuntal section, which melts My beloved spake is the earliest verse anthem into a final captivating homophonic plea for on this recording, written in December mercy. 1677 (although slightly revised at a later date) and therefore contemporaneous with Hear my prayer, O Lord Jehova. The similarity between the two Hear my prayer dates from Purcell’s maturity, works lies in the fact that Purcell is young in other words from a time when Purcell had and self-consciously exploratory, perhaps reached the tender age at which his mentor, even gauche. The opening symphony plays Pelham Humfrey, died. The contrapuntal beguilingly with instrumental rhetoric and facility with which Purcell directs his subtly introduces angular lines for the soloists. But changing harmonies is breathtaking. This the pastoral reflection when the ‘rain is over eight-voice miniature has become one of his and gone’ is commented upon beautifully by most frequently performed works. The fact the strings which revel nostalgically in music that it seems to have been designed as the of past times. Birds thereafter chirrup naively opening of an uncompleted work is hard to in modern style, the ‘turtle’ (turtledove) accept, and lovers of Purcell’s music cling famously offers its wayward harmonic call, to the remote possibility that the piece was while the fig and the grape grow in Fibonacci- indeed finished and that the whole may one directed sequence. The invention throughout day be rediscovered. is sprightly and juvenile, yet utterly winning.

My beloved spake Behold, now, praise the Lord Purcell was above all a dramatic composer, The other teenage verse anthem on this whose ability to fuse voice and instrument recording is Behold, now, praise the Lord, was second to none in the late seventeenth introduced by a long symphony. The three century. The verse anthems present a body soloists then proceed to wander harmonically of work through which Purcell cut his in ways that will – in only a few years – compositional teeth on the way to becoming become inspired and effective rather than an unrivalled composer for the stage. Drama juvenile but enchanting. If this were the abounds, and each verse anthem exists in work of any other composer of the period, it front of its own theatrical backdrop. would be praised to the skies for its freshness,

11 boldness, and vitality. But this is Purcell, and indistinguishable from each other. Enterprise his best is yet to come. and reflection, reminiscence and innovation, aria and recitative, binary and ternary metre, Rejoice in the Lord alway soloists and choir all mesh within a dazzlingly Rejoice in the Lord alway is just such an coherent construction, which charms, anthem, albeit written by a twenty-five-year- invigorates, informs, and entertains in a quite old. Known as the ‘Bell Anthem’ because of its astonishingly life-affirming way. opening repetitive peal-like descending bass © 2012 Jeremy Summerly line, the stage is now set for Purcell’s supremacy as the greatest English composer of all time. Only Purcell could write such immediately After graduating in Archaeology and adorable string music (of which Handel would Anthropology from St John’s College, have been proud), and only Purcell could Cambridge, the counter-tenor Iestyn Davies repeat the snippet of text ‘and again’ using studied at the Royal Academy of Music, such wide-eyed, obvious word painting – and London. He has sung the roles of Creonte have us love him for doing so. The ‘peace of (Steffani’sNiobe, regina di Tebe) for The God’ has never been so elegantly and securely Royal Opera, Covent Garden, Ottone painted, and the well-handled collage form (L’incoronazione di Poppea) for Oper Zürich now delights and excites rather than jars. and Glyndebourne Festival Opera, Arsace (Partenope) for New York City Opera, O sing unto the Lord Oberon (A Midsummer Night’s Dream) for The crowning glory of this recording Houston Grand Opera and English National is O sing unto the Lord. Purcell was, by Opera, and Apollo (Death in Venice) for now, approaching thirty years of age and English National Opera and in his debut at compositionally on fire. There was, quite Teatro alla Scala, Milan. He made his debut simply, nobody to touch him. Instruments at The Metropolitan Opera, New York as and voices sing from the same hymn Unulfo (Rodelinda) and at Lyric Opera sheet, form and content are inseparable, of Chicago as Eustazio (Rinaldo). He has past and present musical styles skilfully appeared in concert at the Barbican, Théâtre intermingle, and technique and virtuosity are des Champs-Élysées, Lincoln Center, and

12 BBC Proms, performed at Teatro alla Scala, Washington D.C., and Handel and Haydn Milan with Gustavo Dudamel, and the Society in Boston, Britten’s Les Illuminations Concertgebouw, Amsterdam and Tonhalle, at the Aldeburgh Festival, Britten’s War Zürich with Ton Koopman, and recently gave Requiem with the Dresdner Philharmonie, his debut recital at Carnegie Hall, New York. Handel’s Belshazzar with the Philharmonia He received the Young Artist award from Baroque Orchestra under Nicholas McGegan, the Royal Philharmonic Society for 2009. Stravinsky’s Pulcinella with the Orchestre de In the near future Iestyn Davies is scheduled Paris under Thierry Fischer, Handel’sAthalia to return to The Metropolitan Opera with Concerto Köln under Ivor Bolton, and to make his debut at the Münchner and Bach’s St Matthew Passion and St John Opernfestspiele and Wiener Festwochen, Passion with the Royal Concertgebouw as well as curating his own residency at the Orchestra. As a recitalist, he has appeared Wigmore Hall. His substantial discography at venues throughout the UK, in New York, includes recordings of Handel’s Flavio and and at the Concertgebouw, Amsterdam. His two masques by Purcell for Chandos. many concerts and BBC Radio 3 broadcasts with the pianist Anna Tilbrook have included The tenor James Gilchrist began his working performances of songs and song cycles by life as a doctor, turning to a full-time music Schumann and Schubert, as well as a wide- career in 1996. An active concert artist, he ranging exploration of English songs, notably has sung Britten’s Serenade for tenor, horn, by Finzi, Vaughan Williams, Tippett, and and strings with Manchester Camerata Britten. James Gilchrist is also partnered and Amsterdam Sinfonietta, Haydn’s regularly by the pianist Julius Drake and Die Jahreszeiten at the BBC Proms and with the harpist Alison Nicholls. His discography the St Louis Symphony, Tippett’s The Knot for Chandos includes recordings of songs by Garden with the BBC Symphony Orchestra Sir Lennox Berkeley, Britten’s Albert Herring, under Sir Andrew Davis, Bach’s Christmas and Vaughan Williams’s The Poisoned Kiss. Oratorio with the Tonhalle-Orchester Zürich, Handel’s Messiah with the San The bass Neal Davies studied at King’s Francisco, Detroit, and St Louis Symphony College, London and the Royal Academy of orchestras, National Symphony Orchestra in Music, and won the Lieder Prize at the 1991

13 Cardiff Singer of the World Competition. A BBC Proms. Neal Davies has to his credit an regular guest with Welsh National Opera, extensive discography. where he will next sing Don Alfonso (Così fan tutte), he has appeared at The Royal Opera, The baritone David Stout studied with Covent Garden, English National Opera, Rudolf Piernay on the Opera Course at Scottish Opera, Garsington Opera, Opéra de the Guildhall School of Music and Drama, Montréal, Opéra de Marseille, and Deutsche receiving the Principal’s Prize. He has sung Staatsoper, Berlin. He has performed such roles as Dr Falke (Die Fledermaus), in concert with the Oslo Philharmonic Ping (Turandot), Papageno (Die Zauberflöte), Orchestra under Mariss Jansons, BBC Konrad Nachtigall (Die Meistersinger von Symphony Orchestra under Pierre Boulez, Nürnberg), Schaunard (La bohème), Zaretsky Cleveland Orchestra and Philharmonia (Eugene Onegin), Nikita (Weinberg’s Orchestra under Christoph von Dohnányi, Das Portrait), Harašta (The Cunning Little Vienna Philharmonic Orchestra under Daniel Vixen), Aeneas (Dido and Aeneas), Robin Harding, Chamber Orchestra of Europe under Oakapple (Ruddigore), Baron Douphol Nikolaus Harnoncourt, Orchestra of the (La traviata), and Roucher (Andrea Chénier) Age of Enlightenment under Frans Brüggen, at distinguished venues including The Royal Gabrieli Consort under Paul McCreesh, and Opera, Covent Garden, Welsh National Hallé under Sir Mark Elder. He has sung with Opera, English National Opera, Opera North, Les Arts Florissants under William Christie, Opera Holland Park, Grange Park Opera, whose production of Charpentier’s David et Teatro Massimo, Palermo, and the Bregenzer Jonathas at Aix-en-Provence will be brought Festspiele. In concert he has sung Beethoven’s to Edinburgh, Paris, Caen, and New York, Symphony No. 9 under Sir Colin Davis, and with whom he will also undertake a tour Handel’s Messiah and Brahms’s Ein deutsches of Handel’s Jephtha. He made his debut with Requiem with the Hallé, Vaughan Williams’s Lyric Opera of Chicago as Major General A Sea Symphony with the Royal Philharmonic Stanley (The Pirates of Penzance) under Orchestra, Walton’s Belshazzar’s Feast at Sir Andrew Davis, and returned to sing the Royal Festival Hall, Verdi’s Requiem in Ko-Ko (The Mikado). He appears regularly at Hereford Cathedral, Haydn’s Die Schöpfung the Edinburgh International Festival and the at the Three Choirs Festival, and the part of

14 Christ in the St Matthew Passion at the across the UK, Europe, and the USA, and St Endellion Festivals. In recital David Stout studies the organ with Mark Williams and has performed lieder with Iain Burnside David Briggs. In September 2012, John for BBC Radio 3 and at the Oxford Lieder Challenger took up the appointment as Festival and London Song Festival. His Assistant Director of Music at Salisbury recent acclaimed discography includes the Cathedral. NMC Songbook with Iain Burnside and recordings of Die Schöpfung, with musicians The Choir of St John’s College, Cambridge from New College, Oxford, and Mahler’s is one of the finest men and boys choirs in Lieder eines fahrenden Gesellen, as arranged the world, known and loved by millions from by Schoenberg. its recordings, broadcasts, and concert tours. A cornerstone of the great English choral John Challenger began his musical education tradition since the 1670s, it is recognised for as a Chorister at Hereford Cathedral, where its distinctive, rich, and expressive sound. he studied the organ with Geraint Bowen. The Choir is made up of sixteen Choristers From 2006 to 2008 he was Organ Scholar of and four Probationers who are educated at St George’s Chapel, Windsor Castle, where St John’s College School. The alto, tenor, he obtained his Fellowship of the Royal and bass parts are usually taken by fifteen College of Organists. From 2008 to 2011 Undergraduates, with two Organ Scholars he held an Organ Scholarship at St John’s assisting in the daily running of the Choir. College, from which he graduated with a Frequently broadcast on BBC Radio 3, B.A. in Music in June 2011. During his time services in the College Chapel follow as an undergraduate, he served as President the Cathedral tradition of the Church of of the College Music Society and also as England, with Evensong six days a week Musical Director of the St John’s Singers, the during term and Sung Eucharist on Sunday mixed-voice choir of the College. As Assistant mornings. On the concert platform, in high- Organist he continued to accompany the profile venues and festivals around the UK, College Choir for services, broadcasts, the Choir regularly performs with orchestras recordings, and international tours until and ensembles such as the Philharmonia August 2012. He has performed as a recitalist Orchestra, Britten Sinfonia, and His Majestys

15 Sagbutts and Cornetts. In the course of a busy critical acclaim. Renowned for championing international touring schedule it has visited contemporary music, the Choir of St John’s the USA, Canada, Brazil, South Africa, College, Cambridge regularly commissions Japan, Australia, and continental Europe. new works, and has in the past twelve months Under the current directorship of Andrew performed the world premieres of works Nethsingha, the singers receive a unique by Jonathan Harvey, James Long, James musical education in an extremely varied MacMillan, Matthew Martin, John Rutter, repertoire, from Renaissance polyphony and and Judith Weir. www.sjcchoir.co.uk eighteenth-century masses to twentieth- century and contemporary music. Committed Founded in May 2011, St John’s Sinfonia is to engaging with a wide audience through a period instrument ensemble, varying in size digital innovations, the Choir is the first in depending on repertoire. This is its second Britain to broadcast its services in weekly CD recording with the Choir of St John’s webcasts throughout the year. In 2011 College, Cambridge. The first, with Susan SJC Live was launched, a unique online Gritton, presented works by Mozart and was archive for music lovers and choirmasters. released by Chandos in March 2012. It has A key innovation of Nethsingha’s is the recently appeared in concert at Cadogan Hall, establishment of St John’s Sinfonia, a London and performed the St John Passion professional period-instrument ensemble at the Thaxted Festival. St John’s Sinfonia formed with Margaret Faultless in 2011, participates at termly Bach Cantata Evensongs with which the Choir gives termly liturgical in the College Chapel, and made its first live performances of cantatas by Bach. Under BBC Radio 3 broadcast in May 2012. The Nethsingha and the former Directors of ensemble is led by Margaret Faultless, one of Music George Guest, Christopher Robinson, Europe’s leading baroque violinists, who is and David Hill, the Choir has produced an Musician in Residence at St John’s College. extraordinary and extensive discography. Since signing an exclusive contract with Performing as a conductor and organist in Chandos Records in 2009, it has released North America, South Africa, China, and five CDs, spanning music from across 500 throughout Europe, Andrew Nethsingha years, which have garnered international has since 2007 been Director of Music at

16 St John’s College, Cambridge, where his served as President of the Cathedral Organists’ innovations have included weekly webcasts Association. Andrew Nethsingha has worked and a termly Bach cantata series. He received with some of the UK’s leading orchestras. his early musical training as a chorister at His concerts with the Philharmonia Orchestra Exeter Cathedral, where his father was organist have included performances of Britten’s for over a quarter of a century. He later War Requiem, Mahler’s Eighth Symphony, studied at the Royal College of Music, where Elgar’s The Dream of Gerontius and he won seven prizes, and at St John’s College, The Kingdom, Beethoven’s Ninth Symphony, Cambridge. He held Organ Scholarships Brahms’s Ein deutsches Requiem, Walton’s under Christopher Robinson at St George’s, Belshazzar’s Feast, Poulenc’s Gloria, and Windsor and George Guest at St John’s, Duruflé’s Requiem. He has also worked with before becoming Assistant Organist at Wells the Royal Philharmonic Orchestra, City of Cathedral. He was subsequently Director of Birmingham Symphony Orchestra, London Music at Truro and Gloucester cathedrals. Mozart Players, Britten Sinfonia, and BBC Additionally, he has held the positions of Concert Orchestra, and recently conducted Artistic Director of the Gloucester Three at the BBC Proms and the Concertgebouw, Choirs Festival and Musical Director of the Amsterdam. He regularly runs choral courses Gloucester Choral Society, among others, and in Europe and North America.

17 Neal Davies

Sussie Ahlburg David Stout David Humfrey / Purcell: Anthems

Pelham Humfrey weitgereister Intelligenzler aus; Pepys nannte Pelham Humfrey (1647 – 1674) kam ihn verächtlich einen echten “Monsieur”, während des englischen Bürgerkrieges zur denn er konnte den Emporkömmling, der Welt. Seine frühe Kindheit verbrachte “jedermanns Kunstfertigkeit, mit Ausnahme er unter dem Commonwealth, die ersten der eigenen, verachtete”, nicht ausstehen. Schuljahre während des Protektorats; als Humfrey war ein Renommist, ehrgeizig und Zwölfjähriger erlebte er die Restauration arrogant, dabei aber talentiert, gut ausgebildet der Monarchie, als Teenager studierte er und fleißig. Daneben beseelte ihn der in Frankreich und Italien, wurde zum schonungslose Instinkt, den das Motto des Gentleman of the Chapel Royal (Sänger an Commonwealths, unter dem er aufgewachsen der Hofkapelle) ernannt, bevor er zwanzig war, ausdrückt: “Pax quaeritur bello” – “den Jahre alt war, als Fünfundzwanzigjähriger Frieden sucht man im Krieg”. Humfreys wurde er Chormeister der Children of the Musik ist in gleichem Maße kapriziös und Chapel Royal (Sängerknaben) und starb mit kompromisslos, und sein rasanter Aufstieg sechsundzwanzig Jahren. Humfrey mag zu zum Ruhm wurde von ihm selbst getrieben. seinen Lebzeiten eine musikalische Legende gewesen sein, aber der Tagebuchautor O Lord my God Samuel Pepys war nicht von seinem Obwohl Pelham Humfrey sich verbissen Auftreten beeindruckt: “Gewiss ist er ein der klangfreudigen Ästhetik des sich tüchtiger Musiker, aber seine Allüren sind entfaltenden Hochbarocks bediente, tauchen mir zuwider.” Als der junge Humfrey aus in seinem Œuvre unvermeidlich Elemente dem Ausland zurückkehrte, erging er sich des vergangenen goldenen Zeitalters der in Schmähungen seiner Heimat, indem englischen Musik auf – freilich ungern er englische Bemühungen im Bereich oder unbewusst. Der allererste Einsatz der der Kunst abfällig mit denen am Hof des Bassstimme im klagenden Verse-Anthem “Sonnenkönigs” verglich. Er gab sich als (Anthem mit Soli [Anthem: Motette im

19 Gebrauch der anglikanischen Kirche]) sein. Die Vertonung ist naturalistisch und O Lord my God steht deutlich unter dem direkt, das antiphonale Drama entsteht durch Einfluss von John Dowlands gefeierter den Kontrast des großen Chores und der “Lachrimae Pavane”, die fast achtzig Jahre Solostimmen; wenn Humfrey selbst das Stück früher entstand. Obwohl der Streichersatz aufführte, wurde der Effekt gesteigert, da er und die vokale Deklamation in Humfreys die Solisten auf der Galerie der Whitehall Verse-Anthem im Allgemeinen fortschrittlich Chapel platzierte. Wenn es sich um Musik sind, finden sich häufig Beispiele der Praxis für den Gottesdienst handelte, wusste der des Gambenconsorts aus dem frühen anmaßende Humfrey sehr wohl, dass er sein siebzehnten Jahrhundert. Das heißt, für jede Ego der Arbeit hintansetzen musste. exotische, zeitgenössische Italienische Sexte (zum Beispiel, um die Worte “melting wax” Henry Purcell tonmalerisch auszudrücken), findet sich Im Frühjahr 1673, etwa ein Jahr vor Pelham eine Passage für Streicher, deren Querstand Humfreys verfrühtem Tod, erlitt der dem Klang der Höfe von Charles II.s Vater dreizehnjährige Henry Purcell (1659 – 1695) und Großvater anstatt der Restauration und die Mutation. Er war kein verlässlicher ihrer kontinentalen Gegenstücke entspricht. Sopranist in Humfreys Chor der Chapel Im Verlauf der Anthem entwickelt der Bass Royal mehr, aber er war versorgt und die Rolle einer Hauptpartie in der Oper; die beschäftigte sich am Hof mit der Reparatur, Alt- und Tenorstimmen sind ehrfürchtige Instandhaltung und Stimmung musikalischer Schmeichler. Wäre Humfrey nicht so jung Instrumente. gestorben, hätte die Bühne sicherlich die gleiche Anziehungskraft auf ihn ausgeübt Jehova, quam multi sunt hostes mei wie auf seinen jüngeren Zeitgenossen Henry Eines der schönsten Werke aus Purcells Purcell. Teenage-Jahren ist das lateinisch gesungene Anthem für den Hausgebrauch Jehova, Magnificat und Nunc dimittis quam multi sunt hostes mei. Elliptische Hingegen ist Humfreys Magnificat und Modulationen, unkonventionelle Melodien Nunc dimittis in e-Moll lediglich angelegt, im Rahmen formeller Collagen bezeugen um wirksam und der Liturgie angepasst zu die jugendliche Satztechnik, doch die

20 Gefühlstiefe bei Höhepunkten im Text ist Bewunderer von Purcell noch immer, dass es erstaunlich. abgeschlossen wurde und die gesamte Partitur einmal auftaucht. Remember not, Lord, our offences Die beiden großen Anthems Remember My beloved spake not, Lord, our offences und Hear my prayer, Purcell war vor allem ein dramatischer O Lord sind makellos. Das erstgenannte Komponist, mit dessen Genie in der ist noch deutlich ein Jugendwerk, obwohl Vereinigung von Singstimme und der Tonsetzer – mit zwanzig Jahren – zum Instrumenten im späten siebzehnten Organisten an der Westminster Abbey Jahrhundert sich niemand messen konnte. ernannt worden war. Der fünfstimmige Satz An den Verse-Anthems erlernte er sein ist mit vollkommener Umsicht angelegt, Fach, als er sich zu einem unerreichbaren um die richtige Atmosphäre zu erzielen; die Bühnenkomponisten entwickelte. Sie sind Musik reagiert auf den Text mit schlichter hochdramatisch und jedes hat seinen eigenen Homophonie; es folgt ein unruhiger, Hintergrund. My beloved spake ist das älteste kontrapunktischer Mittelabschnitt, der Verse-Anthem in dieser Einspielung; es schließlich in ein bezauberndes, homophones entstand im Dezember 1677 (wurde aber Flehen um Gnade übergeht. später etwas revidiert) und ist daher zeitgleich mit Jehova. Die beiden Werke sind einander Hear my prayer, O Lord ähnlich, der junge Purcell suchte noch Das Anthem Hear my prayer ist ein Werk aus seinen Weg, was ein gewisses Ungeschick Purcells Reifezeit, das heißt, als er das Alter erklärt. Die einleitende “Symphony” ist voller erreichte, in dem sein Mentor Humfrey das betörender instrumentaler Rhetorik und Leben ließ. Der kontrapunktische Satz der bringt kantige Linien für die Solisten. Aber subtil einander ablösenden Harmonien ist der Streichersatz der idyllischen Betrachtung atemberaubend. Dieses achtstimmige Stück von “denn der Regen ist vorbei und dahin” ist im Kleinformat ist eines seiner populärsten herrlich: ein sehnsüchtiges Schwelgen in der Werke geworden. Dass es angeblich die Musik der Vergangenheit. Vögel zwitschern Einleitung eines unvollkommenen Werkes naiv im modernen Stil, die Turteltaube gurrt ist, ist kaum glaubhaft; indes hoffen die ihre eigenwillige Harmonie, die Feige und

21 Rebe entfalten sich in einer Art Fibonacci- oder das Bruchstück des Textes “and again” Sequenz. Die Erfindungsgabe ist frisch und mit so naiver, unverkennbarer Tonmalerei jugendlich, aber dennoch völlig überzeugend. vertont; wie dankbar sind wir ihm dafür! Niemals wurde Gottes Friede (“peace of Behold, now, praise the Lord God”) mit so eleganter und sicherer Hand Das andere Verse-Anthem in dieser Aufnahme gemalt, und die geschickt ausgeführte Collage ist Behold, now, praise the Lord, das eine stört diesmal nicht, sondern erfreut und ausführliche “Symphony” einleitet. Danach erregt. wandeln die drei Solisten harmonisch; in wenigen Jahren sollte diese Satztechnik nicht O sing unto the Lord mehr jugendlich und reizend sein, sondern Die Krönung dieser Einspielung ist O sing genial und effektiv. Hätte irgend ein anderer unto the Lord. Damals war Purcell fast Komponist der Epoche dieses Werk geschaffen, dreißig Jahre alt und sein Genie war wie ein würde es hoch gerühmt für seine Frische, Lauffeuer. Niemand konnte sich mit ihm Kühnheit und Lebhaftigkeit. Aber es handelt messen. Die Instrumente und Singstimmen sich um Purcell, und er hatte den Höhepunkt sind einhellig, Inhalt und Form sind seines Schaffens noch nicht erreicht. untrennbar, Musikstile der Vergangenheit und Gegenwart sind kunstvoll vermischt, Technik Rejoice in the Lord alway und Virtuosität können nicht von einander Rejoice in the Lord alway, ein Stück eines unterschieden werden. Unternehmungslust Fünfundzwanzigjährigen, entspricht den und Besinnlichkeit, Rückblick und Neuerung, obenstehenden Ausführungen; infolge der Arie und Rezitativ, gerader und ungerader absteigenden, glockenähnlichen Basslinie, Takt, Solisten und Chor – alles vereinigt sich die es einleitet, ist es als “Bell-Anthem” in einem blendend zusammengefügten Bau, bekannt. Von nun an darf Purcell als der der auf erstaunlich lebensbestätigende Weise größte englische Komponist aller Zeiten entzückt, belebt, unterweist und unterhält. bezeichnet werden. Kein anderer hätte diesen unmittelbar bezaubernden Streichersatz (auf © 2012 Jeremy Summerly den Händel stolz gewesen wäre) gefunden Übersetzung: Gery Bramall

22 John Challenger John

© Benjamin Ealovega Humfrey / Purcell: Anthems

Pelham Humfrey pas supporter ce parvenu “dénigr[ant] le Pelham Humfrey (1647 – 1674) naquit durant talent de tous, hormis le sien”. Humfrey tout la guerre civile d’Angleterre. Il apprit à marcher prétentieux, ambitieux et arrogant qu’il fût, et à parler sous l’égide du Commonwealth, s’avérait cependant talentueux, bien formé commença son éducation sous l’œil du et industrieux. Il possédait en outre cette Protectorat, fut témoin de la restauration de la implacable volonté de réussir coûte que coûte, monarchie à l’âge de douze ans, partit étudier bien exprimée par la devise du Commonwealth, en France et en Italie durant son adolescence, sous l’étendard duquel le jeune Pelham avait fut nommé Gentleman de la Chapelle royale grandi: “Pax quaeritur bello” (on recherche avant ses vingt ans, devint maître des Enfants la paix en faisant la guerre). La musique de la Chapelle royale à vingt-cinq ans et d’Humfrey montre donc l’impétuosité et mourut lorsqu’il en avait vingt-six. Toute l’absence de concessions en rapport avec cette légende musicale qu’ait bien pu être Humfrey attitude, et l’ascension du compositeur vers la en son temps, Samuel Pepys s’avère fort peu gloire fut météorique. impressionné par les manières du compositeur: “Il ne fait aucun doute qu’il est bon musicien; O Lord my God mais sa vanité m’offusque.” À son retour de Bien que Pelham Humfrey ait adopté avec l’étranger où il avait vécu quelque temps, le agressivité l’esthétique chaleureuse du haut jeune Humfrey se complut à dévaloriser son baroque naissant, des éléments de l’âge d’or pays natal en comparant défavorablement les anglais du temps jadis font inévitablement efforts artistiques de ce dernier avec ceux de la surface dans sa musique, même si ce fut à cour de Louis XIV. Pelham Humfrey projetait contrecœur ou inconsciemment. La toute l’image d’un précieux ayant considérablement première entrée de la voix de basse dans voyagé (“un vrai Monsieur”, pour reprendre la le mélancolique verse anthem (anthems cinglante description de Pepys), et le célèbre où alternent soli et chœurs) O Lord my chroniqueur ne pouvait manifestement God (Ô Seigneur mon Dieu) montre très

24 clairement l’influence de la célèbre pièce mi mineur d’Humfrey sont par contraste conçus de John Dowland, Lachrimae Pavan, qui uniquement en vue de remplir efficacement avait été écrite presque quatre-vingts années leur fonction tout en étant appropriés sur le auparavant. En outre, quoique l’écriture plan liturgique: la mise en musique du texte pour cordes et la déclamation vocale du verse est naturaliste et directe. Dans l’exécution anthem d’Humfrey soient dans l’ensemble donnée par Humfrey, le caractère dramatique tournées vers l’avenir, de nombreux passages antiphonal fourni par le contraste entre masse y évoquent la pratique du consort pour violes du chœur et voix solistes aurait été accentué du début du dix-septième siècle. C’est à dire en plaçant les solistes dans les tribunes qu’avec chaque sixte italienne contemporaine de Whitehall Chapel. Lorsqu’il s’agissait empreinte d’exotisme – utilisée par exemple de musique destinée à l’office divin, le pour dépeindre les paroles “melting wax” prétentieux Humfrey savait de toute évidence (cire fondante) – vient un passage de cordes soumettre son ego à la tâche à accomplir. dont les fausses relations se tournent avec nostalgie vers le monde sonore propre aux Henry Purcell cours du père et du grand-père de Charles II, Au cours du printemps 1673, à peine plutôt que vers celui de la Restauration et plus d’un an avant la mort prématurée de de ses équivalents continentaux. Au fur Pelham Humfrey, la voix d’Henry Purcell et à mesure de la progression de l’anthem, (1659 – 1695), alors âgé de treize ans, se mit la basse adopte le rôle du protagoniste à muer. Le jeune Henry, qui ne pouvait plus opératique tandis que la haute-contre et le chanter de façon fiable la voix de soprano dans ténor deviennent des sycophantes frappés le chœur de la Chapelle Royale d’Humfrey, d’un respect mêlé de terreur. Si Humfrey vit néanmoins sa subsistance assurée et se avait pu atteindre la trentaine, il aurait sans le rendit utile à la cour en réparant, entretenant moindre doute trouvé les attraits de la scène et accordant les instruments musicaux. aussi irrésistibles que le fit son cadet, Henry Purcell. Jehova, quam multi sunt hostes mei L’anthem domestique en latin Jehova, quam Magnificat et Nunc dimittis multi sunt hostes mei compte parmi les plus Le Magnificat et le Nunc dimittis en belles œuvres écrites par Purcell durant

25 son adolescence. Quoique des modulations tendre auquel son mentor, Pelham Humfrey, elliptiques et des tours mélodiques peu était mort. L’aisance contrapuntique avec conventionnels trouvés au sein d’un laquelle Purcell dirige ses harmonies aux collage regroupant des formes musicales changements subtils est époustouflante. hétérogènes y témoignent d’un certain Cette miniature à huit voix est devenue une manque de maturité sur le plan technique, de ses œuvres les plus fréquemment jouées. Il aux points-clés du texte la profondeur des est difficile d’accepter qu’elle fût, semble-t-il, émotions s’avère remarquable. conçue pour devenir l’ouverture d’une œuvre restée inachevée, et les fervents de la musique Remember not, Lord, our offences de Purcell s’accrochent à l’hypothèse que la Il n’y a aucune faute d’écriture dans les deux pièce fut bel et bien achevée, et sera un jour full anthems (anthems pour grand chœur), redécouverte dans son intégralité. Remember not, Lord, our offences (Ne te souviens pas de nos offenses, Seigneur) et My beloved spake Hear my prayer, O Lord (Entends ma prière, Purcell fut avant tout un compositeur ô Seigneur). Le premier est encore l’œuvre dramatique dont le don pour fondre voix d’un jeune homme, mais il s’agit de et instrument fut sans pareil à la fin du dix- quelqu’un qui – à l’âge de vingt ans – venait septième siècle. Les verse anthems forment un d’être nommé organiste de l’Abbaye de ensemble d’œuvres grâce auxquelles Purcell, Westminster. Les cinq voix y sont traitées alors en voie de devenir un compositeur avec un soin consommé afin de créer une mise inégalable pour la scène, se fit les dents. Le en musique évocatrice: la musique répond caractère dramatique abonde, et chaque au texte en simple homophonie; puis vient verse anthem prend vie devant sa propre toile une section contrapuntique centrale agitée, de fond théâtrale. My beloved spake (Mon qui se fond dans la prenante imploration de bien-aimé a parlé), qui est le plus ancien clémence homophonique finale. verse anthem de cet enregistrement, fut écrit en décembre 1677 (bien que légèrement Hear my prayer, O Lord révisé à une date ultérieure) et se révèle donc Hear my prayer date de la maturité de Purcell, contemporain de Jehova. La ressemblance à savoir l’époque où Purcell avait atteint l’âge entre les deux œuvres tient à la jeunesse de

26 Purcell et au caractère emprunté, voire même été écrite par tout autre compositeur de la gauche, de ses explorations. La symphonie période, l’œuvre serait portée aux nues pour d’ouverture joue de façon charmante avec la fraîcheur, l’audace et la vitalité dont elle la rhétorique instrumentale et introduit des témoigne; mais comme il s’agit de Purcell, le lignes anguleuses pour les solistes. Toutefois meilleur se fait encore attendre. la réflexion pastorale accompagnant(the) rain is over and gone (la pluie a cessé, elle s’en est Rejoice in the Lord alway allée) est merveilleusement commentée par C’est précisément à cette attente (bien qu’il les cordes qui se complaisent avec nostalgie fût écrit par un jeune homme de vingt-cinq à jouer la musique des temps anciens. Les ans) que répond l’anthem Rejoice in the Lord oiseaux gazouillent ensuite naïvement dans le alway, surnommé “Bell Anthem” (Anthem style moderne, la tourterelle fait entendre son des cloches) à cause de la ligne de basse célèbre appel à l’harmonie ingrate, tandis que descendante du début, qui se répète dans le la figue et le raisin vont se multipliant comme style d’une sonnerie de cloches. Tout annonce dans la suite de Fibonacci. D’un bout à l’autre désormais la suprématie de Purcell, le plus l’invention, pleine de vivacité, mais manquant grand compositeur anglais de tous les temps. quelque peu de maturité, déploie un charme Seul Purcell pouvait écrire une musique irrésistible. pour cordes si instantanément exquise (et dont Haendel lui-même aurait été fier), et Behold, now, praise the Lord seul Purcell pouvait répéter le fragment de Behold, now, praise the Lord (Voici texte “and again” (et encore) usant d’une maintenant: loue le Seigneur), l’autre description si prévisible et si naïve, et verse anthem remontant à l’adolescence de rallier tous nos suffrages. La “paix divine” Purcell figurant sur cet enregistrement, est (peace of God) n’a jamais été décrite avec introduit par une longue symphonie. Les trois autant d’élégance et de sérénité, tandis que solistes se mettent ensuite à errer sur le plan maintenant la forme bien traitée du “collage” harmonique d’une façon – qui en l’espace de ravit et enthousiasme au lieu de jurer. seulement quelques années – va devenir aussi inspirée que frappante au lieu d’être quelque O sing unto the Lord peu immature, mais ravissante. Si elle avait Le plus grand moment de cet enregistrement

27 est O sing unto the Lord (Ô chantez au réminiscence et innovation, air et récitatif, Seigneur). Purcell approchait désormais de la mètres binaire et ternaire, solistes et chœur, trentaine, et sa créativité était incandescente. tout s’entrelace au sein d’une construction Nul ne pouvait l’égaler. Instruments et voix éblouissante de cohérence, qui charme, chantent en parfaite harmonie, la forme et le tonifie, informe et divertit d’une manière contenu sont inséparables, les styles musicaux étonnamment positive sur le plan humain. passés et présents s’entremêlent avec art, il est impossible de faire la différence entre © 2012 Jeremy Summerly technique et virtuosité. Entreprise et réflexion, Traduction: Marianne Fernée-Lidon

28 Andrew Nethsingha

© Paul Marc Mitchell 1 Remember not, Lord, our offences Surge, surge, Jehova, fac salvum me Deus Remember not, Lord, our offences, mi; qui percussisti omnes inimicos meos nor th’offences of our forefathers; maxilliam, dentes improborum confregisti. neither take thou vengeance of our sins, Jehova est salus: super populum tuum sit but spare us, good Lord. benedictio tua maxime. Spare thy people, Psalm 3 whom thou hast redeem’d with thy most precious blood; and be not angry with us for ever. [Lord, how are they increased that trouble Spare us, good Lord. me: many are they that rise against me. Many one there be that say of my soul: there Words from the Litany is no help for him in his God. But thou, O Lord, art my defender: thou art my worship, and lifter up of my head. 2 Jehova, quam multi sunt hostes mei I did call upon the Lord with my voice: and he Jehova, quam multi sunt hostes mei, quam heard me out of his holy hill. multi insurgunt contra me. I laid me down and slept, and rose up again: Quam multi dicunt de anima mea; non est for the Lord sustained me. ulla salus isti in Deo plane. I will not be afraid for ten thousands of the At tu, Jehova, clypeus es circa me; gloria mea, people: that have set themselves against et extollens caput meum. me round about. Voce mea ad Jehovam clamanti, respondit Up, Lord, and help me, O my God: for thou mihi e monte sanctitatis suae maxime. smitest all mine enemies upon the Ego cubui et dormivi; ego expergefeci me; cheekbone; thou hast broken the teeth of quia Jehova sustentat me. the ungodly. Non timebo a myriadibus populi, quas circum Salvation belongeth unto the Lord: and thy disposuerint metatores contra me. blessing is upon thy people.]

30 3 O sing unto the Lord 4 O Lord my God O sing unto the Lord a new song: sing unto O Lord my God, why hast thou forsaken me: the Lord, all the whole earth. and art so far from my health and from Alleluia. the words of my complaint? Sing unto the Lord, and praise his Name: be I am poured out like water, all my bones are telling of his salvation from day to day. out of joint: my heart also in the midst of Declare his honour unto the heathen: and his my body is ev’n like melting wax. wonders unto all people. But be not thou far from me, O Lord: thou Glory and worship are before him: pow’r and art my succour, haste thee to help me. honour are in his sanctuary. For many dogs are come about me: and the The Lord is great, and cannot worthily be counsel of the wicked lay’th siege against praised: he is more to be feared than all gods. me. As for all the gods of the heathen, they are but They pierc’d my hands and my feet; I may tell idols: but it is the Lord that made the all my bones: they stand staring and heav’ns. looking upon me. O worship the Lord in the beauty of holiness: They part my garments among them: and cast let the whole earth stand in awe of him. lots upon my vesture. Tell it out among the heathen that the Lord But be not thou far from me, O Lord: thou is King: and that it is he who hath made art my succour, haste thee to help me. the round world so fast that it cannot Psalm 22: 1, 14, 16 – 19 be moved; and how that he shall judge the people righteously. Alleluia. Amen. Magnificat and Nunc dimittis 5 Magnificat Psalm 96: 1 – 6, 9, 10 My soul doth magnify the Lord: and my spirit hath rejoiced in God my Saviour. For he hath regarded: the lowliness of his handmaiden. For behold, from henceforth: all generations shall call me blessed.

31 For he that is mighty hath magnified me: and to be a light to lighten the Gentiles: and to be holy is his name. the glory of thy people Israel. And his mercy is on them that fear him: Luke 2: 29 – 32 thoroughout all generations. He hath shewed strength with his arm: he hath scattered the proud in the Glory be to the Father, and to the Son: and to imagination of their hearts. the Holy Ghost; He hath put down the mighty from their seat: As it was in the beginning, is now, and ever and hath exalted the humble and meek. shall be: world without end. Amen. He hath filled the hungry with good things: and the rich he hath sent empty away. He rememb’ring his mercy hath holpen 7 Behold, now, praise the Lord his servant Israel: as he promised to our Behold, now, praise the Lord: all ye servants forefathers, Abraham and his seed, for of the Lord; ever. ye that by night stand in the house of the Luke 1: 46 – 55 Lord: ev’n in the courts of the house of the Lord our God. Lift up your hands in the sanctuary: and Glory be to the Father, and to the Son: and to praise the Lord. the Holy Ghost; The Lord that hath made heav’n and earth: As it was in the beginning, is now, and ever give thee blessing out of Sion. shall be: world without end. Amen. Psalm 134: 1 – 4 6 Nunc dimittis Lord, now lettest thou thy servant depart in Glory be to the Father, and to the Son: and to peace: according to thy word. the Holy Ghost; For mine eyes have seen: thy salvation, which As it was in the beginning, is now, and ever thou hast prepared: before the face of all shall be: world without end. people;

32 8 My beloved spake 10 Rejoice in the Lord alway My beloved spake, and said unto me, Rejoice in the Lord alway, rise, my love, my fair one, and come away. and again I say, rejoice. Let your moderation be known unto all men. For lo, the winter is past, the rain is over and The Lord is at hand. gone; the flow’rs appear upon the earth; Be careful for nothing, and the time of the singing of birds is come. but in ev’ry thing Hallelujah! by pray’r and supplication with thanksgiving And the voice of the turtle is heard in our let your requests be made known unto God. land. The fig tree putteth forth her green figs, And the peace of God, and the vines with the tender grape give a which passeth all understanding, good smell. shall keep your hearts and minds through Jesus Christ our Lord. Rise, my love, my fair one, and come away. Philippians 4: 4 – 7

My beloved is mine, and I am his. Hallelujah! Song of Solomon 2: 10 – 13, 16

9 Hear my prayer, O Lord Hear my prayer, O Lord: and let my crying come unto thee. Psalm 102: 1

33 Also available

CHAN 0778 Orlande de Lassus Sacredsr Music

34 Also available

CHAN 0786 Mozart ‘Coronation’ Masssr and other sacred works

35 You can now purchase Chandos CDs or download MP3s online at our website: www.chandos.net For requests to license tracks from this CD or any other Chandos discs please find application forms on the Chandos website or contact the Finance Director, Chandos Records Ltd, direct at the address below or via e-mail at [email protected]. Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: [email protected] Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201

www.facebook.com/chandosrecords www.twitter.com/chandosrecords

Chandos 24-bit / 96 kHz recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit / 96 kHz recording. In order to reproduce the original waveform as closely as possible we use 24-bit, as it has a dynamic range that is up to 48 dB greater and up to 256 times the resolution of standard 16-bit recordings. Recording at the 44.1 kHz sample rate, the highest frequencies generated will be around 22 kHz. That is 2 kHz higher than can be heard by the typical human with excellent hearing. However, we use the 96 kHz sample rate, which will translate into the potentially highest frequency of 48 kHz. The theory is that, even though we do not hear it, audio energy exists, and it has an effect on the lower frequencies which we do hear, the higher sample rate thereby reproducing a better sound.

36 Recording producer Rachel Smith Sound engineer Jonathan Cooper Assistant engineer Paul Quilter Editor Rachel Smith A & R administrator Mary McCarthy Recording venue St John’s College Chapel, Cambridge; 13 – 15 January 2012 Cover Panorama of London and the Thames (details), engraving made c. 1600 by Nicolaes (Claes) Jansz Visscher (1586 – 1652) / Guildhall Library, City of London / The Bridgeman Art Library Design and typesetting Cassidy Rayne Creative (www.cassidyrayne.co.uk) Booklet editor Finn S. Gundersen P 2012 Chandos Records Ltd C 2012 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK

37 © Paul Marc Mitchell

Choir of St John’s College, Cambridge MY BELOVED SPAKE: Choir of St John’s College, Cambridge MY BELOVED SPAKE: Choir of St John’s College, Cambridge

CHACONNE DIGITAL CHAN 0790 My Beloved Spake Henry Purcell (1659 – 1695) 1 Remember not, Lord, our offences, Z 50 3:21 2 Jehova, quam multi sunt hostes mei, Z 135*† 6:32 3 O sing unto the Lord, Z 44*†‡ 13:07 Peter Hicks treble

Pelham Humfrey (1647 – 1674) 4 O Lord my God*†‡ 12:28 5 - 6 Magnificat and Nunc dimittis 5:52 • / Peter Hicks Alec D’Oyly trebles Iestyn Davies counter-tenor‡ / Nethsingha Nethsingha Nethsingha Tom Blackie • James Imam counter-tenors James Gilchrist tenor* Julian Gregory tenor Neal Davies bass† Huw Leslie bass David Stout baritone§ Henry Purcell John Challenger organ 7 Behold, now, praise the Lord, Z 3*†‡ 6:10 Choir of St John’s College, 8 My beloved spake, Z 28*†‡§ 11:20 Cambridge 9 Hear my prayer, O Lord, Z 15 2:40 St John’s Sinfonia CHAN 0790 CHANDOS Margaret Faultless leader CHAN 0790 CHANDOS 10 Rejoice in the Lord alway, Z 49*†‡ 8:04 TT 69:41 Andrew Nethsingha

p 2012 Chandos Records Ltd c 2012 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England