IN CHAINS OF GOLD Magdalena Consort, director Peter Harvey: Julia Doyle (JD) - Treble The English Pre-Restoration Verse Anthem Catherine King (CK) & Eleanor Minney (EM) - Mean Charles Daniels (CD), Samuel Boden (SB), Jeremy Budd (JB) & Nicholas Todd (NT) - Contratenor VOLUME 1 Greg Skidmore (GS) & Simon Gallear (SG) - Tenor ORLANDO GIBBONS – COMPLETE CONSORT ANTHEMS Peter Harvey (PH) & Will Gaunt (WG) - Bassus Fretwork (FW) Asako Morikawa, Emily Ashton, Reiko Ichise, Sam Stadlen & Richard Boothby - viols Track Solo verses (order of appearance) instruments His Majestys Sagbutts & Cornetts (HMSC) 1 Behold, thou hast made my days CD FW [4.33] Jeremy West, Jamie Savan & Helen Roberts – cornetts 2 We praise thee, O Father EM, NT, PH, GS, SG, CK, SB FW [4.53] Abigail Newman, Stephanie Dyer & Stephen Saunders – sackbuts 3 In Nomine a5 No. 1 FW [4.07] Kirsty Whatley - harp 4 This is the record of John CD FW [4.02] Silas Woolston – organ 5 Great King of Gods CD, JB, PH HMSC, organ [4.41] William Hunt – Artistic Director 6 Do not repine, fair sun part 1 JB, SB, PH FW [4.43] 7 Do not repine, fair sun part 2 JD, CK, SB, JB, PH FW [2.58] www.signumrecords.com 8 In Nomine a5 No. 2 FW [4.09] 9 Glorious and powerful God PH, CD FW [4.59] 0 Blessed are all they that fear the Lord SB, CK, EM, CD , JB, SG, WG, GS, PH, NT FW, harp, organ [4.35] “... to return to the expressing of the ditty, the matter is now come to that state that though a song q O all true faithful hearts CD, CK, EM, NT, SG, PH HMSC, organ [3.42] be never so well made and never so aptly applied to the words yet shall you hardly find singers to express it as it ought to be, for most of our churchmen, so they can cry louder in their choir than w Sing unto the Lord PH, WG, CD, JB FW [5.19] their fellows, care for no more, whereas by the contrary they ought to study how to vowel and sing e In Nomine a5 No. 3 FW [3.42] clean, expressing their words with devotion and passion whereby to draw the hearer, as it were, r See, see, the Word is incarnate CD, SB, CK, PH, SG FW [5.48] in chains of gold by the ears to the consideration of holy things.” t Lord, grant grace EM, SB FW, HMSC, organ [3.10] Thomas Morley ‘Plaine and Easie Introduction to Practical Musick’ (1597) Total timings: [66.38] Cover Image – Allegory of Eloquence, after Dürer (c. 1503)

- 3 - ORLANDO GIBBONS appreciated its easeful amenities as much as pithiness in phrasing, no over-elaborate in its choir-stalls. Headings for some anthems Complete CONSORT Anthems had Elizabeth I. One shred of comment about word-painting. By and large, they conformed; even note occasion of composition; that, at a services for him in its chapel mentions anthems even in Chapel, where royal fiatcould (and time when such remarks are as rare as hens’ teeth. Orlando Gibbons, a probationer Gentleman to ‘organs, cornets, sagbot, and other excellent did) countermand the strictures at will. of the Chapel Royal when James VI of instruments of musicke’. Tantalisingly little Sumptuous restraint, though, may be the One undeniable strain is semi-liturgical, fulsome Scotland gained the English crown in 1603, survives to recreate its aural bloom, unless phrase for emergent solutions conceived adulation. ‘Great King of Gods’ prefaced the was appointed his majesty’s privy-chamber one compares the ambience at Hampton: the by predecessors to Gibbons, like his senior one and only return by James to his native land, virginalist in 1620 after a decade’s casual only space left to match lost Greenwich and colleague, John Bull, and developed by him. in 1617. Its chordally weighted, upbeat stately entertaining, recompensed by random bounties. Whitehall by dimensions, date and build. Less major mode confidently instructs Jehovah of Unexpectedly, he died in 1625, less than echoic than stone cathedral vaults, these The essence of his urbane, elegant art, complex Psalm 95 to safeguard the king’s passage and three months after James. Despite a curtailed semi-private wood-panelled auditoria profited but still strikingly direct and personal, is hard finally translate his person bodily heavenwards, life-span, his brilliant output for voices, chamber from subtle reinforcement of intimate sonorities. to encapsulate. A ‘metaphysical’ label is more thwarting decay. ‘O all true faithful hearts’ ensemble and keyboard is a major glory of readily affixed to the era’s verse and prose interposes choruses like victory-galliards to the first Stuart reign. Its church side brings to A keen theologian, and doughty veteran of than music, even his; yet they trace parallel encourage public rejoicing in April 1619 over life court’s ritual: a sincere piety, enmeshed verse and prose, in his own right, James happily paths. Some needful context, if nothing else, is an avoided narrow shave: ‘A thanks Giving with dutiful and unique celebration of the enough left patronage of the arts to his queen furnished by a priceless score salvaged by the for the kings happy recoverie from a great Divine Right of Kings. Chapel was central Anna or crown prince Henry, but began to mid-century publisher John Playford; assumed dangerous sicknes’. His ominous nephritis, to his career, and mobile; its mandate, appreciate the assured English style of enlisting by him a Gibbons autograph, though most aggravated by melancholy after Anna’s death to attend a monarch on circuit. From the music into state-church ceremonial. He shrewdly likely copied for family soon after his death. in January, had alarmed doctors; many subjects warren of Whitehall, it decamped to royal appointed a well-born, energetic Chapel Dean Intriguing pre-print versions given for his were also concerned, by now mellowing to his residences scattered about London, including (a position latterly not even filled by Elizabeth), Madrigals (1612) and Fantazies of III. Parts (c. genial if autocratic foibles. The one gratulatory, another waterside palace now less-remembered: who addressed stagnant pay-rates. A new 1622) are trumped by a unique array of verse ensemble-backed item not in score is ‘Do Greenwich, former Placentia. The Tudors had mood informed composition, especially in verse anthems with ensemble parts. Church sources not repine’: a welcome ode for that Scottish favoured it for family and state business alike; anthem; a better showcase for soloistic hold some of these ‘consort anthems’, but Progress of 1617, to mildly pagan verse by first disembarkation-point to greet impressible declamation than full anthem. Into that, with sparser organ backing; only one survives Joseph Hall, one of the English bishops corralled foreign dignitaries arriving up the Thames. Gibbons put his full incantatory Orphic in extant household partbooks. Still, cathedrals into dancing attendance. A florid first section, Court musicians of all stripes felt obliged to persuasiveness. Composers for the earlier did employ ensembles. The score witnesses structured by verses but a bit racier than keep town-houses nearby, like the Ferraboscos; Elizabethan Anglican rite had been enjoined similar breadth of practice in the Chapel, down church norms, commiserates with Phœbus the Laniers even ran a playhouse. James to decorum in effects by Calvinist reformers: to rubrics for decani-cantoris alternatim effects Apollo on being outshone by James during his

- 4 - - 5 - stay in Edinburgh. A dancier sequel anticipates murderous proclivities came to light: a Lucrezia popular, borrows blissful, indulgently prolonged the same day sennight before his death’ (so ensuing revels inside Auld Reekie’s palace, Borgia-like poisoning of Sir Thomas Overbury, syncopations from John Bull’s keyboard In dating it to late April 1618, and possibly a first Holyrood House; mimicking the measures to leading to death sentences for the pair, Nomine style. Graduating midway to a dance- use by the distinct choral foundation at Saint be trod by rustic fairies from Lothian dells, commuted by royal indulgence to permanent strain, it finally shoots the rapids in frothing George’s Chapel, Windsor). Here, too, homophony alongside classical nymphs. To perform it, the house-arrest. This contretemps did nothing to roulades. The last, also touched by virtuosic coalesces to reinforce a lone voice, but here Chapel was shipped up wholesale to the Water dent the setting’s cathedral popularity. keyboard traits, may borrow a motif or two with sombreness; emphasising starkly the of Leith, well in advance. from Ferrabosco’s third exemplar, and its less psalmist’s invective against worldly wealth. Virtual Maestro di Cappella thereafter, Gibbons usual scoring for two basses. Gibbons liked The pathos conveyed hints at contrition by Dean ‘Blessed are all they’, Psalm 128 in Prayerbook found another post in the household of a new to observe an earlier Elizabethan finesse with Maxey, a notorious amasser of ecclesiastical wording for the solemnisation of marriage, Prince of Wales (later Charles I) in 1616. It the habitually slow-moving plainsong part: benefices, among them a royal chaplaincy. carries barely inferior cachet, for Boxing resulted in an opus or two of innovative ‘breaking’ it, freeing it at node-points to quote Day 1613 in Whitehall Chapel: ‘A Weddinge string chamber music. His ‘In Nomines’, though, main motifs bandied by other voices, though Others have no precise occasion noted. Anthem first Made for my lord of summersett’. reflect an older world. Composition developed in a token form easily missed from outside ‘Glorious and powerful god’ is set apart from Robert Kerr, the Scots favourite who preceded around its cantus firmus, unchanged from a the texture. contemporary repertoire by its functional the great Duke of Buckingham in the king’s mass movement of the 1540s by John Taverner, uniqueness, though it answers a recent vogue: affections, had fallen for a demure court in creative emulation. That mid-Tudor fashion The score names two more clergymen of some chapel-dedication. The period saw an increase charmer, Frances Howard; unfortunately already underwent decline, then surprising revivals: the standing at court, if extraneous, for requesting in private chapels; Lancelot Andrewes (Chapel wife to the Third Earl of Essex. James repeatedly Jacobean one instigated, maybe, by the court anthems. While still fairly junior, William Laud Royal Dean 1619-26, just before Laud’s tenure) leaned on his bishops to pronounce an violist Alfonso Ferrabosco Junior, English-born commissioned ‘This is the record of John’ devised a formulary by 1620, expressly for the annulment, then raised the young nobody to son of the only Italian ever to pen In Nomines before he reached archbishop’s eminence, at necessary ceremony. Its verse (author unknown) a newfangled Earldom of Somerset, to equal while visiting England. His set of three refers to some unspecified time in his tenure (1611– echoes his phraseology, drawn mainly from his blushing fiancée’s titular rank. Choral his own father, in chief. Gibbons may parallel 21) as ‘presedent of Saint Johns’, the Oxford New Testament texts: the music’s rhythmic recapitulations and spatial effects enhance a those, and rings similar changes, but also college dedicated to John the Baptist. The text resilience and deep-toned onward flood must graceful affirmativeness; the ensemble form’s strikes a balance with tradition. His sweetest (from John the Evangelist, based on Isaiah) be a response to its strength, and focus on exultant running bass Amen broadens and and serenest traces Taverneresque motifs more handles tangential but doctrinally significant divine love. ‘Sing unto the Lord’ also lacks a lengthens the circulated church version. (At sinuously, yet finds room for fleeting insertion verses with ripeness and warmth, presumably local habitation, in that its Chapel use is times the score provides a remarkable extra of an unusual dissonant self-quotation from to celebrate its feast day, 24th June. ‘Behold, undocumented; yet the score calls it ‘made for boon, unique expansions.) Two years on, scandal fantasia: a poignant, slow-paced quasi- thou hast made my days’ responds to ‘the Do(cto)r: Marshall’, possibly Hamlett Marshal, blighted the match. The not-so-virginal bride’s madrigalian ‘cell’. The most recherché, but also Entretie of Doctor Maxcie Deane of Winsor another king’s chaplain from 1616. A bass solo

- 6 - - 7 - responds here to a fellow bass, not a tenor; powerful, ‘See, see, the Word’, is another some surviving cornetts.2 At this pitch the record of a richer use of instrumental colour but in both anthems Gibbons deftly avoids the expanded to include divisi effects and a more vocal ranges of the music lie very naturally, in ‘private’ worship, than would have been ‘table-leg’ bass harmonic progressions that triumphal Amen. Strangely, even this has no when combined with the voice types of countenanced in public spaces, where choir hobble some writers. The sinewy sheen of his known connexion to the Chapel of the day; Gibbons’ time, as described by contemporary and organ were the norm – hence our addition counterpoint for strings or keyboard perhaps but signs from the score are that here too writers such as Charles Butler,3 in particular, of a harp in ‘Blessed are all they that fear explains something unique to his vocal manner. revision may not have been quite complete. ‘Contratenors’ (light, high tenors) rather the Lord’, an instrument widely used both Voices surrender a little independence; but the Its text, furthermore, fits no Anglican festival than the falsettists and altos commonly at court and in noble houses. Here we also resultant linear style’s achievement is better unless maybe Ascension: it traces Christ’s used in today’s choirs (who have frequently take a cue from one Bulstrode Whitelock,4 seen as pure fusion of instrumental and vocal. entire life up to then, Messiah-fashion. Its transposed this repertoire up by as much as whose taste for “rare, diffused and aery” music Time and again this comes through in the prose (assigned to Godfrey Goodman, soon a third to suit a modern SATB format). The in his chapel may not have been that unusual, run of the anthems, where close canon between to become one of the most latitudinarian of resulting clarity and intensity of ensemble away from Puritan ears. soloists intensifies the oratory to imbue the bishops), almost devoid of narrative, creates sonority, notably in the upper part of its William Hunt whole with inward raptness. Unassuming to an oddly static series of icons or tableaux. core, is strikingly different from what many the eye, ‘We praise thee, O Father’ almost Even so, the organic quality infused through are used to hearing in such music. A radical casually attains that numinous aura within the notes lifts that visual, verbless aspect, further step was taken for the viols on this 1 Andrew Johnstone, ‘As it was in the beginning’: organ and choir notes, peaking in verse two with a haunting, merging with it to a stained-glass brilliance. recording by selecting a consort of smaller- pitch in early Anglican church music’, Early Music xxxi/4 close-entwined tenor duet, expounding the Paradoxically, it still streams on as irresistibly scale English instruments (including two (November 2003)

Paschal mystery. This preface to Easter as anything else in the literature. Had originals of the period) and stringing them too at 2 Jamie Savan ‘Unlocking the Mysteries of the Venetian Cornett: communion is poised–structured–to lead into Gibbons lived longer, English baroque might A466 – something that, as far as we are ad imitar piu la voce humana’, Historical Brass Society something bigger, which never emerges; maybe have evolved to very different effect. aware, has not hitherto been done with an Journal, vol. 28 (2016); see also a tenor cornett in the Museum of Norwich at the Bridewell. implying that scored consort anthems were © David Pinto 2017 English consort, but which is arguably a part only of an intended project. ‘Lord, grant perfectly likely tuning for them in this context. 3 Charles Butler, ‘The Principles of Music in Singing and grace’, related to the collect for All Saints, Pitch, voices and instruments It all produces a remarkable translucence, that Setting’, 1636 adds the common termination for prefaces seems to suit the complexity of the writing, at communion. Despite its possible liturgical The sacred anthems and instrumental pieces and may reflect what was heard when this 4 Lynn Mary Hulse ‘The Musical Patronage of the English Aristocracy, c. 1590–1640’, PhD thesis, King’s College rôle, and a setting blooming into eight voices, on this recording are performed at A466, uniquely poetic music was performed behind London (1992) pp. 283-4. after another muted opening with minimalist which fits closely with the findings of recent the closed doors of private chapels or the economy in part-writing, it too is unattested research into English organ and choir pitch Chapel Royal. We shall probably never know. in the Chapel Royal. The longest, most of the period,1 confirmed by the evidence of Tantalising hints can be found in historical

- 8 - - 9 - - 10 - - 11 - TEXTS who by his death hath destroyed death, and by 5 Great King of gods And thee, thrice blessed bowers which long agone his rising to life again hath restored to us His cradle rocked on, 1 Behold thou hast made my days everlasting life. Great King of gods, whose gracious hand hath led Which at the first the vital breath did give, Therefore with Angels and Archangels, and with Our sacred sovereign head Whereby our world doth live; Behold, thou hast made my days as it were a all the company of heaven, we laud and magnify Unto the place where all our bliss was bred. Do not envy the spheres of heaven above span long: and mine age is even as nothing in thy glorious name. In his dear light and love, respect of thee; and verily, every man living is Oh send thine angels to his blessed side, Whose presence under Arthur’s Seat can frame altogether vanity. Preface to Holy Communion, Easter Day, adapted And bid them there abide, An Eden both in deed and name. For man walketh in a vain shadow, and To be at once his guardian and his guide. 4 This is the Record of John disquieteth himself in vain: he heapeth up riches, [Part 2] and cannot tell who shall gather them. And now, Dear be his life, all glorious be his days, This is the Record of John, when the Jews sent Lord, what is my hope? Truly, my hope is even And prospering all his ways; 7 Joy that alone, with better bays priests & Levites from Jerusalem to ask him: Who in thee. Late add thy last crown to his peace and praise. And myrtle bows on highest days art thou? And he confessed and denied not, and Hear my prayer, O Lord, and let thine ears consider Crownest thy kingly brows: said plainly: I am not the Christ. my calling: hold not thy peace at my tears. For I And when he hath outlived the world’s long date, Come, come along today with me; And they asked him: What art thou then? Art thou am a stranger with thee: and a sojourner as all Let thy last change translate Welcome the flower of royalty Elias? And he said: I am not. Art thou the prophet? my fathers were. O spare me a little, that I may His living flesh to thy celestial state. Home to his native house. And he answered: No. recover my strength: before I go hence, and be no Amen Then said they unto him: What art thou? That we more seen. Now do thy best and more than all may give an answer unto them that sent us. What 6 Do not repine, fair sun To make a merry festival Psalm 39.6-8, 13-15 (Bishops’ Bible) sayest thou of thy self? And he said: I am the Oh now or never do’t. voice of him that crieth in the wilderness: Make Do not repine, fair sun, to see these eyne, All the day long feast, dance, play, sing, 2 straight the way of the lord. We praise thee, O Father Welcomer far than thine, And spend upon this revelling To see the beams of a more glorious face Thy nimblest hand and foot. We praise thee, O Father, for the glorious John 1.19-23 (Bishops’ Bible, AV) Shine on his native place, resurrection of thy Son Jesus Christ, our Lord: And overrun thee to his northern line; Call to thee all thy light-heeled train, for he is the very Paschal Lamb, which was Fair sun, do not repine. Nymphs and fairies of the plain, offered up for us, and hath taken away the sins And bid them trip it round; of the world; And cause the circle of the skies

- 12 - - 13 - Answer their charming melodies From pure and with unfeigned hearts to q O all true faithful hearts life: weeping may endure for a night but joy comes In their consorted sound. thee ascend, in the morning. Be present with thy grace, O all true faithful hearts with one accord And in my prosperity I said, I shall never be moved. Still may the burden be: welcome, Shew us thy loving face. United in one head, sing to the Lord, Lord, by thy favour thou hast made my mountain Welcome, great king, to thy first home. O down on us full show’rs of mercy send; For he our David from the snares of death to stand strong. Thou didst hide thy face and I Then add unto the rest, Hath freed; prolong his days, enlarge his breath. was troubled. I cried to thee, O Lord, and unto the Good speed home to thine other own, Let thy love’s burning beams Rejoice in him, give thanks, his great Name bless, Lord I made my supplication. That counts the hours whilst thou art gone, Dry up all our sins’ streams. For a remembrance of his holiness. What profit is there in my blood, when I go down And vie to love thee best. Arise O Lord, and come into thy rest. into the pit? Shall the dust praise thee, shall it Both now and evermore Thy name be blest: His life is worth ten thousand, therefore give, declare thy truth? Hear, O Lord, and have mercy Dr [Joseph] Hall Founder and foundation of endless habitation. Each soul, ten thousand thanks that he doth live upon me: Lord, be thou my helper. Amen. To lead his people forth to pastures green; 9 Glorious and powerful God r 0 Blessed are all they that fear the Lord To praise his God whose love to us is seen. See, see the Word is incarnate Rejoice in him, give thanks, his great name bless Glorious and powerful God, we understand Blessed are all they that fear the Lord: And walk For a remembrance of his holiness. See, see the Word is incarnate; God is made man Thy dwelling is on high, in his ways. For thou shalt eat the labour of thy in the womb of a Virgin. Shepherds rejoice, wise Above the starry sky: hands; O well is thee, and happy shalt thou be. Now for the righteous is sprung up a light, men adore, and angels sing: “Glory be to God on Thou dwellest not in stone temples made with Thy wife shall be as the fruitful vine upon the And gladness unto each true-hearted wight; high: peace on earth, good-will towards men.” hands, walls of thine house: Thy children like the olive Joy we in him with thanks, that he may bring The law is cancelled, Jews and Gentiles all branches, round about thy table. Lo, thus shall More joy unto ourselves, health to our King. converted by the preaching of glad tidings But in the flesh hearts of the sons of men. the man be blessed that feareth the Lord. Rejoice in him, give thanks, his great name bless of salvation. To dwell is thy delight, The lord from out of Sion shall so bless thee that For a remembrance of his holiness. The blind have sight and cripples have their near hand though out of sight. thou shalt see Jerusalem in prosperity all thy Amen. motion; diseases cured, the dead are raised, and life long: Yea, that thou shalt see thy children’s miracles are wrought. Let us welcome such a We give of thine own hand; thy acceptation children, and peace upon Israel. w Sing unto the lord guest with Hosanna. Is very life and blood Glory be to the Father, and to the Son, and to the The Paschal Lamb is offered, Christ Jesus made To all actions good: Holy Ghost; As it was in the beginning, is now, Sing unto the Lord, O ye Saints of his, and give a sacrifice for sin. The earth quakes, the sun is Whenever here or hence our supplication and ever shall be, world without end, Amen. thanks at the remembrance of his holiness: for darkened, the powers of hell are shaken; and lo, his anger endures but a moment, in his favour is he is risen up in victory. Sing Halleluia. Psalm 128 (Book of Common Prayer) - 14 - - 15 - See, O see the fresh wounds, the goring blood, t Lord, grant grace extraordinary breadth of music has taken them the pricks of thorns, the print of nails; and in the all over the world in the 25 years since their sight of multitudes a glorious Ascension. Lord, grant grace, we humbly beseech thee, that debut, and their recordings of the classic English Where now he sits on God’s right hand, where all we with thy Angels and Saints may sing to thee viol repertory – Purcell, Gibbons, Lawes & Byrd the choir of heaven all jointly sing: Glory be to the continually: Holy, holy, holy, Lord God of hosts. – have become the benchmark by which others Lamb that sitteth on the throne. Let us continue Glory, honour and power be unto thee, O God the Few other ensembles can match the range of are judged. Their 2009 recording of the Purcell our wonted note with Hosanna: Blessed be he that Creator, O Lord Jesu the Redeemer, O Holy Spirit Fretwork’s repertory, spanning as it does the Fantazias won the Gramophone Award for Baroque cometh in the Name of the Lord; with Halleluia, the Comforter. fi rst printed music of 1501 in Venice, to music Chamber Music. we triumph in victory: And let everything that hath breath, praise and commissioned by the group this year. Their the serpent’s head bruised, Christ’s kingdom magnify the same Lord Almighty. Amen. recordings of arrangements of J. S. Bach have The consistently high standards they have exalted, won particular praise, but they have recently achieved have brought music old and new to and heaven laid open to sinners. Collect, All Saints’ Day, adapted issued a disc containing music by Grieg, audiences hitherto unfamiliar with the inspiring Amen. Debussy, Shostakovitch, Warlock & Britten. This sound-world of the viol. www.fretwork.co.uk

[Godfrey] Goodman

Opening pages of Behold, thou hast made my days from Och Mus 21 by kind permission of the Governing Body of Christ Church, Oxford.

- 16 - - 17 -

MAGDALENA CONSORT PETER HARVEY DIRECTOR

Celebrating its 35th birthday in 2017, His Majestys Monteverdi with John Butt’s Dunedin Consort The Magdalena Consort was founded in 2008 Sagbutts & Cornetts (HMSC), the pre-eminent and performing at the famous Durham Brass by Peter Harvey as an instrumental and vocal group of its kind, continues to delight audiences Festival. The group is often invited to give ensemble, and is dedicated to performing worldwide by disseminating the sound of its noble masterclasses and workshops internationally baroque works with the small vocal forces instruments via recordings, radio and television and individual members of HMSC also teach at typical of the time. In this new departure into broadcasts and live performances. conservatoires and universities across Europe. early English baroque music, the group brings together international soloists and consort The group’s illustrious name is taken from HMSC enjoys frequent collaborations with other singers with both a wide experience of baroque Matthew Locke’s “five-part tthings for His forces, and is especially pleased to have worked declamation and a background in the English Majestys Sagbutts & Cornetts”, which were with Magdalena Consort and Fretwork in the choral tradition. Since its inaugural concert played during the coronation celebrations for Orlando Gibbons project. The group has numerous in the prestigious Festival of Santiago de King Charles II in 1661. Essentially a recital recordings to its credit, and its own record label,

Compostela in Spain, it has performed both © Kim Hardy group comprising three cornetts, four sackbuts SFZ Music, was launched a decade ago, boasting vocal and instrumental works in major and historical keyboards, HMSC pursues HMSC’s critically acclaimed recordings of the Peter Harvey has been performing internationally international festivals across Europe and activities that are constantly diverse, ranging in complete instrumental works of Giovanni Battista at the highest level for many years, and has England, bringing a virtuosic flair and colour 2017 alone from opening the Pórtico do Paraíso Grillo, Buccaneer, The Twelve Days of Christmas made countless recordings. His repertoire to music from Monteverdi to Bach. In 2013 the international festival in Ourense to recording and many more. www.hmsc.co.uk extends from the early Baroque to contemporary group released a recording on Channel Classics, music by way of art song, and he has come Recreation for the Soul – an exploration of to be particularly associated with the works of number symbolism in three Bach cantatas – J S Bach. He has scores of acclaimed which received a warm reception from the recordings of both the cantatas and the major press, being hailed as ‘this brilliant disc’ by works to his name, in versions ranging from the Guardian. the minimalist to the symphonic, with the www.magdalenaconsort.com Monteverdi Choir, Concerto Copenhagen, the Royal Concertgebouw Orchestra, the Netherlands

- 18 - - 19 - Bach Society and the Purcell Quartet, among complete performance material, edited by Dedicated to Grayston Burgess many others. Performing the music of Gibbons leading scholars in the fi eld, of some major And with thanks to the Brothers and Governors represents a return to one of his earliest collections of the consort anthem repertoire, of Sutton’s Hospital in Charterhouse musical loves, fi rst experienced while he including the Gibbons anthems in this was a choral scholar at Magdalen College, recording. He has directed residential courses We are especially grateful to the following for Oxford. Whether in performances of baroque and workshops on the repertoire both in making this recording possible music or German Lieder, Harvey is regularly the UK and internationally, and has presented Principal Donors: Major Donors: praised for his vivid response to language, papers at a number of academic seminars Richard Bridges & Elena Vorotko Professor Stephen Bann CBE and his aim here has been to guide the and conferences. Patricia Brown George Benjamin singers in an immediacy and intensity www.orlandogibbonsproject.com Linda Hill Caroline Dodd of expression – acknowledging the Tudor www.fretworkpublishing.co.uk Professor Richard Rastall John and Sally Harper antecedents of Gibbons’ music, but placing it Alan Sainer Laetitia Hélin fi rmly in the aesthetics of the early Baroque. Dennis Schwartz Lizzie Iron www.peterharvey.com Anthony Shoults Tilman Muthesius Mark & Rosamund Williams Ellen O’Gorman WILLIAM HUNT The Barrington Foundation His Hon Michael Oppenheimer ARTISTIC DIRECTOR The Bernarr Rainbow Trust Roger Sym Binks Trust Kenneth Thomson & Ursula Schlapp William Hunt was a founder member of The Golsoncott Foundation Fretwork and soon after its formation launched The Bach Family of Magdalena Consort and to many other individual donors, too Fretwork Editions, a specialist publisher of The Michael Marks Charitable Trust numerous to mention, as well as others who wish viol consort-related music, of which he is The Viola da Gamba Society of America to remain anonymous. We also wish to extend director and general editor. He now combines The Viola da Gamba Society of the special thanks to Abigail Graham for giving so this with a freelance career as both viol and United Kingdom much time and advice to our fundraising effort. violone player with several leading period Without their generous support this recording instrument ensembles. In recent years he has could not have been made. developed a particular interest in researching the history and performance practice of the English verse anthem, publishing for Fretwork The Michael Marks Charitable Trust

- 20 - - 21 - Editions used: © 2003 Fretwork Editions FE23-25, edited David Pinto Fretwork Editions, 16 Teddington Park Road, Teddington, Middx TW11 8ND, UK www.fretworkpublishing.co.uk

Recorded in St George’s Church, Chesterton, Cambridge on November 17-19 2016 Producer & Recording Engineer – Philip Hobbs Editor – Julia Thomas

Design and Artwork – Woven Design www.wovendesign.co.uk

P 2017 The copyright in this sound recording is owned by Signum Records Ltd © 2017 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

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- 22 - - 23 - ALSO AVAILABLE on signumclassics

Royal Rhymes & Rounds Orlando Gough: The World Encompassed The King’s Singers Sir Francis Drake’s Circumnavigation of the Globe 1577-80 SIGCD307 Fretwork, Simon Callow narrator SIGCD453 “… the sound this ensemble makes is beautifully balanced, and you could take dictation from their impeccable enunciation. “Ancient meets modern and east meets west in this weird but These are considerable benefits ... a notably intelligent, enjoyable wonderful project ... it comes out polished and provocative on this Jubilee offering.” double album ... Gough imaginatively and freely evokes the sort BBC Music Magazine of local music that Drake’s sailors might have heard in South America and Asia.” The Times

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD511 BLACK Job Title: Chains SIGNUM CLASSICS SIGCD511

IN CHAINS OF GOLD VOL. 1 1 VOL. GOLD OF CHAINS IN IN CHAINS OF GOLD The English Pre-Restoration Verse Anthem VOL.1 ORLANDO GIBBONS – COMPLETE CONSORT ANTHEMS

1 Behold, thou hast made my days [4.33] 0 Blessed are all they that fear the Lord [4.35] 2 We praise thee, O Father [4.53] q O all true faithful hearts [3.42] FRETWORK / MAGDALENA CONSORT / HMSC & CORNETTS & HMSC / CONSORT MAGDALENA / FRETWORK 3 In Nomine a5 No. 1 [4.07] w Sing unto the Lord [5.19] 4 This is the record of John [4.02] e In Nomine a5 No. 3 [3.42] 5 Great King of Gods [4.41] r See, see, the Word is incarnate [5.48] 6 Do not repine, fair sun part 1 [4.43] t Lord, grant grace [3.10] 7 Do not repine, fair sun part 2 [2.58] Total timings: [66.38] 8 In Nomine a5 No. 2 [4.09] 9 Glorious and powerful God [4.59] FRETWORK / MAGDALENA CONSORT / HMSC & CORNETTS

Fretwork His Majestys Sagbutts & Cornetts Magdalena Consort, Peter Harvey Director William Hunt Artistic Director IN CHAINS OF GOLD VOL. 1

LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, United Kingdom. P 2017 Signum Records DDD SIGCD511 SIGCD511 © 2017 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 05112 2 SIGNUM CLASSICS