John Ward Fantasies & Verse Anthems

Phantasm Choir of Magdalen College, Oxford John Ward (c.1589–1638) Fantasies & Verse Anthems

1. Fantasia 2 a4 (VDGS 22) 2:13 2. Praise the Lord, O my soul 8:17 3. Fantasia 5 a4 (VDGS 25) 2:49 4. Mount up, my soul 7:04 5. Fantasia 1 a4 (VDGS 21) 2:53 6. Down, caitiff wretch (Part 1) 5:40 7. Prayer is an endless chain (Part 2) 5:27 8. Fantasia 3 a4 (VDGS 23) 2:25 9. How long wilt thou forget me, O Lord 4:51 10. Fantasia 4 a4 (VDGS 24) 3:11 11. Let God arise 6:13 12. Fantasia 6 a4 (VDGS 26) 2:53 13. This is a joyful, happy holy day 5:50

Total Running Time: 60 minutes

2 Phantasm

Laurence Dreyfus Recorded in the director and treble Chapel of Magdalen College, Oxford, UK, 6–9 May 2013 Emilia Benjamin Produced by treble and tenor Philip Hobbs (fantasies) and Jonathan Manson Adrian Peacock (anthems) tenor viol Engineered by Mikko Perkola Philip Hobbs bass viol Post-production by Julia Thomas with guests Cover image Emily Ashton Henry Frederick, Prince of Wales tenor and bass viols With permission from the President and Fellows of Magdalen College, Oxford Christopher Terepin tenor viol Design by gmtoucari.com Choir of Magdalen College, Oxford directed by Daniel Hyde

3 Fantasies a4 & Verse Anthems

In his ambitious and accomplished music for voices and viols, John Ward (c.1589–1638) offers a privileged glimpse of a special moment in English music history. Composed perhaps during the years 1609–16, these verse anthems and viol fantasies were penned by a young ‘gentleman’ composer attached to the household of a highly cultivated Italianophile, Sir Henry Fanshawe of Warwick Lane, London and Ware Hall, Hertfordshire. Fanshawe was an avid collector of musical instruments and works of art, an aristocrat linked (through his position as Remembrancer of the Exchequer) to the most aspirational and culturally alert member of the British royal family, the young Henry Frederick Stuart (1593–1612), Prince of Wales. Ward came to the Fanshawe family in 1607 after serving as a chorister at Canterbury Cathedral before being admitted to its grammar school. Not only were consorts of viols cultivated in the prince’s entourage, but verse anthems – an inspired fusion of the polyphonic liturgical anthem, the anglicized Italian madrigal style and the native viol fantasy – were especially connected to the prince’s musical establishment. Had Prince Henry not died suddenly at the age of 18 in 1612, Fanshawe (it was later reported) would have succeeded to high office in the royal court, perhaps with John Ward in tow. Rejecting the fastidious and ever-changing vagaries of French fashion, he led his own lustrous court, complete with a separate musical entourage of leading composers, including Thomas Ford, John Bull, Robert Johnson and Thomas Lupo; the prince was even reputed to have been taught the viol by Alfonso Ferrabosco II. According to a posthumous memoir from 1634 by William Haydon, a former Groom of the Bedchamber, Henry especially ‘loved Musicke, and namely good consorts of Instruments and voices joined together’.

4 How striking, then, that this fondness is recorded in Ward’s anthem This is a joyful, happy holy day, composed most likely for the lavish Whitehall entertainments celebrating Henry’s investiture in 1610 as Prince of Wales1. On this festive day, all are invited ‘to sing in consort with sweet harmony of instruments and voices’ melody’. In its mention of a ‘consort’ and the combination of ‘instruments and voices’ the text alludes to its own setting. Listening to the ever-shifting kaleidoscope of textures in these anthems, one hears in each section how the viols foreshadow the sung melodies that introduce highlighted vocal solos in a serious and Italianesque madrigal style, full of generous word-painting. Finally the chorus enters, doubled by the consorts of viols, the assembled unity confirming and elaborating both text and melody. The mention of musical harmony in the context of Henry’s investiture as Prince of Wales might seem just a banal metaphor, but the documentary evidence suggests a tremendous expectation attached to Henry’s future: that view is retrospectively confirmed by the extraordinary outpourings of poetic and musical laments following his untimely death. ’s consort song on Henry’s death, Fair Britain Isle, for example, asserts that with the prince’s death there ‘died the hope of age of gold’. Moving backwards in time to 1610, one can reasonably guess that polyphonic music offered an idealized reflection of the wildly optimistic prediction that Henry’s future reign as king would usher

1 Though scholars seem unsure whether the piece was written for Henry in 1610 or his younger brother Charles in 1616, Fanshawe forged connections with Prince Henry’s entourage, and in fact died in 1616 several months before Charles’s investiture. Fanshawe’s son Thomas was apparently little interested in music, so it would seem odd that a piece by the gentleman John Ward, not otherwise attached to a royal household, would make its way to a court entertainment after Henry Fanshawe’s death.

5 in a golden age of contentment and prosperity. Indeed, in a 1605 song by Thomas Ford dedicated to the 12-year-old Prince Henry, for example, the text defines a ‘commonwealth’ as ‘a well-tuned song where all parties do agree’. Coincidentally, 1605 was the same year in which Henry’s educational aspirations – not, apparently, supported by his hunt-loving father – brought the prince to Oxford, where he matriculated at Magdalen College and was assigned the tutor in Hebrew to look after him. (Henry went up to Magdalen rather than to Christ Church because his influential tutor, Sir Thomas Chaloner, who had set up an academy of aristocratic youths around Henry in 1603–4, was a Magdalen man.) He does not seem, however, to have stayed very long at Magdalen, though the college’s choir director (then as now the ‘Informator Choristarum’), Richard Nicolson, like Ward composed verse anthems with viols, some of which seemed to have been performed in chapel. It would be unthinkable that an Oxford college with a connection to a member of the royal family would not have performed music connected to its illustrious junior member. What is more, the considerable number of manuscripts of viol fantasies and verse anthems copied in Oxford attests to a lively interest in these genres during the years leading to 1627, when Nicolson was appointed the first Music Master in the university by the endowment of William Heyther (or Heather), with a collection of 40 music books and a chest of viols to be played at least once weekly in the university’s Music School. These considerations only bear on the final piece on this recording. But in addition to the celebratory work for the princely investiture, Ward’s verse anthems for voices and viols embrace psalm settings and devotional pieces with a decidedly Protestant bent, and in doing so reflect Prince Henry’s special interests. Ward’s verse anthems are remarkable for the clarity of their

6 text-setting: these works – more than, say, those by – show a love of roving solos and duets which keep up the interest as ever new voices enunciate the words amidst the polyphonic swirl of the viols before choral repetitions hammer home highlighted lines of verse. The tone is decidedly serious, and what is astonishing is that the madrigalisms – or musical word-painting – create an effortless poetic effect and never raise ironic eyebrows in the way that secular English madrigals prompt a twinkling of the eye through their love of frivolity. Like Ward’s own serious collection of published madrigals (1613), which is dedicated to Fanshawe and notes its composer’s disdain for ‘Time-sicke humourists’, the anthems strike a sombre tone of piety; but it is one that revels in warmly lyrical outbursts, and never succumbs to puritanical restraint or censorious anxiety about music’s expressive gifts. The six-part Praise the Lord, O my soul (here reconstructed by Ian Payne) sets Psalm 104 (less its final verse) and is a song reimagining the story of Creation in Genesis. Ward’s madrigalian instincts seem to await such obvious musical tone-painting as ‘They go up, as high as the hills, and down to the valleys beneath’, with musical contours that aptly ascend and descend. But even here the composer does far more than just craft melodic shapes. The miraculous act of God that commands the inchoate waters of the earth to rise does so in image-laden stages in the music: first the waters ‘go up’ on their own, as if it is enough to admire that marvel; only thereafter do the musical waters climb ‘as high as the hills’, and then, as in a choreographed bodily gesture, move ‘down to the valleys beneath’. The imitative reiterations of clearly stated snippets of text act therefore almost as gestured incantations, which illustrate by constant rehearing the most salient poetic images. The literary voice is not merely that of the singular psalmist but of an angelic consort of musical praise.

7 In fact, Ward’s frequent repetition of musical ‘points’ or motives with their accompanying snippets of text has a way of inducing (mantra-like?) a mildly hypnotic state that both extends and enriches the listener’s experience. Ward also underscores passages of text by memorable instances of rhythmic declamation; that is, by forging melodic and rhythmic identities for the given words. So, for example, the opening lines of Psalm 104 are clearly anticipated by the wordless viols, who have already accented ‘Praise’, ‘Lord’ and ‘soul’ in naturalistic English without the words’ having yet been heard. When the duo of treble voices enters, the ear accepts – and the mind trusts – the word- setting because the anticipatory imitation in the instruments has already seeped into semi-consciousness. Yet not every line is set naturalistically: note the exciting octave leap upwards on the words ‘thou art’: here the artifice of an ‘incorrect’ declamatory leap effects a musical experience of surprise and awe that projects attention on to the words that follow – ‘exceeding glorious’ – since it is semantically incongruous to accent the verb here: ‘thou art become exceeding glorious’. The grand poetic journey of creation that begins in high heaven and ends on the earth below is also mirrored by the fall in the vocal range of the paired duets: first trebles, then tenors, then basses, the last best suited to frighten us with their deep ‘rebuke’ and subterranean vision of dark ‘thunder’. Ward even has the singers exhibit the fear of the anthropomorphized waters, who are ‘afraid’ of the Lord in the midst of his magisterial acts of creation. In a similar fashion, the composer affirms the affective safety of the earth’s immutable ‘foundation’ by his agogic emphasis on the first syllable of ‘never [should move at any time]’: no doubt, here, that both psalmist and listening believer stand on the most secure ground of terra firma!

8 Verses with solo voices invariably give way to a ‘chorus’, labelled as such in the surviving sources. Here the frequent use of homorhythmic declamation advances a different musical argument, that of iterative unanimity: were there some difficulty in deciphering words in the verses – though which good Anglican would not know the psalms by heart? – then the opening of these choral entries reveals a host of angels who speak with one synchronized voice. The viols not only adumbrate the text but also give space and time for the establishment of what Jacobeans referred to as the ‘air’: the setting of a mood as well as a meditation on the words just sung. In the paired anthems that begin with the very Italianate descending utterance Down, caitiff wretch, the viols begin as if playing an independent viol fantasy, thereby occluding the point of melodic imitation which follows. Their presence also encourages some serious word-play: in the line ‘whilst heav’nly thoughts do Discant on the ground’, Ward alludes to the improvisatory genre of instrumental music – treble variations or ‘divisions’ on a bass theme or ‘ground’ – by having the bass hold a long one-note ‘ground’ while two trebles sing lithe ‘descants’ in close canon above. He also alternates madrigalisms with musical illuminations or heightenings of individual words. Ward the madrigal composer sets three voices for the ‘blessed Trinity’, low notes for ‘lowly creep’, fluttering quavers on ‘winged faith’ and a unison accent on ‘one accord’; Ward the rhetorical musician-interpreter also accents the setting of ‘angels’, which rips the word from its context so as to celebrate an awestruck and sudden intrusion of a seraphic choir who offer praise in song, vision and gesture. The four-part viol fantasies complement Phantasm’s recording of the five- and six-part works (Linn CKD 339) and show Ward composing in an equally fluent and skilful vein. Composed for one treble, two tenors and one bass viol,

9 these six pieces exemplify the Jacobean consort fantasy at its best: experimental in its love of angular, even unsingable themes stated in double counterpoint; of demarcated sections set off by full cadences and rests; of forays into neighbouring keys; and of moments of madrigalian harmony to which conventionally melancholic, even Italian, words might be supplied by the literary imagination. As a group, the works seem to become ever more complex from Fantasy 1 to Fantasy 6. Perhaps it is no coincidence that for the final work, Fantasy 6, we possess the only seventeenth-century description of a piece of English consort music. In a letter from 1658, Dudley, Baron North of Kirtling, writes to one of his employees about Ward, and refers to the C major Fantasy’s ‘brisk, lusty, yet mellifluent vein…that stirs our bloud, and raises our spirits, with liveliness and activity, to satisfie both quickness of heart and hand’. The work stands out (even for Ward) in its extended range – it makes use of a top C (c‴) in the treble and a bottom C in the bass – as well as for a brief passage in triple time, which perhaps borrows an idea from Gibbons’s most modish four-part works. But what is fascinating in Dudley North’s characterization is that the quick tempo of the piece – nowhere marked as such but implicit in the note values – was heard as full-blooded and lusty yet at the same time flowing smoothly like honey (‘mellifluent’). Whereas so many of Ward’s works are sombre and in the minor mode, Fantasy 6, in the sunniest key of C, not only stimulates players – the composer focuses on executants rather than listeners in mentioning their ‘hand’ – but dispels melancholy. By way of its sanguine temperament, the ‘liveliness and activity’ of the fantasy ‘raise spirits’ and provide ludic satisfaction. It is as if the viol fantasy, which of its nature requires multiple participants, supplies a

10 miraculous tonic that rejuvenates the spirit by embodying a hopeful ‘activity’ emblematic of the ideal human condition. In mastering the environment by the skilful use of one’s hands and engaging one’s heart as well, the consort exudes an equable temperament and a sympathy for humankind. Having played this piece himself, North experienced his world as ‘well-tuned’: quite a compliment to pay a remnant of a composer’s imagination lasting less than three minutes. This lovely encomium for a mostly forgotten piece of music from the second decade of the seventeenth century is brief, but a fitting tribute to John Ward, whose efforts have been rediscovered in our own time and whose mellifluous music deserves a closer look. © , 2014

Editions

The Complete Works for Voices and Viols in Five Parts ed. Ian Payne (Corda Music Publications 429, n.d.) The Complete Works for Voices and Viols in Six Parts ed. Ian Payne (Corda Music Publications 458, n.d.) Consort Music of Four Parts ed. Ian Payne (Musica Britannica 83: Stainer & Bell, 2005)*

*The tracklisting gives numberings from the Viola da Gamba Society’s thematic index for ease of reference.

11 Anthem Texts

2. Praise the Lord, O my soul Praise the Lord, O my soul: O Lord, my God, thou art become exceeding glorious; thou art clothed with majesty and honour. Thou deckest thyself with light as it were with a garment: Thou spreadest out the heav’ns like a curtain. Which layeth the beams of his chambers in the waters: and maketh the clouds his chariot, and walketh upon the wings of the wind. He maketh his angels spirits: and his ministers a flame of fire. He laid the foundations of the earth: that it never should move at any time. Thou cover’st it with the deep as with a garment: the waters stand in the hills. At thy rebuke they flee, and at the voice of thy thunder they are afraid. They go up, as high as the hills, and down to the valleys beneath: ev’n unto the place which thou hast appointed for them. Psalm 104, vv.1–8

4. Mount up, my soul Mount up, my soul to that high strain of zeal, Which may thee frame to thy creator’s will, Seeking love of good, eternal weal, And ease from pain by hatred unto ill. So being set from sin and sorrow free, Thou may’st for aye enjoy eternity. ’ware lest thy love be turn’d to fleshly lust, Nor let thy faith be fix’d in brittle earth;

12 Hope not to gain high place by means unjust, Nor let thy joy incline to hellish mirth. But unto Christ devote with all thy heart Thy faith, thy love, hope, joy and all thou art. And say, dear Lord, here let my heaven be, In love’s best service still to honour thee.

6. Down, caitiff wretch (Part 1) Down, caitiff wretch, fall low and prostrate lie Before the footstool of the Lord of Life. Let winged faith transport thy soul on high To seek his face who died to stint thy strife. With sighs and tears of heart’s repentant truth, Bewail the slips and follies of thy youth. That holy incense redolent Which on the altar of thy heart With bended knees thou dost present, Doth claim a kingdom for thy part. Thus where sad Penitence doth lowly creep And constant Faith the Tenor sweetly sound, Mild Temperance the golden Mean must keep, Whilst heav’nly thoughts do Discant on the ground. With such consenting harmony as this The soul is brought to everlasting bliss.

13 7. Prayer is an endless chain (Part 2) Prayer is an endless chain of purest love Whose active virtue is described: It pulls divinest graces from above. It linketh us to God and God to us. Strive to adorn thy soul with such a gem Surpassing far a monarch’s diadem. O man of earth, could’st thou conceive The sweet delight of heav’nly pleasure, All earthly joys thou soon would’st leave For such inestimable treasure. Thy name, O Holy Father, I adore And Jesus Christ our Lord, our Life, our King And to the Holy Ghost for evermore, O blessed Trinity we praises sing. Let men and angels all with one accord, Sound forth the praises of the Living Lord.

9. How long wilt thou forget me, O Lord How long wilt thou forget me, O Lord, for ever: how long wilt thou hide thy face from me? How long shall I seek counsel in my soul, and be so vexed in my heart: how long shall my enemies triumph over me? Consider, and hear me, O Lord my God: lighten mine eyes, that I sleep not in death. Lest my enemy say, I have prevailed against him: for if I be cast down, they that trouble me will rejoice at it. But my trust is in thy mercy, and my heart is joyful in thy salvation. Psalm 13, vv.1–5 14 11. Let God arise Let God arise, and let his enemies be scattered: let them also that hate him fly before him. But let the righteous be glad and rejoice before him: let them also be merry and joyful. O sing unto God, and sing praises unto his name: magnify him that rideth upon the heav’ns, praise him in his name, yea, and rejoice before him. Sing unto the Lord a new song, and his praise to the ends of the earth. They that go down to the sea, let them give glory to the Lord, and declare his praise. Psalm 68, vv.1, 3 & 4 (& Pss 96, 107)

13. This is a joyful, happy holy day This is a joyful, happy holy day, That us invites to sing, give thanks and pray To sing in consort with sweet harmony Of instruments and voices’ melody. For in the solemn, high and glorious feast Our happiness and joy is much increas’d By the creation of our prince, the spring Of public peace and joy next to the king. Then singing give we thanks with one accord To the author of our good, our God and Lord. And pray we that he keep and long maintain Both over us most happily to reign. Amen.

15 Phantasm Photography by Marco Borggreve

Phantasm is an award-winning consort of viols founded in 1994 by Laurence Dreyfus; it has since become recognized as the most exciting viol consort active on the world scene today. The ensemble catapulted into international prominence when its debut album of works by won a Gramophone Award for ‘Best Baroque Instrumental Recording’ in 1997. Since then, the consort has travelled the world over, performing in festivals and concert series in cities such as Vienna, Prague, Tokyo, Istanbul, Helsinki and Washington DC.

16 Recent engagements have included the Wigmore Hall Early Music series in London, Barcelona Early Music Festival, Bergen International Festival, Lufthansa Early Music Festival in London, Aldeburgh Festival, BRQ Festival in Finland, Hong Kong International Arts Festival, Vienna Resonances Festival, Stockholm Early Music Festival, Palais des Beaux Arts in Brussels and De Bijloke Hall in Ghent. Phantasm’s fourteen recordings have won consistent praise, and several of them have received awards, including a Gramophone Award in 2004, for the music of Orlando Gibbons, which was also a finalist for ‘Record of the Year’. The ensemble’s first recording on the Scottish label Linn (named Gramophone’s ‘Label of the Year’ in 2010) was devoted to the consort works of the seventeenth-century composer John Ward and was a ‘Choice’ recording in BBC Music Magazine as well as a finalist for the 2010 Gramophone ‘Early Music’ Award. Its Linn recording of the complete consort music of William Byrd was awarded a Diapason d’Or, selected as ‘Disc of the Month’ by BBC Music Magazine and named a finalist for Gramophone’s best ‘Early Music Recording’ in 2011. Phantasm’s 2012 recording of ’s Consorts to the Organ was ‘Chamber Choice’ in BBC Music Magazine and was nominated for ‘Best Chamber Recording’ at the journal’s annual award ceremony in 2013. Phantasm’s members (from Britain, Finland and the USA) have been based at the University of Oxford since 2005, when they were appointed Consort- in-Residence. In 2010, the ensemble began a new association as Consort- in-Residence at Magdalen College, where it performs, nurtures viol-consort playing among the students, and collaborates with Magdalen College Choir under its director, Daniel Hyde. www.phantasm.org.uk

17 Photography by Marco Borggreve

18 Laurence Dreyfus

Laurence Dreyfus, director and treble viol, was born in Boston, Massachusetts. After cello studies with Leonard Rose at the Juilliard School in New York, he turned to the viol and became a pupil of Wieland Kuijken at the Royal Conservatoire in Brussels. There he was awarded the diplome supérieur with highest distinction. As a bass-viol player, he has recorded Bach’s viola da gamba sonatas, Marais’ Pièces de violes and Rameau’s Pièces de clavecin en concert (all on Simax), and collaborated with Silvia McNair in a Grammy- winning album of Purcell songs (on Philips). As a musicologist, he has published Bach’s Continuo Group and Bach and the Patterns of Invention (Harvard, 1987 and 1996); the latter won the Kinkeldey Award from the American Musicological Society for best book of the year. Dreyfus taught at Yale, Chicago, Stanford and the Royal Academy of Music before becoming Thurston Dart Professor at King’s College, London, in 1995. In 2002 he was elected a Fellow of the British Academy, and in 2005 he took up a University Lectureship at the University of Oxford in conjunction with a Tutorial Fellowship at Magdalen College. He was appointed Professor at Oxford in 2006. His book Wagner and the Erotic Impulse was published by Harvard University Press in October 2010.

19 Photography by Marco Borggreve

20 Emilia Benjamin

Emilia Benjamin, treble and tenor viols, discovered her desire to be a professional musician when she took up the treble viol while studying art history at the University of East Anglia. She went on to study the viol and Baroque violin at the Guildhall School of Music and Drama with Sarah Cunningham, and then the viol with Wieland Kuijken in Brussels. In addition, Emilia plays viola and lirone, and she performs frequently on all four instruments. Emilia’s musical life has covered a wide range: since 1995 she has been a member of Trio Sonnerie, with whom she has played everything from English divisions and French Baroque works to Mozart quartets, Bach concertos and Mendelssohn piano quartets. She has performed early Italian opera on the viol and lirone at the Glyndebourne Festival and with the Early Opera Company, Norwegian State Opera and Oper Frankfurt, and performed with the Irish Baroque Orchestra and the Orchestra of the Age of Enlightenment. Emilia has also performed in productions of Twelfth Night, Measure for Measure and Anne Boleyn at Shakespeare’s Globe, and took part in the inaugural production at the Sam Wanamaker Playhouse at the Globe of The Duchess of Malfi.

21 Photography by Marco Borggreve

22 Jonathan Manson

Jonathan Manson, tenor viol, was born in Edinburgh and received his formative training at the International Cello Centre in Scotland under the direction of Jane Cowan; he later went on to study with Steven Doane and Christel Thielmann at the Eastman School of Music in New York. A growing fascination with early music led him to Holland, where he studied the viola da gamba with Wieland Kuijken. Manson is currently co-principal cello of the Orchestra of the Age of Enlightenment, and frequently appears as leading cellist with the Dunedin Consort, Arcangelo, and many other leading early-music groups. As a concerto soloist, he has appeared recently at the Wigmore Hall, Carnegie Hall and Southbank Centre. Manson is an active chamber musician, performing repertoire from the Renaissance to the Romantic. He is a founding member of Retrospect Trio, whose recordings of Purcell sonatas for Linn were described by the Observer as ‘superb’, and he has recently become the cellist of the London Haydn Quartet. A long- standing partnership with the harpsichordist has led to critically acclaimed recordings of Bach’s sonatas for viola da gamba and harpsichord and, together with , Rameau’s Pièces de clavecin en concert. Manson lives in Oxfordshire and is a professor at the Royal Academy of Music.

23 Photography by Marco Borggreve

24 Mikko Perkola

Mikko Perkola, bass viol, studied at the Sibelius Academy and at the Royal Conservatory in the Hague; he is a pupil of Arvo Haasma, Markku Luolajan- Mikkola and Wieland Kuijken. Perkola has given concerts and recorded chamber music in Europe together with Bergen Barokk, Barokksolistene, Norwegian Baroque Orchestra, Icelandic Chamber Orchestra, Helsinki Baroque Orchestra, Capriccio Stravagante, Battalia, Retrover and Ensemble Severin. He has recorded Bach’s gamba sonatas and music by François Couperin with the harpsichordist Aapo Häkkinen (both for Naxos: 2006, 2011). Perkola has also made many radio recordings for YLE (the Finnish Broadcasting Company) and other European broadcasting companies. An avid performer of contemporary music, he has given premiere performances of works by Giovanni Mancuso, Lucio Garau, Juhani Nuorvala, Henrik Martrander, Eero Hämeenniemi, Jyrki Linjama and Sampsa Ertamo. His interests have also focused on new experimental art and projects connected to social justice. Perkola has completed a three-year penitentiary theatre project in Finland with the director Hannele Martikainen and also a large-scale asylum-centre project with the dancer Nina Hyvärinen and actor Jussi Lehtonen for the Finnish National Theatre. His wide-ranging music-making includes collaborations with artists from different fields, from early music to multimedia and solo performances with amplified viol.

25 Photography by Simon Tottman

26 Daniel Hyde

Daniel Hyde has held the post of Informator Choristarum of Magdalen College, Oxford, since April 2009, and is also University Lecturer in the Faculty of Music. He had previously been director of chapel music at Jesus College, Cambridge, for five years. A former organ scholar of King’s College, Cambridge, and after that assistant director of the Bach Choir, Hyde is one of the UK’s leading young choral directors. Beyond Oxford, he has worked regularly with the BBC Singers, Britten Sinfonia and Academy of St Martin-in-the-Fields. In chamber music, his collaboration with the viol consort Phantasm on the Linn label began with a recording of works by William Lawes. As a soloist, Hyde made his BBC Proms debut in 2010 with Bach’s Canonic Variations on ‘Vom Himmel hoch’.

27 Photography by Simon Tottman

28 Choir of Magdalen College, Oxford

The Choir of Magdalen College, Oxford, was founded in 1480. Magdalen College was then one of the oldest and largest choral foundations in late- medieval . That historic legacy has been preserved and maintained over five centuries. The choir exists primarily to sing the daily church services in Magdalen College Chapel. It also performs at a number of special occasions throughout the year, including the famous May Day celebrations, an ancient tradition dating back to 1509. In recent years Magdalen College Choir has toured Japan, USA, Hungary, Italy, Belgium, Holland, Germany and France; concert appearances have included the BBC Proms and Cadogan Hall. Recent orchestral performances have included collaborations with Phantasm and the Orchestra of the Age of Enlightenment, Britten Sinfonia and Academy of St Martin-in-the-Fields; the choir also features on a number of recent film soundtracks. The choir’s recordings date from the 1960s, under the legendary directorship of Dr Bernard Rose. More recently, a series of recordings on the Harmonia Mundi label saw a nomination in 2004 for a Gramophone Award.

29 Chorister Alto Thomas Butterworth James Armitage Harry Camilleri James Carter Benjamin Castella-McDonald Francis Gush Isaac Castella-McDonald Angus White Oliver Doggett Harry Gant Tenor James Gant James Gibbon Edmund Bridges Yiannis Goeldner-Thompson Benjamin Durrant Max Langdale Robin Horgan David McIntyre Timothy Lintern Nicholas Ng Alex Puttick Bass Michael Reichenberg-Ashby Gabriel Bambridge Robin Culshaw Joshua Copeland Giles Underwood William Pate

30 31 ALSO AVAILABLE ON LINN CKD 427

Phantasm Phantasm Phantasm Phantasm Ward: Consort music Lawes: Consorts to Byrd: Complete Gibbons: Consorts for five & six viols the Organ Consort Music for Viols

Phantasm Trio Sonnerie Retrospect Trio Retrospect Trio Four Temperaments Marais & Forqueray: Purcell: Twelve Sonatas Purcell: Ten Sonatas La Gamme in Three Parts in Four Parts

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