RES10185 GA JUDITH BINGHAM&JO CHORAL MUSICB THE CHOIRSOFSTCA UDENT INCOELIS COLLEGE ED W ARD WICKHAM , CAMBRIDGE Y SALL ANNA MARSH THARINE’S Y BEAMISH , Sally Beamish (b. 1956) Judith Bingham & Gaudent in coelis 1. Gaudent in coelis [3:05] Charles Hubert Hastings Parry (1848-1918) Choral Music by Sally Beamish, 15. Distant thunder [5:13] Judith Bingham & Joanna Marsh Joanna Marsh (b. 1970) 16. My soul there is a country [3:51] 2. Lord, thou hast searched me and known me [3:23] Sally Beamish St Catharine’s Service Judith Bingham (b. 1952) 17. Magnificat [3:29] Edington Service 18. Nunc Dimittis [3:22] 3. Magnificat [5:48] The Choirs of St Catharine’s College, Cambridge 4. Nunc Dimittis [3:26] Edward Wickham conductor Total playing time [69:08] Joanna Marsh Missa Brevis: Collegium Sanctae Catharinae 5. Kyrie [3:28] 6. Gloria [6:25] 7. Sanctus & Benedictus [3:29] 8. Agnus Dei [3:22]

Sally Beamish Two Canticles 9. Canticle by the Lax Pool [3:24] 10. Among the Sundered People [3:21]

Judith Bingham & Thomas Tallis (c. 1505-1585) 11. The Spirit of truth [4:05] About The Choirs of St Catharine’s College & Edward Wickham: 12. If ye love me [2:20] ‘[...] splendidly performed by these exceptionally well-trained singers’ Judith Bingham & The Observer Samuel Sebastian Wesley (1810-1876) 13. The darkness is no darkness [4:06] ‘St Catharine’s […] acquit themselves well in some tricky music 14. Thou wilt keep him in in the lustrous wood surroundings of the college’s little chapel’ perfect peace [3:21] Gramophone

Gaudent in coelis: Choral Music by In heaven rejoice the souls of the saints, Sally Beamish, Judith Bingham & who have followed the steps of Christ; Joanna Marsh and, because for his love they shed their blood, therefore with Christ they exult forever. This programme has no particular theme, unless the ambition to showcase something Anonymous, Magnificat Antiphon of the diversity, depth and ambition of contemporary British Church music can be Joanna Marsh (b. 1970) regarded as a theme. Instead, it comprises 2. Thou hast searched me and known me three ‘portraits’ of composers to whom, over the course of a decade, the choirs of Joanna Marsh writes: St Catharine’s have consistently returned. ‘Written as a tribute to my mother Barbara In the cases of Sally Beamish and Joanna Marsh who died in 2013, the choice of text Marsh this has resulted in new works was influenced by her unwavering Christian commissioned by the choirs; and most of faith and sense of the constancy of God. the recordings presented here are premieres. The individual works are discussed in the ‘In this piece I use a repetitive cadential notes below. sequence with a low root that evaporates away into ethereal upper registers; the thick Sally Beamish (b. 1956) textures quickly reducing to thin ones. These 1. Gaudent in coelis thin textures are frequently left hanging in the air and unresolved. I was interested to see This short anthem was commissioned by how the cadential figure might be used as a Sally Beamish for the Cathedral Organists way of generating material: first used at the Association, and first performed at their beginning of the phrase, then punctuating conference in Edinburgh on 8 May 2012, the middle and then at the end. The piece by the Choir of St Mary’s Episcopal Cathedral, evolved from this idea.’ directed by Duncan Ferguson. Thou hast searched me and known me Gaudent in coelis O Lord, thou has searched me and known me. Gaudent in coelis animae sanctorum, Thou knowest my downsitting and mine uprising, qui Christi vestigia sunt secuti; thou understandeth my thought afar off. et quia pro eius amore sanguinem suum fuderunt, Thou compassest my path and my lying down, ideo cum Christo exsultant sine fine. and art acquainted with all my ways. Magnificat he hath scattered the proud in the imagination Glory be to the Father, and to the Son, For there is not a word in my tongue, Magnificat: anima mea Dominum. of their hearts. and to the Holy Ghost: as it was in the beginning, but, lo, O Lord, thou knowest it altogether. Et exsultavit spiritus meus: in Deo salutari meo. He hath put down the mighty from their seat: is now and ever shall be, world without end. Thou hast beset me behind and before, Quia respexit humilitatem ancillae suae: and hath exalted the humble and meek. Amen. and laid thine hand upon me. ecce enim ex hoc beatam me dicent omnes He hath filled the hungry with good things: Such knowledge is too wonderful for me; generationes. and the rich he hath sent empty away. Luke 2:29-32 it is high, I cannot attain unto it. Quia fecit mihi magna qui potens est: He remembering his mercy hath holpen his et sanctum nomen ejus. servant Israel: Psalm 139:1-6 Et misericordia ejus a progenie in progenies: As he promised to our forefathers, Abraham and Joanna Marsh timentibus eum. his seed for ever. Missa Brevis: Collegium Sanctae Catharinae Fecit potentiam in brachio suo: Glory be to the Father, and to the Son, 5. Kyrie Judith Bingham (b. 1952) dispersit superbos mente cordis sui. and to the Holy Ghost: 6. Gloria Edington Service Deposuit potentes de sede: As it was in the beginning, is now, 7. Sanctus & Benedictus et exaltavit humiles. and ever shall be: 3. Magnificat 8. Agnus Dei 4. Nunc Dimittis Esurientes implevit bonis: world without end. Amen. et divites dimisit inanes. Joanna Marsh writes: Bingham’s second setting of the Magnificat Suscepit Israel puerum suum: Luke 1:46-55 recordatus misericordiae suae. ‘Missa Brevis: Collegium Sanctae Catharinae is and Nunc dimittis, made for the fiftieth Sicut locutus est ad patres nostros: Nunc Dimittis a mass setting written for the two choirs of St Edington Festival of Music within the Liturgy Abraham et semini ejus in saecula. Nunc dimittis servum tuum, Domine, Catharine’s College Cambridge: the mixed in 2005, involves an imaginative leap back Gloria Patri et Filio: secundum verbum tuum in pace: College choir and the choir of girl choristers. to the first Christian congregations. The et Spiritui Sancto. Quia viderunt oculi mei salutare tuum Two of the movements, the Kyrie and composer chose the Latin text for her Sicut erat in principio et nunc et semper: Quod parasti ante faciem omnium populorum: Benedictus are for the Girls’ choir alone. Edington Service as a vehicle to return to et in saecula saeculorum. Amen. Lumen ad revelationem gentium, The first performance of the Missa Brevis was the distant past. ‘The Magnificat only has et gloriam plebis tuae Israel. on Ascension Day 2016, and to fit with this an organ pedal accompaniment, a repeated My soul doth magnify the Lord: Gloria Patri et Filio, et Spiritui Sancto: theme I selected a Biblical text from the Old rhythmic motif,’ she observes. ‘I wanted to And my spirit hath rejoiced in God my Saviour. sicut erat in principio, et nunc et semper, Testament that is widely interpreted as a For he hath regarded the lowliness of his in saecula saeculorum. Amen. make both movements sound arcane, as prophesy of the Ascension of Christ; Daniel hand-maiden: if evoking worshippers of two thousand verses 13-18. The musical content of each for behold, from henceforth all generations shall Lord, now lettest thou thy servant depart years ago. The Nunc dimittis seems to be movement is paired with a line of text so that wafting down the airways from a long time call me blessed. in peace according to thy word. For he that is mighty hath magnified me: For mine eyes have seen thy salvation, music becomes vehicle to relate the meaning ago.’ Originally conceived for mixed choir, and holy is his name. Which thou hast prepared before the face of the words to this liturgical context. this is the first recording of the revised And his mercy is on them that fear him: of all people; version, for upper voices. throughout all generations. To be a light to lighten the Gentiles and to be ‘In the passage Daniel discusses his ‘night He hath showed strength with his arm: the glory of thy people Israel. visions’. The ‘Kyrie’ draws from verse 13 and opens expectantly awaiting the Son of God’s Gloria Sanctus & Benedictus Sally Beamish arrival, ‘As I watched in the night visions, I Gloria in excelsis Deo. Sanctus, sanctus, sanctus Two Canticles saw one like a human being coming with the Et in terra pax hominibus bonae voluntatis. Dominus Deus sabaoth. 9. Canticle by the Lax Pool clouds of heaven. And he came to the Ancient Laudamus te. Benedicimus te. Pleni sunt coeli et terra gloria tua. 10. Among the Sundered People One and was presented before him’. The Adoramus te. Glorificamus te. Osanna in excelsis. ‘Gloria’ reflects on Christ being given dominion, Gratias agimus tibi propter magnam gloriam tuam. These two settings of poems by Martin Shaw Domine Deus, rex coelestis, Holy, Holy, Holy glory and kingship. It is more strident in were commissioned by the R.A. Vestey Deus pater omnipotens. Lord God of hosts. nature, asserting that, ‘His dominion is an Domine fili unigenite, Jesu Christe. Heaven and earth are full of thy glory. Memorial Trust for the Choir of St everlasting dominion that shall not pass Domine Deus, agnus Dei, filius patris. Hosanna in the highest. Edmundsbury Cathedral, directed by Scott away, and his kingship is one that shall never Qui tollis peccata mundi, miserere nobis. Farrell. The first performance was given in 1998. be destroyed’. The ‘Sanctus’ and ‘Benedictus’ Qui tollis peccata mundi, Benedictus qui venit in nomine Domini. dwell on the words ‘the holy ones of the suscipe deprecationem nostram. Osanna in excelsis. Canticle by the lax pool Most High shall receive the kingdom and Qui sedes ad dexteram patris, miserere nobis. The new-hatched fish pause in the lax pool, possess the kingdom forever’ and the Quoniam tu solus sanctus. Tu solus Dominus. Blessed is he that cometh in the name of the Lord. Taut as they wait for their moment of delight. ‘Agnus Dei’ recalls music from the ‘Gloria’ Tu solus altissimus, Jesu Christe. Hosanna in the highest. Ahead, the rush of the gleaming rapid. in a gentler vein and provides a reflective Cum Sancto Spiritu in gloria Dei patris. Amen. We pray with their moment. ending to the setting.’ Agnus Dei Glory be to God on high, Agnus Dei, qui tollis peccata mundi: Floating on the quicker water, the female passes empty, The Missa Brevis was commissioned by and in earth peace towards men of goodwill. miserere nobis. We praise thee, we bless thee, Agnus Dei, qui tollis peccata mundi: Weak, gulls plunge for her in their moment of delight. St Catharine’s College with the help of we worship thee, we glorify thee, miserere nobis. Ahead, the rush into the dark ocean. funds generously donated by John and we give thanks to thee for thy great glory, Agnus Dei, qui tollis peccata mundi: We sigh at the loss. Dale Reed. O Lord God, heavenly king, God the father almighty. dona nobis pacem. O Lord, the only-begotten son Jesus Christ; Wonder we, Christ, at the delight in these our Kyrie O Lord God, lamb of God, son of the father, Lamb of God, that takest away the sins of measured voices; Kyrie eleison. that takest away the sins of the world, the world: have mercy on us. Yet wonder we, Christ, at the loss in our longing prayer; Christe eleison. have mercy upon us. Lamb of God, that takest away the sins of Wonder we, Christ, but come untie our knotted souls; Kyrie eleison. Thou that takest away the sins of the world, the world: have mercy on us. We canticle our desire. receive our prayer. Lamb of God, that takest away the sins of Lord have mercy upon us. Thou that sittest at the right hand of God the father, the world: grant us peace. Prompt listener and ourselves Christ have mercy upon us. have mercy upon us. Into a brief union in sound and silence; Lord have mercy upon us. For thou only art holy, thou only art the Lord, And in this our delight find thou only, O Christ, with the Holy Ghost, New wonder at your presence. art most high in the glory of God the father. Amen. © 1997 A. Martin Shaw. All Rights Reserved. Reproduced by Permission. Among the sundered people Judith Bingham & Thomas Tallis (c. 1505-1585) If ye love me, keep my commandments, The darkness is no darkness/Thou wilt keep him Into the fragmented depths, 11. The Spirit of truth and I will pray the Father, Thou wilt keep him in perfect peace, You come to me as fragmen2 ts, 12. If ye love me and he shall give you another comforter; whose mind is stayed on thee. Bread and wine – Presence of Love that he ma5y bide with you for ever, 3 The darkness is no darkness with thee, Christ of the Eucharist, Judith Bingham writes: 13 e’en the spirit of truth. but the night is as clear as the day: Fragmented God. ‘I have done several reworkings, the point the darkness and the light to thee are both alike. Acts of the Apostles 7:59, 56 of which, to my mind, is to reveal the God is light, and in him is no darkness at all. Into the unravelling earth John 14:15-17 O let my soul live, and it shall praise thee; sometimes overlooked harmonic richness You1 come unravelled 12 for thine is the kingdom, the power and the glory. In bread and wine. of famous choral pieces. In each case the Among the sundered people you come, music is entirely made up of harmonies Judith Bingham & Isaiah 26:3 Your body pulled asunder taken from the standard piece, and always Samuel7 Sebastian Wesley (1810-1876) Psalm 139:1 In bread and wine. segues straight into it. The new text also tries 13. The darkness is no darkness First Epistle of John 1:5 11 Down among the broken bones of my soul to open up a window onto the other text. In 14. Thou wilt keep him in Psalm 119:175 You drop – broken body of Christ – this case, – writing a piece to celebrate the perfect peace In bread and wine. 60th birthday of Stephen Cleobury – I took My split soul draws round you 9 the seemingly simple anthem If ye love me Judith Bingham writes: Judith Bingham & And feeds from you 8 by Thomas Tallis, a piece he must have ‘Thou Wilt Keep Him in Perfect Peace by Charles Hubert Hastings Parry (1848-1918) As scattered children 4 conducted many times. Its simplicity was very S.S. Wesley is a old war-horse of church 15. Distant thunder Round a binding mother. much the result of Cranmer’s suggestions for 16. My soul there is a country 6 music: once, when playing it through on a more syllabic style of setting in music, so it From there, strengthen me the piano, I noticed how unusual some is intriguing to me that Tallis repeats the Judith Bingham writes: To be among the sundered people of the harmonies are in isolation, and ‘Both Parry and Robert Bridges (with whom Where your body hungers and bleeds. words ‘the spirit of truth’ so many times. For wondered what would happen if you were he frequently collaborated) were profoundly From there, enliven me to the tension the text of the re-working I took Cranmer’s to take those harmonies and re-work them 10 Of your loving conflict own reported last words: ‘Lord Jesus, receive into a new piece. I decided that I would disturbed by the First World War. Bridges In the unravelling earth. my spirit... I see the heavens open and Jesus re-work some of the words as well, so didn’t write during the war years, and Parry standing at the right hand of God,’ spoken that the final result is more like a love-song. was stricken to be at war with a country In this your hidden mystery, as he was being burned at the stake.’ The piece segues into the Wesley, hopefully whose culture he deeply revered. He was to Open my lips to receive you. providing a new window on the familiar die at the end of the war in the ‘flu pandemic, To be you. The spirit of truth/If ye love me harmonies.’ and My Soul, there is a Country sounds to If ye love me … e’en the spirit of truth. me valedictory and yearning. The greatest © 1997 A. Martin Shaw. All Rights Reserved. Lord Jesus, receive my spirit. harmonic diversity happens (oddly) with Reproduced by Permission. I see the heavens open, the words ‘One who never changes’, – maybe and Jesus standing at the hand of God. a heartfelt response to the unsettled era through which they were living. I chose The latest sea-birds hover To die here for thy sake. Robert Bridges’ late Victorian poem ‘The Along the cliff’s sheer height; If thou canst get but thither, Evening Darkens Over’ because it also As in the memory wander There grows the flower of Peace, seems to be looking towards a dark horizon. Last flutterings of delight, The Rose that cannot wither, This piece is the latest in several re-workings White wings lost on the white. Thy fortress, and thy ease. I’ve done of famous and familiar choral Leave then thy foolish ranges; Quia viderunt oculi mei salutare tuum For none can thee secure pieces, in which I take some of the quod parasti ante faciem omnium populorum. But One who never changes – harmonies and rework them into another [For mine eyes have seen thy salvation which Thy God, thy life, thy cure. piece, with different words. Occasionally, thou hast prepared before the face of all people.] in this piece, there are overlaps that cause Henry Vaughan (1621-1695) ambiguity in the harmony, but most of the There’s not a ship in sight; time the harmonies are Parry’s, and in the And as the sun goes under, same spacing. Some of the chords seem Thick clouds conspire to cover Sally Beamish implausible, like the discord on the words The moon that should rise yonder. St Catharine’s Service ‘thick clouds conspire’, but choral bonbons Thou art alone, fond lover. 17. Magnificat are always much more subtle and 18. Nunc Dimittis ambiguous than we give them credit for. Lumen ad revelationem gentium, Along with the Bridges poem I’ve included et gloriam plebis tuae Israel. This setting of the canticles for evensong were the words of the Nunc Dimittis which for [To be a light to lighten the gentiles, commissioned by the choir of St Catharine’s and to be the glory of thy people Israel.] me are always associated with twilight.’ College, Cambridge with the help of funds generously donated by John and Dale Reed. Robert Bridges (1844-1930) Distant Thunder/My soul, there is a country The first performance was on 2 March 2006, Luke 2:29-32 The evening darkens over directed by Edward Wickham. The settings After a day so bright, are inspired by ancient Celtic Quern songs My soul, there is a country The windcapt waves discover – songs for grinding corn. They are dedicated Far beyond the stars, That wild will be the night. to the loving memory of the composer’s Where stands a wingèd sentry There’s sound of distant thunder. grandmother, Una Hellen Stuart Snow. All skilful in the wars: There, above noise and danger, Nunc dimittis servum tuum Domine, See tracks 3 & 4, Edington Service: English words Sweet Peace sits crown’d with smiles, secundum verbum in pace. And One born in a manger [Lord, now lettest thou thy servant depart Programme notes © 2017 by Edward Wickham Commands the beauteous files. in peace, according to thy word.] and the composers as indicated. He is thy gracious Friend, And—O my soul, awake!— Did in pure love descend St Catharine’s College Choir between eight and fifteen, drawn from local schools; and for this recording is St Catharine’s College lies at the historic augmented by former choristers. centre of Cambridge and at the heart of The choir has performed in some of the UK’s the University’s distinguished musical leading venues including London’s St John’s, tradition. Founded in 1473, there has been Smith Square, and St David’s Hall, Cardiff. a choir associated with the college for It has performed live on BBC Radio 3’s The Choir over a hundred years. The mixed student and toured to Poland and Hungary. choir currently consists of around 24 undergraduate and graduate members, augmented by former choristers from the Girls’ Choir; and sings regular services in the college’s eighteenth century chapel. In recent years the choir has toured as far afield as Japan, the United States and China, and makes frequent visits to the continent. This is the third recording by the choirs on the Resonus label, featuring the best in contemporary British choral music. The choir is directed by Dr Edward Wickham with the assistance of two organ scholars.

The St Catharine’s Girls’ Choir

The St Catharine’s Girls’ Choir – the first college-based girls’ choir in the UK – was founded in 2008. The choir sings weekly in the College Chapel, as well as giving regular concerts and its repertoire extends from the early Middle Ages to the twenty-first century, with several works written specially for it. The choir is made up of 20 girls, aged Edward Wickham His most recent projects, funded by Arts Awards from The Wellcome Trust, explore Edward Wickham is a Fellow and Director issues of cognition and intelligibility in of Music at St Catharine’s College, musical lyrics and libretti. Cambridge. He combines his duties in Cambridge with performing engagements throughout the world. He came to St Catharine’s College in 2003, and in 2008 established the first college-based children’s girls’ choir.

With The Clerks, the vocal ensemble he formed in 1992, he has made a series of ground-breaking recordings, principally of Franco-Flemish Renaissance music. In 2001 the ensemble completed an award-winning survey of the music of Jean Ockeghem and more recent projects have included first-time recordings of polyphony by composers such as Josquin, Barbireau and Regis.

In recent years, Dr Wickham has been exploring, through collaborative and experimental projects, modes of performance which break out of the traditional Western classical tradition. With multi-media sound installations, partnerships with singers from the Middle East, and ground-breaking educational and outreach programmes, he is committed to pursuing an idiosyncratic agenda of artistic innovation and social participation. More titles from Resonus Classics St Catharine’s College Choir Sam Niblett Matthew Temple Ave Maria: Music for Upper Voices Sopranos The St Catharine’s Girls’ Choir Sasha Bailey *solo in The Darkness is no darkness Edward Wickham (conductor) Gemma Cooper RES10170 Sian Ellis Sarah Hess St Catharine’s Girls’ Choir ‘An imaginitive disc of 20th-century and Colette Howarth* contemporary music [...] The young voices blend Eleanor Hunt Anna Morris well, and sing with conviction and warmth’ Rachel Lai Francesca Hope Stevenson BBC Music Magazine Kasia Ruszkowski Audrey Suryadarma Sofia Swenson-Wright Isabella Wickham Joanna Barrett Nova! Nova!: Contemporary Carols from St Catharine’s Altos Abbie Keegan The Choirs of St Catharine’s College, Cambridge Elanor Bond Olivia Cleobury Edward Wickham (conductor) Ellie Chan Sophie O’Sullivan RES10159 Olivia Franks Annabel Butler Emily Hallinan Grainne Dignam ‘[...] artless dexterity [...] unified by a thread of Jasmine Hunt Beatrice Greenhalgh tenderness and warmth that runs through the Phoebe MacFarlane Rebecca Peacock whole disc.’ Anna Mullock Rachel Barlow The Telegraph Amber Reeves-Pigott Amy Keegan Agatha Pethers Tenors with William Barnes-McCallum Sian Ellis Joe Beighton Anna Mullock © 2017 Resonus Limited è Sofia Swenson-Wright 2017 Resonus Limited Michael Bell Recorded in the chapel of St Catharine’s College, Cambridge on 6-7 January and 13-14 July 2016 Marcus Fantham Jasmine Hunt Producer, engineer & editor: Adam Binks Eleanor Hunt Session photography © Resonus Limited Basses Cover image: Sun burst with flare by seneesriyota (fotolia.com) James Bartlett Nathaniel Darling Organists RESONUS LIMITED – UK James Dougal Will Fairbairn Neville Burston Organ Scholar [email protected] Dan Hurst Alex Coplan Junior Organ Scholar www.resonusclassics.com Patrick Johansson Christophe Karas RES10185