DEO PERSONAL REFLECTIONS chords blurred into one another, and where ON THE MUSIC OF he sometimes felt that the Cathedral itself JONATHAN HARVEY (1939-2012) JONATHAN HARVEY were singing. Andrew Nethsingha Of the chapel at Tenbury where he was a 1 I Love the Lord [6.02] Jonathan Harvey’s experience of church music chorister, Harvey wrote: The silence of the 2 Magnificat [7.51] began as a chorister at St Michael’s College, building was haunting…Music came out of it, 3 Nunc Dimittis [5.12] Tenbury, where he sang 13 services each dissolved back into it. This is a fitting backdrop week. He recalled one particular loud chord to the first work on the recording. I love the 4 Toccata for Organ and Tape [5.27] in a post-service organ improvisation as being Lord (1977) takes a simple G major triad as 5 Come, Holy Ghost [7.27] a moment of great epiphany in which he its starting point, just as the String Quartet 6 Praise ye the Lord [4.08] knew he would be a composer. I myself was no. 1 (also 1977) is based on the single note D. also brought up in the idyllic surroundings Missa Brevis With this anthem, written for Winchester 7 of St Michael’s, where my father was Organist Kyrie [2.48] Cathedral when his son was a chorister there, a 8 in the 1960s. Gloria [3.08] new sound-world was opened up in liturgical 9 Sanctus & Benedictus [2.57] Harvey was later an undergraduate here at music. The steadfastness and purity of the 0 Agnus Dei [2.58] St John’s. Though he found Cambridge psalmist’s faith in God is challenged by so q The Royal Banners Forward Go [3.49] composition teaching at the time to be unduly many tribulations; the constancy of the G major triad is stretched almost to breaking w Laus Deo [4.07] conservative, he retained a great affection for the College itself throughout his life and point by the rest of the choir as its harmony e The Annunciation [4.28] was an Honorary Fellow here. goes in and out of focus with the triad. The resulting bitonality and the psalmist’s words Total timings: [60.24] Harvey spoke of how liberating he found both express one of the most fundamental of writing for a Cathedral-type choir, not to have all questions: if God exists, why does he to take a bow, simply to contribute to the allow all this suffering? THE CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE EDWARD PICTON-TURBERVILL ORGAN worship which, in turn, helped him to forget ANDREW NETHSINGHA DIRECTOR about personal ambition. He also enjoyed In performing this anthem I have chosen to writing for a Cathedral acoustic in which place the group singing the triad at a www.signumrecords.com - 3 - considerable distance from the rest of the choir. the work at St John’s he asked for a note to secular compositions, the work nevertheless My interpretation is for Harvey’s Nunc Dimittis In services and concerts we have found it be changed to enable the use of our organ’s requires much that is not used in mainstream to be a liturgical drama in which one starts effective to have this solo trio out of sight. Trompeta Real. Anglican composition – whispering, glissandi, with a darkened church and then gradually A further semi-chorus group is employed in aleatoric writing, shouting, pitched speech, candles are lit for all members of the the middle of the work, close to the main choir. The composer described the music to me in percussive effects using repeated consonants. congregation – a light to lighten the Gentiles the following way: We Anglican musicians tend to be conservative and the glory of thy people Israel. When the The anthem was written in memory of the Magnificat paints Mary as a cosmic Mary, as in our use of choir and instruments. Most trebles, altos and tenors initiate dramatic composer’s mother; the psalm was a text she a metaphysical Mary. Nunc Dimittis, by contrast, repertoire is for choir a capella or with organ. crescendos on the word light, they walk out often asked her son to read to her towards the is an extremely human image of an old Yet the psalmist urges us to make use of the of the choir stalls and spread out around end of her life. The composition may have man nearing death; the ‘t’s are expressive of lute and harp, of the trumpet and the the chapel; I hope you can hear this effect played a part in the healing process after brilliance and light. Magnificat is based on a clashing of cymbals: Let everything that hath captured in the recording. The bass soloist bereavement. In his book, Music and Inspiration, cantus firmus, always the same series of notes, breath praise the Lord. I feel sure that includes is joined by four other basses in unison, Harvey writes: Suffering encountered in art going round and round like a wheel. The the techniques used here! Some contemporary standing centrally in an imposing row as the or ritual is healing. If we give ourselves to the wheel throws off sparks as it turns. It is like music experts have considered Harvey’s music builds to the blinding vision of the experience of art, fully and fearlessly, we are a nebula, a luminous or dark patch in the church music to be of lesser importance than organ entering at full volume on all twelve journeying inward to our truth, from where sky made by distant star-clusters, gas or dust. his instrumental works. I want to stress how pitch classes: the old man, Simeon, comes we will find our new world. He later said that There is a rolling sense of the same idea imaginative, innovative and courageous Harvey face to face with the Messiah in this supreme the theme of suffering and healing was his moving on and on. The section He remembering was in pushing the boundaries of church moment of revelation, before the organ chord most common source of musical inspiration. his mercy has a sense of innocence, of music, without ever losing the intensity of begins to dissolve and Simeon’s soul gradually childhood and of something timeless; the spirituality which underpins all the great leaves his body as he departs in peace. Settings of the Evening Canticles are central glissandi from speech to sung pitches are religious music from plainchant to Beethoven, to the Anglican choral tradition. I regard transitions between dreaming and wakefulness. from Byrd to Messiaen. Harvey was amongst the composers who led Harvey’s kaleidoscopic Magnificat and Nunc The end of the Gloria,As it was in the the way in the field of electro-acoustic music. Dimittis (1978) as one of the two most beginning, has an urgency, a pleading quality I choose to perform the Nunc Dimittis in a In Toccata (1980) for organ and pre-recorded significant contributions to this genre in regarding the future, a strong impulse rather theatrical, ritualistic way, of which the tape, written in the same year as Mortuos the past 50 years – a set of canticles for the to transform the cosmos. composer approved. I would never want any Plango, Vivos Voco, the composer asked for age of space travel! This is one of five works element of a service to seem like a concert, but the sound source to be placed very close to on the disc all written for Martin Neary and Although the vocal techniques are less I believe that use of space and movement can the organ pipes. It is an exciting piece to his choirs. When Harvey came to hear us sing complex than those employed in some of his heighten a congregation’s sense of involvement. hear live, as the organist interacts with the

- 4 - - 5 - pre-recorded sounds. Toccata was often played weightlessly. In variation 2 the tenor soloist sense of varied wafting aromas in the opening Silence (1988) Harvey combined Benedictine around the world by John Scott, the illustrious sings a version of the melody which becomes section of Midnight’s Children. Harvey seems texts with other texts of his own with Buddhist former St John’s organ student, and indeed it increasingly distorted; like Jesus’s disciples to fill the building with incense, a traditional undertones; this met with a strongly positive featured in the last recital he gave here in the he begins in a language one understands means of symbolizing the ascent of prayers response from the audience. Since then I have college. Scott’s untimely death occurred three but gradually mutates into another tongue. to the Almighty. The rushing wind emerges always believed in the underlying sense of the sacred weeks after the present CD was recorded. Below all this the second basses are given in the distance, overwhelms us, and present in all human beings. the first 2 ½ phrases of the true theme ppp. then dissipates before the humble, prayerful Come, Holy Ghost (1984) is a work in five In variation 3 there are more slow moving doxology. The whole choir ends softly in unison, Praise ye the Lord (1990) sets Psalm 148, one main sections, essentially a theme with chords for the lower voices, while the boys emphasizing the unity of the three persons of the most pictorial sections of the Psalter. variations. The text is associated with the start to sing melodic fragments in free time. of the Trinity – Father, Son and Holy Spirit. The Harvey had used the same text in Lauds Feast of Pentecost. The scene is described in If you listen incredibly carefully you might be simplicity and purity of the beginning and end (for two choirs and cello) just three years Acts of the Apostles: able to hear the final 1 ½ phrases of the theme of the work, contrasting with much complexity, earlier. The colouristic organ writing shows in the second tenor part, but they are not are hallmarks of Harvey’s liturgical music. the influence of Messiaen. The anthem is And suddenly there came from the sky marked to be sung any louder than anything an exuberant paean of joy, painted in the a noise like a strong driving wind, else. When the disciples were speaking in so Although Harvey questioned Christianity and brightest colours, though even here the and it filled the entire house in which they were. many different languages simultaneously it had a period of atheism in his teens, the composer falls to his knees at the end, in awe Then there appeared to them tongues as of fire, must have been hard to pick out any individual potential for mystical experience never left… at the wonder of Creation. which parted and came to rest on each one of them. one clearly. During this section I asked the Evelyn Underhill’s book Mysticism changed And they were all filled with the Holy Spirit trebles to spread out into different parts of my life. He bought this as a student. In the Missa Brevis (1995) was composed for the and began to speak in different tongues, the Chapel, like the Holy Spirit filling the late 1970s Harvey started practising Vedic Choir of Westminster Abbey in the tercentenary as the Spirit enabled them to proclaim. entire house. meditation twice daily; he never lapsed for year of the Abbey’s former Organist, Henry more than a day or two. The deeper state of Purcell. In his modern idiom Harvey takes up Harvey depicts this event in an extraordinarily Mystical glissandi lead us into variation 4. consciousness thus attained seems to permeate the mantle of Purcell’s often tortured vivid way. First the ancient plainsong theme, Now the lower voices have aleatoric writing, his music. From then on he became more chromaticism. Kyrie is densely chromatic music Veni Creator Spiritus, is heard sung by a with segments of melody to be sung in free and more interested in Buddhism, Hinduism with a very clear tonal centre. As in Agnus soloist with other singers acting like a piano’s time and in an order of the singer’s own and other eastern religions. It was not a case Dei, there are two trios - of upper and lower sustaining pedal. In variation 1 canonic choosing. This is a perfect musical representation of choosing one religion or another: There voices; one group sings quasi-canonically writing appears against a chordal backdrop of Glossolalia. It reminds me of the magical is no question of eliminating earlier spiritual while the other group sighs pitifully in glissandi. with fragments of treble melody floating way in which Salman Rushdie conjures up the selves, only of incorporating them. In From The pleading for mercy becomes more urgent

- 6 - - 7 - and intense until an angel descends in the attendant Seraphim. Harvey starts with a six fellow Worcestershire composer, Elgar. Harvey century when a relic of the True Cross was form of a solo treble to grant absolution and part chord and eventually Heaven and Earth had been ‘fanatical’ about The Dream of carried in procession from Tours to Poitiers. reconciliation, another example of healing in are full of God’s glory, represented here by Gerontius when he was a chorister. At the One hears in the first three stanzas the sense Harvey’s music. all 12 available pitch classes. moment when the soul sees God, Elgar asks of a slow, solemn procession with heads that each instrument exert its fullest force for bowed low. O Tree of glory is the only stanza Gloria opens with a declamatory pentatonic The music suggests that here on earth the one moment only. Not many composers dare in the second person and we vividly glimpse chord. This is later rearranged into piles of tonal centre is A (as in Kyrie), and in heaven to challenge worshippers in this way, but the bright glory of the Cross. In the final stanza, fourths or fifths and eventually melts into the the tonal centre is E flat; so Benedictus moves religion should not all be easy and comfortable. as we gaze up at the crucified Christ, a treble final chord of Agnus Dei. At Gratias agimus from E flat to A major, as Christ enters soloist hangs timelessly above us. speech again joins the palette of vocal Jerusalem having come from heaven in the Agnus Dei reuses material from Kyrie when colours – the two halves of the choir jostle name of the Lord. The two settings of Osanna pleading for mercy, and reinforces the previous The works on this recording are arranged in with one another as they compete to give are mirror images as heaven and earth reach tonal centre of A. Harvey reminds us that order of composition, with the exception of thanks to God. The penitential central section towards one another. In the same passage the Lamb of God is also the only-begotten the solo organ work, Laus Deo (1969), which of Gloria shares material with the two outer from which the words of Sanctus are drawn, Son of God, by reutilising exactly the same is in fact the earliest work on the disc. It movements of the Mass. Isaiah describes the Seraphim calling chord from Gloria (at Domine fili unigenite.) dates from the same year as Ludus Amoris, ceaselessly to one another; Harvey paints Suddenly the intensity builds at the third written for Christopher Robinson, who had In Sanctus the extremes of heaven and earth this image at Dominus Deus Sabaoth. The appearance of the opening words, as a been a chorister with Harvey in Tenbury, a work are represented by the tritone between A prophet goes on: And, as each one called, menacing E flat enters the hitherto untroubled described by one critic as the most striking major and E flat major – the most distant the threshold shook to its foundations, while waters of a white-note chord. This in turn sets premiere at the Three Choirs Festival for nearly possible keys. In the awesome opening three the house was filled with smoke.The up a reprise of the struggle between A major 50 years. Harvey gave the following description words we hear the great space between apocalyptic setting of Osanna portrays this. and E flat major, as we on earth plead with of the extraordinary creation of Laus Deo: heaven and earth open up. The lower triad In the context of a Solemn mass, the awestruck the Lamb of God in heaven to grant us peace. Having given up all hope of finding time to pulls away towards E flat from the upper triad silences are indeed filled with smoke, both fulfil a commission from Simon Preston before of A major; three against three; Holy, Holy, literally and metaphorically. Isaiah writes I saw The Royal Banners forward go (2004) was the deadline, I had one night a vivid dream Holy. Numerology is important in the Sanctus; the Lord seated on a throne, high and exalted, written for St John’s College Choir under David in which a shimmering ‘cinquecento’ angel think of Bach’s three trumpets and three and the skirt of his robe filled the temple. Hill’s direction. Harvey had set the same text played an organ. What he played formed the oboes plus six part choir at that point in the Harvey’s vision of the Lord on his throne is 24 years earlier as part of his Church Opera, main substance of Laus Deo, and within Mass in B minor. The prophet Isaiah depicts no Handelian trumpets and drums affair, but Passion and Resurrection. Fortunatus’s Latin twelve hours of wakening the piece was the throne of God surrounded by six-winged rather he seems to share the approach of his hymn Vexilla Regis was first sung in the 6th finished. In describing a similar experience

- 8 - - 9 - Gustav Mahler had whilst composing his of music coming from one source, is merely Seventh Symphony, Harvey wrote: The way in one possibility of many. In transferring this which the principal material emerged and the idea to a religious context, one might add that speed with which it was eventually completed God is all around us. suggest that it was in some sense already fully formed in the unconscious: the epiphanaic Harvey’s numinous work, The Annunciation moment was one of revelation rather than invention. (2011), was written as part of the Quincentenary celebrations of St John’s College. Each day In terms of those who influenced him and we rehearsed The Annunciation and I e-mailed those he most admired, Harvey was as much a a sound recording to the composer and then European composer as a purely British one. we spoke on the phone. It was an intensely moving dialogue. Harvey explained how he His major work exploring world religions, could no longer hold a pencil or play the Weltethos, was premiered by the Berliner piano and that he thought these notes would Philharmoniker in the Philharmonie in 2011. be the last he would ever compose. Mercifully One of the innovative features of that great a little more music followed. I later read The Annunciation by Domenico Veneziano concert hall is the way it places the musicians the following words of the composer: Pain at the centre of the listeners, and breaks and suffering experienced in life increase the the sea: But I have an endless store of memories; elaborated the same work in music for choir down the impersonal nature of ‘them and us’ artist’s determination to create an ideal world to my mind, this is worth more than reality. and live electronics in 2004. in a traditional concert hall. I have tried to through his music. A year further on The At the end of his life Harvey continued to turn engender something of that sense of personal Annunciation, which seems to inhabit an ideal back to previous sources of inspiration. He The composer described an aspect of his connection to the performers in the movement world, was nominated for a British Composer had set Edwin Muir’s poem, The Annunciation, student days thus: every evening I would of singers during the music on this recording. Award. The day after the awards ceremony quite differently over 40 years earlier. The spend maybe an hour in the darkened Catholic The shape of our Chapel is conducive to this. the composer passed away after his long passage that it makes each feather tremble on church in Cambridge gazing at the sanctuary In Music and Inspiration, Harvey quoted his experience of Motor Neurone Disease. We sang his wings makes musical reference to Harvey’s light, quite still. It was the church Rosa and contemporary, Iannis Xenakis: Music can this work at his memorial service. Messages, an ecstatic work which sets only I were married in. I am deeply moved that the surround us in the same way as the sounds angel names in their nine hierarchies. The final stanza of what he believed would be his last of nature surround us in the forest or at sea. Harvey once quoted Debussy’s explanation of Annunciation takes Palestrina’s Stabat Mater work should set the following words: The practice generally observed at concerts, how he had written La Mer when away from as its starting point, Harvey having previously

- 10 - - 11 - But through the endless afternoon painting. The interplay between angel and artist and the world. One can never know These neither speak nor movement make, virgin is captured in the music to exquisite for sure how composers’ music will be But stare into their deepening trance effect, as solo voices pass the melody regarded in later centuries, but it is my firm As if their gaze would never break. between them against a background halo of belief that the deepening trance of Jonathan humming. The composer spoke of a meeting Harvey’s music will never break. Our journey Harvey cited Domenico Veneziano’s The of the supernatural and natural worlds; the of exploration of this music has been the Annunciation, in Cambridge’s Fitzwilliam work begins with very soft sounds as though most important and satisfying part of my Museum, as a model for the work. As far hearing voices from outside the building. musical career to date. We humbly dedicate as I know this fact is not written down The poem is about the timeless – a poised this recording to Jonathan’s memory and anywhere; perhaps no one would know if rapturous state. Within that are of course also to his wife Rosa and their children he had not told me. This is the emotions, but the spell must not be completely Anna and Dominic. I end with the hidden inspiration for the work. Harvey broken. I think of The Annunciation as composer’s own words: wrote: Inspiration is the hidden cause: it may representing a distillation of the composer’s be almost impossible for the listener to pinpoint musical essence – it has a purity and simplicity I have the feeling there’s some new type of its presence in the finished work, yet without of means whilst still seeming new. music hovering on the horizon, which I can it the work would not have the individuality glimpse very fleetingly now and then, and which for which, presumably, we admire it. Edwin Muir writes: Earth was the only meeting does seem like a change of consciousness. place. One thinks of various meeting places I take it that the composer had got to know in Harvey’s works: between old and new; this painting during his student days. A between live performers and electronics; composer looks back at the end of his life; between different groups of voices; between the young Mary, just before the start of Jesus’s faith and doubt in I love the Lord; between earthly life, has premonitions of her later different faiths; between the sound of the sorrow at the foot of the Cross – a strange, musicians and the sound of the building. It is sad memory of the Stabat Mater as the hard to hear where one begins and another ends. composer put it to me. Time moves forwards and backwards in a profound depiction of Harvey wrote: Much of the fascination of eternity. This mirror effect can be heard in the composer lies in the way inspiration is the music just as it can be seen in Veneziano’s produced from the encounter between the

- 12 - - 13 - TEXTS For he hath regarded: 3 Nunc Dimittis Anoint and cheer our soiled face the lowliness of his hand-maiden. With the abundance of thy grace; 1 I Love the Lord For behold, from henceforth: Lord, now lettest thou thy servant depart in peace Keep far our foes, give peace at home; all generations shall call me blessed. according to thy word. Where thou art guide no ill can come. I love the Lord, because he hath heard my voice For he that is mighty hath magnified me: For mine eyes have seen thy salvation; and my supplications. and holy is his Name. Which thou hast prepared before Teach us to know the Father, Son, Because he hath inclined his ear unto me, And his mercy is on them that fear him: the face of all people; And thee of Both to be but One therefore will I call upon him as long as I live. throughout all generations. To be a light to lighten the Gentiles and to be That through the ages all along The sorrows of death compassed me, He hath shewed strength with his arm: the glory of thy people Israel. This may be our endless song, and the pains of hell gat hold upon me: he hath scattered the proud in the I found trouble and sorrow. imagination of their hearts. Glory be to the Father, and to the Son Praise to thy eternal merit, He hath put down the mighty from their seat: and to the Holy Ghost; Father, Son, and Holy Spirit. Then called I upon the name of the Lord; and hath exalted the humble and meek. As it was in the beginning, is now, O Lord I beseech thee, deliver my soul. He hath filled the hungry with good things: And ever shall be, world without end. Amen. Words: Bishop John Cosin (1594–1692) based on the hymn Veni, Creator Spiritus Return unto thy rest, O my soul; and the rich he hath sent empty away. the Lord hath dealt bountifully with thee. He remembering his mercy hath holpen his Words: Luke 2 vv. 29–32 6 Praise ye the Lord For thou hast delivered my soul from death, servant Israel: mine eyes from tears, and my feet from falling. as he promised to our forefathers, 5 Come, Holy Ghost Praise ye the Lord. Praise ye the Lord of heavens: I will walk before the Lord in the land of the living. Abraham and his seed for ever. praise him in the heights. I love the Lord. Come, Holy Ghost, our souls inspire Praise ye him, all his angels: praise ye him, Glory be to the Father, and to the Son: And lighten with celestial fire; all his hosts. Words: Psalm 116 vv. 1–4, 7–9 and to the Holy Ghost; Thou the anointing Spirit art, Praise ye him, sun and moon: As it was in the beginning, is now, Who dost thy sevenfold gifts impart. praise him, praise him, all ye stars of lights. Magnificat and Nunc Dimittis and ever shall be: Praise him, ye heavens of heavens, world without end. Amen. Thy blessed unction from above and ye waters that be above the heavens. 2 Magnificat Is comfort, life, and fire of love; Let them praise the name of the Lord: Words: Luke 1 vv. 46–55 Enable with perpetual light for he commanded, and they were created. My soul doth magnify the Lord: The dullness of our blinded sight. and my spirit hath rejoiced in God my Saviour.

- 14 - - 15 - He hath also stablished them for ever and ever: Kings of the earth, and all people; Laudamus te, benedicimus te, We praise thee, we bless thee, he hath made a decree which shall not pass. princes, and all judges of the earth: adoramus te, glorificamus te. we worship thee, we glorify thee, Both young men, and maidens; Gratias agimus tibi we give thanks Praise the Lord from the earth, old men, and children: propter magnam gloriam tuam, to thee for thy great glory, ye dragons, and all deeps: Let them praise the name of the Lord: Domine Deus, Rex coelestis, O Lord God, heavenly King, Fire, and hail, snow, and vapours; for his name alone is excellent; Deus Pater omnipotens. God the Father Almighty. stormy wind fulfilling his word: his glory is above the heavens. Mountains, and all hills; Praise ye the Lord. Domine Fili unigenite, Jesu Christe, O Lord, the only begotten Son Jesu Christ; fruitful trees, and all cedars: Domine Deus, Agnus Dei, O Lord God, Lamb of God, Beasts, and all cattle; Words: Psalm 148 Filius Patris, qui tollis peccata mundi, Son of the Father, that takest away the sins creeping things, and flying fowl: miserere nobis; of the world, have mercy upon us. qui tollis peccata mundi, Thou that takest away the sins of the world, have mercy upon us. suscipe deprecationem nostram. Thou that takest away the sins of the world, receive our prayer. MISSA BREVIS Qui sedes ad dexteram Patris, Thou that sittest at the right hand of miserere nobis. God the Father,have mercy upon us. 7 Kyrie Quoniam tu solus Sanctus, For thou only art holy; Kyrie eleison. Lord, have mercy. tu solus Dominus, thou only art the Lord; Christe eleison. Christ, have mercy. tu solus Altissimus, Jesu Christe, thou only, O Christ, Kyrie eleison. Lord, have mercy. cum Sancto Spiritu with the Holy Ghost, in gloria Dei Patris. art most high in the glory of God the Father. 8 Gloria Amen. Amen.

Gloria in excelsis Deo, Glory be to God on high, et in terra pax and in earth peace, hominibus bonae voluntatis. good will towards men.

- 16 - - 17 - 9 Sanctus & Benedictus q The Royal Banners Forward go e The Annunciation

Sanctus, Sanctus, Sanctus, Holy, holy, holy, The royal banners forward go, The angel and the girl are met, Dominus Deus Sabaoth. Lord God of hosts, The cross shines forth in mystic glow; Earth was the only meeting place. Pleni sunt coeli heaven and earth Where he in flesh, our flesh who made, For the embodied never yet et terra gloria tua. are full of thy glory. Our sentence bore, our ransom paid. Travelled beyond the shore of space. Hosanna in excelsis. Hosanna in the highest. The eternal spirits in freedom go. There whilst he hung, his sacred side Benedictus qui venit Blessed is he who cometh By soldier’s spear was opened wide, See, they have come together, see, in nomine Domini. in the name of the Lord. To cleanse us in the precious flood While the destroying minutes flow, Hosanna in excelsis. Hosanna in the highest. Of water mingled with his blood. Each reflects the other’s face Till heaven in hers and earth in his 0 Agnus Dei Fulfilled is now what David told Shine steady there. He’s come to her In true prophetic song of old, From far beyond the farthest star, Agnus Dei, O Lamb of God, How God the heathen’s king should be; Feathered through time. Immediacy qui tollis peccata mundi, that takest away the sins of the world, For God is reigning from the tree. Of strangest strangeness is the bliss miserere nobis. have mercy upon us. That from their limbs all movement takes. O tree of glory, tree most fair, Yet the increasing rapture brings Agnus Dei, O Lamb of God, Ordained those holy limbs to bear, So great a wonder that it makes qui tollis peccata mundi, that takest away the sins of the world, How bright in purple robe it stood, Each feather tremble on his wings. miserere nobis. have mercy upon us. The purple of a Saviour’s blood. Outside the window footsteps fall Agnus Dei, O Lamb of God, Upon its arms, like balance true, Into the ordinary day qui tollis peccata mundi, that takest away the sins of the world, He weighed the price for sinners due, And with the sun along the wall dona nobis pacem. grant us thy peace. The price which none but he could pay, Pursue their unreturning way And spoiled the spoiler of his prey. Sound’s perpetual roundabout Rolls its numbered octaves out Words: Venantius Fortunatus (530–609) And hoarsely grinds its battered tune. Tr. John Mason Neale (1818–1866)

- 18 - - 19 - But through the endless afternoon The Choir of St John’s College, Cambridge USA, Canada, Brazil, South Africa, Japan, These neither speak nor movement make, is one of the finest men and boys choirs in Australia, Hong Kong, Singapore and Europe. But stare into their deepening trance the world, known and loved by millions from As if their gaze would never break. its recordings, broadcasts and concert tours. Under Nethsingha’s direction, the singers A cornerstone of the great English choral receive a unique musical education in an Words: Edwin Muir (1887–1959) tradition since the 1670s, the Choir is extremely varied breadth of repertoire, from recognised for its distinctive, rich and Renaissance polyphony and Haydn masses expressive sound and is today directed by to 20th century and specially commissioned Andrew Nethsingha. contemporary music. Committed to engaging with a wide audience through digital innovations, THE CHOIR OF ST JOHN’S COLLEGE, CAMBRIDGE The Choir is made up of 20 Choristers St John’s was the first British choir to broadcast and Probationers who are educated at its services live in weekly webcasts, and in Trebles Counter Tenors Basses St John’s College School. The alto, tenor 2011 it launched SJC Live, a unique online 1, 2, 5 1 George Balfour Jack Hawkins James Adams and bass parts are usually taken by 15 archive for music lovers and choirmasters. 2 2 Maximilian Boorman Thomas Lilburn Quintin Beer Choral Scholars who are students in the 2, 5, 7 7 2, 7 Joel Branston Hamish McLaren Stephen Matthews University, with two Organ Scholars assisting A key innovation of Nethsingha’s is the 1, 2, 13 1, 2, 7 Matthew Brown Alexander Simpson Oliver Morris in the daily running of the Choir. Services establishment of St John’s Sinfonia, a professional 1, 2, 11, 13 2, 5 Oliver Brown Augustus Perkins Ray in the College Chapel follow the Cathedral period ensemble formed with Margaret Faultless David Bryson Tenors Theodore Platt 3, 9, 13 tradition of the Church of England, with in 2011, with which the Choir gives termly James Buttery William Ashford 1 Evensong six days a week during term and liturgical performances of Bach cantatas. Blake Chen Michael Bell 2 Herbert Howells Organ Scholar Sung Eucharist on Sunday mornings. The Jaylen Cheng John Clapham 2, 13 Edward Picton-Turbervill Choir’s services are frequently broadcast on Under Nethsingha and former directors of music Adam Chillingworth Benedict Flinn 1 Charles Cobb Xavier Hetherington 1, 5 Junior Organ Scholar BBC Radio 3. On the concert platform, George Guest, Christopher Robinson and David Alfred Harrison Joseph Wicks the Choir regularly performs in high-profile Hill, the Choir has produced an extraordinary Peter Nethsingha venues around the UK, with orchestras and and extensive discography on Decca, EMI, Alexander Tomkinson Numbers indicate soloist credits Director of Music ensembles including the Royal Philharmonic Naxos, Hyperion and other labels. In 2009 Sebastian Wade for each CD track. Andrew Nethsingha Orchestra, the English Chamber Orchestra the Choir signed to Chandos Records and its Samuel Williams and the Philharmonia Orchestra. Its busy recent eleven CDs on the label – which span international touring schedule includes the music from across 500 years – have garnered

- 20 - - 21 - international critical acclaim. Releases have Renowned for championing contemporary ANDREW NETHSINGHA included discs of music by Mozart, Purcell, music, the Choir regularly commissions new DIRECTOR OF MUSIC Sheppard, Tomkins and S S Wesley, and a work. Since 2014 the Choir has performed ST JOHN’S COLLEGE, CAMBRIDGE CD of Lassus including many previously world premieres of works by Nico Muhly, unrecorded motets. This new disc marks the John McCabe, Michael Finnissy, Tim Watts, Performing as a conductor and organist in first release on the new St John’s College James Burton, Philip Moore, Alex Woolf and North America, South Africa, the Far East, and imprint with Signum Records; future plans James Welland. throughout Europe, ANDREW NETHSINGHA include recordings by world-class musicians has been Director of Music at St John’s from the College and alumni community, as well www.sjcchoir.co.uk College, Cambridge since 2007. His innovations as music from the Choir. at St John’s have included weekly webcasts and a termly Bach cantata series. His recordings for Chandos have been enthusiastically reviewed. His latest St John’s CD to be released, “The Call”, was Editor’s Choice in the Gramophone Magazine.

Andrew Nethsingha received his early musical training as a chorister at Exeter Cathedral, where his father was organist for over a quarter of a century. He later studied at the Royal College of Music, where he won seven prizes, and at St John’s College, Cambridge. He held Organ Scholarships under Christopher Robinson, at St George’s Windsor, and George Guest, at St John’s, before becoming Assistant Organist at Wells Cathedral. He was subsequently Director of Music at Truro and Gloucester Cathedrals. Other recent positions have included Artistic

- 22 - - 23 - Director of the Gloucester Three Choirs Chamber Orchestra, Orchestra of St Luke’s, EDWARD PICTON-TURBERVILL Festival and Musical Director of the Gloucester Britten Sinfonia, Aarhus Symfoniorkester and HERBERT HOWELLS ORGAN SCHOLAR Choral Society. the BBC Concert Orchestra. Recent conducting engagements have included the Edward was a Chorister at Winchester He has served as President of the Cathedral BBC Proms, Amsterdam Concertgebouw and Cathedral, and took up the organ there with Organists’ Association. He has worked with Tokyo Suntory Hall. He regularly runs Sarah Baldock. He then gained a music some of the UK’s leading orchestras. Andrew’s choral courses in various countries. scholarship to Eton, where he began to learn concerts with the Philharmonia Orchestra with David Goode. In his final year, he was have included many of the major choral His concerts during 2014 and 2015 awarded an Organ Scholarship at St John’s works: Mahler’s 8th Symphony, Beethoven’s included Verbier Festival Switzerland, Hong College, and the Associateship of the Royal 9th Symphony, Britten War Requiem, Brahms Kong City Hall, Mexico City, St Blasien College of Organists. Requiem, Elgar’s The Dream of Gerontius Germany, Royal Festival Hall London, and The Kingdom, Walton Belshazzar’s Feast, University of Velacruz, Grand Rapids Choir Following the earthquake in Christchurch, he Poulenc Gloria and DurufléRequiem . He has of Men and Boys USA, Symphony Hall divided his gap year in New Zealand also worked with the Royal Philharmonic Birmgingham, The Esplanade Singapore, between Auckland Cathedral and Christchurch Orchestra, City of Birmingham Symphony Liesse Boys Choir France, Royal Albert Hall Cathedral, spending six months in each. Orchestra, London Mozart Players, English London, St Thomas Church New York City. During his time at St John’s, he gave recitals in King’s College, Cambridge and St Paul’s Cathedral, premiered works by Nico Muhly and Francis Pott, and played for numerous live broadcasts both in the UK and abroad. He loves the outdoors and is a committed environmentalist.

- 24 - - 25 - The Choir would like to thank the following donors for their generous support of this recording

Mr Giles Adams, The Rt Hon Sir Richard Aikens, Mr Grayston Burgess, The Campaign for the Traditional Cathedral Choir, The Reverend Peter Cobb, Mrs Sian Cobb, Professor Christoper & Dr Mary Dobson, The Reverend Duncan & Dr Catherine Dormor, Mr Derek Drummie, Mr Rupert Forbes, Mr Miguel Fragoso, Dr Benedikt Franke, Mr Malcolm Green, Mrs Joanna Gumpert, The late Professor Malcolm Haines, Dr Timothy Hunt, Mr Selwyn Image, Mr Edward Jones, Mr William Lawson, Mr Huw Lewis, Miss Jill MacMahon, Mr Jeremy Martin, Mr Bruce Mathers, Mrs Anne Matthewman, Mr Iain McGlashan, Mr Alan Mould, Canon Richard Nolan, Sir Alastair Norris, Mr John O’Kill, Mr Simon Robson Brown, Mr Stephen & Mrs Tania Tuft, The late Dr John Scott, Mr John Thompson, Mr Toby Watkin, Dr William Watkins, Mr David Wheeler, and other donors who wish to remain anonymous.

I love the Lord and Laus Deo published by Novello & Co. All other works published by Faber Music Ltd.

Recorded in St John’s College Chapel, Cambridge, UK from 13th to 17th July 2015 Producer – Chris Hazell Recording Engineer – Simon Eadon Editor – Dave Rowell Vocal Consultant – David Lowe

Cover Image – Shutterstock Design and Artwork – Woven Design www.wovendesign.co.uk

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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 © Benjamin Ealovega © Benjamin

The Choir of St John’s College, Cambridge

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