ADVENT LIVE Conductor’s Robinson’s time here, and Paul Comeau’s carol Introduction was written for my choral society in Truro. 1 A hymn of St. Columba Benjamin Britten (1913-1976) [2.06] 2 Tomorrow shall be my dancing day James Burton (b. 1974) [4.29] Advent is to St John’s as Christmas is to King’s. In 2015 listeners wrote in to Radio 4’s 3 The truth sent from above Ralph Vaughan Williams (1872-1958) [2.40] But ours is ‘A Service for Advent with Carols’ ‘Feedback’ programme to complain about our arr. Christopher Robinson (b. 1936) rather than ‘of Carols.’ This, along with the Advent broadcast containing music that was 4 Adam lay ybounden * Ian Shaw (b. 1960) [1.54] extraordinary breadth of the Advent themes – ‘downright ugly’, ‘screechy’ and ‘discordant.’ 5 The cherry tree carol Traditional, arr. Stephen Cleobury (b. 1948) [2.45] I am grateful to Alan Davey, Controller of 6 Vigilate * James Long (b. 1987) [4.11] including the terrifying Day of Judgement, the 7 Fuit homo missus a Deo Giovanni Pierluigi da Palestrina (c. 1525-1594) [3.18] beauty and innocence of the expectant Mary, Radio 3, for having a very different view of 8 This is the record of John Orlando Gibbons (1583-1625) [4.18] the rough-hewn figure of John the Baptist – our service! Christianity needs to be challenging 9 The linden tree carol * Malcolm Archer (b. 1952) [2.00] gives us an amazing range of available repertoire. at times, not only cosy and comforting. I 0 There is no rose John Joubert (b. 1927) [2.18] recently read a blog by German conductor q * 1 The birth of speech Tim Watts (b. 1979) [5.28] There have been many Advent commissions at Karl-Heinz Steffens, which resonated with w The angel Gabriel from heaven came Basque carol arr. Edgar Pettman (1866-1943) [2.19] St John’s, including new works written annually my own feelings and which must surely apply e I know a flower Francis Jackson (b. 1917) [3.01] since 2008. We have recorded three of these as much to choirs as to orchestras. He wrote: r Glory to the Christ Child Alan Bullard (b. 1947) [2.30] on previous albums (Roxanna Panufnik, I am always interested in new discoveries and t Lux mundi Paul Comeau (b. 1958) [5.42] unusual repertoire. I think you have to be y I sing of a maiden * 2 Ian Shaw (b. 1960) [2.10] Jonathan Harvey and Michael Finnissy); three u Tomorrow shall be my dancing day Traditional, arr. David Willcocks (1919-2015) [2.01] more follow on the present disc. I wrote to inquisitive as a conductor, and as an artist… i The clouded heaven Judith Bingham (b. 1952) [4.07] James Burton asking for “something fun, Orchestras are not just museums for the great o Noe, noe David Bednall (b. 1979) [3.01] wacky, quirky, catchy, fast…” He certainly art of the past – though the Mona Lisa, of ticked those boxes! Before James Long course, has a place – but must also provide Total timings: [60.19] started his composition I had conversations space for modern art too. Art has to live a * premiere recording with him about the lack of repertoire contemporary life, it is an investment in the concerning the Second Coming. Tim Watts future. The modern art of today will become the THE CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE classics of tomorrow. GLEN DEMPSEY ORGAN • JOSEPH WICKS ORGAN made use of two astonishingly talented STEPHANIE CHILDRESS VIOLIN • JULIA HWANG VIOLIN 1 violinists who were undergraduates in College ANNE DENHOLM HARP 2 • ANDREW NETHSINGHA DIRECTOR at the time. In addition we gave the premieres Some texts are appropriate both at Advent Each work was recorded live as part of the St John’s College Advent Service in the following years of the two carols by Ian Shaw. Judith and at Christmas. Our service is a journey 2014 6, 14 | 2015 7, 11, 18 | 2016 1, 2, 4, 8, 9, 10, 12, 15, 19 | 2017 3, 5, 13, 16, 17 Bingham’s work was written during Christopher through the themes of the four Sundays in www.signumrecords.com - 3 - Advent, culminating in the Christmas Collect. opposite one of his current successors, Hugh The sound of each group of boys is an PROGRAMME NOTES I allow myself one specifically Christmas piece Cutting, as Hugh was singing the big Gibbons expression of our musical relationship and rapport at the end of each year’s service – the works by solo heard here. You don’t get that kind of at that particular time; every term is different. Advent is a season of expectation, defined Bednall and Bullard are examples of this final adrenaline in a recording session! largely by the joyful festival it precedes. carol. For the purposes of this compilation disc This album is comprised entirely of live The church calendar sees it as a period of I have tried to arrange the works into a A one-off live broadcast has much potential for recordings as captured by BBC producers and cleansing in preparation for Christmas, and pleasingly varied musical sequence, rather than spontaneity. Repeated takes and over-obsession engineers, with no musical editing whatsoever. in some traditions it is marked by fasting and following Advent themes in order. with perfection – whatever that means – can I am grateful to Simon Gibson at Abbey Road sombre reflection. However, the church’s diminish ‘character’ and ‘personality’ in a for his work in seeking to reduce extraneous understanding of the word adventus [arrival] Our cover image of an apple refers to the choir; it is a great shame if that happens. My sounds. There is still a degree of background embraces not only Christ’s incarnation but second verse of one of the most famous Advent desire to preserve some of our best live noise emanating from the densely packed also the Second Coming. It is therefore a texts, Adam lay ybounden: ‘And all was for performances is amplified when one considers chapel and from our wheezy organ blower, but time to ponder the Four Last Things – Death, an apple.’ The Fall of man followed Adam’s the constant turnover of the singers; both the I do hope listeners will tolerate this and may Judgement, Heaven and Hell – and sermons temptation to eat the forbidden fruit from the Boys and the Gents are constantly changing. even feel that it enhances the sense of eager preached on the four Sundays of Advent Tree of the Knowledge of Good and Evil in There is something deeply moving about the anticipation so redolent of the Advent season. were traditionally devoted to these themes. the Garden of Eden. In Western Europe this sound of a particular set of boys, knowing The works assembled here – all drawn from fruit has often been depicted as an apple. that a few weeks later some voices may have Andrew Nethsingha BBC recordings of the 2014–2017 Advent broken; it means a lot to me to take a snap-shot services at St John’s College, Cambridge – St John’s College Chapel is an intimate space, for posterity of a special time for the choir. range from pieces that express yearning for which is always very full for the Advent The voices of leading adult singers change Christ’s First Coming, through celebrations services, broadcast annually by the BBC since in subtle ways over the decades; for boy of His incarnation, to musings on the great 1981. A particular frisson comes from having trebles the evolution is much quicker and mysteries of the Last Judgement. Several of the members of the congregation surrounding the shorter – and then it’s suddenly all over. The works were commissioned specially for St choir, less than a metre away on all four sides, final bar of the Burton brings a smile to my John’s; others feature words or music by whilst the service is broadcast live around face, with one single amazing boy – George members of the College. the world. You never know who will be in Balfour – adding a top A which fearlessly the Chapel. In the 2016 service I remember projects over the sound of the full organ and finding that a distinguished former choir- choir. Many singers who were on this album member, Iestyn Davies, was sitting right can no longer sing a note of treble register.

- 4 - - 5 - Britten’s A hymn of St. Columba was written combine with rich harmonies to foreground in the other. In both, sinuous vocal lines are the focus to the Second Coming. The text in 1962, a few months after the first darker colours in the text. contrasted with more astringent harmonies is macaronic, with Latin and English words performance of the War Requiem, and its and brittle accompanimental gestures in the interspersed, and as in Byrd’s Vigilate, there distinctive combination of largely diatonic The truth sent from aboveis a game of musical organ. In Adam lay ybounden, Shaw builds are strong madrigalian influences – most melodies, shifting harmonic planes and a consequences. Its origins lie in a sacred to a climax, reflecting the text’s positive memorably, chromatic writhing on the word tight motivic repertoire recalls sections of folksong. Cecil Sharp identified one version interpretation of the Fall, before ending on a ‘wail’ and a remarkable stuttering effect for Britten’s choral masterpiece. The text, attributed in Shropshire; Ralph Vaughan Williams heard more reflective note. ‘gallicantu’ [cock-crow]. to Saint Columba, is a loose paraphrase of another in 1909 in Herefordshire, publishing the requiem mass’s ‘Dies Irae’. The Hymn it shortly afterwards. Text and melody were The cherry tree carol is heard in an arrangement The text of Palestrina’s Fuit homo missus a was commissioned to celebrate the 1400th later used in the composer’s Fantasia on by Stephen Cleobury, a former Organ Student Deo is adapted from the first chapter of the anniversary of Columba’s journey from Christmas Carols, first performed in Hereford of St John’s, but best-known today as Director Gospel according to St John, and the motet Ireland to Iona; the premiere, which took Cathedral in 1912. The version heard here is an of Music at King’s College, Cambridge. The was intended for the Feast of the Nativity of place outdoors at a site in County Donegal arrangement of Vaughan Williams’s music by melody, of traditional English provenance, John the Baptist. The music is quintessential where Columba is supposed to have preached, Christopher Robinson, former Director of is extremely simple, and has as often been four-part Palestrina – fluent, largely conjunct was reportedly almost inaudible owing to Music at St John’s College. This highly sensitive arranged by popular singers – Joan Baez is a lines in an imitative texture. The only hints the wind. reworking adds an organ accompaniment notable example – as by church musicians. of homorhythm occur in the setting of the but maintains the character and much of the Here, Cleobury clothes it with entirely diatonic words ‘he came to testify’, as though Palestrina James Burton was a Choral Scholar at St substance of Vaughan Williams’s four-part setting. harmony; textural changes, melodic decoration wished to emphasise the declarative nature John’s College. A distinguished composer and imitation provide variety. of this passage by bringing groups of and arranger, he is probably best known as a Ian Shaw’s setting of Adam lay ybounden was voices together. conductor, and currently serves as Conductor written in 2016. The famous fifteenth-century James Long’s Vigilate was commissioned by of the Tanglewood Festival Chorus and text, a paraphrase of the third chapter of St John’s College in 2012. The text combines The John in the title of Gibbons’s This is Choral Director of the Boston Symphony Genesis, is contained in a manuscript now passages from Mark 13 and three books the record of John is once again John the Orchestra. Burton’s setting of Tomorrow shall held in the British Library, where it is found of Revelation. Mark’s words were set most Baptist, and the text is again based on St be my dancing day, a traditional text almost on the same page as ‘I sing of a maiden’ – famously by William Byrd, and when heard in John’s Gospel. Gibbons had connections with certainly medieval in origin, derives much also heard here in a setting by Shaw, a former the context of Advent, Byrd’s repeated cries of King’s College, Cambridge, and his second of its character from the use of irregular Organ Student of St John’s. The two carols are ‘vigilate’ [keep watch] are usually understood son Christopher served as Organist of St metres. The mood is generally ebullient, but composed for trebles with accompaniment – as referring to Christ’s incarnation. By John’s at the start of the English Civil War. in the central section ‘dancing’ rhythms organ (or piano) in one case, harp (or piano) including verses from Revelation, Long shifts However, this much-admired anthem was

- 6 - - 7 - apparently commissioned by St John’s College, he is best known for his choral miniatures. The angel Gabriel from heaven came is heard The text ofGlory to the Christ child is taken Oxford. The text tells of an exchange between Most celebrated is surely his exquisite setting in an arrangement by Edgar Pettman. The from an early seventeenth-century manuscript John the Baptist and ‘priests and Levites’. of There is no rose, a fifteenth-century text, based on a folk carol, was adapted from held in the British Library. With its references A dialogic structure lends itself to the verse macaronic text. Much of its beauty springs the original Basque by Rev Sabine Baring- to the sleeping babe, it looks forward to anthem – solo voice (here, alto) answered by from the subtle use of voices moving in parallel. Gould who spent some of his childhood in the Christmas. Alan Bullard’s setting is vigorous, five-part choir. However, it would be wrong In the second and third stanzas Joubert even Basque country. The melody has some typical with significant use of unisons and parts to imagine that the alto carries John’s words combines pairs of parallel thirds. Such simple hallmarks of folk-tunes, notably a flattened that move in parallel fifths. Throughout the and the choir the remaining text; the soloist resources, and the avoidance of any hint leading-note; however, the harmony is pure carol Bullard contrasts passages of rejoicing sings the entire text, partially echoed by of chromaticism, make for a carol of Anglicana. Arguably, none of the more with more reflective moments; ultimately, the choir. The accompaniment is realised here crystalline purity. complex settings of the melody that have however, power rests with the sleeping on the organ, but a performance on viols emerged in later years matches Pettman’s Christ-child. would be equally appropriate. For The Birth of Speech, Tim Watts, a current for directness of expression. Fellow of St John’s, turned to the poetry of Two members of the Comeau family have No traditional Christmas would be complete Hartley Coleridge, eldest son of Samuel Taylor In I know a flowerFrancis Jackson sets a featured in recent Advent services at St John’s. without the work of George Ratcliffe Coleridge. The text contains many musical translation by George Ratcliffe Woodward Ben Comeau was commissioned to write a Woodward, who wrote and arranged the texts allusions: as Watts put it, the poem is ‘entirely of the famous German poem ‘Es ist ein piece for the 2017 service, while his father of popular carols such as Ding, dong, merrily built from questions about sound’. Watts Ros’ entsprungen’. Jackson uses simple Paul is represented here by Lux mundi, on high. Malcolm Archer’s The linden tree responds to these questions with characteristic unaccompanied four-part harmony throughout, performed at St John’s in 2016, but originally carol is a setting of one of Woodward’s less imaginative power, deploying a highly enlivened by metric fluidity and references composed in 1994 for Andrew Nethsingha familiar creations. The composition has distinctive array of sonic resources – a choir to modal practices – for example, Lydian and the Three Spires Singers. Both composers alternating verses in four- and three-part whose trebles whisper, only to break into song inflections at the start. The composer’s clearly relish the challenges of rigorous harmony; in the three-part settings, the melody towards the end; two violins, played here by confidence in handling voices is evident compositional processes. In Lux mundi, is transferred to the tenor. The harmonic undergraduates Julia Hwang and Stephanie throughout – unsurprising perhaps given his this is apparent in the carol’s subtle canonic language hints at Renaissance practices, moving Childress; and an organ part that sometimes decades-long experience as church musician. writing, as well as in the use of mirrored parts. in and out of the Dorian mode. supports the voices, sometimes contributes This particular recording was made shortly In fact, Comeau’s setting of the third verse lines of its own. While the music is tightly after Jackson’s hundredth birthday. of Father Andrew’s text begins with lines Though South-African-born composer John wrought, with numerous canonic or quasi- that are exact inversions of each other – a nod, Joubert wrote numerous large-scale works, canonic passages, the overall effect is perhaps, to John Tavener’s The Lamb, where including operas, oratorios and symphonies, highly sensuous. similar practices are found.

- 8 - - 9 - Ian Shaw’s setting of I sing of a maiden is of Music at St John’s) and David Hill (Master TEXTS & TRANSLATIONS And the day of marvellous composed for trebles, accompanied here by of Music at Winchester, but soon to become strong thunderings, harp. Conceived as a companion-piece to Robinson’s successor at St John’s). The words 1 A hymn of St. Columba even the day of despair, Adam lay ybounden, it is even more spare than are taken from a prayer by Lancelot Andrewes, Benjamin Britten (1913–1976) of sorrow and misery, its predecessor. Shaw makes highly effective Bishop of Winchester, and from Residence the day of the most righteous King of Kings. use of simple unsupported lines and, crucially, at Cambridge by William Wordsworth, who Regis regum rectissimi silence. The repeated gestures in the harp create a matriculated at St John’s in 1787. A rich choral prope est dies Domini, In that day will cease women’s hypnotic effect, leading to a rapt ending. texture is complemented by an organ part that dies irae et vindictae, love and desire, mostly supports the voices, but with recurrent tenebrarum et nebulae, men’s strife and the yearnings On one level, David Willcocks’s arrangement patterns that create incantatory, at times Regis regum rectissimi. of this world; of the traditional carol Tomorrow shall be my disturbing effects. As Bingham put it: ‘I always the day of the Lord is nigh, dancing day is a case-study in simplicity: the think of Advent as the time when the Magi Diesque mirabilium the day of the most righteous King of Kings. melody on which it is based consists of barely are making their unsafe journey towards the tonitruorum fortium, more than five pitches, and the accompanying Nativity and so wanted to suggest a spiritual dies quoque angustiae, Words: attributed to St Columba (521–597) parts are free of all chromaticism. However, journey into the unknown.’ maeroris ac tristitiae. texture and dynamics are richly varied, and Regis regum rectissimi. 2 Tomorrow shall be my dancing day the carol is full of energising off-beat accents. The text of the final track, David Bednall’s Noe, James Burton (b. 1974) Despite abundant compositional invention, noe, is taken from an anonymous medieval In quo cessabit mulierum there is no attempt to overload the melody with carol. However, the setting is dominated by amor et desiderium, Tomorrow shall be my dancing day; artifice. In short, it’s a masterly demonstration repetitions of the single word ‘Noe’ [Noel] in nominumque contentio I would my true love did so chance of Willcocks’s skill as arranger. the choir and their partial echoes in the organ. mundi hujus et cupido. To see the legend of my play, The composition has moments of contrast – Regis regum rectissimi To call my true love to my dance, Judith Bingham’s The clouded heaven has notably, unaccompanied chordal writing to prope est dies Domini. Sing O my love, O my love, particularly close connections with St John’s the words ‘a tiny son is born today’. It ends This have I done for my true love. College. It was commissioned jointly by St rousingly, using the full resources of the organ The day of the Lord is nigh, John’s and Winchester Cathedral, and was first – a joyous envoi for our feast of seasonal music. the day of the most righteous Then was I born of a virgin pure, performed in Cambridge and Winchester on the day of wrath and vengeance, Of her I took fleshly substance, the same day in 1998. The conductors were © Dr Martin Ennis of darkness and shadow, Thus was I knit to man’s nature Cambridge, 2018 Christopher Robinson (at the time, Director the day of the most righteous King of Kings. To call my true love to my dance,

- 10 - - 11 - Sing O my love, O my love, Before Pilate the Jews me brought, 3 The truth sent from above 4 Adam lay ybounden This have I done for my true love. Where Barabbas had deliverance; Ralph Vaughan Williams (1872–1958), Ian Shaw (b. 1960) They scourged me and set me at naught, arr. Christopher Robinson (b. 1936) In a manger laid and wrapped I was, Judged me to die to lead the dance. Adam lay ybounden, So very poor, this was my chance This have I done for my true love. This is the truth sent from above, Bounden in a bond; Betwixt an ox and a silly poor ass The truth of God, the God of love. Four thousand winter To call my true love to my dance, Then on the cross hanged I was, Therefore don’t turn me from your door, Thought he not too long. Sing O my love, O my love, Where a spear my heart did glance; But hearken all both rich and poor. This have I done for my true love. There issued forth both water and blood, And all was for an apple, To call my true love to my dance. The first thing which I do relate An apple that he took, Then afterwards baptised I was; Is that God did man create; As clerkes finden The Holy Ghost on me did glance, Then down to hell I took my way The next thing which to you I tell Written in their book. My Father’s voice heard from above, For my true love’s deliverance, Woman was made with man to dwell. To call my true love to my dance, And rose again on the third day Ne had the apple taken been, And we were heirs to endless woes, Sing O my love, O my love. Up to my true love and the dance. The apple taken been, Till God the Lord did interpose; Sing O my love, O my love, Ne had never our lady And so a promise soon did run Into the desert I was led, This have I done for my true love. Abeen heavené queen. Where I fasted without substance; That he would redeem us by his Son. The devil bade me make stones my bread, Then up to heaven I did ascend, Blessed be the time And at that season of the year To have me break my true love’s dance. Where now I dwell in sure substance, That apple taken was, Our blest Redeemer did appear; on the right hand of God, Therefore we moun singen: He here did live, and here did preach, For thirty pence Judas me sold, That man may come into the general dance, Deo gracias! And many thousands he did teach. His covetousness for to advance: Sing O my love, O my love, Words: Anonymous, 15th century ‘Mark whom I kiss, the same do hold!’ This have I done for my true love. Thus he in love to us behaved, The same is he shall lead the dance. To show us how we must be saved This have I done for my true love. Words: Traditional English Carol And if you want to know the way, Be pleased to hear what he did say.

Words: Traditional English Carol

- 12 - - 13 - 5 The cherry tree carol O then bespoke Joseph, Vigilate! to give testimony about the light, Traditional, arr. Stephen Cleobury (b. 1948) ‘I have done Mary wrong; Behold, he cometh with clouds; and every eye and to prepare for the Lord a perfect people. But cheer up, my dearest, shall see him, Joseph was an old man, And be ye not cast down’. And they also which pierced him: Words: John 1 vv. 6–8 And an old man was he, and all kindreds of the earth shall wail because When he wedded Mary Then Mary plucked a cherry, of him. 8 This is the record of John In the land of Galilee. As red as any blood, Orlando Gibbons (1583-1625) Then Mary went she homewards Joseph and Mary walked Vigilate! All with her heavy load. through an orchard good, For the great day This is the record of John, dies magnus when the Jews sent priests and Levites Where was cherries and berries Words: Traditional English Carol So red as any blood. of his wrath is come; and who shall be able to stand? from Jerusalem to ask him, Who art thou? And he confessed, and denied not, 6 Vigilate O then bespoke Mary, Vigilate, nescitis enim quando and said plainly, I am not the Christ. James Long (b. 1987) So meek and O so mild, dominus domus veniat. ‘Pluck me one cherry, Joseph; And they asked him, What art thou then? Vigilate! For I am with child’. Words: Mark 13 & Revelation Art thou Elias? And he said, I am not. For ye know not when the master of the house Art thou the Prophet? O then bespoke Joseph, cometh, 7 Fuit homo missus a Deo And he answered, No. With words most unkind, at even, or at midnight, or at the cockcrowing, Giovanni Pierluigi da Palestrina (c. 1525-1594) ‘Let him pluck thee a cherry gallicantu Then said they unto him, What art thou? That brought thee with child’. or in the morning. Fuit homo missus a Deo, that we may give an answer unto them that sent us. O then bespoke the baby Vigilate! cui nomen erat Joannes. What say’st thou of thyself? And he said, Within his mother’s womb: And I saw heaven opened, and behold a white Hic venit in testimonium, I am the voice of him that crieth in the wilderness, ‘Bow down then the tallest tree horse; ut testimonium perhiberet de lumine, Make straight the way of the Lord. For my mother to have some’. and he that sat upon him was called Faithful et pararet Domino plebem perfectam. Fidelis Words: John 1 vv. 19–23 Then bowed down the highest tree and True There was a man sent from God, Unto his mother’s hand; Verax, whose name was John. Then she cried, ‘See Joseph, and in righteousness he doth judge and make war. This man came as a witness, I have cherries at command’. - 14 - - 15 - 9 The linden tree carol 0 There is no rose Did viewless seraphs rustle all around, e I know a flower Malcolm Archer (b. 1952) John Joubert (b. 1927) Making sweet music out of air as sweet, Francis Jackson (b. 1917) Or his own voice awake him with its sound? There stood in heaven a linden tree, There is no rose of such virtue I know a flower it springeth But though ’twas honeyladen, as is the rose that bare Jesu: Alleluia. Words: Hartley Coleridge (1796-1849) From earth a tender shoot. All angels cried, ‘No bloom shall be As olden prophet singeth, For in this rose contained was w The angel Gabriel from heaven came Like that of one fair maiden’. From Jesse came the root heaven and earth in little space: Res miranda. Basque carol arr. Edgar Pettman (1866-1943) That bore a blossom bright, Sped Gabriel on winged feet, In depth of chilly winter And passed through bolted portals, By that rose we may well see The angel Gabriel from heaven came, About the dead of night. In Nazareth, a Maid to greet, there be one God in persons three: Pares forma. His wings as drifted snow his eyes as flame: Blest over all other mortals. ‘All hail’ said he, ‘thou lowly maiden Mary, Then leave we all this worldly mirth Most highly favoured lady!’ Gloria! This plant with blossom laden, As spake Esay of yore, ‘Hail Mary!’ quoth that angel mild, and follow we this joyous birth: Transeamus. Is Mary, spotless maiden, ‘Of woman-kind the fairest: ‘For know a blessed Mother thou shalt be; Words: Anonymous, 14th century For us this floweret bore; The Virgin ay shalt thou be styled, All generations laud and honour thee: Thy son shall be Emmanuel, by seers foretold. By God’s eternal will A babe although thou bearest’. q The birth of speech Most highly favoured lady!’ Gloria! A seemly babe she childeth, Tim Watts (b. 1979) ‘So be it!’ God’s hand-maiden cried, yet maid remaineth still. ‘According to thy telling.’ Then gentle Mary meekly bowed her head. What was’t awaken’d first the untried ear Whereon the angel smartly hied ‘To me be as it pleaseth God!’ she said. Praise, honour to the Father, Of that sole man who was all human kind? Up homeward to his dwelling. ‘My soul shall laud and magnify his holy name.’ The Son, the Spirit blest; Was it the gladsome welcome of the wind, Most highly favoured lady!’ Gloria! And Mary, God’s own Mother, Stirring the leaves that never yet were sere? This tiding filled his friends with glee: For help we make request; The four mellifluous streams which flow’d so near, ’Twas passed from one to other, Of her Emmanuel, the Christ, was born Beseech thy dearest Son, Their lulling murmurs all in one combin’d? ’Tis Mary, see, and none but she, In Bethlehem all on a Christmas morn, That he would be our refuge The note of bird unnam’d? The startled hind And God will call her Mother. And Christian folk throughout the world will And shrive us, every one. Bursting the brake—in wonder, not in fear, ever say; Words: H. v. Loufenberg’s ‘Geistliche Lieder’, c. 1420 Of her new lord? Or did the holy ground ‘Most highly favoured lady!’ Gloria! Words: Es ist ein’ Ros entsprungen Translated by George Ratcliffe Woodward Translated by George Ratcliffe Woodward (1843-1934) Send forth mysterious melody to greet The gracious pressure of immaculate feet? Words: Sabine Baring-Gould (1834-1924)

- 16 - - 17 - r Glory to the Christ Child t Lux mundi y I sing of a maiden u Tomorrow shall be my dancing day Alan Bullard (b. 1947) Paul Comeau (b. 1958) Ian Shaw (b. 1960) Traditional, arr. David Willcocks (1919-2015)

Glory, glory alleluia to the Christ! Silence of silver stars, cold in their purity, I sing of a maiden Tomorrow shall be my dancing day: Glory, glory alleluia to the Christ Child! Slumber of sleeping souls, heedless of thee, That is makeless, Ian I would my true love did so chance Now thou art come to earth, light of infinity, King of all kings To see the legend of my play, Out of the orient crystal skies Earth brings her candles, to light them from thee. To her son she ches. To call my true love to my dance: A blazing star did shine, Showing the place where sleeping lies Since thou hast borne them, then shine through He came all so still Sing O my love, O my love, my love, my love; A blessed Babe divine. our sorrows. Where his mother was, This have I done for my true love. Preach in our pity and love in our love. As dew in April Glory, glory alleluia to the Christ! Then was I born of a Virgin pure, Save with our sympathy, plead in our worship, That falleth on the grass. Glory, glory alleluia to the Christ Child! Of her I took fleshly substance; Lift up our living to heaven above. He came all so still Thus was I knit to man’s nature, This very star the kings did guide Humble and human, born of a maiden, To his mother’s bower, To call my true love to my dance: Even from the furthest East, Straw of thy crib a gold vesture for God, As dew in April To Bethlehem where it betide Sing O my love, O my love, my love, my love; Children may gaze on thee, wide-eyed and That falleth on the flower. This blessed Babe did rest. This have I done for my true love. wondering, He came all so still Glory, glory alleluia to the Christ! Angels may kiss where thy mother hath trod. In a manger laid and wrapped I was, Where his mother lay, Glory, glory alleluia to the Christ Child! So very poor, this was my chance, O Pearl of Paradise, Mary’s beloved one, As dew in April Betwixt an ox and a silly poor ass, And for the joy of His great birth Stars were created to lead us to thee. That falleth on the spray. To call my true love to my dance: A thousand angels sing: Love hath its crowning, sorrow its meaning, Mother and maiden ‘Glory and peace unto the earth All life its interpreting, Saviour, in thee. Sing O my love, O my love, my love, my love; Was never none but she; Where born is this new King!’ This have I done for my true love. Feed us, thy hungering ones, lighten our loneliness, Well May such a lady Glory, glory alleluia to the Christ! Bread for our being be, strength for our pain; God’s mother be. Tomorrow shall be my dancing day Glory, glory alleluia to the Christ Child! On thy babe bosom lies all this world’s weariness, I would my true love did so chance Words: Anonymous, 15th century This blessed babe divine. And, if it lead to thee, all this world’s gain. To see the legend of my play, To call my true love to my dance: Words: Anonymous, 15th Century Words: ‘Carols and Christmas Rhymes’ by Henry Ernest Hardy (1869-1946)

- 18 - - 19 - Sing O my love, O my love, my love, my love; o Noe, noe THE CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE This have I done for my true love. David Bednall (b. 1979) 2014 Sing, O my love, sing, O my love. Noe, noe. Trebles Counter Tenors: Herbert Howells Resonet in laudibus, cum jucundis plausibus, Words: From part of an old Cornish Poem George Balfour Jack Hawkins Organ Scholar: Sion cum fidelibus apparuit quem genuit Maria. Maximilian Boorman Thomas Lilburn Edward Picton-Turbervill Noe, noe. i The clouded heaven Joel Branston Hamish McLaren Parvulus filius hodie natus est nobis, Judith Bingham (b. 1952) Matthew Brown Alexander Simpson Junior Organ Scholar: Salvator mundi. Oliver Brown Joseph Wicks Be with me Lord and speed me on my way, Cantemus et exultemus et laetumur in eo David Bryson Tenors: Thou who didst speed the way of the wise men dicentes: James Buttery William Ashford Director of Music: By the leading of a star. Gloria in excelsis Deo. Blake Chen Michael Bell Andrew Nethsingha Noe, noe. Jaylen Cheng Benedict Flinn I could not lightly pass through the same gateway, Adam Chillingworth Xavier Hetherington Sleep where they had slept, wake where they wak’d, Noel, noel. Charles Cobb Joseph Wicks I was the Dreamer, they the Dream. Let Zion resound in praises and with joyful acclaim, William Collison together with the faithful, he whom Mary bore has Peter Nethsingha Basses: Be with me Lord and speed me on my way, appeared. Alexander Tomkinson James Adams Thou who didst speed the way of the wise men Noel, noel. Sebastian Wade Quintin Beer By the leading of a star. A tiny son has been born for us today, Samuel Williams Stephen Matthews the saviour of the world. Oliver Morris If Thy presence go not with me, Let us sing, rejoice, and be glad in him, saying: Augustus Perkins Ray Let the stars come out, the clouded heaven. Glory to God in the highest. Theodore Platt Noel, noel. Blot out, O Lord, as a thick cloud of night Our transgressions, and bring us safely home again. Words: Anonymous medieval carol Translated by Colin Spinks (b. 1976) Words: Lancelot Andrewes (1555-1626) and William Wordsworth (1770-1850)

- 20 - - 21 - THE CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE THE CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE 2015 2016

Trebles Counter Tenors: Herbert Howells Trebles Counter Tenors: Assistant Organist: George Balfour Hugh Cutting Organ Scholar: George Balfour 2 Daniel Brown Joseph Wicks * Joel Branston Jack Hawkins Joseph Wicks * Matthew Brown Hugh Cutting 8 Matthew Brown Thomas Lilburn James Buttery Daniel Gethin Herbert Howells Oliver Brown Hamish McLaren Junior Organ Scholar: William Buttery Jack Hawkins 2 Organ Scholar: David Bryson Glen Dempsey Alan Chen Alexander Simpson Glen Dempsey James Buttery Tenors: Blake Chen Alan Chen William Ashford Director of Music: Jaylen Cheng Tenors: Director of Music: Blake Chen Michael Bell Andrew Nethsingha Adam Chillingworth James Beddoe Andrew Nethsingha Jaylen Cheng John Clapham Charles Cobb Michael Bell 2 Adam Chillingworth Benedict Flinn * This organist was playing Lewis Cobb John Clapham * This organist was playing Charles Cobb Gopal Kambo at the service. Alfred Harrison Gopal Kambo at the service. Lewis Cobb James Lewis Louis Watkins Alfred Harrison Basses: Alexander Tomkinson Numbers indicate soloist credits James Lewis James Adams Philip Tomkinson Basses: for each CD track. Alexander Tomkinson Peter Lidbetter Thomas Watkin James Adams 2 Philip Tomkinson Louis Marlowe Matthew Gibson Sebastian Wade Stephen Matthews Simon Grant Samuel Williams Oliver Morris Piers Kennedy Theodore Platt Peter Lidbetter Louis Marlowe Stephen Matthews

- 22 - - 23 - THE CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE The Choir of St John’s College, Cambridge Cantatas liturgically with St John’s Sinfonia, its 2017 is one of the finest collegiate choirs in the period instrument ensemble. This Bach series is world, known and loved by millions from its now entering its second decade. Trebles Counter Tenors: Herbert Howells broadcasts, concert tours and recordings. This is George Balfour Daniel Brown Organ Scholar: the choir’s 99th album to be released. Founded The choir brings the ‘St John’s Sound’ to listeners Matthew Brown Hugh Cutting Glen Dempsey * in the 1670s, the choir is known for its distinctive around the world through its weekly webcasts James Buttery Richard Decker rich, warm sound, its expressive interpretations (available at sjcchoir.co.uk). The choir’s first William Buttery 5 Jack Hawkins Junior Organ Scholar: and its breadth of repertoire. Alongside these video live-stream took place in May 2018 with Alan Chen James Anderson-Besant musical characteristics, the choir is particularly Classic FM on Facebook which was watched Jaylen Cheng Tenors: proud of its happy, relaxed and mutually over 80,000 times during the subsequent Adam Chillingworth Michael Bell Director of Music: supportive atmosphere. The choir is directed fortnight. In addition to regular radio broadcasts Lewis Cobb Benedict Flinn 5 Andrew Nethsingha by Andrew Nethsingha following a long line in this country and abroad, the choir usually Alfred Harrison Gopal Kambo of eminent Directors of Music, recently Dr makes two CD recordings each year. In May Harry L’Estrange Henry Laird * This organist was playing George Guest, Dr Christopher Robinson and 2016 the College launched its new St John’s Toby L’Estrange Louis Watkins at the service. Dr David Hill. Cambridge recording label (in conjunction James Lewis with Signum Classics) on which the choir has Jonathan Mews Basses: Numbers indicate soloist credits The choir is made up of around 20 Choristers released DEO (works by Jonathan Harvey); for each CD track. Ewan Tatnell James Adams and Probationers from St John’s College School Christmas with St John’s; KYRIE (works by Philip Tomkinson James Conway and 15 Choral Scholars who are members of Poulenc, Kodály and Janáček), and Mass in G Thomas Watkin 5 Matthew Gibson St John’s College, its primary purpose being to minor (works by Vaughan Williams). Simon Grant enhance the liturgy and worship at daily services Piers Kennedy in the College Chapel. The choir has a diverse The choir also maintains a busy schedule of William O’Brien James Quilligan repertoire spanning over 500 years of music. It concerts and tours internationally twice a year. is also renowned for championing contemporary Recent destinations have included Denmark, music by commissioning new works, including France, Germany, Hong Kong, Hungary, the recent compositions by Joanna Ward, Lara Netherlands, Singapore and the USA. It also Weaver, Jeremy Thurlow, Daniel Gilchrist, and performs regularly in the UK, with venues the College’s Composer in Residence Michael including Symphony Hall, Birmingham, Royal Finnissy. Each term the choir sings Bach Albert Hall and Royal Festival Hall, London.

- 24 - - 25 - ANDREW NETHSINGHA Concert venues this season include Royal Albert DIRECTOR OF MUSIC Hall, Konzerthaus Berlin, Müpa Budapest, Royal ST JOHN’S COLLEGE, CAMBRIDGE Festival Hall, Singapore Esplanade, Birmingham Symphony Hall and Hong Kong City Hall. Performing in North America, South Africa, the Far East, and throughout Europe, Andrew GLEN DEMPSEY Nethsingha has been Director of Music at St John’s College, Cambridge since 2007. He Born in Suffolk in 1994, Glen’s formative has helped to set up a new recording label, St musical experiences were centred around the John’s Cambridge, in conjunction with Signum. English choral tradition – as a chorister in His first disc on the new label,DEO (music St Mary’s, Bury St Edmunds and later in the by Jonathan Harvey), was a 2017 BBC Music choirs of St Edmundsbury Cathedral. Organ Magazine Award winner. lessons with Michael Nicholas led to his being awarded a scholarship as a répétiteur to study at Andrew Nethsingha was a chorister at Exeter the Purcell School of Music. During this time Cathedral, under his father’s direction. He later Glen performed in all the major concert halls studied at the Royal College of Music, where Beddoe © James of London as a soloist and chamber musician © Louis Marlowe he won seven prizes, and at St John’s College, on the organ and piano, and also conducted at Cambridge. He held Organ Scholarships under War Requiem, Brahms Requiem, Elgar’s The the Wigmore Hall. tenor. During the academic year 2014/15 Christopher Robinson at St George’s Windsor, Dream of Gerontius and The Kingdom, Walton he resided in the Netherlands and was the and George Guest at St John’s, before becoming Belshazzar’s Feast, Poulenc Gloria and Duruflé In 2013 Glen was appointed Organ Scholar Assistant Organist of St Nicholas’s Basilica, Assistant Organist at Wells Cathedral. He was Requiem. He has also worked with: Royal at St George’s Chapel, Windsor Castle. In this Amsterdam. Under the mentorship of subsequently Director of Music at Truro and Philharmonic Orchestra, City of Birmingham role he was responsible for accompanying Michael Hedley, Glen accompanied the Gloucester Cathedrals, and Artistic Director of Symphony Orchestra, London Mozart Players, and directing the choir’s daily services and for majority of the choral services in the the Gloucester Three Choirs Festival. Britten Sinfonia, Orchestra of St Luke’s (New training the choristers, as well as for playing Basilica, as well as having had responsibility York), Aarhus Symfoniorkester, BBC Concert at many events attended by the British Royal for conducting the Basilica’s various choirs Andrew’s concerts conducting the Philharmonia Orchestra. Venues have included the BBC Family. Alongside his organ studies with and ensembles. During this time he studied Orchestra have included: Mahler’s 8th Proms, Amsterdam Concertgebouw, Verbier Ann Elise Smoot he maintained a varied with Jacques van Oortmerssen. Symphony, Beethoven’s 9th Symphony, Britten Festival and Tokyo Suntory Hall. performance profile as organist, conductor and

- 26 - - 27 - Glen became Organ Scholar at St John’s Joseph is a prize-winning Fellow of the Royal College, Cambridge in October 2015, where College of Organists (FRCO) and has given he accompanies the choir in their busy recitals in Westminster Abbey, King’s College schedule of daily services, tours, broadcasts Cambridge, as well as several other Cambridge and recordings, and assists in the training of colleges, municipal halls, and several cathedrals the choristers. Gordon Stewart and Ann Elise and churches across the UK. Smoot have been his organ teachers. Glen’s interest in contemporary music has been In addition, Joseph maintains a freelance career developed through premiering several choir as a singer. A graduate of Genesis Sixteen, the and organ and solo organ works at St John’s; training scheme for young singers run by The by the end of his Scholarship he will have Sixteen and Harry Christophers, Joseph has given the first performances of five new organ sung with groups such as Alamire, Polyphony works by the College’s Composer-in-Residence, and Tenebrae, and is a founding member of The Michael Finnissy. Gesualdo Six, a vocal consort whose debut CD ‘English Motets’ was released to international JOSEPH WICKS acclaim on Hyperion Records.

Joseph Wicks is Assistant Director of Music Prior to this Joseph was Assistant Organist of at Truro Cathedral, a post that he took up in St John’s College, Cambridge, having been September 2017. He is also Musical Director its Herbert Howells Organ Scholar. Whilst at of St Mary’s Singers, the cathedral’s voluntary St John’s, Joseph played the organ for a large choir, sings tenor in The Gesualdo Six and has proportion of the daily services sung by the founded his own chamber choir, The Beaufort College Choir and also accompanied them on Singers. Joseph’s duties at Truro include assisting their busy broadcast, recording and international the Director of Music in the training of the tour schedules. Joseph appears with the choir boy and girl choristers, conducting services and on three other CDs all on the St John’s Cambridge mentoring of the choral and organ scholars, as imprint on Signum Classics, and was also well as playing the world-famous Father Willis Musical Director of The Gentlemen of St John’s organ for the majority of services. with whom he recorded ‘White Christmas’.

- 28 - - 29 - STEPHANIE CHILDRESS ANNE DENHOLM

Stephanie Childress is a violinist and conductor Anne Denholm is one of Britain’s leading from London. Born in May 1999, she started young harpists and in 2015 was appointed playing the piano at the age of five and the violin Official Harpist to HRH The Prince of Wales. at the age of six. She is a graduate of St John’s Anne underwent a British musical upbringing, College (University of Cambridge) where she studying at the Purcell School, Newnham College read Music and was President of the College Cambridge University and the Royal Academy Music Society (SJCMS). of Music (RAM) in London. She received her Master’s from the RAM with distinction, Having joined the National Youth Orchestra studying under Karen Vaughan and graduating of Great Britain in 2013, Stephanie co-led the with the Renata Scheffel-Stein Harp Prize and a orchestra in 2014 and was appointed as Leader Regency Award for notable achievement. Whilst for the 2015 season. at the RAM, she was the first ever harpist to win the historic RAM Club Prize. Anne enjoys In July of 2014, she won the LSO String giving regular solo recitals across the U.K. and © Timothy © Timothy Ellis Academy Candide Award for Outstanding further afield, from music clubs and societies Performance, and in 2015, was a Finalist at the with the leader of the London Philharmonic to international harp festivals. Anne is in Anne freelances with orchestras and choirs across Eastbourne Symphony Orchestra Young Soloist Orchestra, Pieter Schoeman, and plays a 1710 demand as an interpreter and performer of England, most recently working with the City Competition having also received the First prize violin made by Francesco Gobetti. new music; she has been recording and of Birmingham Symphony Orchestra, Northern for under-18. premiering new works for solo harp since Ballet Sinfonia and Sir John Eliot Gardiner’s As a conductor, she is passionate about opera 2006, and in 2013-14 worked with Sally Orchestre Révolutionnaire et Romantique. She She was a finalist in the 2016 and 2018 and has conducted performances of Britten’s Beamish on a video project of her work, has recorded CDs with The Choir of St John’s Strings Category of the BBC Young Musician The Rape of Lucretia and Berkeley’s A Dinner ‘Awuya’. She is a founding member of award- College Cambridge, The Temple Church Competition. In December 2016, she toured Engagement. Other projects have included winning contemporary experimental quartet, Choir and The Carice Singers. Anne is also Germany as the leader of the Balsom Ensemble Beethoven’s Ninth Symphony in St John’s The Hermes Experiment, and has enjoyed Principal Harpist with Ensemble Cymru, a group for trumpeter Alison Balsom. This included a College Chapel and a run of Gilbert and working with Birmingham Contemporary championing chamber music throughout Wales, televised concert for Arte and culminated in a Sullivan’s Ruddigore at West Road Concert Music Group, Spitalfields Musicand Mahogany and a solo harpist with Live Music Now. performance at the Wigmore Hall. She studies Hall in February 2018. Opera Group. www.annedenholm.com

- 30 - - 31 - JULIA HWANG, Violin about ‘The Lark Ascending’ by Ralph Vaughan Williams which was re-broadcast several Julia Hwang gave her professional solo debut times due to popular demand. Her latest CD with the English National Baroque Chamber SUBITO – released on the St John’s Cambridge Orchestra at the age of nine, performing label – was reviewed by Gramophone as Bach's Concerto in A minor. In the same year, displaying a “model of expressive purity”, and she performed for legendary violinist Ivry she was invited to perform on BBC In Tune Gitlis in London and was invited to open the and Classic FM. Proms on the Close for Jose Carreras. She recorded two CDs and performed with the Royal She graduated with the Larmor Award as a Philharmonic Orchestra by the age of twelve. scholar at St John’s College, Cambridge. She started violin at the age of seven with Richard In 2015, she was appointed to be a cultural Crabtree at Clifton College. Having been ambassador for the BRACE Alzheimer’s Research, offered a full scholarship from the Royal along-side broadcasters Jonathan Dimbleby College of Music, she is pursuing postgraduate and Martyn Lewis, and became a Concordia studies with Itzhak Rashkovsky as an Ian Foundation Artist in the following year. Notable Evans Lombe Scholar. She is the winner of charity performances have included performing the Senior Award of the Hattori Foundation, at the 2012 Violins of Hope music festival in and is supported by the Drake Calleja Trust North Carolina, USA, with Shlomo Mintz; a and the Countess of Munster Musical Trust. collaboration in Israel with Vadim Gluzman; concerts for The Prince’s Trust with Julian She plays on a Peter Guarnerius of Mantua Lloyd-Webber; and further concerts to raise violin c.1698, on generous loan from the money for, among others, NSPCC and Alderson Trust. MacMillan Cancer Relief. © Estro Studios © Estro For more information, please visit: Julia has regularly appeared on live television www.juliahwang.com and radio through the BBC and ITV, and, in 2012, she performed in a BBC4 documentary

- 32 - - 33 - Recorded live in St John’s College Chapel, Cambridge, UK on the following dates: Sunday 30th November 2014, Sunday 29th November 2015, Sunday 27th November 2016, Sunday 26th November 2017

We are grateful to the BBC for permission to use their broadcast recordings of BBC Radio 3 Choral Evensong for this album Acknowledgements BBC Producers – Clair Jaquiss (2014), Stephen Shipley (2015/2016/2017) BBC Recording Engineers – Steve Richards (2014/2015), Andrew Lenton (2016/2017) Publishers Remastering – Simon Gibson All Oxford University Press except Project Manager – James Beddoe Britten (Boosey and Hawkes) Cover Image – © Tim UR/Shutterstock.com, edited by Premm Design Burton (Edition Peters) Cover suggestion – Daniel Brown Bingham (Maecenas Music) Design and Artwork – Woven Design www.wovendesign.co.uk Joubert (Novello) Jackson (Paraclete Press) Comeau; Long; arr. Pettman; Shaw (both pieces); The BBC word mark and logo is a trade mark of the British Broadcasting Corporation and is used under license from arr. Vaughan Williams; Watts (unpublished) BBC Worldwide. BBC logo © BBC 1996

P 2018 The copyright in this sound recording is owned by the BBC. © 2018 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

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

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