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heaven. Arvo Blessed are ye when men shall revile you, and persecute you, and shall say all manner of evil against you falsely, for my sake. PÄRT Rejoice and be exceeding glad: for great is your reward in heaven: for so persecuted they the prophets which were before you. Amen. • @ Magnificat @ Magnificat Magnificat anima mea Dominum. My soul doth magnify the Lord: Elora Festival Singers and Orchestra Et exsultavit spiritus meus in Deo salutari meo. and my spirit hath rejoiced in God my Saviour. Quia respexit humilitatem ancillae suae: For he hath regarded the lowliness of his handmaiden. ecce enim ex hoc beatam me dicent For behold, from henceforth, all generations Noel Edison omnes generationes. shall call me blessed. Quia fecit mihi magna qui potens est: For he that is mighty hath magnified me: et sanctum nomen ejus. and holy is his Name. Et misericordia ejus a progenie in progenies And his mercy is on them that fear him timentibus eum. throughout all generations. Fecit potentiam in brachio suo: He hath shewed strength with his arm: dispersit superbos he hath scattered the proud mente cordis sui. in the imagination of their hearts. Deposuit potentes de sede, He hath put down the mighty from their seat: et exaltavit humiles. and hath exalted the humble and meek. Esurientes implevit bonis: he hath filled the hungry with good things: et divites dimisit inanes. and the rich he hath sent empty away. Suscepit Israel puerum suum, He remembering his mercy recordatus misericordiae suae. hath holpen his servant Israel: Sicut locutus est ad patres nostros, as he promised to our forefathers, Abraham et semini ejus in saecula. Abraham and his seed, for ever. , et Filio, Glory be to the Father, and to the Son, et Spiritui Sancto. and to the Holy Ghost. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and ever shall be, et in saecula saeculorum. Amen. world without end. Amen.

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Arvo Pärt (b. 1935) Qui propter nos homines, et propter nostram salutem Who for us men, and for our salvation Berliner Messe descendit de cælis. came down from heaven. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Spirit Born in Paide, Estonia on 11th September 1935, Arvo Composed in 1977 and revised in 1996, Cantate ex Maria Virgine: et homo factus est. of the Virgin Mary: and was made man. Pärt studied in Tallinn with Harri Otsa and Veljo Domino is a setting of Psalm XCV for four-part chorus Crucifixus etiam pro nobis sub Pontio Pilato: He was crucified also for us under Pontius Pilate: Tormis, then at the Tallinn Conservatoire with Heino and organ. The simple, chant-like melody is heard in a passus et sepultus est. suffered and was buried. Eller, graduating in 1963. While his earliest works number of harmonizations and registral combinations, adopted an undemanding neo-classical style, his with the sparing organ part adding a subtle degree of Et resurrexit tertia die, And the third day he rose again, clandestine study of serial composition made itself colour to the vocal writing. secundum Scripturas. according to the Scriptures. apparent in Nekrolog (1960), heralding a series of Commissioned for the Ninetieth Deutsche Et ascendit in cælum: And ascended into heaven: scores, including Perpetuum Mobile and the First Katholikentag in Berlin, Pärt’s Berliner Messe was sedet ad dexteram Patris. and is seated at the right hand of the Father. ‘Polyphonic’ Symphony, which afforded Pärt notoriety composed during 1990-91 and revised six years later. Et iterum venturus est cum gloria And he shall come again with glory amid the warily-conservative establishment of the Originally scored for four solo voices and organ, it was judicare vivos et mortuos: to judge the living and the dead: period. A growing interest in the music of Bach led Pärt subsequently arranged either for choir and organ or, as cujus regni non erit finis. whose kingdom shall have no end. to combine the famous B-A-C-H motif with often on the present recording, for choir and strings. After an Et in Spiritum Sanctum Dominum, And I believe in the Holy Spirit, wildly extraneous material, as in the cello concerto Pro elegiac , in which strings intertwine with the et vivificantem: Lord and giver of life: et Contra and the Second Symphony (both 1966). The choir’s supplications, the Gloria effects a more qui ex Patre, Filioque procedit. who proceeds from the Father and the Son. climax of this period came with (1968), in which animated manner within the same restricted tonal and Qui cum Patre, et Filio simul adoratur, Who with the Father and the Son is worshipped, Bach and Modernism openly conflict in a work whose harmonic compass. In the first of two departures from et conglorificatur: and glorified: overt Christianity was considered a direct challenge to the customary liturgy, Pärt interpolates a First and qui locutus est per Prophetas. who spoke through the Prophets. Soviet officialdom. Second which warm the choral textures with Et unam, sanctam, catholicam et And in one holy, catholic, Rather than pursue this line of thinking, Pärt their major-mode radiance. There follows an extensive apostolicam Ecclesiam. apostolic Church. retreated into near silence. The Third Symphony of 1971 setting of the , in which alternate unum baptisma in remissionem peccatorum. I confess one baptism for the remission of sins. [Naxos 8.554591] gave notice of an intense interest in responses from the four vocal registers unfold over a Et exspecto resurrectionem mortuorum. And I await the resurrection of the dead. early music, notably , but it was not static pedal in lower strings, and with upper strings Et vitam venturi saeculi. And the life of the world to come. until 1976 that he again began to compose fluently, articulating the vocal harmony at key points. The Credo Amen. Amen. using a tonal technique he termed , in which is a direct rewrite of Summa (see below), here sounding the bell-like resonance of notes in a triad underscores a a mood of easeful contentment. Not so the , the ! The Beatitudes (St Matthew Ch.V, vv.3-12) melodic voice which revolves step-wise around a central inward, ruminative manner of which is pursued to a pitch. A number of works considered modern classics more rarified degree in the , which ends the Blessed are the poor in spirit: followed, notably [Naxos 8.554591], work in a mood of calm, etiolated detachment. for theirs is the kingdom of heaven. and Cantus in memoriam Benjamin Britten A setting of Psalm CXXIX for male chorus, organ Blessed are they that mourn: [both on Naxos 8.553750], culminating in 1982 with and ad libitum percussion complement, for they shall be comforted. Pärt’s largest work thus far, the St John Passion [Naxos was sketched in 1977 but completed only in 1980, after Blessed are the meek: for they shall inherit the earth. 8.555860]. This paved the way for a of mainly Pärt’s temporary move to Vienna, and dedicated to the Blessed are they which do hunger and thirst after sacred choral works, consolidating Pärt’s reputation Austrian composer Gottfried von Einem. The effortful righteousness: for they shall be filled. among the most significant composers at work today. initial progress of tenors and basses is touched off by a Blessed are the merciful: for they shall obtain mercy. The present recording provides an overview of his flickering organ ostinato and punctuated by quiet bass Blessed are the pure in heart: for they shall see God. mature idiom, with works written either side of the drum strokes and chimes from a single tubular bell, Blessed are the peacemakers: Passion, and in which a gradual expressive opening-out rising in a gradual crescendo then easing back to its for they shall be called the children of God. and harmonic enrichment of Pärt’s musical vocabulary initial dynamic level, before the almost peremptory Blessed are they which are persecuted for can be detected. conclusion. righteousness’ sake: for theirs is the kingdom of

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Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord. Composed in 1977 for soprano, alto, tenor and bass words in the text. Again, there is a gradual crescendo, Osanna in excelsis. Hosanna in the highest. soloists or choir, Summa was recast in 1990 as the culminating here in a fervent Amen and an intense Credo in Pärt’s Berliner Messe, at which time it was organ postlude which fades out of earshot in the closing 8 Agnus Dei 8 Agnus Dei also arranged for string quartet [Naxos 8.553750]. bars. Unlike the revision, the original version proceeds Commissioned by Deutsche Musikrat, and first Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the sins of the world: unequivocally in the minor mode, an indication, given by the Staats- und Domchor of Berlin in 1989, the miserere nobis. have mercy upon us. perhaps, of the genesis of the piece at a time when Magnificat is perhaps Pärt’s most immediately Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the sins of the world: public avowal of religious faith was forbidden in appealing choral work. The alternation of solo and tutti miserere nobis. have mercy upon us. Estonia. sections imparts a powerful spiritual aura, and, as so Pärt’s first work to a English text, The Beatitudes, often with this composer, there is no attempt to ‘set’ the Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the sins of the world: was written for the RIAS Chamber Choir in Berlin and text as in classical composition over the preceding three dona nobis pacem. grant us peace. completed in 1990 (with revisions the following year). or more centuries. The consistency of this setting of St Matthew, ch.V, vv. 9 De Profundis (Psalm CXXIX) 9 De Profundis 3-12, is evident in the musical phrasing, which, in its combination of short and long notes, emphasizes salient Richard Whitehouse 1. De profundis clamavi ad te, Domine: 1. Out of the deep have I called unto thee, O Lord: Domine exaudi vocem meam. Lord, hear my voice. 2. Fiant aures tuae intendentes in vocem 2. O let thine ears consider well the voice of Jurgen Petrenko deprecationis meae. my complaint. 3. Si iniquitates observaveris Domine: 3. If thou, Lord, wilt be extreme to mark what is done Born in Toronto, Jurgen Petrenko has Bachelor and Master of Music degrees from the University of Toronto. Domine, quis sustinebit? amiss: O Lord, who may abide it? During the day he works for CBC Radio Two, as producer of Choral Concert and Saturday Afternoon at the Opera, 4. Quia apud te propitiatio est: 4. For there is mercy with thee: as well as the presenter of a weekly ‘Organ Thursday’ feature on Take Five. He is the artistic director of the Toronto et propter legem tuam sustinui te. and I have honoured thee according to thy law. Classical Singers, and has conducted numerous major choral/orchestral works. He has adjudicated for the 5. Sustinuit anima mea in verbo ejus: 5. My soul has relied on his word: University of Toronto, the Elora Festival Young Performers’ Competition, and the CBC Choral Competition, and speravit anima mea in Domino. my soul has hoped in the Lord. teaches a seminar on oratorio performance for graduate voice majors at the Glenn Gould Professional School of the 6. A custodia matutina usque ad noctem, 6. From the morning watch to night let Israel Royal Conservatory of Music in Toronto. He is also in demand as an organ accompanist, and is the titular organist speret Israel in Domino. hope in the Lord. of St John’s Anglican Church in Elora, Ontario. 7. Quia apud Dominum misericordia: 7. For with the Lord there is mercy: et copiosa apud eum redemptio. and with him is plenteous redemption. 8. Et ipse redimet Israel ex omnibus iniquitatibus ejus. 8. And he shall redeem Israel from all his sins. Elora Festival Singers

0 Summa 0 Summa Acclaimed by the press as one of the world’s finest professional chamber choirs, the Elora Festival Singers was founded by Noel Edison in 1980 as the principal vocal ensemble for the Elora Festival, A Celebration in Song. Since Credo in unum Deum, Patrem omnipotentem, I believe in one God, the Father almighty, then the choir’s activities have expanded to include the popular Winter Series concerts in Elora and the surrounding factorem cæli et terrae, maker of heaven and earth, communities, touring and recording. The choir also makes up the professional core of the Toronto Mendelssohn visibilium omnium et invisibilium. of all things, visible and invisible. Choir and the new Mendelssohn Singers. The Singers have also created a special educational initiative called Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, “Singers in Schools”, which brings the choir into area high schools for daylong workshops led by Noel Edison. The Filium Dei unigenitum. Et ex Patre natum the only begotten Son of God. Born of the Father hallmark of the Singers is their rich, warm sound and clarity of texture. They are also renowned for performing a ante omnia saecula. Deum de Deo, before all generations. God from God, wide range of music, including numerous commissions by Canadian and international composers. The Singers’ lumen de lumine, Deum verum de Deo vero. light from light, true God from true God. second CD, The Mystery of Christmas, released on Naxos 8.554179 and one of a planned series, was nominated for Genitum non factum, consubstantialem Patri: Begotten not made, of one substance with the Father: a Juno award, has sold more than 135,000 copies, and has even been heard playing in the Cathedral Shop at per quem omnia facta sunt. through whom all things were made. Canterbury.

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Noel Edison 6 Credo 6 Credo

Noel Edison is the founder and Artistic Director of the Elora Festival, celebrating its 25th Credo in unum Deum, Patrem omnipotentem, I believe in one God, the Father almighty, anniversary in 2004. He has overseen the growth and development of the Festival into one of factorem cæli et terrae, maker of heaven and earth, the finest summer festivals in Canada. In addition to his work with the Festival, he is the visibilium omnium et invisibilium. of all things, visible and invisible. founding conductor of the Elora Festival Singers, and the conductor of the 180-voice Toronto Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Mendelssohn Choir and the newly founded, 65-voice Toronto Mendelssohn Singers. Over the Filium Dei unigenitum. Et ex Patre natum the only begotten Son of God. Born of the Father last decade Noel Edison has made ten CDs, part of a planned series, and commissioned some ante omnia saecula. Deum de Deo, before all generations. God from God, forty new works. He conducts his own Festival Orchestra, which is in residence at the Elora lumen de lumine, Deum verum de Deo vero. light from light, true God from true God. Festival each summer, and is the orchestra for the Toronto Mendelssohn Choir concerts. In Genitum non factum, consubstantialem Patri: Begotten not made, of one substance with the Father: 2002 he received an honorary doctorate from the University of Guelph. Noel Edison makes his per quem omnia facta sunt. through whom all things were made. permanent home in Elora, where the Centre Wellington Chamber of Commerce honoured him Qui propter nos homines, et propter nostram salutem Who for us men, and for our salvation in the same year for his long-standing contribution to the economy of the community. descendit de cælis. came down from heaven. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Spirit Arvo Pärt (geb.1935) ex Maria Virgine: et homo factus est. of the Virgin Mary: and was made man. Crucifixus etiam pro nobis sub Pontio Pilato: He was crucified also for us under Pontius Pilate: Berliner Messe passus et sepultus est. suffered and was buried. Arvo Pärt wurde am 11. September 1935 in der estnischen Jahre 1971 [Naxos 8.554591] spricht von einem Et resurrexit tertia die, And the third day he rose again, Stadt Paide geboren. Er studierte in Tallinn und zwar intensiven Interesse an Alter Musik im allgemeinen und secundum Scripturas. according to the Scriptures. zunächst bei Harri Otsa und Veljo Tormis, dann am am Gregorianischen Choral im besonderen; doch erst Et ascendit in cælum: And ascended into heaven: Konservatorium bei Heino Eller. 1963 legte er sein 1976 entstand ein neuer, regelmäßiger Fluss an sedet ad dexteram Patris. and is seated at the right hand of the Father. Examen ab. Hatte er sich in seinen frühesten Werken eines Kompositionen, wobei Pärt jetzt eine tonale Technik Et iterum venturus est cum gloria And he shall come again with glory anspruchslos neoklassizistischen Stils befleißigt, so zeigte benutzte, die er als Tintinnabulismus bezeichnet. Dabei judicare vivos et mortuos: to judge the living and the dead: sich später, dass er heimlich die Methoden des Serialismus wird eine melodische, schrittweise um einen Zentralton cujus regni non erit finis. whose kingdom shall have no end. studiert hatte. Zunächst war das an dem 1960 kreisende Stimme von glockenartig nachhallenden Et in Spiritum Sanctum Dominum, And I believe in the Holy Spirit, entstandenen Nekrolog zu erkennen, mit dem Pärt eine Dreiklängen unterstrichen. Viele der folgenden Werke et vivificantem: Lord and giver of life: Reihe von Werken begann, die ihn – wie etwa Perpetuum gelten heute bereits als Klassiker der Moderne, darunter qui ex Patre, Filioque procedit. who proceeds from the Father and the Son. mobile oder die erste polyphonische Symphonie – bei dem vor allem Tabula Rasa [Naxos 8.554591], Fratres und Qui cum Patre, et Filio simul adoratur, Who with the Father and the Son is worshipped, zurückhaltend-konservativen Establishment der Cantus in memoriam Benjamin Britten [beide auf Naxos et conglorificatur: and glorified: damaligen Zeit in einen gewissen Verruf brachten. Das 8.553750] sowie als Höhepunkt das bis dahin größte Werk qui locutus est per Prophetas. who spoke through the Prophets. zunehmende Interesse an der Musik von Johann Sebastian von Pärt, die Johannes-Passion aus dem Jahre 1982 Et unam, sanctam, catholicam et And in one holy, catholic, Bach führte dazu, dass Pärt das berühmte B-A-C-H-Motiv [Naxos 8.555860]. So wurde der Weg frei für jene Reihe apostolicam Ecclesiam. apostolic Church. mit anderen, oft denkbar ungewöhnlichen Materialien vornehmlich geistlicher Chorwerke, denen Arvo Pärt Confiteor unum baptisma in remissionem peccatorum. I confess one baptism for the remission of sins. kombinierte – beispielsweise in dem Cellokonzert Pro et endgültig seinen Ruhm und seinen Ruf als einer der Et exspecto resurrectionem mortuorum. And I await the resurrection of the dead. Contra und der zweiten Symphonie (beide von 1966). markantesten Komponisten der Gegenwart verdankt. Die Et vitam venturi saeculi. And the life of the world to come. Den Höhepunkt der damaligen Schaffensphase markierte vorliegende Veröffentlichung enthält Werke, die in den Amen. Amen. 1968 das Credo, ein offener Konflikt zwischen Bach und Jahren vor und nach der Passion entstanden. So ergibt sich der Moderne, von dessen deutlich christlicher Haltung ein Überblick über die reifen Kompositionen eines 7 Sanctus 7 Sanctus sich die sowjetische Kulturbürokratie ganz unmittelbar Künstlers, der sich nach und nach immer weiter für herausgefordert fühlte. expressive Elemente und ein harmonisch reicheres Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Holy, Holy, Holy Lord God of Sabaoth. Pärt setzte diese gedankliche Linie nicht fort, sondern musikalisches Vokabular öffnete. Pleni sunt cæli et terra gloria tua. Heaven and earth are full of thy glory. er verstummte fast völlig. Seine dritte Symphonie aus dem Die Vertonung des Psalms 95, Cantate Domino, Osanna in excelsis. Hosanna in the highest.

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5 Veni Sancte Spiritus 5 Veni Sancte Spiritus entstand 1977 und wurde 1996 revidiert. Das Werk für einzigen Röhrenglocke durchsetzen den Gang der Dinge. vierstimmigen Chor und Orgel bringt eine einfache, Nach und nach steigert sich die Lautstärke der Musik, die Veni Sancte Spiritus, Come, Holy Spirit, choralartige Melodie, die in verschiedenen dann wieder zu ihrem anfänglichen dynamischen Niveau Et emitte cælitus And send from heaven Harmonisierungen und Registerkombinationen erklingt, zurückkehrt und endlich einen beinahe peremtorischen Lucis tuae radium. The ray of thy light. indessen der sparsame Orgelpart dem Chorsatz ein feines Abschluss findet. Maß an zusätzlichen Farben verleiht. Summa komponierte Arvo Pärt 1977 für Sopran, Alt, Veni pater pauperum, Come father of the poor, Als Auftragswerk für den 90. Deutschen Tenor und Bass bzw. vierstimmigen Chor. 1990 Veni dator munerum, Come giver of gifts, Katholikentag entstand 1990/91 die Berliner Messe. Sechs überarbeitete er den Satz, um ihn als Credo in seine Veni lumen cordium. Come light of hearts. Jahre später revidierte Pärt das ursprünglich für vier Berliner Messe zu integrieren. Damals richtete Pärt das Solostimmen und Orgel geschriebene Werk, das nun auch Stück auch für Streichquartett ein [Naxos 8.553750]. Im Consolator optime, Best comforter, in Einrichtungen für Chor und Orgel beziehungsweise Gegensatz zu der revidierten Fassung bewegt sich das Dulcis hospes animae, Sweet guest of the soul, (wie in dieser Produktion) für Chor und Streicher vorliegt. Original ausschließlich in Moll. Darin könnte man Dulce refrigerium. Sweet refreshment. Nach dem elegischen Kyrie, in dem die Streicher mit den vielleicht einen Hinweis auf die Umstände seiner Fürbitten des Chores verflochten sind, erreicht das Gloria Entstehung sehen, denn seinerzeit waren auch in Estland In labore requies, Rest in labour, eine lebhaftere Haltung, ohne dass der grundsätzlich öffentliche religiöse Bekenntnisse verboten. In aestu temperies, Cool in the heat, eingeschränkte harmonische Umfang aufgegeben würde. Pärts erstes Werk auf einen englischen Text sind The In fletu solatium. Solace in weeping. Zum ersten Mal weicht Pärt vom regulären ordinarium Beatitudes für den RIAS Kammerchor. Die Komposition missae, der Standardliturgie der katholischen Kirche, mit wurde 1990 vollendet und ein Jahr später revidiert. Darin O lux beatissima, O most blessed light, der Einfügung des Ersten und zweiten Alleluia ab, in vertont er die Verse 3-12 aus dem fünften Kapitel des Reple cordis intima Fill the inner hearts denen sich die warmherzigen Chortexturen mit dem Matthäus-Evangeliums, und die Folgerichtigkeit seiner Tuorum fidelium. Of thy faithful. ganzen Glanz des Dur-Geschlechtes entfalten. Es folgt Umsetzung zeigt sich in der Art der musikalischen eine umfängliche Vertonung des Veni Sancte Spiritus, in Phrasierung, die in ihrer Verbindung aus kurzen und Sine tuo nomine, Without thy name dem sich die alternierenden Antworten der vier vokalen langen Tönen herausragende Worte des Textes Nihil est in homine, There is nothing in man Register über einem statischen Untergrund der tiefen unterstreicht. Wiederum gibt es ein allmähliches Nihil est innoxium. That is not sinful. Streicher entfalten, während die hohen Streicher an Crescendo, das hier allerdings in einem inbrünstigen Schlüsselstellen die vokalen Harmonien hervorheben. Das Amen gipfelt und zu einem intensiven Orgelpostludium Lava quod est sordidum, Wash what is unclean, Credo ist eine direkte Umarbeitung der Summa (siehe übergeht, das sich in den letzten Takten bis zur Riga quod est aridum, Water what is dry, unten), die hier eine Stimmung friedlicher Unhörbarkeit verflüchtigt. Sana quod est saucium. Heal what is wounded. Selbstbescheidung verbreitet – ganz anders als das Im Auftrag des Deutschen Musikrates entstand das nachfolgende Sanctus, dessen introvertierte Magnificat, das vom Berliner Staats- und Domchor 1989 Flecte quod est rigidum, Bend what is stiff, Nachdenklichkeit sich noch ausgedünnter in dem Agnus uraufgeführt wurde. Es dürfte sich dabei um das Fove quod est frigidum, Warm what is cold, Dei fortsetzt, mit dem die Berliner Messe auf ruhige, quasi unmittelbar fasslichste Chorwerk des Komponisten Rege quod est devium. Put right what is wrong. wesenlose und abgelöste Weise zu Ende geht. handeln. Im Wechsel der Solo- und Tutti-Abschnitte Der Entwurf des Psalms 129 De Profundis für entsteht eine mächtige spirituelle Aura, und wieder einmal Da tuis fidelibus, Grant to thy faithful Männerchor, Orgel und Schlagzeug ad libitum wurde wird man feststellen, dass Arvo Pärt keinen Versuch In te confidentibus, Trusting in thee 1977 skizziert und drei Jahre später vollendet. Pärt hatte unternimmt, den gewählten Text in jenem klassischen Sacrum septenarium. Thy sacred sevenfold mystery. sich damals vorübergehend in Wien niedergelassen und Sinne zu „vertonen“, den man seit wenigstens drei widmete das Werk seinem österreichischen Kollegen Jahrhunderten kennt. Da virtutis meritum, Grant the merit of virtue, Gottfried von Einem. Das angestrengte Voranschreiten Da salutis exitum, Grant final salvation, der Tenöre und Bässe zu Beginn des Werkes wird von Richard Whitehouse Da perenne gaudium. Grant eternal joy. einem flackernden Orgelostinato angefeuert; ruhige Amen. Alleluia. Amen. Alleluia. Schläge der großen Trommel und das Tönen einer Deutsche Fassung: Cris Posslac

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1 Cantate Domino Canticum Novum (Psalm XCV) 1 Cantate Domino Canticum Novum Berliner Messe Berlin Mass

1. Cantate Domino canticum novum: cantate Domino, 1. O sing unto the Lord a new song: sing unto the 2 Kyrie 2 Kyrie omnis terra. Lord, all the whole earth. 2. Cantate Domino, et benedicite nomini ejus: 2. Sing unto the Lord, and bless his name: Kyrie eleison Lord have mercy annuntiate de die in diem salutare ejus. be telling of his salvation from day to day. Christe eleison Christ have mercy 3. Annuntiate inter Gentes gloriam ejus, 3. Declare his glory among the heathen: Kyrie eleison Lord have mercy in omnibus populis mirabilia ejus. and his wonders to all people. 4. Quoniam magnus Dominus, et laudabilis nimis: 4. For the Lord is great, and cannot worthily be 3 Gloria 3 Gloria terribilis est super omnes deos. praised: he is more to be feared than all gods. 5. Quoniam omnes dii Gentium daemonia: 5. As for all the gods of the heathen, they are but . Glory be to God on high. Dominus autem cælos fecit. idols: but it is the Lord that made the heavens. Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. 6. Confessio, et pulchritudo in conspectu ejus: 6. Glory and worship are before him: Laudamus te. Benedicimus te. We praise thee. We bless thee. sanctimonia et magnificentia in sanctificatione ejus. power and honour are in his sanctuary. Adoramus te. Glorificamus te. We worship thee. We glorify thee. 7. Afferte Domino, patriae Gentium, afferte Domino 7. Ascribe unto the Lord, O ye kindreds of the people: Gratias agimus tibi propter magnam gloriam tuam. We give thee thanks for thy great glory. gloriam et honorem: afferte Domino gloriam ascribe unto the Lord worship and power. Domine Deus, Rex cælestis, Pater omnipotens. Lord God, heavenly King, God the Father almighty. nomini ejus. Domine Fili unigenite Jesu Christe. Lord, only begotten Son, Jesus Christ. 8. Tollite hostias, et introite in atria ejus: 8. Ascribe unto the Lord the honour due unto his Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. adorate Dominum in atrio sancto ejus. Name: bring presents, and come into his courts. 9. Commoveatur a facie ejus universa terra: 9. Let the whole earth be moved at his sight: Qui tollis peccata mundi, Thou that takest away the sins of the world, dicite in Gentibus quia Dominus regnavit. tell it among the heathen that the Lord has reigned. miserere nobis. have mercy upon us. 10. Etenim correxit orbem terrae, qui non 10. For he has made the round world that it cannot Qui tollis peccata mundi, Thou that takest away the sins of the world, commovebitur: judicabit populos in aequitate. be moved: and how that he shall judge the people suscipe deprecationem nostram. receive our prayer. righteously. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of the Father, 11. Laetentur cæli, et exsultet terra: commoveatur 11. Let the heavens rejoice, and let the earth be glad: miserere nobis. have mercy upon us. mare, et plenitudo ejus: gaudebunt campi, let the sea make a noise, and all that therein is. et omnia quae in eis sunt. Let the field be joyful, and all that is in it. Quoniam tu solus sanctus. For thou alone art holy. 12. Tunc exultabunt omnia ligna silvarum a facie 12. Then shall all the trees of the wood rejoice before the Tu solus Dominus. Thou alone art the Lord. Domini, quia venit: quoniam venit judicare terram. Lord, for he cometh: for he cometh to judge the earth. Tu solus altissimus, Jesu Christe. Thou alone art the most high, Jesus Christ. 13. Judicabit orbem terrae in aequitate, 13. And with righteousness to judge the world, Cum Sancto Spiritu, in gloria Dei Patris. With the Holy Spirit, in the glory of God the Father. et populos in veritate sua. and the people with his truth. Amen. Amen.

4 Alleluia Verses 4 Alleluia Verses

Alleluia. Alleluia. Emitte Spiritum tuum, et Alleluia. Alleluia. Send thy Spirit, and they shall be creabuntur: et renovabis faciem terrae. Alleluia. made: and thou shalt renew the face of the earth. Alleluia. Alleluia. Veni Sancte Spiritus, reple Alleluia. Alleluia. Alleluia. Come Holy Spirit, fill tuorum corda fidelium: et tui amoris in eis ignem the hearts of thy faithful people: and kindle in them accende. Alleluia. the fire of thy love. Alleluia.

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1 Cantate Domino Canticum Novum (Psalm XCV) 1 Cantate Domino Canticum Novum Berliner Messe Berlin Mass

1. Cantate Domino canticum novum: cantate Domino, 1. O sing unto the Lord a new song: sing unto the 2 Kyrie 2 Kyrie omnis terra. Lord, all the whole earth. 2. Cantate Domino, et benedicite nomini ejus: 2. Sing unto the Lord, and bless his name: Kyrie eleison Lord have mercy annuntiate de die in diem salutare ejus. be telling of his salvation from day to day. Christe eleison Christ have mercy 3. Annuntiate inter Gentes gloriam ejus, 3. Declare his glory among the heathen: Kyrie eleison Lord have mercy in omnibus populis mirabilia ejus. and his wonders to all people. 4. Quoniam magnus Dominus, et laudabilis nimis: 4. For the Lord is great, and cannot worthily be 3 Gloria 3 Gloria terribilis est super omnes deos. praised: he is more to be feared than all gods. 5. Quoniam omnes dii Gentium daemonia: 5. As for all the gods of the heathen, they are but Gloria in excelsis Deo. Glory be to God on high. Dominus autem cælos fecit. idols: but it is the Lord that made the heavens. Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. 6. Confessio, et pulchritudo in conspectu ejus: 6. Glory and worship are before him: Laudamus te. Benedicimus te. We praise thee. We bless thee. sanctimonia et magnificentia in sanctificatione ejus. power and honour are in his sanctuary. Adoramus te. Glorificamus te. We worship thee. We glorify thee. 7. Afferte Domino, patriae Gentium, afferte Domino 7. Ascribe unto the Lord, O ye kindreds of the people: Gratias agimus tibi propter magnam gloriam tuam. We give thee thanks for thy great glory. gloriam et honorem: afferte Domino gloriam ascribe unto the Lord worship and power. Domine Deus, Rex cælestis, Pater omnipotens. Lord God, heavenly King, God the Father almighty. nomini ejus. Domine Fili unigenite Jesu Christe. Lord, only begotten Son, Jesus Christ. 8. Tollite hostias, et introite in atria ejus: 8. Ascribe unto the Lord the honour due unto his Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. adorate Dominum in atrio sancto ejus. Name: bring presents, and come into his courts. 9. Commoveatur a facie ejus universa terra: 9. Let the whole earth be moved at his sight: Qui tollis peccata mundi, Thou that takest away the sins of the world, dicite in Gentibus quia Dominus regnavit. tell it among the heathen that the Lord has reigned. miserere nobis. have mercy upon us. 10. Etenim correxit orbem terrae, qui non 10. For he has made the round world that it cannot Qui tollis peccata mundi, Thou that takest away the sins of the world, commovebitur: judicabit populos in aequitate. be moved: and how that he shall judge the people suscipe deprecationem nostram. receive our prayer. righteously. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of the Father, 11. Laetentur cæli, et exsultet terra: commoveatur 11. Let the heavens rejoice, and let the earth be glad: miserere nobis. have mercy upon us. mare, et plenitudo ejus: gaudebunt campi, let the sea make a noise, and all that therein is. et omnia quae in eis sunt. Let the field be joyful, and all that is in it. Quoniam tu solus sanctus. For thou alone art holy. 12. Tunc exultabunt omnia ligna silvarum a facie 12. Then shall all the trees of the wood rejoice before the Tu solus Dominus. Thou alone art the Lord. Domini, quia venit: quoniam venit judicare terram. Lord, for he cometh: for he cometh to judge the earth. Tu solus altissimus, Jesu Christe. Thou alone art the most high, Jesus Christ. 13. Judicabit orbem terrae in aequitate, 13. And with righteousness to judge the world, Cum Sancto Spiritu, in gloria Dei Patris. With the Holy Spirit, in the glory of God the Father. et populos in veritate sua. and the people with his truth. Amen. Amen.

4 Alleluia Verses 4 Alleluia Verses

Alleluia. Alleluia. Emitte Spiritum tuum, et Alleluia. Alleluia. Send thy Spirit, and they shall be creabuntur: et renovabis faciem terrae. Alleluia. made: and thou shalt renew the face of the earth. Alleluia. Alleluia. Veni Sancte Spiritus, reple Alleluia. Alleluia. Alleluia. Come Holy Spirit, fill tuorum corda fidelium: et tui amoris in eis ignem the hearts of thy faithful people: and kindle in them accende. Alleluia. the fire of thy love. Alleluia.

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5 Veni Sancte Spiritus 5 Veni Sancte Spiritus entstand 1977 und wurde 1996 revidiert. Das Werk für einzigen Röhrenglocke durchsetzen den Gang der Dinge. vierstimmigen Chor und Orgel bringt eine einfache, Nach und nach steigert sich die Lautstärke der Musik, die Veni Sancte Spiritus, Come, Holy Spirit, choralartige Melodie, die in verschiedenen dann wieder zu ihrem anfänglichen dynamischen Niveau Et emitte cælitus And send from heaven Harmonisierungen und Registerkombinationen erklingt, zurückkehrt und endlich einen beinahe peremtorischen Lucis tuae radium. The ray of thy light. indessen der sparsame Orgelpart dem Chorsatz ein feines Abschluss findet. Maß an zusätzlichen Farben verleiht. Summa komponierte Arvo Pärt 1977 für Sopran, Alt, Veni pater pauperum, Come father of the poor, Als Auftragswerk für den 90. Deutschen Tenor und Bass bzw. vierstimmigen Chor. 1990 Veni dator munerum, Come giver of gifts, Katholikentag entstand 1990/91 die Berliner Messe. Sechs überarbeitete er den Satz, um ihn als Credo in seine Veni lumen cordium. Come light of hearts. Jahre später revidierte Pärt das ursprünglich für vier Berliner Messe zu integrieren. Damals richtete Pärt das Solostimmen und Orgel geschriebene Werk, das nun auch Stück auch für Streichquartett ein [Naxos 8.553750]. Im Consolator optime, Best comforter, in Einrichtungen für Chor und Orgel beziehungsweise Gegensatz zu der revidierten Fassung bewegt sich das Dulcis hospes animae, Sweet guest of the soul, (wie in dieser Produktion) für Chor und Streicher vorliegt. Original ausschließlich in Moll. Darin könnte man Dulce refrigerium. Sweet refreshment. Nach dem elegischen Kyrie, in dem die Streicher mit den vielleicht einen Hinweis auf die Umstände seiner Fürbitten des Chores verflochten sind, erreicht das Gloria Entstehung sehen, denn seinerzeit waren auch in Estland In labore requies, Rest in labour, eine lebhaftere Haltung, ohne dass der grundsätzlich öffentliche religiöse Bekenntnisse verboten. In aestu temperies, Cool in the heat, eingeschränkte harmonische Umfang aufgegeben würde. Pärts erstes Werk auf einen englischen Text sind The In fletu solatium. Solace in weeping. Zum ersten Mal weicht Pärt vom regulären ordinarium Beatitudes für den RIAS Kammerchor. Die Komposition missae, der Standardliturgie der katholischen Kirche, mit wurde 1990 vollendet und ein Jahr später revidiert. Darin O lux beatissima, O most blessed light, der Einfügung des Ersten und zweiten Alleluia ab, in vertont er die Verse 3-12 aus dem fünften Kapitel des Reple cordis intima Fill the inner hearts denen sich die warmherzigen Chortexturen mit dem Matthäus-Evangeliums, und die Folgerichtigkeit seiner Tuorum fidelium. Of thy faithful. ganzen Glanz des Dur-Geschlechtes entfalten. Es folgt Umsetzung zeigt sich in der Art der musikalischen eine umfängliche Vertonung des Veni Sancte Spiritus, in Phrasierung, die in ihrer Verbindung aus kurzen und Sine tuo nomine, Without thy name dem sich die alternierenden Antworten der vier vokalen langen Tönen herausragende Worte des Textes Nihil est in homine, There is nothing in man Register über einem statischen Untergrund der tiefen unterstreicht. Wiederum gibt es ein allmähliches Nihil est innoxium. That is not sinful. Streicher entfalten, während die hohen Streicher an Crescendo, das hier allerdings in einem inbrünstigen Schlüsselstellen die vokalen Harmonien hervorheben. Das Amen gipfelt und zu einem intensiven Orgelpostludium Lava quod est sordidum, Wash what is unclean, Credo ist eine direkte Umarbeitung der Summa (siehe übergeht, das sich in den letzten Takten bis zur Riga quod est aridum, Water what is dry, unten), die hier eine Stimmung friedlicher Unhörbarkeit verflüchtigt. Sana quod est saucium. Heal what is wounded. Selbstbescheidung verbreitet – ganz anders als das Im Auftrag des Deutschen Musikrates entstand das nachfolgende Sanctus, dessen introvertierte Magnificat, das vom Berliner Staats- und Domchor 1989 Flecte quod est rigidum, Bend what is stiff, Nachdenklichkeit sich noch ausgedünnter in dem Agnus uraufgeführt wurde. Es dürfte sich dabei um das Fove quod est frigidum, Warm what is cold, Dei fortsetzt, mit dem die Berliner Messe auf ruhige, quasi unmittelbar fasslichste Chorwerk des Komponisten Rege quod est devium. Put right what is wrong. wesenlose und abgelöste Weise zu Ende geht. handeln. Im Wechsel der Solo- und Tutti-Abschnitte Der Entwurf des Psalms 129 De Profundis für entsteht eine mächtige spirituelle Aura, und wieder einmal Da tuis fidelibus, Grant to thy faithful Männerchor, Orgel und Schlagzeug ad libitum wurde wird man feststellen, dass Arvo Pärt keinen Versuch In te confidentibus, Trusting in thee 1977 skizziert und drei Jahre später vollendet. Pärt hatte unternimmt, den gewählten Text in jenem klassischen Sacrum septenarium. Thy sacred sevenfold mystery. sich damals vorübergehend in Wien niedergelassen und Sinne zu „vertonen“, den man seit wenigstens drei widmete das Werk seinem österreichischen Kollegen Jahrhunderten kennt. Da virtutis meritum, Grant the merit of virtue, Gottfried von Einem. Das angestrengte Voranschreiten Da salutis exitum, Grant final salvation, der Tenöre und Bässe zu Beginn des Werkes wird von Richard Whitehouse Da perenne gaudium. Grant eternal joy. einem flackernden Orgelostinato angefeuert; ruhige Amen. Alleluia. Amen. Alleluia. Schläge der großen Trommel und das Tönen einer Deutsche Fassung: Cris Posslac

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Noel Edison 6 Credo 6 Credo

Noel Edison is the founder and Artistic Director of the Elora Festival, celebrating its 25th Credo in unum Deum, Patrem omnipotentem, I believe in one God, the Father almighty, anniversary in 2004. He has overseen the growth and development of the Festival into one of factorem cæli et terrae, maker of heaven and earth, the finest summer festivals in Canada. In addition to his work with the Festival, he is the visibilium omnium et invisibilium. of all things, visible and invisible. founding conductor of the Elora Festival Singers, and the conductor of the 180-voice Toronto Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Mendelssohn Choir and the newly founded, 65-voice Toronto Mendelssohn Singers. Over the Filium Dei unigenitum. Et ex Patre natum the only begotten Son of God. Born of the Father last decade Noel Edison has made ten CDs, part of a planned series, and commissioned some ante omnia saecula. Deum de Deo, before all generations. God from God, forty new works. He conducts his own Festival Orchestra, which is in residence at the Elora lumen de lumine, Deum verum de Deo vero. light from light, true God from true God. Festival each summer, and is the orchestra for the Toronto Mendelssohn Choir concerts. In Genitum non factum, consubstantialem Patri: Begotten not made, of one substance with the Father: 2002 he received an honorary doctorate from the University of Guelph. Noel Edison makes his per quem omnia facta sunt. through whom all things were made. permanent home in Elora, where the Centre Wellington Chamber of Commerce honoured him Qui propter nos homines, et propter nostram salutem Who for us men, and for our salvation in the same year for his long-standing contribution to the economy of the community. descendit de cælis. came down from heaven. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Spirit Arvo Pärt (geb.1935) ex Maria Virgine: et homo factus est. of the Virgin Mary: and was made man. Crucifixus etiam pro nobis sub Pontio Pilato: He was crucified also for us under Pontius Pilate: Berliner Messe passus et sepultus est. suffered and was buried. Arvo Pärt wurde am 11. September 1935 in der estnischen Jahre 1971 [Naxos 8.554591] spricht von einem Et resurrexit tertia die, And the third day he rose again, Stadt Paide geboren. Er studierte in Tallinn und zwar intensiven Interesse an Alter Musik im allgemeinen und secundum Scripturas. according to the Scriptures. zunächst bei Harri Otsa und Veljo Tormis, dann am am Gregorianischen Choral im besonderen; doch erst Et ascendit in cælum: And ascended into heaven: Konservatorium bei Heino Eller. 1963 legte er sein 1976 entstand ein neuer, regelmäßiger Fluss an sedet ad dexteram Patris. and is seated at the right hand of the Father. Examen ab. Hatte er sich in seinen frühesten Werken eines Kompositionen, wobei Pärt jetzt eine tonale Technik Et iterum venturus est cum gloria And he shall come again with glory anspruchslos neoklassizistischen Stils befleißigt, so zeigte benutzte, die er als Tintinnabulismus bezeichnet. Dabei judicare vivos et mortuos: to judge the living and the dead: sich später, dass er heimlich die Methoden des Serialismus wird eine melodische, schrittweise um einen Zentralton cujus regni non erit finis. whose kingdom shall have no end. studiert hatte. Zunächst war das an dem 1960 kreisende Stimme von glockenartig nachhallenden Et in Spiritum Sanctum Dominum, And I believe in the Holy Spirit, entstandenen Nekrolog zu erkennen, mit dem Pärt eine Dreiklängen unterstrichen. Viele der folgenden Werke et vivificantem: Lord and giver of life: Reihe von Werken begann, die ihn – wie etwa Perpetuum gelten heute bereits als Klassiker der Moderne, darunter qui ex Patre, Filioque procedit. who proceeds from the Father and the Son. mobile oder die erste polyphonische Symphonie – bei dem vor allem Tabula Rasa [Naxos 8.554591], Fratres und Qui cum Patre, et Filio simul adoratur, Who with the Father and the Son is worshipped, zurückhaltend-konservativen Establishment der Cantus in memoriam Benjamin Britten [beide auf Naxos et conglorificatur: and glorified: damaligen Zeit in einen gewissen Verruf brachten. Das 8.553750] sowie als Höhepunkt das bis dahin größte Werk qui locutus est per Prophetas. who spoke through the Prophets. zunehmende Interesse an der Musik von Johann Sebastian von Pärt, die Johannes-Passion aus dem Jahre 1982 Et unam, sanctam, catholicam et And in one holy, catholic, Bach führte dazu, dass Pärt das berühmte B-A-C-H-Motiv [Naxos 8.555860]. So wurde der Weg frei für jene Reihe apostolicam Ecclesiam. apostolic Church. mit anderen, oft denkbar ungewöhnlichen Materialien vornehmlich geistlicher Chorwerke, denen Arvo Pärt Confiteor unum baptisma in remissionem peccatorum. I confess one baptism for the remission of sins. kombinierte – beispielsweise in dem Cellokonzert Pro et endgültig seinen Ruhm und seinen Ruf als einer der Et exspecto resurrectionem mortuorum. And I await the resurrection of the dead. Contra und der zweiten Symphonie (beide von 1966). markantesten Komponisten der Gegenwart verdankt. Die Et vitam venturi saeculi. And the life of the world to come. Den Höhepunkt der damaligen Schaffensphase markierte vorliegende Veröffentlichung enthält Werke, die in den Amen. Amen. 1968 das Credo, ein offener Konflikt zwischen Bach und Jahren vor und nach der Passion entstanden. So ergibt sich der Moderne, von dessen deutlich christlicher Haltung ein Überblick über die reifen Kompositionen eines 7 Sanctus 7 Sanctus sich die sowjetische Kulturbürokratie ganz unmittelbar Künstlers, der sich nach und nach immer weiter für herausgefordert fühlte. expressive Elemente und ein harmonisch reicheres Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Holy, Holy, Holy Lord God of Sabaoth. Pärt setzte diese gedankliche Linie nicht fort, sondern musikalisches Vokabular öffnete. Pleni sunt cæli et terra gloria tua. Heaven and earth are full of thy glory. er verstummte fast völlig. Seine dritte Symphonie aus dem Die Vertonung des Psalms 95, Cantate Domino, Osanna in excelsis. Hosanna in the highest.

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Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord. Composed in 1977 for soprano, alto, tenor and bass words in the text. Again, there is a gradual crescendo, Osanna in excelsis. Hosanna in the highest. soloists or choir, Summa was recast in 1990 as the culminating here in a fervent Amen and an intense Credo in Pärt’s Berliner Messe, at which time it was organ postlude which fades out of earshot in the closing 8 Agnus Dei 8 Agnus Dei also arranged for string quartet [Naxos 8.553750]. bars. Unlike the revision, the original version proceeds Commissioned by Deutsche Musikrat, and first Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the sins of the world: unequivocally in the minor mode, an indication, given by the Staats- und Domchor of Berlin in 1989, the miserere nobis. have mercy upon us. perhaps, of the genesis of the piece at a time when Magnificat is perhaps Pärt’s most immediately Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the sins of the world: public avowal of religious faith was forbidden in appealing choral work. The alternation of solo and tutti miserere nobis. have mercy upon us. Estonia. sections imparts a powerful spiritual aura, and, as so Pärt’s first work to a English text, The Beatitudes, often with this composer, there is no attempt to ‘set’ the Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the sins of the world: was written for the RIAS Chamber Choir in Berlin and text as in classical composition over the preceding three dona nobis pacem. grant us peace. completed in 1990 (with revisions the following year). or more centuries. The consistency of this setting of St Matthew, ch.V, vv. 9 De Profundis (Psalm CXXIX) 9 De Profundis 3-12, is evident in the musical phrasing, which, in its combination of short and long notes, emphasizes salient Richard Whitehouse 1. De profundis clamavi ad te, Domine: 1. Out of the deep have I called unto thee, O Lord: Domine exaudi vocem meam. Lord, hear my voice. 2. Fiant aures tuae intendentes in vocem 2. O let thine ears consider well the voice of Jurgen Petrenko deprecationis meae. my complaint. 3. Si iniquitates observaveris Domine: 3. If thou, Lord, wilt be extreme to mark what is done Born in Toronto, Jurgen Petrenko has Bachelor and Master of Music degrees from the University of Toronto. Domine, quis sustinebit? amiss: O Lord, who may abide it? During the day he works for CBC Radio Two, as producer of Choral Concert and Saturday Afternoon at the Opera, 4. Quia apud te propitiatio est: 4. For there is mercy with thee: as well as the presenter of a weekly ‘Organ Thursday’ feature on Take Five. He is the artistic director of the Toronto et propter legem tuam sustinui te. and I have honoured thee according to thy law. Classical Singers, and has conducted numerous major choral/orchestral works. He has adjudicated for the 5. Sustinuit anima mea in verbo ejus: 5. My soul has relied on his word: University of Toronto, the Elora Festival Young Performers’ Competition, and the CBC Choral Competition, and speravit anima mea in Domino. my soul has hoped in the Lord. teaches a seminar on oratorio performance for graduate voice majors at the Glenn Gould Professional School of the 6. A custodia matutina usque ad noctem, 6. From the morning watch to night let Israel Royal Conservatory of Music in Toronto. He is also in demand as an organ accompanist, and is the titular organist speret Israel in Domino. hope in the Lord. of St John’s Anglican Church in Elora, Ontario. 7. Quia apud Dominum misericordia: 7. For with the Lord there is mercy: et copiosa apud eum redemptio. and with him is plenteous redemption. 8. Et ipse redimet Israel ex omnibus iniquitatibus ejus. 8. And he shall redeem Israel from all his sins. Elora Festival Singers

0 Summa 0 Summa Acclaimed by the press as one of the world’s finest professional chamber choirs, the Elora Festival Singers was founded by Noel Edison in 1980 as the principal vocal ensemble for the Elora Festival, A Celebration in Song. Since Credo in unum Deum, Patrem omnipotentem, I believe in one God, the Father almighty, then the choir’s activities have expanded to include the popular Winter Series concerts in Elora and the surrounding factorem cæli et terrae, maker of heaven and earth, communities, touring and recording. The choir also makes up the professional core of the Toronto Mendelssohn visibilium omnium et invisibilium. of all things, visible and invisible. Choir and the new Mendelssohn Singers. The Singers have also created a special educational initiative called Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, “Singers in Schools”, which brings the choir into area high schools for daylong workshops led by Noel Edison. The Filium Dei unigenitum. Et ex Patre natum the only begotten Son of God. Born of the Father hallmark of the Singers is their rich, warm sound and clarity of texture. They are also renowned for performing a ante omnia saecula. Deum de Deo, before all generations. God from God, wide range of music, including numerous commissions by Canadian and international composers. The Singers’ lumen de lumine, Deum verum de Deo vero. light from light, true God from true God. second CD, The Mystery of Christmas, released on Naxos 8.554179 and one of a planned series, was nominated for Genitum non factum, consubstantialem Patri: Begotten not made, of one substance with the Father: a Juno award, has sold more than 135,000 copies, and has even been heard playing in the Cathedral Shop at per quem omnia facta sunt. through whom all things were made. Canterbury.

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Arvo Pärt (b. 1935) Qui propter nos homines, et propter nostram salutem Who for us men, and for our salvation Berliner Messe descendit de cælis. came down from heaven. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Spirit Born in Paide, Estonia on 11th September 1935, Arvo Composed in 1977 and revised in 1996, Cantate ex Maria Virgine: et homo factus est. of the Virgin Mary: and was made man. Pärt studied in Tallinn with Harri Otsa and Veljo Domino is a setting of Psalm XCV for four-part chorus Crucifixus etiam pro nobis sub Pontio Pilato: He was crucified also for us under Pontius Pilate: Tormis, then at the Tallinn Conservatoire with Heino and organ. The simple, chant-like melody is heard in a passus et sepultus est. suffered and was buried. Eller, graduating in 1963. While his earliest works number of harmonizations and registral combinations, adopted an undemanding neo-classical style, his with the sparing organ part adding a subtle degree of Et resurrexit tertia die, And the third day he rose again, clandestine study of serial composition made itself colour to the vocal writing. secundum Scripturas. according to the Scriptures. apparent in Nekrolog (1960), heralding a series of Commissioned for the Ninetieth Deutsche Et ascendit in cælum: And ascended into heaven: scores, including Perpetuum Mobile and the First Katholikentag in Berlin, Pärt’s Berliner Messe was sedet ad dexteram Patris. and is seated at the right hand of the Father. ‘Polyphonic’ Symphony, which afforded Pärt notoriety composed during 1990-91 and revised six years later. Et iterum venturus est cum gloria And he shall come again with glory amid the warily-conservative establishment of the Originally scored for four solo voices and organ, it was judicare vivos et mortuos: to judge the living and the dead: period. A growing interest in the music of Bach led Pärt subsequently arranged either for choir and organ or, as cujus regni non erit finis. whose kingdom shall have no end. to combine the famous B-A-C-H motif with often on the present recording, for choir and strings. After an Et in Spiritum Sanctum Dominum, And I believe in the Holy Spirit, wildly extraneous material, as in the cello concerto Pro elegiac Kyrie, in which strings intertwine with the et vivificantem: Lord and giver of life: et Contra and the Second Symphony (both 1966). The choir’s supplications, the Gloria effects a more qui ex Patre, Filioque procedit. who proceeds from the Father and the Son. climax of this period came with Credo (1968), in which animated manner within the same restricted tonal and Qui cum Patre, et Filio simul adoratur, Who with the Father and the Son is worshipped, Bach and Modernism openly conflict in a work whose harmonic compass. In the first of two departures from et conglorificatur: and glorified: overt Christianity was considered a direct challenge to the customary Mass liturgy, Pärt interpolates a First and qui locutus est per Prophetas. who spoke through the Prophets. Soviet officialdom. Second Alleluia which warm the choral textures with Et unam, sanctam, catholicam et And in one holy, catholic, Rather than pursue this line of thinking, Pärt their major-mode radiance. There follows an extensive apostolicam Ecclesiam. apostolic Church. retreated into near silence. The Third Symphony of 1971 setting of the Veni Sancte Spiritus, in which alternate Confiteor unum baptisma in remissionem peccatorum. I confess one baptism for the remission of sins. [Naxos 8.554591] gave notice of an intense interest in responses from the four vocal registers unfold over a Et exspecto resurrectionem mortuorum. And I await the resurrection of the dead. early music, notably Gregorian Chant, but it was not static pedal in lower strings, and with upper strings Et vitam venturi saeculi. And the life of the world to come. until 1976 that he again began to compose fluently, articulating the vocal harmony at key points. The Credo Amen. Amen. using a tonal technique he termed tintinnabuli, in which is a direct rewrite of Summa (see below), here sounding the bell-like resonance of notes in a triad underscores a a mood of easeful contentment. Not so the Sanctus, the ! The Beatitudes (St Matthew Ch.V, vv.3-12) melodic voice which revolves step-wise around a central inward, ruminative manner of which is pursued to a pitch. A number of works considered modern classics more rarified degree in the Agnus Dei, which ends the Blessed are the poor in spirit: followed, notably Tabula Rasa [Naxos 8.554591], work in a mood of calm, etiolated detachment. for theirs is the kingdom of heaven. Fratres and Cantus in memoriam Benjamin Britten A setting of Psalm CXXIX for male chorus, organ Blessed are they that mourn: [both on Naxos 8.553750], culminating in 1982 with and ad libitum percussion complement, De Profundis for they shall be comforted. Pärt’s largest work thus far, the St John Passion [Naxos was sketched in 1977 but completed only in 1980, after Blessed are the meek: for they shall inherit the earth. 8.555860]. This paved the way for a sequence of mainly Pärt’s temporary move to Vienna, and dedicated to the Blessed are they which do hunger and thirst after sacred choral works, consolidating Pärt’s reputation Austrian composer Gottfried von Einem. The effortful righteousness: for they shall be filled. among the most significant composers at work today. initial progress of tenors and basses is touched off by a Blessed are the merciful: for they shall obtain mercy. The present recording provides an overview of his flickering organ ostinato and punctuated by quiet bass Blessed are the pure in heart: for they shall see God. mature idiom, with works written either side of the drum strokes and chimes from a single tubular bell, Blessed are the peacemakers: Passion, and in which a gradual expressive opening-out rising in a gradual crescendo then easing back to its for they shall be called the children of God. and harmonic enrichment of Pärt’s musical vocabulary initial dynamic level, before the almost peremptory Blessed are they which are persecuted for can be detected. conclusion. righteousness’ sake: for theirs is the kingdom of

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heaven. Arvo Blessed are ye when men shall revile you, and persecute you, and shall say all manner of evil against you falsely, for my sake. PÄRT Rejoice and be exceeding glad: for great is your reward in heaven: for so persecuted they the prophets which were before you. Berliner Messe Amen. Magnificat • Summa @ Magnificat @ Magnificat Magnificat anima mea Dominum. My soul doth magnify the Lord: Elora Festival Singers and Orchestra Et exsultavit spiritus meus in Deo salutari meo. and my spirit hath rejoiced in God my Saviour. Quia respexit humilitatem ancillae suae: For he hath regarded the lowliness of his handmaiden. ecce enim ex hoc beatam me dicent For behold, from henceforth, all generations Noel Edison omnes generationes. shall call me blessed. Quia fecit mihi magna qui potens est: For he that is mighty hath magnified me: et sanctum nomen ejus. and holy is his Name. Et misericordia ejus a progenie in progenies And his mercy is on them that fear him timentibus eum. throughout all generations. Fecit potentiam in brachio suo: He hath shewed strength with his arm: dispersit superbos he hath scattered the proud mente cordis sui. in the imagination of their hearts. Deposuit potentes de sede, He hath put down the mighty from their seat: et exaltavit humiles. and hath exalted the humble and meek. Esurientes implevit bonis: he hath filled the hungry with good things: et divites dimisit inanes. and the rich he hath sent empty away. Suscepit Israel puerum suum, He remembering his mercy recordatus misericordiae suae. hath holpen his servant Israel: Sicut locutus est ad patres nostros, as he promised to our forefathers, Abraham et semini ejus in saecula. Abraham and his seed, for ever. Gloria Patri, et Filio, Glory be to the Father, and to the Son, et Spiritui Sancto. and to the Holy Ghost. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and ever shall be, et in saecula saeculorum. Amen. world without end. Amen.

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AXOS With a number of modern classics already to his name, notably the Symphony No. 3 [Naxos 8.554591], Tabula AXOS Rasa [8.554591], Fratres and Cantus in memoriam Benjamin Britten [8.553750], culminating in 1982 with his largest work thus far, the St John Passion [8.555860], Arvo Pärt has during the past 20 years consolidated his reputation as one of the most significant composers at work today with a sequence of magnificent sacred choral works. The present recording provides an overview of Pärt’s mature idiom with works written on either side of the Passion, and in which a gradual expressive opening-out and harmonic enrichment of the DDD PÄRT: composer’s musical vocabulary can be detected. The Magnificat is perhaps Pärt’s most immediately PÄRT: appealing choral work whose alternation of solo and tutti sections imparts a powerful spiritual aura. 8.557299

Arvo Playing Time elnrMesse Berliner PÄRT 52:12 Messe Berliner (b. 1935) 1 Cantate Domino Canticum Novum (Psalm 95) (1977, rev. 1996) 3:27 Berliner Messe (for choir and string orchestra) (rev. V/1992) 22:56 2 Kyrie 2:46 3 Gloria 3:57 4 Alleluia Verses I & II 2:00 5 Veni Sancte Spiritus 5:06 6 Credo 4:15

7 Sanctus 2:51 www.naxos.com Made in Canada Includes sung texts Booklet notes in English • Kommentar auf Deutsch h

8 Agnus Dei 2:01 & 9 De Profundis (1980) 5:56 g 2004 Naxos Rights International Ltd. 0 Summa (1977) 4:40 ! The Beatitudes (1990, rev. 1991) 7:51 @ Magnificat (1989) 7:22 Jurgen Petrenko, Organ Elora Festival Singers and Orchestra • Noel Edison Recorded at Grace Church on the Hill, Toronto, Canada from May 20th to 25th, 2003 Producers: Norbert Kraft and Bonnie Silver Engineer: Norbert Kraft • Editor: Bonnie Silver 8.557299 8.557299 Booklet Notes: Richard Whitehouse

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