Awake, My Soul Choral Works by Gary Davison (b. 1961) 1. Awake, My Soul [4:10]

2. Most High, Glorious God [3:19] Rachael Lloyd mezzo-soprano (A Prayer of Saint Francis) Philip Dukes Wessex Service David Bednall organ 3. Magnificat [4:07] Choir 4. Nunc dimis [2:28] Mahew Owens conductor Missa pro defuncs 5. Introit: Requiem aeternam [4:28] 6. Kyrie eleison [3:17] 7. Gradual: Dominus regit me [6:04] 8. Tract: Absolve, Domine [4:33] 9. Sequence: Dies irae [12:09] 10. Offertory: Domine Jesu Christe [4:49] 11. Sanctus & Benedictus [3:17] 12. Agnus Dei [5:22] 13. Communion: Lux aeterna [5:37]

Total playing me [63:48] About Wells Cathedral Choir & Matthew Owens:

‘There is control, pace, an appropriate balance of drama with All world premiere recordings, devotion and the feeling that the whole breathes’ made in the presence of the composer. Gramophone

‘The Wells singing is of a consistently high standard’ BBC Music Magazine Awake, My Soul: Choral Works by Gary Davison The forces used in my Missa pro defuncs bursaries for both boy and girl choristers. my very generous donors, whose support were prescribed by Mr Owens: chorus, organ, It is dedicated to HRH The Countess made this disc possible. And I must include When Mahew Owens first enquired about viola, and a mezzo-soprano soloist. There is of Wessex, the Royal Patron of the WCCT. Mr Iain Ball MBE and Prebendary Helen Ball the possibility of wring a ‘Requiem’ for much praccality in that lineup and yet such This was my eighth seng of the evening OBE in the round of thanks for their reless Wells Cathedral Choir, naturally I was thrilled myriad sonic possibilies. I chose to set the cancles but the first me using the form energy and support of music at Wells, and for at the prospect. There was no queson it full liturgical Lan text of the Roman rite, of a faux-bourdon. Working with the their enduring friendship, encouragement, and would receive a stellar premiere as, indeed, including the enre ‘Dies irae’, which places reserved and inmate nature of the old great humour. Finally, my endless loving gratude it did on Remembrance Sunday in 2015 in a the ubiquitous ‘Pie Jesu’ in its proper posion chant tones proved a much-enjoyed is extended to John Erickson, Harvey Burge, deeply moving aernoon service in Wells in the structure of the mass. This results in challenge in creang a compelling adorned and Julie Keim for more reasons than room Cathedral. Mr Owens et al gave a repeat nine movements, making the composion rendering of each tone (which alternates allows to list here; they will know. performance a year later, even more moving suitable for liturgical use or as an extended with the unadorned chant). I was privileged than the first. And now to have it recorded concert piece in other contexts. to aend the premiere at that liturgy, My personal dedicaon of this recording is in so beaufully truly is a blessing. which was offered in the presence of HRH. loving memory of The Rev’d Alfred J. Chiplin, Jr, The opening tle track, Awake, My Soul, is a who intensely brightened my life and Of course, the inial thrill of wring such companion piece to my seng of Thomas I proffer my sincerest thanks to the visionary constantly awakened my soul through his a work quickly became tempered by Ken’s Glory to thee, my God, this night, which Mahew Owens, without whom this recording exemplary life of compassion, integrity, faith, murmuring doubts. The long shadows of concludes the first disc of my music from would not have come to fruion. I also thank and unfeered friendship. the many prominent composers who have Wells Cathedral, The Armour of Light (Regent the Dean and Chapter of Wells Cathedral for wrien ‘Requiem’ sengs loomed large Records). The former Bishop of Bath and their support and permission to record this © 2018 Gary Davison over my shoulder. What in the world could Wells’s vibrant morning direcve to God disc in the cathedral. My profound gratude I possibly have to say, especially aer the inspired the exuberant nature of this anthem. goes to organist extraordinaire, David Gary Davison’s Requiem: Tradion and Renewal likes of Fauré and Duruflé, who both I set the lesser-known collect by Saint Francis, Bednall; the consummate violist, Philip Dukes; profoundly influenced my path in music Most High, Glorious God, specifically for the the ever-expressive mezzo-soprano, Rachael Gary Davison was born in Fayeeville, composion? Among the other shadows choristers of Wells Cathedral with the Lloyd; the very talented young soprano (and Arkansas, in 1961 and spent his childhood stood Brahms with his astounding intenon of providing a useful general former chorister), Madeleine Perring; Adam in Tulsa, Oklahoma. He studied at Boston masterpiece, and Howells with his inmate anthem. Having worked for many years in a Binks for his keen ears and superb University where he was taught by Max gem, which became the foundaon for the parish whose patron saint is the Friar from engineering arstry; and, foremostly, to the Miller (1927–2013), a revered figure in expanded and sublime Hymnus Paradisi. Assisi, this text is parcularly close to my heart. astounding musicians of the choir – Vicars American church music as organist, choral Aer much pondering, my resolve became The Wessex Service came about as a Choral and Choristers – who never cease conductor and liturgical musician. It was simply to embrace those beloved past commission from Wells Cathedral Chorister to amaze me with their arrantly beauful Miller who encouraged Davison to look voices and weave them in to the fabric Trust (WCCT) for an evensong celebrang the arstry and constant commitment to choral beyond the organ to develop his work as of my own score, a sort of musical homage tweneth anniversary of the foundaon of music. To hear them sing is no less than a composer and conductor. Miller’s own by keeping close company with them. the girls’ choir and of the WCCT’s funding of heaven on earth for me! I thank profusely career as an organist and a working church

musician was one that inspired many of Duruflé’s Requiem are more surprising. homage to earlier music and in two parcular sonories. The ‘Requiem aeternam’ opens his students, and Davison served as his By the me of the first performance in respects it is quite an original concepon. in a mood of solemnity, the choral theme assistant at Boston University’s Marsh Chapel. 1947, it was widely seen as a naonal (doubled by the solo viola) is presented in It was an apprenceship that le a deep and memorial, but although the premiere was Firstly, the instrumentaon is unusual: the octaves over repeated pedal notes in the lasng impression on Davison whose given in the version with orchestra, Duruflé accompaniment is not only for organ but organ. Throughout the movement, though subsequent career has followed a similar himself wrote that his goal had been ‘to also for a solo viola, used to parcularly the choral textures change and the organ pathway, notably as Organist and Choirmaster write a religious work intended for the eloquent effect in the ‘Gradual: Dominus introduces chordal ideas, the voices remain at St Francis Episcopal Church in Potomac, church’. Indeed, his original idea had been regit me’, in the ‘Domine Jesu Christe’ and in unison or octaves. This relave simplicity Maryland, a post he has held since 1995. to compose a suite for organ based on the in the ‘Agnus Dei’. In the first and last turns out to be part of an ingenious strategy plainchant movements of the Requiem movements it adds a disncve colour to throughout the work: to create a coherent The largest work on this disc – and Davison’s Mass, with each piece played at the the overall sonority. Given the instrument’s whole that is also remarkable for the variety largest work to date – is his Missa pro appropriate moment in the liturgy. At any tendency to be associated with quiet of vocal and instrumental combinaons defuncs. Its origins are explained in the event, the first performance was given melancholy, this is enrely apt. found from one movement to the next. The composer’s foreword, but this seng of the on All Souls Day (2 November) 1947. ‘Kyrie’ opens with a syllabic choral incantaon Requiem Mass comes in a long line of sengs Reynaldo Hahn described Fauré as a Secondly, Davison has been creave in his (based on bare fihs and major seconds) composed by working church musicians, ‘voluptuous Gregorianist’ for his use of choice of texts. The words of the Requiem over which two groups of solo voices – somemes intended for liturgical use. serene modal harmonies in his Requiem, as set by, for example, Mozart and Fauré trebles and tenors, and trebles and baritones Composers such as Gabriel Fauré (at the and Duruflé was keen to put some distance are very different from each other: Fauré – float a melismac idea that develops for Madeleine), Maurice Duruflé (at St Éenne- between his own work and Fauré’s: ‘I do omied the ‘Dies Irae’ (as did Duruflé), but the central ‘Christe eleison’ into a more du-Mont) and Alfred Desenclos (at Notre- not think I was influenced by Fauré […] I included the ‘Pie Jesu’ as a separate elaborate duet for the two solo groups, over Dame-de-Loree) produced Requiems that have simply tried to surround myself with movement (in Mozart’s Requiem the words slowly changing choral chords, before a have a quieter, more contemplave approach the style suitable to the Gregorian chants.’ come in the ‘Lacrimosa’); And unlike Mozart, return to the opening idea. to the text than the more overtly dramac both Fauré and Duruflé included the ‘In works of operac masters from Mozart to Composed for performance in church (at Paradisum’ which is tradionally the The third movement is an interpolated Psalm Brien. Fauré’s Requiem is perhaps the most least some of the me) and, in one case, Anphon sung as the body is taken out of – ‘Dominus regit me’, ‘The Lord is my celebrated example this quieter approach, perceived as a kind of naonal memorial – the church. Davison does something shepherd’ – words that are oen sung at and it is one that Davison acknowledges as the parallels with a work wrien for a different again, using some passages that funeral services but do not form part of an influence. It was inially composed for cathedral choir to be performed on are not always set, and including a Psalm the Requiem Mass. John Ruer incorporated the funeral Mass of a parishioner (Joseph Remembrance Sunday are clear – and text as an interpolaon. his earlier seng of it into his Requiem Le Soufaché) at the Madeleine in Paris and Davison is happy to admit the influence of (1985), but it remains quite an unusual later expanded, but the inmacy of the both French masterpieces on his own work. While the music itself is rooted in tonal and choice of text. Whereas Ruer sets it for original version is something that finds an But he is very much his own man: this modal harmony, Davison demonstrates an choir (with oboe solo), in Davison’s seng echo in Davison’s work. The origins of Requiem is much more than an affeconate acute ear for subtle colouring and shiing it is presented as a tender duet, the solo mezzo-soprano and viola interweaving lyrical up by a G at the top. When this music Texts & Translaons 2. Most High, Glorious God lines to create a serene, flowing effect over returns at the end of the movement, the (A Prayer of Saint Francis) an undulang organ part, unl the G is sll the top note, but it now forms part 1. Awake, My Soul accompaniment slls for the final verse. of a radiant chord of E flat major. The ‘Agnus Most High, glorious God, Dei’ alternates an expressive duet for viola Awake, my soul, and with the sun enlighten the darkness of our minds. The ‘Tract’, ‘Absolve Domine, animas omnium and organ with unaccompanied choral Thy daily stage of duty run; Give us a right faith, fidelium defunctorum’ (‘Absolve, O Lord, wring, richly harmonised in up to six parts. Shake off dull sloth, and joyful rise, a firm hope, and a perfect charity, the souls of all the faithful departed’) is one The final ‘Lux aeterna’, marked ‘with great To pay thy morning sacrifice. so that we may always and in all things of the texts approved by the Council of serenity’, opens with the solo mezzo-soprano, Wake, and li up thyself, my heart, act according to Thy holy will. Trent for use in a musical seng of the answered by trebles and in turn by tenors. And with the angels bear thy part, Amen. Requiem Mass, but it is oen omied. A varied repeon of the same material, a Who all night long unwearied sing Davison marks it ‘Unhurried, as in plainsong’ minor third higher, presents the theme on High praise to the eternal King. St Francis of Assisi (1182–1226) and the seng is for solo tenor and the solo viola, now answered by a wordless unaccompanied tenors and basses. The soloist over hummed chords from the choir Awake, awake, ye heav’nly choir, reinvenon of a chant style in ‘Absolve before a treble solo sings the words ‘Quia May your devoon me inspire, Wessex Service Domine’ is a contrast to the richer textures pius es’ leading to the work’s close: marked That I like you my age may spend, 3. Magnificat and harmonies of the movements either ‘with great solemnity’, the music moves to Like you may on my God aend. side of it – and that quest for exploring E major and a return to the material first My soul doth magnify the Lord. different colours and vocal-instrumental heard at the opening of the work. Lord, I my vows to Thee renew; And my spirit hath rejoiced in God my Saviour. combinaons is a significant feature of the Disperse my sins as morning dew. For He hath regarded: the lowliness of His handmaiden. whole work. Davison sets the ‘Dies irae’ in © 2018 Nigel Simeone Guard my first springs of thought and will, And with Thyself my spirit fill. For behold, from henceforth: a suitably dramac style and at its centre all generaons shall call me blessed. is a short but very telling intervenon: Direct, control, suggest, this day, For He that is mighty hath magnified me: part of the ‘Pie Jesu’ sung by a solo treble All I design, or do, or say, and holy is His Name. ‘from a distance’ – a spaal effect that is That all my powers, with all their might, And His mercy is on them that fear Him: another example of Davison’s resourceful In Thy sole glory may unite. throughout all generaons. approach to the work. The ‘Offertory’ He hath shewed strength with His arm: (‘Domine Jesu Christe’) is for solo viola Praise God, from whom all blessings flow; He hath scaered the proud in the and lower voices only – once again offering Praise Him, all creatures here below; imaginaon of their hearts. a change of sonority before the much more Praise Him above, ye heavenly host; He hath put down the mighty from their seat: fully-scored and frankly melodious ‘Sanctus’. Praise Father, Son, and Holy Ghost. Amen and hath exalted the humble and meek. The first, climacc ‘Hosanna in excelsis’ ends He hath filled the hungry with good things: on a resonant chord of F major, nicely spiced Thomas Ken (1637–1711) and the rich He hath sent empty away. He remembering His mercy Gary Davison (Photography: Julie Keim) hath holpen His servant Israel: Te decet hymnus, Deus in Sion, Impinguas in oleo caput meum: Forgive, O Lord, As He promised to our forefathers, et bi redetur votum in Jerusalem. et calix mens inebrians quam praeclarus est! the souls of all the faithful departed Abraham and his seed for ever. Exaudi oraonem meam, Et misericordia tua subsequetur me from all the chains of their sins ad te omnis caro veniet. omnibus diebus vitae meae: and by the aid to them of your grace Glory be to the Father, and to the Son: et ut inhabitem in dormo Domini, may they deserve to avoid the judgment of revenge, and to the Holy Ghost; Eternal rest give unto them, O Lord in longitudinem dierum. and enjoy the blessedness of everlasng light. As it was in the beginning, is now, And let perpetual light shine upon them. and ever shall be: A hymn, O God, becometh Thee in Zion The Lord is my shepherd: 9. Sequence: Dies irae world without end. Amen. And a vow shall be paid to Thee in Jerusalem therefore can I lack nothing. Hear my prayer He shall feed me in a green pasture: Dies irae, dies illa Luke 1:46–55 All flesh shall come before You. and lead me forth beside the waters of comfort. Solvet saeclum in favilla, He shall convert my soul: and bring me forth in Teste David cum Sibylla. 4. Nunc dimis 6. Kyrie eleison the paths of righteousness, for His Name’s sake. Quantus tremor est futurus, Yea, though I walk through the valley of the Quando judex est venturus, Lord, now leest thou thy servant depart Kyrie, eleison. shadow of death, I will fear no evil: for thou art Cuncta stricte discussurus! in peace according to thy word. Christe, eleison. with me; thy rod and thy staff comfort me. Tuba mirum spargens sonum For mine eyes have seen thy salvaon, Kyrie, eleison. Thou shalt prepare a table before me against Per sepulchra regionum, Which thou hast prepared them that trouble me: thou hast anointed my Coget omnes ante thronum. before the face of all people; Lord, have mercy upon us. head with oil, and my cup shall be full. Mors stupebit et natura, To be a light to lighten the Genles Christ, have mercy upon us. But thy loving-kindness and mercy shall follow Cum resurget creatura, and to be the glory of thy people Israel. Lord, have mercy upon us. me all the days of my life: and I will dwell in Judican responsura. the house of the Lord for ever. Glory be to the Father, and to the Son: 7. Gradual: Dominus regit me (Pie Jesu Domine.) and to the Holy Ghost; Psalm 23 As it was in the beginning, is now, Dominus regit me, Liber scriptus proferetur, and ever shall be: et nihil mihi deerit: 8. Tract: Absolve, Domine In quo totum connetur, world without end. Amen. in locu pascuae ibi me collacavit. Unde mundus judicetur. Super aquam refeconis educavit me: Absolve, Domine, Judex ergo cum sedebit, Luke 2:29–32 animam meam convert. animas omnium fidelium defunctorum Quidquid latet apparebit. Deduxit me super semitas iusae, ab omni vinculo delictorum. Nil inultum remanebit. propter nomen suum. Et graa tua illis succurente Quid sum miser tunc dicturus? Missa pro defuncs Nam et si ambulavero in medio umbrae mors, mereantur evadere judicium ulonis, Quem patronum rogaturus? 5. Introit: Requiem aeternam non mebo mala: quoniam tu mecum es. et lucis aeternae beatudine perfrui. Cum vix justus sit securus. Virga tua, et baculus tuus: ipsa e consolata sunt. Rex tremendae majestatus Requiem aeternam dona eis Domine: Paras in conspectu meo mensam, qui salvandos salvas gras et lux perpetua luceat eis. adversus eos qui tribulant me salva me, fons pietas (Pie Jesu Domine.) This day, this day of wrath Righteous judge of vengeance, Libera eas de ore leonis shall consume the world in ashes, award the gi of forgiveness ne absorbeat eas tartarus, Recordare, Jesu pie, as foretold by David and the Sibyl. before the day of reckoning. ne cadant in obscurum; Quod sum causa tuae viae: What trembling there will be I groan as one guilty, Sed signifer sanctus Michael Ne me perdas illa die. When the judge shall come my face blushes with guilt; repraesentet eas in lucem sanctam, Quaerens me, sedis, lassus; to weigh everything strictly! spare the suppliant, O God. Quam olim Abrahae promisis et semini eius. Redemis crucem passus; The trumpet, scaering its awful sound Thou who did not absolve Mary Tantus labor non sit cassus. Across the graves of all lands and hear the prayer of the thief Hosas et preces bi, Domini Juste Judex ulonis, Summons all before the throne. hast given me hope, too. laudis offerimus tu suscipe pro animabus illis, Donum fac remissionis Death and nature shall be stunned My prayers are not worthy, quarum hodie memoriam facimus. Ante diem raonis. When mankind arises but Thou, O good one, show mercy, Fac eas, Domine, de morte transire ad vitam. Ingemisco tanquam reus, To render account before the judge. lest I burn in everlasng fire, Quam olim Abrahae promisis et semine eius. Culpa rubet vultus meus; Give me a place among the sheep, Supplican parce, Deus. (Merciful Lord Jesus.) and separate me from the goats, O Lord Jesus Christ, King of glory, Qui Mariam absolvis, placing me on Thy right hand. deliver the souls of all the faithful departed Et latronem exaudis, The wrien book shall be brought When the damned are confounded from the pains of hell and from the boomless pit: Mihi quoque spem dedis. In which all is contained and consigned to keen flames, deliver them from the lion’s mouth, Preces meae non sunt dignae, Whereby the world shall be judged call me with the blessed. that hell swallow them not up, Sed tu bonus fac benigne, When the judge takes his seat I pray, suppliant and kneeling, that they fall not into darkness, Ne perenni cremer igne. all that is hidden shall appear a heart as contrite as ashes; but let the standard-bearer holy Michael Inter oves locum praesta, Nothing will remain unavenged. take Thou my ending into Thy care. lead them into that holy light: Et ab haedis me sequestra, What shall I, a wretch, say then? That day is one of weeping, Which Thou didst promise of old to Statuens in parte dextra. To which protector shall I appeal on which shall rise again from the ashes Abraham and to his seed. Confutas maledics When even the just man is barely safe? the guilty man, to be judged. Flammis acribus addics, King of awful majesty Therefore spare this one, O God, We offer to Thee, O Lord, Voca me cum benedics. You freely save those worthy of salvaon merciful Lord Jesus: sacrifices and prayers: Oro supplex et acclinis, Save me, found of pity. Give them rest. Amen. do Thou receive them in behalf of those souls Cor contritum quasi cinis, of whom we make memorial this day. Gere curam mei finis. (Merciful Lord Jesus.) Aributed to Thomas of Celano Grant them, O Lord, to pass from death to that life, Lacrimosa dies illa, (c. 1200 –c. 1270) Which Thou didst promise of old to Qua resurget ex favilla Remember, gentle Jesus Abraham and to his seed. Judicandus homo reus. that I am the reason for your me on earth, 10. Offertory: Domine Jesu Christe Huic ergo parce, Deus: do not cast me out on that day Pie Jesu Domine: Seeking me, you sank down wearily, Domine, Jesu Christe, Rex gloriae, Dona eis requiem. Amen. you saved me by enduring the cross, libera animas omnium fidelium defunctorum such travail must not be in vain. de poenis inferni et de profundo lacu. 11. Sanctus & Benedictus 12. Agnus Dei

Sanctus, Sanctus, Sanctus Agnus Dei, qui tollis peccata mundi: Dominus Deus Sabaoth. dona eis requiem. Pleni sunt caeli et terra gloria tua. Agnus Dei, qui tollis peccata mundi: Hosanna in excelsis. dona eis requiem. Agnus Dei, qui tollis peccata mundi: Benedictus qui venit in nomine Domini. dona eis requiem sempiternam. Hosanna in excelsis. Lamb of God, who takest away the sins Holy, holy, holy, of the world, grant them rest. Lord God of Hosts. Lamb of God, who takest away the sins Heaven and earth are full of Thy glory. of the world, grant them rest. Hosanna in the highest. Lamb of God, who takest away the sins of the world, grant them eternal rest. Blessed is He Who cometh in the Name of the Lord. 13. Communion: Lux aeterna Hosanna in the highest. Lux aeterna luceat eis, Domine: Cum Sancs tuis in aeternum: quia pius es. Requiem aeternam dona eis, Domine: et lux perpetua luceat eis. Cum Sancs tuis in aeternum: quia pius es.

May light eternal shine upon them, O Lord, with Thy Saints for evermore: for Thou art gracious. y: Iain MacLeod-Jones)

aph Eternal rest give to them, O Lord, and let perpetual light shine upon them: (Photogr With Thy Saints for evermore, for Thou art gracious. thew Owens Mat This recording was made possible with the Rachael Lloyd (mezzo-soprano) Philip Dukes (viola) David Bednall (organ) generous assistance of the following donors: Brish mezzo-soprano Rachael Lloyd As a concerto soloist, Philip Dukes has David Bednall is recognised as one of the • Kathleen & Leigh Alexander connues to enjoy success in the UK and appeared with the BBC Philharmonic, London leading choral composers of his generaon • Laurel Bahar is also establishing herself as an arst in Philharmonic, City of Birmingham Symphony, and studied for a PhD in Composion with (in memory of her daughter, Maddie) mainland Europe. Recent engagements Royal Philharmonic, The Hallé, The Professor John Pickard at the University of • Kathy & Norm Barker include the tle-role in Carmen at the Royal Philharmonia, The Royal Scosh Naonal Bristol. He is a Teaching Fellow and Organist • Karen Brinkmann & Fred Johnsen Albert Hall for Raymond Gubbay, Pi-Sing Orchestra, Bournemouth Symphony, London of The University of Bristol, Sub Organist at (in memory of their daughter, Katherine) (The Mikado) and Woman/Mother, (The Day Mozart Players, Northern Sinfonia, BBC Bristol Cathedral, and Director of The • Mike Carper Aer) at English Naonal Opera, Sister (The Scosh Symphony, Royal Liverpool University Singers. He was Organ Scholar of • David Paul Davison, Sr House Taken Over) at Fesval d’Aix-en- Philharmonic, Ulster Orchestra and the BBC The Queen’s College, Oxford, held a number (in memory of his parents, Maxine & Provence, Aristea (L’Olimpiade) for the Naonal Orchestra of Wales. In 1995 Philip of posts at Gloucester Cathedral, and was Augustus Davison) Buxton Fesval, Amastre (Serse) for English made his BBC Promenade Concerto debut Assistant Organist at Wells Cathedral. His • Donna & David Paul Davison, Jr Touring Opera, Maddalena (Rigoleo) for returning again in 1999, 2005 and 2007. teachers included Dr Naji Hakim and David • Kim & Steven Davison Iford Arts, her German debut in the tle-role Philip has recorded a wide range of solo Briggs. He won prizes in Improvisaon and • Susan & Richard Davison of Dido & Aeneas for TPT Theater Thüringen albums, most notably the complete works Performance at the examinaon for FRCO. • Susan Leigh Dolan in Gera, Cornelia (Giulio Cesare in Egio) for for viola by Rebecca Clarke for Naxos and a He has performed extensively in the UK (in memory of her parents, Marilyn Leahy & the Glyndebourne Fesval and Meg Page debut recording for Deutsche Grammophon and abroad, including a recital at Notre- Harry Dolan, and her grandmother, (Falstaff) for Glyndebourne on Tour. At the of the Triple Concerto by Sir Michael Tippe Dame de Paris. His composions are widely Mary McDonald) Royal Opera House, Covent Garden Rachael recorded live at the BBC Proms with the recorded, and the album Hail, gladdening • Nancy Hoke has sung Kate Pinkerton (Madama Buerfly) BBC Symphony Orchestra conducted by Sir light was a Gramophone Editor’s Choice. (in memory of her husband, Jack Hoke) and Alisa in a new producon of Lucia Di . Philip also appears on the The recording of his Requiem received • Mary Hulen Lammermoor at the Royal Opera House, complete set of Mozart’s Viola Quintets similar accolades, and a further recording, (in memory of her husband, Elmer Hulen) directed by Kae Mitchell and conducted for Hyperion Records with the Nash Flame Celesal, received a Gramophone • Kathy Lavinder by Daniel Oren. Upcoming engagements Ensemble, recently released to crical Recommendaon. His largest work to date, (in memory of her husband, Michael Doran) include Woman (4:48 Psychosis) with the acclaim. Philip is also Professor of Viola Welcome All Wonders, was commissioned • Carol Miller Royal Opera House, Miss Jessel (The Turn at the in London. by The Queen’s College, Oxford while other (in memory of her mother, Jeane Sharp Miller) Of The Screw) with English Naonal Opera In 2006 he was elected a Fellow of the recent projects have included a BBC • Jennifer & The Rev’d William M. Shand, III at Regent’s Park Theatre and Grimgerde Guildhall School of Music and Drama, Commission for James Gilchrist, Philip Dukes, • Norma & Jeff Young (Die Walküre) with the London Philharmonic and was made an Associate of the Royal and Anna Tilbrook which was premiered in Orchestra. Academy of Music in 2007. Hull, City of Culture, in July 2017.

www.rachael-lloyd.com www.philipdukes.com www.davidbednall.com Wells Cathedral Choir James MacMillan CBE, Sir Peter Maxwell Mahew Owens As Musical Director of the Wells Cathedral Davies CH CBE (former Master of the Oratorio Society, a chorus of over 150 singers, Wells Cathedral Choir was hailed in 2011 by Queen’s Music), Tarik O’Regan, John Ruer, Mahew Owens is Organist and Master of he has performed the major works of the an internaonal jury from Gramophone as Howard Skempton, Sir John Tavener, and the Choristers of Wells Cathedral. In addion repertoire with some of the south of the greatest choir with children in the world, Judith Weir CBE (Master of the Queen’s to being responsible for the 1100 year-old England’s leading professional orchestras. and the sixth greatest overall. The choir Music). The choir broadcasts regularly tradion of daily sung worship at Wells Mahew has directed choral workshops and celebrated its 1100th birthday in 2009: boys on BBC Radio 3 and its innovave recordings Cathedral, Owens has toured, broadcast, summer schools throughout the UK and first sang at Wells Cathedral in 909 and the over the last twelve years for Hyperion and recorded extensively with Wells abroad – including recent visits to Australia, full choral tradion dates back over 800 Records, Regent Records, Signum Classics, Cathedral Choir. Owens is the Founder China, Germany, Hong Kong, Luxembourg, years. In 1994 the choral foundaon at and Resonus Classics have won internaonal Arsc Director of three iniaves at New Zealand, and the USA – and has made Wells was enriched by the addion of girl praise and has had two discs made Editor’s Wells: Cathedral Commissions, a scheme over thirty recordings as a conductor with choristers. Today the choir consists of Choice in Gramophone. As well as the which commissions new works from major labels including Hyperion, Signum, eighteen boy choristers, eighteen girl liturgical musical repertoire the choir pre-eminent Brish composers; the and Resonus Classics. As an organist, choristers and twelve Vicars Choral (the performs larger scale choral works in cathedral’s innovave fesval, new music Mahew has given recitals in Australia, men of the choir). The boys and girls concert, with recent collaboraons including wells; and its counterpart, Early Music France, Ireland, Spain, Switzerland, New usually sing separately with the Vicars the BBC Naonal Orchestra of Wales (Brien’s Wells. He was educated at Chetham’s Zealand, the USA, and throughout the UK, Choral but occasionally come together War Requiem), Jools Holland and his band School of Music; The Queen’s College, and is currently performing the complete for larger events and tours. (Jools Holland’s Mass), Wells Cathedral Oxford; the Royal Northern College of works of Bach at Wells Cathedral. He has Oratorio Society (Brien’s St Nicholas and Music; and the Amsterdam Conservatorium. championed new music, parcularly of The choir is at the heart of the worshipping War Requiem), Dame Felicity Lo, Dame Studying with Gordon Stewart, Margaret Brish composers, conducng over 200 life of the Cathedral, and sings a wide Emma Kirkby, James Bowman CBE, and Phillips, and Jacques van Oortmerssen, world premieres. He is Director of repertoire of music ranging from the Wells Cathedral School Chamber Orchestra he won all the major prizes in the diplomas the Cranmer Anthem Book (launched in Renaissance period to the present day. It (at royal gala concerts at the Royal Opera of the Royal College of Organists. His October 2017), a project which will set all sings throughout the cathedral’s fesval, House, Covent Garden, and St James’s career appointments include Tutor in 92 Collects from the Book of Common Prayer launched in June 2008: new music wells, Palace, London). In September 2014 the Organ Studies at the RNCM and Chetham’s, to music, by some of the world’s finest giving a number of premieres as well as choristers sang with the Berlin Radio Choir and working for BBC Religious Broadcasng composers. As a composer himself, he is featuring music from the previous forty years. and the Berlin Philharmonic Orchestra under (1994-99); Sub Organist of Manchester published by Oxford University Press, the baton of Sir Simon Rale OM, in a Cathedral (1996-99), Conductor of The Novello, and the RSCM. He was made an It has premiered works from some of performance of Bach’s St Mahew Passion Exon Singers (1997-2011), and Organist Honorary Fellow of the Guild of Church today’s finest composers, including Lord at the BBC Proms. The choir has toured and Master of the Music at St Mary’s Musicians in November 2012, and a (Michael) Berkeley CBE, Judith Bingham, extensively with recent tours to France, Episcopal Cathedral, Edinburgh (1999-2004); Prebendary (Canon) of Wells Cathedral – Geoffrey Burgon, Bob Chilco, Jonathan Germany, The Netherlands, Hong Kong, he also served as President of the Cathedral ‘for outstanding service’ to the Diocese Dove, Gabriel Jackson, John Joubert, Sir and Beijing. Organists’ Associaon (2010-13). and Cathedral – in October 2017.

Wells Cathedral Choir Altos Simon Clulow (soloist, track 1) Boy Choristers Theo Golden Tom Bates Stephen Harvey (soloist, track 6) Raphael Davey Tim Wilson Henry Dukes (soloist, track 3) Daniel Fawden Tenors Hugo Fisher Edward Goater Xavier Hobday-Padamadan Oscar Golden-Lee Alexei James-Cudworth Iain MacLeod-Jones (soloist, tracks 4, 6 & 8) Hugh Laa Ben Tambling Ozzie Laa Jack Wilde Ross Lloyd James MacGeoch Basses Monty Reeve-Gray Craig Bissex (soloist, track 6) y: Iain MacLeod-Jones)

aph Bailey Roberts Andrew Kidd

ogr Taylor Thompson Christopher Sheldrake William White (Phot Girl Choristers Harriet Carlill Soprano Soloist (Missa pro defuncs) Erin Davies Madeleine Perring (tracks 6, 9 & 13) tmas 2015 Madeline Davis Orla Donoghue (soloist, track 1) al, Chris Cecilia Fawden Eliza Green thedr Madeleine Hughes Frederica Lindsey-Coombs ells Ca Beth Mion

s of W Jessica Morrell er t Sophie Morrell Harriet Perring Astrid Rose-Edwards The boy and girl choris More titles from Resonus Classics Gary Davison Gary’s choral works appear regularly on cathedral and parish choir music lists both John Joubert: St Mark Passion, Steeped in the rich Anglican choral tradion, in the USA and the UK. Among his many Missa Wellensis & Locus iste Peter Auty (tenor), Benjamin Bevan (baritone), American composer, Gary Davison, brings commissions are those from The Associaon Richard Mary (cello), David Bednall (organ), a deep love of this heritage to all of his of Anglican Musicians, The Royal School of Wells Cathedral Choir & Matthew Owens (conductor) wring. Through the lens of the post-modern Church Music in America, the Sewanee Church RES10198 era, he embraces many of the modal and Music Conference, Washington Naonal tonal techniques of Western music to inform Cathedral, and Wells Cathedral. He twice has ‘Matthew Owens conjures from his choir his own arstry. Crics, performers and been awarded a Fellowship in Composing at beautifully shaped, expressive phrasing requiring audiences alike favourably regard his the Virginia Center for the Creave Arts, masterly breath control that is staggering’ composional style for its idiomac and held tenures as Composer-in-Residence Choir & Organ expression and freshness of voice. with Cantate Chamber Singers (Washington, A Wells Christmas DC) and with The Exon Singers (Tavistock, Wells Cathedral Choir Early instrucon in piano from Wesley Howl UK). In addion to two recordings from Wells Matthew Owens (conductor) in Tulsa, Oklahoma first sparked Gary’s love Cathedral, the Gothic label recently issued RES10176 of music. His formave organ studies were an all-Davison recording from Washington under the guidance of Philip Baker at Naonal Cathedral (Michael McCarthy, ‘Seamlessly blended by choirmaster Matthew Owens, Highland Park United Methodist Church in Director) as part of their New American who has cultivated a bright, gleaming sonority’ Dallas, Texas, where he served as Assistant Choral Music series. BBC Music Magazine Organist during high school. As a Dean’s Scholar graduate in Organ Performance at As the Organist and Choirmaster of Saint Boston University (MusM and MusB, Francis Episcopal Church in Potomac, Maryland, magna cum laude), Gary received primary Gary leads a fully graded music programme © 2018 Resonus Limited tutelage from Max Miller and pursued with boy and girl choristers, as well as adult è 2018 Resonus Limited concentrated studies in theory and women and men. Simultaneously, he Recorded in Wells Cathedral, on 8–9 February & 8–9 March 2017 composion with Robert Sirota and Marjorie maintains an acve schedule as a solo and by kind permission of the Dean and Chapter. Producer, engineer & editor: Adam Binks Merryman. He also held a Fellowship as collaborave keyboard arst, as well as Recorded at 24-bit/96kHz resolution Assistant Organist and Choirmaster at the teaching privately. He parcularly enjoys a Cover design: David Hughes (www.davidhughesdesign.co.uk) university’s renowned Marsh Chapel. Gary close musical and personal relaonship with is a recipient of the Associate Cerficate the Wells Cathedral community and serves as RESONUS LIMITED – UK from the American Guild of Organists a Patron of the Wells Cathedral Chorister Trust. [email protected] (AAGO), and is an inductee of Pi Kappa www.resonusclassics.com Lambda, the Naonal Music Honor Society. www.lilebearpress.com RES10211