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CKD 383 New Choral Music by James MacMillan including the Mass of Blessed Strathclyde Motets II

CAPPELLA NOVA CANTY JAMES MacMILLAN : TENEBRAE CARMINA CELTICA CKD 301 CKD 378

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LINN, ROAD, WATERFOOT, GLASGOW G76 0EQ UK t: +44 (0)141 303 5027 f: +44 (0)141 303 5007 e: [email protected] directed by Alan Tavener New Choral Music by James MacMillan directed by Alan Tavener

1. And lo, the Angel of the Lord (4.39) soprano: 2. Qui meditabitur* (5.25) Frances Cooper 3. O Radiant Dawn* (4.17) Micaela Haslam Christina Sampson 4. Lux aeterna* (3.44) Rebecca Tavener Recorded at the Church of the Holy Rude, Stirling UK 5. Os mutorum* (4.28) – Canty & William Taylor from the 2nd–4th November 2010 Emma Versteeg 6. Bring us, O Lord (6.03) Produced and engineered by Philip Hobbs Julia Wilson-James 7. Canticle of Zachariah* (3.42) Post-production by Julia Thomas at Finesplice, UK Design & ‘Angel’ photos by John Haxby 8. Benedictus Deus (4.50) alto: Angel photos taken at Lawnswood Cemetary, Leeds 9. Advent Antiphon (4.23) – John Kitchen organ Ruth Gibbins Anne Lewis Cover photo: The cloister (photo) by French School, 10. Pascha nostrum immolatus est* (4.24) Daniel Keating-Roberts (12th century) Fontenay Abbey, Montbard, Burgundy, France/ 11. Who are these Angels? (5.52) – Quartet Richard Wyn-Roberts Bildarchiv Steffens/ The Bridgeman Art Library Nationality 12. Think of how God loves you (2.31) Cappella Nova is extremely grateful to the following donors 13. Benedicimus Deum caeli* (3.03) tenor: Malcolm Bennett for their generous financial support:- * Strathclyde Motets II Graham Neal CHERUBIM: Anonymous; Colin & Kathleen McPhail; David Murie Mass of Blessed Tom Phillips ANGELS: Anonymous; Una Campbell; Jane Dawson; Ashley Turnell Andrea Jack; Louise Laing; Margaret MacKay; John Henry Newman – John Kitchen organ Derek Mickel; Jane Ridder-Patrick; David Shapton; bass: Mairi & Gerry Sigerson; Beatrice Wickens; 14. Kyrie (1.16) James Birchall James Yarbrough 15. Gloria (2.45) Edward Caswell The recording was subsidised by Creative . 16. Sanctus (2.01) Paul Charrier Photos by: Edinburgh Quartet – Marc Marnie 17. (0.50) Acclamation John Milne John Kitchen – Delphian Records Ltd 18. Agnus Dei (1.55) Alan Tavener – Sue Osmond James MacMillan – courtesy of Arena PAL 19. Tota pulchra es (4.33) – John Kitchen organ Canty – John Haxby

TOTAL TIME : 72.08

WHO ARE THESE ANGELS? : 2 WHO ARE THESE ANGELS? : 3 James MacMillan talks to Rebecca Tavener about his choral music… is still very fluid and that one can actually make one’s mark on the development of church music according to authentic practices, as I would now see it. REBECCA TAVENER: This is, in many ways, the resumption of our previous conversation REBECCA TAVENER: There’s a very wide range of styles and techniques in the set, from the published in the album booklet for Tenebrae, and that connection is cantus firmus in’ Lux aeterna’ to chord-sequences and rhythms that evoke the emphasised by the inclusion of the second and final set of seven Strathclyde English Carol in ‘Canticle of Zachariah’, all given your personal creative stamp - Motets. Looking back on this second set and on the series as a whole, do you is that part of the process, this interest in referencing the past? have particular favourites or do any hold a particular significance? JAMES MACMILLAN: I think it is, yes, and now there’s an encouragement to do so because, JAMES MACMILLAN: There’s one that I’ve heard many times, my own sings it and when you do look at the documents, you realise that they suggest that one it has been taken up all over the place, and that’s ‘O Radiant Dawn’ – it’s on digs deeply into the tradition and draws on it for sustenance in the modern YouTube sung by an American choir, for example. The one I haven’t heard very age. This is what Pope Benedict XVI is all about in his ‘Spirit of the Liturgy’, often is ‘Pascha nostrum’ – the most challenging of the set - and I’m kind of there’s an encouragement to regard high points of the Church’s musical history interested most in the ones I haven’t heard very much! such as classic polyphony and earlier, right back to Gregorian roots, as a kind The whole point is that amateur should be able to sing them, but of paradigm for Catholic music, ‘the very sound of Catholicism’ as I have heard it’s good to have within the body of fourteen works pieces that anybody could Gregorian Chant described. It can be kept alive in the modern age – a practical do as well as others that people can strive towards. consideration, and also an ideological and spiritual consideration. The whole purpose of it right from the beginning, from the initial REBECCA TAVENER: A review of your one-act opera Clemency described you as ‘MacMillan discussions between Brendan1 and Alan about how it was going to work and the Magpie’ – how do you feel about that? benefit the Chaplaincy, St Columba’s and the Strathclyde University Chamber JAMES MACMILLAN: I don’t mind at all. I’m very open to instincts and influences from lots Choir, meant it was a very special process. It gave benefit to the University of places and always have been. as well – these are all institutions I feel very attached to, I have an honorary REBECCA TAVENER: doctorate from Strathclyde University and we went to their chaplaincy as a We chose ‘Who are these Angels?’ as the title track on this album for family for a number of years – it’s been a very happy project for many reasons. a number of reasons, not least among those being its mysterious and intriguing atmosphere. The idea of separating out a single voice (in this case two-part REBECCA TAVENER: Did the Strathclyde Motets mark the beginning of a more focussed soprano and alto moving in homophony) to comment on more complex approach to liturgical music? Where does it stand in your output? polyphony reminded me of Renaissance motets by Christobal de Morales such JAMES MACMILLAN: I’ve always written for choirs but I would say that my more focussed as ‘Emendemus in melius’ and ‘Andreas Christi famulus’. How did this work interest began in the mid-decade, 2004/5, with a thought towards Roman come about? Catholic liturgy: the state of it and its potential; its tradition and how I might JAMES MACMILLAN: It’s complicated – the Latin setting was written as a separate motet contribute to it as a composer myself. That meant not just thinking about when I was seventeen and still at school. I tried to sing it with two friends in a advanced and easy choral music but also very, very simple congregational local church and it then lay in a cupboard along with a lot of other material. I’ve music and how that fitted into the tradition. It got me thinking and reading a been in the process of finding that music again, but I didn’t think it was ready great deal, studying liturgy, reading the documents from Vatican II and realising as it stood – I wanted to expand it in some ways. Your mention of Clemency what had happened in the last forty years, and understanding that the situation is very appropriate here because this music ends up in the opera. Michael2

1. Fr Brendan Slevin OP, RC Chaplain of Strathclyde University. 2. The poet Michael Symmons Roberts, librettist of Clemency.

WHO ARE THESE ANGELS? : 4 WHO ARE THESE ANGELS? : 5 and I were working on the Abraham and Sarah story and I wanted a scene of REBECCA TAVENER: Another recent commission from an English group of long-standing is transcendence in the centre. The angels in the opera don’t sing in Latin but in a ‘Bring us, O Lord’ written for Schola Cantorum of Oxford. Alan sang with them made-up language, a quasi onomatopoeic, sonic deconstruction but with also as a student, so I know he particularly relished this connection. Your treatment a kind of strange Aramaic influence thrown in, and so the only bit that survives of this anthem, with its profoundly moving text by one of the greatest of English in its original form is the ‘who are these angels’ phrase for Abraham and Sarah. Protestant divines, John Donne, seems very deliberately English, with a distant In the opera its meaning is clear, but in the motet it is quite mysterious evocation of Edwardian repertoire such as Parry’s ‘Songs of Farewell’. with the Lenten Latin text interrupted by the question. I like it in both forms. JAMES MACMILLAN: All that’s in the mix; I’ve got to know and enjoy that period of music The motet entirely pre-dates the opera. It was commissioned for De very much and it’s what choral singers learn as a very necessary part of the Doelen, Rotterdam, by Neil Wallace (and Aberdeen University) and it was his British choral scene, of course. idea to use the ‘who are these angels’ phrase alongside the Latin text attributed to St Augustine. He thought it might come from a poem by Rilke3. REBECCA TAVENER: By contrast, ‘Benedictus Deus’ was written for arguably the world’s leading Roman Catholic choir, the Choir of . It must be a REBECCA TAVENER: The striking string coda, imitating the cries of seabirds, is a sound as total joy to write for that choir in that acoustic! There are moments of Bruckner- alien as one might imagine the true voices of angels might be, as opposed to esque grandeur in this that seem to pre-figure the ‘Tu es Petrus’ you wrote for the voices they adopt to communicate with humans – is this an expression of the Papal visit in September 2010. ‘holy/wholly otherness’? JAMES MACMILLAN: I’ve written a lot of music for them now and this was one of two JAMES MACMILLAN: Yes, exactly! And the unknowability of God, as well. motets I was commissioned to write for the installation of the new archbishop. REBECCA TAVENER: Staying with angelic interventions, the polychoral motet ‘And lo, The other involved brass and organ and definitely paved the way for ‘Tu es the Angel of the Lord’ was composed for Ex Cathedra – did they request that Petrus’. I was learning the acoustic of the building through these motets. scoring to reflect their core Iberian repertoire? REBECCA TAVENER: What do you think the true purpose of this extremely ceremonial music is? JAMES MACMILLAN: Yes, they said they could divide into lots of parts and do antiphonal things. I got to know their repertoire and obviously there’s a nod to the historic JAMES MACMILLAN: Well, here were two gloriously beautiful liturgies, one for Archbishop direction of the multi-layered music of that time. It’s a bit short and I’d like to Vincent Nichols and one for the Papal Mass, and they needed to have a special go back to it at some stage in the future and write more of that kind of multi- start. These motets had to encapsulate the grandeur and the glory of the choral/divisional music. moment right from the beginning and maintain it. I’ve always loved Westminster Cathedral – the place, the music and what it represents – a standard bearer for 3 Neil Wallace might have been thinking about the following passage Catholic choral music in the UK in spite of many efforts to dislodge the tradition. from Rainer Maria Rilke’s ‘Duino Elegies’? REBECCA TAVENER: It ends on a somewhat introspective note with a decorative figure in ‘Every angel is terrifying. And yet, alas, I invoke you, almost deadly birds of the soul, knowing about you. the alto, all coming down to pianissimo. Is this a reminder that it’s about the Where are the days of Tobias, when one of you, veiling his radiance, glorification of the office and not the man, a bit like the person standing in a stood at the front door, slightly disguised for the journey, no longer appalling; Roman general’s chariot during a triumph declaiming ‘remember Caesar, thou (a young man like the one who curiously peeked through the window). art mortal’? But if the archangel now, perilous, from behind the stars took even one step down toward us: our own heart, beating higher and higher, would beat us to death. JAMES MACMILLAN: Yes, there’s got to be some humility in all of this. Otherwise these Who are you? people could get a bit carried away with themselves!

WHO ARE THESE ANGELS? : 6 WHO ARE THESE ANGELS? : 7 REBECCA TAVENER: ‘Tota pulchra es’ was written for the 2010 National Convention of JAMES MACMILLAN: I think it’s great, I’m really excited about the new translation - it has the American Guild of Organists, Washington DC, and commissioned by the more beautiful language, the ‘Gloria’ is much better and I’m going to enjoy Basilica of the National Shrine of the Immaculate Conception. How did that working on it in other settings. With settings of the Mass it’s a case of getting come about? them right, making them in accordance with what Catholic liturgy means. I’ve now re-worked my St Anne’s Mass to take in these changes. JAMES MACMILLAN: This goes back a long way – I was talking to the Guild of Organists for years about a commission, but I think it all crystallised when I went to the REBECCA TAVENER: Moving on to the music, it would probably be perverse not to begin Basilica: I know some of the music people there, so maybe they steered the by introducing the elephant in the room, the quotation from Wagner’s Tristan commission in a particular direction. und Isolde in the ‘Kyrie’. REBECCA TAVENER: One of the most interesting things about it as a Marian work is its JAMES MACMILLAN: The starting point for this was my St John Passion from which this extreme forcefulness, unlike other famous settings such as Duruflé’s, for is a little spin-off. It goes back to Roger Scruton’s book on Wagner and Tristan example. Death and the Devoted Heart – Sex and the Sacred where he makes the point JAMES MACMILLAN: I don’t know why that is, I sometimes see things in slightly oblique that we normally think of Wagner’s most overtly religious moment as the big ways. ‘Christus vincit’, for example, became a serene prayer rather than a Eucharistic scene in Act I of Parsifal, but there’s another in Act I of Tristan where prayer of triumph – and perhaps the opposite was happening here, it’s a very the two principals lose themselves to love through the love-drink – this is a beautiful text but it can have a kind of glorious, joyful beauty. focus of Christian Theological considerations as well as lots of musical concepts, and the fact that this work is notably right at the beginning of modernity. I’m REBECCA TAVENER: The subject of prayer through music brings us neatly to the Mass of sure that’s why Messiaen became infatuated with the Tristan myth and began Blessed John Henry Newman. The back story about its sticky start in Scotland to run with it in his own work as a Catholic composer, hence the Tristan Trilogy: 4 is in the public domain, from your own blog to a plethora of articles and news Turangalila, Haravi and Cinque Réchants, and Tristan is almost imbued in his stories and, as we speak, the Missal is not yet published so it’s too early to thinking as a theological composer. assess the popularity of your setting. REBECCA TAVENER: Anything to do with Wagner carries a load of ‘baggage’, do you want JAMES MACMILLAN: The new Missal will be in use from Autumn 2011 and the Mass is that to become part of the individual’s response or would you rather they left it already in use in pockets thanks to the Papal services in Scotland and England at the door when they enter the church or concert-hall? in 2010. James MacMillan: Anything we can do to salvage Wagner’s reputation from that REBECCA TAVENER: Did the controversy expose a lack of musical confidence and ambition baggage is a good thing – it’s very unfair that history has treated him like some in the Scottish ? kind of proto-Nazi – he was the same as any other German of that time in his JAMES MACMILLAN: Yes, I think so, and the Scottish church seems to be just a little bit prejudices. This is not the most interesting thing about Wagner at all. I’m much behind everywhere else. The fact that Benedict XVI does represent a huge shift more interested in him as an unconventional religious thinker. His operas are in liturgical thinking hasn’t quite filtered through yet – it will, but it might take full of human beings that are impacted upon by supernatural powers, in living longer here than in other places. dialogue with the Numinous, and that is a great consideration for a Christian composer. REBECCA TAVENER: The new translation, how is it for the composer? REBECCA TAVENER: Each section of the Mass has its own musical character, such as the 4 http://jamesmacmillaninscotland.com/blog/. Entry for 5 November 2010. distinctly Celtic organ introduction to the ‘Sanctus’.

WHO ARE THESE ANGELS? : 8 WHO ARE THESE ANGELS? : 9 JAMES MACMILLAN: I’ve tried to make each section very different, and there is a line REBECCA TAVENER: That brings me to a general question about the purpose of music in of thinking that suggests that this is the way a setting of the Ordinary ought worship, both participatory and non-participatory, and current issues including to be. In some circumstances the long introduction to the ‘Sanctus’ might be the problem of non-singing congregations and a ‘them and us’ attitude to too much, so I’ve done a little ossia in the latest version so that the words can professionalism in church music. As a composer so much concerned with lead on more immediately if need be. A more solemn occasion would use the practical liturgical music, do you think there is a genuine crisis and is that full introduction: you’ve got to be flexible with these things. There’s a kind of mirrored by cultural vandalism in society? liturgical police force out there that’s watching your every move, unfortunately, JAMES MACMILLAN: Yes, well the whole crisis in Catholic church music has been shaped and that long introduction has been a bone of contention. They’ve picked by what’s been going on in the secular world – the anti-elitism that took hold holes on lots of elements, the choral ending to the ‘Sanctus’, for example, and in much of the clergy in the 1960s completely mirrored what was going on the fact that the congregation stops singing as the choir continues – why not? politically, and I think the Church should be above that – it should see beyond Where is there a Vatican document saying you can’t have that? the narrow and transient concerns of political debate – I’m not saying that REBECCA TAVENER: Another work with a congregational part is the ‘Advent Antiphon’, I I don’t have any sympathy with those attitudes, but the church has to see a believe it’s an early work? bigger picture. JAMES MACMILLAN: It might be as much as twenty years old, it prefigures ‘A New Song’ On the question of professionalism, I think the church needs to re- and I re-used the melody for that as it was just lying there! think its whole attitude – there’s a disdain even amongst clergy for clerical professionalism! The whole problem in Scotland regarding liturgy is that an REBECCA TAVENER: Do I catch a hint of Seven Last Words in there, too, and is it fair to call it a sketch? amateur, almost slapdash approach is all that’s required – anything that’s done with care, focus and skill is seen as somehow off-putting to people and it’s not, JAMES MACMILLAN: Well, I didn’t know that at the time, but a lot of what I wrote does we could learn a lot from the Protestants, perhaps? become sketches for bigger pieces, one way or another. The first time we used it was for the Chaplaincy when Gilbert Markus was still pastor there, done REBECCA TAVENER: I think there are plenty of Protestants with similar concerns and that very simply with me taking the cantor’s part. The text changes from antiphon these issues need to be faced up to across the denominational spectrum. to antiphon, eight in total, four entrance antiphons and four communion I’d like to finish, as I did last time, by asking about what’s coming next? antiphons, but the music stays the same. We used it every Advent for a few JAMES MACMILLAN: There are lots of things on the go: I’m just beginning to think about years, but it dropped out of use when we moved to St Columba’s because the a St Luke Passion, for example. people there at the time wanted hymns (things have changed now) - hymns are not really a Catholic tradition at Mass – the whole point was to re-introduce what the church needs for its liturgy. If you open up the Missal it says ‘entrance Postscript: As I was leaving, the composer gave me copies of the newly printed sets antiphon’, so why are we not using them? of Strathlclyde Motets and his new, a cappella Missa Dunelmi. Glancing through the REBECCA TAVENER: St Columba’s is your family church and ‘Think of how God loves you’ score at home, it fell open at the centre page and the first thing I saw was the melody was written for an important family occasion there, I believe. of ‘Think of how God loves you’ in the treble part of the ‘Gloria’ – more evidence of the time-honoured creative practice of self-borrowing. JAMES MACMILLAN: It was first sung for my grand-daughter’s baptism and I just looked at what the Missal listed for that day and put these two texts together - it can actually be included in a number of different liturgies and we use it quite a lot now at St Columba’s.

WHO ARE THESE ANGELS? : 10 WHO ARE THESE ANGELS? : 11 And lo, the Angel of the Lord (2009) And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid. And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord.

And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger. And suddenly there was with the angel a multitude of the heavenly host praising God, and saying, Glory to God in the highest, and on earth peace, good will toward men.

Gospel according to St Luke 2: 9-14. Dedicated to .

Qui meditabitur (2010) Qui meditabitur in lege Domine He who meditates day and night ac nocte dabit fructum suum on the law of the Lord, shall bear fruit in tempore suo. in due season.

Communion antiphon for Ash Wednesday. To Fr Ewan Marley OP.

O Radiant Dawn (2007) O Radiant Dawn, Splendour of eternal Light, Sun of Justice: come, Shine on those who dwell in darkness And the shadow of death. Isaiah had prophesied, ‘The people who walked in darkness have seen a great light: Upon those who dwelt in the land of gloom a light has shone.’ Amen.

Antiphon for 21 December. To the Choir of St Columba’s Church, Maryhill, Glasgow.

WHO ARE THESE ANGELS? : 12 WHO ARE THESE ANGELS? : 13 Lux aeterna (2008) He has raised up for us a mighty Saviour, Lux aeterna luceat eis Domine, Let light perpetual shine upon them, O Lord, in the house of David, his servant. cum, sanctis tuis in aeternum quia with Thy saints forever for Thou art As he promised by the lips of holy men, pius es. Amen. merciful. Amen. those who were his prophets from of old, Communion motet from the Requiem Mass. A saviour who would free us from our foes, To Allan and Mhairi McMillan for their Silver Wedding. from the hands of all who hate us.

So his love for our fathers is fulfilled, Os mutorum (2008) And his holy covenant remembered. Os mutorum lux cecorum Mouth of the dumb, light of the blind, pes claudarum porrige foot of the lame, stretch out a He swore to Abraham our father to grant us, lapsis manum. Firma vanum hand to the fallen; strengthen the that free from fear and saved from the hands of our foes, et insanum corrige. unreliable and correct the mad. we might serve him in holiness and justice O Columba spes Scotorum O Columba, hope of Scots, all the days of our life in his presence. Nos tuorum meritorum by the intervention Interventu beatorum of your kindness, make us As for you, little child, you should be called fac consortes angelorum. colleagues of the blessed angels. a prophet of God the Most High, Alleluia. Alleluia. you shall go ahead of the Lord to prepare the ways before him, to make known to his people their salvation Antiphon for St Columba’s Day from the 13th century Scottish Inchcolm Antiphoner. through the forgiveness of all their sins, To Rebecca Tavener. the loving kindness of the heart of our God who visits us like the dawn from on high. Bring us, O Lord (2009) Bring us, O Lord God, at our last awakening into the house and gate of heaven, to He will give light to those in darkness, enter into that gate and dwell in that house, where there shall be no darkness nor those who dwell in the shadow of death, dazzling, but one equal light; no noise nor silence, but one equal music; no fears nor and guide us into the way of peace. hopes, but one equal possession; no ends nor beginnings, but one equal eternity; in Glory to the Father, and to the Son, the habitations of they glory and dominion, world without end. Amen. and to the Holy Spirit. John Donne (1572-1631). As it was in the beginning. is now, In memoriam Lydia Corfe Press. and ever shall be, world without end. Amen.

Canticle of Zachariah (2007) Canticle at Lauds. Blessed be the Lord, the God of Israel! To Strathclyde University Chamber Choir. He has visited his people and redeemed them.

WHO ARE THESE ANGELS? : 14 WHO ARE THESE ANGELS? : 15 Benedictus Deus (2009) Who are these Angels? (2009) Benedictus Deus qui te Pastorem elegit; qui candida stola apostolatus tui te Who are these angels circumcinxit. Benedictus qui in Throno Archiepiscopii te regnare constituit. and how shall we know them? Fulgeas hac in Gloria per longa hujus vitae tempora, donec a Domino Deo tuo Quid commissisti, O dulcissime puer, vocatus, possideas stolam immortalitatis in solio regni caelestis. Ut sic iudicaris, quid commisisti, Blessed be God who has chosen you as Shepherd, and clothed you in the white stole O amantissime iuvenis, ut adeo of apostleship. Blessed be he who has appointed you to rule on the Archbishop’s Tractareris? Quod scelus tuum, Throne. May you be resplendent with such a glory for long years in this life, until Quae noxa tua, quae causa mortis, you are called by the Lord your God to attain the stole of immortality, seated in the Quae occasio tuae damnationis? kingdom of heaven. What have you forfeited, O you Antiphon: 15thc Canterbury pontifical. English translation © Westminster Cathedral. Most blissful boy that you were To Martin Baker. Condemned in such a way? What have You committed, most kindly young man, That you have been maltreated so badly? Advent Antiphon (c1990) What is your crime? what your guilt? I lift my soul to you, I trust you, Lord my God. What the reason for your death, your damnation? No-one who waits for you will ever be put to shame. Latin text attributed to St Augustine of Hippo. Vias tuas, Domine, demonstra mihi: Show, O Lord, your ways to me, To Roger Williams. et semitas tuas edoce me. and teach me your paths I lift my soul …. Think of how God loves you (2010) Gloria Patri, et Filio, et Spiritui Sancto. Glory be to the Father, and to the Son Think of how God loves you! Sicut erat in principio, and to the Holy Spirit. As it was in the He calls you his own children, et nunc et semper, beginning, is now and ever shall be, and that is what you are. et in saecula saeculorum. Amen. world without end. Amen. You have put on Christ; I lift my soul …. In him you have been baptised. Alleluia! To Sara Maria MacMillan. Pascha nostrum immolatus est (2008) Pascha nostrum immolatus est Christus, alleluia: itaque epulemur in azymis Benedicimus Deum caeli (2010) sinceritatis et veritatis, alleluia, alleluia, alleluia. Benedicimus Deum caeli, Let us bless the God of heaven et coram omnibus viventibus confitebimur ei: and utter his praises before all who live; Christ, our Paschal Lamb, has been sacrificed, alleluia; therefore, let us keep the feast quia fecit nobiscum misericordiam suam. for he has dealt with us according to his mercy. by sharing the unleavened bread of uprightness and truth, alleluia, alleluia, allelluia. Communion motet for Trinity Sunday. Communion motet for Easter Day. To Fr Aelred Connolly OP. To Stephen Callaghan.

WHO ARE THESE ANGELS? : 16 WHO ARE THESE ANGELS? : 17 Mass of Blessed John Henry Newman Agnus Dei Lamb of God, you take away the sins of the world, have mercy on us. Kyrie Lamb of God, you take away the sins of the world, have mercy on us. Lord have mercy. Lamb of God, you take away the sins of the world, grant us peace. Christ have mercy. Lord have mercy. To the Most Rev Mario Conti, Archbishop of Glasgow. Excerpts from the English translation of The Roman Missal © 2010, Gloria International Committee on English in the Liturgy Corporation. All rights reserved. Glory to God in the highest, and on earth peace to people of good will. Tota pulchra es (2010) We praise you, we bless you, we adore you, we glorify you, we give you thanks for Tota pulchra es, Maria, your great glory, et macula originalis non est in te. Lord God, heavenly King, O God, almighty Father. Vestimentum tuum candidum quasi nix, et facies tua sicut sol. Lord Jesus Christ, Tota pulchra es, Maria, Only Begotten Son, et macula originalis non est in te. Lord God, Lamb of God, Tu gloria Jerusalem, tu laetitia Israel, tu honorificentia populi nostri. Son of the Father, Tota pulchra es, Maria. you take away the sins of the world, have mercy on us; You are all beautiful, Mary, you take away the sins of the world, receive our prayer; and the original stain [of sin] is not in you. you are seated at the right hand of the Father, have mercy on us. Your clothing is white as snow, and your face is like the sun. For you alone are the Holy One, You are all beautiful, Mary, you alone are the Lord, and the original stain [of sin] is not in you. you alone are the Most High, Jesus Christ, with the Holy Spirit, You are the glory of Jerusalem, you are the joy of Israel, in the glory of God the Father. Amen. you give honour to our people. Sanctus You are all beautiful, Mary. Holy, Holy, Holy Lord God of hosts. Antiphon at second vespers on the feast of the Immaculate Conception. Heaven and earth are full of your glory. Dedicated to the Very Reverend Dennis Corrado CO on the 40th anniversary of his ordination. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest. Acclamations Priest: The mystery of faith. People: We proclaim your death, O Lord, and profess your Resurrection until you come again.

WHO ARE THESE ANGELS? : 18 WHO ARE THESE ANGELS? : 19 Works by MacMillan also include Seven Last Words from the Cross for chorus and string , screened on BBC TV during Holy Week 1994, Inés de , premiered by Scottish Opera and toured to Porto in 2001, a triptych James MacMillan read music at Edinburgh Castro University and took Doctoral studies in composition of orchestral works commissioned by the Orchestra: at with John Casken. After The World’s Ransoming, a Cello for , and working as a lecturer at Manchester University, Symphony: ‘Vigil’ premiered under the baton of Rostropovich in 1997, and he returned to Scotland and settled in Glasgow. Quickening for The Hilliard Ensemble, chorus and orchestra, co-commissioned by the BBC Proms and the Philadelphia Orchestra. The successful premiere of Tryst at the 1990 St Magnus Festival led to his appointment as Affiliate In terms of recordings, the Koch Schwann disc of The Confession of Isobel Composer of the Scottish Chamber Orchestra. Gowdie and Tryst won the 1993 Gramophone Contemporary Music Record Between 1992 and 2002 he was Artistic Director of the Year Award, and the BMG recording of Veni, Veni, Emmanuel won the of the Philharmonia Orchestra’s Music of Today 1993 Classic CD Award for Contemporary Music. MacMillan discs on the BIS series of contemporary music concerts. MacMillan label include the complete Triduum conducted by Osmo Vänskä, the is internationally active as a conductor, working as concerto Ninian and the concerto Epiclesis. A MacMillan series on Composer/Conductor with the BBC Philharmonic between 2000 and 2009, Chandos with the BBC Philharmonic conducted by the composer includes and appointed Principal Guest Conductor of the Netherlands Radio Chamber , Symphony No.3: ‘Silence’ which won a Classical Brit award in Philharmonic from 2010. He was awarded a CBE in January 2004. 2006, and Quickening. Other acclaimed recordings include Mass and Seven Last Words from the Cross on Hyperion and discs on the Naxos, Black Box, In addition to The Confession of Isobel Gowdie, which launched MacMillan’s Coro, Linn and LSO Live labels. international career at the BBC Proms in 1990, his orchestral output includes the Veni, Veni, Emmanuel, premiered by Evelyn Recent MacMillan works include Concerto No.2 first performed Glennie in 1992 and which has since received over 400 performances and with choreography by Christopher Wheeldon at New York City Ballet, A has been programmed by leading international and conductors Scotch Bestiary commissioned to inaugurate the new organ at Disney Hall including the New York Philharmonic under Leonard Slatkin, the Philadelphia with soloist Wayne Marshall and the Los Angeles Philharmonic conducted Orchestra under Andrew Davis, and the Detroit Symphony under Neeme by Esa-Pekka Salonen, and premiered and toured by Welsh Järvi. MacMillan’s music has been programmed extensively at international National Opera in 2007. His St John Passion, co-commissioned by the LSO, music festivals, including the Edinburgh Festival in 1993, the Bergen Festival Royal Concertgebouw Orchestra, Boston Symphony Orchestra and Berlin in 1997, the South Bank Centre’s 1997 Raising Sparks festival in London, the Radio Choir, was premiered under the baton of Sir in 2008. 2010 Queensland Biennial in 1999, and the BBC Barbican Composer Weekend in featured the premieres of two new ; a violin concerto for Vadim 2005. A documentary film portrait of MacMillan by Robert Bee was screened Repin co-commissioned by the LSO, Zaterdag Matinee and Philadelphia on ITV’s South Bank Show in 2003. Orchestra and an concerto toured by and the Britten

WHO ARE THESE ANGELS? : 20 WHO ARE THESE ANGELS? : 21 Sinfonia. 2011 highlights include premieres of MacMillan’s Piano Concerto No.3 for Jean-Yves Thibaudet and the Minnesota Orchestra and a new one- act opera, Clemency, commissioned by the ROH2, Scottish Opera, Boston Lyric Opera and Britten Sinfonia. Current commissions include festive settings of the Gloria (to mark the 50th anniversary in 2012 of the consecration of Coventry Cathedral) and Credo, a full-evening chamber oratorio and a large- scale orchestral work.

James MacMillan is published exclusively by Boosey & Hawkes. Reprinted by kind permission of Boosey & Hawkes

Cappella Nova, founded in 1982 by Alan and Rebecca Tavener, has an unrivalled reputation as champions of Scotland’s unique treasury of early The Company receives funding from Creative Scotland to promote concerts vocal music. The group is also ‘famous for its performances of contemporary in Scotland as well as a popular outreach programme. Besides appearances music’ (), having commissioned and premiered more than 80 in many British festivals, the group has toured many times abroad, including new works since 1986. These include John Tavener’s monumental three- several visits to Germany and France, and tours in Ireland, Belgium, Hungary, hour oratorio, Resurrection (1990), broadcast on BBC Radio 3 and James Russia and the USA. Among Cappella Nova’s awards are several Enterprise MacMillan’s cantata for Holy Week Seven Last Words from the Cross (1994), Awards from the Performing Right Society and a Glenfi ddich Living Scotland which was the subject of seven short fi lms for BBC2 TV. In 1996 they recorded Award for their ground-breaking performances of Scottish early music. the award-winning soundtrack by William Sweeney for the Tartan Short fi lm an iobairst. In 2003 they provided ensemble vocals for the critically-acclaimed On St Andrew’s Day 1998 the group premiered a specially commissioned work album Hate by The Delgados. by William Sweeney in the presence of HM The Queen at the opening of the National Museum of Scotland. The group has shared the platform with a wide Cappella Nova and its medieval offshoot ensemble, Canty, has made 15 range of groups and artists including the BBC Scottish Symphony Orchestra, CDs, including ten of Medieval and Renaissance music for the Sanctuary , John Sessions, The Scottish Brass Ensemble, St Petersburg Classics Gaudeamus label (ASV – now part of Universal), all of which are Baroque Brass, Tom Fleming, Concerto Caledonia, Sheena Wellington, Sister ‘world premieres in modern times’, and the group is particularly well-known Sledge, Theatre Cryptic and The Scottish Ensemble. Cappella Nova is Vocal for championing the music of the 16th century Scottish polyphonist, Robert Ensemble in Residence at the University of Strathclyde. For a full discography, Carver. The group’s fi rst album of sacred music by James MacMillan for biographies, sound fi les, pictorial archive and details of forthcoming events, Linn Records, Tenebrae (Linn CKD 301), was a Gramophone ‘Editor’s Choice’. visit the group’s website at www.cappella-nova.com.

WHO ARE THESE ANGELS? : 22 WHO ARE THESE ANGELS? : 23 Alan Tavener with several ensembles, covering a wide range of musical styles. In addition, he is much in demand as a continuo player, accompanist, lecturer, adjudicator, Alan Tavener read music at the where he writer and reviewer. John has recorded extensively for both Priory and for the was awarded the Heberden Organ Scholarship to Brasenose Edinburgh-based label, Delphian Records. College. He studied organ with Nicholas Danby, gaining ARCM and ARCO diplomas, and with Roderick The Edinburgh Quartet Bryden and George Hurst. He is Director of Music at the University of Strathclyde, where he combines teaching and Tristan Gurney violin Philip Burrin violin the promotion of a professional concert series with the Michael Beeston viola Mark Bailey cello direction of a wide range of student choirs, orchestras and The Edinburgh Quartet was founded in ensembles, including Strathclyde University Chamber Choir 1960 and quickly became established which has toured many times in Europe, and has recently as one of Britain’s foremost chamber released its debut CD of Romantic Scottish partsongs: Sae ensembles, appearing regularly at fresh and fair. Since 1980, he has also been Organist and prestigious venues across the country Choirmaster of Jordanhill Parish Church, where he recently including London’s Wigmore Hall and recorded a CD of organ works, and also directs a community choir. As well The South Bank Centre. It achieved international recognition after winning as directing Cappella Nova, Alan also directs the Company’s popular public the Contemporary Prize at the Evian-les-Bains String Quartet Competition workshop series and community choirs, including The Scottish Plainsong and has since toured extensively across Europe, the Far East, North and Choir which regularly appears as a ‘backing group’ with Canty and Cappella South America and the Middle East. The Quartet have made numerous BBC Nova. In 2008 Alan was invited to direct a master-class for post-graduate TV and Radio 3 broadcasts and can be heard on Classic FM. 2010 marked the students at the Moscow Conservatoire to which he has received a return Quartet’s fiftieth anniversary and it is now one of the longest running chamber invitation. Alan is currently engaged in research in connection with the social, ensembles in the UK with a busier performing schedule than ever before. educational and health benefits of singing. The Quartet is resident at Edinburgh Napier and Aberdeen Universities and John Kitchen also collaborates with Glasgow and Edinburgh Universities. In addition to a John Kitchen is a Senior Lecturer in Music and regular classical concert series at each of these institutions, the Quartet is University Organist in the . committed to nurturing talent and championing new music. The ensemble He also directs the Edinburgh University Singers, has worked with many important and prolific composers of our age, including is Director of Music of Old Saint Paul’s Episcopal the Quartet’s patron James MacMillan, Michael Tippett and Howard Blake. Church and Edinburgh City Organist with duties at The Quartet has recorded on various labels including Naxos, Delphian, Linn, the Usher Hall. He gives many solo recitals both in Meridian and RCA. Most recently their recordings of the complete Matyas the UK and further afield, and also plays regularly Seiber Quartets and Hans Gal Quartets have received critical acclaim.

WHO ARE THESE ANGELS? : 24 WHO ARE THESE ANGELS? : 25 Canty – Rebecca Tavener, Micaela Haslam, Joanne Wicks, Anne Lewis Canty, Scotland’s only professional Medieval music group, was formed by Rebecca Tavener in 1998, the 900th anniversary of the birth of Hildegard of Bingen, and it comprises the regular female singers with Cappella Nova, Scotland’s leading early music vocal ensemble. As individuals, the singers bring to the group a wealth of experience, both as soloists and as members of other distinguished ensembles. Together with regular collaborator, harpist William Taylor, they explore a unique repertoire combining Medieval music and contemporary works written specially for them. Their fi rst CDWings of Wisdom, featuring chant by Hildegard von Bingen and from medieval Scotland, was released on the Dorian label. Flame of Ireland (Sanctuary Gaudeamus) was their second recording and it features world premiere recordings of 15th century Irish chant for St Brigit of Kildare. Their third disc, Felix Femina – medieval Scottish polyphony (Sanctuary Gaudeamus) was www.cappella-nova.com/canty described by Andrew McGregor as having a ‘transcendental quality that absolutely suits the music’ (CD Review, BBC Radio 3). A fourth CD, Apostle of William Taylor Ireland, featuring premiere recordings of Medieval Irish chant for St Patrick, was released on the Divine Art label in March 2008. William Taylor is a specialist in the performance of ancient harp music from Ireland, Scotland and , and is one of very few players investigating Canty has appeared in many distinguished festivals and venues at home these repertoires on medieval gut-strung harps, wire-strung clarsachs and and abroad, including the Edinburgh Festival, Galway Early Music Festival, Renaissance harps with buzzing bray pins. He is a contributor to the New Spitalfi elds Festival, Edinburgh International Harp Festival, the International Grove Dictionary of Music and Musicians, and serves as convener of the Wire Celtic Congress (Bonn) and the National Centre for Early Music in York. Canty Branch of the Clarsach Society. He has been resident in Scotland for many has made the commissioning of new music central to its work, and composers years, where he teaches and works with Ardival Harps in Strathpeffer. Aside such as John Tavener, James MacMillan and Gabriel Jackson are among the from accompanying Canty, he performs with the Highland early music group many who have already dedicated new works to the group. Their most recent Coronach, the duo The Art of Musick and the Belgian Late-Medieval ensemble recording Carmina Celtica (Linn CKD 378) for Linn Records, a collection of Quadrivium. Bill teaches community music classes through Fèis Rois and is a world-premiere recordings of medieval and contemporary spiritual songs, has guest lecturer at the Royal Scottish Academy of Music and Drama in Glasgow. been well-received. As a teacher of historical harps, he is frequently invited to lead workshops in ‘The singing is gorgeous.’ American Record Guide the UK, Europe and the USA, including regular appearances at the Edinburgh ‘The combination of voices and instruments is spellbinding.’ Early Music Today International Harp Festival.

WHO ARE THESE ANGELS? : 26 WHO ARE THESE ANGELS? : 27