ST JOHN PASSION INTRODUCTION BY BOB CHILCOTT way. The texts they sing are English poems from the 13th to the early 17th centuries that BOB CHILCOTT (b. 1955) My setting of the Passion is an hour-long work express deeply human responses to death, to telling the story of Christ’s Passion using the life, and to man’s relationship with the world text from St John’s Gospel. It was written specially and with God. Two of these meditations are sung PART I PART III for Matthew Owens and the Choir of Wells by the choir with soprano solo, the last of 1 Sing, my tongue, the glorious battle [2.09] w Jesus is crucified [5.45] Cathedral and first performed on Palm Sunday which expresses most poignantly the human 2 e The Garden [5.25] Hymn: There is a green hill far away [2.37] 24 March, 2013, during an act of worship. response to seeing Christ crucified on the cross. 3 Hymn: It is a thing most wonderful [2.13] r The Crucifixion [5.23] 4 Peter’s denial [5.49] t Jesus, my leman [4.54] As in the great Passion settings by J.S. Bach, I have also set five well-known Passiontide 5 Miserere, my Maker [5.58] y Jesus dies on the cross [2.33] the story is narrated by a tenor Evangelist. I hymn texts (It is a thing most wonderful; Jesus, 6 Hymn: Drop, drop slow tears [1.32] u When I survey the wondrous cross [3.19] have designed the narrative to be sung in an grant me this, I pray; Drop, drop slow tears; There

arioso style that gains momentum as the drama is a green hill far away and When I survey the Total timing: [67.46] PART II unfolds. The solo roles in the narrative have wondrous cross) and these hymns are designed 7 The Judgement Hall (I) [2.54] instruments from the ensemble that are to be sung by the choir and congregation together. 8 Hymn: Jesu, grant me this, I pray [2.20] identified with the respective roles – the Evangelist is accompanied by viola and cello I was fortunate as a singer to sing the Evangelist 9 Christ, my Beloved [4.14] solo, Pilate by two trumpets, and Jesus by role in both the great Passions of Bach a number 0 The Judgement Hall (II) [6.18] horn, trombone, tuba, and organ. of times. I also remember as a boy chorister in q Away vain world [4.22] King’s College, Cambridge singing the simpler The role of the choir within the narrative is to renaissance versions of the Passion chanted play the part of the crowd or of soldiers who by the Dean and Chaplain of the Chapel in WELLS CATHEDRAL CHOIR CHACONNE BRASS comment from time to time in short outbursts. Holy Week. It is the austerity, the agony and VIOLA Wells catherdal oratorio society and MATTHEW SOUTER The larger role that the choir has to play is the ultimately the grace of this story that has CELLO wells cathedral voluntary choir RICHARD MAY (Tracks 3, 6, 8, 13 and 17) NICK BARON TIMPANI singing of four meditations that punctuate inspired me to write this piece, to be performed organ various points of the drama. I have tried in for the first time in a magnificent building LAURIE ASHWORTH SOPRANO JONATHAN VAUGHN conductor ED LYON TENOR / EVANGELIST MATTHEW OWENS these meditations to emulate the style of a where this same story has been commemorated DARREN JEFFERY BASS-BARITONE / PILATE NEAL DAVIES BASS / CHRIST strophic carol in the mould of a writer such as for almost a thousand years. Thomas Ravenscroft, cast in a simple, melodic Bob Chilcott www.signumrecords.com - 3 - ST JOHN PASSION the eternal round of mankind’s inhumanity. first performed by them on Palm Sunday in declamatory delivery. Chilcott harvested his four The image of the cross set up in every slum 2013. The composer recalls approaching the meditations from late-medieval and renaissance Soldiers fighting in Flanders a century ago resonates with Bob Chilcott’s St John Passion, commission with a mixture of excitement and sources, gathering in lyrics tinged with often held thoughts of Christ’s Passion. Geoffrey a work propelled by the dramatic force of the apprehension, daunted by the towering presence personal responses to Christ’s death, from the Studdert Kennedy, a chaplain to the British gospel narrative yet not overwhelmed by it. of Bach’s St John Passion and mindful of despair of the anonymous ‘Miserere, my Maker’ armed forces, known to countless Tommies as His score contains space for reflection, places more recent works by Arvo Pärt and James and resignation of William Baldwin’s ‘Christ, ‘Woodbine Willie’, gave voice to the experience of retreat from the baying of the mob and the MacMillan. “I had a similar feeling when I was my Beloved’ to the conflicted sentiments of of extreme suffering and the countervailing stark realisation of what the poet R.S. Thomas asked to write a Requiem,” he recalls. “There Alexander Montgomerie’s ‘Away vain world’ and power of divine compassion in his post-war called ‘omnipotence’s limits’. Chilcott seeks are such incredible models to look up to, which mystical beauty of ‘Jesus, my Leman’. writings. In one piece he recalled ‘running and finds the human, the all too human, in the of course made me nervous. With the St John to our lines half mad with fright’ during the Passion story. The composer invites listeners Passion, you’re taking on something deeply “Poets of this period, it seems to me, began Battle of Messines in June 1917. He stumbled to consider the moral choices taken by Peter, rooted in western music and also deeply rooted to articulate the human dimension of religion,” over the corpse of a young German soldier. ‘I Caiaphas, Pilate, the chief priests and the in Christian theology.” comments Chilcott. “Montgomerie writes about remember muttering, “You poor little devil, soldiers at the cross and, over the course of being unwilling to quit the world and its what had you got to do with it? Not much of the four carefully positioned Meditations, to turn Chilcott’s creative process took time to unfold. pleasures, even though he finds a way out great blonde Prussian about you.” Then there towards texts which he describes as expressions Like Bach, he decided to assign details of the in his love for Christ. He’s not ready to let came light. […] It seemed to me that the of ‘deeply human responses to death, to life, Passion to a solo tenor, an Evangelist, who go of what he knows on earth and that’s boy disappeared and in his place there lay the and to man’s relationship with the world and narrates the action of St John’s Gospel. “I felt something with which I can identify. It’s Christ upon his cross…. From that moment with God’. Chilcott’s freshly minted settings the Evangelist’s lyrical, human quality would that idea of being human, which is also on I never saw a battle as anything but a crucifix. of five Passiontide hymns open doors to best be complemented by the sounds of viola there in the language of ‘Jesus, my Leman’ – From that moment on I have never seen the Easter’s redemptive, liberating message, and cello, while brass instruments seemed right ‘Jesus, my love’. Many of us, myself included, world as anything but a crucifix. I see the cross through which the promise of salvation to support the power of the chorus, which often struggle with thoughts about faith and set up in every slum, in every filthy overcrowded stands beyond and above the desolate scene takes part directly in the drama as the crowd.” belief. I grew up in the church as a chorister quarter… I see [Christ] staring up at me from at Calvary. Above all the composer’s personal response and have been so involved ever since with the pages of the newspaper that tells of a to the Passion story, its earthly pain and sacred music, which is why I think a lot tortured, lost, bewildered world.’ The St John Passion belongs to the extending spiritual grace, grew out of his choice of texts. about the role music might play in one’s line of Bob Chilcott’s large-scale choral The gospel narrative is delivered in the own spiritual journey.” Studdert Kennedy’s powerful prose, like the pieces. The work was created for Matthew vital language of the King James Bible, its symbols of the Passion story itself, is rooted in Owens and the Choir of Wells Cathedral and winged words harnessed to the Evangelist’s

- 4 - - 5 - The ethos and aesthetics of Bob Chilcott’s set out by the Evangelist in arioso style, set-piece in which Peter’s rock-like loyalty the closing section’s harmonic language with St John Passion are closely linked. Its language, begins in ‘The Garden’. We hear echoes of is tested and broken while Jesus remains chromatic inflections and tantalising glimpses like the writings of Woodbine Willie, speaks material from the opening chorus, dispelled fearless under attack. Its anxiety and dispiriting of the major mode long before its final arrival. to the many, open to but not exclusively by the tenor soloist’s agitated account of conclusion colour the expressive landscape for contemporary music devotees. The work’s Judas’ arrival with a band of armed men of Chilcott’s first meditation, ‘Miserere, my ‘Jesus, grant me this, I pray’ owns all the musical values are motivated above all by from the chief priests and Pharisees. When Maker’, in which yearning melodic lines and qualities of the best hymns, strong of tune, the composer’s fundamental desire to Jesus asks ‘Whom seek ye?, voiced on three harmonic suspensions draw the listener deep emphatic of rhythm and confident in its communicate. “I want to connect with people,” notes, the chorus three times replies ‘Jesus into the text’s sense of isolation and despair. harmonic progressions. Bob Chilcott clearly he observes. “That is the world of music- of Nazareth’. Again on three notes, Jesus The movement’s introspective soundworld, enjoyed adding to the great tradition of making I’ve always wanted to inhabit. It is the responds: ‘I am he’. Peter’s violent attack on the cast in the dark key of B-flat minor, opens congregational music. “I had never written greatest thing to be able to engage an servant Malchus prepares the ground for into the E-flat major of ‘Drop, drop slow hymns before and was wary about setting audience in music and words, to give them greater violence to come. tears’. Chilcott recalls the opening of Orlando texts that are so closely attached to a space for reflection, which is why composing Gibbons’ famous setting of Phineas Fletcher’s well-known melodies,” he notes. “The hymns for the [Anglican] liturgy is so important The work’s first hymn, ‘It is a thing most words as a bass countermelody to his own were one of the ways in which I was able to to me. With the St John Passion, I hope I wonderful’, offers a welcome shift to the tune in the hymn’s final verse. unify the parts of the St John Passion.” have been able to do that not just through major mode. Bishop William Walsham Matthew Owens encouraged the work’s first the work’s drama but through the combination How’s words, first published in 1872 by the The second part of the St John Passion congregation to sing verses of each of the of narrative, hymns and meditations.” Society for the Promotion of Christian opens in ‘The Judgment Hall’, launched by viola hymns. “The great thing for me,” Chilcott recalls, Knowledge in Children’s Hymns, speak of a and cello with an ostinato of reiterated quavers. “was that people didn’t appear to be too Chilcott’s St John Passion opens to the child’s love for Jesus and of Jesus’ love for The Evangelist’s agitated commentary and intimidated by my hymn melodies and were suffering and submission of Christ’s Passion mankind. Chilcott’s subtle dissonances and stark melodic line reinforce the scene’s able to pick them up straight away.” through words that speak of victory in death. their sonorous resolution supply a harmonic prevailing mood of menace. Pilate, backed by Percy Dearmer’s translation of the sixth- edge to his mellifluous triple-time melody, imperial trumpets, intervenes. His peremptory ‘Christ, my beloved’, from William Baldwin’s century Latin hymn Vexilla regis prodeunt, first as does the hymn’s crowning descant. ‘Peter’s inquiry stokes the choral crowd’s anger, their metrical paraphrases of The Song of Solomon published in the English Hymnal in 1906, Denial’ explores the stark contrast between indignation magnified by heavy brass and of 1549, contemplates grief from the reflects Christ’s crowning achievement. Simon Peter’s understandable desire to remain desultory timpani strokes. The interrogator’s perspective of a figure close to Jesus. Chilcott’s Chilcott’s arresting setting unfolds without free and Jesus’ dignified resilience under indifference to the people and to his prisoner second meditation opens with a solo for triumphalism, cast in minor mode and tinged interrogation. The participants – narrator, other are dissolved when Jesus answers Pilate with soprano, whom the composer regards as a with sombre dissonances. The gospel narrative, solo voices and chorus – create a theatrical a question. Chilcott introduces ambiguity to personification of Jesus’ mother. Her expressions

- 6 - - 7 - of eternal love are swept away by a return hastening Pilate to pass the death sentence. the work’s past, creates profound compassion TEXTS to business at ‘The Judgment Hall’. Pilate, The chief priests’ splenetic outburst, ‘We have out of its simple musical economy of two who can find no fault in Jesus, offers to no king but Caesar’, gives way to a lament solo voices and two instrumental parts. 1 Sing, my tongue, the glorious battle release the prisoner. The choir’s emphatic for solo cello and the Evangelist’s subdued ‘It is finished, finished’ occupies little more Bishop Venantius Fortunatus (c. 530–c. 600), response, ‘Not this man, but Barabbas’, is account of the crucifixion. The scene closes than two bars yet opens up to an infinity trans. Percy Dearmer (1867–1936) charged with the same malevolent energy with Pilate’s quiet yet determined response of human sadness. as Bach’s ‘Barabbas’ chorus, ‘Nicht diesen to the chief priests, incandescent that the Sing, my tongue, the glorious battle, sondern Barabbam!’, in his St John Roman prefect has labelled the crucified Chilcott closes his St John Passion with one Sing the ending of the fray; Passion. Chilcott hastens the movement Jesus as ‘King of the Jews’, and resolves into of the finest of all Anglican hymns, ‘When I Now above the Cross, the trophy, along, swiftly progressing through a sequence ‘There is a green hill far away’. Chilcott’s survey the Wondrous Cross’. Isaac Watts’s Sound the loud triumphant lay: of modulations from F minor to B-flat lyrical hymn, to words written in 1848 by Cecil words, first published over three centuries ago, Tell how Christ, the world’s Redeemer, minor, E-flat minor to A-flat minor and on Frances Alexander for a Sunday School are matched here to an instantly memorable As a victim won the day. to the choir’s visceral cry of ‘Crucify him’. class, expresses sorrow at Christ’s death melody. The final verse, with its soaring Christ’s divine authority is overruled by the while conveying its message of hope. descant and uplifting accompaniment of God in pity saw man fallen, customary law of his persecutors, by which he brass, timpani and organ, offers a vision of Shamed and sunk in misery, can only be condemned to death. The scene’s Choir and congregation fall silent for a second new life, free from the world’s and suffering When he fell on death by tasting madness, its cynicism and injustice, create cello solo, a sacred breathing space introduced and tears. Fruit of the forbidden tree; the conditions out of which arises a gentle before the Evangelist continues his austere Then another tree was chosen setting for unaccompanied choir of Alexander narrative of ‘The Crucifixion’. The music, © Andrew Stewart, December 2014 Which the world from death should free. Montgomerie’s devotional poem ‘Away vain like Christ on the cross, remains gentle and world’. Chilcott’s third meditation, marked to dignified, even during the casting of lots 1 The Garden be sung ‘soft and inward’, employs harmonic for the dying man’s clothes. The grief of the John 18 vv 1–13 suspensions to signify sadness and resignation. three Marys and the disciples at the foot of Its tender final bars draw down the curtain the cross flows into the final meditation, Jesus went forth with his disciples over the on the work’s second part. ‘Jesus, my Leman’, where an added-fourth brook Cedron, where was a garden, into the chord, stated early in the piece and repeated which he entered, and his disciples. Judas ‘Jesus is Crucified’, the opening of part by the choir, and the final chord’s emptiness then, having received a band of men and officers three, is driven by relentless chords in the cello evoke pain and loss. ‘Jesus Dies on the Cross’, from the chief priests and Pharisees, cometh part and by the choir’s incisive intervention, a montage of haunting fragments from thither with lanterns and torches and weapons.

- 8 - - 9 - Jesus therefore, knowing all things that should 3 Hymn: It is a thing most wonderful disciple, which was known unto the high Did not I see thee in the garden with him? come upon him, went forth, and said unto Bishop William Walsham How (1823–97) priest, and spake unto her that kept the door, Peter then denied again: and immediately the them, Whom seek ye? They answered him, Jesus and brought in Peter. Then saith the damsel cock crew. of Nazareth. Jesus saith unto them, I am he. It is a thing most wonderful, that kept the door unto Peter, Art not thou And Judas also, which betrayed him, stood Almost too wonderful to be, also one of this man’s disciples? He saith, I 5 Miserere, my Maker with them. And soon then as he had said That God’s own Son should come from heaven am not. And the servants and officers stood Anonymous, c. 1615 unto them, I am he, they went backward, And die to save a child like me. there, who had made a fire of coals; for it and fell to the ground. Then asked he them was cold: and they warmed themselves: and Miserere, my Maker, again, Whom seek ye? And they said, Jesus of And yet I know that it is true; Peter stood with them, and warmed himself. O have mercy on me, wretch, strangely distressèd Nazareth. Jesus answered, I have told you that He chose a poor and humble lot, The high priest then asked Jesus of his Cast down with sin oppressèd; I am he: if therefore ye seek me, let these go And wept and toiled and mourned and died, disciples, and of his doctrine. Jesus answered Mightily vexed to the soul’s bitter anguish, their way: That the saying might be fulfilled, For love of those who loved him not. him, I spake openly to the world; I ever taught E’en to the death I languish. which he spake, Of them which thou gavest in the synagogue, and in the temple, whither Yet let it please Thee me have I lost none. Then Simon Peter having It is most wonderful to know the Jews always resort; and in secret have I To hear my ceaseless crying: a sword drew it, and smote the high priest’s His love for me so free and sure; said nothing. Why askest thou me? Ask them Miserere, miserere, I am dying. servant, and cut off his right ear. The servant’s But ’tis more wonderful to see which heard me, what I have said unto them: name was Malchus. Then said Jesus unto My love for him so faint and poor. behold, they know what I said. And when he had Miserere, my Saviour, Peter, Put up thy sword into the sheath: the thus spoken, one of the officers which stood I, alas, am for my sins fearfully grievèd, cup which my Father hath given me, shall I 4 Peter’s denial by struck Jesus with the palm of his hand, And cannot be relievèd not drink it? Then the band and the captain John 18 vv 14–27 saying, Answerest thou the high priest so? Jesus But by Thy death, which Thou didst suffer for me, and the officers of the Jews took Jesus, and answered him, If I have spoken evil, bear Wherefore I adore Thee. bound him, And led him away to Annas first; Now Caiaphas was he, which gave counsel witness of the evil: but if well, why smitest And do beseech Thee for he was the father in law to Caiaphas, to the Jews, that it was expedient that one thou me? Now Annas had sent him bound To hear my ceaseless crying: which was the high priest that same year. man should die for the people. And Simon unto Caiaphas the high priest. And Simon Miserere, miserere, I am dying. Peter followed Jesus, and so did another Peter stood and warmed himself. They said disciple: that disciple was known unto the therefore unto him, Art thou also one of his Holy Spirit, miserere, high priest, and went in with Jesus into the disciples? He denied it, and said, I am not. One Comfort my distressèd soul, palace of the high priest. But Peter stood at of the servants of the high priest, being grieved for youth’s folly, the door without. Then went out that other his kinsman whose ear Peter cut off, saith, Purge, cleanse and make it holy;

- 10 - - 11 - With Thy sweet due of grace and peace inspire me, themselves went not into the judgment hall, 8 Hymn: Jesu, grant me this, I pray Among his faithful lilies, How I desire Thee. lest they should be defiled, but that they 17th century Latin, Doth take great care for me indeed, And strengthen me now might eat the passover. Pilate then went out trans. Sir Henry Williams Baker (1821–77) And I again with all my might In this, my ceaseless crying: unto them, and said, What accusation being Will do what so his will is. Miserere, miserere, I am dying. ye against this man? They answered and Jesu, grant me this, I pray, My Love in me and I in him, said unto him, If he were not a malefactor, we Ever in thy heart to stay; Conjoined by love, will still abide 6 Hymn: Drop, drop slow tears would not have delivered him up unto thee. Let me evermore abide Among the faithful lilies Phineas Fletcher (1582–1650) Then said Pilate unto them, Take ye him, and Hidden in thy wounded side. Till day do break, and truth do dim judge him according to your law. The Jews All shadows dark and cause them slide, Drop, drop slow tears, therefore said unto him, It is not lawful for If the evil one prepare, According as his will is. And bathe those beauteous feet, us to put any man to death: That the saying Or the world, a tempting snare, Which brought from heaven of Jesus might be fulfilled, which he spake, I am safe when I abide 0 The Judgement Hall (II) The news and Prince of Peace. signifying what death he should die. Then In thy heart and wounded side. John 18 v 37 – 19 v 11 Pilate entered into the judgement hall again, Cease not, wet eyes, and called Jesus, and said unto him, Art thou If the flesh, more dangerous still, Pilate therefore said unto him, Art thou a His mercies to entreat; the King of the Jews? Jesus answered him, Tempt my soul to deeds of ill, king then? Jesus answered, Thou sayest that To cry for vengeance Sayest thou this thing of thyself, or did others Naught I fear when I abide I am a king. To this end was I born, and for Sin doth never cease. tell it thee of me? Pilate answered, Am I a In thy heart and wounded side. this cause came I into the world, that I should Jew? Thine own nation and the chief priests bear witness unto the truth. Every one that In your deep floods have delivered thee unto me: what hast thou Death will come one day to me; is of the truth heareth my voice. Pilate saith Drown all my faults and fears; done? Jesus answered, My kingdom is not of Jesu, cast me not from thee: unto him, What is truth? And when he said Nor let his eye this world: if me kingdom were of this world, Dying let me still abide this, he went out again unto the Jews, and See sin, but through my tears. then would my servants fight, that I should In thy heart and wounded side. saith unto them, I find in him no fault at all. not be delivered to the Jews: but now is my But ye have a custom, that I should release 7 The Judgement Hall (I) kingdom not from hence. 9 Christ, my Beloved unto you one at the passover: will ye therefore John 18 vv 28–36 William Baldwin (d. c. 1563) that I release unto you the King of the Jews? Then cried all again, saying, Not this man, Then led they Jesus from Caiaphas unto the Christ, my Beloved which still doth feed but Barabbas. Now Barabbas was a robber. hall of judgment: and it was early; and they Among the flowers, having delight Then Pilate therefore took Jesus, and scourged

- 12 - - 13 - him. And the soldiers plated a crown of thorns, q Away vain world w Jesus is crucified was crucified was nigh to the city: and it and put it on his head, and they put on him Alexander Montgomerie (c. 1545–c. 1610), John 19 vv 12–22 was written in Hebrew, and Greek, and Latin. a purple robe, And said, Hail, King of the modernized by Bob Chilcott Then said the chief priests of the Jews to Jews! And they smote him with their hands. And from thenceforth Pilate sought to release Pilate, Write not, The King of the Jews; but Pilate therefore went forth again, and saith Away vain world, bewitcher of my heart! him: but the Jews cried out, saying, If thou that he said, I am King of the Jews. Pilate unto them, Behold, I bring him forth to you, My sorrow shows, my sin makes me to smart! let this man go, thou art not Caesar’s friend: answered, What I have written I have written. that ye may know that I find no fault in him. Yet will I not despair whosoever maketh himself a king speaketh Then came Jesus forth, wearing the crown of But to my God repair, against Caesar. When Pilate therefore heard e Hymn: There is a green hill far away thorns, and the purple robe, And Pilate saith He has mercy ay, that saying, he brought Jesus forth, and sat Mrs Cecil Frances Alexander (1818–95) unto them, Behold the man! When the chief Therefore will I pray. down in the judgment seat in a place that priests therefore and officers saw him, they He has mercy ay and loves me is called the Pavement, but in the Hebrew, There is a green hill far away, cried out saying, Crucify him. Pilate saith Though by his humbling hand he proves me. Gabbatha. And it was the preparation of Without a city wall, unto them, Take ye him, and crucify him: for I the passover, and about the sixth hour: and Where the dear Lord was crucified, find no fault in him. The Jews answered Once more away, shows loth the world to leave, he saith unto the Jews, Behold your King! Who died to save us all, him, We have a law, and by our law he ought Bids oft adieu with it that holds me slave. But they cried out, Away with him, crucify Who died to save us all. to die, because he made himself the Son Loth am I to forgo him. Pilate saith unto them, Shall I crucify of God. When Pilate therefore heard that This sweet alluring foe. your King? The chief priests answered, We We may not know, we cannot tell, saying, he was the more afraid; And went Since thy ways are vain, have no king, we have no king but Caesar. What pains he had to bear, again into the judgment hall, and saith unto Shall I thee retain? Then delivered he him therefore unto them But we believe it was for us Jesus, Whence art thou? But Jesus gave him Since thy ways are vain, I quite thee. to be crucified. And they took Jesus, and let He hung and suffered there, no answer. Then said Pilate unto him, Speakest Thy pleasures shall no more delight me. him away. And he bearing his cross went forth He hung and suffered there. thou not unto me? Knowest thou not that into a place called the place of a skull, I have power to crucify thee, and have power What shall I say? Are all my pleasures past? which is called in the Hebrew Golgotha: Where He died that we might be forgiv’n, to release thee? Jesus answered, Thou couldest Shall worldly joys now take their leave at last? they crucified him, and two other with him, He died to make us good, have no power at all against me, except it Yea, Christ, these earthly toys on either side one, and Jesus in the midst. That we might go at last to heav’n, were given thee from above: therefore he Shall turn in heavenly joys. And Pilate wrote a title, and put it on the cross. Saved by his precious blood, that delivered me unto thee hath the greater sin. Let the world be gone, I care not. And the writing was JESUS OF NAZARETH Saved by his precious blood. Christ is my love alone, I fear not. THE KING OF THE JEWS. This title then read many of the Jews: for the place where Jesus

- 14 - - 15 - Oh, dearly, dearly has he loved, t Jesus, my leman u When I survey the Wondrous Cross And we must love him too, 13th century English, adapt. Bob Chilcott Isaac Watts (1674–1748) And trust in his redeeming blood, And try his works to do, When I see upon the Cross When I survey the Wondrous Cross, And try his works to do. Jesus, my leman, On which the Prince of glory died, And by him standing Mary and Johan, My richest gain I count but loss, r The Crucifixion With his back scourged And pour contempt on all my pride, John 19 vv 23–27 And his side pierced, And pour contempt on all my pride. For the love of man, Then the soldiers, when they had crucified Well ought I to weep Forbid it, Lord, that I should boast, Jesus, took his garments, and made four parts, And sins relinquish, Save in the death of Christ my God; to every soldier a part; and also his coat: If I know of love All the vain things that charm me most, now the coat was without seam, woven I sacrifice them to his blood, from the top throughout. They said therefore y Jesus dies on the cross I sacrifice them to his blood. among themselves, Let us not rend it, but John 19 vv 28–30 cast lots for it, whose it shall be: That the See from his head, his hands, his feet, scripture might be fulfilled, which saith, After this, Jesus knowing that all things Sorrow and love flow mingled down; They parted my raiment among them, and for were now accomplished, that the scripture Did e’er such love and sorrow meet, my vesture they did cast lots. These things might be fulfilled, saith, I thirst. Now there Or thorns compose so rich a crown? therefore the soldiers did. Now there stood was set a vessel full of vinegar; and they Or thorns compose so rich a crown? by the cross of Jesus his mother, and his filled a sponge with vinegar, and put it mother’s sister, Mary the wife of Cleophas, and upon hyssop, and put it to his mouth, When Were the whole realm of nature mine, Mary Magdalene. When Jesus therefore saw Jesus received the vinegar, he said, It is That were a present far too small; his mother, and the disciple standing by, whom finished: And he bowed his head, and gave up Love so amazing, so divine, he loved, he saith unto his mother, Woman, the ghost. Demands my soul, my life, my all. behold thy son! Then saith he to the disciple, Demands my soul, my life, my all. Behold thy mother!

- 16 - - 17 - BOB CHILCOTT The BBC Singers and 200 primary school His music has been recorded extensively and In 2010 following an acclaimed performance children from London. there are a number of albums dedicated to his of Jonathan Dove’s song Full Fathom Five, Described by the Observer newspaper as “a music, including “Man I Sing” (2007), “Making Laurie was awarded the Song Prize at the contemporary hero of British choral music”, He has written a number of substantial sacred Waves” (2008), “Requiem” (2012), “The Seeds Kathleen Ferrier Awards. In the same year Bob Chilcott has grown up immersed in the works including Salisbury Vespers (2009), St of Stars” (2012), “Everyone Sang” (2013), “The she was a finalist and runner-up in BBC choral tradition of his country. He grew up as a John Passion (2013) for Wells Cathedral Choir, Rose in the Middle of Winter” (2013), and “St Radio 2’s Kiri Te Kanawa Prize; a nationwide chorister and choral scholar at King’s College, and his Requiem (2010) which has now been John Passion” (2015). His music has been search by Dame Kiri Te Kanawa and the BBC to Cambridge, and after singing professionally performed in over 16 countries. In 2013 he recorded by many leading British choirs and find a new operatic star. This led to numerous in London and also as a member of the vocal wrote The King shall rejoice for the service ensembles including The Sixteen, The Cambridge appearances on BBC Radio 2’s Friday Night is group the King’s Singers for a number of at Westminster Abbey to celebrate the 60th Singers, Tenebrae, The BBC Singers, The Choir Music Night. years, he became a full-time composer in Anniversary of Her Majesty Queen Elizabeth II. of Wells Cathedral, The Choir of King’s College, 1997. He has embraced his career with energy Cambridge, and The King’s Singers. Laurie is an experienced recitalist and a highly and commitment, not only producing a large In June 2014 he began an 18-month term as sought-after concert artist with an extensive catalogue of music for all types of choirs, but composer-in-residence for the Washington LAURIE ASHWORTH repertoire. She has performed at many of the also working with singers and choirs in more DC-based choir Choralis as part of their 15th UK’s major venues, and in the summer of 2012 than 30 countries. anniversary season celebrations. The season Soprano Laurie Ashworth was born in Wigan, she made her BBC Proms debut in the world features a number of his works and concludes Lancashire. Laurie commenced her studies in premiere of Bob Chilcott’s The Angry Planet It was perhaps through his many works for with the première of Gloria in December 2015. 2002 at the Royal Northern College of Music at the Royal Albert Hall. young singers that he first came to prominence under the tutelage of Caroline Crawshaw, with as a composer, prompting some large-scale Over the past 18 years Bob has worked with whom she continues to study. She graduated Aside from numerous broadcasts for BBC performances of his pieces, particularly Can many thousands of singers in Britain through with first class honors in 2006 and was Radio 2, Radio 3 and Songs of Praise, Laurie’s you hear me? in BC Place in Vancouver in 2001 a continuing series of Singing Days throughout awarded the RNCM Gold Medal, the college’s recordings include the premiere recording of with 2000 singers and at the Estonian Song the country. Between 1997 and 2004 he was highest accolade for performance. Awards Bob Chilcott’s Requiem (Hyperion 2012), Festival in 2004 with 7000 young singers. conductor of the choir of The Royal College of from The Arts and Humanities Research Council Christmas music by Chilcott with the Commotio This led to several other large-scale projects Music in London, and since 2002 he has been and The Countess of Munster Musical Trust Choir (Naxos 2013), songs by Malcolm Arnold including notably The Angry Planet, written Principal Guest Conductor of the BBC Singers. enabled Laurie to complete her Masters in Vocal for remembrance CD Bright Jewels and Der for David Hill and The Bach Choir for the Performance at the Royal College of Music. Hölle Rache from Die Zauberflöte for Granada 2012 BBC Proms, which was performed She graduated with distinction in 2008. TV’s The Worst Witch. by The Bach Choir, The National Youth Choir,

- 18 - - 19 - NEAL DAVIES Staatsoper, Berlin. He made his debut with Past highlights include extensive tours with In concert, Ed Lyon has worked at the BBC Lyric Opera of Chicago as Major General Les Arts Florissants and William Christie Proms as well as with the Bach Choir, CBSO, Neal Davies studied at King’s College, London, Stanley (The Pirates of Penzance) under Sir including Paris, London, Amsterdam and New LSO, Ludus Baroque, Mozarteum Orchester and the RAM, and won the Lieder Prize at Andrew Davis. With William Christie and Les York in repertoire including the title roles in Salzburg, Die Kölner Akademie, New London the 1991 Cardiff Singer of the World Arts Florissants, Neal has sung in Theodora Lully’s Atys, Rameau’s Pygmalion and Hippolyte Concert, Musikkollegium Winterthur, and the Competition. He has appeared with the Oslo (Paris and Salzburg) and in the Aix-n-Provence and Charpentier’s Actéon, the title role in English Chamber Orchestra. Philharmonic, BBC Symphony, Cleveland, Festival production of Charpentier’s David et Monteverdi’s Orfeo at the Aix Festival with Philharmonia, London Symphony and Vienna Jonathas (Aix, Edinburgh and New York), which René Jacobs, the title role in Rameau’s Hippolyte DARREN JEFFREY Philharmonic orchestras, with Elder, McCreesh, is available on DVD, and he toured Theodora et Aricie and Purcell’s Fairy Queen for Bolton, Jansons, Boulez, von Dohnanyi, with the English Concert and Harry Bicket. Glyndebourne and Pane (La Calisto), Hylas Darren Jeffery has sung a diverse range of Harnoncourt, Brüggen, and Harding. He has (Les Troyens) and Lysander (A Midsummer roles from Handel to Wagner alongside the been a regular guest at the Edinburgh Recent engagements include the Barbican Night’s Dream) for the Royal Opera, and more contemporary works of Britten, Stravinsky, Festival and the BBC Proms, and has recorded Centre production of Curlew River in New York, Haydn’s L’anima de filisofo with Currentzis. Weill and Birtwistle. He has performed at the for the major labels. Xerxes for the English National Opera, and a Salzburg, Glyndebourne and Aix-en-Provence return to the Royal Opera House, Covent Garden Recent and future operatic projects include Festivals, at the Chicago Lyric Opera as He sang Figaro (Le nozze di Figaro) and in for Rise and Fall of the City of Mahagonny. the central role of Colin (Denisov’s L’écume Kothner (Meistersinger) and as Raimondo (Lucia Giulio Cesare for the Royal Opera House, Covent des jours) for Stuttgart Opera, L’Ormindo for di Lammermoor) for New Israeli Opera. Garden; L’Allegro, Zebul (Jephtha), Publio ED LYON the Royal Opera House at the Globe, Don (La clemenza di Tito), Ariodates (Xerxes) and Ottavio in a new production of Don Giovanni In 2001-2003 he was an inaugural member of Kolenaty (The Makropoulos Case) for the Ed Lyon studied at St John’s College Cambridge, for Scottish Opera, Freddy (My Fair Lady) for the Royal Opera Young Artists Programme and English National Opera; Radamisto for L’Opéra the Royal Academy of Music, and the National the Châtelet in Paris, Steva (Jenufa) for Opera has sung over fifteen roles at Covent Garden. de Marseille; Leporello (Don Giovanni) for Opera Studio. He has a wide repertoire ranging North, Ariadne auf Naxos, Tristan und Isolde He has performed at English National Opera as the Scottish Opera and L’Opéra de Montréal; from the baroque to contemporary music and and Der fliegende Holländer for Royal opera Leporello (Don Giovanni), Donner (The Rhinegold), Britten’s Curlew River for the Edinburgh has appeared in many of the world’s leading House, Jaquino (Fidelio) in Madrid, Don Alonze Speaker (Magic Flute), Mr. Flint (Billy Budd) Festival; Guglielmo and Don Alfonso (Cosi fan opera and concert venues with conductors (L’amant Jaloux) for Pinchgut Opera in Sydney and Hobson (Peter Grimes); at Opera North as tutte), Papageno (Die Zauberflöte), Leporello, including Antonio Pappano, William Christie, and the world premiere of Nicolas Lens’ Shell Bottom (A Midsummer Night’s Dream); and Dulcamara (L’elisir d’amore), Zebul and René Jacobs, Ivor Bolton, Emmanuelle Haïm, Shock in Brussels. Lt. Ratcliffe (Billy Budd) at Glyndebourne. Sharpless (Madame Butterfly) for the Welsh Teodor Currentzis, and Christian Curnyn. National Opera; and Agrippina for the Deutsche

- 20 - - 21 - He was a finalist in the Seattle International MATTHEW SOUTER Matthew Souter has been a Professor at Barbican and South Bank centres, and at Wagner Competition in 2008 and has received The Royal Academy of Music for 18 years and festivals in Salzburg, Berlin, London, and two Grammy awards for his contribution to “... in complete command of his instrument” he has attracted both viola and violin pupils Aldeburgh. After winning the String Category recordings of Falstaff and Billy Budd with and “very musical in the finest way”: so wrote from all over the world - many of whom of the BBC TV Young Musician of the Year the LSO. the world-famous conductor Antal Dorati about have gone on to have distinguished careers competition in 1984, he made his London debut Matthew Souter. As a soloist he has performed themselves. He is currently Head of Strings at recital at the Purcell Room, including the world Darren has sung Christus in Bach’s St. Matthew across the world both as a recitalist and with Wells Cathedral School. premiere of Five Duos by Colin Matthews. A Passion with Sir Mark Elder and the Hallé orchestras from the UK, Europe, Russia and solo Bach recital in Switzerland won him Orchestra and performed regularly at the BBC the Far East. He has guest lead the viola RICHARD MAY critical acclaim for his “absolute perfection Proms. He has appeared on several occasions sections in virtually all of Britain’s most and virtuosity”. He also gave a televised recital with the Accademia Nazionale di Santa celebrated orchestras such as the Academy As one of the UK’s foremost cellists of his for the ITV series Solo and has shared the Cecilia in Rome and collaborated with many of St Martin-in-the-Fields, English Chamber generation, Richard May has pursued an recital stage with Nigel Kennedy. Also a highly leading conductors worldwide. Orchestra, The London Philharmonic Orchestra, international career as soloist and chamber regarded teacher, Richard May is Professor at and many more. He has also been a regular musician, playing many of the major cello the Royal Welsh College of Music and Recent engagements and future plans include guest at international chamber music concertos with such orchestras as the Drama, Wells Cathedral School, and Artistic the title role in Rossini’s Maometto II, Créon festivals in the UK, Europe, and the Far East. Sinfonieorchester Basel, English Sinfonia, Director of Encore Music Projects International (Oedipus Rex) with the BBC Symphony, Lt. Ulster Orchestra, and BBC Philharmonic. He Summer School. Ratcliffe (Billy Budd) for Nationale Reisopera, For the past 17 years Matthew Souter has been studied with Florence Hooton at the Royal Beethoven’s Symphony No. 9 and Pizarro a member of the Alberni String Quartet, one of Academy of Music in London, with Thomas NICK BARON (Fidelio) for Garsington, the Messiah with Britain’s most distinguished ensembles and Demenga at the Basel Konservatorium, and the Colorado Symphony under Douglas Boyd, described, after a Carnegie Hall recital in the privately with William Pleeth; with András Nick Baron is a percussionist from Somerset concert performances of La Clemenza di New York Times, as “one of the finest half Schiff he studied chamber music. He has won who studied at the Royal Welsh College of Tito with Classical Opera Company, Speaker dozen quartets in the World”. He has been the National Federation of Music Societies Music and Drama. Playing work includes (Die Zauberflöte) for ENO, Bill (Mahagonny) fortunate in his career to have been loaned Award and the EMI Jacqueline du Pré percussion with the BBC National Orchestra at the Royal Opera House and Fidelio in some exceptional instruments on which to Competition, in which he played Shostakovich’s of Wales and the Welsh National Opera, and Winterthur as well as Brahms’s Requiem at perform including a Gasparo de Salo of 1585 Cello Sonata, reviewed in The Times as “simply since 2005 he has been the timpanist in the Wells Cathedral and Bach’s St John Passion and a fine viola by Antonio Stradivari of 1696. one of the most gripping performances I Dartington Festival Orchestra. In 2011 he with Bournemouth Symphony Chorus. have heard”. He appears worldwide, having held the percussion chair in the UK and performed at Carnegie Hall, Wigmore Hall, European tour of Evita. On marimba he has

- 22 - - 23 - appeared as a recital soloist, played onstage Croydon Parish Church. A particular distinction Cathedral Oratorio Society, and was President in Amsterdam. His major organ studies in the Northcott Theatre’s actor-musician of his time at Croydon was becoming a of the Cathedral Organists’ Association from were with Gordon Stewart, Margaret Phillips, production of Macbeth (2007) and Theatre Fellow of the Royal College of Organists aged 2010-13. He is the Founder Artistic Director and Jacques van Oortmerssen. From 1994- Alibi’s Cobbo (2009), and now runs the Baron- sixteen, while being a major prizewinner of two initiatives at Wells: Cathedral Commissions, 99, he was Tutor in Organ Studies at the RNCM Rose Duo. Nick has toured as drummer for in the examination. His organ studies were which enables the cathedral choir to commission and Chetham’s. From 1997-2011 he was male voice choir Only Men Aloud!, and plays with Simon Williams and Dame Gillian Weir. new works from pre-eminent British composers; Conductor of The Exon Singers. drum kit in QDos pantomimes. In 2008 Nick and new music wells, a festival which is a spent a month in Havana studying Cuban Jonathan has also been Musical Director of retrospective of the last forty years of music as Matthew has directed choral workshops percussion with Alejandro Mayor; and he now the Phoenix Singers, Framlingham, Director of well as featuring many premieres. In addition to and summer schools throughout the UK and plays in and runs the salsa band Fiesta Resistance. the St Edmundsbury Singers and Assistant being responsible for the 1100 year old choral abroad – including recent visits to Australia, Conductor of Cambridge University Musical tradition of daily worship at Wells Cathedral, China, Germany, Hong Kong, Luxembourg, New JONATHAN VAUGHN Society, with responsibility for CUMS 2 and Matthew has toured, broadcast, and recorded Zealand, and the USA – and has made over the wind orchestra. He regularly performs extensively with Wells Cathedral Choir which, 30 CDs as a conductor or solo organist with Jonathan Vaughn is Assistant Organist at recitals across the UK and abroad; in in 2011, was named by an international jury major labels including Hyperion and Signum. Wells Cathedral, and Musical Director of the October 2014 a five recital tour marked his for Gramophone as the best choir in the world Somerset Singers. His principal duty at the US solo debut. He teaches the organ at with children, and the sixth greatest overall. As an organist, he has given recitals in Cathedral is to the daily round of services Wells Cathedral School and in 2013 released Australia, France, Ireland, Switzerland, New and the nurturing of its choristers’ talents. his first solo organ CD on the Regent Matthew was educated at Chetham’s School Zealand, USA, and throughout the UK. He has Extra liturgically, he is also heavily involved Records label, Wagner at the Organ, recorded of Music and The Queen’s College, Oxford. As championed new music, particularly of British in the Cathedral Choir’s busy programme at St Mary Redcliffe, Bristol. a postgraduate he received the highest award composers, premiering many new works by of broadcasts, concerts, tours, outreach, for performance, the Professional Performance leading composers ranging from Jools Holland commissions, and recordings. MATTHEW OWENS Diploma, with distinction, and the college to James MacMillan, and John Rutter to Sir Bach prize at the Royal Northern College of Peter Maxwell Davies. As a composer himself, Jonathan moved to Somerset in September Matthew Owens is Organist and Master of Music; gained a Master’s Degree from the he is published by Oxford University 2007 following three years as Assistant the Choristers of Wells Cathedral, having University of Manchester; won thirteen prizes Press and Novello. He was made an Honorary Director of Music at St Edmundsbury previously been Organist and Master of the in the diplomas of the Royal College of Fellow of the Guild of Church Musicians Cathedral. Prior to this he had held organ Music at St Mary’s Episcopal Cathedral, Organists, and was awarded the Silver Medal in November 2012. scholarships at St John’s College, Cambridge, Edinburgh, and Sub Organist of Manchester of the Worshipful Company of Musicians. He St George’s Chapel, Windsor Castle, and Cathedral. He is also Conductor of the Wells then studied at the Sweelinck Conservatorium

- 24 - - 25 - CHACONNE BRASS Their career as a chamber group spans 30 WELLS CATHEDRAL CHOIR Bingham, Geoffrey Burgon, Bob Chilcott, years and includes numerous recitals at many Jonathan Dove, Gabriel Jackson, John Joubert, Mark Kesel, Ellie Lovegrove trumpets of London’s major venues such as the South Wells Cathedral Choir was hailed in 2011 by an James MacMillan CBE, Sir Peter Maxwell Simon de Souza horn Bank Centre, St John’s Smith Square, and international jury from Gramophone Magazine Davies CH CBE (former Master of the Queen’s Emily White trombone Cadogan Hall (including a live BBC radio as the greatest choir with children in the Music), Tarik O’Regan, John Rutter, Howard James Doherty tuba 3 recording) and in many of the UK’s finest world, and the sixth greatest overall. The Skempton, and Sir John Tavener. concert halls, among them the Queen’s Hall choir celebrated its 1100th birthday in 2009: Chaconne Brass was formed in 1984 and has Edinburgh, St David’s Hall Cardiff, and Leeds boys first sang at Wells Cathedral in 909 and Wells Cathedral Choir broadcasts regularly on established a reputation as one of Britain’s Town Hall. They have also featured at major the full choral tradition dates back over 800 BBC Radio 3 and its innovative recordings most versatile ensembles. Its repertoire spans Music Festivals including the Three Choirs years. In 1994 the choral foundation at over the last ten years for Hyperion Records from Praetorius to Steve Reich, from Gershwin Festival, Henley Festival, and Norfolk and Wells was enriched by the addition of girl and Regent Records have won international to Miles Davis, from acoustic to electro-acoustic, Norwich Festivals, and have frequently choristers. Today the choir consists of eighteen praise: “wonderfully blended, and must rank as and from Brass to Beyond. performed abroad, notably at the Berlin boy choristers, eighteen girl choristers and one of the top cathedral sounds outside Philharmonie. They have directed two successful twelve Vicars Choral (the men of the choir). London” (BBC Music Magazine); “currently Chaconne Brass has an ever-growing list of Lottery funded education projects, and The boys and girls usually sing separately enjoying a superb top line” (The Observer), over 50 works written for the group, many of have been featured artists for the Concert with the Vicars Choral but occasionally come and has had two discs made Editor’s Choice in which appear on their five recordings, the most Promoters’ Network. together for larger events and tours. Gramophone Magazine which called the choir recent of which, Dancing in the Dark, released “probably the finest English cathedral choir on the Deux-Elles label, was given a four star A combination of entertainment, creativity The choir is at the heart of the worshipping at the moment” in “world-class form”. The review by The Independent. In addition to and musical excellence has allowed Chaconne life of the Cathedral, and sings a wide choir now records for Signum Records. their commitment to Chaconne Brass, group Brass to develop a unique style that appeals repertoire of music ranging from the members work with many of the finest orchestras to audiences of all ages and backgrounds, masterpieces of the Renaissance period to As well as the liturgical musical repertoire the and ensembles in Britain; all are also highly whether it is a recital at London’s South the finest choral works of the present day. The choir performs larger scale choral works in regarded teachers, as well as successful Bank, a radio or TV broadcast, a workshop choir sings throughout the cathedral’s festival, concert, with recent collaborations including composers and arrangers with a large number for college students or a performance for very launched in June 2008: new music wells, The King’s Consort (Bach, St Matthew Passion), of commissions, concerts, and broadcasts. young school children. giving a number of premieres as well as the BBC National Orchestra of Wales (Britten featuring music from the previous 40 years. War Requiem), Jools Holland and his band It has commissioned works from some of (Jools Holland Mass), Wells Cathedral Oratorio today’s finest composers, including Judith Society (Britten St Nicolas and War Requiem),

- 26 - - 27 - Aled Jones, Dame Felicity Lott, Wells Cathedral WELLS CATHEDRAL CHOIR Molly Johnson School Chamber Orchestra (at a royal gala Frederica Lindsey-Coombs concerts at the Royal Opera House, Covent Boy Choristers Beth Mitton Garden, and St James’s Palace, London). In Tom Bates Jessica Morell September 2014 the choristers sang with the George Blundell Sophie Morrell Berlin Radio Choir and the Berlin Philharmonic Fergus Brown (Head Boy Chorister) Harriet Perring Orchestra under the baton of Sir Simon Rattle Maxim Davis (Deputy Head Boy Chorister) Madeleine Perring [Woman, track 4] OM, in a performance of Bach’s St Matthew Henry Dukes Astrid Rose-Edwards Passion at the BBC Proms. In October 2014 Frederick Falzon the choristers sang alongside The Script in James Gooding Countertenors ITV’s Pride of Britain awards, in the presence of Alexei James-Cudworth Timothy Angel HRH The Prince of Wales and Prime Minister Hugh Latta Simon Clulow David Cameron, and to a television audience Bernard Mealing Aidan Cruttenden of over 5 million viewers. Wesleigh Peck Stephen Harvey Nicholas Richards The choir has toured extensively with tours Bailey Roberts Tenors to Paris (2006), the North West of England Gregory Wills Mark Hounsell [Peter, track 4] (2008), Germany (2009), The Netherlands Iain MacLeod-Jones [Officer, track 4] (2010), Scotland (2011), and Hong Kong and Girl Choristers Julian Robinson-Porter [Servant, track 4] Beijing (2012). Rosa Bonnin Ben Tambling Natalie Borenstein Harriet Carlill Basses Freya Carruthers Piers Kennedy Ella Corlett (Head Girl Chorister) Andrew Kidd Erin Davies Andrew Mahon Niamh Davies Christopher Sheldrake Orla Donoghue Harriet Garstang (Deputy Head Girl Chorister) Flora Hartz

- 28 - - 29 - Wells Cathedral Choir gratefully acknowledges the following for their generous sponsorship and support of this recording: The Friends of Wells Cathedral (www.wellsfriends.org) and Dame Amelia Fawcett DBE © Iain MacLeod-Jones Recorded, by kind permission of the The Chapter of Wells Cathedral, on 5th - 8th May, 2014, in Wells Cathedral, Somerset. Members of Wells Cathedral Oratorio Society Producer – Adrian Peacock Conductor: Matthew Owens Recording Engineer & Editor – David Hinitt Joyce Banner, Martin Banner, Chris Barker, Sally Bayley, Viv Burgess, Louise Burton, Barbara Calverley, Michael Cover Image – © Richard Pomeroy, ‘Wells Crucifixion Triptych’, right panel, oil on linen, 214x183cm, 2012 www.richardpomeroy.co.uk Calverley, Mary Carlisle, Barbara Cooke, Rosemary Cooke, Julia Davies, Margaret Davies, Alexandra de Glanville, Design and Artwork – Woven Design www.wovendesign.co.uk Robin Duys, Sue Duys, Peter Farrell, Kate Fielder, Frank Fisher, Heather Forgham, Carolyn Fussell, Richard Garstang, Lyndon Golding, Roger Good, Sue Gould, Faith Guest, Frances Henderson, Jenny Henderson, Rachel P 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Hewson, Derek Hiller, Mary I’Anson, Lynne Jarman, Sue Jones, Amanda Karpinski, Carolyn Legge, Alex Lemanski, © 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Anne Limond, Nigel Lloyd, Rose Longman, Jennie Lunnon, Nancy McGiveron, Della Menday, Mary Newman, Robin Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, Perry, Janet Ravenscroft, Margaret Raynes, Lindsey Richards, Brian Roberts-Wray, David Rosser, Mary Sage, Jo or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Spence, William Truscott, Pat Turner, Elsa van der Zee, Lynn Waldron, Robin Walker, Jo Weir, Sue Wells, SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. Lucy Williams, Jo Wright. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com Members of Wells Cathedral Voluntary Choir Music Director: Michael Cockerham Chris Alexander, Kath Bristow, Michael Cockerham, Sue Duys, Ros Edney, Verena Garton, Jane James, Della Luetchford, Nancy McGiveron, Malcolm Mogford, Jim Moretti, Sara Rowe, David Sedgman, Dilys Spurrell, Geoff Walker, Christine Willoughby, Rob Willoughby, David Wright.

- 30 - - 31 - ALSO AVAILABLE on signumclassics

Chilcott: Man I Sing Chilcott: The Seeds of Stars BBC Singers Wrocław Philharmonic Choir Bob Chilcott conductor Agnieszka Franków-Żelazny director SIGCD100 Bob Chilcott conductor SIGCD311

“ ... you get a sense of the settings having grown organically “... this is a choir whose sound is too richly enticing to need out of their texts, so attuned is Chilcott to words and their import anything more than pleasing music and a sympathetic ... As for the singing, it is superb throughout, the BBC Singers, recording, both of which are much in abundance on this disc.” no doubt spurred on Chilcott’s conducting, giving themselves Gramophone entirely over to both words and music without for a moment allowing any technical lapses.” International Record Review

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD412 BLACK Job Title: ST JOHN PASSION

SIGNUM CLASSICS SIGCD412

CHILCOTT: ST JOHN PASSION PASSION JOHN ST CHILCOTT:

ST JOHN PASSION BOB CHILCOTT (b. 1955)

1 Sing, my tongue, the glorious battle [2.09] 0 The Judgement Hall (II) [6.18] 2 The Garden [5.25] q Away vain world [4.22] 3 Hymn: It is a thing most wonderful [2.13] w Jesus is crucified [5.45] 4 Peter’s denial [5.49] e Hymn: There is a green hill far away [2.37] 5 [5.58] r [5.23]

WELLS CATHEDRAL CHOIR / OWENs Miserere, my Maker The Crucifixion 6 Hymn: Drop, drop slow tears [1.32] t Jesus, my leman [4.54] OWENs / CHOIR CATHEDRAL WELLS 7 The Judgement Hall (I) [2.54] y Jesus dies on the cross [2.33] 8 Hymn: Jesu, grant me this, I pray [2.20] u When I survey the wondrous cross [3.19]

9 Christ, my Beloved [4.14] Total timing: [67.46]

WELLS CATHEDRAL CHOIR

Wells catherdal oratorio society and wells cathedral voluntary choir (Tracks 3, 6, 8, 13 and 17)

LAURIE ASHWORTH SOPRANO ED LYON TENOR / EVANGELIST DARREN JEFFREY BASS-BARITONE / PILATE NEAL DAVIES BASS / CHRIST

CHILCOTT: ST JOHN PASSION CHACONNE BRASS MATTHEW SOUTER VIOLA NICK BARON TIMPANI RICHARD MAY CELLO JONATHAN VAUGHN ORGAN MATTHEW OWENS CONDUCTOR

LC15723

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