Introduction from Nigel Short

Russian Treasures is the twentieth album from Churches, dating back to the 16th century and Tenebrae and this release has further signifi cance evolving more-or-less uninterrupted until the as it sees the launch of the new label, Bene Arte, sudden decline in the Church’s fortunes which established exclusively to record the choir. Russian accompanied the Bolshevik Rebellion in 1917. choral music has been a feature in Tenebrae’s From Kedrov’s intensely spiritual yet delicate setting concert performances since the choir’s inception so of the Lord’s Prayer and Kalinnikov’s comparatively it seemed appropriate for us to record some of this light and lyrical feel, to the more traditional dark, exquisite music, sharing some little-known gems as rich and heavy textures of Rachmaninov, this disc is well as some familiar favourites from this vast area punctuated by those unmistakable Russian forces. of choral repertoire. Over the years we have worked extensively with It was in the early nineties, when I was travelling Russian language coaches whilst nurturing our in Russia, that I became captivated by the intense own characteristics of passion and precision to spirituality of the Russian Orthodox Liturgy and the deliver a special and heartfelt tribute to the powerful and mystical effect it has when combined music of these great composers. Thank you with the gloriously sonorous music sung so to everyone who has been involved in bringing beautifully by the native choirs. I found old music this album to fruition, especially the singers. shops, seeking original manuscripts or anything To you, the listeners, we hope you enjoy this choral I could lay my hands on. I soon started to selection of treasured pieces of music. build a collection of one-of-a-kind scores not just from the renowned and celebrated composers but also some relatively obscure names largely unheard-of outside Russia. It was this uniqueness that inspired me for this album of sacred Russian Nigel Short Orthodox music, especially knowing that some of these pieces have never before been recorded in the Nigel and Tenebrae are extremely grateful to James UK. There is a wealth of choral music associated and Ginny Turnbull for their wonderful support of with the Liturgy from the Russian Orthodox Tenebrae and for making this recording possible.

2 “I would like to try to do something for church “I want, but only to a certain extent, to retrieve music”, wrote Tchaikovsky to his patroness ecclesiastical music from its excessive Europeanism Nadezhda von Meck in 1878. “I can see certain not so much by means of theory as by artistic merits in Bortnyansky, Berezovsky and so forth, but sensitivity”. The exquisite choral piece we hear by their music is so utterly out of harmony with the Tchaikovsky on this disc is not from either church Byzantine style of the architecture and the icons, service but an arrangement of the best-loved 1 Alexander Gretchaninov Nïne silï nebesnïya 5.40 with the whole structure of the Orthodox service.” among his Sixteen Songs for Children, Op. 54 – 2 Sergei Rachmaninov Nïne otpushchayeshï 3.33 the ‘legend’ of the Christ child crowned with 3 Nikolay Golovanov Heruvimskaya pesn 4.35 The time for a revival of Old Church Slavonic thorns. It’s in English because in addition to an 4 Sergei Rachmaninov Priidite, poklonimsia 2.07 settings was ripe. The Russian art of church orchestral transcription Tchaikovsky also adapted 5 Sergei Rachmaninov Heruvimskaya pesn 4.29 singing embodied in the znamenny or sign chant, it for unaccompanied choir for a New York 6 Sergei Rachmaninov Tebe poyem 2.21 running parallel to the neumes or notational performance in 1891 following Schütz’s Seven Last 7 Nikolay Golovanov Slava Ottsu (Yedinorodnï) 3.59 symbols of western medieval religious works but so Words. The (un)orthodoxy lies in the second half of 8 Pavel Chesnokov Svete tihiy 2.50 different both to those and to the music of Greek each verse, where the composer has harmonised his 9 Pavel Chesnokov Tebe poyem 3.38 Orthodoxy owing to the special character of the own treatment of an ‘unusual’ church melody. 10 Viktor Kalinnikov Svete tihiy 2.24 Russian language, was carried over on the thinnest 11 Sergei Rachmaninov Bogoroditse Devo 3.06 of threads to the 17th century. But following the Tchaikovsky was surprised to learn on setting 12 Sergei Rachmaninov Blazhen muzh 5.37 fascination of Peter the Great and his line with his fi rst liturgy that “composing for the Church 13 Sergei Rachmaninov Otche nash 3.54 Italian music, the tradition was buried alive while is the monopoly of the [Court] Chapel, that it is 14 Pavel Chesnokov Heruvimskaya pesn 2.25 native composers like Dmitri Bortnyansky moved forbidden to print or sing in churches anything 15 Nikolay Golovanov Otche nash 3.29 into what Tchaikovsky called over-ornamented that had not been published in the edition of the 16 Pyotr Ilyich Tchaikovsky Legend (The Crown of Roses) 2.55 “bad style…exceedingly dismal tripe” which was Chapel”. His publisher took the Chapel to court 17 Nikolay Kedrov Otche nash 2.34 “laborious and tedious” to work on in a new edition. and won. Further freedoms were encouraged by 18 Sergei Rachmaninov Vzbrannoy voyevode 1.46 a crucial institution, the Moscow Synodal School

Total Timing 61.27 Nevertheless, that is what Tchaikovsky did, in for Church Music. It had led an almost invisible 1881, and to salve his conscience he worked on existence until a musical fi rebrand, Stepan a setting of the orthodox All-Night Vigil, which Smolensky, took charge in 1889. He had just he promised would be “much less European” than overhauled Alexander Mezenetz’s life-saving 1668 the Liturgy of St John Chrysostom he had ‘composed’ collection of znammeny melodies and encouraged in that fi rst fl ush of enthusiasm for church music: his pupils to read music from the ‘signs’. www.tenebrae-choir.com

4 5 Among those pupils were Alexander Scriabin and to the plangent tenor solo. As Rachmaninov wrote Of the other composers featured in this selection, chromaticism, is well represented by the three Sergey Rachmaninov, and it was with Rachmaninov to his fi rst biographer: only Alexander Gretchaninov had anything like numbers here. The rich divisions of Svete tihiy that the legacy bore the most extraordinary fruit. Tchaikovsky’s or Rachmaninov’s grasp of the (Gladsome Light) and this fl owing Heruvimskaya The stepwise movements of the native chants “I should like this sung at my funeral [it was]. entire musical spectrum, and by comparison pesn (Cherubic Hymn) speak of radiance, but informed all his major works, from the openings Towards the end there is a passage sung by the basses he never came as close to the old style of perhaps most remarkable – indeed for me the of all three of his symphonies to the fi rst piano – a scale descending to the lowest B fl at in a very slow Byzantine-based inspiration in his church real discovery here – is the setting of Tebe poyem melodies of the Second and Third Piano Concertos. pianissimo. After I played this passage Danilin [the settings. He did make contact with Smolensky, (We hymn thee) from the Liturgy of St John His most specifi c triumph in the fi eld, though, was conductor of the Moscow Synodal Choir at the consulting him only to do otherwise in works like Chrysostom. It begins in a very dark B minor the All-Night Vigil or Vespers of 1915, where, like fi rst performance] shook his head, saying, ‘Now the Liturgy of the Presanctifi ed Gifts, where Nïne underpinned by the basses’ next-to-lowest note Tchaikovsky, he followed the rules of the church where on earth are we to fi nd such basses? They are silï nebesnïya (Now the Powers of Heaven) shows and miraculously fi nds its way into D major light. in using traditional chants for adaptation from as rare as asparagus at Christmas!’ Nevertheless, he a wonderful sense of choral richness in its eight- More needs to be written about Chesnokov, Kievan originals onwards, employing six original did fi nd them. I know the voices of my countrymen part writing, with richer harmonies than would but the 70-year shutdown on religious music melodies in what he called “conscious counterfeit” well, and I well know what demands I could make be appropriate in more faithful znammeny-style has seen him marginalised. of the ritual. Like Tchaikovsky, Rachmaninov was upon Russian basses.” composing. One repeated vocal line would not be less proud of having started out with a Liturgy out of place in a lush Glazunov symphony. Scholar Viktor Kalinnikov was the younger brother of of St John Chrysostom fi ve years earlier, though The basses of Tenebrae can manage it, too: in fact of Russian folk and church music Alfred Swan the much more celebrated Vasily, famous for a there are many beautiful individual settings here, the lowest of the low notes, that famous B fl at, is condemned Gretchaninov’s “hunt for prettiness”, well-constructed First Symphony rich in melody. too, especially the Cherubic Hymn with its lines heard on each of the fi rst three tracks. Two other but this piece is none the worse for that, if unique Vasily died tragically young in 1901, while Viktor descending on the sopranos from heaven and later numbers from the Vespers favour the blossoming in Tenebrae’s context. pursued his studies at the unavoidable Moscow ascending after a great blaze. of sopranos from the single line of Rachmaninov’s Synodal School, continuing there when it fell ‘counterfeit’ chant in Bogoroditse Devo (Rejoice/ Ploughing a narrower, at fi rst totally devout under the aegis of the Moscow Conservatory, It was the Vesper setting, though, of which Ave Maria) and Blazhen muzh (Blessed is the man), fi eld, Pavel Chesnokov was a faithful acolyte of only to fold completely in 1923. Of his twenty-four Rachmaninov remained most proud, ranking while the celebratory Vzbrannoy voyevode (Hymn Smolensky at the Synodal School. Tellingly, he told sacred settings, only one uses an original znammeny it alongside his choral symphony The Bells as his of Thanksgiving) which ends this programme Swan in 1933 “I have devoted my life to choral chant, though the rest, like much of Rachmaninov’s favourite work. And his favourite number, he has a hint of the syncopations which power the music, have written about 500 religious and 100 religious works, follow the idiom faithfully. There declared several times throughout his later years, Gloria at the end of Rachmaninov’s longest, secular choruses”. The reason for the turn to the is an unexpected note of Tchaikovskyan pathos was the setting of the Song of Simeon, the New ninth setting, the one which he quoted as a secular should be obvious: the Revolution of in the second Svete tihiy (Gladsome Light) on Testament text we know as the Nunc Dimittis, victory over death in his swansong orchestral 1917, the fallout from which soon put a stop to this disc, though the vocal lines blossom with which begins so unforgettably with cradle work the Symphonic Dances. the composition of religious music. Chesnokov’s an apt, forward-moving sincerity. rockings from the upper voices to give a halo chaste style, with only the occasional discreet

6 7 If we know the name of Nikolay Golovanov at all form a vocal quartet in 1897. The group travelled Texts and Translations in the west, it is as a very eccentric, some would widely, recording an album with Chaliapin in say wilful but certainly masterly interpreter of London, and it was for his little ensemble that 1. Nïne silï nebesnïya - Gretchnaninov 1. Now the Powers of Heaven Russian symphonic and operatic classics. Born the Kedrov wrote his Otche nash, simplicity itself, Nïne silï nebesnïya s nami nevidimo sluzhat: Now the Powers of Heaven do serve invisibly with us; same year as Sergey Prokofi ev, he did not share especially as compared with Golovanov’s version. se bo fhodit Tsar’ slavï, lo, the King of Glory enters. Prokofi ev’s tragedy of dying on the same day as Like Gretchaninov and Rachmaninov, Kedrov se, Zhertva taynaya sovershena dorinositsia. Lo, the mystical sacrifi ce is upborne, fulfi lled. Stalin in 1953, but he died no less prematurely adapted to post-revolutionary exile, settling fi rst Veroyu i liuboviyu pristupim, Let us draw near in faith and love that August, destroyed by his dismissal from an in Berlin and then in Paris. He formed another da prichastnitsï zhïzni vechnïya budem. and become communicants of life eternal. important post at the Bolshoy Theatre. Allegedly quartet which proved equally successful, and the Alliluiya, alliluiya, alliluiya. Alleluia, alleluia, alleluia. the punishment was for his having engaged a family business was continued after his death by Jewish bass, Mark Reizen, for a distinguished Nikolay Junior (whose sister, incidentally, was the 2. Nïne otpushchayeshï - Rachmaninov 2. Lord, now lettest Thou (Nunc dimittis) recording of Mussorgsky’s Boris Godunov. actress Lila Kedrova, to be heard in the London from All-Night Vigil Lord, now lettest Thou Thy servant cast recording of Kander and Ebb’s Cabaret). Nïne otpushchayeshï raba Tvoyego, Vladïko, depart in peace, according to Thy word, Golovanov’s earlier life was happier and he too Russian liturgical music’s fate in its homeland, po glagolu Tvoyemu s mirom, for mine eyes have seen Thy salvation, trained at the Moscow Synodal School, later meanwhile, became a desperate one. Its sad yako videsta ochi moi spaseniye Tvoye, which Thou hast prepared before the face assisting that same Danilin who gave the fi rst symbolic envoi is encapsulated by Chesnokov’s yezhe yesi ugotoval pred litsem fseh liudey, of all people— performance of Rachmaninov’s All-Night Vigil. fate, shocked into creative silence by the 1933 svet vo otkroveniye yazï kov, a light to enlighten the Gentiles, This Heruvimskaya pesn (Cherubic Hymn) destruction of the Cathedral of Christ the i slavu liudey Tvoih Izrailia. and the glory of Thy people Israel. was his Op. 1 No. 1, richly harmonised for Saviour in Moscow, where he had been four-part tenors and basses. His Otche nash choirmaster, to make way for a new House of 3. Heruvimskaya pesn - Golovanov 3. Cherubic Hymn (Our Father) is the most illustrative of the Soviets. That remained unbuilt and a swimming Izhe heruvimï tayno obrazuyushche, i Let us who mystically represent the Cherubim, text, with striking parallel lines and a pool stood on the site until the lavish zhïvotvoriashchey Troitse and who sing the thrice-holy hymn to the passage marked “with desperation” before the reconstruction of the cathedral in the 1990s. trisviatuyu pesn pripevayushche, life-creating Trinity, misterioso conclusion. The Russian Orthodox church is now, of course, fsiakoye nïne zhïteyskoye otlozhïm popecheniye. now lay aside all cares of this life, renascent in an complex bond with government Amin. Amen. One last Otche nash has the most intriguing of all and power, but the old glories of its church Yako da Tsaria fseh podïmem, That we may receive the King of All, the biographical backgrounds. Nikolay Kedrov music are also very much alive. Angelskimi nevidimo dorinosima chinmi. who comes invisibly upborne by the angelic host. was a fi ne baritone who graduated from the St Alliluiya, alliluiya, alliluiya. Alleluia, alleluia, alleluia. Petersburg Conservatory to sing at the Bolshoy David Nice © 2013 and Mariinsky theatres and, more lucratively, to

8 9 4. Priidite, poklonimsia - Rachmaninov 4. Come, let us worship Yedinorodnï Sïne i Slove Bozhï, both now and for ever, and to the ages of ages. Amen from All-Night Vigil from All-Night Vigil bezsmerten sï, Only-begotten Son and Word of God, Priidite, poklonimsia, Come, let us worship i izvolivï spasenia nashego radi voplotitisia Who, being immortal, i pripadem ko Hristu. and fall down before Christ. ot sviatïa Bogoroditsï i Prisnodevï Marii, didst accept for our salvation to be made fl esh Spasi nas, Sïne Bozhïy, O Son of God, neprelozhno vochelovechivïsia, raspnïsa zhe from the holy Mother of God and ever-virgin Mary, voskresïy iz mertvïh, who didst rise from the dead, Hriste Bozhe, and without change became man, poyushchiya Ti: save us who sing to Thee: smertiu smert popravnï, and was crucifi ed; O Christ our God, Alliluiya. Alleluia. yedin sï Sviatïa Troitsï, trampling down death by death, sproslavlayemï Ottsu, O Thou who art one of the Holy Trinity, 5. Heruvimskaya pesn - Rachmaninov 5. Cherubic Hymn i Sviatomu Duhu: spasi nas. glorifi ed with the Father and the Holy Spirit: save us. from Liturgy of St. John Chrysostom from Liturgy of St. John Chrysostom Izhe heruvimï tayno obrazuyushche, i Let us who mystically represent the Cherubim, 8. Svete tihiy - Chesnokov 8. Gladsome Light zhïvotvoriashchey Troitse and who sing the thrice-holy hymn to the life-creating Svete tihiy sviatïya slavï Bezsmertnago Gladsome Light of the holy glory of the Immortal One trisviatuyu pesn pripevayushche, Trinity, Ottsa Nebesnago, Sviatago, Blazhennago, the Heavenly Father, holy and blessed fsiakoye nïne zhïteyskoye otlozhïm popecheniye. now lay aside all cares of this life, Iisuse Hriste! O Jesus Christ! Amin. Amen. Prishedshe na zapad solntsa, Now that we have come to the setting of the sun, Yako da Tsaria fseh podïmem, That we may receive the King of All, videvshe svet vecherniy, and behold the light of evening, Angelskimi nevidimo dorinosima chinmi. who comes invisibly upborne by the angelic host. poyem Ottsa, Sïna i Sviatago Duha, Boga. we praise the Father, Son, and Holy Spirit God. Alliluiya, alliluiya, alliluiya. Alleluia, alleluia, alleluia. Dostoin yesi vo fsia vremena Thou art worthy at every moment pet bïti glasï prepodobnïmi; to be praised in hymns by reverent voices. 6. Tebe poyem - Rachmaninov 6. We hymn Thee Sïne Bozhïy, zhïvot dayay, O Son of God, Thou art the Giver of Life; from Liturgy of St. John Chrysostom from Liturgy of St. John Chrysostom temzhe mir Tia slavit. therefore all the world glorifi es Thee. Tebe poyem, We hymn Thee, Tebe blagoslovim, we bless Thee, 9. Tebe poyem - Chesnokov 9. We hymn Thee Tebe blagodarim, Ghospodi, we give thanks to Thee, O Lord, Tebe poyem, We hymn Thee, i molimtisia, Bozhe nash. and we pray unto Thee, O our God. Tebe blagoslovim, we bless Thee, Tebe blagodarim, Ghospodi, we give thanks to Thee, O Lord, 7. Slava Ottsu (Yedinorodnï) - Golovanov 7. Glory to the Father (Only-begotten) i molimtisia, Bozhe nash. and we pray unto Thee, O our God. Slava Ottsu i Sïnu i Sviatomu Duhu, Glory to the Father, and to the Son and to the i nïne i prisno, i vo veki vekov. Amin. Holy Spirit,

10 11 10. Svete tihiy - Kalinnikov 10. Gladsome Light i raduytesia Yemu s trepetom. and rejoice in Him with trembling. Svete tihiy sviatïya slavï Bezsmertnago Gladsome Light of the holy glory of the Alliluiya, alliluiya, alliluiya. Alleluia, alleluia, alleluia. Ottsa Nebesnago, Sviatago, Blazhennago, Iisuse Immortal One — Blazheni fsi nadeyushchiisia nan’. Blessed are all who take refuge in Him. Hriste! the Heavenly Father, holy and blessed — Alliluiya, alliluiya, alliluiya. Alleluia, alleluia, alleluia. Prishedshe na zapad solntsa, O Jesus Christ! Voskresni, Ghospodi, spasi mia, Bozhe moy. Arise, O Lord! Save me, O my God! videvshe svet vecherniy, Now that we have come to the setting of the sun, Alliluiya, alliluiya, alliluiya. Alleluia, alleluia, alleluia. poyem Ottsa, Sïna i Sviatago Duha, Boga. and behold the light of evening, Ghospodne yest’ spaseniye Salvation belongs to the Lord, Dostoin yesi vo fsia vremena we praise the Father, Son, and Holy Spirit — God. i na liudeh Tvoih blagosloveniye Tvoye. and Thy blessing be upon Thy people. pet bïti glasï prepodobnïmi; Thou art worthy at every moment Alliluiya, alliluiya, alliluiya. Alleluia, alleluia, alleluia. Sïne Bozhïy, zhïvot dayay, to be praised in hymns by reverent voices. Slava Ottsu, i Sïnu, i Sviatomu Duhu, Glory to Father, Son, and Holy Spirit, temzhe mir Tia slavit. O Son of God, Thou art the Giver of Life; i nïne i prisno, i vo veki vekov. Amin. both now and ever, and unto ages of ages. Amen. therefore all the world glorifi es Thee. Alliluiya, alliluiya, alliluiya. Alleluia, alleluia, alleluia. Slava Tebe, Bozhe. Glory to Thee, O God! 11. Bogoroditse Devo - Rachmaninov 11. Rejoice, O Virgin (Ave Maria) from All-Night Vigil from All-Night Vigil 13. Otche nash - Rachmaninov 13. Our Father Bogoroditse Devo, raduysia, Rejoice, O Virgin Theotokos, from Liturgy of St. John Chrysostom from Liturgy of St. John Chrysostom blagodat na ya Mariye, Ghospod s To boyu; Mary full of grace, the Lord is with thee. Otche nash, Izhe yesi na nebeseh, Our Father, Who art in heaven, blagoslovenna Tï v zhenah, Blessed art thou among women, da sviatitsia imia Tvoye, hallowed be Thy name. i blagosloven Plod chreva Tvoyego, and blessed is the Fruit of thy womb, da priidet Tsarstviye Tvoye, Thy Kingdom come. yako Spasa rodila yesi dush nashïh. for thou hast borne the Saviour of our souls. da budet volia Tvoya, Thy will be done yako na nebesi i na zemli. on earth as it is in heaven. 12. Blazhen muzh - Rachmaninov 12. Blessed is the man Hleb nash nasushchnïy dazhd’ nam dnes’, Give us this day our daily bread; from All-Night Vigil from All-Night Vigil i ostavi nam dolgi nasha, and forgive us our debts, Blazhen muzh, Blessed is the man, who walks not in the counsel of yakozhe i mï ostavliayem dolzhnikom nashïm: as we forgive our debtors; izhe ne ide na sovet nechestivïh. the wicked. I ne vvedi nas vo iskusheniye, and lead us not into temptation, Alliluiya, alliluiya, alliluiya. Alleluia, alleluia, alleluia. no izbavi nas ot lukavago. but deliver us from the Evil One. Yako vest’ Ghospod’ put’ pravednïh For the Lord knows the way of the righteous, i put’ nechestivïh pogibnet. but the way of the wicked will perish. 14. Heruvimskaya pesn - Chesnokov 14. Cherubic Hymn Alliluiya, alliluiya, alliluiya. Alleluia, alleluia, alleluia. Izhe heruvimï tayno obrazuyushche, i Let us who mystically represent the Cherubim, Rabotayte Ghospodevi so strahom, Serve the Lord with fear zhïvotvoriashchey Troitse and who sing the thrice-holy hymn to the life-creating

12 13 trisviatuyu pesn pripevayushche, Trinity, The Boy said humbly: “Take, I pray, fsiakoye nïne zhïteyskoye otlozhïm popecheniye. now lay aside all cares of this life, All but the naked thorns away.” Amin. Amen. Then of the thorns they made a crown, Yako da Tsaria fseh podïmem, That we may receive the King of All, And with rough fi ngers press’d it down, Angelskimi nevidimo dorinosima chinmi. who comes invisibly upborne by the angelic host. Till on his forehead fair and young, Alliluiya, alliluiya, alliluiya. Alleluia, alleluia, alleluia. Red drops of blood, like roses sprung.

15. Otche nash - Golovanov 15. Our Father 17. Otche nash - Kedrov 17. Our Father Otche nash, Izhe yesi na nebeseh, Our Father, Who art in heaven, Otche nash, Izhe yesi na nebeseh, Our Father, Who art in heaven, da sviatitsia imia Tvoye, hallowed be Thy name. da sviatitsia imia Tvoye, hallowed be Thy name. da priidet Tsarstviye Tvoye, Thy Kingdom come. da priidet Tsarstviye Tvoye, Thy Kingdom come. da budet volia Tvoya, Thy will be done da budet volia Tvoya, Thy will be done yako na nebesi i na zemli. on earth as it is in heaven. yako na nebesi i na zemli. on earth as it is in heaven. Hleb nash nasushchnïy dazhd’ nam dnes’, Give us this day our daily bread; Hleb nash nasushchnïy dazhd’ nam dnes’, Give us this day our daily bread; i ostavi nam dolgi nasha, and forgive us our debts, i ostavi nam dolgi nasha, and forgive us our debts, yakozhe i mï ostavliayem dolzhnikom nashïm: as we forgive our debtors; yakozhe i mï ostavliayem dolzhnikom nashïm: as we forgive our debtors; I ne vvedi nas vo iskusheniye, and lead us not into temptation, I ne vvedi nas vo iskusheniye, and lead us not into temptation, no izbavi nas ot lukavago. but deliver us from the Evil One. no izbavi nas ot lukavago. but deliver us from the Evil One.

16. Legend (The Crown of Roses) - Tchaikovsky 18. Vzbrannoy voyevode - Rachmaninov 18. To Thee, O Victorious Leader When Jesus Christ was yet a child, from All-Night Vigil from All-Night Vigil He had a garden small and wild, Vzbrannoy voyevode pobeditelnaya, To Thee, O victorious Leader of triumphant hosts, Wherein He cherished roses fair, yako izbavlshesia ot zlïh, we Thy servants, delivered from evil, And wove them into garlands there. blagodarstvennaya vospisuyem Ti offer hymns of thanksgiving, rabi Tvoi, Bogoroditse; O Theotokos! Now once, as summer time drew nigh, no yako imushchaya derzhavu nepobedimuyu, Since Thou dost possess invincible might, There came a troop of children by, ot fsiakih nas bed svobodi, set us free from all calamities, And seeing roses on the tree, da zovem Ti: so that we may cry to Thee: With shouts they pluck’d them merrily. “Ráduysia, Nevesto Nenevestnaya.” “Rejoice, O unwedded Bride!” “Do you bind roses in your hair?” They cried, in scorn, to Jesus there. Texts provided courtesy of Musica Russica www.musicarussica.com

14 15 Tenebrae

Their performance described as “devastatingly on the choral canon, with programmes spanning beautiful” (Gramophone), award-winning choir centuries and continents, including hauntingly Tenebrae, under the direction of Nigel Short, passionate works of Gesualdo and Victoria, the blend their passion for singing as if in a large powerful and dramatic choral music of the Russian cathedral choir with the breath-taking precision Orthodox Church, and the beautiful choral of a chamber ensemble. masterpieces of Poulenc. The unique demands of each piece are executed meticulously and As the fi rst ever group to be multi-nominated in the performed with equal passion and musicality. same category for the BBC Music Magazine Awards (2012), their recording of Victoria Requiem secured The choir have performed at some of the world’s the accolade for Best Choral Performance. Their most renowned festivals including the BBC Proms, recent recording of Fauré Requiem with the London Montreux Choral Festival, City of London Festival Symphony Orchestra was nominated for the 2013 and the Edinburgh Festival with concerts taking Gramophone Awards, having been described as “the place in venues such as St. Paul’s Cathedral, Abbaye very best Fauré Requiem on disc”. Tenebrae’s ever- Sainte Trinité de Lessay and Leipzig Gewandhaus. increasing discography has seen the group work with Signum, Deutsche Grammophon, LSO Live, Passion and Precision is Tenebrae’s motto, Decca, Warner Classics and EMI Classics, with their and through their continued dedication to most recent recording on Deutsche Grammophon performance of the highest quality, audiences the of Gesualdo Tenebrae Responsories and Victoria world over experience the power and intimacy Lamentations for Holy Saturday receiving a fi ve-star of the human voice. review in The Times (London).

Tenebrae is dedicated to supporting contemporary composers, and recent recordings have focused on works by Joby Talbot, Paul Mealor, Will Todd and Alexander Levine. Alongside this, they are masters of shedding a new and rich interpretative light

16 0 Nigel Short

Internationally-acclaimed conductor, Nigel Short, Aurora Orchestra and in Baroque repertoire, the is founder and Artistic Director of Tenebrae and English Concert. He has also made recordings with Tenebrae Consort. A former member of the record labels EMI Classics, Warner Classics, Decca world-renowned vocal ensemble The King’s Records, LSO Live and Signum Records. Singers, Nigel studied singing and piano at the Royal College of Music in London before working with a number of leading ensembles, graduating to a solo career in opera and oratorio across Europe.

On leaving The King’s Singers, Nigel formed Tenebrae in 2001 to create a virtuosic choir that embraced his dedication to passion and precision. Combining a large force of singers with the exactitude of a small ensemble, Tenebrae use movement, light and ambience to allow audiences to experience music from a fresh perspective.

Under his direction and vision, Tenebrae has enjoyed collaborations with talented composers and arrangers, pianists and organists of various musical genres, and now enjoys a reputation as one of the world’s leading choirs. Nigel’s live recording of Fauré Requiem with the London Symphony Orchestra was shortlisted in the choral category of the 2013 Gramophone Awards. Other orchestral collaborations have included the Chamber Orchestra of Europe, the Royal Philharmonic Orchestra, the English Chamber Orchestra, the

18 0 Recorded at the Church of St Augustine, Kilburn on 8-9 March 2013 Producer: Nicholas Parker Balance Engineer: Andrew Mellor Assisted by: George Pierson Edited and Mastered: Andrew Mellor

Special thanks to those who have contributed to the creation of this recording: Barbara Pollock James and Ginny Turnbull Musica Russica David Nice Aoife Daly Megan Davies ARTISTIC DIRECTOR ALTO BASS William Gaunt Nigel Short Carris Jones Joseph Cullen Matt Buchanan Amy Lyddon William Gaunt Rebecca Sparkes SOPRANO Martha McLorinan Jimmy Holliday Music Productions Ltd. Natalie Clifton-Griffi th Eleanor Minney Stephen Kennedy Signum Classics Grace Davidson Simon Ponsford James Mawson Design and Artwork: Woven Design Susanna Fairbairn Adrian Peacock www.wovendesign.co.uk Joanna Forbes L’Estrange TENOR Richard Savage Photography: Chris O’Donovan Emilia Hughes Benjamin Alden www.chrisodonovan.com Marie Macklin Jeremy Budd * solo (track 2) Katie Trethewey Robert Jacobs P Tenebrae Records Ltd. Amy Wood Matthew Long © Tenebrae Records Ltd. Nicholas Madden *

20 21 Tenebrae’s Recordings

Signum Classics SIGCD344 (2013) LSO Live LSO0607 (2007) Victoria: Tenebrae Responsories Handel: Messiah

Signum Classics SIDCD316 (2013) LSO Live LSO0606 (2007) Alexander Levine: The Divine Liturgy of Berlioz: L’enfance du Christ St John Chrysostom Signum Classics SIGCD078 (2006) Signum Classics SIGCD298 (2012) Joby Talbot: Path of Miracles Will Todd: The Call of Wisdom Warner Classics 2564 60191-2 (2004) Decca 4764814 (2011) Mozart: Requiem Paul Mealor: A Tender Light Signum Classics SIGCD054 (2005) Signum Classics SIGCD267 (2011) Rachmaninoff Vespers Hubert Parry: Songs of Farewell Signum Classics SIGCD050 (2004) Allegri Miserere Gesualdo Tenebrae Responsories and Victoria Signum Classics SIGCD212 (2010) Gaudete Signum Classics SIGCD085 (2006) Lamentations for Holy Saturday Alexander Levine: Prayers for Mankind Archiv: Deutsche Grammophon 0289 479 0841 8 Signum Classics SIGCD501 (2003) “an outstanding performance” CD DDD AH (2013) Signum Classics SIGCD197 (2010) Mother and Child The Daily Telegraph Poulenc: Figure Humaine “It is doubtful that [this] music is going to be as Signum Classics SIGCD046 (2002) “It’s beautifully sung, a wonderful disc” beautifully sung or as lusciously presented as it is here Signum Classics SIGCD182 (2009) The Dream of Herod BBC Music Magazine by Nigel Short’s outstanding Tenebrae” What Sweeter Music International Record Review

www.tenebrae-choir.com www.tenebrae-choir.com

22 23 Tenebrae Nigel Short

Victoria Requiem Mass 1605 Fauré Requiem and Bach Partitas Signum Classics SIGCD248 (2011) LSO Live LSO0728 (2012)

Winner of BBC Music Magazine Choral Award, 2012 “I have no hesitation in labelling this the very best Fauré Requiem on disc” Gramophone Magazine

www.tenebrae-choir.com