PAWEŁ ŁUKASZEWSKI While it is difficult to categorise Łukaszewski’s DAYLIGHT DECLINES compositional style, it has a timeless element Choral Works by PaweŁ Łukaszewski Paweł Łukaszewski was born in southern and is, in his own words, in a renewed tonality. Poland in 1968 in the city of Częstochowa, a Any description of this genre risks being centre of religious pilgrimage owing to the subjective but it seems to centre around presence there of a statue of the Black Madonna the use of conventional, choral sonorities, at the Jasna Góra Monastery. There is a often in a clear, homophonic format, yet in a 1 Cantate Domino [4.26] Lamentationes predominantly sacred thread to most of his manner which does not lead the listener on a 0 Lamentatio I [6.23] compositions and his international reputation predictable journey, involving unexpected turns Shakespeare Sonnets q Lamentatio II [3.53] seems to have blossomed on account of his in harmonic juxtaposition and rhythmic 2 Like as the waves [4.04] w Lamentatio III [8.35] choral output, the majority of it settings techniques which make demands of the 3 Weary with toil [4.14] of Latin and English texts as opposed to his listener as much as of the performers. In a e Beati [9.59] native tongue. Revered in his homeland, the sense he has a foot firmly in the ancient style 4 Daylight Declines [4.54] list of awards and accolades is substantial of sacred choral writing, something shared Total timings: [69.49] including numerous for the Fryderyk by many major composers such as Brahms, Responsoria Award and, most recently, the Feniks Prize in Bruckner and Stravinsky when they wrote 5 Tenebrae factae sunt [4.25] 2017. He was composer-in-residence with for choirs. Some textural methods appear 6 Caligaverunt occuli mei [5.19] the Warsaw National Philharmonic Orchestra idiosyncratic and intricate on paper but lend 7 Recessit pastor noster [3.46] (2011/2012) and has taught composition in soft borders to the effects of the music, as 8 O vos omnes [4.54] the Fryderyk Chopin University of Music in if metaphorically viewed through lenses and 9 Ecce quomodo moritur [4.53] Warsaw since 1996, where he himself had filters. There is an easily-discernible cultural been a student and was awarded a doctorate link with his Polish predecessors, such as in composition. He is Vice-Rector of the Lutosławski and Penderecki, but the influence university and Professor of Composition. He of Henryk Górecki and the Estonian Arvo has garnered prestigious, national honours and Pärt is evident in the fervent but restrained, his work has a loyal following around the globe, spiritual aspect of Łukaszewski’s music, TENEBRAE with over 110 CDs of his work to date. and his individual voice never stoops to Nigel Short conductor mere imitation.

www.signumrecords.com - 3 - Cantate Domino the effect within a wider, starker context. At doubled at the octave. The timeless mood hear a familiarity in this composer’s conventional This most optimistic and exuberant psalm is times there is a unlikely resemblance to some is amplified by continual progressions of use of key-areas and modes, but unexpected shifts set for subdivided choir in a most joyful of the favourite dissonances used by the unresolved second-inversion chords and, as to new tonal territory always lurk around the corner. fashion, with a great deal of word-painting English composer, Gerald Finzi. But mention an additional feature, there is a reflected of the praises of the psalm and swinging, should be made of a unique metrical device symmetry using the interval of the perfect 1. Tenebrae factae sunt repeated bursts of happiness. Rapid vocal for the repetition of the word ‘time’. The fifth in opposing motion up and down. Łukaszewski uses the term, placido for each passages are biased towards the upper voices unanimous chords sung on this word are given This is reminiscent of the effect of string movement of the , in conjunction with much of the rejoicing and singing to changing bars in two, three and four-beat instruments playing their open strings, or looking with a tempo annotation. In this first movement, the Lord illuminated by triplet activity in metre, but there is a trick employed which at ones own reflection in water. There is relief the calmness pervades even the manner with different proportions: choral laughter and the listener could hardly be aware of without from Łukaszewski’s typical homophonic texture the loud voice of is portrayed. The dancing. The only ominous note is the heavily- the aid of a printed score. Silences are built in with little waves of forward motion with canonic musical description is more of a personal scored declamation about the Lord’s coming to the sequences of the repeated ‘time’, but imitation, lending a little buoyancy and soothing. reflection than a dramatic enactment, which to judge the earth: Quoniam venit iudicare the silent bars are devoid of the printed previous composers’ versions perhaps lead terram. The short piece is bookended by rest symbols which are the universally Daylight Declines us to expect. Extensive use is made of meditative vocalisations which are evocative of conventional symbol for gaps in sound. It A commission from the Netherlands Cantatrix rhythmic dissonance, where the note-values of gentle chiming, and a final whispered ‘Domino’. might be argued that the strange look of Choir, this text is by the 16th Century Wacław z successive, incanted phrases are paced these empty musical bars invites the musicians Szamotuł in a translation by Marek Żebrowski. slightly out of phase, lending a feeling of Like as the Waves (Shakespeare’s Sonnet LX) to freeze, to hold their breath, reinforcing the There is an element of a Compline prayer in the turbulence or uncertainty. There is a moment From the outset of this Sonnet, the pulling of word-play, suspending time. requests for protection through the approaching of wide-spaced minor-chord consonance on the waves and the pebbles are represented night. The music is a soothing treatment the word: Spiritum, when Jesus gives up his in the outward stretching of the choral writing Weary with toil, I haste me to my bed of the text, using reflected scales between last breath. Significantly, the other occurrence which, with displaced rhythms between women’s (Shakespeare’s Sonnet XXVII) opposing voice-parts, hovering around the of this harmony is the only loud moment of the and men’s voices, seems to be hesitant, almost It speaks a considerable amount about William plainchant Mode 1 which Łukaszewski has also movement: the word Iudaei, near the beginning. stuttering. There is an unconventional spacing Shakespeare’s universal appeal that a Polish employed in his Responsoria Tenebrae. Drone- of the choral lines, often leaving the highest composer sets his Sonnets, in this case for fifths are predominant in the bass part and 2. Caligaverunt oculi mei part very remote and Łukaszewski’s preferred, unaccompanied choir and with an extended the declining daylight is evoked by falling Is there perhaps weeping, or drops of tears, stark fifths make an appearance, in this feeling of being held in time, or lulled to triplet figuration throughout the voices, and built into the choral sound of this movement, instance combined with semitone clashes, sleep. Particular use is made of slow, downward a noticeable hint of the Lydian mode with its in the oscillating upper bass line, or in the inverted as sevenths and ninths to temper gestures and a thick chordal sound, usually jagged sharpened fourths. The listener can constant mordent-clusters of the first alto

- 4 - - 5 - part? This composer makes swift progress 4. O vos omnes dolor meus’ - which is strangely reminiscent of sets text from the through myriad choral techniques and, in this An impassioned plea from the condemned the vocal writing of Claudio Monteverdi. in the Bible, including a musical inscription: setting, some of the text is divided out from top Jesus himself for the passerby to stop and ‘Here begin the Lamentations...’ and the voice to bottom, and vice versa, splitting up consider His plight, and further to realise that the 5. Ecce quomodo moritur iustus Hebrew equivalents of page numbers in words among the vocal parts. This effect is debts of all humankind are now heaped on the The text, from the Book of Isaiah, deals with the song, in the tradition established by composers rather like a spread chord on a harp or Saviour’s shoulders. Tomas Luis de Victoria created injustice of an innocent man being led away such as Thomas Tallis (c.1505-1585). In the lute. There is also a contrary motion between perhaps his most perfect work in setting these to the slaughter, portrayed figuratively as a Hebrew Bible, the Lamentations form part of the outer parts with opposing leaps of octaves words in his own Responsories, and much lamb to the shearer which does not bleat the books of the Ketuvim, and are a poetic and sevenths. The sevenths reappear at the climax is expected of a fresh version of this text. in complaint. The division of text is, in this lament for the destruction of Jerusalem by of the whose clashing, unresolved Łukaszewski’s treatment certainly employs instance, repeated phrases which alternate Babylon. In the Christian Bible it is ascribed dissonance returns at the related text in dissonance but, imaginatively leaves the around the voices and not subdivided words. to , but only by tradition, and its responsory no.4: O vos omnes. resolution of such tension either in a Use is made of an accompanying moto perpetuo role is as a metaphor for the death of Christ silence in that particular area of the choral vocalisation, sounding like slow trills in thirds, which is celebrated in the Liturgy of . 3. Recessit pastor noster sound, or by an incomplete resolution by passed among the voices and this rocking There is some comfort here, for despite the shifting to another, nearby clash of vocal effect is coupled with the swing of alternations There is something of the grand-architectural betrayal and imminent fate of the Lord, the lines instead. There is also an interplay of repeated words between contrasting about the form of this piece: a substantial power of evil has been destroyed. There are between the upper three vocal lines and the pitches. There is a further feature in this essay in big brush-strokes, starkly-contrasted two opposing elements. First, a quasi-Gregorian- lower three, a trait which this composer is movement: a semitone-shift which typically changes of technique and texture from headings Mode 1 cantabile melody which is raised fond of, and he keeps a symmetry of coincides with the printed bar-lines. There is to verses and so on. There is a mixture of twice by a semitone step, accompanied by dissonance in the sense that close dissonances also one, unexpected semitone transposition metrical complexity and rhythmical dissonance, a vocalised, off-beat accompaniment which are used as much between the two lowest in the reprise of the opening material which sustained strands of sounds and dense could be compared to a piano-accompaniment voices as in the two highest. In the original is a reminder of the exacting choral skills patterns of intricacy, thick clusters of harmony for a song by Schumann or Fauré. The battle performance layout with The King’s Singers, necessary to perform the work. and the occasional relief of unison lines. of good and evil at the gates of hell is the result would be a stereo separation in But there is a continuous feature made of represented by unrelenting dissonances in space, but the effect remains in a vertical Lamentations of Jeremiah the role of octaves, between parts and within rhythmic fractions which might suggest that plane between the higher and lower voices. This is a substantial and taxing work vocal strands themselves, and dialogue and weapon of the Old Testament referred to in By way of respite for the listener, Łukaszewski’s for interdivided SATB choir, unaccompanied. relationships at one and two octaves apart. psalm 149: a two-edged sword. inserts a recurring phrase - a soothing, descending Commissioned by the Wratislavia Cantans There is a suggestion in the sound that ritornello on the words: ‘qui transitis/sicut Festival, Poland, it was published in 2011 and there is great throng of people involved -

- 6 - - 7 - maybe the whole of humanity as part of the final one begins with ‘Blessed are...’, always of note-values, nothing unusual in itself, but of bells being heard reflected from walls, out of narrative. Many of the earlier devices of voiced in the plural, as if speaking to the here used to distract us from the restrictions time and sometimes with chaotic harmony. At the Paweł Łukaszewski’s are brought together world. The lack of poetic flow might be a of measured note-lengths and to throw climactic point, where the text lines change from and developed, with wordless vocalisations, reason for dissuading composers from setting the piece into the freedom of bell-pealing. In “Beati” to “Gaudete et exsultate” (Rejoice and be extended ostinati, and instrumental-type the text but, perhaps influenced by the addition, there is a deliberate delay built-in glad), all the voices are in exact synchronisation, figurations. In the third Lamentation, extended version by Pärt, Łukaszewski uses the solid to some of the rhythms, rather like the delay but they still make use of the same, ringing use is made of an out-of-phase musical pronouncements as a shape to write granite- between pulling on the rope and the bell shapes as have been impressed on our ears from timing within each vocal division, resulting like blocks of strong writing, each separated sounding. This is not immediately clear but the opening of the work. in a Mexican wave effect of out-of-time singing, by a double-bar, providing as much a space creates a subtle impression of the cacophony © Greg Murray as if in a long column of people in . for the listener’s thought as for the choir to breathe. The construction is mainly Beati homophonic, the voices singing the words at TEXTS & TRANSLATIONS There are relatively few musical settings of the same time, rather than creating music 1 Cantate Domino the Beatitudes, perhaps the most notable on a horizontal, flowing plane. The interesting among them by Arthur Bliss (1961) and Arvo thread throughout this work appears to be Cantate Domino canticum novum, Sing to the Lord a new song; Pärt (1990). This text, from St Matthew’s concerned with bells, or at least bell-suggestions. cantate Domino, omnis terra. sing to the Lord, all the earth. Gospel (Chapter 5) is difficult to categorise. It happens in many ways. Starting on the Cantate Domino, benedicite nomini eius, Sing to the Lord, praise his name; It is often described as Jesus’s Sermon on vertical, many of the “Beati” statements are annuntiate de die in diem salutare eius. proclaim his salvation day after day. the Mount and is neither a prayer nor a ‘chimed’ on harmonies which pile up intervals Annuntiate inter gentes gloriam eius, Declare his glory among the nations, narrative, but more a beautiful description of of fifths and seconds. Although bells have in omnibus populis mirabilia eius. his marvelous deeds among all peoples. (...) human qualities balanced with the benefits their own, distinct harmonic characteristics, which result from possessing them. In that these words, always stated first as a separate Laetentur caeli, et exsultet terra, Let the heavens rejoice, let the earth be glad; respect, the text presents some problems for gesture, have a ringing quality, and each of sonet mare et plenitudo eius; let the sea resound, and all that is in it. a composer. Its form is rather like a list of the sentences has its own, if you like, add- gaudebunt campi et omnia, quae in eis sunt. Let the fields be jubilant, and everything in them; statements or rules and one might imagine on bells, in differing proportions, and in Tunc exsultabunt omnia ligna silvarum let all the trees of the forest sing for joy. them inscribed on the wall of a sacred imaginative variations. The phrases which a facie Domini, quia venit, Let all creation rejoice before the Lord, for he comes, building, each sentence able to exist on follow have two other techniques which quoniam venit iudicare terram. he comes to judge the earth. its own, having a perfect balance. There is a develop the initial tolling effect. There is a Iudicabit orbem terrae in iustitia He will judge the world in righteousness feeling of a Litany as each phrase except the comprehensive use of graded proportions et populos in veritate sua. and the peoples in his faithfulness. Text: Psalm 96 (95) - 8 - - 9 - Shakespeare Sonnets And keep my drooping eyelids open wide, 2 Like as the waves Looking on darkness which the blind do see. Save that my soul’s imaginary sight Like as the waves make towards the pebbled shore, Presents thy shadow to my sightless view, So do our minutes hasten to their end, Which like a jewel hung in ghastly night, Each changing place with that which goes before, Makes black night beauteous, and her old face new: In sequent toil all forwards do contend. Nativity, once in the main of light, Lo thus, by day my limbs, by night my mind, Crawls to maturity, wherewith being crowned, For thee, and for myself, no quiet find. Crooked eclipses ‘gainst his glory fight, And time that gave doth now his gift confound. 4 Daylight Declines

Time doth transfix the flourish set on youth, Daylight declines, the night advances And delves the parallels in beauty’s brow, we ask the Lord for deliverance, Feeds on the rarities of nature’s truth, that He our guardian remain, And nothing stands but for his scythe to mow. protecting us from evil domain of spirits who always in the dark And yet to times in hope, my verse shall stand, upon their treachery embark. Praising thy worth, despite his cruel hand. Text: Wacław z Szamotuł (c.1533-c.1568) Text: Sonnet LX Translation by Marek Zebrowski

3 Weary with toil

I haste me to my bed, The dear repose for limbs with travel tired; 5 I. Tenebrae factae sunt But then begins a journey in my head To work my mind, when body’s work’s expired. Tenebrae factae sunt, Darkness covered the whole land

dum crucifixissent Jesum Judaei: when Jesus had been crucified; For then my thoughts, from far where I abide, and about the ninth hour Intend a zealous pilgrimage to thee, et circa horam nonam

- 10 - - 11 - exclamavit Jesus voce magna: he cried with a loud voice: Destruxit quidem claustra inferni, Indeed He has destroyed Deus meus, ut quid me dereliquisti? My God, my God, why have you forsaken me? et subvertit potentias diaboli. the strongholds of the underworld Et inclinato capite, emisit spiritum. And he bowed his head and handed over his spirit. Nam et ille captus est, and he has overthrown the powers of the devil. Exclamans Jesus voce magna ait: Jesus, crying with a loud voice, said: qui captivum tenebat primum hominem: For even he was made captive Pater, in manus tuas commendo spiritum meum. Father, into you hands I commend my spirit. hodie portas mortis et seras pariter who was holding captive the first man. Et inclinato capite, emisit spiritum. And he bowed his head and handed over his spirit. Salvator noster disrupit. Today the gates of death and their bars as well our Savior has destroyed. 6 II. Caligaverunt oculi mei 8 IV. O vos omnes

Caligaverunt oculi mei a fletu meo: My eyes are darkened by my tears: O vos omnes qui transitis per viam: O all ye that pass by the way, quia elongatus est a me, qui consolabatur me: For He is far from me that comforted Me: attendite et videte, si est dolor sicut dolor meus. attend and see if there be any sorrow like to my sorrow. Videte, omnes populi, See, O all ye people, Attendite, universi populi, et videte dolorem meum. Attend, all ye people, and see my sorrow. si est dolor similis sicut dolor meus. if there be a sorrow like unto My sorrow. Si est dolor similis sicut dolor meus. If there be any sorrow like to my sorrow. O vos omnes, qui transitis per viam, O all ye that pass by, attendite, et videte, behold and see 9 V. Ecce quomodo moritur iustus si est dolor similis sicut dolor meus. if there be a sorrow like unto My sorrow. Caligaverunt oculi mei a fletu meo: My eyes are darkened by my tears: Ecce quomodo moritur iustus, See how the righteous one perishes, quia elongatus est a me, qui consolabatur me: For He is far from me that conforted Me: et nemo percipit corde: and no one takes it to heart. Videte, omnes populi, See, O all ye people, et viri justi tolluntur, The righteous are taken away, si est dolor similis sicut dolor meus. if there be a sorrow like unto My sorrow. et nemo considerat: and no one understands, a facie iniquitatis sublatus est justus: and his memory shall be in peace. 7 III. Recessit Pastor noster et erit in pace memoria eius. Like a sheep before its shearers is mute, Tamquam agnus coram tondente se obmutuit, so he opened not his mouth. Recessit Pastor noster fons aquae vivae, Our Shepherd is departed, the fount of living water, Et non aperuit os suum: By oppression and judgment he was taken away. ad cuius transitum sol obscuratus est: At whose passing the sun was darkened, de angustia, et de judicio sublatus est. And his memory shall be in peace. Nam et ille captus est, For even he was made captive who was et erit in pace memoria eius: See how the righteous one perishes, qui captivum tenebat primum hominem: holding captive the first man. Ecce quomodo moritur justus, and no one takes it to heart. hodie portas mortis et seras pariter Today the gates of death and their bars et nemo percipit corde: The righteous are taken away, Salvator noster disrupit. as well our Savior has destroyed. et viri justi tolluntur, and no one understands,

- 12 - - 13 - et nemo considerat: and his memory shall be in peace. q Lamentatio II a facie iniquitatis sublatus est iustus: et erit in pace memoria eius. Quomodo obtexit caligine in furore suo Dominus How has the Lord in His anger brought darkness filiam Sion! upon the daughter of Zion! Lamentationes Proiecit de caelo in terram gloriam Israel He has cast down from heaven to earth the glory et non est recordatus scabelli pedum suorum in of Israel, 0 Lamentatio I die furoris sui. and has not remembered His footstool on the day of His anger. Quomodo sedet sola civitas plena populo! O how has the city that was once so populous Facta est quasi vidua domina gentium; remained lonely! Defixae sunt in terra portae eius; perdidit et Her gates are sunk into the ground; He has ruined princeps provinciarum facta est sub tributo. She has become like a widow! She that was great contrivit vectes eius. and broken her bars; among the nations, Rex eius et principes eius in gentibus; non est lex, her king and princes are among the heathens, a princess among the provinces, has become tributary. et prophetae eius non invenerunt visionem a there is no more teaching; Domino. moreover, her prophets find no vision from the Lord. Plorans plorat in nocte, et lacrimae eius in maxillis eius; She weeps, yea, she weeps in the night, and her non est qui consoletur eam ex omnibus caris eius: tears are on her cheek; Cui comparabo te vel cui assimilabo te, filia What shall I testify for you? What shall I compare to omnes amici eius spreverunt eam et facti sunt ei she has no comforter among all her lovers; Ierusalem? you, O daughter of Jerusalem? inimici. all her friends have betrayed her; they have become Cui exaequabo te et consolabor te, virgo filia Sion? What can I liken to you, that I may comfort you, O her enemies. Magna est enim velut mare contritio tua; quis virgin daughter of Zion? medebitur tui? For your ruin is as vast as the sea-who can heal Vide, Domine, et considera, quoniam facta sum vilis See, O Lord, and behold, how I have become worthless! you? Text: Lamentations 2:1,9,13

Text: Lamentations 1:1-2,11 w Lamentatio III

Misericordiae Domini, quia non sumus consumpti, Verily, the kindnesses of the Lord never cease! quia non defecerunt miserationes eius. Indeed, His mercies never fail!

Scrutemur vias nostras et quaeramus et Let us search and examine our ways, and let us revertamur ad Dominum. return to the Lord.

- 14 - - 15 - Levemus corda nostra cum manibus ad Dominum Let us lift up our hearts to our hands, to God in Beati pacifici, quoniam filii Dei vocabuntur. Blessed are the pure of heart, for they will see God. in caelos. heaven. Beati, qui persecutionem patiuntur propter Blessed are the peacemakers, for they will be Nos inique egimus et rebelles fuimus; idcirco tu We have rebelled and have been disobedient; You iustitiam, called children of God. inexorabilis fuisti. have not forgiven. quoniam ipsorum est regnum caelorum. Blessed are they who are persecuted for the sake Beati estis cum maledixerint vobis et persecuti of righteousness, Non crediderunt reges terrae et universi The kings of the earth did not believe, nor all the vos fuerint for theirs is the kingdom of heaven. habitatores orbis, inhabitants of the world, et dixerint omne malum adversum vos, mentientes, Blessed are you when they insult you and quoniam ingrederetur hostis et inimicus per portas that a foe or enemy could enter the gates of propter me. persecute you Ierusalem. Jerusalem. Gaudete et exsultate, quoniam merces vestra and utter every kind of evil against you (falsely) copiosa est in caelis; because of me. Recordare, Domine, quid acci derit nobis; Recall, O Lord, what has befallen us; sic enim persecuti sunt prophetas, qui fuerunt Rejoice and be glad, for your reward will be great intuere et respice opprobrium nostrum. behold and see our disgrace. ante vos. in heaven. Thus they persecuted the prophets who were before you. Converte nos, Domine, ad te, et convertemur; Restore us to You, O Lord, that we may be restored! Text: Matthew 5:3-12 innova dies nostros sicut a principio. Renew our days as of old.

Text: Lamentations 3:22,40,41,42; 4:12; 5:1,21 e Beati

Beati pauperes spiritu, quoniam ipsorum est Blessed are the poor in spirit, for theirs is the regnum caelorum. kingdom of heaven. Beati, qui lugent, quoniam ipsi consolabuntur. Blessed are they who mourn, for they will be Beati mites, quoniam ipsi possidebunt terram. comforted. Beati, qui esuriunt et sitiunt iustitiam, quoniam Blessed are the meek, for they will inherit the land. ipsi saturabuntur. Blessed are they who hunger and thirst for Beati misericordes, quia ipsi misericordiam righteousness, for they will be satisfied. consequentur. Blessed are the merciful, for they will be shown Beati mundo corde, quoniam ipsi Deum videbunt. mercy.

- 16 - - 17 - TENEBRAE Described as “phenomenal” (The Times) and Bruckner , the profits from the sale of “devastatingly beautiful” (Gramophone Magazine), which benefit Macmillan Cancer Support. In order award-winning choir Tenebrae, under the to mark Tenebrae’s fifteenth anniversary in 2016-17, direction of Nigel Short, is one of the world’s the choir re-released its first major commission leading vocal ensembles renowned for its passion by Joby Talbot, Path of Miracles, alongside and precision. a new work by rising composer, Owain Park.

Tenebrae’s ever-increasing discography has Tenebrae is a dedicated advocate for contemporary brought about collaborations with Signum, composers, having worked with Judith Bingham, Decca Classics, Deutsche Grammophon, EMI Alexander Levine, Paweł Łukaszewski, Paul Classics, LSO Live, and Warner Classics. In Mealor, Hilary Tann, Sir John Tavener and Will 2012 Tenebrae were the first-ever ensemble to Todd, in addition to recent releases featuring be multi-nominated in the same category for music by Ola Gjeilo and Alexander L’Estrange.

© Sim Canetty-Clarke the BBC Music Magazine Awards, securing the The choir is renowned for its highly-acclaimed accolade of Best Choral Performance for their interpretations of choral music with repertoire Soprano Alto Bass recording of Victoria’s Requiem , 1605. The ranging from hauntingly passionate works Emily Atkinson ˚† Hannah Cooke Gabriel Crouch following year the choir’s recording of Fauré’s of the Renaissance through to contemporary Jessica Cale ˚˚ Tom Lilburn ˚˚ Jimmy Holliday Requiem with the London Symphony Orchestra choral masterpieces. Rosemary Galton † Martha McLorinan Stephen Kennedy was nominated for the Gramophone Awards, Joanna L’Estrange Eleanor Minney Andrew Mahon having been described as “the very best Fauré Tenebrae is regularly engaged with the world’s Alison Hill † Gregory Skidmore ˚† Requiem on disc” and “the English choral finest orchestras and has appeared at major Marie Macklin Tenor Simon Whiteley † tradition at its zenith” (Richard Morrisson, national and international festivals and venues Laura Oldfield** Ben Alden †† Chief Music Critic, The Times). In 2014 the including the BBC Proms, Edinburgh International Bethany Partridge * Ruairi Bowen † * Responsoria Tenebrae, Like as the Waves choir’s recording of Russian Orthodox music Festival, Three Choirs Festival, Leipzig Josephine Stephenson † Jeremy Budd and Daylight Declines only ** All except Responsoria Tenebrae, Like as was launched on its own label, Bene Arte, Gewandhaus (Germany) and Montreux Choral Katie Trethewey Joshua Cooter ˚† the Waves and Daylight Declines receiving glowing reviews and reaching number Festival (Switzerland). The 2017-18 season Hugo Hymas † ˚ Lamentatio I and II and Cantate Domino only 1 in the UK Specialist Classical Chart. In sees the return of Tenebrae’s popular Holy Nicholas Madden * ˚˚ All except Weary with Toil † 2016 Tenebrae received its second BBC Music Week Festival at St John’s Smith Square, David de Winter ** Lamentatio III and Beati only †† All except Lamentatio III and Beati Magazine Award for a recording of Brahms and London, as well as concerts throughout the UK,

- 18 - - 19 - Europe, USA and the choir’s debut in Australia. instrumentalists and now enjoys a reputation Alongside concert performances, the choir as one of the world’s finest vocal ensembles. presents its inspirational workshop method, The Tenebrae Effect, designed to challenge and To date, Nigel has conducted the Aurora advance every participant by instilling skills Orchestra, BBC Symphony Orchestra, Chamber essential to a Tenebrae performance. Orchestra of Europe, English Chamber Orchestra, English Concert, London Symphony Orchestra, ‘Passion and Precision’ are Tenebrae’s core values. Orchestra of the Age of Enlightenment, Royal Through its continued dedication to performance Philharmonic Orchestra and the Scottish of the highest quality, Tenebrae’s vision is Ensemble. He has directed the London Symphony to deliver dramatic programming, flawless Orchestra alongside Tenebrae in a live recording performances and unforgettable experiences, of Fauré’s Requiem, which was nominated for allowing audiences around the world to be moved the Gramophone Awards (2013) and since then, by the power and intimacy of the human voice. he has conducted the orchestra at St. Paul’s Cathedral as part of the City of London Festival. NIGEL SHORT Other orchestral recordings include Mozart’s Requiem and Ave Verum Corpus with the Award-winning conductor Nigel Short has built Chamber Orchestra of Europe and a new release up an enviable reputation for his recording of music by Bernstein, Stravinsky and Zemlinsky and live performance work with leading with the BBC Symphony Orchestra. orchestras and ensembles across the world. Nigel has vast recording experience having conducted for many of the world’s major labels A singer of great acclaim, Nigel was a member including Decca Classics, Deutsche Grammophon, of the renowned vocal ensemble The King’s EMI Classics, LSO Live, Signum and Warner Singers from 1994–2000. Upon leaving the group Classics. As a Gramophone award-winning he formed Tenebrae, a virtuosic choir that producer, Nigel works with many of the UK’s embraced his dedication for passion and precision. leading professional choirs and vocal ensembles Under his direction, Tenebrae has collaborated including Alamire, Ex Cathedra, Gallicantus with internationally acclaimed orchestras and and The King’s Singers.

- 20 - - 21 - This recording was made thanks to the generous support of the Adam Mickiewicz Institute and Polish Cultural Institute.

Tenebrae would also like to thank Paweł Łukaszewski’s publishers: Chester Music Ltd., part of the Music Sales Group of Companies PWM Edition The Adam Mickiewicz Institute, acting under its brand Culture.pl, is a national cultural institute, Cantate Domino commissioned by Brady Allred and Salt Lake Vocal Artists, USA (2014) whose mission is to build and communicate the cultural dimension of the Poland brand through active Shakespeare Sonnets commissioned by proMODERN Vocal Ensemble, Poland (2015) participation in international cultural exchange. The Institute has carried out cultural projects in Daylight Declines commissioned by Cantatrix, The Netherlands (2013) 70 countries. The AMI has presented more than 5,500 cultural events, attracting an audience of Responsoria Tenebrae commissioned for The King’s Singers by the Adam Mickiewicz Institute, Warsaw, Poland (2010) Lamentationes commissioned by Wratislavia Cantans Festival, Wrocław, Poland (2011) more than 52,5 million on five continents. All of the Institute’s projects are carried out under our Beati commissioned by YL Male Voice Choir, Helsinki, Finland (2014) flagship brand, Culture.pl. Recorded in St Augustine’s Church, Kilburn, London from 10-12th May 2016 Producer – Adrian Peacock The Institute’s Culture.pl portal offers a daily information service covering key events related to Recording Engineer – Andrew Mellor Editor – Jennifer Howells Polish culture around the world. In addition to information on events organised in Poland and abroad, Mix and Mastering – Andrew Mellor the portal features numerous artist profiles, reviews, essays, descriptive articles and information about cultural institutions. The site, which in 2016 drew more than 5 million visitors from around Cover Image – Shutterstock Design and Artwork – Woven Design www.wovendesign.co.uk the world, is available in three languages: Polish, English and Russian. In 2015 the portal won the P 2017 The copyright in this sound recording is owned by Signum Records Ltd Guarantee of Culture award in the category Culture on the Net. © 2017 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com Based in London, the Polish Cultural Institute is dedicated to nurturing and promoting cultural ties between the United Kingdom and Poland, both through British exposure to Poland’s cultural achievements, and through exposure of Polish artists and scholars to British trends, institutions, and professional counterparts.

- 22 - - 23 - ALSO AVAILABLE on signumclassics

Brahms & Bruckner Motets Russian Treasures Tenebrae, Nigel Short Tenebrae, Nigel Short SIGCD430 SIGCD900

“Nigel Short and Tenebrae have come up with a beautifully “a beautifully blended, spaciously paced journey through late balanced and contrasted programme…The beauty of sound 19th and early 20th century Russian liturgical music. The basses and dignified expression of intensity that Tenebrae create in are phenomenal, descending to their sepulchral bottom B flats” the opening of the first choral number, Bruckner’s Virga Jesse, The Times would be impressive in themselves but with the ear prepared by the first Aequilis the effect is even more telling…what superb singing: technically immaculate, somehow lucid and voluptuously beautiful all at the same time.” BBC Music Magazine Award Winner, 2016

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 20 - DAYLIGHT DECLINES Choral Works by PaweŁ Łukaszewski

Made in the EU Stereo DDD

SIGCD521

P 2017 Signum Records Ltd. © 2017 Signum Records Ltd.

Barcode: 6352120052129

All rights of the producer and of the owner of the recorded work reserved. Unauthorised copying, hiring, lending, public performance and broadcasting of this recording prohibited.

TENEBRAE Nigel Short conductor CTP Template: CD_INL4 COLOURS Compact Disc Inside Inlay (clearcase) CYAN MAGENTA Customer: SignumClassics YELLOW Catalogue No.SIGCD521 BLACK Job Title: Daylight CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN Customer SignumClassics MAGENTA YELLOW Catalogue No.SIGCD521 BLACK Job Title: Daylight SIGNUM CLASSICS SIGCD521

DAYLIGHT DECLINES Choral Works by PaweŁ Łukaszewski ŁUKASZEWSKI: DAYLIGHT DECLINES

1 Cantate Domino [4.26] 2 3 TENEBRAE / SHORT SHORT / TENEBRAE - Shakespeare Sonnets [8.19]

4 Daylight Declines [4.54] 5 - 9 Responsoria Tenebrae [23.17] 0 - w Lamentationes [18.51] e Beati [9.59]

Total timings: [69.49]

TENEBRAE / SHORT

TENEBRAE Nigel Short conductor ŁUKASZEWSKI: DAYLIGHT DECLINES

LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, United Kingdom. P 2017 Signum Records DDD SIGCD521 SIGCD521 © 2017 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 05212 9 SIGNUM CLASSICS