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Home , Andrew Nethsingha, Ralph Vaughan Williams

MASS IN VAUGHAN WILLIAMS: string of works broadly appropriate to worship MASS IN G MINOR appeared in quick succession (more than half (1872-1958) of the music recorded here emerged during this Vaughan Williams wrote of music as a means of period). Some pieces were commissioned for Mass in G Minor ‘stretching out to the ultimate realities through specific events, or were inspired by particular 1 Kyrie [4.42] the medium of beauty’, enabling an experience performers. But the role of the War in prompting the intensified devotional fervour 2 Gloria in excelsis [4.18] of transcendence both for creator and receiver. Yet – even at its most personal and remote, apparent in many of the works he composed 3 Credo [6.53] as often on this disc – his church music also in its wake should not be overlooked. As a 4 Sanctus – Osanna I – Benedictus – Osanna II [5.21] stands as a public testament to his belief wagon orderly, one of Vaughan Williams’s more 5 Agnus Dei [4.41] in the role of art within the earthly harrowing duties was the recovery of bodies realm of a community’s everyday life. He wounded in battle. Ursula Vaughan Williams, 6 Te Deum in G [7.44] embraced the church as a place in which a his second wife and biographer, wrote that 7 O vos omnes [5.59] broad populace might regularly encounter a such work ‘gave Ralph vivid awareness of 8 Antiphon (from ) [3.15] shared cultural heritage, participating actively, how men died’. It is perhaps unsurprising 9 Rhosymedre [4.40] whether by singing or listening, in practical that in many of the texts to which he 0 O taste and see [1.46] music-making. Such social concerns help us to turned after the 1918 Armistice, the fragility and weakness of humanity becomes a q Prayer to the Father of Heaven [5.39] fathom why the ‘confirmed atheist’ described by philosopher devoted recurrent theme. w O, clap your hands [3.20] so much attention to the composition not e Lord, thou hast been our refuge [9.17] simply of liturgical music, but of a host of Although Vaughan Williams supposedly David Blackadder trumpet works associated in some way with the drifted toward as the inter-war Judeo-Christian tradition. years progressed, he was never a practicing Total timings: [67.32] Christian, and recognized the validity of all It is surely no coincidence, though, that it religious faiths. His heightened exploration was only after active service during the First of Christian texts, symbols, and images after THE OF ST JOHN’S COLLEGE, CAMBRIDGE the War might rather be understood both as JOSEPH WICKS ORGAN World War that Vaughan Williams turned in DIRECTOR earnest to the cultivation of liturgical music. an attempt to grapple anew with what might Following his demobilization in 1919, a lie, as he put it, ‘beyond sense and knowledge’, www.signumrecords.com - 3 - and to search for consolation in religious Symphony (1916–21), which casts a long sung by upper voices, punctuated by a solo celebration of musical craftsmanship conveyed and other inherited traditions amid a world shadow over much of the interwar music. alto’s expressive declamations. With ‘Jerusalem, as this prelude unfolds. The tune upon which irrevocably changed. Extreme dynamics, such as the pppp found convertere ad Dominum’ tenors and basses it is based was composed by John David in the Credo, tell of a heightened search for are heard, darkly, for the first time. It is both a Edwards (1805–85), vicar of Rhosymedre, The influence of sixteenth-century English expressive intensity. The Agnus Dei brings the consoling and a disquieting entry. North Wales, and had appeared in The church music has long been heard in the work to a close with a suddenly impassioned, English Hymnal, a project to which Vaughan searing, luminous Mass in G minor (1920–21). urgent plea for peace. Antiphon (1911) brings the ardent George Williams devoted considerable time as Doubtless its association with Richard Terry’s Herbert settings, Five Mystical Songs, to their editor between 1904 and 1906. After a choir at Cathedral (who gave The Te Deum in G (1928) adopts an altogether conclusion, shifting to a more immediate, simple introduction, the hymn tune enters the work its first liturgical performance in more public tone, suitable to its composition present, joyous realm than that traversed in the tenor voice, thereafter singing more 1923) has reinforced such assessments. Terry for the enthronement of Cosmo Lang as earlier. The organ’s introduction mounts from roundly in an upper register. A quiet repeat had garnered a reputation during the first Archbishop of Canterbury. The choir sings a pregnant murmur into an energetic pealing of the opening communicates a sense of two decades of the century as a pioneering first in celebratory unison, after which of bells. The musical evocation of bells endurance and security in cyclical return. presence in the revival of music by Tallis and antiphonal writing displays a characteristic is often heard in Vaughan Williams’s works, Byrd, among others. Yet, Vaughan Williams’s play with space and resonance. A flowing 6/4 especially at moments of conclusion. As in real O Taste and See (1952) was composed for Mass is stylistically more eclectic than has section brings contrast (with ‘Heaven and life, they issue a call to act – to gather, to respond. the Coronation of Elizabeth II in 1953. generally been acknowledged, as recent earth are full of the Majesty of thy glory’). In They function here to underscore the choral The fragile, angelic treble solo with which scholarship suggests. If its imitative textures noisier moments, this music prefigures the culmination (where in previous songs the choir it begins is a poignant reinterpretation of and contrasts between soloists and full choir slightly later Benedicite (1929), especially in its is limited to supporting a baritone’s solos). a melodic fragment present in many of betray a debt to Renaissance traditions, its almost strident attempts to muster exuberance. Voices and bells thus work self-consciously Vaughan Williams’s early works, where it often peculiar modal harmony takes inspiration Muted prayers form a reticent and rather to enact the demands of the text – ‘Let all the appears in a more robust and jubilant guise. from Debussy’s music. But the Mass is ambivalent conclusion, of a kind often found world in every corner sing’. It is derived, in turn, from the hymn tune above all a major landmark in the emergence in Vaughan Williams’s post-War works. ‘Sine Nomine’, composed by Vaughan Williams of a new direction in Vaughan Williams’s From Three Preludes Founded on Welsh Hymn for . own, increasingly individualistic style, already The pale, mysterious motet O vos omnes Tunes, Rhosymedre (1920) was dedicated apparent in such works as the Four Hymns (1922) is frequently heard as a companion to , Vaughan Williams’s erstwhile Prayer to the Father of Heaven (1948) sets for , tenor, and, piano (1914). The piece to the Mass. A setting of words from the organ teacher. Perhaps Gray had encouraged a the texts of (c. 1463–1529), to timeless oscillations heard at the beginning Book of Lamentations, it was first performed student for whom the instrument inspired whose earthy, ribald poems Vaughan Williams of the Sanctus recall the opening of A Pastoral during Holy Week in 1922. The verses are limited interest, prompting the beneficent had earlier been drawn in his 1935 choral suite

- 4 - - 5 - Five Tudor Portraits. This work is different lighter, diatonic ‘St Anne’ hymn tune (which, conductor’s reflectionS For me it was a revelation to learn of the way both in scale and tone, however. Composed as combined with Watts’s words, had been in which the composer may have actively sought to mark the centenary of ’s birth, included in Hymns Ancient & Modern in 1861). No bombs can rob us of the human voice. to create music that was not goal-directed, the eloquent dedication pays homage to ‘the The quotation of a popular hymn tune is a at least not in a conventional sense. Far memory of my master, Hubert Parry, not as familiar trope in Vaughan Williams’s work, The voice can be made the medium of the best and from the oft-quoted Warlock description of an attempt palely to reflect his incomparable and points to his participatory ethos: he deepest human emotion. Vaughan Williams’s style as being like a cow art, but in the hope that he would have would almost certainly have expected listeners looking over a gate, in fact the meandering found in this motet (to use his own words) to recognize the tune and to follow its These quotations from Vaughan Williams phrases can conjure up a profound sense “something characteristic”’. It is indeed difficult progression toward the final, blazing apotheosis date from the Second World War and from of the mental state of a person with to discern the influence of Parry’s music here. (reminiscent of a similar ‘breakthrough’ 40 years earlier. Of the eight friends who shell-shock. In his orchestral music, Vaughan But in the beautiful, strange harmonic shifts, moment in the earlier choral work, Toward volunteered together for the First World Williams invests solo viola lines with personal enlisted in the service of a nuanced and the Unknown Region (1905–6)). War, six were killed (including his friend and significance; could the solitary altos at the individual response to the text, it becomes a fellow composer, .) Much start and end of Kyrie represent the composer fitting tribute. The hymn tune’s first iteration, in response to the of the music on this disc dates from the years himself, lost in a destroyed landscape, such opening chant, appears pianissimo, as though at immediately after the 1918 Armistice; the as those where he had to collect up body- O clap your hands (1920) is the first of the two a distance. An organ interlude later ushers in a recording is released as we commemorate the parts after battle? Many have written of the large motets composed by Vaughan Williams more determined repetition of the opening chant, centenary of that event. I hope the music will bleakness in Vaughan Williams’s music; immediately after the War (the other forms a the choir now united. A climactic restatement resonate with listeners of many nationalities. at times there is almost no hope. I find the conclusion to this disc). Its clarity and simplicity of the hymn, reinforced by the trumpet, is One thinks of the words of Eric Milner- ending of O vos omnes especially emotive; mark the turn toward a new economy of means almost unbearably dignified, and leads to the White, written for the first King’s College after much searching and meandering, the that characterized much of his music at this time. choir’s final, celebratory counterpoint – an aptly Christmas Eve service in 1918, just weeks startling harmonies and silences create both fecund musical response to the text’s pleas after Armistice Day: Let us remember before a sense of utter desolation and also an intense, More ambitious both in design and in expressive ‘O prosper Thou the work of our hands’. In God all those who rejoice with us, but upon unfulfilled longing for stability. The author intensity, Lord, thou hast been our Refuge its trajectory from darkness into light, this another shore and in a greater light, that of Lamentations bewails the destruction (1921) combines a setting of Psalm 90 (in the motet conveys a sense both of strength in the multitude which no man can number. Vaughan of Jerusalem by the Babylonians, and the prayer-book version) with the first verse of Isaac shared endurance of adversity, and, as so often Williams returned from the war a different desertion of the city by God. These sentiments Watts’s poetic paraphrase of the same psalm. To in Vaughan Williams’s work, of salvation man – profoundly damaged and altered by prove singularly appropriate to the composer the prose text Vaughan Williams devotes a dark, in the very act of making music. the horror, desolation and futility of what he striving for meaning after the Great War. modal plainchant; to Watts’s poem he assigns the Ceri Owen had witnessed. The music is left hanging, as at the end of

- 6 - - 7 - A Pastoral Symphony. had set a an atmosphere of sound around the notes but save thy people) the text looks forwards but the century symphonic repertoire. I know of similar text some 300 years earlier in Civitas also a sense of the divine. I feel sure that music sounds nostalgic – perhaps a reminder nothing remotely like it in previous British sancti tui, with comparable effect and personal what he learnt from Ravel later helped the to the new Primate of the long succession, past a capella music. I hope that musicologists significance. The Israelites’ yearning for their composer to create the extraordinarily and future, of which he was becoming a part. will come to share this view at some point in holy city served as a metaphor for Byrd’s imaginative and numinous choral textures The change from plural to singular in the the future! As for the end of Lord, thou hast longing for a return to Catholicism. of Mass in G minor. As an extension final words of the ancient hymn - keep us been our refuge, I struggle to think of any of orchestration Vaughan Williams loved this day without sin…let me never be moment in the Anglican repertoire that has At the end of 1907 and the beginning of the acoustical, atmospheric possibilities in confounded – seem to suit the public and greater inner strength, visceral energy and 1908 Vaughan Williams spent three months buildings like and personal nature of the Episcopal role. In sheer ecstasy. in Paris studying orchestration with Ravel, utilised them in such works as Fantasia on contrast to the ending of Stanford’s Te Deum after Elgar had declined to find the time to a Theme of . I have sought to in B flat, Vaughan Williams allows us, in his Andrew Nethsingha teach Vaughan Williams. It was far-sighted make use of spatial effects in our Chapel closing bars, to hear the new Archbishop’s of Vaughan Williams to have gone to Ravel at during the Mass, with soloists’ positions innermost thoughts swirling around. a time when Ravel was considered by British ranging from close to very distant. For instance composers to be a controversial, avant-garde the treble and tenor solos near the end of A few years ago we recorded a disc of Jonathan figure. Vaughan Williams’s former teacher, Agnus Dei are sung from the far end of the Harvey’s works. At the time I wrote that I Parry, would have been astonished and Chapel - the sound of souls floating over the felt commentators tended to downplay the disapproving! Of his study with Ravel, battlefield. When Mass in G minor received significance of his liturgical works compared Vaughan Williams wrote: he showed me its German premiere in 1923, the Leipzig to his instrumental music. I have similar how to orchestrate in points of colour rather audience thought the expressive intensity feelings with Vaughan Williams – during my than in lines. Manuel Rosenthal quoted of the music to be extraordinary. Vaughan background reading I have been struck by Ravel as saying orchestration is when you give Williams must have been pleased by this how much less has been written about the the feeling of the two pedals at the piano; acceptance in such a place, not least because of Mass than about various orchestral works. The that means that you are building an his admiration for the Lutheran choral tradition. same critical neglect used to beset Vaughan atmosphere of sound around the written Williams’s songs. It is my belief that the notes - that’s orchestration. It is also a felicitous Te Deum in G, written for an Archbishop’s Mass in G minor is one of the great British description of what one is trying to achieve Enthronement, conveys not only the pomp liturgical masterpieces of the twentieth century, as a conductor of choral music within the and ceremony of the post but also the just as significant and innovative in the choral liturgy, though one is not just seeking to build prayerfulness. In the final section (O Lord, canon as the symphonies are in twentieth-

- 8 - - 9 - 1 - 5 MASS IN G MINOR

KYRIE Kyrie, eleison. Lord, have mercy. Christe, eleison. Christ, have mercy. Kyrie, eleison. Lord, have mercy.

GLORIA Gloria in excelsis Deo, Glory be to God on high, et in terra pax and in earth peace, hominibus bonae voluntatis. good will towards men.

Laudamus te, benedicimus te, We praise thee, we bless thee, adoramus te, glorificamus te, we worship thee, we glorify thee, gratias agimus tibi we give thanks to thee propter magnam gloriam tuam, for thy great glory, Domine Deus, rex caelestis, O Lord God, heavenly King, Deus Pater omnipotens. God the Father almighty.

Domine Fili unigenite, Jesu Christe, O Lord, the only begotten Son Jesu Christ; Domine Deus, agnus Dei, O Lord God, Lamb of God, Filius Patris: Son of the Father, qui tollis peccata mundi, that takest away the sins of the world, Letter from Ralph Vaughan Williams to the then Master of St John’s, John Sandwith Boys Smith. miserere nobis; have mercy upon us. Owing to financial difficulties, the College was considering the possibility of closing the Choir School qui tollis peccata mundi, Thou that takest away the sins of the world, in the early 1950s. With the support of such an influential public figure, the decision was made that suscipe deprecationem nostram; receive our prayer. the school would remain open, preserving the Choir in its current form to the present day. Published qui sedes ad dexteram Patris, Thou that sittest at the right hand by permission of the Master and Fellows of St John’s College, Cambridge. of God the Father, miserere nobis. have mercy upon us.

- 10 - - 11 - Quoniam tu solus sanctus, For thou only art holy, et resurrexit tertia die and the third day he rose again tu solus Dominus, thou only art the Lord; secundum Scripturas according to the Scriptures, tu solus altissimus, Jesu Christe, thou only [art most high, Jesus] Christ et ascendit in caelum, and ascended into heaven, cum Sancto Spiritu with the Holy Ghost, sedet ad dexteram Patris. and sitteth on the right hand of the Father. in gloria Dei Patris. Amen. in the glory of God the Father. Amen. Et iterum venturus est cum gloria And he shall come again with glory iudicare vivos et mortuos, to judge both the quick and the dead: CREDO cuius regni non erit finis. whose kingdom shall have no end. Credo in unum Deum, I believe in one God Patrem omnipotentem, the Father almighty, Et in Spiritum Sanctum, And I believe in the Holy Ghost, factorem caeli et terrae, maker of heaven and earth, Dominum et vivificantem: the Lord and giver of life, visibilium omnium et invisibilium. and of all things visible and invisible: qui ex Patre Filioque procedit. who proceedeth from the Father and the Son, Qui cum Patre et Filio who with the Father and the Son Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, simul adoratur et conglorificatur: together is worshipped and glorified, Filium Dei unigenitum; the only-begotten Son of God, qui locutus est per prophetas. who spake by the prophets. et ex Patre natum ante omnia saecula, begotten of his Father before all worlds, Deum de Deo, lumen de lumine, God of God, Light of Light, Et unam, sanctam, catholicam et And I believe one [holy] catholic and Deum verum de Deo vero, very God of very God, apostolicam Ecclesiam. apostolic Church. genitum, non factum, begotten, not made, Confiteor unum baptisma I acknowledge one baptism consubstantialem Patri: being of one substance with the Father, in remissionem peccatorum. for the remission of sins. per quem omnia facta sunt. by whom all things were made; Et expecto resurrectionem mortuorum And I look for the resurrection of the dead, Qui propter nos homines et propter who for us men and our salvation et vitam venturi saeculi. Amen. and the life of the world to come. Amen. nostram salutem descendit de caelis, came down from heaven, et incarnatus est de Spiritu Sancto and was incarnate by the Holy Ghost SANCTUS – OSANNA I – ex Maria Virgine of the Virgin Mary, BENEDICTUS – OSANNA II et homo factus est. and was made man, Sanctus, Sanctus, Sanctus, Holy, holy, holy, Crucifixus etiam pro nobis and was crucified also for us Dominus Deus Sabaoth: Lord God of hosts, sub Pontio Pilato; under Pontius Pilate. pleni sunt caeli heaven and earth passus et sepultus est, He suffered and was buried, et terra gloria tua. are full of thy glory.

- 12 - - 13 - Osanna in excelsis. [Hosanna in the highest]. TE DEUM thou didst open the kingdon of heaven to all We praise thee, O God: we acknowledge thee believers. Benedictus qui venit Blessed is he that cometh to be the Lord. Thou sittest at the right hand of God in the in nomine Domini. in the name of the Lord. All the earth doth worship thee: the Father glory of the Father. everlasting. We believe that thou shalt come to be our Osanna in excelsis. Hosanna in the highest. To thee all Angels cry aloud, the Heavens and Judge. all the Powers therein. We therefore pray thee, help thy servants: AGNUS DEI To thee Cherubin, and Seraphin continually whom thou hast redeemed with thy precious Agnus Dei, O Lamb of God do cry, blood. qui tollis peccata mundi, that takest away the sins of the world, Holy, Holy, Holy, Lord God of Sabaoth; Make them to be numbered with thy Saints miserere nobis. have mercy upon us. Heaven and earth are full of the Majesty of in glory everlasting. thy Glory. O Lord, save thy people and bless thine Agnus Dei, O Lamb of God The glorious company of the Apostles: praise heritage. qui tollis peccata mundi, that takest away the sins of the world, thee. Govern them and lift them up for ever. miserere nobis. have mercy upon us. The goodly fellowship of the Prophets: praise Day by day we magnify thee; thee. And we worship thy Name ever world Agnus Dei, O Lamb of God The noble army of Martyrs: praise thee. without end. qui tollis peccata mundi, that takest away the sins of the world, The holy Church throughout all the world Vouchsafe, O Lord to keep us this day dona nobis pacem. grant us thy peace. doth acknowledge thee; without sin. The Father of an infinite Majesty; O Lord, have mercy upon us: have mercy Thine honourable, true and only Son; upon us. Also the Holy Ghost the Comforter. O Lord, let thy mercy lighten upon us as our Thou art the King of Glory O Christ. trust is in thee. Thou art the everlasting Son of the Father. O Lord, in thee have I trusted: let me never When thou tookest upon thee to deliver be confounded. man: thou didst not abhor the Virgin’s womb. Prayer c. 4th Century, translation from Book of Common Prayer When thou hadst overcome the sharpness of death:

- 14 - - 15 - 7 O VOS OMNES The Church with must shout, From whom all goodness and virtue doth O vos omnes, qui transitis per viam, Is it nothing to you, all ye that pass by? No door can keep them out: proceed: attendite, et videte si est dolor behold, and see if there be any sorrow [like] unto my But above all, the heart sicut dolor meus: quoniam vindemiavit me, sorrow, which is done unto me, wherewith the Lord Must bear the longest part. Of thy support all creatures have need; ut locutus est Dominus in die irae furoris sui. hath afflicted me in the day of his fierce anger. Let all the world in every corner sing, Assist me, good Lord, and grant me of thy grace My God and King. To live to thy pleasure in word, thought and De excelso misit ignem in ossibus meis, From above hath he sent fire into my bones, Words (1593–1633) deed, et erudivit me: expandit rete pedibus meis, and it prevaileth against them: he hath spread a net And, after this life, to see thy glorious Face. 0 convertit me retrorsum; posuit me desolatam, for my feet, he hath turned me back: he hath made me O TASTE AND SEE John Skelton (c.1463–1529) tota die moerore confectam. desolate and faint all the day. O taste and see how gracious the Lord is: blest is the man that trusteth in him. w O, CLAP YOUR HANDS Vigilavit jugum iniquitatum mearum: The yoke of my transgressions is bound by his Psalm 34 v. 8 O, clap your hands, all ye people; in manu ejus convolutae sunt et impositae hand: they are wreathed, and come up upon my neck: shout unto God with the voice of triumph. q collo meo: infirmata est virtus mea: dedit me he hath made my strength to fall, the Lord hath delivered PRAYER TO THE FATHER For the Lord most high is terrible; Dominus in manu, de qua non potero surgere. me into their hands, from whom I am not able to rise up. OF HEAVEN O radiant Luminary of light interminable, He is a great King over all the earth. Jerusalem, convertere ad Dominum Deum tuum. Jerusalem, turn back to the Lord your God. Celestial Father, potential God of might. Of heaven and earth, O Lord incomparable, God is gone up with a shout, The Lord with the sound of a trumpet. Lamentations 1 vv. 12–14 Of all perfections the Essential most Perfite!

O Maker of mankind, that formed day and night, Sing praises to God, sing praises; 8 ANTIPHON Whose power imperial comprehendeth every sing praises unto our King, sing praises; Let all the world in every corner sing, place! My God and King. For God is the King of all the earth; Mine heart, my mind, my thought, my The heavens are not too high, Sing ye praises, every one that hath understanding. whole delight His praise may thither fly: Is, after this life, to see Thy glorious Face. The earth is not too low, God reigneth over the heathen, His praises there may grow. God sitteth upon the throne of His holiness. Whose magnificence is incomprehensible, Sing praises unto our King, sing praises. Let all the world in every corner sing, All arguments of reason which far doth exceed; My God and King. Whose Deity doubtless is indivisible,

- 16 - - 17 - e LORD, THOU HAST BEEN For we consume away in Thy displeasure, THE CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE OUR REFUGE and are afraid at Thy wrathful indignation. O God our help in ages past, our hope for For when Thou art angry all our days are gone; Trebles Counter Tenors Tenors years to come, we bring our years to an end as a tale that George Balfour 1 5 Daniel Brown 2 13 William Ashford 2 3 5 Our shelter from the stormy blast, and our is told: Matthew Brown 4 Hugh Cutting 1 3 4 7 James Beddoe 4 eternal home. so passeth it away and we are gone. James Buttery Daniel Gethin Michael Bell 1 2 3 The years of our age are three score years and ten, William Buttery Jack Hawkins 3 5 Gopal Kambo 3 5 13 Lord, Thou hast been our refuge from one and though men be so strong that they come Alan Chen Thomas Lilburn Louis Watkins to four score years, Blake Chen generation to another. Basses yet is their strength but labour and sorrow. Jaylen Cheng Before the mountains were brought forth, James Adams 2 13 or ever the earth and the world were made, Turn Thee again O Lord at the last. Adam Chillingworth Glen Dempsey Charles Cobb Matthew Gibson Thou art God from everlasting and world Be gracious unto Thy servants. Lewis Cobb Simon Grant Assistant Organist without end. O satisfy us with Thy mercy and that soon. Alfred Harrison 5 10 Piers Kennedy Joseph Wicks Thou turnest man to destruction; again Thou So shall we rejoice and be glad all the days 1 3 James Lewis Peter Lidbetter of our life. Director of Music sayest Alexander Tomkinson Louis Marlowe 4 Come again ye children of men Philip Tomkinson Oliver Morris Andrew Nethsingha For a thousand years in Thy sight are but as Lord, Thou hast been our refuge from one Stephen Matthews Thomas Watkin Numbers indicate soloist credits yesterday, generation to another. for each CD track seeing that is past as a watch in the night. Before the mountains were brought forth, or ever the earth and the world were made, As soon as Thou scatterest them they are even Thou art God from everlasting and world as a sleep without end. and fade away suddenly like the grass. In the morning it is green and groweth up, And the glorious Majesty of the Lord be but in the evening it is cut down, dried up upon us. and withered. O prosper Thou the work of our hands, O prosper Thou our handywork. Psalm 90 First two lines metrical version by Isaac Watts

- 18 - - 19 - The Choir of St John’s College, Cambridge The Choir regularly sings Bach ANDREW NETHSINGHA is one of the finest collegiate in the liturgically with St John’s Sinfonia, its period DIRECTOR OF MUSIC world, known and loved by millions from instrument ensemble. ST JOHN’S COLLEGE, its broadcasts, concert tours and over 90 CAMBRIDGE recordings. Founded in the 1670s, the The Choir brings the ‘St John’s Sound’ Choir is known for its distinctive rich, warm to listeners around the world through its Performing in North America, South Africa, sound, its expressive interpretations and its weekly webcasts (available at sjcchoir.co.uk). the Far East, and throughout Europe, Andrew breadth of repertoire. Alongside these musical In addition to regular radio broadcasts in Nethsingha has been Director of Music at St characteristics, the Choir is particularly proud this country and abroad, the Choir usually John’s College, Cambridge since 2007. He of its happy, relaxed and mutually supportive makes two CD recordings each year. In has helped to set up a new recording label, atmosphere. The Choir is directed by May 2016 the College launched its new ‘St John’s Cambridge,’ in conjunction with Andrew Nethsingha following a long line ‘St John’s Cambridge’ recording label (in Signum. His first disc on the new label, DEO of eminent Directors of Music, recently Dr conjunction with Signum Classics) on which (music by Jonathan Harvey), was a 2017 BBC , Dr Christopher Robinson the Choir has released the BBC Music Music Magazine Award winner. and Dr David Hill. Magazine Award winning recording of Jonathan Harvey’s music: DEO; Christmas Andrew Nethsingha was a chorister at Exeter The Choir is made up of around 20 Choristers with St John’s; and KYRIE (works by Poulenc, Cathedral, under his father’s direction. He later

and Probationers from St John’s College Kodály and Janáček). studied at the , where Beddoe © James School and 15 Choral Scholars who are he won seven prizes, and at St John’s College, members of St John’s College, its primary The Choir also maintains a busy schedule Cambridge. He held Organ Scholarships Andrew’s concerts conducting the Philharmonia purpose being to enhance the liturgy and of concerts and tours internationally twice a under Christopher Robinson at St George’s have included: Mahler’s 8th Symphony, worship at daily services in the College year. Recent destinations include Denmark, Windsor, and George Guest at St John’s, Beethoven’s 9th Symphony, Britten War Chapel. The Choir has a diverse repertoire Germany, Hungary, and France, the USA, the before becoming Assistant Organist at Wells Requiem, Brahms Requiem, Elgar’s The Dream spanning over 500 years of music. It is also Far East and the Netherlands. It also performs Cathedral. He was subsequently Director of of Gerontius and The Kingdom, Walton renowned for championing contemporary regularly in the UK, with venues including Music at Truro and Gloucester Cathedrals, Belshazzar’s Feast, Poulenc Gloria and Duruflé music by commissioning new works, including Symphony Hall, Birmingham and Royal and Artistic Director of the Gloucester Three Requiem. He has also worked with: Royal recent compositions by Joanna Ward, Nico Festival Hall, London. Choirs Festival. Philharmonic Orchestra, City of Birmingham Muhly, James Burton and the College’s Symphony Orchestra, London Mozart Composer in Residence Michael Finnissy. Players, Britten Sinfonia, Orchestra of St

- 20 - - 21 - Luke’s (New York), Aarhus Symfoniorkester, Joseph began his musical education as a have released their debut CD recording of BBC Concert Orchestra. Venues have included Chorister, later Bishop’s (Head) Chorister, English renaissance masterpieces. the BBC Proms, Amsterdam Concertgebouw, of Salisbury Cathedral. He moved on to Verbier Festival and Tokyo Suntory Hall. Lancing College as a Walter Stanton Music Joseph’s concerts are advertised at Scholar, and was later awarded their Sixth www.organrecitals.com and on his own Concert venues this season include Royal Form Organ Scholarship. He then spent website at www.joseph-wicks.co.uk Albert Hall, Konzerthaus Berlin, Müpa a gap year as Organ Scholar of Hereford Budapest, Royal Festival Hall, Singapore Cathedral before moving to St John’s DAVID BLACKADDER Esplanade, Birmingham Symphony Hall and in 2013. Joseph is a Fellow of the Royal TRUMPET Hong Kong City Hall. College of Organists (FRCO) winning the Limpus, Shinn and Durrant prize for David took up the trumpet aged nine JOSEPH WICKS the highest mark in the practical examination. following in the footsteps of his grandfather ASSISTANT ORGANIST Joseph has given recitals in , who was a bandmaster in the North East. He © Benjamin Ealovega © Benjamin King’s College, Cambridge, several other joined the Leicestershire Schools Symphony Joseph Wicks is now Assistant Director of Prior to this Joseph was Assistant Organist of Cambridge colleges, and various cathedrals, Orchestra and went on to study at the Royal Music at , a post that he St John’s College, Cambridge, having been municipal halls and churches across the UK. College of Music with Michael Laird. took up in September 2017. He is also its Organ Scholar. While at Musical Director of St Mary’s Singers, St John’s, Joseph played the organ for a large In addition, Joseph maintains a freelance After a season as guest principal trumpet the cathedral’s voluntary choir, sings tenor in proportion of the daily services sung by the career as a singer. He is a graduate of Genesis with Scottish , he joined the English The Gesualdo Six, and has founded his world-famous Choir of St John’s College, Sixteen, a training scheme for young singers Baroque Soloists and Orchestre Revolutionaire own chamber choir, The Beaufort Singers. Cambridge and also accompanied them on their run by The Sixteen and its director Harry et Romantique as principal trumpet under Joseph’s duties at Truro include assisting busy broadcast, recording and international Christophers. Joseph has sung with groups Sir John Eliot Gardiner and also became the Director of Music, Christopher Gray, tours, including to Denmark, France, Germany, such as Alamire and Polyphony, and is principal trumpet with the Academy of in the training of the boy and girl choristers, Hong Kong, Italy, The Netherlands, Singapore, a founding member of The Gesualdo Six, Ancient Music with Christopher Hogwood. conducting services and mentoring of the Switzerland and the USA. Joseph also a vocal ensemble who specialize in both During this time he performed extensively choral and organ scholars, as well as playing conducted the College Choir frequently, and renaissance polyphony and modern works. at major concert venues throughout the the world-famous Father Willis organ for for his final two years was Musical Director Having performed several times on BBC world and took part in numerous recordings the majority of daily sung services. of the Gentlemen of St John’s with whom he Radio 3 and given concerts across the UK for CD, radio, television and video. recorded a CD entitled White Christmas. and more widely in Europe, the group

- 22 - - 23 - In 1993 he formed the groundbreaking group Blackadder Brass which quickly became the resident educational ensemble at Symphony Hall in Birmingham, playing to over 40,000 children in its first three years. He is also a professor at Birmingham Conservatoire. Acknowledgements

David is now also principal trumpet with the “This recording is dedicated to the former Dean of Chapel, the Revd Duncan Orchestra of the Age of Enlightenment and Dormor, in recognition of his part in creating the distinctive ‘St John’s Cambridge’ is renowned as a soloist, having performed record label in collaboration with Signum Records. The label has been an enormous and recorded many of the great trumpet success, with the first – DEO – winning a BBC Music Magazine Award; it masterpieces with conductors such as Sir has also enabled outstanding young musicians at St John’s to showcase Simon Rattle, Sir Roger Norrington, Franz their abilities, as with Julia Hwang and SUBITO. Brüggen, Vladimir Jurowski and . He has performed the Haydn Duncan’s support of the Choir first as Chaplain (1998-2002) and then as Trumpet to great acclaim at major Dean (2002-2017) could not be more greatly appreciated. We wish him venues across Europe, including at the every success in his new role as Chief Executive Officer of Edinburgh festival, Kings College Chapel United Society Partners in the Gospel.” and the Esterhazy Palace in Hungary. Prof Christopher Dobson, Master of St John’s College, Cambridge, January 2018 His recordings of Handel arias with singers such as Reneé Fleming and Kiri Te Kanawa have received particular critical acclaim.

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The Choir would like to thank the following Publishers donors for their continuing support of the Antiphon (Stainer & Bell) Lord, Thou hast been our refuge(Curwen) ALSO AVAILABLE ‘St John’s Cambridge’ recording label: Mass in G Minor (Curwen/Faber) Patron: Miss Julia Combs O, Clap your Hands (Stainer & Bell) O Taste and See () The CD Recording Fund, in particular O vos omnes (Curwen) Prayer to the Father of Heaven (Oxford University Press) Mr Archie Burdon-Cooper Rhosymedre (Stainer & Bell) Te Deum in G (Oxford University Press) The ‘Minute of Music’ campaign: The Rt Hon Sir Richard Aikens, Revd Peter Recorded in St John’s College Chapel, Cambridge, UK from 17th to 20th July 2017 and Mrs Sian Cobb, The Lord and Lady Deben, Professor Christopher and Dr Mary Producer – Chris Hazell Dobson, The Revd Duncan Dormor, Mr Recording Engineer – Simon Eadon Derek Drummie, Mr Selwyn and Mrs Jane Editor – Matthew Bennett Vocal Consultant – David Lowe Image, Mr Edward Jones, Mr Simon Jones, Project Manager – James Beddoe Mr Timothy Jones, Mrs Alice Kramers Pawsey, Dean – The Revd Duncan Dormor Mr Alexander and Mrs Joanna L’Estrange, Cover Image – © Garvin Hunter Photography, edited by Premm Design Miss Jill MacMahon, Cdr Mark Metcalf, Design and Artwork – Woven Design Mr Anthony Nixon, Sir Alastair Norris, Mr www.wovendesign.co.uk Malcolm Parr, Mr Simon Robson Brown, Mr P 2018 The copyright in this sound recording is owned by Signum Records Ltd Jonathan Harvey: Deo Christmas with St John’s John Thompson, Mr David Thomson, and © 2018 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Choir of St John’s College, Cambridge Choir of St John’s College, Cambridge other donors who wish to remain anonymous. Any unauthorised broadcasting, public performance, copying or re-recording Andrew Nethsingha Director Andrew Nethsingha Director of Signum Compact Discs constitutes an infringement of copyright and will SIGCD456 SIGCD458 render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights HHHHH “ecstatic…the Choir tackles it all with “Under Nethsingha, St John’s Choir rides high among the reserved. No part of this booklet may be reproduced, stored in a retrieval system, confidence and clarity” The Observer Cambridge colleges...Nethsingha’s programming is eclectic or transmitted in any form or by any means, electronic, mechanical, photocopying, HHHHH while retaining a ‘traditional’ core.” recording or otherwise, without prior permission from Signum Records Ltd. “characterful yet authoritative performances of which they can be justly proud” Choir & Organ SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] signumclassics www.signumrecords.com Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 26 - ALSO AVAILABLE

Subito! Kyrie Julia Hwang Violin Choir of St John’s College, Cambridge Charles Matthews Piano Andrew Nethsingha Director SIGCD486 SIGCD489 “The appeal here, quite aside from some excellent playing, “The treble voices of St John’s bring an ineffably poised gravity... is in the way the programme has been planned” a signal virtue of this new recording is the moulded caress Gramophone Magazine of every luscious harmony in what are predominantly homophonic works” Gramophone Magazine

signumclassics Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No. SIGCD535 BLACK Job Title: Vaughan Williams

SIGNUM CLASSICS SIGCD541 VAUGHAN WILLIAMS

Mass in G Minor 1 Kyrie [4.42] WILLIAMS VAUGHAN 2 Gloria in excelsis [4.18] 3 Credo [6.53] 4 Sanctus – Osanna I – Benedictus – Osanna II [5.21] 5 Agnus Dei [4.41]

6 Te Deum in G [7.44] 7 |

O vos omnes [5.59] CAMBRIDGE COLLEGE, JOHN’S ST OF CHOIR 8 Antiphon (from Five Mystical Songs) [3.15] 9 Rhosymedre [4.40] 0 O taste and see [1.46] q Prayer to the Father of Heaven [5.39] w

CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE O, clap your hands [3.20]

| e Lord, thou hast been our refuge [9.17] David Blackadder trumpet

Total timings: [67.32]

THE CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE JOSEPH WICKS ORGAN ANDREW NETHSINGHA DIRECTOR VAUGHAN WILLIAMS

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD541

CLASSICS Road, Perivale, Middx UB6 7JD, . P 2018 Signum Records DDD SIGCD541 © 2018 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 05412 3 SIGNUM