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1 Prelude ™ The First Song of Moses (Gibbons arr. A. Pitts) [Song 1] 0:46 (Gibbons arr. A. Pitts) [Song 1] 2:07 2 A Song of Joy / Christmas Day £ Lord, who by Thy Resurrection (Gibbons arr. A. Pitts) [Songs 47/46] 3:34 (A. Pitts) 1:05 GIBBONS 3 The Song of Angels ¢ The Song of Hannah (Gibbons arr. A. Pitts) [Song 34] 0:45 (Gibbons arr. A. Pitts) [Song 4] 2:14 4 Interlude ∞ The Song of Deborah (Gibbons) [Song 13] 0:23 (Gibbons arr. A. Pitts) [Song 3] 2:21 Hymns and Songs of the Church 5 Thine for ever! § O Lord Most High (A. Pitts) 1:29 (Richard James Pitts) 2:40 6 Amen 0:17 ¶ Amen 0:19 7 The First Canticle • Veni Creator TONUS PEREGRINUS (Gibbons arr. A. Pitts) [Song 9] 2:23 (Gibbons arr. A. Pitts) [Song 44] 2:28 8 The Fifth Canticle ª St Matthias (Gibbons arr. A. Pitts) [Song 13] 2:47 (Gibbons arr. A. Pitts) [Song 67] 0:57 9 The Sixth Canticle º Veni Creator (Gibbons arr. A. Pitts) [Song 14] 4:11 (Gibbons arr. A. Pitts) [Song 44] 1:08 0 The Tenth Canticle ⁄ We are of Thee (Gibbons arr. A. Pitts) [Song 18] 1:30 (Gibbons arr. A. Pitts) [Song 1] 1:40 ! Thy way, not mine ¤ Hark, my soul! (John Michael Pitts) 2:02 (A. Pitts) 2:07 @ Amen 0:18 ‹ Amen 0:20 # There is a green hill far away › Come unto Me (A. Pitts) 3:51 (A. Pitts) 2:30 $ Interlude [There is a green hill far away] ﬁ The Second Song of Isaiah (A. Pitts) 0:51 (Gibbons arr. A. Pitts) [Song 20] 0:45 % Take my life ﬂ The Prayer of Habakuk (Gibbons arr. A. Pitts) [Song 13] 3:55 (Gibbons arr. A. Pitts) [Song 31] 2:11 ^ Amen 0:21 ‡ Interlude & Lord, who by Thy perfect offering (Gibbons arr. A. Pitts) [Song 13] 1:08 (A. Pitts) 1:04 ° The Song of the Three Children * Lamentation I (Gibbons arr. A. L’Estrange) [Song 41] 1:56 (Gibbons arr. A. L’Estrange) [Song 24] 4:43 · Amen 0:20 ( The Lamentation of David ‚ Miserere Domine (Gibbons arr. A. L’Estrange) [Song 5] 2:33 (A. Pitts) 1:53 ) As now the sun’s declining rays a The Prayer of Hezekiah (A. L’Estrange) 1:33 (Gibbons arr. A. Pitts) [Song 22] 1:22 ¡ Amen 0:25 b Amen 0:26 8.557681 16 557681 bk Gibbons US 6/8/06 11:30 AM Page 2

Hymnes and Songs of the Church Though the fig-tree blossom not, · Amen and the vine no cluster yield; Music: arr. Antony Pitts “Since my childhood I have been aware that the music Testament, translated into English Measures, follow on though the olive labour fails that moves me most stems from chorales and hymns.” from a Reformation-led interest in metrical versions of nor the meat be in the field; Songs of hope So said Glenn Gould in an interview with Bruno the Psalms in the vernacular; a famous English example when cut off the flock from fold Monsaingeon in 1979, “Indeed I always said the most from half a century earlier is Archbishop Parker’s and no herd found in the stalls; ‚ Miserere Domine fascinating beautiful little piece in all of music is a Psalter complete with Thomas Tallis’s adaptable Music: Antony Pitts hymn by Orlando Gibbons, by the name Thus Angels musical settings. Yet will I in Him rejoice Text: E.O. Sang. I couldn’t count the times I’ve let these bars Hymns and “spiritual songs” have been part of God of my salvation, wander through my mind, or how often I’ve played Christian worship since New Testament times, joy in Him, my Lord and God, In that dim and awful day, them on the piano, or how often I’ve listened to the specifically described by Paul in his letter to the for the Lord God is my strength: when this world shall pass away, Deller Consort sing them – hundreds, probably Colossians (3:16) as two creative outlets alongside the He will make my feet like hinds’ where shall be the sinner’s stay? thousands of times.” This present disc is believed to be (by then) one-thousand-year-old Jewish tradition of and to walk safe on the heights. Miserere Domine! the first complete recording of all of the hymn melodies psalm-singing. Famous saints Ambrose in the fourth ascribed to Orlando Gibbons and included in [The] century, Bernard of Clairvaux in the twelfth, and ‡ Song 13 (instrumental excerpts) Not alone, but one with Thee, Hymnes and Songs of the Church published by George Thomas Aquinas in the thirteenth have all written Music: Orlando Gibbons (arr. Antony Pitts) in Thy true humanity, Wither in 1623. hymns that are still in use today (often in English Saviour, shall my portion be. 1623 was also the year that John Donne wrote in translations by diligent nineteenth-century scholars and ° Song 41: The Song of the Three Children Miserere Domine! Meditation XVII from his Devotions upon Emergent hymn-writers). Completely new texts, such as the hymn Music: Orlando Gibbons (arr. Alexander L’Estrange) Occasions: “The church is Catholic, universal, so are all to the Holy Trinity that was discovered with musical Text: George Wither At that awful judgment-tide, her actions; all that she does belongs to all. When she notation on a papyrus at Oxyrhyncus, appeared from the Rock of Ages, let me hide baptizes a child, that action concerns me; for that child first centuries of the Christian Era, while the primary Oh all you Creatures of the Lord; deep within Thy wounded side. is thereby connected to that head which is my head too, source for much of the new poetry continued to be the You Angels of the Lord most high; Miserere Domine! and ingrafted into that body whereof I am a member”. It Psalms and other Biblical texts; George Wither’s 1623 You Heav’ns with what you do afford; is in the spirit of Donne’s famous meditation that we collection combines both these strands of hymnody, as And Waters all above the sky: a Song 22: The Prayer of Hezekiah have approached this recording, arranging the Gibbons its full title explains: “The hymnes and songs of the Bless ye the LORD, Him praise, adore, Music: Orlando Gibbons (arr. Antony Pitts) melodies in eight short sequences that broadly cover the Church diuided into two parts. The first part and magnify Him evermore. Text: George Wither unfolding of the Church’s liturgical year; each sequence comprehends the canonicall hymnes, and such parcels is garnished with a recent musical offshoot of the of Holy Scripture as may properly be sung, with some Thou Earth, you mountains, and you hills, O Lord of Hosts and God of Israel! English hymn-writing tradition, linked directly to the other ancient songs and creeds. The second part consists and whatsoever thereon grows; Thou, who between the Cherubim dost dwell; performers on this disc. of spirituall songs, appropriated to the seuerall times and you fountains, rivers, springs, and rills; of all the world Thou only art the King, George Wither was a colourful character, and like occasions obserueable in the Church of England”. And you seas, and all that ebbs, or flows: and heav’n and earth, unto their form didst bring. Donne, distinctly English in tenacity and in the tension the connection to the Psalms was both historic and Bless ye the LORD, Him praise, adore, between worldly pursuits and spiritual devotion. Both literal: Wither’s publication was initially granted a royal and magnify Him evermore. b Amen men spent time in prison – Donne for secretly marrying monopoly to be “bound up with every copy of the Music: arr. Antony Pitts his patron’s sixteen-year-old niece and Wither twice for authorized metrical psalms on sale” (in various printed Let Israel the LORD confess; writing satirical material which upset the Establishment. formats), thus bringing together the Apostle Paul’s three so let His priests, that in Him trust; Although Wither has neither the reputation nor the categories of musical worship in one volume. Him let His servants also bless; genius of Donne, he can certainly be celebrated for The terms hymn and song, however, cause some ye souls and spirits of the just: creating one of the very earliest prototypes of an English confusion: Gibbons’ tunes are known as Song 1 etc., yet Bless ye the LORD, Him praise, adore, hymnal. The Hymnes and Songs of the Church, and we think of them as hymns. A distinction between and magnify Him evermore. Wither’s own 1621 precursor to it, the Songs of the Old public and private worship is hinted at by Wither, but in

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We are of Thee, the children of Thy love, Songs of faith the blurred practice of the intervening centuries there 13 to Song 34, and leads into Thine for ever, a joyful brothers and sisters of Thine own dear Son; remains little difference for us today, and for the rest of modern counterpart with florid inner parts 5. descend, O Holy Spirit, like a dove, › Come unto Me this booklet the terms are used interchangeably. into our hearts, that we may be as one: Music: Antony Pitts Orlando Gibbons was baptized in Oxford in 1583 Songs of love (7-@) as one with Thee, to Whom we ever tend; Text: William C. Dix [Come unto Me, ye weary] and died in 1625 in Canterbury, a member of the Chapel as one with Him, our Brother and our Friend. Royal and Organist at Westminster Abbey. As well as The Song of Songs has long provided rich imagery for “Come unto Me, dear children, and I will give you light.” being Glenn Gould’s favourite composer of all time, poets and composers, with its interlacing of simple, We would be one in hatred of all wrong, O living Voice of Jesus, which comes to cheer the night! Gibbons was a very fine organist (the “best finger of rapturous human love with intense glimpses of the one in our love of all things sweet and fair, Our hearts were filled with sadness, and we had lost that age”), but his musical contribution to the Hymnes divine who is Love Himself. Gibbons has responded to one with the joy that breaketh into song, our way; and Songs of the Church is extremely simple: fifteen or this series of canticles with the sublime Songs 9 “Come one with the grief that trembles into prayer, but morning brings us gladness, and songs the break so tunes (depending on how you count them), made up kiss me” 7, 13 “Oh my love” 8 and 18 “Who’s this” one in the power that makes Thy children free of day. from various overlapping formulae, and underpinned 0; in-between is Song 14 9 whose paternity has been to follow Truth, and thus to follow Thee. with straightforward basslines. The inner parts (if any) called into question by the most serious of scholars: “Come unto Me, ye fainting, and I will give you life.” are left to the imagination of singers and here, however, its dramatic possibilities are highlighted ¤ Hark, my soul! O peaceful Voice of Jesus, which comes to end instrumentalists. On this recording we have adopted a with alternating soloists and chorus. After the desolation Music: Antony Pitts our strife! wide variety of approaches: from unadorned melody via of the apparently abandoned lover at the end of Song 14, Text: William Cowper The foe is stern and eager, the fight is fierce and long, pastiche to exuberantly postmodern counterpoint. We Song 18 0 sounds a more urgent note, the first minor but Thou has made us mighty, and stronger than have also varied both the use of the bass and the organ mode setting on this disc. Its deliberately tense and Hark, my soul! it is the Lord; the strong. (one of the earliest English chamber organs in use contradictory inner parts lead into John Pitts’s setting of ’tis thy Saviour, hear His Word; today), and of the acoustic; the recording was partly Thy way, not mine ! where chromatic hymnody is Jesus speaks, and speaks to thee, “And whosoever cometh I will not cast him out.” made in a parish church, and partly in the more intimate pushed to the edges. “Say, poor sinner, lov’st thou Me?” O patient love of Jesus, which drives away our doubt; environment of a home, albeit a large one. The new which calls us, very sinners, unworthy though we be hymns, by Alexander L’Estrange and myself, and two Songs of sacrifice (#-^) “Can a woman’s tender care of love so free and boundless, to come, dear Lord, to Thee! of my younger brothers, serve both to vary the palette cease towards the child she bare? and to show the continuing influence of Hymnes and The pattern of old and new is reversed for this sequence Yes, she may forgetful be, ﬁ Song 20: The Second Song of Isaiah Songs of the Church on hymn-writing today. which begins with an alternative setting #-$ of the yet will I remember thee.” Music: Orlando Gibbons (arr. Antony Pitts) famous hymn There is a green hill far away, written Text: George Wither Songs of joy (1-6) soon after the composer went up to New College, “Thou shalt see My glory soon, Oxford. It’s followed by Take my life / Song 13 %, one when the work of grace is done; Therefore with joy draw forth and call upon the same; The collection begins with a lively prelude based on one of two examples on this disc of Gibbons tunes partner of My throne shalt be; then shall ye say, “Praise ye the Lord: exalted is of Gibbons’ most familiar melodies, Song 1 1. The first appropriated for more recent words. say, poor sinner, lov’st thou Me?” His Name”. major festival of the Church’s year is celebrated in the closely-related pair of Songs 47 and 46 2: David Wulstan, Songs of lamentation (&-¡) Lord, it is my chief complaint ﬂ Song 31: The Prayer of Habakuk conductor of the pioneering recording of Gibbons hymns that my love is weak and faint; Music: Orlando Gibbons (arr. Antony Pitts) with The Clerkes of Oxenford, suggests convincingly that The real event of the Crucifixion and its metaphysical yet I love Thee, and adore; Text: George Wither, Antony Pitts Song 46 (Christmas Day) is Wither’s own inept consequences are linked in Lord, who by Thy perfect O for grace to love Thee more. elongation of Gibbons’ original Song 47 (A Song of Joy); offering, with music that deliberately echoes the Lord, Thy answer I did hear, here they are heard rejoined at the refrain. The Christmas sixteenth and seventeenth-century English tradition &. ‹ Amen and I grew therewith afear’d. theme continues with the Song of Angels “Thus angels Gibbons’ two stunning Lamentations refer to the Music: arr. Antony Pitts When the times at fullest are, sung” 3, in a different version to that included in The destruction of Jerusalem by Nebuchadnezzar *, and to Let Thy Work be then declar’d. Naxos Book of Carols (8.557330). A brief instrumental David’s loss of his closest friend Jonathan in the heat When the time, Lord, full doth grow, extract 4 demonstrates the relationship of the end of Song and turmoil of civil war in Israel ( . Alexander then in anger, mercy show. 8.557681 14 3 8.557681 557681 bk Gibbons US 6/8/06 11:30 AM Page 4

L’Estrange’s deeply nostalgic hymn ) brings the first unharmed by Nebuchadnezzar’s burning fiery furnace, in Israel when new gods they chose, Songs of unity half of the disc to a fitting close. call upon angels, saints, and all creatures to “bless, that filled their gates with war. praise, adore, and magnify” the Lord °. Song 20 fi has And they had there nor shield nor spear • Song 44: Veni Creator Songs of triumph (™-¶) been given a new solution to the problematic bass part in their possession then; Music: Orlando Gibbons (arr. Antony Pitts) published by Wither, while Song 41 ° is another to arm (for fight) one Israelite Text: George Wither The day of Resurrection is celebrated with the highly- melody which has had its authorship questioned, ’mong forty thousand men. charged words of the Song of Moses ™ to the tune of although it seems to do the job. Come Holy Ghost, the Maker, come; Song 1. A further musical echo is heard in Lord, who by Arise oh Deborah, arise: take in the souls of Thine Thy place; Thy Resurrection £ , and then the Songs of two Songs of hope (‚-b) rise, rise, and sing a song. Thou whom our hearts had being from, determined, even feisty Old Testament heroines, Hannah Abinoam’s son, oh Barak rise: Oh fill them with Thy heavenly grace. ¢ and Deborah ∞. This Easter sequence finishes with a All Saints Day brings the hopes and fears associated thy captives lead along. Thou art that Comfort from above, nineteenth-century translation of a mediaeval, possibly with the Last Judgement into sharp relief: Miserere Their Princes all, by him made thrall the Highest doth by gift impart; Ambrosian Latin hymn for Ascensiontide, with new Domine ‚ was written in response to an untimely death. to the survivor be. Thou spring of Life, a fire of Love, music by James Pitts bringing together traditional King Hezekiah, faced by enemy invasion, prays to the To triumph on, the Mighty One, and the anointing Spirit art. harmonies and a more exotic rhythmic lilt §. source of his own earthly authority, the King of kings the LORD vouchsafed me. a, and the Church’s liturgical year turns once more into ª Song 67: St Matthias Songs of unity (•-‹) the season of Advent. § O Lord Most High Music: Orlando Gibbons (arr. Antony Pitts) Music: Richard James Pitts Text: George Wither The third great Feast of the Church’s year, after Amen (6, @, ^, ¡, ¶, ‹, ·, b) Text: John Mason Neale (from the Latin) Christmas and Easter, is Pentecost. Like the events of When one among the Twelve there was, Easter, it is connected to a thoroughly Jewish Festival, but Each of the eight sequences ends with a more-or-less O Lord Most High, eternal King, that did Thy Grace abuse; imbued with new meaning: in this case, the descent of the contrapuntal variation on a simple tune: this Amen was by Thee redeemed, Thy praise we sing: Thou left’st him, Lord, and in his place, Holy Ghost on the Church ten days after the Ascension (and still is) sung with ad hoc harmonies by my family the bonds of death are burst by Thee, didst just Matthias choose. (some fifty days after Easter Day). Gibbons’ Song 44 at the end of grace before mealtimes. Scores of these and grace has won the victory. •&º is an extended version of Song 9 &, and the same versions, and of all the hymns and songs, along with full º Song 44: Veni Creator tune exists in an even shorter form as Song 34 3. In the texts, are available at www.tonusperegrinus.co.uk. Ascending to the Father’s throne, Music: Orlando Gibbons (arr. Antony Pitts) middle of Veni Creator stands Song 67 ª which refers to Thou claim’st the kingdom as Thine own: Text: George Wither the choosing of a twelfth Apostle to take the place of This might be an appropriate point to remember that Thy days of mortal weakness o’er, Judas Iscariot; this tune had appeared elsewhere before Wither’s collection caused some scandal: both with the all power is Thine for evermore. To Thee, the Father, and the Son; Wither’s 1623 publication and in this performance Stationers Company who successfully objected to the (Whom past and present times adore) contains an old organists’ joke, as well as some word- printing monopoly and with those who disapproved of In awe and wonder, angels see the One in Three, and Three in One, painting in the newly-composed inner parts. The theme of anything new in this territory. In The Schollers Purgatory how changed is man’s estate by Thee; all glory be for evermore. unity in the Spirit continues with the second pairing of (1624) Wither responded: “If they accuse me of ought how Flesh makes pure, as flesh did stain, Let us be taught the blessed Creed more recent words with Gibbons’ melody, here Song 1 wherein I am truly faulty; it shall I trust move me to a true and Thou, True God, in Flesh dost reign. of Father, and of Son, by Thee: ⁄, and ends with the newest hymn of all, composed repentance, begett in me amendment for the tyme to come; And how from Both Thou dost proceed, about three weeks before the recording, Hark, my soul! ¤ & through the shame of this life, lead me into the glory of All praise from every heart and tongue that our belief it still may be. the next”, and “If any cryme be objected whereof I am to Thee, ascended Lord, be sung; Songs of faith (›-·) cleare, I will remember that the world hath sometyme all praise to God the Father be, ⁄ [Song 1:] We are of Thee praised me more then I diserved, so (letting her praises & and Holy Ghost, eternally. Music: Orlando Gibbons (arr. Antony Pitts) The “Voice of Jesus” is heard again speaking to the disparagments to ballance one another) will forgive her, & Text: John W. Chadwick [Eternal Ruler of the heart in Come unto Me ›, followed by prayer and praise have as little to do with her, hereafter as I cann.” ¶ Amen ceaseless round] from Old Testament prophets Isaiah fi and Habakkuk Music: arr. Antony Pitts fl ; and the “Three Children” consigned to, but Antony Pitts 8.557681 4 13 8.557681 557681 bk Gibbons US 6/8/06 11:30 AM Page 12

To God the Father, God the Son, Lord, Thy Spirit will assist her With many thanks to Bill & Marion Dow and Katrina & Richard Burnett at Finchcocks, and God the Holy Ghost, as she takes her special part. Ernest Yeo and all at Bromley Parish Church, and to Daniel Leech-Wilkinson. all glory be from saints on earth, This recording is dedicated to Toby William Forbes L’Estrange. and from the angel host. ¢ Song 4: The Song of Hannah Music: Orlando Gibbons (arr. Antony Pitts) ¡ Amen Text: George Wither TONUS PEREGRINUS Music: arr. Antony Pitts Now in the Lord my heart doth pleasure take: Tonus Peregrinus is one of the most exciting young ensembles in Britain, with major successes in both early music Songs of triumph my horne is in the Lord advanced high. and new music, including the prestigious Cannes Classical Award for the ensemble’s début release of Arvo Pärt’s And to my foes an answer I will make; Passio (Naxos 8.555860). Recent critical acclaim in the BBC Music Magazine, The Telegraph, and The ™ Song 1: The First Song of Moses because in His salvation joy’d am I. Gramophone speaks for itself: “utterly spellbinding”, “utterly beguiling”, “captivating excitement”, “gloriously Music: Orlando Gibbons (arr. Antony Pitts) Like Him, there is not any Holy One, sung by this superb choir”, as does the selection first of Passio, and then of the ensemble’s release of Antony Pitts’s Text: George Wither and other Lord beside Him, there is none. Seven Letters (Hyperion CDA67507) as Editor’s Choices in The Gramophone. In a new series of recordings for Naxos, Tonus Peregrinus has focused on the most important milestones of early Western music including: the first Now shall the praises of the Lord be sung; By Him are broken bows of mighty men, music in four separate parts by Pérotin (Sacred Music from Notre-Dame Cathedral 8.557340), the first-ever opera, for He a most renowned triumph won: and they that stumbled are now filled with strength. Adam de la Halle’s mediaeval musical (Le Jeu de Robin et de Marion 8.557337), the first complete polyphonic both horse and man into the sea He flung: They that were full have hired themselves for bread, mass and Passion settings (The Mass of Tournai 8.555861), and motets and Mass movements by the musical and them together there hath overthrown. and they that hungered once are full again. godfather of the Renaissance, John Dunstaple (Sweet Harmony 8.557341). Tonus Peregrinus has also made a unique The Lord is He, whose strength doth make me strong; The barren hath now brought forth sevenfold, impact on the popular Christmas market with The Naxos Book of Carols, commissioned by Klaus Heymann of and He is my salvation, and my song; and she that hath borne many is waxed old. Naxos and published both as a CD (8.557330) and as a carol-book in partnership with Faber Music (ISBN 0-571- my God, for whom I will a house prepare; 52325-0; 0-571-52327-7). Tonus Peregrinus was founded while director Antony Pitts was studying under Edward my fathers’ God, whose praise I will declare. He taketh, and He giveth life again; Higginbottom at New College, Oxford, and early years saw repeated tours abroad in the Low Countries, as well as He maketh poor and rich, both low and high; twice featuring on the cult CD journal Unknown Public. The name tonus peregrinus is taken from an ancient The LORD shall ever and for ever reign: He raiseth up the poor out of the dung, plainchant psalm tone dating back to Jewish liturgical sources linked to the Passover, and hence the Last Supper. (His sovereignty shall never have an end) and sets the beggar to the princes nigh. This chant has a different starting-note in each half, so was called the “wandering tone”, and also gained the for, when as Pharaoh did into the main He keepeth all His saints, their feet shall stand, nickname of tonus novissimus, the “newest tone”. Tonus Peregrinus combines these two characteristics in a with chariots and with horsemen down descend, and nothing to Him is the strength of man. repertoire that ranges far and wide from the end of the Dark Ages to scores fresh from the printer, and has an the Lord did back again the sea recall, interpretative approach that is both authentic and highly original. The ensemble is represented by Ikon Arts / Costa and with those waters overwhelm them all: ∞ Song 3: The Song of Deborah Peristianis ([email protected]) and has a comprehensive website at www.tonusperegrinus.co.uk. but, through the very inmost of the same, Music: Orlando Gibbons (arr. Antony Pitts) the seed of Israel safe and dryshod came. Text: George Wither Joanna Forbes

£ Lord, who by Thy Resurrection Sing praises Israel to the Lord, Joanna Forbes was born into an eminent musical family of composers and performers and read music at Hertford Music: Antony Pitts that thee avenged so: College, Oxford. Best-known for her work with the world-renowned a cappella group The Swingle Singers, of Text: Antony Pitts when to the fight with free accord, which she was soprano/Musical Director for over six years, she enjoys a varied career as a classical soprano (both as the people forth did go. a soloist and in consorts), jazz singer, composer/arranger, CD producer, workshop leader and singing teacher. For Lord, who by Thy resurrection, You Kings give ear, you Princes hear, further information, visit www.forbes-lestrange.co.uk. first of all Adam’s seed, while to the Lord I raise burst the bonds of death’s corruption, my voice aloud, and sing to God, Rebecca Hickey gave the hope that we all need; (the Lord of Israel) praise. Rebecca Hickey has sung in choirs from a very early age. She started her formal singing studies whilst at university Lord, we pray Thee, help our sister, Until I Deborah arose, in York and now sings in a number of small choirs and vocal ensembles. Her solo rendition of Pérotin’s Beata take the pain from her heart; (who rose a mother there) viscera was showcased on BBC Radio 3’s CD Review. 8.557681 12 5 8.557681 557681 bk Gibbons US 6/8/06 11:30 AM Page 6

Kathryn Oswald ^ Amen her priests do sigh; her tender virgins be Music: arr. Antony Pitts uncomfortable left; and so is she. Kathryn Oswald read music at Worcester College, Oxford, where she held a Music Scholarship. She now pursues a busy and varied musical career: as well as being Editorial Director at Faber Music, she sings with various leading Songs of lamentation Her people do with sighs, and sorrows get choirs and ensembles, and is a solo recitalist. She guest-presents for BBC TV Proms and has featured as a voice- that little bread which for relief they have; over artist for BBC Radio 3. & Lord, who by Thy perfect offering and give away their precious things for meat, Music: Antony Pitts so to procure wherewith their lives to save. Alexander L’Estrange Text: Antony Pitts Oh Lord consider this, and ponder Thou, how vile, and how dejected I am now. Alexander L’Estrange was a chorister at New College, Oxford, and went on to read music at Merton College, Lord, who by Thy perfect offering graduating in 1994 with First Class Honours. Besides being a professional countertenor, singing with groups such as once for all on the Cross ( Song 5: The Lamentation of David The Gabrieli Consort, he is a published composer and arranger, jazz double bass player and pianist, jazz examiner opened wide Thine arms in dying, Music: Orlando Gibbons (arr. Alexander L’Estrange) for the Associated Board, CD producer and Musical Director, most recently for The Choirboys. For further gave us life we once had lost; Text: George Wither information, visit www.forbes-lestrange.co.uk. Lord, we pray Thee, help our brother, Thy beauty, Israel, is gone; Richard Eteson wipe the tears from his eyes; slain in the places high is he: Lord, then he will soon discover the mighty now are overthrown. Whilst Head Chorister at King’s College, Cambridge, Richard Eteson sang the solo verse of Once in Royal David’s where Thy perfect freedom lies. Oh, thus how cometh it to be! City, opening the world-famous carol service to a radio and TV audience of millions. Returning to King’s College, Cambridge as a tenor, he featured as a soloist on the Choir’s recording of Rachmaninov’s Vespers. Since * Song 24: Lamentation I Weep Israel’s daughters, weep for Saul, Cambridge, Richard has also sung with Polyphony, Magnificat, Collegium Musicum 90, Opus Anglicanum, The Music: Orlando Gibbons (arr. Alexander L’Estrange) who you with scarlet hath arrayed; Cambridge Scholars, Close Encounters, and has been a member of The Swingle Singers (www.swinglesingers.com) Text: George Wither who clothed you with pleasures all, since 2000. As well as frequent UK oratorio performances as a soloist, he has made numerous recordings and TV and on your garments gold hath laid. appearances, and has performed in many of the world’s leading venues including the Sydney Opera House, How sad and solitary now (alas,) Australia, La Scala, Milan, the Concertgebouw, Amsterdam, Suntory Hall, Tokyo, the Esplanade Centre, Singapore, is that well-peopled city come to be! How comes it, he that mighty was, and the Terme di Caracalla, Rome. which once so great among the nations was, the foil in battle doth sustain! and oh how widow-like appeareth she! Thou Jonathan, oh thou (alas) Alexander Hickey She rule of all the provinces hath had, upon thy places high, wert slain. and now herself is tributary made. Alexander Hickey started singing as a chorister at Hereford Cathedral, went up to Christ Church, Oxford as a choral ) As now the sun’s declining rays scholar and now regularly sings with professional choirs in and around London. He combines his singing with a All night she maketh such excessive moan Music: Alexander L’Estrange successful career as a barrister specialising in construction law at 4 Pump Court Chambers in the Temple. that down her cheeks a flood of tears doth flow: Text: John Chandler etc. (from Latin of Charles Coffin) and yet, among her lovers there is none, Francis Brett that consolation doth on her bestow. As now the sun’s declining rays For, they that once her lovers did appear, at eventide descend, Francis Brett was a choral scholar at King’s College, Cambridge where he read music. He studied as a postgraduate now, turned foes and faithless to her are. e’en so our years are sinking down at the Royal College of Music and has since performed a wide variety of music including opera at Covent Garden to their appointed end. and many of the major works of oratorio both in Britain and abroad. His solo recordings include Stainer’s The The very ways of Sion do lament; Crucifixion, the rôle of the Registrar in Madame Butterfly for Chandos, and the award-winning Tonus Peregrinus the Gates thereof their loneliness deplore; Lord, on the Cross Thine arms were stretched recording of Arvo Pärt’s Passio on Naxos. He is increasingly in demand as a recitalist, particularly as an exponent because that no man cometh to frequent to draw the nations nigh; of English song. her solemn festivals as heretofore; O grant us then that Cross to love, and in those arms to die.

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Thy way, not mine, O Lord, There was no other good enough Nick Flower however dark it be. to pay the price of sin; Lead me by Thine own hand; He only could unlock the gate Nick Flower first sang with Tonus Peregrinus in 1990. Since 1994 he has followed a career providing design, choose Thou the path for me. of heaven, and let us in. reprographics and production management expertise to the music industry. He also features as a bass on the ensemble’s recordings of Arvo Pärt: Passio, Anon: The Mass of Tournai, Antony Pitts: Seven Letters, and sings Smooth let it be or rough, O dearly, dearly has He loved, with Oxford Camerata under Jeremy Summerly. it will be still the best; and we must love Him too, winding or straight, it leads and trust in His redeeming blood, Antony Pitts right onward to Thy rest. and try His works to do. Antony Pitts was born in 1969 and sang as a boy in the Chapel Royal, Hampton Court Palace. He was an Academic Take Thou my cup and it $ There is a green hill far away (instrumental) Scholar and later Honorary Senior Scholar at New College, Oxford, graduating in 1990 with First Class Honours. with joy or sorrow fill, Music: Antony Pitts While at New College he founded Tonus Peregrinus and in 2004 won a Cannes Classical Award for his as best to Thee may seem; interpretation of Arvo Pärt’s Passio with the ensemble. He joined the BBC in 1992, and worked for many years as a choose Thou my good and ill. % [Song 13:] Take my life Senior Producer for Radio 3, receiving the Radio Academy BT Award for Facing the Radio in 1995 and the Prix Music: Orlando Gibbons (arr. Antony Pitts) Italia 2004 for A Pebble in the Pond. He began composing at an early age and has written many works specially for Not mine, not mine, the choice, Text: Frances R. Havergal Tonus Peregrinus, as well as other leading ensembles including the Clerks’ Group, Oxford Camerata, Rundfunkchor in things or great or small; Berlin, and the Choir of Westminster Cathedral. Faber Music publish selected scores including his forty-voice motet be Thou my Guide, my Strength, Take my life, and let it be XL, and a recording by Tonus Peregrinus of his sacred choral music has recently been released to great acclaim in my Wisdom, and my All. consecrated, Lord, to Thee; Britain and abroad (Seven Letters Hyperion CDA67507). He teaches composition at the Royal Academy of Music take my moments and my days, where he is Senior Lecturer in Creative Technology. @ Amen let them flow in ceaseless praise. Music: arr. Antony Pitts Take my hands, and let them move Songs of sacrifice at the impulse of Thy love; take my feet, and let them be # There is a green hill far away swift and beautiful for Thee. Music: Antony Pitts Text: Cecil Frances Alexander Take my voice, and let me sing always, only, for my King; There is a green hill far away, take my lips, and let them be without a city wall, filled with messages from Thee. where the dear Lord was crucified, Who died to save us all. Take my will, and make it Thine: let Thy will be done, not mine; We may not know, we cannot tell, take my heart: it is Thine own; what pains He had to bear, it shall be Thy royal Throne. Clockwise from top left: Joanna Forbes and Richard but we believe it was for us Eteson; Francis Brett, Alexander Hickey, Richard He hung and suffered there. Take my love; my Lord, I pour Eteson, Nick Flower and Alexander L’Estrange; Antony at Thy feet its treasure-store; Pitts playing the John Byfield organ at Finchcocks; He died that we might be forgiven, take myself, and I will be Geoff Miles and Antony Pitts; Rebecca Hickey, Kathryn He died to make us good, ever, only, all for Thee. Oswald and Antony Pitts; Alexander L’Estrange with that we might go at last to heaven, his bass (photo: Susan Porter-Thomas) saved by His precious blood. 8.557681 10 7 8.557681 557681 bk Gibbons US 6/8/06 11:30 AM Page 8

The spelling of texts from Wither’s Hymnes and Songs of Thus angels sung, and thus sing we; 8 Song 13: The Fifth Canticle for, with the dew My head is dight; the Church has been modernized within reason, while a to God on high all glory be: Music: Orlando Gibbons (arr. Antony Pitts) My locks with droppings of the night. couple of the modern texts have been archaized slightly: let Him on Earth His Peace bestow, Text: George Wither only those verses sung on this recording are printed here; and unto men His favour show. I rose to open for my love, further verses can be found at www.tonusperegrinus.co.uk. Oh my love, how comely now, and from my hands distilled myrrh; 4 Song 13 (instrumental excerpt) and how beautiful art thou! pure myrrh did from my fingers drop Music: Orlando Gibbons Thou of dovelike eyes a pair, upon the handles of the lock, Songs of joy shining hast within thy hair: but, then departed was my Dear. 5 Thine for ever! and thy locks like kidlings be, when by His voice I knew ’twas He, 1 Song 1 (instrumental) Music: Antony Pitts which from Gilead hill we see. my heart was like to faint in me. Music: Orlando Gibbons (arr. Antony Pitts) Text: Mary F. Maude Love, thy lips drop sweetness so, I sought; but seen He could not be: 2 Songs 47/46: A Song of Joy / Christmas Day Thine for ever! God of love, as the combs of honey do. I call’d; but heard no answer sound. Music: Orlando Gibbons (arr. Antony Pitts) hear us from Thy throne above; Thou hast underneath thy tongue The city watchmen met with me, Text: George Wither Thine for ever may we be honey mixed with milk among. As they were walking on their round, here and in eternity. And thy robes do scent as well, and gave me stripes that made a wound: A song of joy unto the Lord we sing as the frankincense doth smell. yea, they that watch and guard the wall, and publish forth the favours He hath shown. Thine for ever! Shepherd, keep E’en they have took away my veil. We sing His praise from whom all joy doth spring us Thy frail and trembling sheep; All the gardens ev’rywhere, and tell abroad the wonders He hath done safe alone beneath Thy care, take their first beginning there. 0 Song 18: The Tenth Canticle for such were never since the world begun. let us all Thy goodness share. There the precious Fountain lies, Music: Orlando Gibbons (arr. Antony Pitts) His love therefore, oh! let us all confess; whence all living waters rise. Text: George Wither and to the sons of men His works express. Thine for ever! Thou our guide, Even all those streams that come, all our wants by Thee supplied, running down from Libanon. Who’s this, that leaning on her Friend, His love therefore, oh! let us all confess; all our sins by Thee forgiven, lead doth from the wilderness ascend? and to the sons of men His works express. us, Lord, from earth to heaven. 9 Song 14: The Sixth Canticle Mind how I raised thee, Music: Orlando Gibbons (arr. Antony Pitts) ev’n where thy Mother thee conceived, As on the night before this blessed morn, 6 Amen Text: George Wither [Arise thou North wind] where she that brought thee forth conceived, a troop of angels unto shepherds told, Music: arr. Antony Pitts beneath an apple tree. where in a stable He was poorly born, My sister, and espoused peer, Whom nor the earth, nor Heav’n of heav’ns can hold. Songs of love unto My garden I am come: Much water cannot cool Love’s flame: Through Bethlem rung this news at their return; My spice I gathered with My myrrh: no floods have power to quench the same. yea, angels sung, that GOD WITH US was born: 7 Song 9: The First Canticle I ate My honey in the comb, For Love so high is prized, and they made mirth, because we should not mourn. Music: Orlando Gibbons (arr. Antony Pitts) and drunk My wine with milk among. that who to buy it would assay, His love therefore, oh! let us all confess; Text: George Wither Come friends, and best-beloved of Me, though all his wealth he gave away, and to the sons of men His works express. come eat, and drink, and merry be. it would be all despised. Come kiss me with those lips of Thine; 3 Song 34: The Song of Angels for, better are Thy loves than wine. I slept, but yet my heart did wake; ! Thy way, not mine Music: Orlando Gibbons (arr. Antony Pitts) And, as the poured ointments be, it is my love I knocking hear: Music: John Michael Pitts Text: George Wither such is the savour of Thy Name: it was His voice, and thus He spake; Text: Horatius Bonar and, for the sweetness of the same, Come open unto Me, My dear, the Virgins are in love with Thee. My love, My dove, My spotless peer:

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GIBBONS Playing Time (1583-1625) Hymnes and Songs of the Church 71:42 Hymnes and Songs of the Church Hymnes and Songs of the Church The complete Orlando Gibbons melodies as published in 1623, with new realizations and original settings by L’Estrange and Pitts

1-6 Songs of joy 7:15 ™-¶ Songs of triumph 10:47 7-@ Songs of love 13:12 •-‹ Songs of unity 8:40 #-^ Songs of sacrifice 8:58 ›-· Songs of faith 8:50 & ¡ ‚ b - Songs of lamentation 10:19 - Songs of hope 3:41 www.naxos.com Made in Canada Sung texts included Booklet notes in English &

TONUS PEREGRINUS

Joanna Forbes, Soprano • Rebecca Hickey, Soprano • Kathryn Oswald, Alto 2006 Naxos Rights International Ltd. Alexander L’Estrange, Countertenor, Double bass (Mo Clifton, 2002) Richard Eteson, Tenor • Alexander Hickey, Tenor • Francis Brett, Bass • Nick Flower, Bass Antony Pitts, Director, Chamber organ (John Byfield, London 1766, Finchcocks Collection)

A full track list can be found on the last page of the booklet Full texts and scores of the music are available at www.tonusperegrinus.co.uk Recorded in 24-bit digital from 28th to 30th September, 2004, 8.557681 in Bromley Parish Church and at Finchcocks, Goudhurst, Kent 8.557681 Engineer: Geoff Miles • Producer: Geoff Miles, TONUS PEREGRINUS Editor: Antony Pitts • Booklet notes: Antony Pitts Cover photograph: Hampton Court Clock © Suzanne Bickerdike / Dreamstime.com