DURUFLÉ & HOWELLS REQUIEMS SAINT THOMAS CHOIR OF MEN & BOYS, FIFTH AVENUE, NEW YORK JOHN SCOTT conductor Maurice Duruflé (1902-1986) & Herbert Howells (1892-1983)

Requiems Herbert Howells (1892-1983) Requiem (1936) 1. Salvator mundi [2:19] 2. Psalm 23 [2:32] 3. Requiem aeternam I [3:06] Kirsten Sollek mezzo-soprano 4. Psalm 121 [2:46] Richard Lippold baritone 5. Requiem aeternam II [3:32] 6. I heard a voice from heaven [4:14] Myron Lutzke cello Frederick Teardo organ Ralph Vaughan Williams (1872-1958) 7. Valiant-for-truth [5:31] Saint Thomas Choir of Men & Boys, Fifth Avenue, New York Maurice Duruflé (1902-1986) Requiem, Op. 9 8. Introit [3:45] conductor John Scott 9. Kyrie eleison [3:55] 10. Domine Jesu Christe [7:57] 11. Sanctus [3:38] 12. Pie Jesu [3:22] 13. Agnus Dei [4:04] 14. Lux aeterna [4:03] 15. Libera me [5:28] 16. In paradisum About Saint Thomas Choir of Men & Boys & John Scott: [2:58]

‘This is a fine choir, the treble tone appealingly bright, Total playing time altos and tenors unearthly yet beautiful.’ [63:14] Gramophone

‘[...] the New York boys and men sing eloquently and touchingly’ Classical Music Magazine Howells, Vaughan Williams & Duruflé work was ‘written in 1936’, i.e., after Michael’s death. However, it has become clear in recent The mystery of Last Things has given rise to years that the Requiem was, in fact, started some of the most searching and personal some time earlier, most likely in 1932. It was music in the Western canon. On this album written for the Choir of King’s College, we bring together two remarkably intimate Cambridge, directed at that time by Boris funeral works, the Requiems of Herbert Ord. For some reason, Howells never sent Howells and Maurice Duruflé, both of which it off; instead, the score languished in his experienced a complex genesis. A bridge possession for almost half a century. between them is provided by Ralph Vaughan According to the first edition, Joan Littlejohn Williams’s Valiant-for-truth; Vaughan of the Royal College of Music in London Williams, though often seen as the identified and re-assembled the manuscript, quintessence of Englishness, studied in and the Requiem was released in 1980, France and his musical language was deeply shortly before the composer’s death in 1983. marked by the experience. Valiant-for-Truth lies halfway between the two Requiems in One important inspiration for Howells was time, and like these two works it addresses the Short Requiem in D by Henry Walford eschatological issues. Davies (1869-1941). Dating from 1915, this was written ‘in sacred memory of all those Herbert Howells: Requiem (1936) who have fallen in the war’. The layout of For many years it was thought that Herbert the work is strikingly similar to that of Howells’s Requiem was a tribute to his only Howells’s Requiem: son, Michael. Michael died of spinal meningitis in 1935 at the age of nine, a Walford Davies: Maurice Duruflé Ralph Vaughan Williams Herbert Howells blow from which Howells never recovered. Obsessed by his memory, the composer I. Salvator mundi wrote several works that had Michael in II. De profundis clamavi [i.e. Psalm 130] their title or were associated in some way III. Requiem aeternam (1) with St Michael. Indeed, Howells seems to IV. Levavi Oculos [i.e. Psalm 121] have encouraged the idea of a link between V. Requiem aeternam (2) Michael and the Requiem: the first edition, VI. Audivi vocem [I heard a voice] produced we must assume with the VII. Hymn: Mors ultra non erit composer’s approval, states bluntly that the VIII. Gloria Patri Howells: Howells choir-training techniques during luscious orchestral scoring of the Hymnus taken from Bunyan’s masterpiece. Its title World War I, while the latter was a student at Paradisi betrays Howells’s affinities with derives from one of the principal characters, I. Salvator mundi the Royal College of Music. French music; the Requiem, on the other Mr. VALIANT-FOR-TRUTH. Bloodied and II. Psalm 23 hand, is restrained and hints at the scarred, with a sword in his hand, the pilgrim III. Requiem aeternam I Simon Lindley has suggested that Howells’s sonorities the composer had studied in looks expectantly to the life beyond. IV. Psalm 121 reluctance to publish the work ‘arose from Renaissance polyphony. Nevertheless, V. Requiem aeternam II the terrible thought that in composing it at Howells finds remarkable colours in his Valiant-for-truth was first performed on 29 VI. I heard a voice from heaven all, he had in some way tempted fate’. It may setting. In part, this can be ascribed to his June 1942 by Harold Darke and the St well be that Howells was reminded of opulent harmonic language; in part, it Michael Singers – Howells would have Both composers reject the traditional Mass Mahler’s Kindertotenlieder. (In the first years results from a flexible approach to texture. approved! – and though it has been liturgy, preferring instead unorthodox of the last century Mahler set five poems by The choir divides at times into as many as described as a response to the death of the collections of texts. Two of Howells’s Friedrich Rückert inspired by the death of ten separate parts, and there are several composer’s close friend, Dorothy Longman, movements are psalm settings: Psalm 23 his daughter from scarlet fever. Moved by vignettes for solo voices. All this raises it is hard not to see in the work’s trajectory (‘The Lord is my shepherd’) and Psalm 121 superstition, Mahler’s wife, Alma, begged Howells’s Requiem far beyond the modest from darkness to light something of the (‘I will lift up mine eyes unto the hills’). him to desist. Two years after the premiere, Walford Davies setting that first inspired it. hopes and fears of contemporary audiences. Unusually, ‘Requiem aeternam dona eis’, in 1907, Mahler’s two daughters contracted Beginning tentatively with recitative-like from the traditional Latin Office of the the same illness and one, Maria, died, Ralph Vaughan Williams: Valiant-for-truth passages, the piece moves through short Dead, appears twice, in the third and fifth leavingthe composer stricken by guilt.) homophonic sections and brief polyphonic movements. A text from Revelation, as Although Ralph Vaughan Williams was a exchanges, before culminating in triumphant found in the Anglican Order for the Burial The incorporation of some of the Requiem’s declared agnostic, he was able, as his fanfares similar to the off-stage alleluias in of the Dead, lies at the root of the final material into another work closely associated second wife Ursula put it, ‘to set to music the final scene of The Pilgrim’s Progress. As movement. The first has a more distant with Michael, the Hymnus Paradisi, might words in the accepted terms of Christian one reviewer wrote when Valiant-for-truth connection with rituals of mourning: its provide another explanation for Howells’s revelation, as if they meant to him what was first published, ‘all these effects, in the text is taken from the antiphon proper to reluctance to publish. However, although they must have meant to George Herbert hands of a less skilled composer, might well the Matins for the Exaltation of the Cross. the latter also dates from the 1930s, it first or to Bunyan’. Indeed, the work of John have created a sense of confusion. Here Though Howells would probably have saw the light in 1950; Herbert Sumsion (not Bunyan accompanied Vaughan Williams they are neatly contrasted to form a known these words from the famous Vaughan Williams, as is often stated) throughout much of his long career, moving picture of Bunyan’s agonized settings by Tallis, his decision to use the persuaded Howells to allow its performance inspiring some of his most deeply felt character.’ In fact, one could argue text for the opening movement of the in the Three Choirs Festival of that year. The music and, in addition, leading him to one that Valiant-for-Truth was a study for the Requiem almost certainly derives from two works use many of the same texts – of the lowest points of his career – the opera; it is nothing less than a miniature exposure to the Short Requiem in D. This here too Howells prefers to avoid words premiere of his opera, The Pilgrim’s scena, beautifully crafted and supremely hypothesis is strengthened when we from the traditional Latin Requiem Mass – Progress, in 1951. The text of the motet, moving. consider that Walford Davies taught but their effect is quite different. The Valiant-for-Truth, like that of the opera, is Maurice Duruflé: Requiem, Op. 9 two pieces, by Alexandre Tansman and László piano, remains unpublished. On this IV. Pie Jesu Lajtha, that bore the title ‘In Memoriam’. recording we hear the version with organ V. Agnus Dei & Lux aeterna Like the Howells Requiem, Duruflé’s Op. 9 accompaniment, though with the addition VI. Libera me had a complicated history. Though completed The story of the Requiem’s origin is further of a solo cello in the fifth movement, VII. In paradisum in 1947 and dedicated to the memory of the clouded by the fact that Duruflé was working as suggested by the composer. composer’s father (who had died in 1945), at the time on a suite for organ. This was Duruflé: this was not an act of simple filial piety. For based on Gregorian themes and, although Just as Howells looked back to Walford the Requiem’s origins reach back into the Duruflé indicated at one point that the Davies for textual models, Duruflé seems to I. Introit war years and, as recent research has Requiem borrowed music from the ‘Sanctus’ have based his Requiem on Gabriel Fauré’s II. Kyrie demonstrated, it was written in response and ‘Communion’ movements, we do not celebrated setting of the funeral mass. III. Domine Jesu Christe [i.e. Offertoire] to a commission issued by the Vichy regime know exactly how much material was taken Duruflé denied being influenced by Fauré, IV. Sanctus – Benedictus in May 1941. Most sources claim that the over. However, given the nature of the music, but both composers strike a remarkably V. Pie Jesu renowned publisher, Auguste Durand, asked and given Duruflé’s notoriously limited similar tone of contemplation in their VI. Agnus Dei Duruflé to write the work; however, Leslie oeuvre, it is likely that more than two of settings, and it is telling that all of Duruflé’s VII. Lux aeterna A. Sprout has demonstrated conclusively the Requiem’s movements had their origin movements, like Fauré’s, end quietly VIII. Libera me the Vichy connection which, perhaps in the organ suite. (perhaps most memorably the final IX. In paradisum understandably, both composer and family movement with its rapt, Messiaen-like tried to suppress. In fact, Duruflé was Duruflé’s Requiem exists in four different F sharp major harmonies). Moreover, both Although it is tempting to align Duruflé’s originally commissioned to write a forms. The first, the version used for the works avoid the more dramatic texts Requiem with Fauré’s, we should not overlook symphonic poem. Whether he ever premiere, was written for large orchestra. associated with the Latin funeral Mass. the differences between them – most intended to produce a purely orchestral Here Duruflé makes generous use of There is no last trump, for example, in significantly perhaps the two composers’ work is far from certain; what is clear, percussion. As the notorious papal moto either setting. Rather, the keystone of approach to plainsong. Fauré, though very however, is that he claimed his fee for the proprio of 1903 had forbidden the use of both works is provided by an introspective interested in plainsong – Reynaldo Hahn Requiem, but not until 1948, when the ‘all noisy or irreverent instruments’ such setting of the Pie Jesu, cast in each case once called him a ‘voluptuous Gregorianist’ – Fourth Republic had long since displaced as drums in church, we can assume that for solo voice. nowhere makes use of pre-existing material. the tainted Vichy regime. the work was originally intended more for Duruflé’s work, on the other hand, is infused the concert hall than for liturgical use. The The parallels can be seen in the following: with chant. The composer himself wrote that At the time of the first performance many orchestral version was followed shortly Op. 9 ‘is based exclusively on themes from saw the Requiem as not just a response to afterwards by a version with organ Fauré: the Gregorian funeral mass. Sometimes I the death of Duruflé’s father, but also as a accompaniment. A further adaptation of adopted the music exactly, leaving the coming-toterms with the aftermath of the work, this time for chamber orchestra, I. Introit & Kyrie orchestra to support or comment, in other World War II. As if to confirm this, the work was completed some years later, in 1961. II. Offertoire passages [the chant] served merely as a was programmed at the premiere alongside The last version, with accompaniment for III. Sanctus stimulus […] In general, however, I was determined that my composition should be Duruflé, ever self-critical, described the Texts & Translations 4. Psalm 121 totally penetrated by the particular style of Requiem to Nadia Boulanger as ‘very I will lift up mine eyes unto the hills: the Gregorian themes.’ modest music’, and Marie-Claire Alain recalls Herbert Howells (1892-1983) from whence cometh my help. Requiem (1936) My help cometh even from the Lord: him saying that the decision to publish it was who hath made heaven and earth. For all that, Duruflé never employs chant ‘a disaster’. Curiously, had Duruflé given 1. Salvator mundi He will not suffer thy foot and be moved: in its original form – that is to say, free rein to his insecurity, the work might O Saviour of the world, and he that keepeth thee will notsleep. unaccompanied and in free metre. Rather, have suffered a fate similar to that of the Who by thy Cross and thy precious Behold, he that keepeth Israel: it always appears with some form of Howells Requiem. Yet, after a slow start Blood hast redeemed us, shall neither slumber nor sleep. decoration. In the ‘Introit’, for example, Duruflé’s Requiem has become one of the Save us, and help us, The Lord himself is thy keeper: we humbly beseech thee, O Lord. he is thy defence upon thy right hand; Duruflé adds counter-melodies in most frequently performed and one of the So that the sun shall not burn thee by day: semiquavers; here, he bars the chant in most treasured of all twentieth-century 2. Psalm 23 neither the moon by night. irregular combinations, creating a sense choral works. The Lord is my shepherd: The Lord shall preserve thee from all evil: of crystallised fluidity. In the Kyrie, on the therefore can I lack nothing. yeah, it is even he that shall keep thy soul. other hand, Duruflé reaches back to © 2011 Dr Martin Ennis He shall feed me in the green pasture: The Lord shall preserve thy going out, and thy coming in: time-honoured cantus firmus techniques, and lead forth beside the waters of comfort. from this time forth and forever more. He shall convert my soul: setting the chant in long notes against a 5. Requiem aeternam (2) contrapuntal web based on the same and bring forth in the paths of righteousness, for his name’s sake. Requiem aeternam, dona eis Domine. melodic material. The use of this Yea, though I walk in the valley of the shadow Et lux perpetua luceat eis. procedure, often found in organ repertoire, of death, I will fear no evil: Requiem aeternam dona eis Domine. suggests that the Kyrie may have been one thy rod and thy staff comfort me. of those movements taken from the Thou shalt prepare a table before me Rest eternal grant unto them, O Lord: against them that trouble me: and let light perpetual shine upon them. abandoned suite. While preparing the Rest eternal, grant unto them, O Lord. Requiem, Duruflé took advice on rhythm thou hast anointed my head with oil, and my cup shall be full. from an eminent expert on chant, But thy loving kindness and mercy shall follow me 6. I heard a voice from heaven Auguste Le Guennant. However, in his all the days of my life: I heard a voice from heaven, saying unto me, treatment of plainsong he will surely also and I will dwell in the house of the Lord forever. Write, From henceforth blessed are the dead have had in mind the example of his which die in the Lord. 3. Requiem aeternam (1) Even so saith the Spirit; ‘cherished Master’, Charles Tournemire. From henceforth blessed are the dead Tournemire’s L’Orgue Mystique, a cycle Requiem aeternam dona eis. Et lux perpetua luceat eis. which die in the Lord: of 255 pieces based on fifty-one offices Requiem aeternam, dona eis Domine. For they rest from their labours. of the liturgical year, provided models that are easily recognised in Duruflé’s Rest eternal grant unto them: Revelations 14:13 score. and let light perpetual shine upon them. Rest eternal, grant unto them, O Lord.

Ralph Vaughan Williams (1872-1958) Rest eternal grant unto them, O Lord: O Lord Jesus Christ, King of glory, deliver 13. Agnus Dei 7. Valiant-for-truth and let light perpetual shine upon them. the souls of the departed from the Agnus Dei, qui tollis peccata mundi, Thou, O God, art praised in Sion, pains of hell and the bottomless pit: dona eis requiem. After this it was noised abroad that Mister and unto thee shall the vow be performed in Jerusalem: Agnus Dei, qui tollis peccata mundi, Valiant-for-truth was taken with a summons; Thou that hearest the prayer, Deliver them from the lion’s mouth, that dona eis requiem sempiternam. and had this for a token that the summons was true, unto thee shall all flesh come. hell devour them not: may they not ‘That his pitcher was broken at the fountain.’ fall into darkness, but let Saint Michael, O Lamb of God, that takest away the When he understood it, he called for his friends, 9. Kyrie the standard bearer, lead them sins of the world, grant them rest. and told them of it. Kyrie eleison. into the holy light, which thou once O Lamb of God, that takest away the Then, said he, ‘I am going to my Father’s, Christe eleison. promised to Abraham and his seed. sins of the world, grant them rest eternal. and though with great difficulty I am got hither, Kyrie eleison. yet now I do not repent me of all the trouble I have Sacrifices and prayers do we offer to 14. Lux aeterna been at to arrive where I am. Lord, have mercy upon us. thee, O Lord: do thou accept them Lux aeterna luceat eis, Domine, My sword, I give to him that shall succeed me in Christ, have mercy upon us. for those souls in whose memory we cum sanctis tuis in aeternum: my pilgrimage, Lord, have mercy upon us. make this oblation. quia pius es. and my courage and skill, to him that can get it. My marks and scars I carry with me, 10. Domine Jesu Christe Make them, O Lord, to pass from Requiem aeternam dona eis,Domine: to be a witness for me, that I have fought his battles, Domine Jesu Christe, Rex gloriae, death to life,which thou once promised et lux perpetua luceat eis. who now will be my rewarder.’ libera animas omnium fidelium to Abraham and his seed. Quia pius es. When the day that he must go hence, was come, defunctorum de poenis inferni, et many accompanied him to the riverside, into which, de profundo lacu: 11. Sanctus & Benedictus Let light eternal shine upon them, O as he went, he said, ‘Death, where is thy sting?’ Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Lord: with thy saints for evermore: And as he went down deeper, he said, ‘Grave, Libera eas de ore leonis, ne absorbeat Pleni sunt coeli et terra gloria tua. for thou art gracious. where is thy victory?’ eas tartarus: ne cadant in Hosanna in excelsis. So he passed over, and all the trumpets sounded for obscurum. Sed signifer sanctus Benedictus qui venit in nomine Domini. Rest eternal grant unto them, O Lord: him on the other side. Michael repraesentet eas in Hosanna in excelsis. and let light perpetual shine upon them. lucem sanctam, Quam olim Abrahae For thou art gracious. From Pilgrim’s Progress, John Bunyan (1628-1688) promisisti, et semini ejus. Holy, holy, holy, Lord God of Hosts. Heaven and earth are full of Thy glory. 15. Libera me Maurice Duruflé (1902-1986) Hostias et preces tibi, Domine, Glory be to Thee, O Lord Most High. Libera me, Domine, de morte aeterna, Requiem, Op. 9 laudis offerimus: tu suscipe pro Blessed is he who cometh in the name of the Lord. in die illa tremenda: animabus illis quarum, hodie Hosanna in the highest. Quando coeli movendi sunt et terra; 8. Introit memoriam facimus. Dum veneris judicare saeculum perignem. Requiem aeternam dona eis,Domine: 12. Pie Jesu et lux perpetua luceat eis. Fac eas, Domine, de morte transire Pie Jesu Domine, dona eis requiem. Tremens factus sum ego, et timeo, Te decet hymnus Deus in Sion, ad vitam. Quam olim Abrahae Dona eis sempiternam requiem. dum discussio venerit, atque ventura ira. et tibi redetur votum in Jerusalem. promisisti, et semini ejus. Dies illa, dies irae, calamitatis et miseriae, Exaudi orationem meam; Kind Lord Jesus, grant them rest. dies magna et amara valde. ad te omnis caro veniet. Grant them eternal rest. Requiem aeternam dona eis Domine, Kirsten Sollek (mezzo-soprano) Myron Lutzke (cello) and Institute of Sacred Music, as well as the et lux perpetua luceat eis. Myron Lutzke is well known to audiences Master of Musical Arts and Master of Music Based in New York City, Kirsten Sollek has as a cellist on both modern and period degrees. At Yale, he studied organ with Deliver me, O Lord, from everlasting death in that fearful day: been a soloist with Tafelmusik, Bach Collegium instruments. He attended Brandeis University Thomas Murray and harpsichord with When the heavens and earth shall be shaken; Japan, New York Collegium, Concert Royal, and is a graduate of the Juilliard School. He is Richard Rephann. During his time at Yale, he When thou shalt come to judge the world by fire. Concerto Palatino, Trinity Consort, Minnesota currently a member of the St. Luke’s Chamber held the post of Yale University Chapel Orchestra, and the Boston Early Music and Ensemble, Aulos Ensemble, Mozartean Organist, and later served as Assistant Organist I am in fear and trembling, until the Carmel Bach Festivals. New York Times Players, Bach Ensemble, the Loma Mar at Trinity Episcopal Church on the Green in sifting be upon us and the wrath to come. reviewers have described her voice as ‘an Quartet, The Theater of Early Music and the New Haven, CT. Dr. Teardo received his That day, the day of wrath, calamity and misery, the great day of exceeding bitterness. appealingly rich alto’, and The Philadelphia Esterhazy Machine and serves as principal Bachelor of Music degree with Highest Inquirer has called her ‘an ideal Bach alto’. cellist for the Orchestra of St. Luke’s, Honors from the Eastman School of Music in Rest eternal grant unto them, O Lord: Also active in the genre of new music, Ms. American Classical Orchestra and, for Rochester, NY, where he studied organ with and let light perpetual shine upon them. Sollek has worked with Alarm Will Sound, fourteen years, Handel and Haydn Society David Higgs. His other teachers have Steve Reich, John Zorn and Bang on a Can. with Christopher Hogwood in Boston. He is included Stephen Roberts and Haskell 16. In paradisum on the faculty of Indiana University Early Thomson. He has also studied improvisation In paradisum deducant te Angeli, in tuo adventu suscipiant te martyres, Richard Lippold (baritone) Music Institute and Mannes School of with William Porter and Jeffrey Brillhart. et perducant te in civitatem Richard Lippold’s solo career has encompassed Music where he teaches period cello and sanctam Jerusalem. most genres and periods of music. Highlights Baroque performance practice. An avid performer, Dr. Teardo has won first Chorus Angelorum te suscipiat, include Dead Man Walking (scenes with the prize in numerous competitions and has et cum Lazaro quondam paupere composer, Frederica von Stade and Joyce Frederick Teardo (organ) performed across North America, including aeternam habeas requiem. DiDonato), Arvo Pärt’s Passio for the Tribeca Frederick Teardo is Director of Music and such venues as the Cathedral of St. John the May the Angels lead thee into Paradise; Film Festival, Stephen Paulus’ Summer; Organist at the Cathedral Church of the Divine, Saint Bartholomew’s Church, Saint and the Martyrs receive thee at thy leading opera roles in Chattanooga, Portland, Advent in Birmingham, Alabama. Prior to Patrick’s Cathedral and the Metropolitan coming and bring thee into the Utah, Idaho, and St. Louis; Poppea (with NY’s his appointment in 2012, he held a six-year Museum of Art in New York City, Washington holy city Jerusalem. Opera Omnia at Le Poisson Rouge), and tenure at Saint Thomas Church, Fifth Avenue, National Cathedral, Grace Cathedral in San May the choir of Angels receive thee, concert repertoire from Carmina Burana, in New York City, where he served for most Francisco, Methuen Memorial Music Hall, and mayest thou, Fauré, Duruflé, Haydn’s Masses (released on of that time as Associate Organist, preceded Trinity Church Copley Square in Boston, with Lazarus once poor, have everlasting rest. Naxos), to Bach, Telemann, Brahms, Handel’s by his initial post as Assistant Organist. He Princeton University Chapel, and the Messiah, Rameau, Purcell, and Monteverdi. is also Adjunct Instructor of Organ at the Cathedral Church of the Redeemer in Mr. Lippold was a member of the Saint Thomas University of Montevallo. Calgary, Alberta. he has also been a featured Choir of Men and Boys. performer at Regional and National Dr. Teardo received the Doctor of Musical Conventions of the American Guild of Organists Arts degree from the Yale School of Music and Organ Historical Society. The Saint Thomas Choir & Choir School Convention in Houston, Texas. Saint Thomas Choir of Men and Boys, Fifth Avenue, New York The Saint Thomas Choir of Men and Boys is In addition to the annual performances of considered by many to be the leading Handel’s Messiah, concerts at Saint Thomas Treble Alto ensemble of its kind in the Anglican choral Church have included Requiems by Fauré, John William Rodland Carson Eric Brenner tradition in the United States. The Choir Brahms, Mozart, Duruflé, Victoria and Howells; William Christopher Clark Matthew Brown performs regularly with Orchestra of St. Luke’s, Bach’s Passions, Mass in B Minor and Motets; Matthäus Christian Davies Corey-James Crawford or with the period instrument ensemble, the U.S. premiere of John Tavener’s Mass; the Marcus Eugenio Axel d’Aquino Daniel Scarozza Concert Royal, as part of its own concert U.S. premiere of Nico Muhly’s work My Days Daniel Abraham DeVeau* Geoffrey D. Williams series. Its primary raison d’être, however, is with viol consort Fretwork; Handel’s Israel in Benjamin Bae Stackhouse Ferriby William Zukof to provide music for five choral services Egypt; a program of Handel and Purcell’s Matthew Garnet Higgins Iati each week. Live webcasts of all choral Baroque masters conducted by John Scott Grant Andrew Klinger Tenor services and further information including and Richard Egarr along with Juilliard 415 and Ryan Christopher Newsome Mark Bleeke recordings of the choir may be found at MacMillan’s Seven Last Words from the Cross, Olajuwon Isaiah Osinaike Gregg M. Carder www.SaintThomasChurch.org. conducted by David Hill. In 2014, the Boy William James Paris Oliver Mercer Choristers performed in Bach’s St Matthew Noel Arnold Patterson Jr. David Vanderwal Supplementing its choral services and concert Passion at the Park Avenue Armory as part Daniel Antonio Pepe Steven Caldicott Wilson series over the past four decades, the Choir of Lincoln Center’s White Light Festival with Richard Mayne Pittsinger has toured throughout the U.S. and Europe the Berliner Philharmoniker under the direction Jan-Carlos Ramirez Bass with performances at Westminster Abbey of Peter Sellars and conductor Sir Simon Rattle. Joshua Ross Scott Dispensa and St Paul’s Cathedral in London; King’s Samuel Edward Sargunam Richard Lippold College, Cambridge; Windsor; Edinburgh; The Gentlemen of the Saint Thomas Choir are Simon Minor Scott-Hamblen Craig Phillips St Albans; the Aldeburgh Festival; and the professional singers; the Boy Choristers attend Alexander David Seeley Mark Sullivan Vatican. In February 2012, the Boys of the the Saint Thomas Choir School. The Saint Alexander David Simcox Christopher Trueblood Choir traveled to Dresden to give the premiere Thomas Choir of Men and Boys is represented Julian Philip Wesley Turner of Lera Auerbach’s Dresden Requiem with by Karen McFarlane Artists, Inc. Sidney Alan Wright the Dresden Staatskapelle in the Frauenkirche (www.concertorganists.com) and records Ryoan Yamamoto and Semper Oper. Later in 2012, the Choir exclusively for Resonus Classics. Justin Y. Yoo** was invited to perform in the Thomaskirche at the Leipzig BachFest, a highlight of their Founded in 1919, the Saint Thomas Choir School June 2012 tour to Germany and Copenhagen. is the only boarding school solely for choristers *Recipient of the Frances S. Falconer Choristership Domestically, the Choir most recently toured in the United States, and one of only three **Recipient of the Ogden Northrop Lewis, Jr. Choristership the Southeastern United States and was a schools of its type remaining in the world today. featured performer at the National AGO

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Photography: Tom Lindsey More titles from Resonus Classics Sergei Rachmaninoff: Vespers (All-Night Vigil), Op. 37 Saint Thomas Choir of Men & Boys, Fifth Avenue, New York John Scott (conductor) RES10169

‘[...] John Scott’s fearless boy trebles are beyond reproach, scything through the textures and giving Rachmaninoff’s squelchier chords an irresistible clarity.’ The Arts Desk

Gabriel Fauré: Requiem, Op. 48 Saint Thomas Choir of Men & Boys, Fifth Avenue, New York John Scott (conductor) RES10174

‘[...] This is a fine choir, the treble tone appealingly bright, altos and tenors unearthly yet beautiful’ Gramophone

© 2017 Resonus Limited è 2011 Saint Thomas Church under exclusive licence to Resonus Limited Recorded in Saint Thomas Church, Fifth Avenue, New York in May 2010 Producer, editing & post production: Malcolm Bruno Engineer: John C. Baker Production assistant: Claudette Mayer Remastering engineer: Adam Binks Executive producers: Adam Binks & Jacqueline R. Slater Cover image: Detail from Christ in the Sepulchre, Guarded by Angels by William Blake (1757-1827)

RESONUS LIMITED – UK

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