The Choir of King’s College London

Gareth Wilson The Choir of King’s College London Gareth Wilson IN MEMORIAM Alexander May, Graham Thorpe organ

1 (1539/40–1623) Laudibus in sanctis [5:18] 9 Robert Busiakiewicz (b. 1990) Ego sum resurrectio et vita [2:27]

2 Matthew Kaner (b. 1986) Duo seraphim [5:09] Rob Keeley (b. 1960) & Nunc dimittis Eleanor Williams, Mimi Doulton, Elizabeth Gornall, Eleanor Wood sopranos 10 Magnificat [4:15] Ben Taylor-Davies, Billie Hylton, Caitlin Goreing, Jacob Werrin, Rosanna Goodall altos 11 Nunc dimittis [2:52] James Rhoads, Miles Ashdown tenors Alexander May organ Freddie Benedict, Alex Pratley basses Antony Pitts (b. 1969) Pie Jesu (Prayer of the Heart) Gareth Wilson (b. 1976) Magnificat & Nunc dimittis (Collegium Regale) 12 I [6:55] 3 Magnificat [5:33] 13 II [5:38] 4 Nunc dimittis [5:27] Ciara Power, Lindsey James sopranos Graham Thorpe organ Caitlin Goreing, David Lee altos Silvina Milstein (b. 1956) ushnarasmou – untimely spring James Rhoads tenor Scott Richardson, Joey Edwards basses 5 ushnarasmou [4:01] 6 kusumaani [4:41] 14 Matthew Martin (b. 1976) An Invocation to the Holy Spirit [2:43] Eleanor Williams, Mimi Doulton solo sopranos Lindsey James, Charlotte Nohavicka ripieno sopranos 15 Giovanni Pierluigi Quam pulchri sunt gressus tui [4:38] Matthew O’Keeffe, Rosanna Goodall solo altos da Palestrina (1525–1594) Billie Hylton, Jacob Werrin ripieno altos Robyn Donnelly soprano Miles Ashdown, James Green solo tenors Jaivin Raj ripieno tenor 16 (c.1510–1555/6) Ego flos campi [5:27] Joey Edwards, Alex Pratley, Dominic Veall ripieno basses 17 Francis Grier (b. 1955) Panis angelicus [2:46] 7 Francis Pott (b. 1957) Nigra sum sed formosa [6:30] Charlotte Nohavicka soprano Lindsey James principal soprano James Rhoads tenor Mary Fraser, Martha Woodhams sopranos Jacob Werrin alto Total playing time [79:59]

8 Jean Lhéritier (c.1480–c.1551) Nigra sum sed formosa [5:31] Tracks 2–7, 9–14 & 17 are premiere recordings (ed. )

Recorded on 22-24 June 2015 in the Design: Drew Padrutt Join the Delphian mailing list: The Choir of King’s College London would like to offer sincere thanks to the donors who helped make this Church of St John the Evangelist, Booklet editor: Henry Howard www.delphianrecords.co.uk/join endeavour possible, and also to Father John Pritchard and the churchwardens and congregation of St John’s Upper Norwood Photography © Delphian Records Church, Upper Norwood for their generosity. With thanks also to the chaplaincy of King’s College London – Producer/Engineer: Paul Baxter Delphian Records Ltd – Edinburgh – UK Like us on Facebook: 24-bit digital editing: Adam Binks www.delphianrecords.co.uk www.facebook.com/delphianrecords Richard Burridge, Tim Ditchfield, Natalie Frangos and Poppy Richards. 24-bit digital mastering: Paul Baxter Follow us on Twitter: @delphianrecords Notes on the music In the fifteenth and sixteenth centuries, the After an early musical life which saw him and singers might realise only at the last From the regular canon of death of a famous musician might prompt a singing first as a treble and then as an alto in minute that the work they were to perform had composers and sacred repertoire comes a memorial tribute created from music itself. the cathedral choir at Norwich, three years not been sung for 500 years’. One such was by David Trendell’s favourite composer: Examples abound: to take just a few, Josquin’s as an undergraduate organ scholar at Exeter the setting of Nigra sum sed formosa by the William Byrd. Laudibus in sanctis is a jubilant Nymphes des bois, his ‘Déploration’ on the College, Oxford, and posts at Winchester composer Jean Lhéritier; setting, brilliantly scored for five voices, of a death of (in which the College and the University Church in Oxford, it this was a piece which David Trendell edited, paraphrase of Psalm 150 (in which every living wood-nymphs of forest and fountain are called was David Trendell’s appointment as Organist but had never recorded. It is performed in this creature is called upon to praise the Lord). upon to lament with piercing cries the death and Director of Music at King’s College London recording in copies made from his hand-written of a composer who is ‘the true treasurer of in 1992 that saw him set fair for a career in transcription of the original source, neatly Of the remaining music on this CD, all are music’) and William Byrd’s Ye sacred muses, which he was able to combine his talents as an inscribed on large-form manuscript paper of the pieces with a close connection to David Trendell composed in memory of his friend and teacher academic musician and musicologist with his sort undergraduates use for their harmony and himself, being composed by friends, pupils (with its poignant refrain ‘Tallis is flair for the training and coaching of choirs. The exercises, but clear and unfussy, and colleagues (and, more often than not – in dead, and Music dies’), as well as – to take two chapel choir at King’s, under his directorship, practical and legible, and with everything laid the case of such a sociable and gregarious seventeenth century examples – instrumental became an acclaimed musical instrument and out solely in the service of the music. man – a combination of all three). Most of elegies by the player in the engine which powered his excursions into them were composed in his memory, and all of memory of Jean-Baptiste Lully, and by the an extraordinary variety of choral repertoire The text of the motet comes originally from them receive their first recording on this disc. keyboard virtuoso – from the most neglected corners of the the Song of Solomon, that extraordinary Old Interestingly, many of them espouse the musical commemorating the lutenist Blancrocher. Renaissance to works written specially for Testament poetical combination of highly values (and sometimes even the techniques) him by the composers of today. And it’s those perfumed eroticism and mystical sacred love; of the Renaissance masterpieces which he so In our modern technological age, it’s not varied passions and musical interests which musical settings of the ‘Song of Songs’ were a loved, in which clarity of texture, the service surprising that such a memorial should be are reflected in the repertoire recorded in this life-long fascination for David Trendell. One of of the music to the cause of the words, and fashioned not just of music, but through the tribute to him. his favourite pieces was Ego flos campi, by the ‘singable’ individual lines are core values. medium of sound itself – and so it is with Flemish composer Clemens non Papa (literally this tribute to David Trendell: organist, singer, Renaissance being one of David ‘Clement-not-the-Pope’, presumably in order to David Trendell was interested in the world choir-trainer, scholar, recording producer, Trendell’s great passions, any memorial distinguish him from Pope Clement VII). This of church music far beyond the confines of mentor; a much-loved man whose music- recording would be incomplete without some motet, richly scored in seven parts, also sets the ecclesiastical buildings where he had making, in its various forms, touched the lives examples of music from the Golden Age. His lines from the Song of Solomon. So too does spent much of his working life. He was an of those he encountered in many different knowledge of that repertoire was extensive – Palestrina’s Quam pulchri sunt gressus tui (in engaged, active and influential member of ways. This CD pays homage to him with new and frequently expanded by his own work as which the thighs of the beloved are compared the Edington Festival of Music within the music, dedicated to his memory by friends, an editor, excavating the archives for hidden to jewels, her navel to a precious goblet, Liturgy, as Director for four seasons in the colleagues and students, with other works gems and reviving music long neglected. In and her belly to wheat set about with lilies); late 1980s, but thereafter always maintaining which represent some of his many and varied his obituary of David Trendell, the writer and while Lhéritier’s text provides the cue for the an interest in its work, and in the vital role musical interests, and even with one of his music critic Rick Jones remarked that he ‘did inclusion of a modern piece, Francis Pott’s Nigra that sacred music must play in the liturgies own editions. not make a point of announcing his discoveries, sum sed formosa about which, more below. of the church. Latterly, he was always ready Notes on the music to place his chapel choir at King’s College at composed especially for The Choir of King’s One piece on this recording which steps humankind. Antony Pitts’ Pie Jesu combines the disposal of composers interested to write College London in memory of David Trendell. determinedly away from the liturgical repertoire penitential lines in English with traditional Latin for it, and a major part of his musical legacy which was the backbone of so much of David ones from the Requiem (or Mass for the Dead) is a healthy clutch of pieces performed and Francis Pott’s Nigra sum sed formosa, which Trendell’s life and work is ushnarasmou, by in a piece whose concluding words express premiered by, or even specially composed revisits the words set by Lhéritier, creates – his colleague from the Department of Music the sentiments uttered by any devout Christian, for, that ensemble. Several are for the Prayer like the earlier composition – an atmosphere at King’s College London, Silvina Milstein. contemplating his end: ‘Lord Jesus Christ, Son Book service of Evensong (part of the daily of thoughtful contemplation and affectionate Composed in his memory, it (like the Song of God, have mercy on me, a sinner.’ round of a chapel choir such as that at King’s). remembrance: the dedication recalls the of Solomon settings elsewhere on this disc) The musical menu for Evensong includes ‘happy memory’ of David Trendell. ‘Gratitude’ sets words which explore the imagery of the So, a life cut short well before its time; a two consistent features – the Magnificat, is also the keyword in the superscription at natural world, playing with ideas of renewal, man much loved, much respected, and recounting the words uttered by the Virgin the head of Francis Grier’s Panis angelicus, rebirth, and the arrival of spring, but clothed in greatly missed; and, here, a recording which Mary on learning that she is to bear the and likewise sums up its prevailing mood: ancient Sanskrit texts and mythology, rather modestly explores and seeks to commemorate Son of God, and Nunc dimittis, the prayer two soloists, soprano and tenor, soaring than biblical ones. It’s a piece whose musical something of all that he was, all that he gave spoken in the scriptures by the old man ecstatically above a three-part chorus of quiet, language, and considerable vocal challenges, to others, and all that he achieved. To adapt the Simeon, who has been told that he will not gently rocking, male voices. lie far outside those demanded by the epitaph of Sir Christopher Wren: ‘Auditor, si die until he has seen the Lord, as he holds repertoire undertaken in the normal daily work monumentum requires, circumspice.’ the infant Jesus tenderly in his arms. Many Teaching and lecturing were an important part of a chapel choir, and it is a tribute both to composers have tackled these texts, and in of David Trendell’s professional life, both at David Trendell’s wide-ranging musical interests, David Trendell (1964–2014): Requiescat in pace. many different ways; in the Magnificat of his King’s and elsewhere, and duties which he took as much as to the highly accomplished and setting, composed in 2006 for sopranos and seriously. So it is appropriate that this recording well-trained choral machine he created (and altos with organ, Rob Keeley (a colleague of should include music by two former students. which has been maintained by his successor), © 2016 Michael Emery David Trendell in the music department at Like the great polychoral of the that such a piece can be included here. King’s) creates a mood of disbelieving wonder, sixteenth and seventeenth centuries, Matthew Michael Emery has been Senior Producer to to be supplanted later by one of vigorous and Kaner’s Duo seraphim divides his vocal forces Two more memorial pieces complete this the BBC Singers at BBC Radio 3 since 1992. energetic excitement. In the Nunc dimittis, the into independent choirs – three, in this case: survey of one man’s outstanding musical In 2016 he takes up the post of Artistic vocal lines move together, two voices creating high, medium and low voices representing the achievements in the field of sacred music, but Director and Manager of the Danish Radio a single sonority to depict the aged Simeon. heavenly host of angels, singing increasingly also allude to the rather private but deeply held Choirs in Copenhagen. Another King’s colleague (and the conductor of fervent praises around the throne of God. faith which inspired them. Matthew Martin, in this recording) Gareth Wilson, in his setting of Prayerfulness, and a devotional approach to the An Invocation to the Holy Spirit, sets – with the same texts, uses a broader canvas which text, also characterises Ego sum resurrectio gentleness and thoughtful sensitivity – words takes advantage of the full resources of the et vita, a motet by Robert Busiakiewicz which from the Acts of the Apostles and from the chapel choir, as well as the range of colours sets the famous words from St John’s Gospel great medieval Pentecost hymn Veni Sancte and sonorities available on the chapel organ. in which Christ sets out his divine nature to Spiritus which quietly explore the idea of This dramatic and impassioned setting was Martha, after he has raised her brother Lazarus. the Holy Spirit subtly acting on the lives of Texts and translations 1 Laudibus in sanctis Laudibus in sanctis Dominum celebrate In holy praises celebrate the most high Lord: supremum: let the heavens sound the glorious deeds of God. firmamenta sonent inclita facta Dei. Sing the glorious deeds of God, and with holy voice Inclita facta Dei cantate, sacraque potentis sing out often the power of his mighty hands. voce potestatem saepe sonate manus. Let warlike sing the magnificent name Magnificum Domini cantet tuba martia nomen: of the Lord: Pieria Domino concelebrate lira. celebrate the Lord together with Pierian lyre. Laude Dei resonent resonantia tympana summi: Let resounding drums resound with the praises alta sacri resonent organa laude Dei. of God the highest,

let loud organs resound with the praise of God Hunc arguta canant tenui psalteria corda, the holy. hunc agili laudet laeta chorea pede. Concava divinas effundant cymbala laudes, Let light psalteries sing him with slender string, cymbala dulcisona laude repleta Dei. let a joyful dance praise him with nimble foot. Omne quod aethereis in mundo vescitur auris Let rounded cymbals pour out the divine praises, Alleluia canat tempus in omne Deo. cymbals filled with the sweet-sounding praise Metrical paraphrase of Psalm 150 in elegiac couplets of God. Let everything that feeds on the heavenly airs on earth sing Alleluia for all time to God.

2 Duo seraphim Duo Seraphim clamabant alter ad alterum: Two Seraphim were crying each to each: Holy, Sanctus, Sanctus, Sanctus Dominus Deus Holy, Holy Lord God of Sabaoth, the whole Sabaoth, plena est omnis terra gloria eius. earth is full of his glory. Three there are who Tres sunt qui testimonium dant in caelo: Pater, bear witness in heaven: the Father, the Word, Verbum et Spiritus Sanctus: et hi tres unum and the Holy Ghost: and these three are one. sunt. Sanctus Dominus Deus Sabaoth … Holy Lord God of Sabaoth … Amen. Amen. Matins responsory for Trinity Sunday, words from Isaiah 6: 3 and 1 John 5: 7 Texts and translations 3/10 Magnificat 4/11 Nunc dimittis Magnificat anima mea Dominum My soul doth magnify the Lord, Nunc dimittis servum tuum, Domine, Lord, now lettest thou thy servant depart et exultavit spiritus meus in Deo salutari meo. and my spirit rejoiceth in God my Saviour. secundum verbum tuum in pace. in peace, Quia respexit humilitatem ancillae suae: For he hath regarded the lowliness of his Quia viderunt oculi mei salutare tuum, according to thy word. ecce enim ex hoc beatam me dicent omnes handmaiden. quod parasti ante faciem omnium For mine eyes have seen thy salvation, generationes. For behold, from henceforth all generations populorum: which thou hast prepared before the face Quia fecit mihi magna qui potens est, et shall call me blessed. lumen ad revelationem gentium, et of all people: sanctum nomen eius. For he that is mighty hath magnified me, and gloriam plebis tuae Israel. to be a light to lighten the gentiles, Et misericordia eius a progenie in progenies holy is his name. Gloria Patri, et Filio, et Spiritui Sancto. and to be the glory of thy people Israel. timentibus eum. And his mercy is on them that fear him Sicut erat in principio, et nunc, et semper, Glory be to the Father, and to the Son, and to Fecit potentiam in brachio suo, dispersit thoroughout all generations. et in saecula saeculorum. Amen. the Holy Ghost. superbos mente cordis sui. He hath shewed strength with his arm, As it was in the beginning, and is now, Deposuit potentes de sede et exaltavit he hath scattered the proud in the and ever shall be, world without end. Amen. humiles. imagination of their hearts. Esurientes implevit bonis et divites dimisit He hath put down the mighty from their seat, inanes. and hath exalted the humble and meek. Suscepit Israel puerum suum recordatus He hath filled the hungry with good things, misericordiae suae, and the rich he hath sent empty away. sicut locutus est ad patres nostros, Abraham He rememb’ring his mercy hath holpen his et semini eius in saecula. servant Israel, Gloria Patri, et Filio, et Spiritui Sancto. as he promised to our father Abraham and his Sicut erat in principio, et nunc, et semper, et in seed for ever. saecula saeculorum. Amen. Glory be to the Father, and to the Son, and to the Holy Ghost. As it was in the beginning, and is now, and ever shall be, world without end. Amen. Texts and translations 5-6 ushnarasmou – untimely spring sets II. kusumaani – flowers; the hermits; stillness 7 Nigra sum sed formosa excerpts from the Kumaarasambhavam (a 5th- The aSoka tree (symbol of fertility) is said to Nigra sum sed formosa, filiae Jerusalem, sicut I am black, but beautiful, you daughters century AD Sanskrit epic poem by Kalidasa), blossom when touched by the tinkling anklets tabernacula Cedar, sicut pelles Salomonis. of Jerusalem, as the tents of Kedar, as the describing the untimely blossoming of spring of beautiful maidens (samparkam aaSinchitha Nolite me considerare quod fusca sim, garments of Solomon. Do not look closely at in the Himalayas, leading from the exuberant nuupurena), but on this occasion it hurls forth quia decoloravit me sol. Filii matris meae me because I am dark, because the sun has unleashing of natural forces to spiritual turmoil copious red flowers (kusumaani) and buds pugnaverunt contra me; posuerunt me discoloured me: my mother’s children fought and eventually sudden stillness. (sapallavaani) of its own accord. custodem in vineis: vineam meam non against me; they placed me as a guardian I. ushnarasmou – rays of sunshine after Canto 3.26 (‘Flowers’) custodivi. Indica mihi, quem diligit anima mea, among the vines; but my own vineyard I have ubi pascas, ubi cubes in meridie, not guarded. Show me, beloved of my soul, As the burning rays of sunshine (ushnarasmou) The hermits (thapasvinah) practising penance ne vagari incipiam per greges sodalium tuorum. where you eat, where you lie down at midday: turn to the mythological Northern Realm in the forest (sthaanuvanoukasasH thaam) find so that I do not start to wander through the guarded by Kubera (Kuberagupthaam dhiSam), Song of Songs 1: 4-6 (Vulgate) their endeavours (kathamchith) to tame their flocks of your companions. at an unwonted hour (samayam vilanghya) from minds (iiSaa manasaam babhuuvuH) hindered the south (dighdhakshinaa) the sun’s consort by the heady manifestations of nature’s 8 Nigra sum sed formosa gives out a fragrant breeze (gandhavaham untimely awakening. mukhena) – a mournful sigh (vyaliika Nigra sum sed formosa, filia Jerusalem; I am black, but beautiful, the daughter of niSvaasam) at the unscrupulous early departure after Canto 3.34 (‘The Hermits’) ideo dilexit me Dominus, et introduxit me in Jerusalem; therefore the Lord loved me, and of her lover. Unmoved by the sensuous turmoil in the cubiculum suum. led me into his bedchamber. after Canto 3.25 (‘Rays of Sunshine’) Himalayas, but wishing to help those of lesser Vespers antiphon at feasts of the Blessed Virgin Mary spiritual discipline, Siva eventually touches his lips for silence, freezing the scene; as in a picture (chithraarpithaarambham), the forest no 9 Ego sum resurrectio et vita longer stirs (nishkampavrksham), there is no buzzing from the bees (nibhrthadhvirepham), Ego sum resurrectio et vita. Qui credit in I am resurrection and life. Whoever believes in the birds are hushed (muukaandajam), and all me etiam si mortuus fuerit, vivet. Et omnis qui me, even if he should be dead, will live. And creatures stand still (Saantha mrgaprachaaram). vivit et credit in me, non morietur in aeternum. everyone who lives and believes in me, shall not die forever. after Canto 3.42 (‘Stillness’) John 11: 25-26 (Vulgate) Texts and translations 12-13 Pie Jesu (Prayer of the Heart) 16 Ego flos campi

Pie Jesu Domine, dona eis requiem Loving Lord Jesus, grant them everlasting rest. Ego flos campi et lilium convallium. Sicut lilium I am the flower of the field and the lily of sempiternam. inter spinas sic amica mea inter filias; fons the valley. Like a lily among thorns, so is my hortorum puteus aquarum viventium quae beloved among the daughters; a fountain of O Lord Jesus Christ, Son of God, have mercy fluunt impetu de Libano. gardens, a well of living waters that flow in a on me, a sinner! Song of Songs 2: 1-2, 4: 15 (Vulgate) flood from Mount Lebanon. Words from the Requiem Mass and the Orthodox Prayer of the Heart

17 Panis angelicus

14 An Invocation to the Holy Spirit Panis angelicus The bread of angels Quia Johannes quidem baptizavit aqua; For John baptised you even with water; fit panis hominum; becomes the bread of men; vos autem baptizamini Spiritui Sancto. but you are being baptised with the Holy Spirit. dat panis caelicus the bread of heaven figuris terminum: puts an end to foreshadowings: Veni Sancte Spiritus Come, Holy Spirit, O res mirabilis! O thing of wonder! et emitte caelitus and send out from heaven Manducat Dominum The poor, the slave and the lowly lucis tuae radium. the ray of your light. pauper, servus et humilis. feast on their Lord. Amen. Amen. St Thomas Aquinas (1225–1274), from a hymn for Acts 1: 5 (Vulgate); sequence at Pentecost the Feast of Corpus Christi

Translations © 2016 Delphian Records Ltd 15 Quam pulchri sunt gressus tui Quam pulchri sunt gressus tui in How beautiful are your steps in your sandals, calceamentis, filia principis! Junctura femorum prince’s daughter! The joints of your thighs tuorum sicut monilia quae fabricata sunt are like the jewels made by the hand of a manu artificis; umbilicus tuus crater tornatilis craftsman; your navel a well-turned drinking- numquam indigens poculis; venter tuus sicut bowl never lacking for cups; your stomach like a acervus tritici vallatus lilies. heap of wheat surrounded by lilies. Song of Songs 7: 1-2 (Vulgate) Biographies Gareth Wilson studied at heard at dozens of churches, cathedrals, and The Choir of King’s College London is one in Russia, France, Hong Kong and Italy. It the Royal Scottish Academy college chapels across Britain and has been of the most acclaimed mixed-voice university has recorded music by composers including of Music and Drama and recorded and broadcast on BBC Radio. choirs in . Founded in its present , Sebastián de Vivanco and, for Edinburgh University before form in 1945, it consists of up to thirty choral Delphian, (DCD34103) and undertaking postgraduate Gareth undertook postgraduate research scholars reading a variety of subjects. Alfred Desenclos, Francis Poulenc and Pierre performance diplomas at the in Theology and Philosophy from London Villette (DCD34136). A recording partnership Royal Academy of Music in University’s Heythrop College before embarking King’s College London, part of the University with the Choir of Gonville and Caius College,

©Holly Slater London (receiving the upon a doctorate in the Theology Department of London, was itself founded in 1829. Besides Cambridge has also yielded two releases to DipRAM for an outstanding final recital) where at King’s College London, where he researches providing music for the services in the College’s date – in 2008 the combined choirs recorded he became a Fellow, and subsequently lecturer, the contribution of music to the growth of magnificent chapel, designed by Sir George Rodion Shchedrin’s monumental The Sealed in Academic Studies between 2000 and atheism in nineteenth-century Europe. He has Gilbert Scott in the mid-nineteenth century and Angel (DCD34067), receiving the ‘Editor’s 2004. At the same time, he joined the Music given numerous talks and lecture courses on recently restored, the choir has an international Choice’ distinction in Gramophone magazine, Department at King’s College London and, in this subject at King’s and beyond. reputation as one of Britain’s leading and in June 2013 the ‘superchoir’ issued a disc 2012, was appointed an academic professor at collegiate mixed-voice choirs, especially for its of German Romantic choral music (DCD34124), the Royal College of Music. Following the death of David Trendell, he was performances of Renaissance polyphony. including Richard Strauss’s virtuosic and little- appointed Acting Director of The Choir of King’s performed 20-part Deutsche Motette. He also lectures for the Royal College of College London, with whom he gave numerous The choir gives many concerts, both in England Organists and, in addition to freelance concerts, toured Italy, and broadcast on BBC and abroad. It has recently given concerts work as a choral conductor, is Director of Radio 3. In 2015, he became the first member Music at Christ Church, Chelsea, where of the Music Department at King’s to win a has been responsible for the composition, KCL Teaching Excellence Award, having been commissioning and directing of over 150 new nominated in 2011 and 2012. He has recently works for the Anglican liturgy as well as playing been appointed Director of Chapel Music at a leading role in the installation of the church’s Girton College in the University of Cambridge, Flentrop organ. His liturgical music has been where he is also a member of the Music Faculty. The Choir of King’s College London With grateful thanks to: Sopranos Tenors Stephen and Jenny Harrow Antony Garstone Bob Allies & Jill Franklin Robyn Donnelly Miles Ashdown Leah Thomas Jonathan & Madeline Holl Julian Woodward Mimi Doulton James Green Louise Martin (née Poole) Helly Louis d’Heudieres Bevis Hungate Michael and Betty Trendell Stephen and Felicity Rice Mary Fraser Sam Lyons Patrick Anna Dymond Laura Elworthy Elizabeth Gornall Jaivin Raj Simon Lascelles Polly Jeffries Amanda Dean Lindsey James James Rhoads Verity Louise Drewett Oli Gerrish Charlotte Nohavicka Cheyney Kent MegG Graham Thorpe’s Parents Ciara Power Basses Louise McPhee Tom and Phyllis Wilson Sam P Imogen Vining Freddie Benedict Silvina Milstein James Baker James Green Emma Hopegood John Ferguson and Oonagh Lee Isabel (ex-St M’s B St) Eleanor Williams Joey Edwards Rose Martin Ed Elias Holly Rebecca Widdicombe Alex Pratley Felix Jeremy Leaman Michael Kris Eleanor Wood Scott Richardson Lucy Baxandall and Martin Stokes Gillian Bragg Charlotte Martha Woodhams Dominic Veall Alison Esther and Aidan Platten Josiah and Esther Moody Tom Wood Roger Parker Olive Simpson Lilley of the Valley Altos Sally Dunkley Jonathan Freeman-Attwood Ian & Louise Jay & Phoebe Benedict Hannah Templeton Fingal & Lea Rosanna Goodall Organ scholars Katie Bank Lawrence Davies Pol Caitlin Goreing Alexander May Hannah Lizzie Mannion Tristram Billie Hylton Graham Thorpe Maddy Allsop Charlotte and Simon Nash David Lee Roy and Kate Woodhams Julian Leang and the very many anonymous Matthew O’Keeffe Colin Menzies Billie Hylton donors Ben Taylor-Davies Jacob Werrin Also available on Delphian Allegri: Missae In lectulo meo & Christus resurgens, Miserere, Motets Rodion Shchedrin: The Sealed Angel The Choir of King’s College London / David Trendell Choir of Gonville & Caius College, Cambridge; The Choir of King’s College London DCD34103 Geoffrey Webber & David Trendell conductors, Clare Wills DCD34067 Gregorio Allegri deserves better than for his reputation to rest on just one piece. Alongside his iconic Miserere, which never fails to cast its spell on Two of Britain’s finest collegiate choirs join forces and cross a continent to listeners, the Choir of King’s College London presents premiere performances take on the sublime expressiveness of Rodion Shchedrin’s ‘Russian liturgy’, of two of his five surviving masses, richly wrought with consummate skill an astonishing statement of faith composed in the early days of perestroika. in Palestrina’s prima prattica, and of their originating motets. These radiant Shchedrin’s choral tableaux juxtapose tenderness with bracing sonic performances shed new light on a much-loved composer. impact, and are shadowed throughout by the plangent voice of a solo oboe representing the soul of the Russian people. ‘David Trendell’s fine choir glows with warmth and commitment’ — The Observer, May 2012 ‘Caught here in fine sound, this is a splendid disc of a multifaceted, many- layered modern masterpiece’ — Gramophone, June 2009, EDITOR’S CHOICE

Desenclos / Poulenc / Villette: Sacred Choral Works Deutsche Motette The Choir of King’s College London / David Trendell Choir of Gonville & Caius College, Cambridge; The Choir of King’s College London DCD34136 Geoffrey Webber & David Trendell conductors DCD34124 Winner of the coveted Prix de Rome, Alfred Desenclos remains an almost unknown figure in twentieth-century music. His contribution to the Delphian’s superchoir reunites after its highly successful recording of The distinguished French tradition of Requiem Mass settings dates from 1963; Sealed Angel, this time for a unique programme of German music from incorporating influences from Gregorian chant as well as rich harmonies Schubert to Richard Strauss. Strauss’s sumptuous Deutsche Motette is the based on added-note chords, this piece with its passionate outpourings is last word in late Romantic choral opulence, its teeming polyphony brought a revelation. It forms the centrestone of David Trendell’s programme, which to thrilling life by this virtuoso cast of over sixty singers. The rest of the also features music by Villette – who shared Desenclos’ interest in jazz – programme explores the vivid colours and shadowy half-lights of a distinctly and Poulenc, whose return to Catholicism in 1936 initiated a line of pieces, German music that reached its culmination in Strauss’s extravagant beginning with the Litanies à la Vierge noire de Rocamadour, that represent masterpiece. The singing throughout combines a musical intensity and some of the most significant religious choral music of the twentieth century. imagination with an understanding of period style, two qualities that are Trendell’s choir is on ravishing form, and the organ at his alma mater, Exeter hallmarks of both choirs’ work. College, Oxford, fits this music like a velvet glove. ‘Credit to conductor David Trendell for eliciting that sustained intensity ‘spaciously dignified and meditative … [The choir] has a formidable musical of expression from his combined college choirs, whose youthful timbre unity under David Trendell’ imparts a freshness which … suits the imprecatory nature of Rückert’s — Sunday Times, March 2014 poem perfectly’ — BBC Music Magazine, August 2013 Also available on DelphianDelphian LaInto Fauvette this World Passerinette: this Day did a Messiaencome: carols premiere, contemporary with birds, & medieval The Merton Collection: Merton College at 750 landscapesChoir of Gonville & homages & Caius College, Cambridge / Geoffrey Webber Choir of Merton College, Oxford / Benjamin Nicholas & Peter Phillips PeterDCD34075 Hill DCD34134 DCD34141 A typically intriguing and unusual programme from the Choir of Gonville & In 2014, the University of Oxford’s Merton College celebrates its 750th InCaius 2012, College, leading Cambridge,pianist and Messiaen combining scholar English Peter works Hill made from athe remarkable twelfth to year. Benjamin Nicholas and Peter Phillips’ specially conceived journey discoverysixteenth amongcenturies the withcomposer’s medievally-inspired papers: several carols pages by of some tightly of written our finest through seven centuries of choral repertoire provides a bird’s-eye view of manuscriptliving composers. from 1961, From constituting the plangent a near-complete innocence of and William hitherto Sweeney’s unknown The work some important moments in musical history, and features two composers forInnumerable piano. Hill wasChrist able to tothe fill shining in some antiphony missing dynamicsof Diana Burrell’sand articulations Creator by personally associated with the College – and Lennox consultingof the Stars Messiaen’s of Night, birdsongthis selection notebooks, will seduce and here and sets enchant. this glittering The choral addition Berkeley – as well as three new works commissioned for the anniversary tosinging Messiaen’s combines piano polish output with in the verve, context and both director of the Geoffrey composer’s Webber’s own earlier celebrations. The choir, a relatively recent addition to this illustrious college’s workmeticulous and of musicattention by theto detailmany isyounger floodlit composers by the bathing on whom acoustics Messiaen of St was Anne’s a complement of treasures, gives stylish and committed performances in the profoundCathedral, influence Belfast. – from Stockhausen and Takemitsu to George Benjamin, who famous acoustic of Merton’s thirteenth-century chapel. like Hill himself worked closely with the composer in the years before his death. ‘stunning … an unflinching modern sound with an irresistible spiritual ‘fine musicianship, commitment and versatility’ ‘Adimension’ new Messiaen work may be the focus here, but this would be an outstanding — Choir & Organ, January/February 2014 —recital Norman even Lebrecht,without that www.scena.org, enticement … Hill’s March poetry 2014 and sense of colour are stronger than ever’ –In BBC Praise Music of Magazine,St Columba: October The Sound-world 2014, INSTRUMENTAL of the Celtic CHOICE Church Viri Galilaei: Favourite Anthems from Merton Barnaby Brown triplepipes, Choir of Gonville & Caius College, Cambridge / Choir of Merton College, Oxford / Benjamin Nicholas & Peter Phillips ‘rewardingly substantial … [an] outstanding recital disc. The appeal is greatly Geoffrey Webber DCD34174 enhanced by the exceptional quality of the recording’ DCD34137 – Gramophone, December 2014, EDITOR’S CHOICE Now firmly established amongst Oxbridge’s finest choral foundations and Just as the influence of Irish monks extended not only across Scotland at the same time certainly its youngest, the Choir of Merton College can Also shortlisted at the 2015 Gramophone Awards but also to mainland Europe, so we imagine our way back down the be relied upon to present a selection of favourite anthems which similarly centuries into 7th-century hermits’ cells, 10th-century Celtic foundations in combines fresh inspiration with timeless musical values. The choir’s Switzerland, and the 14th-century world of Inchcolm Abbey, the ‘Iona of the fifth Delphian recording in five years again showcases the talents of its East’ in the Firth of Forth. Silent footprints of musical activity – the evidence joint directors Benjamin Nicholas and Peter Phillips, with Phillips’ love of of early notation but also of stone carvings, manuscript illuminations, and polyphony complemented by Nicholas’s flair and commitment in some of the documents of the early Church – have guided both vocal and instrumental twentieth century’s major choral works. Bookending these ‘favourites’ are approaches in the choir’s work with scholar and piper Barnaby Brown, an Patrick Gowers’ now iconic Ascension Day anthem Viri Galilaei and Jonathan exciting extended collaboration which was further informed by oral traditions Dove’s newly minted Te Deum, commissioned by Merton College as part from as far afield as Sardinia and the Outer Hebrides. of the Merton Choirbook – the largest series of commissions of its kind in modern times, created in celebration of the College’s 750th anniversary. ‘performances of grace … musical conviction and beauty of tone’ — BBC Music Magazine, September 2014, CHORAL & SONG CHOICE New in March 2016 In memory ofDavid In memory

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