Symphonic Psalms & Prayers

SYMPHONIC PSALMS & PRAYERS

Symphony of Psalms Igor Stravinsky 1 I. Exaudi orationem meam, Domine [3.92] 2 II. Expectans expectavi, Dominum [6.23] 3 III. Alleluia. Laudate Dominum [11.44] 4 Friede auf Erden, Op. 13 Arnold Schoenberg [10.30] Chichester Psalms Leonard Bernstein 5 Psalm 108: 2; Psalm 100 [3.42] 6 Psalm 23; Psalm 2: 1–4 [5.31] 7 Psalm 131; Psalm 133: 1 [9.23] 8 Psalm 23, Op. 14 Alexander Zemlinsky [10.53]

Total timings: [60.28]

TENEBRAE BBC SYMPHONY ORCHESTRA DAVID ALLSOPP COUNTERTENOR NIGEL SHORT CONDUCTOR

www.signumrecords.com - 3 - Stravinsky: Symphony of Psalms that Igor Stravinsky fulfilled the requirements Schoenberg: Friede auf Erden, Op. 13 with his tongue in his cheek. It all depends Bernstein: Chichester Psalms on how you define the word: symphonic. Zemlinsky: Psalm 23, Op. 14 This piece is in a slightly unlikely musical format but it has become widely-known and With trumpets and well-tuned cymbals. The hard-wearing, maybe because of its individuality. musical and prayerful richness of The Book He clearly did not just provide a pot-boiler of Psalms inspires vastly differing offerings for popular appeal. One look at the chosen from composers with a myriad of approaches texts might be enough to put off the listener to combining the two worlds of the symphonic before the music begins. No feel-good choice and the choral. The results are works which of psalms where all sounds well with God, the defy categorisation and stand the test of time Psalmist and Creation. In fact, if the listener with audiences and performers alike. were on the edge of giving up hope of good relations with the Almighty, then the snippets There are certain giants in the musical of Psalm 38 are full of supplications of repertoire which are unmistakable, either inadequacy, even a little despair, relieved because they do not fit neatly into a category with a small dose of hope and trust in the or because they are simply so distinctive as to promises of the Lord in Psalm 39. Only in the be etched on our collective musical memory. setting of the complete Psalm 150 is there The result of a commission by the Boston what might be described as a conventional Symphony Orchestra to celebrate their 50th approach to linking the virtues of God with anniversary of foundation, the Symphony of the joys of singing, illustrated by some of the Psalms could be thought of as a compromise. more usual biblical instrumentation: trumpets Its publisher had ambitions for a popular and well-tuned cymbals. Even then, it is not work, although the definition of popular might always a happy sing-along: an ominous hint be the first liberty taken by Stravinsky in of menace underpins the words Laudate and supplying the goods. The Boston Symphony Alleluia in the final movement. It should not Orchestra requested a symphonic work, as be forgotten that the Book of Psalms is, after suggested by their name, and it might be all, a song book and David himself, the psalmist,

- 3 - is referred to in the subtitles of many of third section. But there is another depth to the the individual psalms as The Choirmaster. package which perhaps explains its universal appeal. There is the composer’s own ritual Now for that tricky word: symphony. The traditional darkness in the flavour of much of the orchestral understanding is a certain way of piecing colour, an unmistakably Russian-Orthodox aroma, musical form together and a way of developing coupled with the use of the psalms of themes. Yet the original meaning of the word the Jewish faith in their Roman Catholic symphony suggests sounds which go well translation. Difficult to pin down, but there together, and Igor Stravinsky might have had seem to be tolling bells in there – nothing this idea in mind when he provided a format as obvious as orchestral bells, but even the which is miles away from the symphony as we opening chord gives the impression that know it. The commissioning orchestra would ritual activity is about to take place. Maybe it have known that Stravinsky had already is the repeated Es throughout, like a tolling produced works such as the Symphony in Eb bell, at different pitches which keep the first from his youth, the Symphony of Wind movement rooted somewhere, in a vague sense Instruments, Symphony in C and the Symphony of worship. Much of the centring around this in 3 movements. But now he produces a note is chanting rather than normal melody, completely different, three-movement choral almost a monastic restriction for the voice symphony in neo-classical style which the in austerity, pandering neither to the audience, musical world has held in high esteem ever nor to the singers themselves. since. There are further arguments for his use of the term, symphony in the sense of balance A gateway looking to the twentieth century’s in music. There is harmony and intricate atonalism and equally to the end of the romantic writing in equal roles for orchestra and choir; era, Friede auf Erde is a baffling exception to certainly not a choral work with just orchestral categorisation, and a choral essay with which accompaniment – much more a dialogue. We Schoenberg became disillusioned as much as can see and hear classic textures of choral with the likelihood of universal harmony among writing: the double-fugue of the second his fellow men. The work was the significant last movement with clear echoes of polyphony in the of his previous tonal period, in his own words

- 4 - in 1923, “an illusion created in his previous although the musical treatment gives at least innocence”. In the inter-war years this pessimism a reverential tone to the concept of Peace was perhaps unsurprising, when Anton Webern upon Earth if not actual sacredness. asked in 1928: “Have you even heard your chorus at all? In that case, do you know Bernstein’s Chichester Psalms was one of the how beautiful it is? Unprecedented! What a many enlightened and imaginative commissions sound!” The practicalities of performing the of the Dean of Chichester Cathedral, Walter Hussey piece, composed in 1907 but not performed which resulted in this somewhat unconventional until 1911, and then only with the addition of work for the Southern Cathedrals Festival of purely-supporting instrumental accompaniment, 1965. Picture the raised eyebrows at an have led to a certain performance fear. Certainly, American Jewish composer with a leaning at a point of metamorphosis for the composer towards the sounds of Broadway writing a from late Romanticism to atonal Expressionism, setting of psalm selections in Hebrew for the the building-blocks of the textures are grounded English Cathedral world. This was a culture in the part-writing tradition of Brahms, linked in which the appearance of risqué biblical to the discipline of the Polyphonic Masters. The texts and the tones of the saxophone (Walton’s cause of the initial abandonment of rehearsals Belshazzar’s Feast) or the use of War Poetry by the Vienna Singverein must have been the in a religious work (Britten’s War Requiem) challenge of the tonal journey throughout, ruffled the Establishment’s feathers. Still, which is not facilitated by any harmonic or this unique jewel in the repertoire has become melodic implication nor any helping hand from recognised as an illuminated expression of instrumental lines, since it was conceived as the message of the psalms set, as well as an a cappella composition. The text is a poem a possibly-unintended commentary on the from 1886 by Conrad Ferdinand Meyer (1825- timeless struggles of mankind and, maybe 1898) which he wrote for the Christmas edition more specifically, conflict among different nations. of Schorers Familienblatt, a family newspaper. Despite both the title and the narrative of There is no conventional approach to the the Nativity of Christ in the first stanza, the combination of choirs and orchestra – first content is of a secular, somewhat utopian slant the use of a solo boy in a lower range than the

- 4 - - 5 - typical, floating-chorister role is a distinctive except in some details of verse-numbering to marker. This exacting, vocal part has the option the psalms chanted and recited daily in of being taken by a countertenor, and since churches and monasteries in all of Christendom, the persona represents the psalmist himself, so the work serves as an essay in ecumenism, the boy David, Bernstein stipulated that it whether that was the intention or not. The was a male-only domain. The orchestral forces, best-known of these psalms is the central while omitting woodwind, make the most movement which depicts God as the Good imaginative use of strings, brass, percussion, Shepherd, tending his flock. The opening is but most of all a major role for two harps. The essentially a call to praise God and rejoice biblical references alone grant these instruments in Creation, with a paean of praise in what a heavenly part, and the composer himself is known in the Christian Liturgy as the made their importance clear at an initial Jubilate. After the comforting words of the rehearsal by treating the rest of the forces to a central section, the third movement delights play-through by the harpists alone. The percussion in a Divine optimism of comfort and hope, lends colours and metrical and rhythmic with an appeal for unity at the close, echoed dimensions which would have seemed at least in Bernstein’s use of a unison close in voices refreshing in the intended setting of an English and orchestra. cathedral. In the event, the actual premiere was in Philharmonic Hall, New York City shortly before There is a risk in the world of choral singing its unveiling in Britain. The legendary percussionist, to undertake works which demand just a James Blades had an important consultative little too much of the singers. The talents role in adapting the instrumentation for an required in Chichester Psalms should not be economy version by the composer for organ, and underestimated, written with rhythmic complexity one player each on harp and percussion, and and interval-calculations which, even in the this has contributed to the work’s widespread 1960s would have come as a shock to members following ever since. of choral societies or church choirs. All the voices, including a short section for a SATB There are three movements, each using selected quartet near the end, have huge demands verses from the Hebrew Psalms, identical made of them, in technical terms both vocal

- 6 - and musical. The major part of the first the seventh, to the principal theme of Mahler’s movement is in 7/4 metre, itself a counter- Symphony of a Thousand, ‘Jupiter’ from Holst’s intuitive sensation for musicians. There is a The Planets and even, most surprisingly, to the predominance of the interval of the seventh, introduction to the 1964 theme for Star Trek, especially between the lowest two voices – a composed by Alexander Courage. tricky relationship for the ear to gauge. The use of this number is specific to the symbolism You cannot take Leonard Bernstein, the composer of that number in the bible. In the Book of big tunes, taut rhythmical interplay and of Revelation alone this number is used 54 glitzy instrumentation out of a commission times. We are perhaps accustomed to such for an ecclesiastical festival – he succeeded references as ‘sevenfold grace’, the seventh in merging two contrasting worlds in a work day: the Sabbath, seven divisions of the bible, which grabs the attention of the listener and seven angels, seven trumpets, seven seals, has proved to be a hard-wearing favourite that they go unnoticed. I cannot help pointing among choral singers. out that the modern harp has seven pedals to alter the pitch of the strings and that the Alexander von Zemlinsky’s Psalm 23 (The Lord musical octave, despite the name, has seven is my Shepherd) is in a fantasy style, painting letter-named notes. That might be sufficient a musical picture to match the echoes of the on the subject on paper; the feel of it is in pastoral mode of this psalm text where God is the musical effect. likened to a shepherd. About one half of the Book of Psalms in the Bible was written by Bernstein made a motivic use of an angular (King) David who was once a shepherd himself. shape heard at the outset which consists of a In the Hebrew headings for many of the downward fourth, rising seventh (as discussed psalms, there are the inscriptions: ‘A Psalm of above) and a descending fifth. This gets the David’ and ‘To the Choirmaster’. Therefore it is transformatory treatment throughout the work, hardly surprising that the words of Psalms are binding it together through its various moods a ready resource for composers. Think of it as a and messages. Curiously, I find it rather close, very, very old book of lyrics. Arguably, Psalm at least in the elements of the fourth and 23 is the best-known in the whole collection

- 6 - - 7 - of 150 psalms and maybe its popularity is alongside his conventional harmony in the because it is not so much a prayer asking mould of Wagner and Brahms, it is the ground- God for gifts or graces, but rather it expresses shifting chromaticism which points us to contentment and trust in what the Lord has another family connection: Schoenberg married provided on earth and has promised for the Zemlinsky’s sister Mathilde in 1901, and future. Zemlinsky paints a picture in music 1907 was the year of both the composition with some of the optimism of Gustav Mahler’s of Schoenberg’s Friede auf Erde and the choral works and a little of the religious marriage of Zemlinsky to Ida Guttman. After fervour of his teacher, Anton Bruckner. There is formative years immersed in the music of also a forward-looking use of chromatic harmony the Jewish faith, Zemlinsky had converted to which sounds almost like an introduction Protestantism in 1899, the same year that he to the composer Arnold Schoenberg. There took up the position of Kappelmeister at Vienna’s is an immediacy to his way of transforming Carltheater. Another similar post followed in imagined, pastoral scenes into colourful 1906 at the Vienna Volksoper so this creative melody and harmony which is direct and burst of choral works is perhaps not entirely appealing. Some of the influences in his style surprising and his three psalm-settings rank are easily traced in Zemlinsky’s own life. among his finest works.

Born in Vienna with a mixture of Catholic, The use of the oboe in the orchestral introduction Muslim and Jewish cultures, his three psalm- of Psalm 23 is perhaps an obvious choice, settings make up almost all of his sacred since this instrument has been used since music compositions. He intended to marry Anna the Baroque period to suggest the countryside Schindler had Gustav Mahler not got there as depicted in the words of this psalm. The first but, despite this domestic upset, Mahler vocal lines retain a certain folksong simplicity was still chosen to conduct the premiere of and the use of mainly higher voices lends an Zemlinsky’s Opera, Es War Einmal (Once upon angelic feel to the mood. The harmonic language a time) and it might have been Mahler’s music becomes more chromatic and sensuous as which was the inspiration for Alexander’s the psalm’s valley of death approaches sweeping phrases and arching climaxes. Yet, and rustic spice is added to the sumptuous

- 8 - - 9 - instrumentation, with glockenspiel, harp, piccolo Symphony No.8, there are little hints of this and cymbals emphasizing the rather high-lying sound-world in Zemlinsky’s Psalm 23. The world of the shepherd, suggesting those two works were premiered in the same year instruments (timbrel, pipe, harp etc.) which and it is worth recalling the esteem in which feature so often in the Book of Psalms. For Zemlinsky held Gustav Mahler. those who know the sound of the bridge passage before the Chorus Mysticus of Mahler’s © Greg Murray

TEXTS & TRANSLATIONS

1 - 3 Symphony of Psalms Igor Stravinsky

1. Exaudi orationem meam, Domine, Hear my prayer, O Lord, et deprecationem meam. and my supplication: Auribus percipe lacrimas meas. Ne sileas, Give ear to my tears. Be not silent, Quoniam advena ego sum apud te for I am a stranger with thee, et peregrinus, sicut omnes patres mei. and a sojourner, as all my fathers were. Remitte mihi ut refrigerer priusquam O spare me, that I may recover strength, abeam et amplius non ero. before I go hence, and be no more.

Text: Psalm 38/39: 13-14

2. Expectans expectavi Dominum With expectation I have waited for the Lord, et intendit mihi and he was attentive to me. Et exaudivit preces meas And he heard my prayers,

- 8 - - 9 - et eduxit me de lacu and brought me out of the pit of misery miseriae et de luto fecis and the mire of dregs. et statuit super petram pedes meos And he set my feet upon a rock, et direxit gressus meos and directed my steps. Et inmisit in os meum canticum novum carmen And he put a new canticle into my mouth, Deo nostro videbunt a song to our God. multi et timebunt Many shall see, and shall fear: et sperabunt in Domino and they shall hope in the Lord.

Text: Psalm 39/40: 1–3

3. Alleluia. Alleluia Laudate Dominum in sanctis Eius Praise ye the Lord in his holy places Laudate Eum firmamento virtutis Eius praise ye him in the firmament of his power Laudate Eum in virtutibus Eius Praise ye him for his mighty acts Laudate Eum secundum multitudinem praise ye him according to the multitude magnitudinis Eius. of his greatness. Laudate Eum in sono tubae Praise him with sound of trumpet Laudate Eum in timpano et choro Praise him with timbrel and choir Laudate Eum in cordis et organo praise him with strings and organs Laudate Eum in cymbalis benesonantibus Praise him on high sounding cymbals Laudate Eum in cymbalis jubilantionibus praise him on cymbals of joy Omnis spiritus laudate Dominum. Let every spirit praise the Lord. Alleluia. Alleluia.

Text: Psalm 150

- 10 - - 11 - 4 Friede auf erden, Op. 13 Peace on earth Arnold Schoenberg

Da die Hirten ihre Herde When the shepherds left their flocks, Ließen und des Engles Worte And conveyed the angel’s words Trugen durch die niedre Pforte Through the low doorway Zu der Mutter mit dem Kind, To the mother with the child, Fuhr das himmlische Gesind The heavenly throng continued Fort im Sternenraum zu singen, To sing in the firmament, Fuhr der Himmel fort zu klingen: Heaven continued to sound: “Friede, Friede! auf der Erde!” “Peace, peace on earth!”

Seit die Engel so geraten, Since the angels uttered such advice – O wie viele blut’ge Taten Ah! how many bloody deeds Hat der Streit auf wildem Pferde, Has armed warfare on wild horses Der geharnischte vollbracht! Perpetrated! In wie mancher heiligen Nacht In how many a sacred night Sang der Chor der Geister zagend, Has the choir of spirits sung – tentatively, Dringlich flehend, leis verklagend: With fervent pleading, gradually fading: “Friede, Friede... auf der Erde!” “Peace, peace on earth!”

Doch es ist ein ewiger Glaube, But there is an eternal belief Dass der Schwache nicht zum Raube That the weak shall not fall prey Jeder frechen Mordgebärde To every insolent murderous gesture Werde fallen allezeit: At every season: Etwas wie Gerechtigkeit Something resembling justice Webt und wirkt in Mord und Grauen Works against murder and horror, Und ein Reich will sich erbauen, And a kingdom shall be created Das den Frieden sucht der Erde. That seeks peace on earth.

- 11 - Mählich wird es sich gestalten, Gradually this kingdom shall come about, Seines heiligen Amtes walten, Shall exercise its power, Waffen schmieden ohne Fährde, Shall forge weapons without peril, Flammenschwerter für das Recht, Shall forge swords of fire for justice; Und ein königlich Geschlecht And a race of kings Wird erblühn mit starken Söhnen, Shall flourish with strong sons, Dessen helle Tuben dröhnen: Whose bright tubas shall blare out: Friede, Friede auf der Erde! Peace, peace on earth!

Text: Conrad Ferdinand Meyer Translation @ Richard Stokes

5 - 7 Chichester Psalms Leonard Bernstein . . . Urah hanevel v’chinor! Awake, psaltery and harp: . A‘irah shahar. I will rouse the dawn!

. Hari‘u l’Adonai kol ha’arets, Make a joyful noise unto the Lord all ye lands. . . Iv’du et Adonai b’simha, Serve the Lord with gladness. . . Bo’u l’fanav bir’nanah. Come before his presence with singing. : . D‘u ki Adonai hu Elohim, Know that the Lord, he is God. : ( ) hu ‘asanu v’lo anahnu. It is he that has made us, and not we ourselves. ( . ) Amo v’tson mar‘ito. We are his people and the sheep of his pasture. . Bo’u sh‘arav b’todah, Come unto his gates with thanksgiving, Hatseirotav bit’hilah, And into his court with praise. . Hodu lo, bar’chu sh’mo, Be thankful unto him and bless his name. . Ki tov Adonai, l’olam has’do, The Lord is good, his mercy everlasting . V‘ad dor vador ’emunato. And his truth endureth to all generations. . Words: Psalm 108. 2, 100 - 12 - - 13 - . Adonai ro-i, lo ehsar. The Lord is my shepherd: I shall not want. . Bin’ot deshe yarbitseini, He maketh me to lie down in green pastures: .. . - Al mei m’nuhot y’nahaleini, He leadeth me beside the still waters.

. . - Naf’shi y’shovev, He restoreth my soul: .. - . Yan’heini b’ma‘aglei tsedek, He leadeth me in the paths of righteousness, . . . L’ma‘an sh’mo. For his name’s sake. . Gam ki eilech Yea, though I walk .

B’gei tsalmavet, Through the valley of the shadow of death,

Lo ira ra, I will fear no evil:

Ki attah imadi For Thou art with me, . Shiv’t’cha umishan’techa Thy rod and thy staff . Hemah y’nahamuni. They comfort me. .. . Lamah rag’shu goyim Why do the nations rage: -- . Ul’umim yeh’gu rik? And the people imagine a vain thing? -- .:. -- Yit’yats’vu malchei erets, The kings of the earth set themselves, --. : : V’roznim nos’du yahad And the rulers take counsel together: . : . Al Adonai v‘al m’shiho. against the Lord and against his anointed. . . N’natkah et mos’roteimo, Saying, let us break their bonds asunder, . V’nashlichah mimenu avoteimo. And cast away their cords from us. .. : Yoshev bashamayim He that sitteth in the heavens

. : Yis’hak, Adonai Shall laugh: and the Lord : .. Yil’ag lamo! shall have them in derision! .

Ta‘aroch l’fanai shulchan Thou preparest a table before me Neged tsor’rai In the presence of my enemies: . Dishanta vashemen roshi Thou anointest my head with oil, . Cosi r’vayah. My cup runneth over. . - 13 -

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Ach tov vahesed Surely goodness and mercy Yird’funi kol y’mei hayai Shall follow me all the days of my life: V’shav’ti b’veit Adonai And I will dwell in the house of the Lord . L’orech yamim. Forever.

Words: Psalms 23, 2. 1-4

Adonai, Lord, lo gavah libi, My heart is not haughty, v’lo ramu einai, Nor mine eyes lofty, v’lo hilachti Neither do I exercise myself big’dolot uv’niflaot In great matters or in things . mimeni. Too wonderful for me to understand. Im lo shiviti Surely I have calmed v’domam’ti, And quieted myself, naf’shi k’gamul alei imo, As a child that is weaned of his mother, . kagamul alai naf’shi. My soul is even as a weaned child. yahel Yis’rael el Adonai Let Israel hope in the Lord . me’atah v’ad olam. From henceforth and forever.

Hineh mah tov, Behold how good umah na’im, And how pleasant it is, shevet ahim For brethren to dwell . gam yahad. Together in unity.

Music: Leonard Bernstein (1918-1990) Words: Psalms 131, 133. 1

- 14 - - 15 - 8 Psalm 23, Op. 14 Alexander Zemlinsky

Ein Psalm Davids. Der Herr ist mein Hirte; The Lord is my shepherd; I shall not want. mir wird nichts mangeln. He maketh me to lie down in green pastures: he Er weidet mich auf einer grünen Aue und führet leadeth me beside the still waters. mich zum frischen Wasser. He restoreth my soul: he leadeth me in the paths of Er erquicket meine Seele; er führet mich auf righteousness for his name’s sake. rechter Straße um seines Namens willen. Yea, though I walk through the valley of the shadow Und ob ich schon wanderte im finstern Tal, fürchte of death, I will fear no evil: ich kein Unglück; for thou art with me; thy rod and thy staff they denn du bist bei mir, dein Stecken und Stab trösten mich. comfort me. Du bereitest vor mir einen Tisch im Angesicht Thou preparest a table before me in the presence meiner Feinde. of mine enemies: Du salbest mein Haupt mit Öl und schenkest mir thou anointest my head with oil; my cup runneth voll ein. over. Gutes und Barmherzigkeit werden mir folgen mein Surely goodness and mercy shall follow me all the Leben lang. days of my life.

- 15 - TENEBRAE Soprano Alto Bass Natalie Clifton-Griffith* ˚ Helen Charlston † Colin Campbell Elizabeth Drury ˚ Nancy Cole Gabriel Crouch † Joanna L’Estrange Daniel Collins †¥ William Gaunt †¥ Fiona Fraser †¥ Hannah Cooke Edward Grint Sophie Gallagher * Harriet Hougham Slade †¥ Jimmy Holliday †¥ Eloise Irving † Tom Lilburn ˚†¥ Stephen Kennedy Rosemary Galton †¥ Martha McLorinan *˚¥ Andrew Mahon *˚ Alice Gribbin † Eleanor Minney *†¥ Gregory Skidmore * Camilla Harris *†¥ Simon Whiteley ˚ Tenor Katy Hill *†¥ Ben Alden Marie Macklin * Jeremy Budd ˚†¥ Emilia Morton †¥ * Bernstein Chichester Psalms Joshua Cooter † Laura Oldfield* ˚† ˚ Schoenberg Friede auf Erden Nicholas Madden † Zemlinsky Psalm 23 Bethany Partridge ˚†¥ Alastair Putt * ¥ Stravinsky Symphony of Psalms Katie Trethewey *†¥ James Robinson †¥ Emma Walshe †¥ Tom Robson ˚†¥ Amy Wood ** David de Winter © Sim Canetty-Clarke

- 16 - - 17 - Described as “phenomenal” (The Times) and from the sale of which benefit Macmillan Cancer “devastatingly beautiful” (Gramophone Magazine), Support. In order to mark Tenebrae’s fifteenth award-winning choir Tenebrae, under the direction anniversary in 2016-17, the choir re-released of Nigel Short, is one of the world’s leading vocal its first major commission by Joby Talbot,Path ensembles renowned for its passion and precision. of Miracles, alongside a new work by rising composer, Owain Park. Tenebrae’s ever-increasing discography has brought about collaborations with Signum, Tenebrae is a dedicated advocate for contemporary Decca Classics, Deutsche Grammophon, EMI composers, having worked with Judith Bingham, Classics, LSO Live, and Warner Classics. In Alexander Levine, Paweł Łukaszewski, Paul 2012 Tenebrae were the first-ever ensemble Mealor, Hilary Tann, Sir John Tavener and Will to be multi-nominated in the same category Todd, in addition to recent releases featuring for the BBC Music Magazine Awards, securing music by Ola Gjeilo and Alexander L’Estrange. the accolade of Best Choral Performance for The choir is renowned for its highly-acclaimed their recording of Victoria’s Requiem Mass, interpretations of choral music with repertoire 1605. The following year the choir’s recording of ranging from hauntingly passionate works Fauré’s Requiem with the London Symphony of the Renaissance through to contemporary Orchestra was nominated for the Gramophone choral masterpieces. Awards, having been described as “the very best Fauré Requiem on disc” and “the Tenebrae is regularly engaged with the world’s English choral tradition at its zenith” (Richard finest orchestras and has appeared at major Morrisson, Chief Music Critic, The Times). In national and international festivals and 2014 the choir’s recording of Russian Orthodox venues including the BBC Proms, Edinburgh music was launched on its own label, Bene International Festival, Three Choirs Festival, Arte, receiving glowing reviews and reaching Leipzig Gewandhaus (Germany) and Montreux number 1 in the UK Specialist Classical Choral Festival (Switzerland). The 2017-18 Chart. In 2016 Tenebrae received its second season sees the return of Tenebrae’s popular BBC Music Magazine Award for a recording Holy Week Festival at St John’s Smith Square, of Brahms and Bruckner motets, the profits London, as well as concerts throughout the UK, © Sim Canetty-Clarke

- 17 - Europe, USA and the choir’s debut in Australia. ‘Passion and Precision’ are Tenebrae’s core Alongside concert performances, the choir values. Through its continued dedication to presents its inspirational workshop method, performance of the highest quality, Tenebrae’s The Tenebrae Effect, designed to challenge and vision is to deliver dramatic programming, advance every participant by instilling skills flawless performances and unforgettable essential to a Tenebrae performance. experiences, allowing audiences around the world to be moved by the power and intimacy of the human voice. © Jessica Croghan

- 18 - - 19 - BBC SYMPHONY ORCHESTRA The BBC Symphony Orchestra also works regularly with Semyon Bychkov, who holds the The BBC Symphony Orchestra has been at Günter Wand Conducting Chair, and Conductor the heart of British musical life since it was Laureate Sir Andrew Davis. founded in 1930. It provides the backbone of the BBC Proms, performing around a dozen It regularly performs with the BBC Symphony concerts at the festival each year. Highlights Chorus and together they won the 2015 of the 2017 Proms season included performances Gramophone Best Choral Disc Award for their of Mahler’s Second Symphony and Mussorgsky’s recording of Elgar’s The Dream of Gerontius, opera Khovanshchina, as well as the First Night which they will perform as part of the 2017-18 and Last Night, which were conducted by Chief season at the Barbican. Conductor Sakari Oramo. Central to the orchestra’s life are studio The BBC SO has a strong commitment to recordings for BBC Radio 3 at its Maida Vale 20th-century and contemporary music, with home, some of which are free for the public recent and upcoming performances including to attend, and the BBC SO also performs commissions and premieres from Anna Clyne, throughout the world. The vast majority of Brett Dean, Philip Cashion, George Walker and concerts are broadcast on BBC Radio 3, Raymond Yiu. streamed online and available for 30 days after broadcast via the Radio 3 website. It performs an annual season of concerts at the Barbican, where it is Associate Orchestra. The BBC SO is committed to innovative The upcoming 2017–18 season includes education work: ongoing projects include the Sakari Oramo’s Sibelius symphony series, Total BBC’s Ten Pieces, the BBC SO Journey Through Immersion composer days devoted to Esa- Music (with pre-concert workshops and discounted Pekka Salonen, Julian Anderson and Leonard tickets for families) and the BBC SO Family Bernstein, a concert staging of Jake Heggie’s Orchestra and Chorus. opera Dead Man Walking and an evening with American writer Armistead Maupin.

- 19 - 1st Violins Lucica Trita ˚ Marie Strom ˚ † Stephen Bryant (leader) * Lucy Curnow ˚ Mark Sheridan † Alexandra Wood (guest Leader) ˚ Maya Bickel ˚ Matt Lowe * Anna Smith * ˚ Philippa Ballard * ˚ Michael Atkinson Benjamin Roskams ˚ Rachel Samuel * ˚ Morwenna Del Mar † Charles Renwick * ˚ Ruth Hudson * Sarah Hedley Miller Colin Huber * Shelley Van Loen ˚ Susan Monks * ˚ Frances Dewar ˚ Tammy Se * ˚ Tamsy Kaner † Grace Lee ˚ Vanessa Hughes * Victoria Harrild ˚ Helen Cox * Victoria Hodgson * Double Basses Jenny King ˚ Violas Alice Kent † John Garner * Audrey Henning * ˚ Anita Langridge ˚ † Kate Cole ˚ Caroline Harrison * ˚ Ben Russell ˚ † Liz Partridge ˚ Carolyn Scott ˚ Beverley Jones ˚ † Morane Cohen-Lamberger ˚ Daisy Spiers ˚ Michael Clarke Ni Do * ˚ Linda Kidwell ˚ Nicholas Bayley ˚ Regan Crowley * ˚ Matthias Wiesner * Peter Smith ˚ Richard Aylwin * Michael Leaver ˚ Richard Alsop * † Ruth Schulten ˚ Natalie Taylor ˚ Stephen Williams † Sarah Thornett ˚ Nikos Zarb * ˚ Steve Rossell † Shirley Turner * Peter Mallinson * ˚ William Cole * Anna Smith * 2nd Violins Flutes Philip Hall ˚ Anna Blackmur ˚ Daniel Pailthorpe ˚ † Caroline Bishop ˚ Cellos Jane Mitchell † Daniel Meyer ˚ Alice Murray ˚ † Kathleen Stevenson † * Danny Fajardo ˚ Augusta Harris ˚ † Michael Cox ˚ * Dawn Beazley Clare Hinton ˚ † Rebecca Larsen † Eleanor Bartlett ˚ Graham Bradshaw † Tomoka Mukai ˚ †

- 20 - - 21 - Piccolo Horns Timpani Kathleen Stevenson ˚ Alexei Watkins † Christopher Hind James Pillai ˚ Oboes Percussion Martin Owen ˚ † Alison Alty † Alex Neal * ˚ Michael Murray ˚ † Imogen Smith † David Hockings ˚ † Nicholas Hougham ˚ † Judy Proctor ˚ Elsa Bradley * Phillippa Slack ˚ † Katie Bennington † Fiona Ritchie * ˚ Richard Simpson † Trumpets Ignacio Molins * Tom Blomfield ˚ Alan Thomas ˚ † Joseph Cooper * Bruce Nockles † Karen Hutt * Cor Anglais Christopher Cotter ˚ Olly Lowe * Alison Teale † Gareth Bimson * † Helen Vigurs ˚ Harps Joseph Atkins * † Louise Martin Clarinets Martin Hurrell ˚ Manon Morris ˚ James Burke ˚ Martin Rockall † Sioned Williams * Peter Davis ˚ Miles Maguire * Oliver Pashley ˚ Celeste Trombones † John Alley ˚ Bassoons Byron Fulcher ˚ Claire Webster ˚ Dan Jenkins * Piano Graham Hobbs † Duncan Wilson Elizabeth Burley † Julie Price † ˚ Bass Trombone Janet Simpson † Steven Magee † Robert O’Neill Susan Frankel † ˚ Tuba * Bernstein Chichester Psalms † Stravinsky Symphony of Psalms Sam Elliott ˚ † ˚ Zemlinsky Psalm 23

- 21 - DAVID ALLSOPP

David Allsopp has established himself as solo discography includes Israel in Egypt, one of the most versatile countertenors of his Joshua and Jephtha, and performances of Saul generation. A choral scholar at King’s College, at the Liederhalle Stuttgart were described Cambridge and a former member of Westminster as “angelic, expressive . . . he beguiled the Cathedral Choir, he has since performed and audience from his first aria with tender phrasing, recorded extensively with Tenebrae, Polyphony melting perfectly in duet” (Stuttgarter Zeitung). and the Gabrieli Consort & Players. He continues to work closely with the Gramophone Award nominated early music consort Gallicantus, of which he is a founding member.

David is increasingly in demand as a soloist in the UK and internationally in repertoire ranging from the medieval to the modern. Notable credits include Arvo Pärt’s Passio (BBC Proms), Carmina Burana (in Milan and Malta), and Leonard Bernstein’s Chichester Psalms, which he has previously performed with Tenebrae.

But it is the music of Bach and Handel in which he has been most acclaimed. Oratorio credits include the St John and St Matthew Passions (Ex Cathedra, Nederlandse Bachvereniging, Nieuwe Philharmonie Utrecht, Noord Nederlands Orkest), Christmas Oratorio (BBC Singers) and Messiah (RLPO, Bournemouth Symphony, Huddersfield Choral Society). His ever-expanding

- 23 - NIGEL SHORT

Award-winning conductor Nigel Short has built Cathedral as part of the City of London Festival. up an enviable reputation for his recording and Other orchestral recordings include Mozart’s live performance work with leading orchestras Requiem and Ave Verum Corpus with the and ensembles across the world. Chamber Orchestra of Europe.

A singer of great acclaim, Nigel was a member Nigel has vast recording experience having of the renowned vocal ensemble The King’s conducted for many of the world’s major labels Singers from 1994–2000. Upon leaving the including Decca Classics, Deutsche Grammophon, group he formed Tenebrae, a virtuosic choir EMI Classics, LSO Live, Signum and Warner that embraced his dedication for passion and Classics. As a Gramophone award-winning precision. Under his direction, Tenebrae has producer, Nigel works with many of the UK’s collaborated with internationally acclaimed leading professional choirs and vocal ensembles orchestras and instrumentalists and now including Alamire, Ex Cathedra, Gallicantus enjoys a reputation as one of the world’s finest and The King’s Singers. vocal ensembles.

To date, Nigel has conducted the Aurora Orchestra, BBC Symphony Orchestra, Chamber Orchestra of Europe, English Chamber Orchestra, English Concert, London Symphony Orchestra, Orchestra of the Age of Enlightenment, Royal Philharmonic Orchestra and the Scottish Ensemble. He has directed the London Symphony Orchestra alongside Tenebrae in a live recording of Fauré’s Requiem, which was nominated for the Gramophone Awards (2013) and since then, he has conducted the orchestra at St. Paul’s

Mike Hatch, Stephen Johns, Nigel Short and Gerhard Gall at BBC Maida Vale Studios, 8th July 2017

Produced in association with BBC Radio 3

Tenebrae would like to thank Rev Dr Stephen and Lesley Allsopp, Richard Baker, and the Dr Mortimer and Theresa Sackler Foundation for generously supporting this project.

Symphony of Psalms, Chichester Psalms and Psalm 23 recorded in BBC Maida Vale Studios, London, on 11th July 2016 and on 3rd, 4th and 8th July 2017. Producer – Stephen Johns Recording Engineer – Mike Hatch Recording Assistant – George Collins

Friede auf Erden recorded in St Augustine’s Church, Kilburn, London on 11th July 2016. Producer – Stephen Johns Recording Engineer – Mike Hatch Recording Assistant – Richard Bland

Editing – Claire Hay, Jennifer Howells & Andrew Mellor

German Language Coach – Gerhard Gall Hebrew Language Coach – Dr Amos Paran

Cover Image – iStockphoto Design and Artwork – Woven Design www.wovendesign.co.uk

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SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com

- 27 - ALSO AVAILABLE on signumclassics

Brahms & Bruckner Motets Russian Treasures Tenebrae, Nigel Short Tenebrae, Nigel Short SIGCD430 SIGCD900

“Nigel Short and Tenebrae have come up with a beautifully “a beautifully blended, spaciously paced journey through late balanced and contrasted programme…The beauty of sound 19th and early 20th century Russian liturgical music. The basses and dignified expression of intensity that Tenebrae create in are phenomenal, descending to their sepulchral bottom B flats.” the opening of the first choral number, Bruckner’s Virga Jesse, The Times would be impressive in themselves but with the ear prepared by the first Aequilis the effect is even more telling…what superb singing: technically immaculate, somehow lucid and voluptuously beautiful all at the same time.” BBC Music Magazine Award Winner, 2016

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 20 -