ANTHEM For choral singers, the 22-bar introduction to A simpler musical language is used in GREAT BRITISH HYMNS & CHORAL WORKS Handel’s anthem Zadok the Priest is one of ’s setting of the Eucharistic the most tinglingly expectant in the repertoire, hymn Ave verum corpus. Sweetly invocatory, 1 Zadok the Priest, HWV 258 George Frideric Handel (1685-1759) [5.19] as the music’s stately flow builds through a even sentimental in places, Elgar’s music is with brass ensemble and timpani gradual crescendo to the explosive vocal entry. technically uncomplicated, partly because at 2 And I Saw a New Heaven Edgar Bainton (1880-1956) [5.18] The text, when it finally arrives, announces the time he wrote it he was organist at St. 3 Ave, verum corpus, Op. 2 No. 1 Edward Elgar (1857-1934) [3.17] the joyful anointing of the Old Testament George’s Catholic Church, Worcester, where 4 O How Amiable (1872-1958) [3.57] King Solomon, to whom God granted “a wise his father occupied the same post before him. 5 Jubilate Deo in C Benjamin Britten (1913-1976) [2.38] and understanding heart”. Another crowning The challenge for Elgar was to compose a piece ceremony, that of King George II in 1727, was which a non-specialist choir could sing fairly 6 The Old Hundredth Psalm Tune Ralph Vaughan Williams, arr. R. Douglas [4.47] with brass ensemble and timpani the occasion for which Handel’s Zadok the easily, without dumbing down its spiritual Priest was written. Its splendid evocation of content. Ave verum corpus fills that remit 7 My Soul, There is a Country Charles Hubert Hastings Parry (1848-1918) [3.55] regal majesty made the anthem instantly admirably, and remains a staple of the church From Songs of Farewell popular, and it has been heard at every English choir diet. 8 Give Unto the Lord, Op. 74 Edward Elgar [8.21] coronation since. 9 Psalm 148, H117 No. 2 (1874-1934) [4.51] Simplicity is also a keynote in Vaughan 0 God So Loved the World John Stainer (1840-1901) [4.13] Earthly pomp and circumstance are left behind Williams’s O how amiable, and again the From The Crucifixion in the English Edgar Bainton’s And reason is the circumstances in which it was q James MacMillan (b. 1959) [5.40] A New Song I saw a new heaven. Here the composer sets composed. In 1934 the novelist E.M. Forster w God is Gone Up, Op. 27 No. 2 Gerald Finzi (1901-1956) [4.43] four verses from the Book of Revelation, in wrote “The Abinger Pageant”, a play about e Seek Him that Maketh the Seven Stars Jonathan Dove (b. 1959) [6.40] which “a new earth” is imagined where God the history of , performed to aid r I Was Glad Charles Hubert Hastings Parry [5.21] dwells with His people. Bainton’s setting preservation work at a church near where he with brass ensemble and timpani employs the soothing, gently swelling harmonies lived in Surrey. Vaughan Williams’s anthem was Murray Greig, Thomas Osborne & David Hooper – Trumpet Mark Wagstaff – Timpani of a late romantic idiom to conjure the ecstatic written to be sung by amateur performers as vision of this new world order, where “there part of the festivities, and the mainly unison Total timings: [69.05] shall be no more death, neither sorrow, nor writing reflects this. It also emphasizes the HUDDERsFIELD CHORAL SOCIETY crying, for the former things are passed away”. communal nature of the pageant experience, as THOMAS TROTTER ORGAN does the addition of a verse from the famous hymn AIDAN OLIVER CONDUCTOR “O God our help in ages past” at the conclusion.

www.signumrecords.com - 3 - The “courts of the Lord” are also mentioned in Hubert Parry’s My soul, there is a country, by There is ingenuity too in Gustav Holst’s Psalm The organ returns in A New Song by the Benjamin Britten’s Jubilate Deo, but Britten’s contrast, examines the situation of the individual 148, written when he was director of music contemporary Scottish composer James celebration of the refuge and protection provided believer approaching the conclusion of life’s at the newly founded St. Paul’s Girls’ School, MacMillan, not merely to “accompany” the by Christian belief is markedly more extroverted journey. One of six motets collectively entitled . From a simple unison statement of singers, but as a major player in the developing than in Vaughan Williams’s Abinger setting. “Songs of Farewell”, Parry completed My soul the familiar hymn tune he uses to match the narrative of MacMillan’s setting. Its swirling, The swirling organ line and vaulting vocal parts as his health declined, and the outbreak of adapted biblical text, Holst sets the “Alleluia” vertiginous patterns set the “new song” of the suggest exhilaration and fervour, although the World War One was causing his mood to echoing around the voice parts, like a band of psalmist into motion at the unison invocation sudden hush that descends at the words “world darken. In these gloomy circumstances it is the angels in friendly imitation. Two unaccompanied of the singers. The “song” itself echoes without end” brings sudden introspection, and a steadfast optimism of Parry’s setting of lines verses follow, for upper and lower voices clamorously through the choir, whose skirling reminder of the deep, unfathomable mysteries by the seventeenth century poet Henry Vaughan respectively, before the echo patterns return vocal roulades act as an exuberant symbol underlying God’s creation. which is most striking. Here is no fearfulness, in a pealing final stanza, and a ringing coda of the salvation offered daily to the Christian or supine capitulation: God is “thy life, thy where at one point Holst divides the vocal believer. But the organ, imperious and That Vaughan Williams was also capable of cure”, the poet says, and Parry responds with part-writing into seven. forbidding, has the final word, in a coda where extroversion and raw excitement is evident in clarion confidence at the work’s conclusion. the righteous, truth-telling judgment awaiting The Old Hundredth Psalm Tune (“All people that This keynote Christian tenet - that eternal life all humanity is clearly adumbrated. on earth do dwell”), his arrangement of the A confident, muscular style of Christianity also and peace are available to all believers - is famous sixteenth century hymn melody, with animates Give unto the Lord, Edward Elgar’s summarised in two famous verses from the From prayer to praise and celebration: Gerald words from Psalm 100 in the Scottish clergyman setting of Psalm 29. When Elgar wrote it in 1914 Gospel of John, set by John Stainer in his Finzi’s God is gone up sweeps from the starting William Kethe’s translation. First heard at the he was already a vastly experienced composer, perennially popular oratorio The Crucifixion. blocks in an elated fashion, primed by the reed coronation of Her Majesty Queen Elizabeth II, and he revels in the opportunities the text affords God so loved the world is placed by Stainer stops of the organ lustily imitating the “sounding Vaughan Williams’s arrangement provided a him for vivid characterisation and detailed word- at the heart of his seventy-minute meditation trumpets’ melodies” referred to in the poem by rousing context in which to set the mass of painting. The dashing organ skirl as the Lord’s on Christ’s Passion, and acts as a still point Edward Taylor, an Englishman who emigrated congregational voices which filled the vast voice moves on the waters, the hammering of reflection on the theological significance to America in 1668, working as a pastor and interiors of Westminster Abbey at the 1953 sforzandos on the word “thundereth”, the choppy of the bloody suffering involved in death on physician. A contrasting, quieter middle section service. The peal of trumpets and clash of accents at “breaketh the cedars” - these are the cross. Befitting the solemnity of the follows, where lighter textures evoke “heaven’s timpani in the outer movements are particularly just some examples of the compositional moment, Stainer’s music is marked to be sung sparkling courtiers” attending the ascended stirring, summoning images of a colourful virtuosity that pepper this ebullient piece of writing. softly, and the organ accompaniment used Christ, before the opening music returns, state ceremony, and emphasizing the perennial elsewhere in the work is silent. climaxing in resplendent six-part harmony on certainties of a faith which, in the words of the word “glory”. the psalmist, “shall from age to age endure”. - 4 - - 5 - The ability of the organ to evoke a wide variety TEXTS Their God; Cleanse us, by the blood and water of moods and settings is evident again in Seek And God shall wipe away all tears from their eyes, Streaming from Thy pierced Side; him that maketh the seven stars, a setting of 1 Zadok the Priest, HWV 258 And there shall be no more death neither sorrow Feed us with Thy Body broken, verses from the Book of Amos and Psalm 139 George Frideric Handel (1685-1759) Nor crying, Now, and in death’s agony. by the contemporary English composer Jonathan Neither shall there be any more pain, Dove. Before the voices enter, as Dove describes Zadok, the Priest, and Nathan, the Prophet, For the former things are passed away. Oh gentle, Oh pious it, “the anthem begins with a musical image Anointed Solomon King; Oh sweet Jesus, Son of Mary. Text: Revelation to John 21:1-4 of the night sky, a repeated organ motif of And all the people rejoic’d, and said: Text: c.14th Century prayer twinkling stars that sets the choir wondering God save the King, long live the King, 3 Ave, verum corpus, Op. 2 No. 1 who made them”. The repeated “seek him” May the King live for ever! Edward Elgar (1857-1934) 4 O How Amiable mantra is answered in a blaze of affirmation at Amen! Alleluja! Ralph Vaughan Williams (1872-1958) “Alleluia”, as the shining brilliance of the Text: 1 Kings 1:38–40 Ave, verum corpus, creator-spirit illuminates all around it. Natum ex Maria Virgine, O how amiable are thy dwellings, Thou Lord of hosts! 2 And I Saw a New Heaven Vere passum, immolatum And, finally, full circle to another coronation, My soul hath a desire and longing Edgar Bainton (1880-1956) In cruce pro homine. that of King Edward VII in 1902. For that To enter into the courts of the Lord. ceremony Hubert Parry turned to Psalm 122, Cujus latus perforatum My heart and my flesh rejoice in the living God. And I saw a new heaven and a new earth; with its inspirational vision of Jerusalem, Vero fluxit sanguine; Yea, the sparrow hath found her an house For the first heaven and first earth city of God, where “peace and plenteousness” Esto nobis prægustatum, And the swallow a nest Were passed away, await the righteous. Parry’s setting is widely Mortis in examine. Where she may lay her young: And there was no more sea. acknowledged as one of the greatest anthems Even thy altars, O Lord of hosts, And I John saw the holy city, new Jerusalem of its type ever written. Its rock-solid sense of O Clemens, O pie, My King, and my God. Coming down from God out of heaven, faith and certainty is reflected in music of O dulcis Jesu, Fili Mariæ. Blessed are they that dwell in thy house. Prepared as a bride adorned for her husband; immense nobility, hewn from moral granite, They will be alway praising thee. And I heard a great voice out of heaven, saying: and still possessing the ability to inspire Jesu, Word of God incarnate, The glorious majesty of the Lord our God ‘Behold, the tabernacle of God is with men, and reassure the listener more than a century Of the Virgin Mary born, Be upon us; And he will dwell with them and they shall be after it was written. On the Cross Thy sacred Body Prosper thou the work of our hands upon us. His people; For us men with nails was torn. © 2016, Terry Blain O prosper thou our handiwork. And God himself shall be with them and be O God, our help in ages past,

- 6 - - 7 - Our hope for years to come, 6 The Old Hundredth Psalm Tune 7 My Soul, There is a Country 8 Give Unto the Lord, Op. 74 Our shelter from the stormy blast, Ralph Vaughan Williams, arr. R. Douglas Charles Hubert Hastings Parry (1848-1918) Edward Elgar And our eternal home.

All people that on earth do dwell, My soul, there is a country, Give unto the Lord, O ye mighty, Text: Psalms 84 & 90 Sing to the Lord with cheerful voice: Far beyond the stars, Give unto the Lord glory and strength

Him serve with fear, his praise forth tell, Where stands a wingèd sentry, Give unto the Lord the glory due unto His name; 5 Jubilate Deo in C Come ye before him and rejoice. All skillful in the wars. Worship the Lord in the beauty of holiness, Benjamin Britten (1913-1976) The voice of the Lord is upon the waters: The Lord, ye know, is God indeed; There, above noise and danger, The God of glory thundereth, O be joyful in the Lord, all ye lands: Without our aid he did us make: Sweet Peace sits crowned with smiles, It is the Lord that ruleth the sea, Serve the Lord with gladness, We are his folk, he doth us feed, And One born in a manger The voice of the Lord is mighty in operation: And come before His presence with a song. And for his sheep he doth us take. Commands the beauteous files. The voice of the Lord is full of majesty; Be ye sure that the Lord he is God; The voice of the Lord breaketh the cedars. It is he that hath made us, O enter then his gates with praise, He is thy gracious Friend Yea, the voice of the Lord breaketh And not we ourselves; Approach with joy his courts unto; And (O my soul, awake!) the cedars of Lebanon We are his people, and the sheep of his pasture. Praise, laud, and bless his Name always, Did in pure love descend, Yea, the voice of the Lord divideth O go your way into his gates with thanksgiving, For it is seemly so to do. To die here for thy sake. the flames of fire; And into his courts with praise; Yea, the voice of the Lord shaketh the wilderness, Be thankful unto him, and speak good of his Name. For why? the Lord our God is good, If thou canst get but thither, And Strippeth the forests bare, For the Lord is gracious, his mercy is everlasting; His mercy is for ever sure; There grows the flower of peace, In His temple doth ev’ryone speak of His glory And his truth endureth from generation to generation. His truth at all times firmly stood, The rose that cannot wither, Worship the Lord in the beauty of holiness. Glory be to the Father, and to the Son, And shall from age to age endure. Thy fortress, and thy ease. The Lord sitteth above the water-flood: And to the Holy Ghost. And the Lord remaineth a King forever; As it was in the beginning, is now and ever shall be: To Father, Son, and Holy Ghost, Leave, then, thy foolish ranges; The Lord shall give strength unto His people; World without end, Amen. The God whom heaven and earth adore, For none can thee secure The Lord shall give the blessing of peace. From men and from the angel host But One, who never changes, Text: Psalm 100 Be praise and glory evermore. Amen. Thy God, thy Life, thy Cure. Text: Psalm 29 Text: W. Kethe, after Daye’s Psalter, 1560-1 Text: Henry Vaughan (1621-1695)

- 8 - - 9 - 9 Psalm 148, H117 No. 2 0 God So Loved the World w God is Gone Up, Op. 27 No. 2 r I Was Glad Gustav Holst (1874-1934) John Stainer (1840-1901) Gerald Finzi (1901-1956) Charles Hubert Hastings Parry

Lord, Who hast made us for thine own, God so loved the world, that He gave God is gone up with a triumphant shout: I was glad when they said unto me, Hear as we sing before Thy throne. His only begotten Son, The Lord with sounding trumpets’ melodies: We will go into the house of the Lord. Alleluia. that whoso believeth in Him should not perish, Sing praise, sing praise, sing praise, sing Our feet shall stand in thy gates, O Jerusalem. Accept Thy children’s rev’rent praise but have everlasting life. praises out, Jerusalem is builded as a city, that is at unity in itself. For God sent not His Son into the world Unto our King sing praise seraphic-wise! For all Thy wondrous works and ways. O pray for the peace of Jerusalem, Alleluia. To condemn the world; Lift up your heads, ye lasting doors, they sing, but that the world through Him might be saved. And let the King of Glory enter in. they shall prosper that love thee. Waves, rolling in on ev’ry shore, Peace be within thy walls, Text: Revd. William J. Sparrow-Simpson (1859-1952) Methinks I see Heaven’s sparkling courtiers fly and plenteousness within thy palaces. Pause at His footfall and adore. Alleluia. In flakes of glory down, him to attend, q Text: Psalm 122:1-3, 6, 7 Ye torrents rushing from the hills, A New Song And hear heart-cramping notes of melody Bless Him Whose hand your fountains fills. James MacMillan (b. 1959) Surround his chariot as it did ascend: Mixing their music, making ev’ry string Alleluia. O sing unto the Lord a new song, More to enravish, as they this tune sing. Earth, ever through the pow’r divine, Sing unto the Lord all the whole earth. Seedtime and harvest shall be thine. Sing unto the Lord and praise His Name, Text: Edward Taylor (1646-1729) Alleluia. Be telling of His salvation from day to day. e Sweet flow’rs that perfume all the air, For He cometh to judge the earth, Seek Him that Maketh the Seven Stars Thank Him that He hath made you fair. And with righteousness to judge the world Jonathan Dove (b. 1959) And the people with His truth. Alleluia. Seek Him that Maketh the Seven Stars and Orion Burn lamps of night, with constant flame, Text: Psalm 96: 1, 2, 13 And turneth the shadow of death into the morning. Shine to the honour of His name. Alleluia, yea, the darkness shineth as the day, Alleluia. the night is light about me. Amen. Thou sun, whom all the lands obey, Renew his praise from day to day. Text: Amos 5:8; Psalm 139 Alleluia.

Text: Psalm 148 - 10 - - 11 - HUDDERSFIELD CHORAL SOCIETY

Lorna Aitken Lucy Pople Eileen Sheller David Burgess Louise Alp Carol Randerson Pam Sykes Mike Corney Margaret Atkinson Jane Sargent Fiona Tewson Jim Cowell Susan Baines Cathy Shaida Lettice Thomson Martyn Crossley Lydia Bayliss Nan Steinitz Jenni Wohlman Ian Daniel Jovenia Beevers Debbie Stephens Catherine Wren John Harman Patricia Berry Marilyn Sutcliffe Michael Benn David Hartley Janet Booth Sarah Wickham Stephen Brook Daniel Hegarty Elizabeth Boyle Sue Wilde David Croft Keith Horner Dorothy Bradbury Denise Wilkes Chris Fawcett Garry Hume Christine Broadbent Glynis Wilkinson Graham Fearnley Christopher Kneale Colleen Brown Jane Williamson Jeremy Garside Andrew Marsland Mary Cadwaladr Thelma Bateman Bernard Greaves Barrie Mortimer Gemma Collins Ruth Bostock Malcolm Hinchliffe Angus Pogson Sue Colven Ann Boswell Martin Kettlewell Geoffrey Priestley Gwyneth Cooper Barbara Brook Timothy Lewis David Robinson Sue Ellis Rowena Burton Geoff Nemec Howard Sandford Since its foundation in 1836, Huddersfield Choral has had numerous commissions, including works Julia Harvey Margaret Collison Arthur Quarmby Graham Smelt Society has developed an international reputation by Ralph Vaughan Williams, and Hilary Hibbin Gaynor Haliday Gerald Savage Neil Stones under a succession of distinguished conductors John Pickard. Caroline Jones Richard Hallas Philip Shergold Mark Taylor and chorusmasters. Its special quality is the Helen Kettlewell Sue Hornby Alan Stephens Richard Thompson unique ‘Huddersfield Sound’ – a thrilling, full- The Society promotes its own concert series in Elaine Lee Susan Kirby David Ward Conrad Winterburn bodied tone, flexible enough for both the most Huddersfield Town Hall, its home since 1881. Naomi Longhurst Poppy Martin Michael Widdall shattering climaxes and for the softest yet The choir also visits other major concert halls Margaret Mallaband Hilary McLean Tim Wilkes most focussed pianissimos. in the UK and abroad, regularly broadcasts Cath Murgatroyd Elizabeth Mortimer Richard Ainley for radio and television, and has a history Megan Nelson Judith Pennington Christopher Arnold Over the years the choir has performed nearly of pioneering recordings. Recent performances Jean Parker Susan Sandford James Beattie all the major works in the choral repertoire and include: Verdi Requiem, Mendelssohn Elijah and

- 12 - - 13 - MacMillan Seven Last Words from the Cross THOMAS TROTTER Chailly, Valery Gergiev, Sir Charles Mackerras as well as world and UK premières including and, amongst many others, succeeding Agamemnon’s Tomb (John Pickard) and Thomas Trotter is one of Britain’s most widely generation’s Jukka-Pekka Saraste, Sakari Oramo, Messages (Jonathan Harvey). In recent years admired musicians. He has maintained a special Edward Gardner, Francois-Xavier Roth, Petri the choir has travelled to France, Japan, the relationship with the City of Birmingham in Sakari, Andris Nelsons and Thomas Sondergaard. Czech Republic as well as to festivals in the England since he was appointed City Organist UK from Buxton to Orkney. in 1983 – after Sir George Thalben-Ball – based He appears at the festivals of Salzburg, Berlin, at the city’s renovated historic Town Hall as Vienna, Edinburgh and London’s BBC Proms. The Society recognises the importance of well as Resident Organist of the magnificent He performs with leading orchestras such as nurturing singers of the future. Its Youth Choirs Klais organ in Symphony Hall. He is also the Vienna Philharmonic, Berlin Philharmonic, have recently celebrated their 30th anniversary Organist at St. Margaret’s Church, Westminster London Philharmonic, Philharmonia Orchestra and anticipate an exciting future under their Abbey, in London and Visiting Fellow in Organ and Royal Philharmonic orchestras. Alongside new, award winning Director, Alison North. Studies at the Royal Northern College of his regular recitals in Birmingham, Thomas Music. Earlier in his career he was organ Trotter performs throughout the USA and Europe. The choir looks forward to an exciting future scholar at King’s College, Cambridge, and he following the appointment of Choral Director later continued his studies with Marie-Claire He became an extensive recording artist for Gregory Batsleer with continuing input from Alain in Paris where he took the Prix de Decca in 1989. His most recent recordings – Elgar Music Director Martyn Brabbins. In 2017 the Virtuosité in her class. at Salisbury Cathedral, organ transcriptions choir will travel to Canada to perform with from the newly restored Birmingham Town Hall, the Toronto Symphony Orchestra under the baton Thomas Trotter has been awarded the Royal a collection ranging from Handel through to of Sir Andrew Davis. Other events include the Philharmonic Society’s prestigious Instrumentalist Litaize on the new Mander organ at St Giles return of former Principal Conductor, Jane Award in recognition of his particular achievements Cripplegate, Grand Organ Prom on the renovated Glover, for her 100th Messiah, and a visit as “one of the foremost exponents of the organ at the Royal Albert Hall and The Town Hall to Cheltenham Festival to perform Vaughan organist’s art”, International Performer of the Tradition from Birmingham Town Hall all appear Williams Sea Symphony. Year Award for 2012 by the New York City on the Regent label. Of his many other CDs he Chapter of the American Guild of Organists and, received a Grand Prix du Disque for his recording in 2016, the Royal College of Organists Medal. of music by Liszt. He has performed as soloist with conductors Sir Simon Rattle, Bernard Haitink, Riccardo

- 14 - - 15 - AIDAN OLIVER

Aidan Oliver pursues a diverse career at the heart of London’s musical life, working as conductor, chorus master and music staff with organisations including the Philharmonia Orchestra, the Royal Opera House, and Westminster Abbey. One of the UK’s most experienced chorus masters, he works across the full range of church, symphonic and operatic music at the highest levels.

He is the founder and director of Philharmonia Voices, a professional chorus which collaborates with the Philharmonia Orchestra on many of its most high-profile projects. Working particularly closely with the orchestra’s Principal Conductor, Esa-Pekka Salonen, Aidan has also collaborated with conductors including Ashkenazy, Maazel, Schiff, Dohnányi and John Wilson. The choir Abbey, where the organist is Thomas Trotter and made its Proms debut in 2015. services include many high-profile occasions connected with Parliament. For the Royal Opera House, Covent Garden Aidan has worked on the music staff of Aidan Oliver began his musical career as numerous productions, while for English National a chorister at Westminster Cathedral, later Opera he has acted as guest chorus master studying at Eton College and at King’s College for productions including Beethoven Fidelio, Cambridge. After graduating with a double Britten Peter Grimes and Wagner Twilight of the First in Classics, he pursued further studies at Gods. Since 2003 he has been Director of Harvard University (as a Kennedy Scholar), the Music at St Margaret’s Church, Westminster National Opera Studio and King’s College London.

- 16 - - 17 - Huddersfield Choral Society would like to thank the following Sponsors

Zadok the Priest, HWV 258 Betty Webb God So Loved the World Janet & Tony Booth Jane Sargent David & Margaret Hartley “With thanks for a lifetime of Choral singing” And I Saw a New Heaven Adrian & Elaine Lee A New Song Mrs. Ann Collier & Miss Kate Hyland-Collier Ave, verum corpus Jayne Preston & Diane Parker Denise Wilkes & Graham Bennett “In memory of “In memory of Sandy Cole, Past Donald Wilkes & Edward Bennett” President and a loyal friend” God is Gone Up David Burgess & Jim Cowell “In memory of Ronald O How Amiable Donald & Cynthia Haywood Smith of North Wales”

Jubilate Deo in C M. A. Taylor Seek Him that Maketh the Seven Stars Margaret Atkinson Mrs. Edith Kershaw “For Tom, James & Joe” Mrs. M. E. Lloyd

The Old Hundredth Psalm Tune David & Carol Armitage I Was Glad Jeremy & Jane Garside Helen Marshall “For my soulmate, David Moore” Jean Parker “In memory of Andrea Crawshaw & Sheila Garside” My Soul, There is a Country Laurance & Marilyn Roobottom “If music be the food of love play on”

Give Unto the Lord Dr. Geoffrey Hallas Judith & Barrie Williams “In memory of Anne Plackett”

Psalm 148 George & Nancy Slater David & Jenny Lockwood “Remembering Choir member Martin Jenkins”

- 18 - - 19 - OTHER SPONSORS

2 donors who wish to remain annonymous Mrs. Dorothy W. Thornton Bob & Jane Armitage M. Thornton Mr. & Mrs. Keith Barraclough Mrs. A. D. C. Turnbull Richard Barraclough Carole Wood David G. Bower Roger & Liz Wood Mrs. P. E. Broadbent Margaret Woodhead John & Beryl Brown Margaret Collison Elizabeth Crowther Norman Eastwood Mrs. M. D. Green John & Sue Harman Mary & Brian Hickling The Family of Martin C. Jenkins Liz & John Jenkinson Mr. & Mrs. J. S. T. Jessop We’re playing our part in our work Susan Kirby, remembering William Kirby Mrs. Angela M Morton and in our community Prof. & Mrs. R. G. Munro We’re playing our part towards a sustainable future by helping farmers grow the Mr. & Mrs. E. J. N. Pratt crops we need to feed our planet. Our skilled people make the crop protection Geoff & Mavis Priestley technologies that give farmers worldwide the best possible yields they can get CELEBRATING Gwen & Andrew Schofield by fighting weeds, pests and disease. Tony & Jacky Scott Our work in Huddersfield contributes to the availability of affordable, good quality Mr. & Mrs. A. E. Smith food and provides choice. We are making an important contribution, providing Jean & David Smith skilled jobs, training apprentices and supporting valued community events. Ralph Sutcliffe YEARS We are supporting our community and are proud to be part of it. OF MANUFACTURING IN Mr. J. Gordon Sykes HUDDERSFIELD www.syngenta.co.uk 1916 - 2016 - 20 - Recorded in Rochdale Town Hall, Rochdale, UK from 3rd to 5th June 2016. Producer and Editor – Tim Oldham Recording Engineer – Mike Hatch

Cover Image – Shutterstock. A view of the West Yorkshire countryside. Design and Artwork – Woven Design www.wovendesign.co.uk

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- 22 - - 23 - ALSO AVAILABLE on signumclassics

The Hymns Album John Stainer: The Crucifixion Huddersfield Choral Society Huddersfield Choral Society Darius Battiwalla, Joseph Cullen Andrew Kennedy, Neal Davies SIGCD079 Darius Battiwalla, Joseph Cullen SIGCD176

Featuring some of the nation’s most loved hymns sung by the “This style of performance by the Huddersfield Choral Society grand forces of the Huddersfield Choral Society, this collection under Joseph Cullen’s highly sensitive direction provides a vital attempts to cover an unaffected, pure lyricism through to a instance of how The Crucifixion was conceived – that is, to be vast, full-throated sound that might shake the rafters of the sung with romantic, emotional conviction, by a choir that revels sturdiest church. in the sound of rich, chromatic harmony.” Gramophone

“… this is an excellent recording – wholeheartedly recommended.” Classic FM

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD465 BLACK Job Title: Anthem

SIGNUM CLASSICS SIGCD465

ANTHEM GREAT BRITISH HYMNS & CHORAL WORKS

1 , HWV 258 George Frideric Handel [5.19]

Zadok the Priest ANTHEM 2 And I Saw a New Heaven Edgar Bainton [5.18] 3 Ave, verum corpus, Op. 2 No. 1 Edward Elgar [3.17] 4 O How Amiable Ralph Vaughan Williams [3.57] 5 Jubilate Deo in C Benjamin Britten [2.38]

6 The Old Hundredth Psalm Tune Ralph Vaughan Williams, arr. R. Douglas [4.47] SOCIETY CHORAL HUDDERSFIELD 7 My Soul, There is a Country Charles Hubert Hastings Parry [3.55] 8 Give Unto the Lord, Op. 74 Edward Elgar [8.21] 9 Psalm 148, H117 No. 2 Gustav Holst [4.51] 0 God So Loved the World John Stainer [4.13] q A New Song James MacMillan [5.40] w God is Gone Up, Op. 27 No. 2 Gerald Finzi [4.43]

HUDDERSFIELD CHORAL SOCIETY e Seek Him that Maketh the Seven Stars Jonathan Dove [6.40] r I Was Glad Charles Hubert Hastings Parry [5.21]

Total timings: [69.05] ANTHEM HUDDERJFIELD CHORAL SOCIETY

THOMAS TROTTER ORGAN AIDAN OLIVER CONDUCTOR

LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD465

CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2017 Signum Records DDD SIGCD465 © 2017 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 04652 4 SIGNUM