LAUDIBUS • MIKE BREWER Choral Settings of Scottish Poetry From

Choral settings of Scottish poetry

from ROBERT BURNS to ALEXANDER McCALL SMITH

LAUDIBUS • MIKE BREWER AVjY^WjhB^`Z7gZlZgXdcYjXidg 7Zi]BVX`VnbZood"hdegVcd-!&%I]dbVhAV^c\"GZ^aandg\Vc-

1 Dream Angus arr. John Powell [3:25] Michael Bradley baritone solo Scotland at Night Tom Cunningham (b. 1946) 2 Dusk [2:54] 3 Reﬁnery in the darkness [1:12] 4 Ceilidh [2:06] 5 Simmer Dim in Shetland [1:57] 6 Trout loch [1:53] 7 Lullaby [2:36]

8 My Heart’s in the Highlands Arvo Pärt (b. 1935) [7:38]

9 So Deep James MacMillan (b. 1959) [3:36]

10 Address to Edinburgh Howard Skempton (b. 1946) [2:33]

11 The Gallant Weaver James MacMillan [5:31]

The Painter’s Eye Tom Cunningham 12 Peaceable Kingdom (after Edward Hicks) [1:35] 13 Tower of Babel (Pieter Bruegel the Elder) [2:24] 14 The Skating Minister (Sir Henry Raeburn) [1:37] 15 Birth of Venus (Sandro Botticelli) [1:39] 16 An Old Man and His Grandson (Domenico Ghirlandaio) [3:20]

A Medieval Scottish Triptych Ronald Stevenson (b. 1928) 17 Qwhen Alexander our Kynge was Dede [3:04] 18 Wallace’s Lament for the Graham [5:38] 19 Fredome [2:49]

20 Ye Banks and Braes arr. Mike Brewer [2:23] Lisa Swayne soprano solo

21The Seagull a choral tone-poem John Hearne (b. 1937) [4:14] Total playing time [64:18] Notes on the music ‘Scotland’, wrote the novelist and poet Nan with a living Scottish poet. Still newly returned Shepherd in her 1928 novel The Quarry to the Scottish scene at this point, he wrote Wood, ‘is bounded on the south by England, to McCall Smith for advice about potential on the east by the rising sun, on the north collaborators, little imagining that McCall Smith by the Arory-bory-Alice, and on the west by would offer his own services. Eternity.’ It was not a new thought – indeed, Shepherd appears to have adapted it (perhaps The result, a cycle of choral pieces collectively semi-ironically) from a similar bon mot about entitled Scotland at Night, was so successful America – but it might stand as a motto over that a second collaboration followed quickly – the programme of music on this disc, a many- another choral cycle, with McCall Smith’s faceted journey through Scotland’s geography, poems this time based on ﬁve famous hi-story and myth. paintings. The working partnership continues apace: Cunningham has just completed a The project started out in a collaboration new opera – The Okavango Macbeth, for between composer Tom Cunningham and best- a small group of six singers and keyboard selling author Alexander McCall Smith. When accompaniment – to a libretto by McCall Smith, Cunningham returned to his native Edinburgh to be premiered in October 2009 at the No. 1 in 2002 after eighteen years as musical director Ladies’ Opera House which McCall Smith has of the Brussels Choral Society, he began to helped found in Botswana as a venue for the establish working relationships with a number many talented local singers there. Meanwhile, of Scottish choirs, including the National Youth Delphian producer Paul Baxter – whose Choir of Scotland and the professional Scottish friendship with McCall Smith dates back to chamber choir Cappella Nova. When the the writer’s discovery of an early Delphian opportunity arose to write for the latter group, disc in an Edinburgh bookshop in 2004 – had Cunningham wanted to compose something become involved, conceiving a programme challenging to sing but approachable for of choral music around the ‘Scotland at night’ listeners, and he conceived the idea of working theme McCall Smith had alighted on for that

Recorded on 3-5 January 2009 in Colinton Album concept: Paul Baxter Booklet editor: John Fallas Parish Church, Edinburgh except track 8, Design: Drew Padrutt Delphian Records – Edinburgh – UK recorded 30 March at St Cuthbert’s Parish Photograph editing: Raymond Parks www.delphianrecords.co.uk Church, Edinburgh, and track 10, recorded 21 May at Prestonkirk, East Linton Cover image: Sir Henry Raeburn, Revd With thanks to the Revd Neil Gardner, Dr Robert Walker (1755–1808) Skating Eddie McGuire, the Revd Peter Allen, Producer/Engineer: Paul Baxter on Duddingston Loch, National Gallery Duncan Ferguson and the Very Revd 24-bit editing & mastering: Paul Baxter of Scotland – by permission Graham Forbes first collaboration with Cunningham. By the Cunningham’s settings match the texts with It would be hard to imagine a Scottish poetry solo voice of Burns’ ‘Address to Edinburgh’ is time The Painter’s Eye received its first run of a musical language similarly poised between without the presence of Robert Burns, of a double tribute: to Delphian producer Paul concert performances in March 2009, it had the vernacular and the magically evocative. course. Many of the Burns poems that we Baxter on his thirtieth birthday, and to the already been included in the January 2009 The working process was largely a matter of know best today were written by Burns as voice of Baxter’s wife Beth Mackay, whose rich recording sessions for the present disc. words first, music following after, sometimes song lyrics, and the first of the two pieces by mezzo-soprano tone in the solo song included throwing up serendipities en route – as at James MacMillan heard here is an arrangement on Delphian’s Skempton portrait disc The * * * * * the end of ‘Trout Loch’, where the wordless of Burns’ own (pentatonic) melody for one of Cloths of Heaven had impressed the composer vocalises evoking the ripples in the lake his most famous lyrics of all, ‘A Red Red Rose’. so much. Appropriately for a disc with the twin themes suddenly enact the prayer mentioned in the MacMillan gives the melody to the sopranos, of Scotland and night, we begin under the sign final line (‘Ah … men’!). Sometimes McCall who are divided into two groups, and rather If less overtly folk-like than the MacMillan of Angus, the Celtic god of dreams, invoked in Smith’s images inspired in Cunningham than a conventional harmonic accompaniment settings, Skempton’s piece is still essentially a lullaby to John Powell’s arrangement of an old a compositional idea which necessitated has the other voices pick out single words strophic. So, albeit in a particularly subtle Gaelic folk-tune. There is a happy coincidence further input from the writer. ‘Ceilidh’ was a from the tune, which they sustain like an echo way, is Arvo Pärt’s setting for counter-tenor here too, since some years earlier the myth of case in point, where the choral enactment chamber. Just before the mid-way point of the or alto with organ accompaniment of Burns’ Angus had formed the basis of McCall Smith’s of a reel required more words: McCall piece, the sense of different temporal layers ‘Farewell to the Highlands’, which succeeds contribution to a series of books published by Smith obligingly provided them, and in the is magnified when the men’s voices (and one in transforming the familiar text through a Canongate, contemporary re-tellings of myths by movement that resulted they do indeed group of altos) take the words ‘so deep’ and compositional approach which is at once a selection of popular authors. That fertile ground rush past at a speed in keeping with the repeat them at their own independent speeds. simple and radical. The voice sings only the where folklore meets modernity is the source excitement evoked, until finally spinning off Both here, and in the canonic filigree of The three notes of a rising F minor arpeggio, of much of what is expressed in the texts of into wordless shouts of exhilaration. Gallant Weaver – this time set to MacMillan’s staying on a single pitch throughout each verse Scotland at Night. As McCall Smith writes: own melody, but perhaps even more radiantly and then returning to where it began. The If the dance here refers to a pre-existing pure, and again underpinned by a rocking figure organ provides an alternative form of difference When Edison perfected his electric light-bulb, he must musical style, a similar instance in The in longer notes – the effect is dreamlike, as if within repetition – its measured permutations have had little idea of the consequences. Some of Painter’s Eye features an actual musical we were being given less a re-presentation of two or three types of basic material (a these have been of great benefit to humanity; others have not. Night as a time of quiet and dark has been quotation. McCall Smith’s choice of Sir Henry of the lyric, a narration of its events, than a broken chord, stepwise motion in the bass, replaced by night as a time of work and activity. Raeburn’s ‘The Skating Minister’ as one dream about a folk-song: Scotland at night, or a rising or falling fifth crossing over above Artificial light has also largely cut us off from the of the five paintings on which to base his at twilight, again? the melody) are the varied backdrop against heavens, as light pollution floods the world and poems here gave Cunningham the idea of a which the apparently unvarying vocal line obliterates the stars from view. setting based on Émile Waldteufel’s famous The two non-Scottish composers on the disc takes on three-dimensional qualities. Within ‘Skater’s Waltz’. In this case, McCall Smith take perhaps more unexpected approaches to this context the smallest event assumes great Here and there, though, the magic of night persists, rewrote his original text to fit the music; the Burns texts, though an approach in each case significance, as when the leading note is and we glimpse a world that is subtly different from the world of day. In these poems an attempt is made to ironic pay-off at the end is delightful. which is in keeping with the special personal sharpened in the bass at the beginning of the reveal some of that other Scotland – the Scotland that qualities which will be familiar to admirers of third stanza, just as the voice has reached its begins at dusk. * * * * * their work. Howard Skempton’s setting for highest note. The sense of absence, of loss, first collaboration with Cunningham. By the Cunningham’s settings match the texts with It would be hard to imagine a Scottish poetry solo voice of Burns’ ‘Address to Edinburgh’ is time The Painter’s Eye received its first run of a musical language similarly poised between without the presence of Robert Burns, of a double tribute: to Delphian producer Paul concert performances in March 2009, it had the vernacular and the magically evocative. course. Many of the Burns poems that we Baxter on his thirtieth birthday, and to the already been included in the January 2009 The working process was largely a matter of know best today were written by Burns as voice of Baxter’s wife Beth Mackay, whose rich recording sessions for the present disc. words first, music following after, sometimes song lyrics, and the first of the two pieces by mezzo-soprano tone in the solo song included throwing up serendipities en route – as at James MacMillan heard here is an arrangement on Delphian’s Skempton portrait disc The * * * * * the end of ‘Trout Loch’, where the wordless of Burns’ own (pentatonic) melody for one of Cloths of Heaven had impressed the composer vocalises evoking the ripples in the lake his most famous lyrics of all, ‘A Red Red Rose’. so much. Appropriately for a disc with the twin themes suddenly enact the prayer mentioned in the MacMillan gives the melody to the sopranos, of Scotland and night, we begin under the sign final line (‘Ah … men’!). Sometimes McCall who are divided into two groups, and rather If less overtly folk-like than the MacMillan of Angus, the Celtic god of dreams, invoked in Smith’s images inspired in Cunningham than a conventional harmonic accompaniment settings, Skempton’s piece is still essentially a lullaby to John Powell’s arrangement of an old a compositional idea which necessitated has the other voices pick out single words strophic. So, albeit in a particularly subtle Gaelic folk-tune. There is a happy coincidence further input from the writer. ‘Ceilidh’ was a from the tune, which they sustain like an echo way, is Arvo Pärt’s setting for counter-tenor here too, since some years earlier the myth of case in point, where the choral enactment chamber. Just before the mid-way point of the or alto with organ accompaniment of Burns’ Angus had formed the basis of McCall Smith’s of a reel required more words: McCall piece, the sense of different temporal layers ‘Farewell to the Highlands’, which succeeds contribution to a series of books published by Smith obligingly provided them, and in the is magnified when the men’s voices (and one in transforming the familiar text through a Canongate, contemporary re-tellings of myths by movement that resulted they do indeed group of altos) take the words ‘so deep’ and compositional approach which is at once a selection of popular authors. That fertile ground rush past at a speed in keeping with the repeat them at their own independent speeds. simple and radical. The voice sings only the where folklore meets modernity is the source excitement evoked, until finally spinning off Both here, and in the canonic filigree of The three notes of a rising F minor arpeggio, of much of what is expressed in the texts of into wordless shouts of exhilaration. Gallant Weaver – this time set to MacMillan’s staying on a single pitch throughout each verse Scotland at Night. As McCall Smith writes: own melody, but perhaps even more radiantly and then returning to where it began. The If the dance here refers to a pre-existing pure, and again underpinned by a rocking figure organ provides an alternative form of difference When Edison perfected his electric light-bulb, he must musical style, a similar instance in The in longer notes – the effect is dreamlike, as if within repetition – its measured permutations have had little idea of the consequences. Some of Painter’s Eye features an actual musical we were being given less a re-presentation of two or three types of basic material (a these have been of great benefit to humanity; others have not. Night as a time of quiet and dark has been quotation. McCall Smith’s choice of Sir Henry of the lyric, a narration of its events, than a broken chord, stepwise motion in the bass, replaced by night as a time of work and activity. Raeburn’s ‘The Skating Minister’ as one dream about a folk-song: Scotland at night, or a rising or falling fifth crossing over above Artificial light has also largely cut us off from the of the five paintings on which to base his at twilight, again? the melody) are the varied backdrop against heavens, as light pollution floods the world and poems here gave Cunningham the idea of a which the apparently unvarying vocal line obliterates the stars from view. setting based on Émile Waldteufel’s famous The two non-Scottish composers on the disc takes on three-dimensional qualities. Within ‘Skater’s Waltz’. In this case, McCall Smith take perhaps more unexpected approaches to this context the smallest event assumes great Here and there, though, the magic of night persists, rewrote his original text to fit the music; the Burns texts, though an approach in each case significance, as when the leading note is and we glimpse a world that is subtly different from the world of day. In these poems an attempt is made to ironic pay-off at the end is delightful. which is in keeping with the special personal sharpened in the bass at the beginning of the reveal some of that other Scotland – the Scotland that qualities which will be familiar to admirers of third stanza, just as the voice has reached its begins at dusk. * * * * * their work. Howard Skempton’s setting for highest note. The sense of absence, of loss, of quiet undercurrents of emotion constrained tolling cries of ‘fredome’ which gradually come An age-old wisdom once again intersects Alexander McCall Smith was born in Bulawayo, by the formality of the utterance, is palpable to pervade the third piece – again, a universal with our daily (and nightly) emotional life, as and educated at the Christian Brothers College throughout. aspiration which at the same time is as relevant from Scotland’s Western Isles we look out there before moving to Scotland to study law to the context of Scottish nationalism today to the eternity – of death, or merely of sleep at the University of Edinburgh. After returning The texts of Ronald Stevenson’s A Medieval as it was in the fourteenth-century context of and dream? Surrounded by history and myth to southern Africa to teach at the University Scottish Triptych (1969) delve even further back Barbour’s The Bruce. as well as by the familiar and unfamiliar of Botswana, he returned once more to into Scotland’s poetic past. The anonymous present, Scotland finally is bounded only Edinburgh, where he lives today with his wife, lyric ‘Qwhen Alexander our Kynge was dede’ After the triptych’s complex language, triadic by the imaginations of Scottish writers and Elizabeth, a doctor. mourns the demise of Alexander III, whose but hardly tonal as such, and requiring of its composers – and of you, the listener, here on death in treacherous weather conditions in performers a skill and daring appropriate to the this craggy shore. For many years he was Professor of Medical 1286 left Scotland bereft of a strong king and world of knightly valour which the texts evoke, Law at the University of Edinburgh and an without a clear heir; Stevenson’s vigorously we return to the folk-like territory inhabited © John Fallas 2009 internationally acknowledged expert serving contrapuntal setting articulates the medieval by Burns’ lyrics. Ye Banks and Braes is sung on both national and international bioethics text with biting dissonances and rises to a here in an arrangement specially made by John Fallas is a writer on the arts with a special bodies. In 1999 he achieved global recognition height of supplication in the final prayer. The Mike Brewer for the present recording. Like interest in 20th-century and new music. for his award-winning The No. 1 Ladies’ second and third panels of the triptych are the other Burns settings, it is for the most Detective Agency series, and now devotes set-pieces from medieval epics, Henry the part purely diatonic, but Brewer indulges in an Tom Cunningham was born in Edinburgh in much of his time to the writing of fiction, Minstrel’s Wallace and John Barbour’s The appropriately pungent chromatic foray in the 1946. His compositions and arrangements have including the 44 Scotland Street and the von Bruce respectively. Henry, known as ‘Blind harmony at ‘My fause lover’. been performed by the London Symphony Igelfeld series. Harry’, was the fifteenth-century author of a Orchestra, Royal Scottish National Orchestra long narrative poem which through its ongoing Some of the writing for the lower voices, & Chorus, Royal Liverpool Philharmonic He was appointed CBE in the December fame (Robert Burns was among its admirers), meanwhile, takes advantage – in characteristic Orchestra and Choir, the National Youth Choir 2006 New Year’s Honours List for services to and despite alleged historical inaccuracies, Brewer style – of his choir’s adeptness at non- of Scotland and many others. From 1984 till literature, and his books have been translated ensured the continuing reputation of William verbal vocal effects, and thus prefigures the 2002 he was Musical Director of the Brussels into forty-two languages. Wallace as a Scottish national hero. The section even greater variety of sounds to be heard in Choral Society. Since returning to Edinburgh in which Wallace laments his close friend John Hearne’s The Seagull. This, according to in 2002, he has completed three commissions www.alexandermccallsmith.co.uk and ally Sir John Graham, who fell alongside the composer, is for the National Youth Choir of Scotland and thousands of Scottish soldiers at the Battle two cycles setting poetry by Alexander McCall of Falkirk, is among the poem’s most famous. not a conventional ‘folk-song arrangement’, but a Smith, premiered by Cappella Nova. He has Stevenson embeds the narration in a choral ‘choral tone-poem’ based on a Gaelic song from recently completed an opera to a libretto by texture which picks up and amplifies the cry Skye. The sopranos supply the melody, with its Alexander McCall Smith, to be premiered yearning cry to the seagull for news of missing men of ‘Allace!’, as if to transform Wallace’s lament of the sea; the lower voices murmur the sounds of in October 2009 in the No. 1 Ladies’ Opera into a universal expression of grief. A similarly the waves; and somewhere might be heard the House in Botswana. memorable musical image is provided by the voices of the gulls. www.cflat.com of quiet undercurrents of emotion constrained tolling cries of ‘fredome’ which gradually come An age-old wisdom once again intersects Alexander McCall Smith was born in Bulawayo, by the formality of the utterance, is palpable to pervade the third piece – again, a universal with our daily (and nightly) emotional life, as and educated at the Christian Brothers College throughout. aspiration which at the same time is as relevant from Scotland’s Western Isles we look out there before moving to Scotland to study law to the context of Scottish nationalism today to the eternity – of death, or merely of sleep at the University of Edinburgh. After returning The texts of Ronald Stevenson’s A Medieval as it was in the fourteenth-century context of and dream? Surrounded by history and myth to southern Africa to teach at the University Scottish Triptych (1969) delve even further back Barbour’s The Bruce. as well as by the familiar and unfamiliar of Botswana, he returned once more to into Scotland’s poetic past. The anonymous present, Scotland finally is bounded only Edinburgh, where he lives today with his wife, lyric ‘Qwhen Alexander our Kynge was dede’ After the triptych’s complex language, triadic by the imaginations of Scottish writers and Elizabeth, a doctor. mourns the demise of Alexander III, whose but hardly tonal as such, and requiring of its composers – and of you, the listener, here on death in treacherous weather conditions in performers a skill and daring appropriate to the this craggy shore. For many years he was Professor of Medical 1286 left Scotland bereft of a strong king and world of knightly valour which the texts evoke, Law at the University of Edinburgh and an without a clear heir; Stevenson’s vigorously we return to the folk-like territory inhabited © John Fallas 2009 internationally acknowledged expert serving contrapuntal setting articulates the medieval by Burns’ lyrics. Ye Banks and Braes is sung on both national and international bioethics text with biting dissonances and rises to a here in an arrangement specially made by John Fallas is a writer on the arts with a special bodies. In 1999 he achieved global recognition height of supplication in the final prayer. The Mike Brewer for the present recording. Like interest in 20th-century and new music. for his award-winning The No. 1 Ladies’ second and third panels of the triptych are the other Burns settings, it is for the most Detective Agency series, and now devotes set-pieces from medieval epics, Henry the part purely diatonic, but Brewer indulges in an Tom Cunningham was born in Edinburgh in much of his time to the writing of fiction, Minstrel’s Wallace and John Barbour’s The appropriately pungent chromatic foray in the 1946. His compositions and arrangements have including the 44 Scotland Street and the von Bruce respectively. Henry, known as ‘Blind harmony at ‘My fause lover’. been performed by the London Symphony Igelfeld series. Harry’, was the fifteenth-century author of a Orchestra, Royal Scottish National Orchestra long narrative poem which through its ongoing Some of the writing for the lower voices, & Chorus, Royal Liverpool Philharmonic He was appointed CBE in the December fame (Robert Burns was among its admirers), meanwhile, takes advantage – in characteristic Orchestra and Choir, the National Youth Choir 2006 New Year’s Honours List for services to and despite alleged historical inaccuracies, Brewer style – of his choir’s adeptness at non- of Scotland and many others. From 1984 till literature, and his books have been translated ensured the continuing reputation of William verbal vocal effects, and thus prefigures the 2002 he was Musical Director of the Brussels into forty-two languages. Wallace as a Scottish national hero. The section even greater variety of sounds to be heard in Choral Society. Since returning to Edinburgh in which Wallace laments his close friend John Hearne’s The Seagull. This, according to in 2002, he has completed three commissions www.alexandermccallsmith.co.uk and ally Sir John Graham, who fell alongside the composer, is for the National Youth Choir of Scotland and thousands of Scottish soldiers at the Battle two cycles setting poetry by Alexander McCall of Falkirk, is among the poem’s most famous. not a conventional ‘folk-song arrangement’, but a Smith, premiered by Cappella Nova. He has Stevenson embeds the narration in a choral ‘choral tone-poem’ based on a Gaelic song from recently completed an opera to a libretto by texture which picks up and amplifies the cry Skye. The sopranos supply the melody, with its Alexander McCall Smith, to be premiered yearning cry to the seagull for news of missing men of ‘Allace!’, as if to transform Wallace’s lament of the sea; the lower voices murmur the sounds of in October 2009 in the No. 1 Ladies’ Opera into a universal expression of grief. A similarly the waves; and somewhere might be heard the House in Botswana. memorable musical image is provided by the voices of the gulls. www.cflat.com Texts 1 Dream Angus Tom Cunningham: Scotland at Night Heat and light Tunes composed by bothy light, Our energy, Tunes composed and danced by night, Can ye no hush ye’r weepin’? 2 Dusk Wrought by flame Danced in tiny village halls, All the wee lambs are sleepin’, Half the pleasure of darkness By flame processed Say all that we need to say. Birdies are nestlin’, nestlin’ thegether Is the light touch of its embrace; All is finite, Dream Angus is hirplin’ owre the heather. Tunes composed by bothy light, Half the pleasure of night Momentary. Tunes composed and danced by night, Dreams to sell, fine dreams to sell, Is the day’s reluctance Men and women Danced in tiny village halls, Angus is here with dreams to sell. To fade too quickly. Shadows all, Say enough, the rest we know. O! hush ye my baby and sleep without fear Half the pleasure of love Move in ghostly Dream Angus has brought you a dream, my dear! Is its determination Dance through the night, dance till the morn Dance about That halves be whole. Paints with a golden finger hill and glen, List to the curlew cryin’! White tanks and vats, Nimble of foot, swings of the kilt, Fainter the echoes dyin’. Night may be our healer Petro-chemical. All around the room we follow. Even the birds and beasties are sleepin’ In all its power to forgive A torch, a flame, But my bonnie bairn is weepin’, weepin’. The clear imperfections Heuch! A brand of fire, Of mortal flesh, Dreams to sell, fine dreams to sell, Encandled dreams. Picked out so brutally Angus is here with dreams to sell. 5 Simmer Dim in Shetland By unshadowed light; O! hush ye my baby and sleep without fear May all the sunlit day 4 Ceilidh Absence of darkness, Dream Angus has brought you a dream, my dear! Show charity. Aura of light – Dance! Simmer dim, Words by George Churchill to an old Gaelic tune A village hall is all these dancers Northern night. 3 Refinery in the darkness Need, is all these dancers need; The fulmar petrel A torch, a flame, A fiddler versed in local airs, In our half-light A brand of fire, A man who sings the things they know. Silently flies Such a chimney These simple steps, these well-loved notes In our half-night. Might inspire Repeat what has repeated been; Incendiary And ‘north’ the word As tides, as winds, on island shore, Encandled dreams. We softly mouth Repeat what has repeated been. To gusting winds Fossils brought These simple steps, these well-loved notes From Scotland’s south. From sea to shore Repeat what has repeated been; Will burn as bright bothy = a small hut (for dwelling or drinking in) Our life, our loves, as they unfold, As midday light; Heuch! = a Scottish dancer’s shout of exhilaration Repeat what has repeated been. hirplin’ = limping Illuminate, simmer dim = the twilight which replaces night in a List = listen Make chemical. Shetland summer Texts 1 Dream Angus Tom Cunningham: Scotland at Night Heat and light Tunes composed by bothy light, Our energy, Tunes composed and danced by night, Can ye no hush ye’r weepin’? 2 Dusk Wrought by flame Danced in tiny village halls, All the wee lambs are sleepin’, Half the pleasure of darkness By flame processed Say all that we need to say. Birdies are nestlin’, nestlin’ thegether Is the light touch of its embrace; All is finite, Dream Angus is hirplin’ owre the heather. Tunes composed by bothy light, Half the pleasure of night Momentary. Tunes composed and danced by night, Dreams to sell, fine dreams to sell, Is the day’s reluctance Men and women Danced in tiny village halls, Angus is here with dreams to sell. To fade too quickly. Shadows all, Say enough, the rest we know. O! hush ye my baby and sleep without fear Half the pleasure of love Move in ghostly Dream Angus has brought you a dream, my dear! Is its determination Dance through the night, dance till the morn Dance about That halves be whole. Paints with a golden finger hill and glen, List to the curlew cryin’! White tanks and vats, Nimble of foot, swings of the kilt, Fainter the echoes dyin’. Night may be our healer Petro-chemical. All around the room we follow. Even the birds and beasties are sleepin’ In all its power to forgive A torch, a flame, But my bonnie bairn is weepin’, weepin’. The clear imperfections Heuch! A brand of fire, Of mortal flesh, Dreams to sell, fine dreams to sell, Encandled dreams. Picked out so brutally Angus is here with dreams to sell. 5 Simmer Dim in Shetland By unshadowed light; O! hush ye my baby and sleep without fear May all the sunlit day 4 Ceilidh Absence of darkness, Dream Angus has brought you a dream, my dear! Show charity. Aura of light – Dance! Simmer dim, Words by George Churchill to an old Gaelic tune A village hall is all these dancers Northern night. 3 Refinery in the darkness Need, is all these dancers need; The fulmar petrel A torch, a flame, A fiddler versed in local airs, In our half-light A brand of fire, A man who sings the things they know. Silently flies Such a chimney These simple steps, these well-loved notes In our half-night. Might inspire Repeat what has repeated been; Incendiary And ‘north’ the word As tides, as winds, on island shore, Encandled dreams. We softly mouth Repeat what has repeated been. To gusting winds Fossils brought These simple steps, these well-loved notes From Scotland’s south. From sea to shore Repeat what has repeated been; Will burn as bright bothy = a small hut (for dwelling or drinking in) Our life, our loves, as they unfold, As midday light; Heuch! = a Scottish dancer’s shout of exhilaration Repeat what has repeated been. hirplin’ = limping Illuminate, simmer dim = the twilight which replaces night in a List = listen Make chemical. Shetland summer Absence of darkness, 8 Arvo Pärt: My Heart’s in the Highlands 9 James MacMillan: So Deep 10 Howard Skempton: Address to Edinburgh Aura of light – My heart’s in the Highlands, my heart is not here, O my Luve’s like a red, red rose Edina! Scotia’s darling seat! Simmer dim, My heart’s in the Highlands a-chasing the deer – That’s newly sprung in June: All hail thy palaces and tow’rs, Northern night. A-chasing the wild deer, and following the roe; O my Luve’s like the melodie Where once beneath a Monarch’s feet My heart’s in the Highlands, wherever I go. That’s sweetly play’d in tune. Sat Legislation’s sov’reign pow’rs: From marking wildly scatt’red flow’rs, 6 Trout loch Farewell to the Highlands, farewell to the North – As fair art thou my bonnie lass, As on the banks of Ayr I stray’d, The birth-place of Valour, the country of Worth; So deep in luve am I: Dark as velvet, dark as space, And singing, lone, the lingering hours, Wherever I wander, wherever I rove, And I will luve thee still, my dear, The loch is warm; I shelter in thy honour’d shade. The hills of the Highlands for ever I love. Till a’ the seas gang dry. Trout, the moon their night light, Here Wealth still swells the golden ride, The moon their god, Farewell to the mountains high-cover’d with snow; Till a’ the seas gang dry, my dear, As busy Trade his labours plies; Move silently here; Farewell to the straths and green valleys below; And the rocks melt wi’ the sun; There Architecture’s noble pride And the ripples you see Farewell to the forests and wild-hanging woods; I will luve thee still, my dear, Bids elegance and splendour rise: Are the prayers of fish. Farewell to the torrents and loud-pouring floods. While the sands o’ life shall run. Here Justice, from her native skies, High the mountains, black the sky My heart’s in the Highlands, my heart is not here, And fare thee weel, my only Luve! High wields her balance and her rod; Behind, beyond; My heart’s in the Highlands a-chasing the deer – And fare thee weel awhile! There Learning, with his eagle eyes, Gone, the men who lived here, Chasing the wild deer, and following the roe; And I will come again, my Luve, Seeks Science in her coy abode. The loch their life, My heart’s in the Highlands, wherever I go. Tho’ it were ten thousand mile. Thy sons, Edina, social, kind, Now left to the fish. Robert Burns Words and melody by Robert Burns With open arms the stranger hail; But the echoes you hear Their views enlarg’d their liberal mind, Are the prayers of men. Above the narrow rural vale: Attentive still to Sorrow’s wail, Or modest Merit’s silent claim; 7 Lullaby And never may their sources fail! May lovers now commend to sleep And never Envy blot their name! Beloved ones in gentleness, May every memory of the day Robert Burns Be folded, stored, in thankfulness. With love abroad, may no bairn’s lot Be fear at night, nor tears by day. Thus we offer evening prayers Anent our hopes, anent our fears.

Alexander McCall Smith © 2007 Absence of darkness, 8 Arvo Pärt: My Heart’s in the Highlands 9 James MacMillan: So Deep 10 Howard Skempton: Address to Edinburgh Aura of light – My heart’s in the Highlands, my heart is not here, O my Luve’s like a red, red rose Edina! Scotia’s darling seat! Simmer dim, My heart’s in the Highlands a-chasing the deer – That’s newly sprung in June: All hail thy palaces and tow’rs, Northern night. A-chasing the wild deer, and following the roe; O my Luve’s like the melodie Where once beneath a Monarch’s feet My heart’s in the Highlands, wherever I go. That’s sweetly play’d in tune. Sat Legislation’s sov’reign pow’rs: From marking wildly scatt’red flow’rs, 6 Trout loch Farewell to the Highlands, farewell to the North – As fair art thou my bonnie lass, As on the banks of Ayr I stray’d, The birth-place of Valour, the country of Worth; So deep in luve am I: Dark as velvet, dark as space, And singing, lone, the lingering hours, Wherever I wander, wherever I rove, And I will luve thee still, my dear, The loch is warm; I shelter in thy honour’d shade. The hills of the Highlands for ever I love. Till a’ the seas gang dry. Trout, the moon their night light, Here Wealth still swells the golden ride, The moon their god, Farewell to the mountains high-cover’d with snow; Till a’ the seas gang dry, my dear, As busy Trade his labours plies; Move silently here; Farewell to the straths and green valleys below; And the rocks melt wi’ the sun; There Architecture’s noble pride And the ripples you see Farewell to the forests and wild-hanging woods; I will luve thee still, my dear, Bids elegance and splendour rise: Are the prayers of fish. Farewell to the torrents and loud-pouring floods. While the sands o’ life shall run. Here Justice, from her native skies, High the mountains, black the sky My heart’s in the Highlands, my heart is not here, And fare thee weel, my only Luve! High wields her balance and her rod; Behind, beyond; My heart’s in the Highlands a-chasing the deer – And fare thee weel awhile! There Learning, with his eagle eyes, Gone, the men who lived here, Chasing the wild deer, and following the roe; And I will come again, my Luve, Seeks Science in her coy abode. The loch their life, My heart’s in the Highlands, wherever I go. Tho’ it were ten thousand mile. Thy sons, Edina, social, kind, Now left to the fish. Robert Burns Words and melody by Robert Burns With open arms the stranger hail; But the echoes you hear Their views enlarg’d their liberal mind, Are the prayers of men. Above the narrow rural vale: Attentive still to Sorrow’s wail, Or modest Merit’s silent claim; 7 Lullaby And never may their sources fail! May lovers now commend to sleep And never Envy blot their name! Beloved ones in gentleness, May every memory of the day Robert Burns Be folded, stored, in thankfulness. With love abroad, may no bairn’s lot Be fear at night, nor tears by day. Thus we offer evening prayers Anent our hopes, anent our fears.

Soprano Alto Tenor Bass

Anna Gillingham Hannah Campbell David Bond Peter Bardsley Marie Macklin Beth Mackay Rhys Bowden George Coltart Gillian Plummer Ruth Nixon Jonathan Cooke David Horton Lisa Swayne Bethany Remfry Robin Firth David Le Prevost Louise Wayman Rachel Shatliff Christopher Hann Alexander Walker

Choir Manager: Christopher Hann Laudibus

Soprano Alto Tenor Bass

Choir Manager: Christopher Hann 11 James MacMillan: The Gallant Weaver Tom Cunningham: The Painter’s Eye A king looks on. ’Neath Arthur’s Seat, And the pride of men is our defeat. There lies the toon; Where Cart rins rowin to the sea, 12 Peaceable Kingdom Scottish theology By mony a flow’r and spreading tree, Babble of language, nouns and verbs The lamb will with the lion lie down, Can weigh the spirit doon. There lives a lad, the lad for me, Different, strange to ear; The country will embrace the town, He is a gallant Weaver. We cannot tell each other now Ice melts away, The leopard that has stalked its prey Unfinished tower. Few sport a hat; Oh I had wooers aught or nine, Will smile instead and beg to play. Pride makes of us each a stranger. Sinners are skating now, They gied me rings and ribbons fine, The stormy sky will change its rain And that, we fear, is that. And I was feared my heart would tine, Ah de far ger ah heh To gentle drops to soothe our pain, And I gied it to the Weaver. Ah ger so ner heh The tiny mouse that was so freet Ah! Babble! Babble! 15 Birth of Venus My daddie sign’d the tocher-band Now sleeps content at tiger feet. Babel! Babel! To gie the lad that has the land, Venus on this shell is born; The world is not like this, we know, But to my heart I’ll add my hand, She stands. But yet the artist strives to show And give it to the Weaver. 14 The Skating Minister White flowers on the gentle wind That love transforms and for its part Are blown. While birds rejoice in leafy bowers; Makes whole again the injured heart. How calm he seems, Angels caught in mid-air flight While bees delight in op’ning flowers; Skates on the ice. Embrace. While corn grows green in simmer showers, Ready was winter then The gift of love is now revealed I love my gallant Weaver. 13 Tower of Babel Scotch skaters to entice. To all. Robert Burns Once we spoke a single tongue, He dons his skates, Each man and woman, lonely now, Words bore meaning; once Words in his head; Imagines love deserved, The speech of one was speech of all; Sermons composed on ice But she, the goddess of love, is fickle, The world made sense. Will bring all sinners dread. Smiles upon one, ignores another. And the whole earth was of one language. Fleeting moments of pleasure to pass away, There’s no justice in love; On a plain we built a tower Doubt it not, doubt it not: we shall pay, But grant me this at least: that my own love Touched upon the sky Dies are cast, come what may, so they say, Be requited, be mine alone. We breached the clouds; a cry was raised: Nothing is ever achieved without several Venus on this shell is born; The heavens are next. Bills at the end of the day, which we have to pay, She stands. And the words we spoke were understood. rins = runs; rowin = rolling Conscience is always the test, and pure guilt White flowers on the gentle wind aught = eight Bruegel’s Tower, a cone on end, the best Are blown. gied = gave would tine = would be lost Ships below unload Signpost through life for avoidance of strife, Angels caught in mid-air flight tocher-band = deeds of dowry The stone that builds our mighty dome; And the straightest of ways Embrace. simmer = summer Through our life’s little maze. The gift of love is now revealed To all. 11 James MacMillan: The Gallant Weaver Tom Cunningham: The Painter’s Eye A king looks on. ’Neath Arthur’s Seat, And the pride of men is our defeat. There lies the toon; Where Cart rins rowin to the sea, 12 Peaceable Kingdom Scottish theology By mony a flow’r and spreading tree, Babble of language, nouns and verbs The lamb will with the lion lie down, Can weigh the spirit doon. There lives a lad, the lad for me, Different, strange to ear; The country will embrace the town, He is a gallant Weaver. We cannot tell each other now Ice melts away, The leopard that has stalked its prey Unfinished tower. Few sport a hat; Oh I had wooers aught or nine, Will smile instead and beg to play. Pride makes of us each a stranger. Sinners are skating now, They gied me rings and ribbons fine, The stormy sky will change its rain And that, we fear, is that. And I was feared my heart would tine, Ah de far ger ah heh To gentle drops to soothe our pain, And I gied it to the Weaver. Ah ger so ner heh The tiny mouse that was so freet Ah! Babble! Babble! 15 Birth of Venus My daddie sign’d the tocher-band Now sleeps content at tiger feet. Babel! Babel! To gie the lad that has the land, Venus on this shell is born; The world is not like this, we know, But to my heart I’ll add my hand, She stands. But yet the artist strives to show And give it to the Weaver. 14 The Skating Minister White flowers on the gentle wind That love transforms and for its part Are blown. While birds rejoice in leafy bowers; Makes whole again the injured heart. How calm he seems, Angels caught in mid-air flight While bees delight in op’ning flowers; Skates on the ice. Embrace. While corn grows green in simmer showers, Ready was winter then The gift of love is now revealed I love my gallant Weaver. 13 Tower of Babel Scotch skaters to entice. To all. Robert Burns Once we spoke a single tongue, He dons his skates, Each man and woman, lonely now, Words bore meaning; once Words in his head; Imagines love deserved, The speech of one was speech of all; Sermons composed on ice But she, the goddess of love, is fickle, The world made sense. Will bring all sinners dread. Smiles upon one, ignores another. And the whole earth was of one language. Fleeting moments of pleasure to pass away, There’s no justice in love; On a plain we built a tower Doubt it not, doubt it not: we shall pay, But grant me this at least: that my own love Touched upon the sky Dies are cast, come what may, so they say, Be requited, be mine alone. We breached the clouds; a cry was raised: Nothing is ever achieved without several Venus on this shell is born; The heavens are next. Bills at the end of the day, which we have to pay, She stands. And the words we spoke were understood. rins = runs; rowin = rolling Conscience is always the test, and pure guilt White flowers on the gentle wind aught = eight Bruegel’s Tower, a cone on end, the best Are blown. gied = gave would tine = would be lost Ships below unload Signpost through life for avoidance of strife, Angels caught in mid-air flight tocher-band = deeds of dowry The stone that builds our mighty dome; And the straightest of ways Embrace. simmer = summer Through our life’s little maze. The gift of love is now revealed To all. 16 An Old Man and His Grandson Ronald Stevenson: A Medieval In thee was wit, fredome and hardinesse; But gif he had assayit it, Scottish Triptych In thee was truth, manheid and nobelnesse; Then all perquer it suld it wit: The youth who looks upon age In thee was rule, in thee was governance, And suld think Fredome mair to prize With such affection must wonder: 17 Qwhen Alexander Our Kynge was Dede In thee was virtue without variance; Than all the gold in warld that is. Will I be like that in due time, Qwhen Alexander, oor Kynge, was dede, In thee lawtie; in thee was great largesse; An old man with a bulbous nose? John Barbour (c.1320–1395) That Scotland led in lauche and le, In thee gentrice, in thee was steadfastnesse; It can’t be me. Away was sons of alle and brede, In thee was great cause of winning Scotland, Who grows old? Neither the boy Of wyne and wax, of gamyn and glee, Though I began and took the war in hand. Nor the man who looks at the boy Oor gold was changit into lede. I vow to God, that has the warld in wauld, And knows what the boy is thinking, Crist, born into virgynyte, Thy deid sall be to Southeron full dear sauld. But believes him wrong. Succoure Scotland and ramede Martyr thou art for Scotlandis richt and me, It won’t be us. That is stade in perplexite. I sall thee venge, or ellis therefore to de. In whose heart does spring truly anon., c.1300 Henry the Minstrel, c.1490 Give way to winter? Winter Is a way of dying; 18 Wallace’s Lament for the Graham Denial a way of life. 19 Fredome It cannot be. Qwhen they him fand and gude Wallus him saw, Ay, Fredome is a noble thing! He lychtit doun, and hynt him fra’ them a’ Alexander McCall Smith © 2008 Fredome maiss man to have liking: In armis up; beholden his pale face Fredome all solace to man givis: And kissit him and cry’d full oft: Allace! He livest at ease that freely livis. My best brither in warld that ever I had! My ae fald friend qwhen I was hardest stad! A noble hert may have nane ease, My hope, my heal thou wast in maist honour! Na elis nocht that may him please, My faith, my help, strenthiest in stour! Gif fredome failye; for free liking Is yearnit owre all ither thing. dede = dead Nay he that aye has livit free, lauche = law; le = protection alle = abundance; brede = bread May nocht ken weill the propertie, gamyn = play; gle = pleasure The anger, nay, the wrechit doom, ramede = cure/remedy [verb] That is couplit with foul thralldom. stade in = plunged into lychtit doun = alighted (‘lighted down’) gif = if hynt him … in armis up = took him up in his arms lawtie = loyalty yearnit = desired ae fald = single-hearted (‘onefold’) has the warld in wauld = has the world in his wrechit doom = wretched condition stad = beset possession/in his command assayit = tried/attempted heal = health Southeron = England wit = know strenthiest in stour = strongest in fighting na elis nocht = nothing else perquer = perfectly 16 An Old Man and His Grandson Ronald Stevenson: A Medieval In thee was wit, fredome and hardinesse; But gif he had assayit it, Scottish Triptych In thee was truth, manheid and nobelnesse; Then all perquer it suld it wit: The youth who looks upon age In thee was rule, in thee was governance, And suld think Fredome mair to prize With such affection must wonder: 17 Qwhen Alexander Our Kynge was Dede In thee was virtue without variance; Than all the gold in warld that is. Will I be like that in due time, Qwhen Alexander, oor Kynge, was dede, In thee lawtie; in thee was great largesse; An old man with a bulbous nose? John Barbour (c.1320–1395) That Scotland led in lauche and le, In thee gentrice, in thee was steadfastnesse; It can’t be me. Away was sons of alle and brede, In thee was great cause of winning Scotland, Who grows old? Neither the boy Of wyne and wax, of gamyn and glee, Though I began and took the war in hand. Nor the man who looks at the boy Oor gold was changit into lede. I vow to God, that has the warld in wauld, And knows what the boy is thinking, Crist, born into virgynyte, Thy deid sall be to Southeron full dear sauld. But believes him wrong. Succoure Scotland and ramede Martyr thou art for Scotlandis richt and me, It won’t be us. That is stade in perplexite. I sall thee venge, or ellis therefore to de. In whose heart does spring truly anon., c.1300 Henry the Minstrel, c.1490 Give way to winter? Winter Is a way of dying; 18 Wallace’s Lament for the Graham Denial a way of life. 19 Fredome It cannot be. Qwhen they him fand and gude Wallus him saw, Ay, Fredome is a noble thing! He lychtit doun, and hynt him fra’ them a’ Alexander McCall Smith © 2008 Fredome maiss man to have liking: In armis up; beholden his pale face Fredome all solace to man givis: And kissit him and cry’d full oft: Allace! He livest at ease that freely livis. My best brither in warld that ever I had! My ae fald friend qwhen I was hardest stad! A noble hert may have nane ease, My hope, my heal thou wast in maist honour! Na elis nocht that may him please, My faith, my help, strenthiest in stour! Gif fredome failye; for free liking Is yearnit owre all ither thing. dede = dead Nay he that aye has livit free, lauche = law; le = protection alle = abundance; brede = bread May nocht ken weill the propertie, gamyn = play; gle = pleasure The anger, nay, the wrechit doom, ramede = cure/remedy [verb] That is couplit with foul thralldom. stade in = plunged into lychtit doun = alighted (‘lighted down’) gif = if hynt him … in armis up = took him up in his arms lawtie = loyalty yearnit = desired ae fald = single-hearted (‘onefold’) has the warld in wauld = has the world in his wrechit doom = wretched condition stad = beset possession/in his command assayit = tried/attempted heal = health Southeron = England wit = know strenthiest in stour = strongest in fighting na elis nocht = nothing else perquer = perfectly Laudibus

20 Ye Banks and Braes 21 The Seagull Laudibus is hailed by audiences and critics as Laudibus have been widely broadcast and one of the finest chamber choirs in the world. recorded. Recent critically acclaimed recordings Ye banks and braes of Bonnie Doon, O-a-ho, The choir has acquired a reputation for the with Delphian Records include Song of Songs how can ye bloom sae fresh and fair! O i-ri-o, breadth of its programming and its dynamic and (DCD34042) and Ralph Vaughan Williams: A How can ye chant, ye little birds, Ho-i-o-ho, exciting performances. Members are chosen Cappella Choral Works (DCD34074, Classic and I sae weary fu’ of care? O-a-hi-ri-o. by audition from the 140-strong National Youth FM Disc of the Month, September 2008), as Thou’ll break my heart, thou warbling bird, Tell me, Seagull, O-hi-a-ho! Choir of Great Britain, and the unique blend and well as collaborations with the National Youth that wantons through the flow’ring thorn: Where are our young men lying? flexibility of this energetic ensemble is born of Choir of Great Britain on discs of music by thou minds me o’ departing joys, Hope within my heart is dying. many years’ intensive work with their director Richard Allain and Giles Swayne (DCD34026 departed never to return. Mike Brewer. and DCD34033). Laudibus’s future recording Horinyéli, plans include music by Kenneth Leighton and Oft hae I roved by Bonnie Doon, O-hi-a-ho! In recent years, Laudibus’s festival appearances by seventeenth-century Slovenian composer to see the rose and woodbine twine, O-hi, i-vo, have included Bath, Harrogate, Hexham Daniel Laghkner. and ilka bird sang of its love, Horo huo. and the Huddersfield Contemporary Music and fondly sae did I o’ mine. Horinyéli, Festival, and in 1998 Laudibus won both the O-hi-a-ho! Wi’ lichtsome heart I pu’d a rose, sacred and secular sections for amateur and fu’ sweet upon its thorny tree. Still they lie beneath the ocean, professional vocal ensembles of up to 16 voices And my fause lover staw my rose, Wind and waves their keening song. in the prestigious Tolosa International Choral but ah! he left the thorn wi’ me. Ask not where your lads are sleeping, Competition in Spain. Recent engagements Gulls and seals their watch are keeping. have also included a BBC Proms appearance Robert Burns with the National Youth Orchestra, the National O-hi-o, o-i-ri-vo, Holocaust memorial service, and concerts at o a-ho, horinyéli. London’s Southbank Centre. O hi-ri-o, hi-o.

based on a folk-song from Skye

staw = stole Laudibus

based on a folk-song from Skye

staw = stole Mike Brewer OBE Beth Mackay Thomas Laing-Reilly A leading figure in the world of choral music, Hamba Lulu, his set of African songs, is Beth Mackay studied at the University of Thomas Laing-Reilly studied music at the Mike Brewer is in demand throughout Britain performed worldwide. Newly published by Leeds, from which she graduated in 2004 University of Edinburgh, and received organ and worldwide for vocal and conducting Faber are Playpiece, commissioned for the with first-class marks for performance, and in tuition from Flor Peeters at Malines Cathedral workshops and as a guest conductor of choirs. Aberdeen Festival, Worldsong, performed in 2007 was awarded a Postgraduate Diploma in Belgium, from Jean Langlais at the Schola Every year he spends two months in New the Schools’ Proms, and a second set of African (Vocal Studies) with distinction from the Royal Cantorum in Paris – where he was awarded the Zealand and Australia, and recent tours have songs, Banua. Mike also wrote the song and Northern College of Music, where she was a Diplôme Supérieur with the highest distinction also included the USA, Singapore, South Africa, prepared conductors for the Olympic baton recipient of the Annie Ridyard Scholarship and – and later in the USA. He has given organ Mexico, Venezuela and the Seychelles as well handover in August 2008. The song was sung in a finalist in the Frederic Cox Award for young recitals in Great Britain, France, Denmark and as regular visits within Europe. He is adviser 27 city centres across the UK. singers. She will complete a Postgraduate Holland. In the USA he has undertaken a recital on world music to the IFCM and assessor to Diploma (Opera Studies) at the Royal Scottish tour in the Chicago area, and has played at East Mexico’s choral programme. Mike’s special love is his work with the Academy of Music and Drama in July 2009, Coast venues including the National Cathedral, National Youth Choirs of Great Britain, of which and will continue into the Academy’s Washington DC. For some years he was Mike is consultant for over 20 prize-winning he has been musical director since 1983. prestigious Opera School later this year, accompanist and featured solo artist with the UK choirs, including the world-famous girls’ Laudibus, NYC’s chamber choir, is formed studying with Pat Hay. Scottish chamber choir Cappella Nova. choir Cantamus, and has often served as from outstanding current members and recent adjudicator for the finals of the Choir of the alumni. Worldsong, a disc of Brewer’s own Beth performs regularly with the Leeds Thomas holds fellowships of the Royal College Year competition and the National Festival of world music arrangements, is forthcoming with Baroque Orchestra, has sung at the Suffolk of Organists, the American Guild of Organists Music for Youth in the UK as well as many the National Youth Choir on Delphian at the end Villages Festival, and has twice participated and the Higher Education Academy, and international competitions. In 2008 he has of 2009. in Classic FM’s Mostly Mozart Festival finale since 1995 has held a Lectureship in Music

given workshops for the BBC programme at the Barbican. Her opera roles include the Education at the University of Edinburgh. In Last Choir Standing. Mike’s books for Faber Mike is a gold-medallist double bass player Baker’s Wife inˆ Sondheim’s Into the Woods, 1999, he was appointed Organist and Director Music include the best-selling Kickstart your and was a Churchill Fellow for 2002/3. He was Lapak in Janácek’s The Cunning Little Vixen and of Music at St Cuthbert’s Church, Edinburgh; Choir, Warmups, Improve Your Sightsinging appointed OBE in 1995. Larina in Tchaikovsky’s Eugene Onegin. Excerpt the church’s Walker organ, rebuilt in 1998 and (with Paul Harris) and Finetune your Choir. series have seen her as Cherubino (Le Nozze di 2003, is one of Scotland’s most significant Figaro), Idamante (Idomeneo), Dorabella (Così large instruments, and has its first recorded fan tutte), Hänsel (Hänsel und Gretel), Nancy outing on Thomas Laing-Reilly’s recital disc (Albert Herring) and in the title roles in Handel’s of organ music for Christmas, Adeste fideles Ariodante and Serse, Britten’s The Rape of (Delphian DCD34077). Lucretia and Rossini’s L’Italiana in Algeri. She appears on Delphian’s collection of songs and choral music by Howard Skempton, The Cloths of Heaven (DCD34056). Mike Brewer OBE Beth Mackay Thomas Laing-Reilly A leading figure in the world of choral music, Hamba Lulu, his set of African songs, is Beth Mackay studied at the University of Thomas Laing-Reilly studied music at the Mike Brewer is in demand throughout Britain performed worldwide. Newly published by Leeds, from which she graduated in 2004 University of Edinburgh, and received organ and worldwide for vocal and conducting Faber are Playpiece, commissioned for the with first-class marks for performance, and in tuition from Flor Peeters at Malines Cathedral workshops and as a guest conductor of choirs. Aberdeen Festival, Worldsong, performed in 2007 was awarded a Postgraduate Diploma in Belgium, from Jean Langlais at the Schola Every year he spends two months in New the Schools’ Proms, and a second set of African (Vocal Studies) with distinction from the Royal Cantorum in Paris – where he was awarded the Zealand and Australia, and recent tours have songs, Banua. Mike also wrote the song and Northern College of Music, where she was a Diplôme Supérieur with the highest distinction also included the USA, Singapore, South Africa, prepared conductors for the Olympic baton recipient of the Annie Ridyard Scholarship and – and later in the USA. He has given organ Mexico, Venezuela and the Seychelles as well handover in August 2008. The song was sung in a finalist in the Frederic Cox Award for young recitals in Great Britain, France, Denmark and as regular visits within Europe. He is adviser 27 city centres across the UK. singers. She will complete a Postgraduate Holland. In the USA he has undertaken a recital on world music to the IFCM and assessor to Diploma (Opera Studies) at the Royal Scottish tour in the Chicago area, and has played at East Mexico’s choral programme. Mike’s special love is his work with the Academy of Music and Drama in July 2009, Coast venues including the National Cathedral, National Youth Choirs of Great Britain, of which and will continue into the Academy’s Washington DC. For some years he was Mike is consultant for over 20 prize-winning he has been musical director since 1983. prestigious Opera School later this year, accompanist and featured solo artist with the UK choirs, including the world-famous girls’ Laudibus, NYC’s chamber choir, is formed studying with Pat Hay. Scottish chamber choir Cappella Nova. choir Cantamus, and has often served as from outstanding current members and recent adjudicator for the finals of the Choir of the alumni. Worldsong, a disc of Brewer’s own Beth performs regularly with the Leeds Thomas holds fellowships of the Royal College Year competition and the National Festival of world music arrangements, is forthcoming with Baroque Orchestra, has sung at the Suffolk of Organists, the American Guild of Organists Music for Youth in the UK as well as many the National Youth Choir on Delphian at the end Villages Festival, and has twice participated and the Higher Education Academy, and international competitions. In 2008 he has of 2009. in Classic FM’s Mostly Mozart Festival finale since 1995 has held a Lectureship in Music

given workshops for the BBC programme at the Barbican. Her opera roles include the Education at the University of Edinburgh. In Last Choir Standing. Mike’s books for Faber Mike is a gold-medallist double bass player Baker’s Wife inˆ Sondheim’s Into the Woods, 1999, he was appointed Organist and Director Music include the best-selling Kickstart your and was a Churchill Fellow for 2002/3. He was Lapak in Janácek’s The Cunning Little Vixen and of Music at St Cuthbert’s Church, Edinburgh; Choir, Warmups, Improve Your Sightsinging appointed OBE in 1995. Larina in Tchaikovsky’s Eugene Onegin. Excerpt the church’s Walker organ, rebuilt in 1998 and (with Paul Harris) and Finetune your Choir. series have seen her as Cherubino (Le Nozze di 2003, is one of Scotland’s most significant Figaro), Idamante (Idomeneo), Dorabella (Così large instruments, and has its first recorded fan tutte), Hänsel (Hänsel und Gretel), Nancy outing on Thomas Laing-Reilly’s recital disc (Albert Herring) and in the title roles in Handel’s of organ music for Christmas, Adeste fideles Ariodante and Serse, Britten’s The Rape of (Delphian DCD34077). Lucretia and Rossini’s L’Italiana in Algeri. She appears on Delphian’s collection of songs and choral music by Howard Skempton, The Cloths of Heaven (DCD34056). Also available on Delphian Ralph Vaughan Williams: A Cappella Choral Works Sanctum est verum lumen – multi-part music for choir Laudibus / Mike Brewer National Youth Choir of Great Britain, Mike Brewer conductor (DCD34074) (DCD34045) Mike Brewer and his award-winning chamber choir have unearthed some Tallis’s monumental Spem in alium is one of the greatest glories of Western rare and precious gems in this recording of unaccompanied choral music by polyphony, and its pre-echoes and aftershocks reverberate through all the other one of England’s best-loved composers. Little-known works both early and pieces on this disc. The massed voices of the National Youth Choir of Great late nestle alongside repertory staples such as the glorious Mass in G minor, Britain shed dazzling light on their multifaceted programme of polychoral jewels in a programme which puts on display Vaughan Williams’ indebtedness to from the fifteenth and sixteenth centuries, interspersed with virtuoso tributes both the sacred and secular instincts of his Elizabethan predecessors. from three leading contemporary composers including Gabriel Jackson’s own 40-part motet. Classic FM Magazine ‘In the flood of discs commemorating the 50th anniversary of Vaughan Williams’ Disc of the Month, death, few will rank higher than this collection … including the great Mass in G ‘… an astonishing tour de force … beyond the most incredible choral discipline September 2008 minor, magnificently sung by Laudibus … Superlative recording’ and uniformity of tone that Brewer produces from well over 200 individual – Michael Kennedy, Daily Telegraph, July 2008, ***** (5 stars) voices, there is a real sense of enthusiasm which … adds a lovely lustre to Delphian’s luxuriant recording.’ – Gramophone, May 2009

Song of Songs Adeste Fideles: Organ music for Christmas Laudibus / Mike Brewer Thomas Laing-Reilly (DCD34042) (DCD34077) The Song of Songs stands apart from its biblical surroundings as one of the Situated in the shadow of Edinburgh Castle, St Cuthbert’s Church was the first supreme love poems of world literature – a celebration of erotic love in the parish church in Scotland to hold candlelit services on Christmas Eve. The two- form of a dialogue between a bridegroom and his bride, invoking all the thousand-strong congregation was regularly joined by people standing in the senses, the fragrance of wine, blossom, fruits and spices. Ranging widely aisles! Today, the organ continues to combine its role of supporting the singing over five centuries, from the relative asperity of Dunstaple to the lush with solo performance of varied repertoire. Director of Music Thomas Laing- exoticism of Daniel-Lesur, this cherry-picked assortment of sweetmeats is Reilly has at his hands an instrument seemingly able to speak any language. Its given exultant life by Mike Brewer and Laudibus. vast palette is demonstrated with striking clarity on this, his debut recording, in a range of repertory which crosses national borders with disarming ease. ‘… the music, performances and sound on the disc are warm, sensitive and luminous’ ‘Laing-Reilly … is treated to a demonstration recording from producer and – BBC Music Magazine, September 2007 engineer Paul Baxter. All credit to both men for delivering the power and glory of the St Cuthbert’s organ to the living room and for revealing its full range as a musical instrument’ – Classic FM Magazine, December 2008 Also available on Delphian Ralph Vaughan Williams: A Cappella Choral Works Sanctum est verum lumen – multi-part music for choir Laudibus / Mike Brewer National Youth Choir of Great Britain, Mike Brewer conductor (DCD34074) (DCD34045) Mike Brewer and his award-winning chamber choir have unearthed some Tallis’s monumental Spem in alium is one of the greatest glories of Western rare and precious gems in this recording of unaccompanied choral music by polyphony, and its pre-echoes and aftershocks reverberate through all the other one of England’s best-loved composers. Little-known works both early and pieces on this disc. The massed voices of the National Youth Choir of Great late nestle alongside repertory staples such as the glorious Mass in G minor, Britain shed dazzling light on their multifaceted programme of polychoral jewels in a programme which puts on display Vaughan Williams’ indebtedness to from the fifteenth and sixteenth centuries, interspersed with virtuoso tributes both the sacred and secular instincts of his Elizabethan predecessors. from three leading contemporary composers including Gabriel Jackson’s own 40-part motet. Classic FM Magazine ‘In the flood of discs commemorating the 50th anniversary of Vaughan Williams’ Disc of the Month, death, few will rank higher than this collection … including the great Mass in G ‘… an astonishing tour de force … beyond the most incredible choral discipline September 2008 minor, magnificently sung by Laudibus … Superlative recording’ and uniformity of tone that Brewer produces from well over 200 individual – Michael Kennedy, Daily Telegraph, July 2008, ***** (5 stars) voices, there is a real sense of enthusiasm which … adds a lovely lustre to Delphian’s luxuriant recording.’ – Gramophone, May 2009