FRANCESCO DURANTE: CORO CORO connections connections REQUIEM Despite its enduring popularity in the 18th HOWARD GOODALL century this beautiful and majestic work was never published but survives through over 50 manuscript copies scattered INVICTUS across Europe. This is the premiere recording of Stephen Darlington’s new A PASSION edition of the work which shows Durante to be a composer of considerable skill and invention, who combined his mastery of counterpoint with an elegance of melody, a richness of harmony and an imaginative cor16147 instinct for structure.

Christ Church Cathedral Choir “The soloists are uniformly excellent, and the Christ Church Cathedral Choir Soloists from The Sixteen string playing as crisp and alert as the fresh young voices of the Christ Church trebles.” Soloists from The Sixteen Oxford Baroque the observer Clive Driskill-Smith The Lanyer Ensemble “...moments of elegance and charm Stephen Darlington which are beautifully rendered.” bbc music magazine Stephen Darlington

www.thesixteen.com cor16165

he collaboration between a conductor and a composer to bring music to life is Tone of the true excitements for a musician. In my case, I have been fortunate enough to have experienced this many times in my career at Christ Church, and HOWARD GOODALL most often with Howard Goodall, whose inspiring new work, Invictus: A Passion, is recorded here for the first time. In this piece, Howard has found a route directly to people’s hearts through his challenging choice of texts combined with wonderful INVICTUS music, characterised by his extraordinary gift for harmony and melody. A PASSION Stephen Darlington 1 Gethsemane 8.26 t is rare for a church choir to be involved in one premiere, much less two. We 2 Lamentation 6.47 were so fortunate to have presented Eternal Light for the first time in the United I 3 States, which began our love affair with the music of Howard Goodall, and resulted Chorale: His Paths are Peace 3.33 in this commission. Howard’s gift of choosing text, along with what we have come 4 Compassion 6.19 to love as his signature style, combine in this incredibly powerful new perspective 5 on the Passion story. Invictus 5.31 Sid Davis 6 Golgotha 6.27 7 Easter Hymn 4.27 Invictus: A Passion was commissioned by St Luke’s Friends of Music for the Chancel 8 The Song of Mary Magdalene: Now we are they who weep 6.57 Choir of St Luke’s United Methodist Church, Houston, Texas, Sid Davis, Director of Music and Fine Arts. 9 I will arise 9.35

This recording was made possible by the generous support of the Friends of Christ Total Running Time: 58.02 Church Cathedral and the Christ Church Cathedral Music Trust.

2 exerting itself against ideas that one at times saturated with conflict, threaten and challenge, the power of hazard and anger: I have tried to find INVICTUS A PASSION a peaceful, loving humility in the face a musical vocabulary for the piece of tyranny, the facing-down of fear – which creates layers, therefore, without holds profound universal resonance muddying understanding. Thus, when Composer’s note for people of many faiths and those of the music began emerging in my head ost composers would agree known as ‘The Crucifixion’, which was none. It is this universal meaning that I heard not a full, homogeneous string Mthat it is the most rewarding one of the most popular choral works my Invictus: A Passion hopes to address, section but two quartets of soloists, of outcomes possible when the piece of the 1ate 19th, early 20th century. so that, like my 2008 Eternal Light: acting, in choral terms, antiphonally. you next want to write is also the I wanted to reflect musically on what A Requiem, it might find relevance We would hear individual players, not piece that your next patron wants to this story has to tell us, now. with choirs and their audiences or a wash. A lone soprano saxophone, commission. Such was the case with congregations everywhere. the nearest to my mind that a wind Invictus: A Passion, when I tentatively Traditionally, the Passion narrative instrument gets to the sound of suggested to Sid Davis and the has taken excerpts from the Christian 45 years of writing musical theatre human keening, weaves amongst the musical team at St Luke’s Methodist gospels to describe and reflect upon has inevitably shaped the way I set voices, at times friendlessly isolated. Church, Houston, Texas, that I was the final hours of the life of Jesus of narrative texts, encouraging me Whilst the piano underpins the voices, keen to write a contemporary setting Nazareth, his doubts in the Garden to avoid the abstract, opaque or particularly the soloists, as it might of the Passion story. In so doing, in of Gethsemane, his trial, his public overly elusive in meaning. Likewise accompany an intimate song, the the 21st century, I felt it important humiliation and torture, his crucifixion, I make no apology for my musical two horns’ role is to counter-balance to look at its ideas, its format and its his body’s disappearance from the idiom being, I hope, approachable. the chorus, occasionally reinforcing message afresh. I couldn’t simply re- tomb and the climactic miracle of his The recurring messages of this but mostly acting in counterpoint to run the text or the structure of the resurrection from the dead. Whilst collection – suffering, fortitude, them. Against this relatively sparse, majestic 18th century Passion settings this final event is one uniquely adhered compassion and survival against personal, almost baroque texture, the of Bach and his contemporaries, nor to by believing Christians, much of terrible odds – are intended to voices are paramount, allowing those John Stainer’s ‘Meditation on the the Passion in general – persecution challenge and comfort in equal of the authors and poets to speak Sacred Passion of the Holy Redeemer’, of the innocent, malevolent authority measure. We live in a troubled era, directly and urgently to us. 4 5 One aspect of the Passion story above respected woman, close to Elizabeth vengefulness of the court’s proceedings look the other way but you can never all others guides the choice of texts I and certainly known to William with its pompous, vainglorious bullies, say again that you did not know”. in this piece and that is the role and Shakespeare, a subject of enormous or on the agony of ‘the two Marys’ at perspective of women, in particular scholarly speculation as to whether the Cross. In the midst of appalling suffering, that of Jesus’ close friend Mary she was the ‘Dark Lady’ alluded to in women so often must carry the Magdalene, and his mother Mary. Shakespeare’s sonnets, or even – as Within the over-arching shape burden of care, survival and loss. some have proposed – the anonymous provided by excerpts from Æmelia The 4th movement,Compassion , is To draw this out, I have chosen mostly author of the First Folio plays herself. Lanyer’s extended poem, movements inspired by the extraordinary story (though not exclusively) female Recent scholarship has suggested that are interspersed by other female of Irena Sendler née Krzyżanowska, poets writing in English between her family – the Bassanos, recruited authors: Gethsemane by Ella a Polish nurse and head of Żegota, the 17th and 20th centuries. The in Venice to be musicians in Henry Wheeler Wilcox (1850-1919), Mary the Polish Council to Aid Jews in the central narrative thread, for example, VIII’s court – were in fact ‘converted’ Magdalene and the Other Mary by Second World War, whose personal normally taken from St John, St Luke Jews (converted, that is, to avoid Christina Georgina Rossetti (1830- interventions saved the lives of or St Matthew’s gospels, are in this execution, originally in Catholic 1894), and Slave Auction by African- approximately 2,500 Jewish children work taken from a verse version of Spain). In any case, her telling of American author and abolitionist in the Warsaw Ghetto, smuggling the events written by Æmelia Lanyer the Crucifixion story is remarkable campaigner Frances Ellen Watkins them to safety, acts of humanitarian née Bassano, called Salve Deus Rex in one important respect – it is a Harper (1825-1911). This latter poem, bravery that eventually caused her Judæorum (Hail God, King of the feminist critique of the events. Its which forms the basis of the 2nd arrest and torture by the Gestapo. She Jews). This was printed in book form sub-headings read, ‘Eve’s Apologie movement, Lamentation, expresses is honoured as Righteous Amongst in 1611 (making it contemporaneous in defence of Women’, ‘The Teares the unbearable, unimaginable pain the Nations at Yad Vashem, Jerusalem. with Shakespeare’s ‘magical’ plays, of the Daughters of Jerusalem’ and felt by a mother seeing her child torn The Latin texts of this movement are The Winter’s Tale and The Tempest), ‘The Salutation and Sorrow of the away from her at a slave auction. To taken from the Book of Lamentations and can claim to be one of, if not Virgine Marie’. Emphasis is therefore this harrowing account are appended (“My eye hath run down with streams the earliest published in English by a placed, for instance, on Pontius the words of William Wilberforce, of water, for the destruction of the female author. Lanyer is an extremely Pilate’s wife begging for mercy for the spoken in the House of Commons on daughter of my people. My enemies intriguing figure, a highly educated, prisoner, the injustice and pointless 18th April 1791, “You may choose to have chased me and caught me like 6 7 a bird, without cause…”) and from wondrous cross, acknowledging the 1 Gethsemane Psalm 142, the Old Testament being grief of those left to mourn. Now went our Lord unto that holy place, the meeting-point of Sendler’s Sweet Gethsemaine hallowed by his presence, Catholicism and the Jewish tradition At the fulcrum (and epilogue) of the That blessed Garden, which did now embrace of those whose lives she saved. work’s architecture is William Ernest His holy corps, yet could make no defence Henley’s short 1875 poem, Invictus, a Against those Vipers, objects of disgrace, For many, the greatest of all challenges hymn-like cry of defiance in the face of Which sought that pure eternall Love to quench: to faith in the modern era has been the terrible odds, and its final movement Here his Disciples willed he to stay, slaughter of innocents in successive begins with W.B. Yeats’ transcendent Whilst he went further, where he meant to pray. genocides and both natural and man- The Lake Isle of Innisfree, a vision of From Salve Deus Rex Judæorum, Æmelia Lanyer née Bassano, 1611 made catastrophes. A 21st century serenity and rebirth, written in 1893, Passion, therefore, cannot brush this which some have interpreted as an Now we are they who weep, and trembling keep question aside. Movement 7 reflects allegory of the afterlife. This is twinned Vigil, With wrung heart in a sighing breast, upon whether persistent human with The Call, by Æmelia Lanyer’s While slow time creeps, and slow shadows creep. suffering is compatible with a loving, contemporary George Herbert, with Mary Magdalene and The Other Mary, Christina Georgina Rossetti, before 1891 all-knowing deity, in a setting of A.E. its appeal, above all else, to embrace Housman’s agnostic exhortation to the inextinguishable power of love, In golden youth, when seems the earth, With joyous steps we go our ways, the crucified Christ, Easter Hymn. “Come, my Joy, my Love, my Heart: A Summer land for singing mirth, Love lends a halo to our days, Such a Joy, as none can move: When souls are glad, and hearts are light, Light sorrows sail like clouds afar, As companion to Compassion, Such a Love, as none can part: And not a shadow lurks in sight. We laugh and say how strong we are. Movement 8, The Song of Mary We hurry on, and, hurrying, go Such a Heart, as joyes in love.” We do not know it, but there lays Magdalene: Now we are they who Somewhere, veiled under evening skies, Close to the borderland of woe weep, amalgamates Christina Rossetti’s A garden all must sometimes see, That waits for you and waits for me; poem imagining the women in vigil at Gethsemane, Gethsemane, Gethsemane, Gethsemane, the crucified Jesus’ tomb, with Isaac © Howard Goodall CBE Somewhere his own Gethsemane. Forever waits Gethsemane. Watts’ 1707 hymn, When I survey the September 2017 8 9 Down shadowy lanes, across strange streams, All those who journey soon or late, 2 Lamentation Bridged over by our broken dreams, Must pass within the garden’s gate; Behind the misty caps of years, Must kneel alone in darkness there, The sale began – young girls were there, And men, whose sole crime was their hue, Close to the great salt fount of tears And battle with some fierce despair. Defenseless in their wretchedness, The impress of their Maker’s hand, The garden lies; strive as you may, God pity those who cannot say: Whose stifled sobs of deep despair And frail and shrinking children too, You cannot miss it on your way. “Not mine, but thine;” who only pray, Revealed their anguish and distress. Were gathered in that mournful band. All paths that have been, or shall be “Let this cup pass;” and cannot see Pass somewhere through Gethsemane. The purpose in Gethsemane. And mothers stood, with streaming eyes, Ye who have laid your loved to rest, Gethsemane, Gethsemane, And saw their dearest children sold; And wept above their lifeless clay, God help us through Gethsemane Unheeded rose their bitter cries, Know not the anguish of that breast, While tyrants bartered them for gold. Whose loved are rudely torn away. Gethsemane, Ella Wheeler Wilcox, 1877 And woman, with her love and truth – Ye may not know how desolate For these in sable forms may dwell – Are bosoms rudely forced to part, Sweet Lord, how couldst thou thus to flesh and blood Gazed on the husband of her youth, And how a dull and heavy weight Communicate thy griefe? tell of thy woes? With anguish none may paint or tell. Will press the life-drops from the heart. But what could comfort then thy troubled Minde, When Heaven and Earth were both against thee bent? The Slave Auction, Frances Ellen Watkins Harper, 1854 And thou no hope, no ease, no rest could’st finde, But must restore that Life, which was but lent; Was ever Creature in the World so kinde, You may choose to look the other way but you can never say again you did not know. But he that from Eternitie was sent? To satisfie for many Worlds of Sinne, William Wilberforce, speech to the House of Commons, 18 April 1791 Whose matchlesse Torments did but then begin.

From Salve Deus Rex Judæorum, Æmelia Lanyer née Bassano, 1611

10 11 3 His Paths are Peace 4 Compassion Solo: Daniel Kelly treble Why should unlawfull actions use the Light? Inniquitie in Darkenesse seekes to dwell; Divisiones aquarum deduxit oculus meus, in contritione filiae populi mei. My eye hath run down with streams of water, Here Falshood beares the shew of formall Right, for the destruction of the daughter of my people. Base Treacherie hath gote a guard of men; Venatione ceperunt me quasi avem Tyranny attends, with all his strength and might, inimici mei gratisvocem meam. My enemies have chased me To leade this siely Lamb to Lyons denne; and caught me like a bird, without cause. Yet he unmoov’d in this most wretched plight, Audisti ne avertas aurem tuam Goes on to meete them, knowes the houre, and when: a singultu meo et clamoribus. Thou hast heard my voice: turn not away thy ear from my sighs and cries. So much he hates Revenge, so farre from Hate, That he vouchsafes to heale, whom thou dost wound; From the Lamentations of Jeremiah 3: 48/52/56 His paths are Peace, with none he holdes Debate, His Patience stands upon so sure a ground, To counsell thee, although it comes too late: Quia persecutus est inimicus animam meam: Nay, to his foes, his mercies so abound, collocavit me in obscuris sicut mortuos saeculi. That he in pitty doth thy will restraine, For the enemy hath persecuted my soul: And heales the hurt, and takes away the paine. he hath set me in obscure places as the dead of the world.

From Salve Deus Rex Judæorum, Æmelia Lanyer née Bassano, 1611 From Psalm 142, Vulgata Clementina

Ubi caritas et amor, Deus ibi est. Et ex corde diligamus nos sincero. Where charity and love are, God is there. And may we love each other with a sincere heart.

Antiphon for Maundy Thursday

12 13 5 Invictus With blood, and wrong, with tyrannie, and might; The multitude thou seekest to appease. Out of the night that covers me, Beyond this place of wrath and tears Black as the pit from pole to pole, Looms but the Horror of the shade, Much doe they joy, and much more doe they grieve, I thank whatever gods may be And yet the menace of the years His death, their life, should make his foes such sport: For my unconquerable soul. Finds and shall find me unafraid. With sharpest thornes to pricke his blessed face, Our joyfull sorrow, and his greater grace. In the fell clutch of circumstance It matters not how strait the gate, I have not winced nor cried aloud. How charged with punishments the scroll, Canst thou be innocent, that gainst all right, Under the bludgeonings of chance I am the master of my fate, Wilt yeeld to what thy conscience doth withstand? My head is bloody, but unbowed. I am the captain of my soul. Beeing a man of knowledge, powre, and might, Invictus, William Ernest Henley, 1875 To let the wicked carrie such a hand, Before thy face to blindfold Heav’ns bright light, And thou to yeeld to what they did demand? 6 Golgotha They that had seene this pitifull Procession, Now Pontius Pilate is to judge the Cause From Pilates Palace to Mount Calvarie, Of faultlesse Jesus, who before him stands; Might thinke he answer’d for some great transgression, Who neither hath offended Prince, nor Lawes, Beeing in such odious sort condemn’d to die; Although he now be brought in woefull bands: He plainely shewed that his own profession O noble Governour, make thou yet a pause, Was virtue, patience, grace, love, piety; Doe not in innocent blood imbrue thy hands; And how by suffering he could conquer more But heare the words of thy most worthy wife, Than all the Kings that ever liv’d before. Who sends to thee, to beg her Saviours life. His woefull Mother wayting on her Sonne, Yea, so thou mai’st these sinful people please, All comfortlesse in depth of sorow drowned; Thou art content against all truth and right, Her griefes extreame, although but new begun, To seale this act, that may procure thine ease To see his bleeding body oft shee swouned; 14 15 How canst thou choose (faire Virgin) then but mourne, 7 Easter Hymn When this sweet of-spring of thy body dies, When thy faire eies beholds his bodie torne, If in that Syrian garden, ages slain, The peoples fury, heares the womens cries. You sleep, and know not you are dead in vain, Nor e’en in dreams behold how dark and bright His harmelesse hands unto the Crosse they nailde, Ascends in smoke and fire by day and night And feet that never trode in sinners trace, The hate you died to quench and could but fan, Betweene two theeves, unpitied, unbewailde, Sleep well and see no morning, son of man. Save of some few possessors of his grace, With sharpest pangs and terrors thus appailde, But if, the grave rent and the stone rolled by, Sterne Death makes way, that Life might give him place: At the right hand of majesty on high His eyes with teares, his body full of wounds, You sit, and sitting so remember yet Death last of paines his sorrows all confounds. Your tears, your agony and bloody sweat, Your cross and passion and the life you gave, His joynts dis-joynted, and his legges hang downe, Bow hither out of heav’n and see and save. His alablaster breast, his bloody side, Easter Hymn, AE Housman, publ. 1936 His members torne, and on his head a Crowne Of sharpest Thorns, to satisfie for pride:

And how by suffering he could conquer more Than all the Kings that ever liv’d before.

Anguish and Paine doe all his Sences drowne, While they his holy garments do divide.

From Salve Deus Rex Judæorum, Æmelia Lanyer née Bassano, 1611

16 17 8 The Song of Mary Magdalene: Now we are they who weep Una autem sabbati, And on the first day of the week, Maria Magdalene venit mane, Mary Magdalene came early, Our Master lies asleep and at rest: cum adhuc tenebrae essent, when it was still dark, His Heart has ceased to bleed, His Eye to weep: ad monumentum: to the tomb: The sun ashamed has dropped down in the west: et videt lapidem and she saw the stone Our Master lies asleep. sublatum a monumento. taken away from the tomb. John 20:1 Now we are they who weep, and trembling keep Vigil, With wrung heart in a sighing breast, When I survey the wondrous cross While slow time creeps, and slow shadows creep. On which the Prince of glory died, My richest gain I count but loss, Renew Thy youth as eagle from the nest; And pour contempt on all my pride. O Master who has sown, arise to reap: No cock-crow yet: no flush on eastern crest: Forbid it, Lord, that I should boast, Our Master lies asleep. Save in the death of Christ my God! All the vain things that charm me most, Mary Magdalene and The Other Mary, Christina Georgina Rossetti, before 1891 I sacrifice them to His blood.

See from His head, His hands, His feet, Sorrow and love flow mingled down! Did e’er such love and sorrow meet, Or thorns compose so rich a crown?

Were the whole realm of nature mine, That were a present far too small; Love so amazing, so divine, Demands my soul, my life, my all. When I survey the wondrous cross, Isaac Watts, 1707

18 19 9 I will arise You may choose to look the other way but you can never say again you did not know. I will arise and go now, and go to Innisfree, William Wilberforce, speech to the House of Commons, 18 April 1791 And a small cabin build there, of clay and wattles made: Nine bean-rows will I have there, a hive for the honeybee, And live alone in the bee-loud glade. Come, my Way, my Truth, my Life: Such a Way, as gives us breath: And I shall have some peace there, for peace comes dropping slow, Such a Truth, as ends all strife: Dropping from the veils of the morning to where the cricket sings; Such a Life, as killeth death. There midnight’s all a glimmer, and noon a purple glow, Come, my Light, my Feast, my Strength: And evening full of the linnet’s wings. Such a Light, as shows a feast: Such a Feast, as mends in length: I will arise and go now, for always night and day Such a Strength, as makes his guest. I hear lake water lapping with low sounds by the shore; Come, my Joy, my Love, my Heart: While I stand on the roadway, or on the pavements grey, Such a Joy, as none can move: I hear it in the deep heart’s core. Such a Love, as none can part: Such a Heart, as joyes in love. The Lake Isle of Innisfree, WB Yeats, 1893 From The Temple, George Herbert, 1633

For he is rize from Death t’Eternall Life, And now those pretious oyntments he desires It matters not how strait the gate, Are brought unto him, by his faithfull Wife How charged with punishments the scroll, The holy Church; who in those rich attires, I am the master of my fate, Of Patience, Love, Long suffring, Voide of strife, I am the captain of my soul. Humbly presents those oyntments he requires: Invictus, William Ernest Henley, 1875 The oyles of Mercie, Charitie, and Faith, Shee onely gives that which no other hath.

From Salve Deus Rex Judæorum, Æmelia Lanyer née Bassano, 1611 20 21

Stephen Darlington conductor THE LANYER ENSEMBLE oward Goodall is a composer Hof choral music, stage musicals, SOLOISTS from THE SIXTEEN DECANI TV and film scores and a music VIOLIN I David Juritz Kirsty Hopkins soprano historian and broadcaster. His choral Mark Dobell tenor VIOLIN II Chris Windass VIOLA Mark Braithwaite music has been commissioned to CELLO Jane Fenton mark many national ceremonies and memorials; his settings of Psalm CHRIST CHURCH CATHEDRAL CHOIR CANTORIS VIOLIN I Mayah Kadish 23 and Love divine are amongst the CHORISTERS ALTO VIOLIN II Henry Tong most performed of all sacred music, Orlando Beesley Michael Ash VIOLA Oliver Wilson featuring on several platinum-selling Maxwell Decardi-Nelson Nicholas Cornforth CELLO Gavin Kibble Archie Edbury Darius Latham-Koenig CDs. Eternal Light: A Requiem has had James Foster Samuel Mitchell DOUBLE BASS over 500 live performances throughout Ambrose Garson William Waine Kate Aldridge the world since its premiere in 2008, Henry Hart and won him a Classical BRIT Award Daniel Kelly TENOR HORN I for Composer of the Year. His 2009 Frederick Mulcahey William Anderson Richard Watkins Enchanted Voices, a setting of the Alexander Olleson William Balkwill Beatitudes, was number 1 in the London Olympics. On 4th August Isaac Payne Orlando Jones HORN II Richard Bayliss Specialist Classical CD chart for six 2014 his anthem Sure of the Sky-Des Jamie Schulz Christopher O’Leary Thomas Sear Edward Woodhouse months, winning him a Gramophone Himmels sicher, commissioned for SOPRANO SAXOPHONE Award. In June 2012 his Rigaudon the occasion was performed by an Luca Taylor Christian Forshaw Gaspard Wenger BASS formed part of the New Water Music Anglo-German choir and the band Alexander Winnifrith Aidan Atkinson PIANO that accompanied Queen Elizabeth II of the Coldstream Guards at the St Anthony Chater Clive Driskill-Smith on her Diamond Jubilee Regatta and he Symphorien Military Cemetery, Mons, James Jenkins was musically responsible for Rowan to mark the start of the First World Thomas Lowen ORCHESTRAL MANAGER Atkinson’s memorable performance War, in the presence of heads of state Christian Smith David Lee at the Opening Ceremony of the 2012 of all combatant nations. 23 Howard’s first West End musical, The The Story of Five Discoveries That tephen Darlington is Hired Man, based on Melvyn Bragg’s Changed Musical History and Howard Sone of the country’s leading book, opened in the West End in 1984, Goodall’s Story of Music have been choral conductors. Since 1985 when he was 24. It has since been translated into Dutch, Japanese, he has been Director of Music performed all over the world and won Korean, Hungarian, Chinese, Spanish at Christ Church, Oxford, many international awards. His other and Turkish and published in over where he is also an Associate West End musicals include Girlfriends 20 countries. His most recent TV Professor. Previously Stephen (1987), The Kissing-Dance (1998), the film, Sergeant Pepper’s Musical was Master of the Music dreaming (2001) (both written with Revolution was shown on BBC Two at St Albans Abbey and Charles Hart for the National Youth and simultaneously worldwide on Artistic Director of St Albans Music Theatre), Love Story (2010), and June 3rd 2017 to mark the 50th International Organ Festival. in 2015-6, Bend it Like Beckham. anniversary of the release of the iconic He has established Christ Beatles album. For his TV series he Church as an acknowledged Howard has composed some of the has been honoured with a BAFTA, centre of academic musical best-known British TV theme tunes an RTS Judges’ Prize for Outstanding excellence, and maintained of the last 30 years, including Mr Contribution to Education in the highest choral traditions of Bean, Blackadder, Red Dwarf, Q.I. and Broadcasting and over a dozen other the Church of England in the The Vicar of Dibley. His score for the international broadcast awards. In Cathedral. His outstanding HBO filmInto the Storm won him a recent years he has been England’s first strength is in his performances of of the University of Oxford. He is Primetime EMMY award for Original National Ambassador for Singing and choral music of the 16th century and the holder of a Lambeth Doctorate Dramatic Score in 2009. Classic FM’s Composer-in-Residence. of modern sacred music. An extensive in Music and is the Chairman of the He was appointed CBE in the 2011 discography, comprising over 50 Ouseley Trust. He has recently been For the past 25 years he has New Year Honours for services to CDs, includes several award-winning awarded Honorary Membership of written and presented his own TV music education. He lives in West recordings. Stephen was President of the Royal Academy of Music and documentary series on the theory and London and Southern Burgundy and the Royal College of Organists from appointed a Lay Canon of Christ history of music. His books, Big Bangs: is married to music agent Val Fancourt. 2000 to 2002 and is currently Choragus Church Cathedral. 24 25 hrist Church Cathedral Choir CThe Choir of Christ Church Jamaica, Bermuda, China and the Cathedral, Oxford, founded 500 years USA, culminating in successful and ago, holds a distinctive place within the memorable joint concerts. great English choral tradition. Unlike all other collegiate and cathedral Christ Church Cathedral Choir choirs, it serves both an Oxford college boasts a legacy of ground-breaking and a diocese. recordings which have excited the critics and the listening public for over The choir is revered for the vibrancy 30 years. The choir’s most recent CD, of its sound and its artistic flexibility, The Gate of Glory, Music from the Eton performing early and contemporary Choirbook, Vol. 5 (AVIE), has received music with equal skill. On recent outstanding reviews. The astonishing tours, in addition to performing versatility of this choir gives them its own programmes, the choir has a strong media profile, featuring in worked intensively alongside local more than 15 documentaries in the community choirs in Portugal, last ten years.

For further information on Christ Church Cathedral Choir visit www.chchchoir.org

26 27 irsty Hopkins (soprano) read ark Dobell (tenor), originally K Music at Manchester University Mfrom Tunbridge Wells in Kent, and post graduate vocal studies was a choral scholar of Clare College, at Trinity College of Music where Cambridge, where he read Classics. she won the Elizabeth Schumann He later studied as a postgraduate at Lieder Prize. the Royal Academy of Music, and was awarded the Clifton Prize for the best Stage work includes The Passion – final recital. The Sixteen and Streetwise Opera’s landmark staging of Bach’s St Matthew Mark has worked as a soloist all over Passion; the title role in John Barber the world with renowned conductors and Hazel Gould’s The Nightingale; including Harry Christophers, Sir John Thomas Tallis at the Sam Wanamaker Eliot Gardiner, Sir Roger Norrington Playhouse; Ruth Ellis in Charlotte and Sir James MacMillan. His extensive Bray’s Entanglement; Rumbled for concert and oratorio repertoire includes Wigmore Hall Education; Purcell’s many of the major works of Handel, The Fairy Queen for tots (Orchestra of Bach and Mozart, as well as pieces by the Age of Enlightenment); Betrayal Bach’s Lutheran Mass in G Minor composers as varied as Monteverdi, (I Fagiolini); the title role in Sally (Australian Chamber Orchestra); Haydn, Mendelssohn, Britten, Jonathan Beamish’s Hagar in the Wilderness; and Soprano Evangelist in Arvo Pärt’s Dove and Karl Jenkins. was recorded live at the Barbican), Labyrinth of Love (Rambert). Passio (Eric Whitacre conducting as well as Durante’s Requiem with Hamburg Symphony Orchestra); the Mark can be heard on numerous Christ Church Cathedral Choir, Concert performances include world premiere of Howard Goodall’s recordings. Most notably he is featured Oxford. Other solo recordings include Purcell’s The Indian Queen and Handel’s Every Purpose under the Heaven and the as a soloist on The Sixteen’s recordings repertoire by Pelham Humfrey, Dixit Dominus (The Sixteen); Handel’s BBC’s “Inspire” Young Composers of Monteverdi’s Vespers of 1610 and Purcell, Bruckner, Holst, James Messiah (English Chamber Orchestra); Prom (Aurora Orchestra). Mozart’s Solemn Vespers (which MacMillan and Roderick Williams. 28 29 Recording Editor & Producer: Howard Goodall Recording Engineer: Mike Hatch (Floating Earth) Executive Producer: Val Fancourt Recorded at: St John the Evangelist Church, Iffley Road, Oxford, 14-16 March 2018 Cover image: © 2018, Faber Music Ltd

Photograph: Cath Edwards Cath Photograph: Design: Andrew Giles: [email protected]

Christ Church Cathedral Choir and Stephen Darlington are represented by Val Fancourt Music Management (www.valfancourt.com) www.howardgoodall.co.uk Invictus: A Passion is published by Faber Music Ltd www.fabermusic.com

For further information about recordings on CORO visit www.thesixteen.com For further information on Christ Church Cathedral Choir visit www.chchchoir.org

2018 The Sixteen Productions Ltd. © 2018 The Sixteen Productions Ltd. Made in Great Britain

Also available as a studio master quality download at www.thesixteen.com Photographs: David Lee David Photographs:

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