A FESTIVAL OF PSALMS

Chichester Psalms Leonard Bernstein (1918-1990) 1 Psalm 108: 2; Psalm 100 [4.07] soloists: Frederick MacBruce (treble), William Towers (alto), Robert Temmink (bass) 2 Psalm 23; Psalm 2: 1–4 [5.59] soloist: Daniel Traves (treble) 3 Psalm 131; Psalm 133: 1 [8.50] soloists: Daniel Traves (treble), William Towers (alto), Simon Wall (tenor) 4 Miserere mei, Deus (ed. John Rutter) Gregorio Allegri (1582-1652) [12.27] soloists: Max Shotbolt, Frederick MacBruce, Luke McWatters (trebles) Tom Williams (alto), Toby Watkin (tenor), Giles Underwood (bass) 5 Teach me, O Lord William Byrd (c.1540-1623) [3.40] soloist: Tim Travers-Brown (alto) 6 Ascribe unto the Lord Samuel S. Wesley (1810-1876) [14.43] soloists: Max Shotbolt, Frederick MacBruce, Daniel Traves (trebles) David Gould, Aaron Burchell (altos) 7 Thy word is a lantern unto my feet, Z. 61 Henry Purcell (c.1659-1695) [5.14] soloists: William Towers (alto), Simon Wall (tenor), William Clements (bass) 8 Hear my words, ye people C. H. H. Parry (1848-1918) [15.14] soloists: Max Shotbolt (treble), Giles Underwood (bass) verses: Max Shotbolt, Daniel Traves (trebles), Tom Williams (alto) Simon Wall (tenor), Giles Underwood (bass)

Total timings: [70.20]

THE TEMPLE CHURCH CHOIR This recording has been made possible GREG MORRIS ORGAN through a generous grant by The Temple ROBERT MILLETT PERCUSSION Music Trust, a charity founded in SALLY PRYCE HARP 1979 with the object of supporting JAMES VIVIAN DIRECTOR music in the Temple Church. www.signumrecords.com - 3 - The psalms are at the heart of both Jewish dramatically and aggressively by portions of around 1638, and joined a lengthy list of other Mozart, Burney, the Grove Dictionary and possibly and Christian liturgies and traditions. Their Psalm 2 (‘Why do the nations rage so furiously settings of the Miserere to be sung during the Mendelssohn were all participants. The Vatican messages of strife and joy, prayer and praise, together, and the people imagine a vain thing?’), Tenebrae services of Holy Week in the Sistine embargo on copying, coupled with the fact resonate strong and loud alongside the preoccupations as relevant today as in 1965 chapel. It quickly gained a position as the that the very feature which captured everyone’s teachings of the Torah and of Jesus, and find when the work was written, or 1741 when pre-eminent setting, and attracted a dedicated imagination was never written down (the special expression in musical settings (after all, Handel set the same text as part of his Messiah. following. Legend springs up quickly from improvised embellishments to the written the Greek word psallein means to make music, The main theme, given memorably to a treble this point onwards; the Vatican allegedly polyphony known as ‘abellimenti’), mean that particularly on stringed instruments). This disc is soloist (as ‘David’), actually originated in an banned performance and copying of the work we really only have echoes of what the original an exploration of all these themes, as interpreted unfinished musical, The Skin of our Teeth, and beyond the walls of the Sistine Chapel. It was piece was like. The version that has coalesced by composers over the course of four and a the central section’s outburst was unused said that breaking the embargo carried the today, performed on this disc in an edition by half centuries. material from West Side Story: recycling at penalty of excommunication. However, copies John Rutter, may capture something of the its best. The last movement continues the were leaked out by various means over the next florid arabesque for which the Sistine Chapel Leonard Bernstein was commissioned to write his lyrical vein, being a setting of Psalm 131, a song 150 years, until Charles Burney had it published choir was famous, but is unlikely to represent Chichester Psalms in 1965 by the then Organist of repose in the Lord. In the coda, which in London in 1771, when the embargo could either the correct pitch or texture that Allegri and Dean of Chichester Cathedral, John Birch and brings back the opening motifs of the piece, hold water no longer and was lifted. Burney’s set down. Whatever the degree of authenticity Walter Hussey. (John Birch succeeded Thalben-Ball Bernstein makes absolutely plain his agenda version may have been based on Mozart’s copy, about this piece, what is undisputed is Allegri’s as Director of Music of the Temple Church in 1982.) with the words ‘Behold how good and how written out from memory after his 1770 visit mastery of chordal sonority – that much is With a brilliant clarion call, Bernstein launches pleasant it is, for brethren to dwell together in to the chapel. Mozart was hauled in by the evident from his other, little-performed church them: ‘Awake, psaltery and harp: I will rouse unity.’ These pacifist sentiments surface in a then Pope, but instead of exacting the threatened music – and his capturing of the solemnity of the dawn’. Thus the party begins, with the number of other works by Bernstein, including punishment the Pope lavished praise on him Holy Week in arresting terms. most festive of settings of Psalm 100, better the Kaddish Symphony and the Mass. In notes for his feat of memory – a rather nice twist in known to all mattins-goers as the Jubilate. The he made while writing the Mass, Bernstein the usual tale of papal boorishness. Byrd’s Teach me, O Lord, with its alternatim orchestration of organ, harp and percussion, wrote, ‘You scream for peace, you won’t get it style of solo versus full sections, has a ritualistic the most frequently-discussed parley of that way …only peacefulness can engender Establishing what the original version of the rhythm to it – testament to its origin not as an instruments in the Psalms, is a stroke of peace’. The Chichester Psalms certainly echo Allegri Miserere might have sounded like is anthem but as a festal psalm setting. One genius, though inevitably poses challenges of this theme in their own way. virtually impossible. The transmission of the wonders which feast its text on obedience coordination and balance to the conductor. piece from the early 17th century to today’s might have fitted (it is interesting to note that The second movement is the well-beloved Allegri’s ever-popular Miserere has an interesting ‘classic’, complete with soaring solo treble, is Byrd, like Wesley, was brought to heel by his Psalm 23 (‘The Lord is my shepherd’), interrupted and contentious history. It was probably written like a game of Chinese whispers, in which clerical employers over a disciplinary matter).

- 4 - - 5 - The piece is likely to date from Byrd’s early career textures, and are a similarly robust response in solo singing lay the choir’s strength. Either at Lincoln Cathedral, ie before 1572. The simple to the Psalmist’s exhortation to back the right way, the piece obviously caught people’s and clear style of word-setting bears the stamp divine horse. Wesley casts the Psalmist’s sneers imagination, as it was copied out many times of the puritan reformers, who formed a powerful at the heathen (‘They have mouths and speak in the 20 years after Purcell’s death. lobby at Lincoln. If their directives were intended not’, etc) into suitably indignant phrases, as limitations to musical free rein, Byrd developed guaranteed to raise a wry smile from the Parry’s Hear my words, written for the Salisbury the simple chordal style, such as we hear in Cathedral lay-clerks charged with delivering Diocesan Choral Association’s Festival in 1894, this piece, into a thing of considerable charm; them. All but nine of the Cathedrals and was first heard sung by around 2000 singers, one of history’s minor, yet delicious, triumphs of collegiate churches of England and Wales including 400 in the semi-chorus and art over dogma. subscribed to Wesley’s Anthems when it was accompanied by the brass ensemble of the published, and also a certain Franz Liszt, who Portsmouth Royal Marines. Responding to the Samuel Sebastian Wesley was sworn into post presumably signed up when he was in Exeter – practical needs of such a large gathering of as Organist of Winchester Cathedral on October a testament to the vanguard position held by forces, Parry writes much in tuneful unison for 5th 1849, following periods of varying Wesley in contemporary church music. the main choir, but intersperses demanding contentment at Exeter Cathedral and Leeds solos for bass and treble, aria-like in their Parish Church. Ascribe unto the Lord was written Though it seems churlish to point it out in such breadth, and stirring instrumental interludes. in 1851 and published in 1853. A number of a charming piece, pragmatism was probably a The brilliant ‘all together now’ of ‘O Praise ye anthems date from early in his Winchester prime mover in the composition of Thy word is a the Lord’ brings the piece to a roof-raising tenure, perhaps indicating a happier lantern. As in a number of Purcell’s anthems, the conclusion. In the same way that the tune Repton accommodation to the church yoke than in full choir has relatively little to do, the bulk of (‘Dear Lord and Father of mankind’) was extracted his previous appointments. In Ascribe, Wesley the piece being given to soloists and groups from his Oratorio, Judith, Parry later adapted rides the post-Elijah wave of enthusiasm for of ‘verse’ singers. Was this due to pressure ‘O Praise ye the Lord’ as the hymn-tune the theme of condemnation of idolatry. Indeed, of rehearsal time or even a decline in standards? Laudate Dominum, contributing yet another this work is almost a condensation of It is difficult to say, as we cannot presently date ‘classic’ to the hymn book. Mendelssohn’s work into anthem form. Choral the work with any degree of accuracy, though it recitative at the opening, small groupings of is probably from before 1687. There were a © William Whitehead 2011 upper voices (‘O worship the Lord in the beauty number of fine singers in Purcell’s Chapel Royal of holiness’) and Handelian fugue (‘As for the choir (the bass John Gostling was often singled gods of the heathen’) all echo Mendelssohnian out for special praise) so it may simply be that

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B’gei tsalmavet, Through the valley of the shadow of death, TEXTS Lo ira ra, I will fear no evil:

1 - 3 Chichester Psalms Ki attah imadi For Thou art with me,

Shiv’t’cha umishan’techa Thy rod and thy staff . . . . Urah hanevel v’chinor! Awake, psaltery and harp: .. Hemah y’nahamuni. They comfort me. A‘irah shahar. I will rouse the dawn! . Lamah rag’shu goyim Why do the nations rage: . Hari‘u l’Adonai kol ha’arets, Make a joyful noise unto the Lord all ye lands. .. Ul’umim yeh’gu rik? And the people imagine a vain thing? . -- . . Iv’du et Adonai b’simha, Serve the Lord with gladness. ---- Yit’yats’vu malchei erets, The kings of the earth set themselves, . -- : . Bo’u l’fanav bir’nanah. Come before his presence with singing. :: V’roznim nos’du yahad And the rulers take counsel together: . . : : . D‘u ki Adonai hu Elohim, Know that the Lord, he is God. .. Al Adonai v‘al m’shiho. against the Lord and against his anointed. . : ( ) hu ‘asanu v’lo anahnu. It is he that has made us, and not we ourselves. N’natkah et mos’roteimo, Saying, let us break their bonds asunder, . ( . ) Amo v’tson mar‘ito. We are his people and the sheep of his pasture. .. V’nashlichah mimenu avoteimo. And cast away their cords from us. . . Bo’u sh‘arav b’todah, Come unto his gates with thanksgiving, Yoshev bashamayim He that sitteth in the heavens : Hatseirotav bit’hilah, And into his court with praise. : Yis’hak, Adonai Shall laugh: and the Lord . : . Hodu lo, bar’chu sh’mo, Be thankful unto him and bless his name. .. Yil’ag lamo! shall have them in derision! . . Ki tov Adonai, l’olam has’do, The Lord is good, his mercy everlasting

. V‘ad dor vador ’emunato. And his truth endureth to all generations. Ta‘aroch l’fanai shulchan Thou preparest a table before me

. Neged tsor’rai In the presence of my enemies:

Words: Psalm 108. 2, 100 Dishanta vashemen roshi Thou anointest my head with oil, . Cosi r’vayah. My cup runneth over. ..

. Adonai ro-i, lo ehsar. The Lord is my shepherd: I shall not want. Ach tov vahesed Surely goodness and mercy Yird’funi kol y’mei hayai Shall follow me all the days of my life: Bin’ot deshe yarbitseini, He maketh me to lie down in green pastures: V’shav’ti b’veit Adonai And I will dwell in the house of the Lord . - Al mei m’nuhot y’nahaleini, He leadeth me beside the still waters. L’orech yamim. Forever. . Naf’shi y’shovev, He restoreth my soul: . .. Yan’heini b’ma‘aglei tsedek, He leadeth me in the paths of righteousness, Words: Psalms 23, 2. 1-4 . L’ma‘an sh’mo. For his name’s sake. Gam ki eilech Yea, though I walk

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. Adonai, Lord, 4 Miserere mei lo gavah libi, My heart is not haughty, v’lo ramu einai, Nor mine eyes lofty, Miserere mei, Deus, secundum magnam Have mercy upon me, O God, after thy great v’lo hilachti Neither do I exercise myself misericordiam tuam: et secundum multitudinem goodness: and according to the multitude of thy big’dolot uv’niflaot In great matters or in things miserationum tuarum: dele iniquitatem meam. mercies do away mine offences. . mimeni. Too wonderful for me to understand. Amplius lava me ab iniquitate mea: et a peccato Wash me throughly from my wickedness: and Im lo shiviti Surely I have calmed meo munda me. cleanse me from my sin. v’domam’ti, And quieted myself, Quoniam iniquitatem meam ego cognosco: et For I acknowledge my faults: and my sin is ever naf’shi k’gamul alei imo, As a child that is weaned of his mother, peccatum meum contra me est semper. before me. . kagamul alai naf’shi. My soul is even as a weaned child. Tibi soli peccavi, et malum coram te feci: ut Against thee only have I sinned, and done this evil yahel Yis’rael el Adonai Let Israel hope in the Lord justificeris in sermonibus tuis, et vincas cum in thy sight: that thou mightest be justified in thy . me’atah v’ad olam. From henceforth and forever. judicaris. saying, and clear when thou art judged. Ecce enim in iniquitatibus conceptus sum: et in Behold, I was shapen in wickedness: and in sin Hineh mah tov, Behold how good peccatis concepit me mater mea. hath my mother conceived me. umah na’im, And how pleasant it is, Ecce enim veritatem dilexisti: incerta et occulta But lo, thou requirest truth in the inward parts: and shevet ahim For brethren to dwell sapientiae tuae manifestasti mihi. shalt make me to understand wisdom secretly. . gam yahad. Together in unity. Asperges me hyssopo, et mundabor: lavabis me, et Thou shalt purge me with hyssop, and I shall be super nivem dealbabor. clean: thou shalt wash me, and I shall be whiter Music: Leonard Bernstein (1918-1990) than snow. Words: Psalms 131, 133. 1 Auditui meo dabis gaudium et laetitiam: et Thou shalt make me hear of joy and gladness: that exsultabunt ossa humiliata. the bones which thou hast broken may rejoice. Averte faciem tuam a peccatis meis: et omnes Turn thy face from my sins: and put out all my iniquitates meas dele. misdeeds. Cor mundum crea in me, Deus: et spiritum rectum Make me a clean heart, O God: and renew a right innova in visceribus meis. spirit within me. Ne projicias me a facie tua: et spiritum sanctum Cast me not away from thy presence: and take not tuum ne auferas a me. thy holy Spirit from me. Redde mihi laetitiam salutaris tui: et spiritu O give me the comfort of thy help again: and principali confirma me. stablish me with thy free Spirit.

- 10 - - 11 - Docebo iniquos vias tuas: et impii ad te Then shall I teach thy ways unto the wicked: and 5 Teach me, O Lord convertentur. sinners shall be converted unto thee. Libera me de sanguinibus, Deus, Deus salutis Deliver me from blood-guiltiness, O God, thou that Teach me, O Lord, the way of thy statutes: and I O worship the Lord in the beauty of holiness. meae: et exsultabit lingua mea justitiam tuam. art the God of my health: and my tongue shall sing shall keep it unto the end. Sing to the Lord and praise his Name: be telling of thy righteousness. Give me understanding, and I shall keep thy law: of his salvation from day to day, and his wonders Domine, labia mea aperies: et os meum annuntiabit Thou shalt open my lips, O Lord: and my mouth yea, I shall keep it with my whole heart. unto all people. laudem tuam. shall shew thy praise. Make me to go in the path of thy commandements: Quoniam si voluisses sacrificium, dedissem For thou desirest no sacrifice, else would I give it for therein is my desire. As for the gods of the heathen, they are but idols. utique: holocaustis non delectaberis. thee: but thou delightest not in burnt-offerings. Incline my heart unto thy testimonies: and not to Their idols are silver and gold: even the work of Sacrificium Deo spiritus contribulatus: cor The sacrifice of God is a troubled spirit: a broken covetousness. men’s hands. contritum et humiliatum, Deus, non despicies. and contrite heart, O God, shalt thou not despise. O turn away mine eyes, lest they behold vanity: and They have mouths, and speak not: eyes have they, Benigne fac, Domine, in bona voluntate tua Sion: O be favourable and gracious unto Sion: build thou quicken me in thy way. and see not. ut aedificentur muri Jerusalem. the walls of Jerusalem. O stablish thy word in thy servant: that I may fear They have ears, and see not: noses have they, and Tunc acceptabis sacrificium justitiae, oblationes, Then shalt thou be pleased with the sacrifice thee. smell not. et holocausta: tunc imponent super altare tuum of righteousness, with the burnt-offerings and Glory be to the Father, and to the Son: and to the They have hands, and handle not; feet have they, vitulos. oblations: then shall they offer young bullocks Holy Ghost; and walk not: neither speak they through their upon thine altar. As it was in the beginning, is now, and ever shall throat. Music: Gregorio Allegri (1582-1652) be: world without end. Amen. Words: Psalm 51 They that make them are like unto them: and so are Music: William Byrd (c.1540-1623) all such as put their trust in them. Words: Psalm 119. 33-38 As for our God, he is in heaven: he hath done whatsoever pleased him. 6 Ascribe unto the Lord The Lord hath been mindful of us, and he shall Ascribe unto the Lord, O ye kindreds of the people: bless us: he shall bless the house of Israel, he ascribe unto the Lord worship and power. shall bless the house of Aaron. Ascribe unto the Lord the honour due unto his He shall bless them that fear the Lord: both small Name: let the whole earth stand in awe of him. and great. Tell it out among the heathen that the Lord is King: Ye are the blessed of the Lord: you and your and that he shall judge the people righteously. children.

- 12 - - 13 - Ye are the blessed of the Lord: who made heaven 8 Hear my words To deliver their soul from death: and to feed them O praise ye the Lord! Praise him in the height; and earth. in a time of dearth. Rejoice in his word, ye angels of light! Hear my words, ye people: give ear unto me all ye Our soul hath patiently tarried for the Lord: for he is Ye heavens adore him by whom ye were made, Music: Samuel Sebastian Wesley (1810-1876) that have knowledge. our help, and our shield. And worship before him in brightness arrayed. Words: Psalm 96.7-10, 2, 3, 5; Psalm 115.4-8, 3, 12-15 Let us choose to us judgement: let us know among ourselves what is good. He delivered the poor in his affliction, the fatherless O praise ye the Lord! Praise him upon earth, 7 Thy word is a lantern Behold, God is mighty, and despiseth not any: he is and him that hath none to help him. In tuneful accord, ye sons of new birth. mighty in strength and wisdom. He shall bind up the broken hearted and proclaim Praise him who hath brought you his grace from Thy word is a lantern unto my feet: and a light unto Behold, he is great and we know him not: neither liberty to the captives, and comfort to those that above, my paths. can the number of his years be searched out. mourn. Praise him who hath taught you to sing of his love. I have sworn and am steadfastly purposed: to keep He shall give them beauty for ashes: the garment thy righteous judgements. The Lord’s seat is in heaven. of praise for the spirit of heaviness. O praise ye the Lord! Thanksgiving and song I am troubled above measure: quicken me, O Lord, Clouds and darkness are round about him: For as the earth bringeth forth her bud, and as the To him be outpoured all ages along; according to thy word. righteousness and judgement are the habitation garden causeth things that are sown to spring For love in creation, for heaven restored, Let the free-will offerings of my mouth please thee, of his seat. forth: For grace of salvation, O praise ye the Lord! Amen. O Lord: and teach me thy judgements. He decketh himself with light as with a garment: So the Lord God will cause righteousness and The ungodly have laid a snare for me: but yet I and spreadeth out the heavens like a curtain. peace to spring forth before all nations. Music: Sir Charles Hubert Hastings Parry (1848-1918) swerved not from thy commandments. Words: Job 34.2, 4; 36.5, 26; Psalm 11.4; 97.2; 104.2-3; 18.9-10; He layeth the beams of his chambers in the waters: Thy testimonies have I claimed as mine heritage 103.19; 33.17-19; Job 36.15; 29.12; Isaiah 61.1,3,11; and maketh the clouds his chariots, The Lord is full of compassion and mercy. for ever: and why? they are the very joy of my heart. Psalm 103.8, 10-12 and walketh upon the wings of the wind. He hath not dealt with us after our sins: nor Hymn by Sir Henry Williams Baker (1821-1877), based on Psalm 150. Hallelujah. He bowed the heavens, and came down: and it was rewarded us according to our wickedness. dark under his feet. For look how high the heaven is in comparison of Music: Henry Purcell (c.1659-1695) Words: Psalm 119.105-108, 110, 111 He rode on the cherubim, and did fly: and came the earth: so great is his mercy toward them that flying upon the wings of the wind. fear him. The Lord’s seat is in heaven, his kingdom ruleth Look how wide also the east is from the west: so far over all. hath he set our sins from us.

Behold the eye of the Lord is on them that fear him: and upon them that put their trust in his mercy;

- 14 - - 15 - and the Choir Committee to sing the ‘Cathedral made Ernest Lough and the Temple Church a BIOGRAPHIES Service’. John Calvert, a deputy Lay-Vicar of St household name. Ernest continued to sing as a Paul’s Cathedral, was asked to provide a choir for choirman once his voice had broken, and two THE TEMPLE CHURCH CHOIR the opening service of the church which eventually of his three sons, Robin and Graham, followed took place on 20th November 1842 accompanied in their father’s footsteps and became Temple The Temple Church Choir consists of 18 boy In 1308, an inventory noted that there were by James Turle, Organist of Westminster Abbey. choristers. Under Sir George’s direction the choir choristers and 12 choirmen. The choir’s primary ‘twenty-eight choir copes and four little copes for In 1843, Dr Edward Hopkins was appointed attracted such a following that queues for services role is to enhance the liturgy of the Temple Church the choristers’. However, very little else is known Organist of the Temple Church and would often spilled out of the Temple into Fleet Street. and many events of the Inner and Middle Temple. about the choral arrangements of the Church until serve for over 50 years, establishing the The choir is often heard in concert, along with the 19th century. Temple Church Choir as one of the finest in In the last 25 years, the music of the church the church’s fine Harrison & Harrison organ London. This tradition of high-quality music was has been under the direction of Dr John Birch, and the professional ensemble based at the On completion of the church’s 2½-year restoration maintained by Hopkins’ well-known successor, Stephen Layton and the present Organist & church, The Temple Players. in 1842, a choir was introduced by the Benchers Henry Walford Davies, until 1923. Walford Davies Director of Music, James Vivian. The choir’s would go on to become organist at St George’s schedule has included tours, broadcasts, and Chapel, Windsor and ultimately Master of the concerts. The choir is committed to the King’s Musick. performance of new music, and has premiered new works by composers such as Thomas In 1923 Dr G T Thalben-Ball was appointed Adès. In 2003, the Choir performed overnight in organist and choirmaster. This musician, who the premiere of Sir John Tavener’s massive work would become renowned worldwide, served the The Veil of the Temple at the Temple Church. In church even longer than Hopkins, retiring in December 2010, the Choir released The Majesty 1982 after 59 years in office. In 1927, the choir of thy Glory on the Signum Classics label to great recorded Mendelssohn’s Hear My Prayer with the critical acclaim. Temple chorister Ernest Lough as the soloist. Within six months, the original master of this Being a chorister at Temple Church is a tremendous recording had worn out and a replacement, opportunity for young boys, and the Director the version still available today, was made a of Music is always pleased to hear from any year later. Its popularity earned the recording families who may be interested in exploring a gold disc for selling over a million copies and choristerships at the Temple. The boys all

- 16 - - 17 - receive singing and theory tuition as well as a As an organ recitalist, he performs at major major venues and festivals throughout the UK ROBERT MILLETT generous scholarship towards their education. For venues throughout the UK and Europe. In 2005 and abroad. Winning the Worshipful Company PERCUSSION more information, please contact the music office he gave the world premiere of David Briggs’s of Musicians’ ‘Maisie Lewis Award’ lead to on 020 7427 5650 or www.templechurch.com. Organ Concerto, which he has also recorded with Sally’s debut recital at the Wigmore Hall and Rob’s career has been extremely diverse, working the Northern Chamber Orchestra. He has released in 2003 she was selected for representation by with many of the country’s leading orchestras, The Temple Church Choristers (March 2011) two solo CDs to critical acclaim, and his playing the Young Concert Artist Trust (YCAT). early music groups and theatre companies, on the recently released Missa de Gloria, a CD but also playing for some of London’s most Max Shotbolt (Head Chorister) devoted to the organ music of Kenneth Leighton, Her concerto work has included performances interesting jazz and crossover projects. For Max Davidson-Smith (Deputy Head Chorister) has been described as ‘authoritative and more with the Northern Sinfonia, Scottish Ensemble 17 years he has been principal percussionist than equal to Leighton’s virtuosic demands.’ and Britten Sinfonia. With Adam Walker (flute) she with Rambert Dance Company. Samuel Akintunde, Alexander Brady, Patrick has performed Mozart’s Flute and Harp Concerto Buchanan, Benedict Davies, Alessandro Born and educated in Manchester, Greg studied with the Royal Philharmonic and Bournemouth In 2003 he was in charge of percussion for Godawatta, Rory Langmuir, Frederick MacBruce, the organ with Paul Stubbings, John Kitchen Symphony Orchestras and the Academy of John Tavener’s The Veil of the Temple, recorded Jamie McDermott, Luke McWatters, Emerson and Thomas Trotter. He held scholarships at St Martin in the Fields (Mostly Mozart for DVD and CD and later repeated at the Murphy, Matthew O’Connor, Oscar Simms, Daniel St George’s Chapel, Windsor, St Martin-in-the- Festival, Barbican). BBC Proms and the Holland Festival. Traves, Michael Violette. Fields, and Jesus College, Cambridge, where he directed the Chapel Choir. Greg won the prize for A keen advocate of expanding the repertoire Rob has composed for many choreographers, GREG MORRIS overall performance in the FRCO examinations, for her instrument, she has given several world including Aletta Collins, Mikaela Polley, Mbulelo ORGAN for which he was awarded the Silver Medal of premieres of new works including Hugh Watkins’ Ndabeni and Kirill Burlov, for performances at the Worshipful Company of Musicians. From Suite for Harp at the Presteigne Festval and the ROH Linbury Theatre and Clore Studio, the Greg Morris is Associate Organist of the Temple 2000-6, he held the post of Assistant Director has performed with the contemporary ensembles QEH and Sadler’s Wells. Church in London, a position he has held since of Music at Blackburn Cathedral. Lontano, Okeanos and the London Sinfonietta. 2006. He accompanies the acclaimed Temple Also in demand as an orchestral harpist, Church Choir, and has appeared with them SALLY PRYCE Sally regularly plays with orchestras including on broadcasts and CD recordings. In addition, HARP Northern Sinfonia, BBC Symphony, Royal Greg takes a major role in the training of the Philharmonic, Royal Opera House, Royal Liverpool choristers, and regularly directs the Choir, recently Praised for her ‘deft musicality’ and ‘truly Philharmonic and Birmingham Royal Ballet. completing a term as Acting Director of Music. astonishing abilities’, Sally is much in demand as both soloist and chamber musician at

- 18 - - 19 - JAMES VIVIAN works, opera, and a popular series of Cantata to Yale University, The Curtis Institute of Music DIRECTOR Concerts. James’ recent engagements took him and other US venues, Germany and Italy.

James Vivian has been part of the music of Organists, and was awarded a scholarship department at the Temple Church since 1997 to study the French organ repertoire with and was appointed Director of Music & Organist Marie-Louise Langlais in Paris. of the Temple Church in 2006. Previously, he worked closely with the then Director of James has appeared in many Festivals (including Music, Stephen Layton, as Sub-Organist and the BBC Proms, Aldeburgh, The Three Choirs subsequently as Organist. Festival, and the Lincoln Festival in New York City), and has played recitals and concerts At the Temple Church, James presides over the throughout the world (including Japan, Brazil, famous four-manual Harrison & Harrison organ South Africa, USA, Bermuda and Europe). He and directs the professional choir of men and has also been an examiner for the The Royal boys of whom the Daily Telegraph recently College of Organists and has broadcast on commented, ‘The Temple Church Choir is a many national radio stations as a soloist. formidable force, finely honed and blended’. As James has recorded with labels such as an organist, he is known equally for his Decca, Priory, Sony BMG, EMI and Hyperion. outstanding interpretation of the solo repertoire as for his colourful and inventive accompanying; In 2003, James co-directed the first performances he is one of England’s most sought-after of Sir John Tavener’s magnum opus The Veil young organists. of the Temple with Stephen Layton, an all-night vigil consisting of instrumentalists, large choirs James Vivian was educated at King’s College, and soloists. James was Artistic Adviser to Cambridge where, for four years, he worked the year-long 2008 Temple Festival and is closely with its world-famous choir. Before founder of three professional ensembles – The Cambridge, he was Acting-Assistant Organist Temple Players, The Temple Singers and Temple of Lincoln Cathedral. He was a prize-winner in Brass – with whom he presents concerts, the Fellowship examination of the Royal College including oratorio and other large-scale choral

- 20 - - 21 - Form more information on Temple Church service and events, please log on to the website www.templechurch.com

The website also contains a more detailed history of the church and its music in addition to visiting times.

Recorded at the Temple Church, London in March 2011. Photo on page 3 - Miranda Parry Photos on pages 16 & 21 - Simon Tottman

Producer - Gautam Rangarajan Recording Engineer & Editor - David Hinitt

Design and Artwork - Woven Design www.wovendesign.co.uk

P 2012 The copyright in this recording is owned by Signum Records Ltd. © 2012 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.

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