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Home , Angelus ad virginem, Organ scholar, Patrick Hadley, Personent hodie, William Mathias

RES10158 SAINT THOMASCHOIROFMEN&BOYS, DANCING DAY MUSIC FORCHRISTMAS FIFTH AVENUE,NEWYORK CONDUCTOR Matthew Martin (b. 1976) (b. 1945) Dancing Day 1. Novo profusi gaudio [3:36] Dancing Day Part 1 Music for Patrick Hadley (1899-1973) 17. Prelude [3:35] 2. I sing of a maiden [2:55] 18. ad virginem [1:55] 19. A virgin most pure [5:04] (1913-1976) 20. Personent hodie [1:57] A Ceremony of Carols, Op. 28 Part 2 Saint Thomas of Men & Boys, Fifth Avenue, New York 3. Procession [1:32] 21. Interlude [4:05] 4. Wolcum Yole! [1:24] 22. There is no rose [1:53] 3-15 & 17-24 5. There is no Rose [2:26] 23. Coventry Carol [3:54] Sara Cutler harp [1:46] 1 & 16 6. That yonge child 24. Tomorrow shall be my Stephen Buzard organ 7. Balulalow [1:21] dancing day [3:03] Benjamin Sheen organ 2 & 25-26 8. As dew in Aprille [1:02] 9. This little babe [1:30] Traditional English 10. Interlude [3:32] arr. (1937-2012) John Scott conductor 11. In Freezing Winter Night [3:50] 25. On Christmas Night [2:00] 12. Spring Carol [1:14] ( Carol) 13. Adam lay i-bounden [1:12] 14. Recession [1:37] (1934-1992) [1:41] 26. Wassail Carol Benjamin Britten 15. A New Year Carol [2:19] Total playing time [63:58] Traditional Dutch arr. John Scott (b. 1956) About the Saint Thomas Choir of Men & Boys: 16. King Jesus hath a garden [3:20]

‘The tone of the New York trebles is sweet and healthy’ Soloists: 6 BBC Music Magazine John Dominick Mignardi Sehjin Jo 7 & 22 Daniel Suter, Leif Pedersen 11 ‘The choir bring a sense of freshness, vigour and refinement to these works’ Ian Osborne & Nicholas Rhodes 12 MusicWeb International Conor Frost, Nicholas Rhodes & John Dominick Mignardi 15 Augustine Segger 22 Dancing Day: Music for Christmas the harpist. Up to this point Britten had not yet decided on treble voices to sing the work: Benjamin Britten (1913-1976) he variously described it as for ‘children’s A Ceremony of Carols voices’ and for ‘women's voices’. For the concert on 4 December, it was described After spending three years in the United as ‘for boys’ voices’. The work was immediately States and Canada, Britten returned to welcomed by critics. The anonymous critic in 1942. While waiting for a ship for The Times wrote on 22 December 1942 at Halifax, Nova Scotia, in March 1942 of the National Gallery performance that he bought a copy of The English Galaxy ‘the general effect is one of remarkable of Shorter Poems (edited by Gerald Bullett). spontaneity […] The series is something The voyage home was productive: not more than a ‘ceremony’; a group of only did he compose the to St exquisite short pieces which are a genuine Cecilia but also started work on a set enrichment of the repertory of carols.’ of carols, five of which were settings of medieval English texts from John Rutter (b. 1945) The English Galaxy. After he arrived Dancing Day in England (17 April), Britten added two further carols (’Wolcum Yole!’ and ‘Spring In 1973, the harpist Muriel Liddle asked Carol’). In this version (without ‘That John Rutter to compose a work for upper yongë Childe’ or the Interlude for harp), voices and harp. According to Rutter, Liddle A Ceremony of Carols was first performed hoped that ‘it would provide an occasional on 5 December 1942 in Norwich Castle, alternative, or indeed a companion piece’ sung by the women’s voices of the Fleet to Britten’s A Ceremony of Carols. While the Street Choir conducted by T.B. Lawrence, scale and scoring are similar, there’s also a with Gwendoline Mason as the harpist, crucial difference: Britten composed new repeating the work at the National Gallery settings of the texts, but Rutter based Concerts in London a few days later. Dancing Day on the traditional melodies Britten then revised the work into its as well. He was clearly attracted to the definitive form and this was given at challenge of following Britten (and Holst the Wigmore Hall on 4 December 1943 before him) in composing for a choir of with the Morriston Boys’ Choir conducted upper voices with harp. Described in the by Britten with Maria Korchinska as score as ‘a cycle of traditional Christmas carols’, Dancing Day was commissioned Patrick Hadley (1899-1973) The original version of Britten’s New Year William Mathias (1934-1992) by the West Midlands Arts Association I sing of a Maiden Carol was almost exactly contemporary Wassail Carol Op. 26 No. 1 and given its first performance in Coventry with Hadley’s I sing of a Maiden and it on 26 January 1974, and it is Wounded in the final weeks of the First was also first published in 1936, as the After studies at and dedicated to Muriel Liddle. Rutter later World War (he lost part of his right leg), fifth of the ‘twelve children’s songs’ in the (where he was wrote: ‘The first performance […] being Patrick Hadley went to Pembroke College, the collection Friday Afternoons for unison a pupil of ), Mathias quickly in I couldn’t resist Cambridge, where his father was Master, voices and piano. The anonymous medieval made a name for himself as a composer of including the Coventry Carol (with its then to the (RCM) text was drawn from Walter de la Mare’s vital, brilliantly scored orchestral music original vocal harmonies unaltered) in where he studied composition with Ralph 1931 anthology Tom Tiddler’s Ground. notable for their spicy harmonies (his first what turned out to be a cycle of six Vaughan Williams and conducting with Adrian In August 1971 Britten finished an two piano concertos are among his earliest carols, introduced by a harp prelude Boult. Hadley joined the staff of the RCM arrangement of the carol for high voices works). As a student in Aberystwyth, Mathias based on Angelus ad Virginem and in 1925 and his own compositions began (SSA) and piano, and this was published had composed a setting of the Gloria, and with a contrasting interlude inspired to be influenced the music of Delius and by Boosey and Hawkes the same year. in the early 1960s he began to produce a by There is no rose of such virtue, by folk music. In 1931 he composed The steady stream of church music – pieces another lovely medieval carol.’ Trees So High, a ‘symphonic ballad’, that John Scott (b. 1956) that he regarded as an extension of his was his first major work. His setting of ‘I King Jesus hath a Garden concert composing rather than as a separate Matthew Martin (b. 1976) sing of a maiden’ came a few years later: activity. The first performance of Mathias’s Novo profusi gaudio it was first published by the Year Book Both the words and music of King Jesus Wassail Carol was given at the Festival of Press in 1936 as No. 408 in its series of hath a Garden come from the Netherlands. in King’s College, Like so many medieval carol texts, ‘unison and part songs’, and it was The text was published in 1577 and the Cambridge, on 24 December 1964, with Novo profusi gaudio (’News of great joy’) described as a ‘two-part song for female melody a few years later in 1609. Reprinted the King’s College Choir conducted by David is a linguistic mish-mash, a so-called voices with piano accompaniment’. A in the collection Het oude Nederlandsche Willcocks. The that year was macaronic text combining Latin, English moving and tranquil setting of the same lied at the start of the twentieth century, the young Andrew Davis. and French. Marked ‘Festivamente’, medieval text that Britten was to include it was spotted by the priest and carol Matthew Martin’s setting is an energetic a decade later in A Ceremony of Carols collector George Ratcliffe Woodward, Philip Ledger (1937-2012) and exciting Christmas , driven (’As dew in Aprille’). Hadley returned to who asked his friend to On Christmas Night (Sussex Carol) by a flamboyant organ part. It was Cambridge in 1938 as a music lecturer harmonise the tune, the version in which first performed on 14 December 2010 and in 1944 composed his secular cantata, it became popular after being printed in The words of this carol were originally by the choir of Westminster The Hills. He continued to teach in the Cowley Carol Book in 1919. It was published in 1684 (in Ghent, Belgium) in Abbey conducted by Robert Quinney, Cambridge until his retirement in 1962. during his time as organ scholar at A Small Garland of Pious and Godly Songs and repeated at the Abbey’s Service St John’s College, Cambridge (1974–8) collected by Bishop Luke Waddinge for his of Lessons and Carols on 23 December. Benjamin Britten that John Scott made this arrangement. parishes in Wexford, Ireland. Given these A New Year Carol Irish-Belgian origins, it’s reasonable to ask how it came to be known as the ‘Sussex Carol’. The explanation is that on 24 May 1904, Vaughan Williams took down a version of the words and melody sung by Mrs Verrall of ‘Monk’s Gate, near Horsham, Sussex’ (his manuscript notes are headed ‘On Xmas Night’) and he subsequently included it in his Fantasia on Christmas Carols in 1912, as well as in carol collections including the first edition of the Oxford Book of Carols in 1928. Philip Ledger, a brilliant music who worked closely with Britten for many years, was Director of Music at King’s College, Cambridge from 1974 to 1982. His sparkling and ingenious arrangement of the Sussex Carol appeared several times in the annual Nine Lessons and Carols in those years, and it’s been sung regularly ever since.

© 2015 Nigel Simeone Texts & Translations From the rising of the sun, He came all so still Wolcum be ye, Stevene and Jon, As the world is long and wide, Where his mother lay, Wolcum, Innocentes every one, Matthew Martin (b. 1976) All mankind maketh glee, As dew in April Wolcum, Thomas marter one, 1. Novo profusi gaudio The angels sing to God. That falleth on the spray. Wolcum be ye, good Newe Yere, Novo profusi gaudio, Wolcum Twelfth Day both in fere, Benedicamus Domino. She brings forth a son, Mother and maiden Wolcum seintes lefe and dere. Whom the Holy Spirit enlarged; Was never none but she: Omnes gentes, plaudite, Blessed be time that she said ya, Well may such a lady Candelmesse, Quene of Bliss, Car notre Saviour est né; the messenger. God’s mother be. Wolcum bothe to more and lesse. Over all blessed he be, Wolcum be ye that are here, Rex Alpha et O. From the undefiled virgin Anonymous Wolcum alle and make good cheer. Born is the King of Majesty; English, fifteenth century Wolcum alle another yere. A solis ortus cardine, The hirds him see in low degree Comme le monde est long et lé, Lying in a manger. Benjamin Britten (1913-1976) Anonymous All mankind maketh glee, A Ceremony of Carols, Op. 28 English, fourteenth century Angeli canunt Deo. Glory to you, O Lord, 3. Procession & 14. Recession Fount of grace and mercy; Hodie Christus natus est: 5. There is no Rose Enixa est puerpera, Of all thy goodness we thank thee; Hodie Salvator apparuit; There is no rose of such vertu Que Saint Esprit en engrossa; Let us bless the Lord. Hodie in terra canunt angeli; As is the rose that bare Jesu. Blessed be time that she said ya, Laetantur archangeli; Alleluia, Alleluia. Gabriele nuncio. Anonymous Hodie exsultant justi dicentes; English, fifteenth century Gloria in excelsis Deo. Alleluia! For in this rose conteinèd was Ex illibata virgine Heaven and earth in litel space Est nascu le Roi de Majesté; Patrick Hadley (1899-1973) Today Christ is born; Res miranda, Res miranda. The hirds him see in low degree 2. I sing of a maiden Today the Saviour has appeared; Jacentem in presepio. I sing of a maiden, Today on earth the angels sing, By that rose we may well see That is makeless; The archangels rejoice; There be one God in persons three, Gloria tibi, Domine, King of all kings Today the righteous rejoice, saying, Pares forma, pares forma. Fontaine de grâce et de pitié; To her son she ches. Glory to God in the highest. Alleluia! Of all thy goodness we thank thee; The aungels sungen the shepherds to: Benedicamus Domino. He came all so still Anonymous Gloria in excelsis Deo. Where his mother was, English, fourteenth century Gaudeamus, Gaudeamus. News of great joy, As dew in April Let us bless the Lord. That falleth on the grass. 4. Wolcum Yole! Leave we all this werdly mirth, Wolcum, Wolcum, And follow we this joyful birth. All people, clap your hands, He came all so still Wolcum be thou heavenè king, Transeamus, Transeamus. For our saviour is born To his mother’s bower, Wolcum, born in one morning, Over all blessed he be As dew in April Wolcum, for whom we sall sing! Anonymous King, first and last. That falleth on the flower. English, fourteenth century

6. That yongë child Moder and mayden was never none but she: 11. In Freezing Winter Night Then we always to give him praise, That yongë child when it gan weep Well such a lady Goddes moder be. Behold, a silly tender babe, And thank him than. With song she lulled him asleep: In freezing winter night, That was so sweet a melody Anonymous, In homely manger trembling lies. William Cornish (d. 1523) It passèd alle minstrelsy. English, c. 1400 Alas a piteous sight! 13. Adam lay i-bounden The nightingalë sang also: 9. This little Babe The inns are full; Deo Gracias! Deo Gracias! Her song is hoarse and nought therto: This little Babe so few days old, No man will yield Adam lay ibounden, bounden in a bond, Whoso attendeth to her song Is come to rifle Satan’s fold. This little pilgrim bed. For thousand winter thought he not too long. And leaveth the first then doth he wrong. All hell doth at his presence quake, But forced he is with silly beasts Though he himself for cold do shake; In crib to shroud his head. And all was for an appil, Anonymous For in this weak unarmèd wise An appil that he tok, English, fourteenth century The gates of hell he will surprise. This stable is a Prince’s court, As clerkès finden written in their book. This crib his chair of State; 7. Balulalow With tears he fights and wins the field, This beasts are parcel of his pomp, Ne had the appil takè ben, O my deare hert, young Jesu sweit His naked breast stands for a shield; The wooden dish his plate. The appil takè ben, Prepare thy creddil in my spreit, His battering shot are babish cries, Ne haddè never our lady And I sall rock thee to my hert, His arrows looks of weeping eyes; The persons in that poor attire A ben hevenè quene. And never mair from thee depart. His martial ensigns Cold and Need, His royal liveries wear; And feeble Flesh his warrior’s steed. The Prince himself is come from heav’n; Blessèd be the time But I sall praise thee evermoir This pomp is prizèd there. That appil takè was. With sanges sweit unto thy gloir; His camp is pitchèd in a stall, Therefore we moun singen, The knees of my hert sall I bow His bulwark but a broken wall; With joy approach, O Christian wight, Deo Gracias! Deo Gracias! And sing that richt Balulalow! The crib his trench, haystalks his stakes; Do homage to thy king. Of shepherds he his muster makes; And highly praise his humble pomp, Anonymous James, John and Robert Wedderburn And thus, as sure his foe to wound, wich he from Heav’n doth bring. English, fifteenth century The angels’ trumps alarum sound. 8. As dew in Aprille Robert Southwell (c. 1561-1595) Benjamin Britten I sing of a maiden that is makelès: My soul, with Christ join thou in fight, 15. A New Year Carol King of all kings to her son she ches. Stick to the tents that he hath pight. 12. Spring Carol Here we bring new water Within his crib is surest ward; Pleasure it is to hear iwis, the birdès sing. from the well so clear, He came al so stille there his moder was, This little Babe will be thy guard. The deer in the dale, the sheep in the vale, For to worship God with, As dew in Aprille that falleth on the grass. If thou wilt foil thy foes with joy, The corn springing. this happy New Year. Then flit not from this heavenly Boy. He came also stille to his moder’s bour, God’s purvayance for sustenance, Sing levy dew, sing levy dew, As dew in Aprille that falleth on the flour. Robert Southwell (c.1561-1595) It is for man, it is for man. the water and the wine; The seven bright gold wires He came also stille there his moder lay and the bugles that do shine. As dew in Aprille that falleth on the spray. 15. A New Year Carol (cont.) There naught is heard...

Sing reign of Fair Maid, The Crown Imperial bloometh too in yonder place, with gold upon her toe, ‘Tis Charity, of stock divine, the flower of grace. Open you the West Door, and turn the Old Year go. There naught is heard...

Sing levy dew... Yet, ‘mid the brave, the bravest prize of all may claim The Star of Bethlem-Jesus-bless’d be his Name! Sing reign of Fair Maid, with gold upon her chin, There naught is heard... Open you the East Door, and let the New Year in. Ah! Jesu Lord, my heal and weal, my bliss complete, Make thou my heart thy garden-plot, fair, trim and neat. Sing levy dew... That I may hear this music clear, Anonymous Harp, dulcimer, lute... From Tom Tiddler’s Ground Walter de la Mare (1873-1956) Tr. G.R. Woodward (1848-1934)

Traditional Dutch John Rutter (b. 1945) arr. John Scott (b. 1956) Dancing Day 16. King Jesus hath a garden 18. Angelus ad Virginem King Jesus hath a garden, full of divers flowers, Angelus ad virginem Where I go culling posies gay, all times and hours. Subintrans in conclave. Virginis formidinum There naught is heard but Paradise bird, Demulcens in quit “Ave.” Harp, dulcimer, lute, Ave regina virginum, With cymbal, trump and tymbal, Caeli teraeque Dominum And the tender, soothing flute. Concipies Et paries The Lily, white in blossom there, is Chastity: Intacta, The Violet, with sweet perfume, Humility. Salutem hominum. Tu porta coeli facta There naught is heard... Medela criminum.

The bonny Damask-rose is known as Patience: Th’ angel to the Virgin said, The blithe and thrifty Marygold, Obedience. Ent’ring into her bower, For dread of quaking of this maid, He said ‘Hail’, with great honoure. 18. Angelus ad Virginem (cont.) 19. A Virgin Most Pure Aye and therefore be merry... Magi tres venerunt, A virgin most pure, as the prophets do tell, Parvulum inquirunt, ‘Hail! be thou queen of maidens mo, Hath brought forth a baby, as it hath befel, Then God sent an angel from heaven so high, Bethlehem adeunt, Lord of heaven and earth also, To be our Redeemer from death, hell and sin, To certain poor shepherds in fields where they lie, Stellulam sequendo, Conceive thou shalt, Which Adam’s transgression hath wrapped us in. And bade them no longer in sorrow to stay, Ipsum adorando, And bear withal the Lord of might, Because that our Saviour was born on this day. Aurum, thus, et myrrham ei offerendo. heal of all mankind. Aye and therefore be merry, He will make the gate of heaven bright, Rejoice and be you merry, Aye and therefore be merry... Omnes clericuli, Med’cine of all our sin.’ Set sorrows aside; Pariter pueri, Christ Jesus our Saviour was born on this tide. Then presently after the Shepherds did spy Cantent ut angeli: ‘Quomodo conciperem, A number of angels that stood in the sky; Advenisti mundo, quae virum non cognovi? At Bethlem in Jewry a City there was They joyfully talkèd and sweetly did sing, Laudes tibi fundo. Qualiter infringerem, Where Joseph and Mary together did pass, To God be all glory our heavenly King. Ideo gloria in excelsis Deo. Quod firmamente vovi?’ And there to be taxèd, with many one mo’, 'Spiritus Sancti gratia For Caesar commanded the same should be so. Aye and therefore be merry... This day resounds Perficiet haec omnia; With the voices of children Ne timaes, Aye and therefore be merry... Anonymous Pleasantly praising, sed gaudeas, English traditional He who was born and given to us, secura, But when they had entered the city so fair, The Lord most high, Quod castimonia A number of people so mighty was there, 20. Personent hodie Born of the Virgin womb. Manebit in te pura That Joseph and Mary, whose substance was small, Personent hodie Dei potentia.’ Could find in the Inn there no lodging at all. Voces puerulae, Born in the world, Laudantes jucunde Wrapped in swaddling garments ‘How shall I conceive, Aye and therefore be merry... Qui nobis est natus, Placed in the manger seeing that I know not a man? Summo Deo datus, In the stall of beasts, How shall make an infraction, Then were they constrain’d in a stable to lie, et de virgineo ventre procreatus. Lord of above I who made a vow with my firm mind?’ Where oxen and asses they used for to tie; Destroyed the spoils of the prince of hell. ‘The grace of the Holy ghost Their lodging so simple, they held it no scorn, In mundo nascitur, will do all this; But against the next morning our Saviour was born. Pannis involvitur The three Magi came, don't be afraid, Praesepi ponitur In search of a little child, But be pleased, Aye and therefore be merry... Stabulo brutorum, They go to Bethlehem, and safe, Rector supernorum. Following the little stars, because chastity The King of all glory to the world being brought, Perdidit spolia princeps infernorum. Worshipping him, will remain in you, pure Small store of fine linen to wrap him was sought, Offering him gold, frankincense and myrrh. power of God.’ And when she had swaddled her young son so sweet, Within an ox manger she laid him to sleep. Anonymous fourteenth century 20. Personent Hodie (cont.) That woe is me, Traditional English And joy to the virgin pure Poor child for thee! arr. Philip Ledger (1937-2012) That ever kept her undefiled, All the clergy, And ever mourn and day; 25. On Christmas Night (Sussex Carol) Grounded in grace, in heart full sure, Children as well, For thy parting neither say nor sing, On Christmas night all Christians sing, And bare a child as maiden mild. Sing like the angels: By, by, lully, lullay! To hear the news the angels bring – You come to the world, News of great joy, news of great mirth, Bethlehem and the star so shen, Praise to thee. From the Pageant of the Shearmen and Tailors News of our merciful King’s birth. That shone three kingès for to guide, Glory to God in the Highest. Fifteenth Century Bear witness of this maiden clean; Then why should men on earth be so sad, The kingès three offered that tide. From (1582) 24. Tomorrow shall be my dancing day Since our Redeemer made us glad, Tomorrow shall be my dancing day: When from our sin he set us free, And shepherds heard, as written is, 22. There is no rose I would my true love did so chance All for to gain our liberty? The joyful song that there was sung: There is no rose of such virtue To see the legend of my play, Gloria in excelsis! As is the rose that bare Jesu; To call my true love to my dance: When sin departs before his grace, With angel’s voice it was out rung. Alleluia. Then life and health come in its place, Sing O my love, O my love; Angels and men with joy may sing, Now joy be to the blessedful child, For in this rose containèd was This have I done for my true love. All for to see the new born King. And joy be to his mother dear; Heaven and earth in little space; Joy we all of that maiden mild, Res miranda. Then was I born of a virgin pure, All out of darkness we have light, And joy have they that make good cheer. Of her I took fleshly substance; Which made the angels sing this night: Anonymous Thus was I knit to man’s nature, ‘Glory to God and peace to men, Wassail, wassail, wassail, sing we fifteenth century To call my true love to my dance. Now and forever more. Amen.’ In worship of Christ’s nativity.

23. Coventry Carol Sing O my love... Anonymous Anonymous Lully, lulla, thou little tiny child, English Traditional sixteenth century By, by, lully, lullay, thou little tiny child, In a manger laid, and wrapp’d I was, By by, lully, lullay. So very poor, this was my chance, William Mathias (1934-1992) Betwixt an ox and a silly poor ass, 26. Wassail Carol O sisters too, To call my true love to my dance: Wassail, wassail, wassail, sing we How may we do, In worship of Christ’s nativity. For to preserve this day Sing O my love... This poor youngling for whom we do sing, Now joy be to the Trinity, By, by, lully, lullay? Anonymous Father, Son and Holy Ghost, English Traditional That one God is in Trinity, Herod the king, Father of Heaven, of mightes most. In his raging, Charged he hath this day; His men of might, in his own sight, All young children to slay. The Saint Thomas Choir & Choir School In addition to the annual performances of Handel’s Messiah, concerts at Saint Thomas The Saint Thomas Choir of Men and Boys is have included Requiems by Fauré, Brahms, considered by many to be the leading Mozart, Duruflé and Howells; Bach’s ensemble in the Anglican choral tradition Passions and Mass in B Minor; the in the United States. Directed since 2004 Monteverdi Vespers of 1610; a Henry by John Scott, formerly and Director Purcell anniversary concert; Rachmaninoff of Music at St Paul’s Cathedral in London, Vespers; the U.S. premiere of John the choir performs regularly with the period Tavener’s Mass; a concert of American instrument ensemble, Concert Royal, or composers featuring works by Bernstein with the Orchestra of St Luke’s as part of and Copland and a composition by Saint its own concert series. Its primary raison Thomas chorister, Daniel Castellanos; the d’être, however, is to provide music for five world premiere of Scott Eyerly’s Spires and choral services each week. Live webcasts of Handel’s Israel in Egypt. In the spring of all choral services and further information 2015, the choir signed an agreement with including recordings of the choir may be the UK recording label Resonus Classics for found at www.SaintThomasChurch.org future recording projects. The first recording in this series to be released is the choir’s Supplementing its choral services and recording of the Bach . concert series over the past three decades, the choir has toured throughout the U.S. The Men of the Saint Thomas Choir are and Europe with performances at professional singers; the Boy choristers and St Paul’s Cathedral attend Saint Thomas Choir School. Founded in London, Kings College, Cambridge, in 1919, it is the only church related boarding Windsor, Edinburgh, St Albans and the choir school in the United States, and one of Aldeburgh Festival. In 2004, the choir only a few choir schools remaining in the world. toured Italy, and performed for a Papal The Choir School offers a challenging Mass at the Vatican. During 2007, the choir pre-preparatory curriculum, interscholastic performed Bach’s Saint Matthew Passion for sports, and musical training for boys in the opening concert of the Mexico Festival grades three through eight. The Choir School in Mexico City as well as at Saint Thomas is committed to training and educating Church. In February 2012, the Boys of the talented musicians without regard to choir traveled to Dresden to give the premiere religious, economic, or social background. of Lera Auerbach’s Dresden Requiem with the Choristers are sought from all regions of the Dresden Staatskapelle in the Frauenkirche country. Details of admissions procedures and and Semper Oper. Later in 2012, the choir audition requirements are available at was invited to perform in the Thomaskirche www.ChoirSchool.org at the Leipzig BachFest, a highlight of their June 2012 tour to Germany and Copenhagen. John Scott Birmingham, Notre Dame in Paris, the sonatas of Elgar, organ music by William Aarhus Organ Festival in , Cologne Mathias, Maurice Duruflé and Mendelssohn, John Scott was born in 1956 in Wakefield, Cathedral, Disney Hall in Los Angeles and as well as two discs of music by Marcel Dupré. Yorkshire, where he became a Cathedral London’s Royal Albert Hall. He has also recorded the solo organ part in chorister. While still at school he gained Janacek’s Glagolitic Mass with the London the diplomas of the Royal College of At St Paul’s he played a complete cycle of Symphony Orchestra, conducted by Michael and won the major prizes. In the organ works of J.S. Bach in 2000 and Tilson Thomas. He recently made a recording 1974 he became Organ Scholar of St John’s followed this in subsequent years with the at the organ of Washington’s National College, Cambridge, where he acted as organ symphonies of Vierne and Widor, as Cathedral for the JAV label. assistant to Dr . His organ well as the complete organ works of Franck studies were with Jonathan Bielby, Ralph and Buxtehude. At Saint Thomas Church, In the summer of 2004, after a 26 year Downes, and Dame Gillian Weir. He made Fifth Avenue, New York, he performed association with St Paul’s Cathedral, he his debut in the 1977 Promenade Concerts complete cycles of the organ works of took up the post of Organist and Director of in the Royal Albert Hall; he was the youngest Buxtehude in 2007, Messiaen in 2008 and Music at Saint Thomas Church, Fifth Avenue, organist to appear in the Proms. the six organ symphonies of Louis New York, where he directs the renowned Vierne in 2009. In 2014, he was one of the choir of men and boys. He was awarded the On leaving Cambridge, he was appointed featured organists in the re-opening Gala LVO in the New Years Honours List of 2004, Assistant Organist at London’s two Anglican and subsequently gave the first solo recital a personal gift from HM Queen Elizabeth II, : St Paul’s and Southwark. In on the restored organ in London’s Royal in recognition of his work at St Paul’s 1985 he became Sub-Organist of St Paul’s Festival Hall and gave the opening recital Cathedral. He was awarded an honorary Cathedral, and in 1990 he succeeded Dr of the organ in the new Musikkens Hus doctorate from Nashotah House Seminary Christopher Dearnley as Organist and in Aalborg, Denmark. In June, he gave the in Wisconsin in 2007. Director of Music. premiere of Nico Muhly’s Patterns for the American Guild of Organists National www.johngscott.com As an organist, John has performed in five Convention in Boston. continents, premiered many new works American Guild of Organists. He is a past written for him, and worked with various President of the Incorporated Association of In addition to his work as a conductor and specialist ensembles. He is a first-prize Organists. He has been a member of a number organist, John has published a number of winner from the Manchester International of international competition juries, including choral compositions and arrangements and Organ Competition (1978) and the Leipzig those in Manchester, Dublin, Chartres, Dallas, he has jointly edited two compilations of J.S. Bach Competition (1984). In 1998 he St Albans and Erfurt. Recent highlights of his liturgical music for the Church’s year, was nominated International Performer career have included recitals at the published by . of the Year by the New York Chapter of the Thomaskirche, Leipzig, Symphony Hall, John’s many recordings include the organ

Sara Cutler harp Classics), and in the orchestra on recordings with the Orchestra of St Luke’s, the Sara Cutler, whose playing the Washington Metropolitan Opera, and the American Post called ‘dazzling’, is Principal Harp of Symphony. She has recorded with many the American Symphony Orchestra, the non-classical artists as well, including Orchestra of St Luke’s and the New York Pat Metheny, Paul Simon and Bjork. City Ballet Orchestra. She has appeared In 2013, Cutler’s method book, written as as concerto soloist at Carnegie Hall, an homage to her late teacher, Lucile Lincoln Center, the Kennedy Center Lawrence, was published by Lyon and in Washington, D.C., the Edinburgh Healy. She was a founding member Festival in Scotland and the Festival of the Carnegie Hall Solti Orchestral of Two Worlds in Italy. In addition to Project. And active chamber musician, performing the standard concerto she has performed chamber recitals at repertoire, she has premiered many the Tanglewood, Ravinia, Artpark, contemporary works, including Cooperstown, Bard and Costa Rica concertos by composers Elizabeth music festivals, among others. A Yale Larsen and Gian-Carlo Menotti. In College graduate, Cutler is on the faculty 2012, she premiered composer Michael of the Bard College Conservatory of Music. Torke’s concerto Wild Grass which was written for her. With flutist Linda Chesis in the Chesis/Cutler Duo, Cutler has appeared in recital at Tokyo’s Asahiseimei Hall, London’s Southbank Centre, Paris’s Comedie des Champs-Elysées, and New York’s Town Hall. She has recorded extensively; the Concertino for Harp and Chamber Orchestra by Ernö Dohnányi with the American Symphony Orchestra (Bridge Records); with Linda Chesis, an all-Debussy CD (Masters/Carlton Classics, London); with soprano Jessye Norman, a Christmas CD (Phillips), with the Smithsonian Chamber Players (BMG More titles from Resonus Classics Saint Thomas Choir of Men & Boys J.S. Bach: Motets Treble Alto Saint Thomas Choir of Men & Boys, John Scott Luca Nicholas Cantone Corey-James Crawford RES10152 Adrian Alexander Castellanos Patrick Fennig Darin Seung Joo Choi Jeffrey Freuler ‘The tone of the New York trebles is sweet and Dylan Roy Cranston Michael Wisdom healthy. Fans of the cathedral choir sound will relish an old fashioned large forces performance Carl Francis Erickson Geoffrey D. Williams with organ, cello and violone continuo [...] The Emanuel Estrella over-lapping iterations of ‘Singet! Singet!’ Conor Henry Frost Tenor in Singet dem Herrn ein neues Lied (BWV 225) Sehjin Jo Brandon Beachamp are brilliantly energised’ Samuel Hamin Jin Martin Coyle BBC Music Magazine John Dominick Mignardi Lawrence Jones Ian Robert Osborne David Vanderwal Music of the Realm: Tudor Music for Men’s Voices The Queen’s Six Nathan Minhyuk Park RES10146 Anders Gyldenvalde Pedersen Bass Leif Christian Pedersen Kelvin Chan ‘The close musical rapport that develops when Nicholas Paul Rhodes Daniel Moore six men sing together every day, as the Queen’s Robert Joseph Rubin Andrew Padgett Six do, is very much in evidence on this, their Elyot Manalili Segger Charles Perry Sprawls impressive debut album, recorded at St George’s Chapel, Windsor, where they are lay clerks in Augustine Manalili Segger Christopher Trueblood the choir.’ Filip Vasylevich Sentypal The Observer Isaac Jusun Shin Daniel Sung-min William Suter Noah Alan Yow © 2015 Resonus Limited John Robert Zahorsky è 2015 Resonus Limited Raymond Louis Zelada Recorded in Saint Thomas Church, Fifth Avenue, New York on 15-17 April 2015 Producer & Editor: Adam Binks Engineer: John C. Baker Recorded at 24-bit / 96kHz resolution (DDD) Cover image by Swetlana Hall (fotolia.com)

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