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Music & Musicians at Music & Musicians At Music & musicians at WestminsterFROM TALLIS TO BRITTEN FRANZ LISZT Music and musicians at RALPH VAUGHAN WILLIAMS (1872-1958) 1 | The truth from above © Stainer & Bell Ltd. 2’18 The Choir of Magdalen College, Oxford, cond. Bill Ives BENJAMIN BRITTEN (1913-1976) Sacred and Profane (1974-1975) - Eight Medieval Lyrics op.91 for unaccompanied voices © Faber Music Ltd 2 | St. Godric’s Hymn 1’41 3 | I mon waxe wod 0’40 Westminster 4 | Lenten is come 2’19 5 | The long night 1’32 6 | Yif ic of luve can 2’42 Abbey 7 | Carol 1’54 8 | Ye that pasen by 1’52 9 | A death 3’03 RIAS Kammerchor, cond. Marcus Creed ROBERT WHITE (c. 1538–1574) 1 | Christe qui lux es et dies (IV) (arr. Edward Tambling) 6’23 RALPH VAUGHAN WILLIAMS stile antico 10 | The Blessed Son of God 2’37 ROBERT PARSONS (c. 1530–1570) The Choir of Magdalen College, Oxford, cond. Bill Ives 2 | In nomine a 4 no.2 2’19 HENRY PURCELL, realised by BENJAMIN BRITTEN stile antico, Fretwork 11 | Job’s Curse (1950) – from Harmonia Sacra © Boosey & Co., Ltd. 5’20 ORLANDO GIBBONS (1583–1625) 3 | O clap your hands together 5’34 Mark Padmore, tenor / Roger Vignoles, piano stile antico BENJAMIN BRITTEN (1913-1976), orchestrated IMOGEN HOLST (1907-1984) CHRISTOPHER GIBBONS (1615-1676) Rejoice in the Lamb: A Festival Cantata (1943, arr. 1952) [text: Christopher Smart] 4 | Not unto us, O Lord 4’58 © Boosey & Hawkes Music Publishers Ltd 5 | Voluntarie in C 4’09 12 | Rejoice in God, O ye Tongues 3’44 Academy of Ancient Music, Richard Egarr, director & solo organ 13 | For I will consider my Cat Jeoffry 1’59 14 | For the Mouse is a creature of great personal valour 0’47 ORLANDO GIBBONS 15 | For the flowers are great blessings 2’03 6 | See, see, the Word is incarnate 6’19 16 | For I am under the same accusation with my Saviour 2’38 stile antico, Fretwork 17 | For He is a spirit and therefore he is God 1’01 PELHAM HUMFREY (1647-1674) 18 | For the instruments are by their rhimes 2’19 7 | Hear my crying, O God 10’29 19 | Hallelujah from the heart of God 1’14 Donna Deam, soprano / Drew Minter, countertenor Choir of Clare College, Cambridge, cond. Graham Ross Rogers Covey-Crump, John Potter, tenors / David Thomas, bass HENRY PURCELL, realised by BENJAMIN BRITTEN Choir of Clare College, Cambridge / Romanesca 20 | An Evening Hymn (1947) – Three divine hymns from Harmonia Sacra 4’25 dir. Nicholas McGegan © Boosey & Co., Ltd. Mark Padmore, tenor HENRY PURCELL (1659-1695) Roger Vignoles, piano 8 | My heart is inditing, verse anthem Z 30 14’27 9 | Funeral Sentences (Music for the Funeral of Queen Mary) 14’55 BENJAMIN BRITTEN March Z 860 / Man that is born of a woman, full anthem Z 27 / Canzona Z 860 / 21 | A Hymn to the Virgin 3’12 In the midst of life, full anthem Z 17 / Canzona Z 860 / Thou knowest, Lord, © Boosey & Hawkes Inc. the secrets of our hearts, full anthem Z 58c / March Z 860 The Choir of Magdalen College, Oxford, cond. Bill Ives Collegium Vocale Gent, cond. Philippe Herreweghe 22 | Hymn to St Cecilia op 27 (W.H. Auden) 11’24 © Boosey & Hawkes, Ltd RIAS Kammerchor, cond. Marcus Creed À John Parsons succéda un des plus grands organistes et L’univers musical de l’Abbaye de Westminster compositeurs jamais associés à l’abbaye : Orlando Gibbons. Natif d’Oxford, il fut maîtrisien et étudiant au King’s College Au milieu du Xe siècle, une communauté de moines bénédictins s’établit sur le site de l’actuelle Abbaye de de Cambridge où son frère Edward était maître de chapelle. Westminster, instaurant une tradition de prière quotidienne qui perdure depuis plus de mille ans. Église Chantre puis organiste de la Chapelle Royale sous le règne du couronnement des monarques anglais depuis 1066, l’abbaye est aussi la dernière demeure de dix-sept de Jacques Ier , il occupa ensuite cette même fonction à d’entre eux. Le bâtiment actuel, dont la construction débuta en 1245 sous le règne de Henry III, est un des l’Abbaye de Westminster (1623–1625). Un buste de plus importants édifices de style gothique d’Angleterre. Lieu de sépulture et de souvenir de grandes figures marbre noir commémore son souvenir dans le collatéral historiques de la nation, l’abbaye abrite un trésor de tableaux, vitraux, pavements, textiles et autres artefacts. nord de l’abbaye. L’exubérant O clap your hands Le chant rythme la vie de ces lieux depuis toujours même si, aujourd’hui, le plain-chant des prières monastiques together d’Orlando Gibbons est une composition à de jadis a cédé la place aux offices quotidiens assurés par le Chœur de l’Abbaye de Westminster. Au fil des huit voix pour double chœur sur le psaume 46 ( 47 ) siècles, les plus grands organistes, chanteurs et compositeurs britanniques ont entretenu des liens étroits pour la fête de l’Ascension. Véritable tour de force avec l’abbaye qui joue toujours un rôle prépondérant dans la vie musicale et culturelle de la nation. La majesté contrapuntique mû par une énergie rythmique presque de l’architecture et la qualité de l’orgue concourent à la solennité des offices et des célébrations. Œuvre du motorique, l’œuvre est atypique dans la production de facteur Christopher Schrider, l’orgue qui accompagna la cérémonie du couronnement du roi George II et Gibbons car elle privilégie les contrastes dramatiques de la reine Caroline, en 1727, fut installé sur le jubé en 1730. L’instrument fut reconstruit et agrandi à entre les groupes vocaux et non le délicat rapport entre plusieurs reprises, notamment en 1848, en 1884 et, en 1909, par les facteurs William Hill & Sons. L’orgue le texte et la musique, si caractéristique de l’auteur. actuel, issu des ateliers Harrison & Harrison, fut inauguré pour le couronnement du roi George VI en Contrastant avec ce “full anthem”, parfaitement approprié à 1937. Composé de quatre claviers et pourvu de quatre-vingt-quatre jeux, il comprenait une partie de la un espace liturgique grandiose, See, see, the Word is incarnate tuyauterie de l’instrument précédent. Depuis sa mise en service, il a connu plusieurs phases de restauration est un “ verse anthem” beaucoup plus intimiste. Contrairement aux et d’agrandissement. “full anthems” accompagnés Après ses études au Trinity College de Cambridge, Robert White fut organiste des cathédrales d’Ely (où il à l’orgue colla parte, ce “verse anthem” est conçu avec un accompagnement Portrait d’Orlando Gibbons akg-images succéda à Christopher Tye) et de Chester. En 1569, il s’installa à Londres et fut nommé maître de chœur à obligé de consort de violes. Le texte n’est tiré ni de la Bible, ni de la liturgie. Résumant en l’Abbaye de Westminster. Il composa pas moins de quatre versions de l’hymne de complies pour le temps de quelques vers toute l’année liturgique, ce poème original est l’œuvre de Godfrey Goodman, Carême : Christe qui lux es et dies (IV). Toutes suivent le schéma traditionnel de l’alternance de strophes aumônier de la reine Anne. Connu pour ses sympathies catholiques, il était le neveu de en plain-chant et de strophes polyphoniques dont le cantus firmus reprend la mélodie grégorienne. Une Gabriel Goodman, ancien doyen de Westminster. version (au moins) date probablement du séjour de White à Cambridge où, jeune étudiant, il eut sans doute La vingtaine d’années qui précéda la Guerre Civile fut une période troublée. De 1644 à 1665, le chœur de connaissance du plain-chant en usage dans le rite de Sarum sous le règne de Mary Tudor. Le raffinement l’abbaye ne recruta aucun petit chanteur. À la Restauration, Christopher Gibbons (organiste et compositeur de l’écriture à cinq voix de la version IV laisse penser qu’il s’agit d’une composition plus tardive. Autour du comme son père Orlando) se vit confier la difficile tâche de reconstituer un chœur de toutes pièces. Baptisé cantus firmus se tisse un entrelacs de phrases en imitation à travers les voix. La dernière strophe s’épanouit en août 1615 dans la paroisse de Sainte Margaret, voisine de l’abbaye, le jeune Christopher fit peut-être dans la sérénité des motifs de croches. S’il n’est pas de Saint Ambroise, le texte s’inscrit néanmoins dans ce partie de la maîtrise de la Chapelle royale. Sa carrière d’organiste à la cathédrale de Winchester, commencée courant spirituel et ne saurait être ultérieur au VIe siècle : les strophes de quatre vers en tétramètres ïambiques en 1638, fut mise entre parenthèse pendant la République de Cromwell. On le retrouve organiste (1660- sont typiques des hymnes des premiers siècles. 1664) puis maître de chœur (1664-1666) à l’Abbaye de Westminster. Organiste et compositeur, maître de chœur (1613-1623) puis organiste (à partir de 1621) à Westminster, L’œuvre pour orgue de Christopher Gibbons, comme ce Voluntarie in C, témoigne de l’immense talent John Parsons est inhumé dans le cloître de l’abbaye. Son ascendance est inconnue mais il pourrait être le et de l’imagination féconde du compositeur. Le matériau musical est très orné, selon des instructions très fils de Robert Parsons, compositeur prolifique qui fut peut-être en relation avec le jeune William Byrd. précises. Le contrepoint imitatif prédomine mais certains passages plus libres rappellent le style des toccatas Typique d’autres compositions contemporaines du genre, le In nomine a 4 no2 de Robert Parsons est une de Frescobaldi. L’audace d’écriture du full anthem pour chœur à huit voix et orgue Not unto us, O Lord œuvre instrumentale pour consort de 4 ou 5 instruments (ici, quatre violes).
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