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Home , Ave verum corpus, Libera me, Pie Jesu, Requiem (Fauré)

RES10174 R Cantique deJeanRacine T Messe Basse Ave V Gabriel antum Ergo equiem erum Fauré , Op.48 ofStL Saint ThomasChoir of Men&Boys, F ifth Avenue, John Scott New Y conductor uke’s ork Gabriel Fauré (1845-1924) , Op. 48 Gabriel Fauré (1845-1924) Requiem, Op. 48 (Fauré’s original chamber instrumentation edited by John Rutter) 1. Introït et [5:58] Richard Pittsinger treble 2. Offertoire [8:39] 3. [3:14] David Pittsinger - 1-7 8-13 4. [3:24] Frederick Teardo & Kevin Kwan organ 5. [5:39] Orchestra of St Luke’s 6. [4:42] Saint Thomas of Men & Boys, Fifth Avenue, New York 7. In Paradisum [3:46]

John Scott conductor 8. , Op. 65, No. 1 [3:43]

Messe Basse 9. Kyrie [2:20] 10. Sanctus [2:10] 11. Benedictus [2:31] 12. Agnus Dei [3:05]

13. , Op. 65, No. 2 [2:36]

14. Cantique de Jean Racine, Op. 11 [6:20] (Edited by John Rutter) About Saint Thomas Choir of Men & Boys:

‘The choir is absolutely secure from trebles to basses’ Total playing time [58:14] Gramophone

‘The choir sings wonderfully’ New York Times Gabriel Fauré’s Requiem and its context Writing in 1910 about the origins of the work, prompted a further reworking. This Hector Berlioz’s Grande Messe des Morts. Fauré claimed: ‘my Requiem was composed version was premiered at Lille in May 1900, In a review in Le Figaro dating from 1904, Monsieur Fauré, we don’t need all these for no particular purpose... for the pleasure of and it was repeated shortly afterwards at Fauré condemned Berlioz’s ‘thundering novelties; the Madeleine’s repertoire is quite rich enough. it, if I may say so!’ However, Fauré started the Trocadéro in Paris, as part of the fanfares’, and it is telling that in his own work on the Requiem shortly after his Exposition Universelle. In fact, this last Requiem, Fauré avoided the more theatrical One might expect priests to be practised in father’s death, and the death of his mother, reworking resulted in the loss from circulation texts. True, the later additions for bass do baptismal lines, but these words, spoken on New Year’s Eve 1887, may have spurred of the ‘chamber’ version, and it was not not eschew drama altogether, but Fauré after the first performance of Fauré’s him to complete an initial version. Curiously, until the researches of Jean-Michel Nectoux was adamant that the soloist should be Requiem, Op. 48, have gone down in history the Requiem was not used for her funeral; and, shortly afterwards, John Rutter that ‘gentle’ in tone. In a letter written shortly as among the least appropriate reactions to rather, the first performance was reserved for something close to Fauré’s original after the premiere of the symphonic a new arrival. Crass they may be, but they a society funeral – that of an architect intentions was restored to us. It is Rutter’s version, Fauré railed against his bass reflect nonetheless the views of many of named Joseph Lesoufaché – which, as scoring that is used on this recording. soloist, a man called Henri Vallier, claiming Fauré’s contemporaries. Now cherished by suggested above, took place at the Église that he understood nothing about ‘the calm performers and audience alike, the Requiem de la Madeleine in Paris, on 16 January 1888. If the premiere of the Requiem ‘went almost and gravity of his part’; in short, he was too was slow to win friends. It was relatively unnoticed’, to quote Nectoux, ironically it much the opera singer. In later letters little performed during Fauré’s lifetime, and Fauré dubbed the first version of the work – was the last, ‘symphonic’ version of the work Fauré returns repeatedly to this point. Fauré’s renown, such as it was, sprang from which consisted of just five movements that brought the Requiem to wider notice – Clearly, casting the bass part was of crucial the piano works, the chamber music and, (’ et Kyrie’; ‘Sanctus’; ‘Pie Jesu’; ‘Agnus ironically, because this version is distant in importance to him. above all, the songs. Marcel Proust, who Dei’; and ‘In Paradisum’) – his ‘petit Requiem’. spirit from Fauré’s original. Indeed, many admired Fauré’s music and knew it well, However, over the following years he doubt that it was prepared by the composer; However, it is another section for solo describes listening to the Cantique de Jean returned repeatedly to the piece, rescoring it is likely that Fauré’s regular collaborator voice, the ‘Pie Jesu’, that lies at the core of Racine with delight; he never once mentions it and, crucially, adding two further Jean Roger-Ducasse orchestrated the work the Requiem. To judge by a surviving the Requiem. movements, the ‘Offertoire’ and the ‘Libera on his behalf. sketchbook, this movement’s main theme me’, both of which feature a solo bass-baritone. was one of Fauré’s first ideas for the work. Outside France, the Requiem was also slow The latter drew on material dating as As we have seen, the original conception In the five-movement version, it formed to win over audiences. Elgar, who met Fauré far back as 1877. was of something small-scale, and the the central movement, and when Fauré in London in 1908 at the premiere of his First various additions over the years do not added the ‘Offertoire’ and ‘Libera me’, it Symphony, was keen to have the work Fauré seems to have viewed the piece as seem to have changed the composer’s remained at the heart. As in Brahms’s performed in the Three Festival. complete in about 1890; as least, fundamental position. Fauré told the Belgian Ein deutsches Reqiem, another seven- However, his enthusiasm was not enough to negotiations with the publisher Julien violinist Eugène Ysaÿe that the Requiem movement structure, the key-stone of sway the festival officials, and the first English Hamelle began that year. However, ‘is as gentle as I am myself’, and he had the arch is the slightest of the performance took place as late as 1937, nearly publication was delayed, and a request scant respect for the other great requiem movements, and as in Duruflé’s Requiem, half a century after the French premiere. from Hamelle for a version with full orchestra setting of nineteenth-century France, the key-stone features a solo female voice. pag irr pag pag who claimedtha c challeng Br alongside hisGermanpr in whichF R t banished. 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Photography: Rudi Wells The two of Op. 65 – the Ave , of ‘restoring to honour’ rather than by organ alone. Fauré later Weir, arrived at a similar conclusion, though verum and Tantum ergo – belong to a the music of Palestrina, and of creating made good his omission, producing two from a different perspective. As she put it, group of shorter liturgical pieces. In the a liturgically appropriate form of music – versions of the piece with instrumental the Requiem more than any other work collection of Fauré’s sacred works but nonetheless maintained his distance. scoring. However, neither of these has shows that ‘you can make a big statement published in 1911 they were described as Though he loved chant, and though his been published, and when the Cantique without shouting your head off’ – a precept being ‘for female voices’; however, both melodies (and harmonies) are unthinkable is performed with instruments nowadays, the cloth-eared cleric of the Madeleine pieces were almost certainly composed without its influence, he could see no John Rutter’s arrangement is usually should perhaps have heeded on that for the choirboys of the Madeleine. In style reason for donning a musical hair-shirt. chosen. Fauré seems to have had an winter’s day back in 1888. they seem closer to Gounod than Fauré’s As he put it in 1904, after Pope Pius X open view as to vocal scoring: in a letter more famous sacred works. This decreed a return to the purity of plainsong, to Edgard Hammelle, he claimed that © 2012 Dr Martin Ennis doubtless reflects their function as Gregorian chant was an art of ‘extreme the piece could be sung by chorus Faculty of Music, Cambridge University occasional pieces suitable for a smart luxury’ when first introduced to the church. or by four solo voices. The text is a August 2012 Parisian church. As Robert Orledge once In an era accustomed to the sensuous translation by Racine, the great put it, the Ave verum begins subtly harmonies of Wagner, this was clearly seventeenth-century dramatist, in the minor, but concludes with something no longer the case – hence his reluctance of words from the Roman Breviary; akin to an operatic duet. The Tantum ergo, to fetishise earlier music practices. the original formed part of an anonymous one of several settings of this text, makes hymn in Ambrosian style intended for much of the contrast between solo The programme is rounded off with the Tuesday . Racine’s three stanzas and tutti voices – suggesting once again most popular of Fauré’s shorter sacred provide a natural tripartite framework a nod in the direction of secular styles. works, the Cantique de Jean Racine, for Fauré’s setting. Op. 11. Written in 1865, when the In a letter to the Princesse de Polignac composer was only twenty, this was Writing shortly after the composer’s dated 1894 (i.e., the same year as Op. 65) Fauré’s first significant piece for the death in 1924, Albert Roussel characterised Fauré talked of imbuing his music with church, and it won him a premier prix in Fauré as an essentially French genius: ‘he ‘human expression’. This was clearly a dig composition from the École Niedermeyer, occupied a place apart in the history of at those who advocated a more severe where he had studied from the age of nine. music and, without noise or fuss or style of . In particular, it can Who could question the examiners’ meaningless gestures, he pointed be seen as a reaction to the ideals of judgement? Indeed, Fauré’s confidence the way forward towards marvellous the Society for Sacred Music, which was in both homophonic and contrapuntal horizons’. These comments might founded the same year, 1894, by Vincent writing impressed the judges so much apply to any of the works represented d’Indy, Charles Bordes and Alexandre that they disregarded one of the principal here, but they were surely coined with Guilmant. Fauré undoubtedly has some rules of the competition – that works be Fauré’s masterpiece, the Requiem, in mind. sympathy with their goals – of reviving accompanied by an ensemble of instruments A more recent critic, the composer Judith Requiem, Op. 48 Lux aeterna luceat eis, Domine: Let light eternal shine upon them, O Lord: 1. Introït et Kyrie Cum sanctis tuis in aeternum, with thy saints for evermore: for thou Requiem aeternam dona eis Domine Rest eternal grant unto them O Lord: quia pius es. art gracious. et lux perpetua luceat eis. and let light perpetual shine upon them. Requiem aeternam dona eis, Domine: Rest eternal grant unto them, O Lord: Te decet hymnus, Deus in Sion Thou, O God, art praised in Sion, and unto thee shall et lux perpetua luceat eis. and let light perpetual shine upon them. et tibi reddetur votum in Jerusalem. the vow be performed in Jerusalem. Exaudi orationem meam, ad te omnis caro veniet. Thou that hearest the prayer, unto thee shall all flesh come. 6. Libera me Kyrie eleison. Lord, have mercy upon us. Libera me, Domine, de morte aeterna, Deliver me, O Lord, from everlasting death Christe eleison. Christ, have mercy upon us. in die illa tremenda, in die illa: in that fearful day: Kyrie eleison. Lord, have mercy upon us. Quando caeli movendi sunt et terra: When the heavens and earth shall be shaken: dum veneris judicare saeculum per ignem. when thou shalt come to judge the world by fire. 2. Offertoire Tremens factus sum ego, et timeo, I am in fear and trembling, until the sifting O Domine Jesu Christe, Rex gloriae, O Lord Christ, King of Glory, dum discussio venerit, atque ventura ira. be upon us and the wrath to come. libera animas defunctorum de poenis inferni, deliver the souls of the departed from the pains of hell Dies illa, , calamitatis et miseriae, dies illa, That day, the day of wrath, calamity and misery, et de profundo lacu: and the bottomless pit: dies magna et amara valde. the great day of exceeding bitterness. O Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of Glory, Requiem aeternam dona eis Domine, Rest eternal grant unto them, O Lord: libera animas defunctorum de ore leonis, deliver the souls of the departed from the lion’s mouth, et lux perpetua luceat eis. and let light perpetual shine upon them. ne absorbeat eas tartarus: that hell devour them not: O Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of Glory, 7. In Paradisum ne cadant in obscurum. may they not fall into darkness. In Paradisum deducant angeli, May the angels lead thee into Paradise; Hostias et tibi Domine laudis offerimus: tu Sacrifices and prayers do we offer thee, Lord: do thou in tuo adventu suscipiant te Martyres, and the Martyrs receive thee at thy coming suscipe pro animabus illis, quarum hodie memoriam facimus. accept them for those souls in whose memory we make et perducant te in civitatem sanctam Jerusalem. and bring thee into the holy city of Jerusalem. Fac eas, Domine, de morte transire ad vitam. this . Make them, Lord, to pass from death to life, Chorus Angelorum te suscipiat, May the choir of Angels receive thee, Quam olim Abrahae promisisti et semini ejus. which thou once promised to Abraham and his seed. et cum Lazaro quondam paupere and mayest thou, with Lazarus once poor, O Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of Glory, aeternam habeas requiem. have everlasting rest. libera animas defunctorum de poenis inferni, deliver the souls of the departed from the pains of hell et de profundo lacu: ne cadant in obscurum. Amen and the bottomless pit, lest they fall into darkness. Amen. 8. Ave Verum Corpus, Op. 65 No. 1 Ave verum corpus, Hail, true body, born of Mary, 3. Sanctus natum de Maria Virgine; Spotless Virgin’s virgin birth; Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Holy, Holy, Holy, Lord God of Sabaoth. Vere passum, immolatum Thou who truly hangest weary Pleni sunt coeli et terra gloria tua. Heaven and earth are full of thy glory. in Cruce pro homine; On the cross for sons of earth; in excelsis. Hosanna in the highest. Cujus latus perforatum Thou whose sacred side was riven, Unda fluxit cum sanguine, Whence the water flowed with blood, 4. Pie Jesu Esto nobis praegustatum, O may’st thou, dear Lord, be given at death’s hour to be my food. Pie Jesu Domine, dona eis requiem. Kind Lord Jesus, grant them rest. Mortis in examine. O tender, O loving, Dona eis sempiternam requiem. Grant them . O jesu dulcis, O Jesu pie, O Jesu, Son of Mary, O Jesu, fili Mariae, Tu nobis . Amen Show on me Thy mercy. Amen. 5. Agnus Dei Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, Fourteenth-century hymn dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, dona eis requiem sempiternam. grant them rest everlasting. Messe Basse O Christ sois favorable à ce peuple fidèle O Christ show your favour 9. Kyrie Pour te bénir maintenant rassemblé; to your faithful people who have come Kyrie eleison. Lord, have mercy upon us. Reçois les chants qu’il offre together to worship you, Christe eleison. Christ, have mercy upon us. à ta gloire immortelle, Receive the praises that they offer up to your immortal glory, Kyrie eleison. Lord, have mercy upon us. Et de tes dons qu’il retourne comblé. And may they come back laden with the gift of your grace.

10. Sanctus Jean Racine (1639-1699) Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Holy, Holy, Holy, Lord God of Sabaoth. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of thy glory. Hosanna in excelsis. Hosanna in the highest.

11. Benedictus Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord.

12. Agnus Dei Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the sins of the world, miserere nobis. have mercy upon us. Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, dona nobis pacem. grant us thy peace.

St Thomas Aquinas (1227-1274)

13. Tantum Ergo Tantum ergo sacramentum Veneremur cernui, So let us devoutly revere this great sacrament, Et antiquum documentum Novo cedat ritui; and the old covenant may give way to the new rite. Genitori Genitoque Laus et jubilatio, Jubilant praise, glory, laud, honour, Salus, honor, virtus quoque Sit et benedictio; and benediction be to the Father and the Son. Procedenti ab utroque Compar sit laudatio. Equal praise be to Him that proceeds from the two. Amen. Amen.

14. Cantique de Jean Racine Verbe égal au Très-Haut, Word of God the most high, notre unique espérance, Our sole hope, Jour éternel de la terre et des cieux, Eternal day of the earth and heavens De la paisible nuit nous rompons le silence; As we break the silence of the peaceful night, Divin Sauveur, jette sur nous les yeux! Divine saviour, look down upon us.

Répands sur nous le feu de ta grâce puissante, Imbue us with the fire of thy great mercy Que tout l’enfer fuie au son de ta voix, So that hell itself will flee at the sound of your voice, Dissipe le sommeil d’une âme languissante, Disperse the sleep which leads our languishing souls Qui la conduit à l’oubli de tes lois! To stray from the path of righteousness. Orchestra of St Luke’s Susan Graham, Itzhak Perlman, Emanuel Ax, Joshua The Saint Thomas Choir & Choir School In addition to the annual performances of Bell, Valery Gergiev, James Levine, James Taylor, and Handel’s Messiah, concerts at Saint Thomas Orchestra of St Luke’s (OSL) is one of America’s Sting. OSL hosts hundreds of neighbours, families, The Saint Thomas Choir of Men and Boys is have included by Fauré, Brahms, most versatile and distinguished , and school children at its home each year for free considered by many to be the leading Mozart, Duruflé and Howells; Bach’s collaborating with the world’s greatest artists community events. ensemble in the Anglican choral tradition Passions and Mass in B Minor; the and performing approximately eighty concerts in the United States. Directed from 2004-2015 Monteverdi Vespers of 1610; a Henry each year – including its Carnegie Hall Orchestra www.oslmusic.org by John Scott, formerly Organist and Director Purcell anniversary concert; Rachmaninoff Series, Chamber Music Series at The Morgan of Music at St Paul’s Cathedral in London, Vespers; the U.S. premiere of John Library & Museum and Brooklyn Museum, and the choir performs regularly with the period Tavener’s Mass; a concert of American summer residency at Caramoor Music Festival. In Violin instrument ensemble, Concert Royal, or composers featuring works by Bernstein its forty-one-year history, OSL has commissioned Krista Bennion Feeney with the Orchestra of St Luke’s as part of and Copland and a composition by Saint more than fifty new works, has given more than its own concert series. Its primary raison Thomas chorister, Daniel Castellanos; the 175 world, US, and New York City premieres; d’être, however, is to provide music for five world premiere of Scott Eyerly’s Spires and and has appeared on more than 100 recordings, Louise Schulman choral services each week. Live webcasts of Handel’s Israel in Egypt. In the spring of including four Grammy Award winners and seven David Cerutti all choral services and further information 2015, the choir signed an agreement with releases on its own label, St Luke’s Collection. Maureen Gallagher including recordings of the choir may be the UK recording label Resonus Classics for Pablo Heras-Casado is OSL’s principal conductor Liuh-Wen Ting found at www.saintthomaschurch.org future recording projects. The first recording and the orchestra’s fourth titled conductor; previous Ann Roggen in this series to be released was the choir’s music directors and principal conductors are Sir Shmuel Katz Supplementing its choral services and recording of the Bach , followed by Roger Norrington, Sir Charles Mackerras, and concert series over the past three decades, Dancing Day: Music for Christmas. Donald Runnicles. Cello the choir has toured throughout the U.S. Daire FitzGerald and Europe with performances at The Men of the Saint Thomas Choir are OSL grew out of a chamber ensemble that began Rosalyn Clarke Westminster Abbey and St Paul’s Cathedral professional singers; the Boy choristers giving concerts at the Church of St Luke in the Maxine New man in London, Kings College, Cambridge, attend Saint Thomas Choir School. Founded Fields in Greenwich Village in 1974. Today, the Loretta O’Sullivan Windsor, Edinburgh, St Albans and the in 1919, it is the only church related boarding twenty-one virtuoso artists of St Luke’s Chamber Aldeburgh Festival. In 2004, the choir choir school in the United States, and one of Ensemble make up OSL’s artistic core. Bass toured Italy, and performed for a Papal only a few choir schools remaining in the world. John Feeney Mass at the Vatican. During 2007, the choir The Choir School offers a challenging OSL owns and operates The DiMenna Center Anthony Falanga performed Bach’s St Matthew Passion for pre-preparatory curriculum, interscholastic for Classical Music in Midtown Manhattan, where the opening concert of the Mexico Festival sports, and musical training for boys in it shares a building with the Baryshnikov Arts Horn in Mexico City as well as at Saint Thomas grades three through eight. The Choir School Center. The DiMenna Center is New York City’s Joseph Anderer Church. In February 2012, the Boys of the is committed to training and educating premier venue for rehearsal, recording, and Stuart Rose choir traveled to Dresden to give the premiere talented musicians without regard to learning, having quickly gained a reputation for of Lera Auerbach’s Dresden Requiem with the religious, economic, or social background. its superb acoustics, state-of-the-art facilities, Harp Dresden Staatskapelle in the Frauenkirche Choristers are sought from all regions of the and affordability. Since opening in 2011, The Sara Cutler and Semper Oper. Later in 2012, the choir country. Details of admissions procedures and DiMenna Center has welcomed more than was invited to perform in the Thomaskirche audition requirements are available at 100,000 visitors, including more than 400 at the Leipzig BachFest, a highlight of their www.choirschool.org. ensembles and artists such as Renée Fleming, June 2012 tour to Germany and Copenhagen. John Scott (1956-2015) Paris, the Aarhus Organ Festival in Denmark, sonatas of Elgar, organ music by William Cologne Cathedral, Disney Hall in Los Angeles Mathias, Maurice Duruflé and Mendelssohn, John Scott was born in 1956 in Wakefield, and London’s Royal Albert Hall. as well as two discs of music by Marcel Dupré. Yorkshire, where he became a Cathedral He has also recorded the solo organ part in chorister. While still at school he gained At St Paul’s he played a complete cycle of Janacek’s Glagolitic Mass with the London the diplomas of the Royal College of the organ works of J.S. Bach in 2000 and Symphony Orchestra, conducted by Michael Organists and won the major prizes. In followed this in subsequent years with the Tilson Thomas, and made a recording 1974 he became Organ Scholar of St John’s organ symphonies of Vierne and Widor, as at the organ of Washington’s National College, Cambridge, where he acted as well as the complete organ works of Franck Cathedral for the JAV label. assistant to Dr George Guest. His organ and Buxtehude. At Saint Thomas Church, studies were with Jonathan Bielby, Ralph Fifth Avenue, New York, he performed In the summer of 2004, after a 26 year Downes, and Dame Gillian Weir. He made complete cycles of the organ works of association with St Paul’s Cathedral, he his debut in the 1977 Promenade Concerts Buxtehude in 2007, Messiaen in 2008 and took up the post of Organist and Director of in the Royal Albert Hall; he was the youngest the six organ symphonies of Louis Music at Saint Thomas Church, Fifth Avenue, organist to appear in the Proms. Vierne in 2009. In 2014, he was one of the New York, where he directed the renowned featured organists in the re-opening Gala choir of men and boys. He was awarded the On leaving Cambridge, he was appointed and subsequently gave the first solo recital LVO in the New Years Honours List of 2004, Assistant Organist at London’s two Anglican on the restored organ in London’s Royal a personal gift from HM Queen Elizabeth II, Cathedrals: St Paul’s and Southwark. In Festival Hall and gave the opening recital in recognition of his work at St Paul’s 1985 he became Sub-Organist of St Paul’s of the organ in the new Musikkens Hus Cathedral. He was awarded an honorary Cathedral, and in 1990 he succeeded Dr in Aalborg, Denmark. In June, he gave the doctorate from Nashotah House Seminary Christopher Dearnley as Organist and premiere of Nico Muhly’s Patterns for the in Wisconsin in 2007. Director of Music. American Guild of Organists National Convention in Boston. As an organist, John performed in five continents, premiered many new works American Guild of Organists. He was a past In addition to his work as a conductor and written for him, and worked with various President of the Incorporated Association of organist, John published a number of specialist ensembles. He was a first-prize Organists and served as a member of a number choral compositions and arrangements and winner from the Manchester International of international competition juries, including he jointly edited two compilations of Organ Competition (1978) and the Leipzig those in Manchester, Dublin, Chartres, Dallas, liturgical music for the Church’s year, J.S. Bach Competition (1984). In 1998 he St Albans and Erfurt. Highlights of his career published by Oxford University Press. was nominated International Performer include recitals at the Thomaskirche, Leipzig, John’s many recordings include the organ of the Year by the New York Chapter of the Symphony Hall, Birmingham, Notre Dame in

More titles from Resonus Classics Saint Thomas Choir of Men & Boys, Samuel Clay Shipps (soloist track 13) Fifth Avenue, New York Daniel Sung-min William Suter Sergei Rachmaninoff: Vespers (All-Night Vigil) Sidney Alan Wright Saint Thomas Choir of Men & Boys, Trebles Justin Y. Yoo *** Fifth Avenue, New York Alexandre Jorge d’Aquino David Andrew Yow John Scott (conductor) Marcus Eugenio Axel d’Aquino Noah Alan Yow RES10169 Anthony Colin Baldeosingh ‘[...] intensely dramatic [...] Scott and his magnificent Joseph Richard Burdick choir capture the fervent writing in all its rich Thomas Steven Burdick, Jr Eric Brenner variety' Luca Nicholas Cantone Corey-James Crawford The Observer Adrian Alexander Castellanos Patrick Fennig William Christopher Clark Daniel Scarozza Dancing Day: Music for Christmas Paul Jacob Allen Connelly Geoffrey D. Williams Saint Thomas Choir of Men & Boys, Daniel Jason David William Zukof Fifth Avenue, New York Matthäus Christian Davies John Scott (conductor) Benjamin Bae Stackhouse Ferriby RES10158 Matthew Higgins Iati * Mark Bleeke Sehjin Jo Gregg M. Carder ‘The abiding impression is one of intimacy, innocence Jack Townsend Keller (soloist tracks 11 & 13) John Cleveland Howell and wonder [...] This is a moving, memorable recital’ Grant Andrew Klinger David Vanderwal BBC Music Magazine (Christmas Choice 2015) Kidron James Kollin Steven Caldicott Wilson Samuel Morris Long Ryan Christopher Newsome ** Basses © 2016 Resonus Limited Christopher Valeriy Noble Avery Griffin è 2012 Saint Thomas Church under exclusive licence to Resonus Limited Olajuwon Isaiah Osinaike Richard Lippold Recorded in Saint Thomas Church, Fifth Avenue, New York Producer: Malcolm Bruno Noel Arnold Patterson, Jr Craig Phillips Engineers: John C. Baker (Requiem/Cantique) & Paul Vazquez (Messe Basse/Motets) Daniel Antonio Pepe Mark Sullivan Production assistant: Claudette Mayer Richard Mayne Pittsinger (soloist tracks 4, 9 & 13) Christopher Trueblood Remastering engineer: Adam Binks Jan-Carlos Ramirez Executive producers: Adam Binks & Jacqueline Slater Cover image: Silhouette of angel at sunset by Alinute (www.fotolia.com) * Recipient of the Frances S. Falconer Choristership Simon Minor Scott-Hamblen With thanks to the Rector, the Wardens, and the Vestry of Saint Thomas Church Alexander David Seeley ** Recipient of Annual Bursary in honour of Gordon Clem Fifth Avenue for their encouragement and support of this recording Nathaniel Stevens Seeley *** Recipient of the Ogden Northrop Lewis, Jr. Choristership Augustine Segger RESONUS LIMITED – UK [email protected] www.resonusclassics.com RES10174