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The Dream of Herod The Path of Miracles Allegri Miserere Music for Advent & Christmas Joby Talbot Tenebrae / Nigel Short Tenebrae / Nigel Short Tenebrae / Nigel Short SIGCD085 SIGCD078 SIGCD046

“...more polished choral singing would be “ I t ’s an interesting musical journey for “I really think we’re in a choral golden age at hard to find anywhere.” c o m p o s e r, perf o rmers and listeners alike.” the moment ... It’s beautifully sung, a BBC Music Magazine Classic FM w o n d e rful disc.” BBC Music Magazine

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Tenebrae has, in its short existence, made a fondness for strong pulse and vivacious rhythm Mother and child considerable impact with fresh and vital re - (which pervades his work generally) has also interpretations of classic works in the choral made him a natural and successful musical re p e rt o i re. On this new re c o rding, however, collaborator in dance. Seek him that maketh the innovatory and lesser-known repertoire is drawn seven stars is a setting of words from the book of 1. Seek him that maketh the seven stars Jonathan Dove [6.28] f rom contemporary sources, reflecting an Amos and from Psalm 139. The use of ostinati in e x p l o r a t o ry approach which places the gro u p the organ part, traversing sinuous vocal lines 2. The souls of the righteous* Francis Pott [9.34] artistically at more of a cutting edge. This is a marked often by ‘pleading’ (‘Seek him’) figures Tenor soloist: William Kendall distinctive collection of works by a number of evokes both the starry firmament and the 3. Magnificat Giles Swayne [4.05] living , many of whom have established ‘searching’ nature of the prophet’s invocation. The themselves at the creative forefront of the choral later portion (an ‘Alleluia’) is more affirmative and 4. Mother and child* Sir John Tavener [12.44] scene in recent times. triumphant before an ending of confident calm. 5. Lute-book lullaby* Alexander L’Estrange [4.17] The work was commissioned in 1995 by the Royal Jonathan Dove (b. 1959) has become known for Academy of Arts and received its premiere in June 6. O be joyful in the Lord* Jeremy Filsell [2.16] his work in a variety of musical media including that year at St. James’s Church, Piccadilly, conducted 7. The seasons of his mercies Richard Rodney Bennett [6.23] orchestral, chamber, theatre and film music. As by Adrian Peacock, a member of Tenebrae, with Tenor soloist: Andrew Busher an instinctively dramatic , his operas J e remy Filsell, Te n e b r a e ’s accompanist, at the organ. have arguably attracted the greatest critical 8. My song is love unknown* Francis Pott [17.31] attention. In his ten-year association with Francis Pott (b. 1957) was a chorister at New Soprano soloist: Carys Lane Glyndebourne, Dove has written three large-scale College, Oxford, and a Music Scholar at * first recordings community operas of which Flight, premiered by Winchester College. Following underg r a d u a t e Glyndebourne Touring Opera in 1998, and met by studies, he gained a BMus at Cambridge Total Timings [63.22] enthusiasm from audiences and critics alike, is University whilst studying composition under possibly his best known. His individual voice as a Hugh Wood and Robin Holloway. Since 2002 writer of music for the church has led to a number Francis Pott has served as Head of Research Tenebrae of commissions including those for the Development for the Faculty of the Arts at Thames Directed by Nigel Short Spitalfields Festival, Chapel Choir Valley University in West London and Head of Jeremy Filsell - organ and for the Choir of King’s College, Cambridge Composition within its Music depart m e n t , (Festival of Nine Lessons and Carols in 2000). His otherwise known as London College of Music. In www.signumrecords.com www.tenebrae-choir.com

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February 2007 he became the University's first only upon the memory of his own parents but also zulu warrior chant interwoven between Mother and child was commissioned by Tenebrae P rofessor of Composition and his lifelong on the atmosphere of William Byrd’s setting (as ‘Stravinskian’ ostinati-dominated polyphony. in 2003 and premiered at the Salisbury Festival of association with church music has generated a Justorum animae) of these words, a motet which Swayne’s distanced approach to specific textual that year. The universal aspect of motherhood string of significant commissions for a number of has held an especially profound significance for nuance shares a similarity with the gre a t and, more specifically, that of Mary the mother of cathedrals, colleges and churches. As a him ever since he was a chorister at New College. Magnificat settings of the sixteenth century Christ (as co-redeemer) is an idea to which formidable pianist, his writing for this instrument Pott has always tried to recreate something of the (Victoria, Palestrina, Vivanco, Ortiz, etc.), but the Tavener has returned again and again in his has formed a considerable oeuvre but it is his sensibility of English sixteenth-rather than pointillist dabs of colour, the ostinati and music. However, behind this concept lies that of organ works which have become established as nineteenth-century sacred music in his own choral increasingly wide-leaping lines place this very infinite theophanic light, an idea common to all some of the most important writing for the writing, and in this case the feeling was firmly in its contemporary milieu. religious traditions. Ta v e n e r’s music here instrument of the later 20th century. Christus (a particularly strong. The souls of the righteous interpolates a poem by Brian Keeble with Greek two and a half hour five-movement symphony for received its first perf o rmance in Wi n c h e s t e r Sir John Tavener’s (b. 1944) originality of concept and Sanskrit quotations, the latter in a climactic organ) is a seminal contribution to the recitalist’s Cathedral in 2000. and development of a very personal musical idiom outburst (of ‘ATMA’, representative in Tavener’s canon and its profound subject matter links it have brought him wide recognition for a w o rds of ‘the supreme re a l i t y, the true self, indelibly with Pott’s own large-scale oratorio Giles Swayne was born in 1946 and began contemporary composer of classical music. His shining and infinite, the one single God’). The commission for the 1999 Three Choirs Festival, A composing as a teenager through encouragement interest in the Russian Orthodox Church (of which music, having grown in crescendo, is joined by song on the end of the world. His musical style is from his illustrious cousin, . he became a member in 1977) marks a massive organ chords and develops to become an derived from a number of influential sources: the Influential musical figures for Swayne at compositional style which looks back to ancient overwhelming pulsating texture at the climax, Renaissance polyphony of Italy, Spain and Cambridge included and Raymond traditions and communicates a reflective spirit with awesome strokes sounded on a large Hindu (perhaps most importantly) England, the Leppard and later, at London’s Royal Academy of which has successfully chimed with the spiritual temple gong. The clamour dissipates at the final writing of Medtner and Rachmaninov and, Music, and . The thirsts of our modern age. Tavener has always invocation, ‘Hail Maria’, which is prayerful and fundamentally, the formal and harmonic style of Magnificat was commissioned by Francis Grier for worked towards the creation of what he has contemplative. Danish symphonist Carl Nielsen. the choir of Christchurch, Oxford, in 1982 with termed an ‘icon’ in sound, and the extraordinary funds provided by the Southern Arts Association. It popularity of his music has been reflected in the Alexander L’Estrange (b. 1974) is a singer, The souls of the righteous was commissioned by is a unique setting of very familiar words and has number of arts festivals which have featured his composer, arranger and jazz bassist who moves David Bushnell in memory of his late wife Sheila. become a classic work in the choral catalogue. works. In October 2000 London’s South Bank happily between differing styles of musical media. Both had been associated with Wi n c h e s t e r The Magnificat canticle forms a central part of Centre staged Ikons of light, a major three-week He was a chorister at New College, Oxford, and Cathedral for some thirty years and Sheila’s ashes both Vespers and the Anglican office of Evensong festival dedicated to his music. In the New Year’s sang in the choir at Magdalen College whilst an were scattered within the cathedral precincts. In and this setting for double choir in Latin delights Honours list 2000, Tavener received a knighthood u n d e rgraduate at Merton College. His arr a n g e m e n t s writing the piece, Pott felt it natural to draw not in the daringly unconventional interpolation of for ‘services to music’. for a number of groups have been published by

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Faber and his award-winning one-woman musical broadcast by the choir on BBC Radio 3 in May central portion for tenor solo. The bittersweet double choir and SATB soloists. The principal Hello, Life! recieved perf o rmances at the 2002. O be joyful in the Lord (Jubilate; Psalm 100) harmony within slow - moving lines compellingly climax of the work subsides into a form of Greenwich Theatre in 2002 and at the Brighton pays affectionate homage to a number of conjures the poetic intimacy of the text. epilogue, crowned sorrowfully by a treble soloist to Festival in May 2003. L’Estrange is Music Director influential works, most notably Sebastian Forbes’ whom the music in toto has by now presented of the National Youth Music Theatre and a member brilliant and unjustly neglected Aedis Christi Francis Pott’s My song is love unknown sets all of many challenges. The anthem ends in the key and of Tenebrae. Lute-book lullaby is one of a number Canticles from which he quotes in the concluding Samuel Cro s s m a n ’s famous verses but one mood of its opening. The character of its of pieces he has written for the group. Its essential bars. Passing references to music by both Graham (commonly omitted when the poem is sung demanding organ part reflects the possibility that simplicity is compelling, but also conceals the use Whettam and William Walton in certain rhythmic metrically as a hymn). The music begins with off b e a t it may one day be orchestrated. of the octotonic scale in homophonic passages. and melodic shapes can also be discerned. repeated chords prompted - not inappropriately - The lower voice part undulations portray the by the opening to Richard Strauss’s tone poem, My song is love unknown was composed in rocking of the Christ-child’s cradle beneath a The prolific musical ‘chameleon’ Richard Rodney Death and transfiguration. In its early stages only memory of Michael Renton, a craftsman and soprano solo of haunting beauty. The bittersweet Bennett (b. 1936) followed his initial musical trebles and altos are heard. The sequential flow of largely self-taught ‘Renaissance’ man who was dissonance heightens an atmosphere of studies at the with two C ro s s m a n ’s poem is soon disrupted with not only a member of the Winchester cathedral overwhelming tenderness. years in Paris under the tutelage of Pierre Boulez. p a rticular dramatic ends in mind. After a c o n g reg ation but also the cathedral’s stonemason. Bennett’s first jazz film score dates from this seemingly anxious harmonic distortion of the He was beloved of many in the Cathedral Jeremy Filsell (b. 1964) is a renowned concert period and it is this particular aspect of his opening chords, the word ‘crucify’ arises initially community; a true and humble artist, of whose pianist and organist, having won accolades and musical make-up which has fused with an as a mere mutter from the lower voices, so timed rare order Traherne surely spoke when he wrote: critical acclaim for a number of recordings (most impressive formal craft to produce symphonies, as to afford assonance with other words in the ‘Whosoever will profit in the mystery of Felicity, recently for the pre m i e re re c o rdings of the , operas, instrumental and choral pieces upper parts and thus remain barely discernible, as must see the objects of his happiness, and the complete organ works of Marcel Dupré). He which exhibit a uniquely refreshing musical style. if only imagined. In due course, however, cries of manner how they are to be enjoyed, and discern studied at Keble College, Oxford, as an organ Preferring tonality as a working principle, Bennett ‘Hosanna’ find themselves on a collision course also the powers of his soul by which he is to enjoy scholar and then at the as has developed an individual harmonic palette with a rising tide of ‘Crucify’, during which the them’. My song is love unknown was written for the a pianist and singer. He currently combines an which combines an approachability with ‘Hosanna’ faction gradually loses heart and, Southern Cathedrals Festival in Winchester 2002. international career as a soloist with a lectureship compositional artifice. Sermons and devotions sheep-like, defects until a single treble voice - at the Royal Academy of Music. A set of both was commissioned by The King’s Singers in plaintively daring to repeat the ‘offending’ word - i s Jeremy Filsell, January 2003 Morning and Evening Canticles was written for celebration of their 25th anniversary. Of the five swept aside by a murderous outcry. In due course Notes on My song is love unknown © Francis Pott, 2002 Jonathan Rees-Williams and the choir of St settings of John Donne’s metaphysical meditations, ‘Crucify’ recurs as a further angry climax before George’s Chapel, Windsor Castle, in the summer of we hear The seasons of his mercies. It is a syllabic the opening music returns, this time expanding 2001 and the Evening Canticles were first setting in a broad ternary form, articulated by a into an extended polyphonic final section for

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TEXTS Quia fecit mihi magna qui potens est, et sanctum He hath put down the mighty from their seat; and this paradise where all is formed of love nomen eius. hath exalted the humble and meek. as flame to flame is lit. 1 Seek him that maketh the seven stars Et misericordia eius a progenie in pro g e n i e s He hath filled the hungry with good things; and Jonathan Dove timentibus eum. the rich he hath sent empty away. 5 Lute-book lullaby Fecit potentiam in bracchio suo, dispersit He remembering his mercy hath holpen his Alexander L’Estrange Seek him that maketh the seven stars and Orion. superbos mente cordis sui. servant Israel. Seek him that turneth the shadow of death into Deposuit potentes de sede, et exaltavit humiles. As he promised to our forefathers; Abraham and Sweet was the song the virgin sang, the morning. Esurientes implevit bonis, et divites dimisit his seed forever. when she to Bethlem Juda came and was d e l i v e re d Alleluia. inanes. Glory be to the Father, and to the Son, and to the of a son, that blessed Jesus hath to name: Yea, the darkness shineth as the day, the night is Suscepit Israel puerum suum, re c o rd a t u s Holy Ghost. lulla, lulla lullaby. light about me. misericordiae suae. As it was in the beginning, is now and ever shall ‘Sweet babe,’ sang she, ‘my son, and eke a Sicut locutus est ad patres nostros, Abraham et be: world without end. Amen. saviour born, 2 The souls of the righteous semini eius in secula. who hast vouchsafed from on high to visit us that Francis Pott Gloria Patri et Filio et Spiritui Sancto. 4 Mother and child were forlorn: Sicut erat in principio et nunc et semper: Et in John Tavener lulla, lulla lullaby’. The souls of the righteous are in the hand of God secula seculorum. Amen. And rocked him sweetly on her knee. and there shall no torment touch them. In the Enamoured of its gaze sight of the unwise they seemed to die: and their My soul doth magnify the Lord the mother’s gaze in turn 6 O be joyful in the Lord departure is taken for misery, and their going from And my spirit rejoices in God, my Saviour. contrives a single beam of light Jeremy Filsell us to be utter destruction: but they are in peace. For he hath re g a rded the lowliness of his along which love may move. Amen. handmaiden, for behold from henceforth all Through seeing, through touch, O be joyful in the Lord all ye lands. generations shall call me blessed. through hearing the new-born heart Serve the Lord with gladness and come before his 3 Magnificat For he that is mighty hath magnified me; and holy conduits of being join. presence with a song. Giles Swayne is his name. So is the image of that heaven within started into Be ye sure that the Lord he is God. And his mercy is on them that fear him, life. It is he that hath made us and not we ourselves. Magnificat anima mea Dominum. throughout all generations. As in the first was adoration We are his people and the sheep of his pasture. Et exultavit spiritus meus in Deo salutari meo, He hath showed strength with his arm; he hath another consciousness has come to praise O go your way into his gates with thanksgiving, Quia respexit humilitatem ancillae suae, ecce scattered the proud in the imagination of their the single theophanic light and into his courts with praise. enim ex hoc beatam me dicent omnes generationes. hearts. that threads all entrants here: Be thankful unto him and speak good of his name.

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For the Lord is gracious, his mercy is everlasting, thou have no spring; resounding all the day hosannas to their king. and his truth endureth from generation to though in the ways of fortune or understanding or Then ‘crucify’ is all their breath, generation. conscience, thou have been benighted till now; And for his death they thirst and cry. Glory be to the Father and to the Son and to the w i n t e red and frozen, clouded and eclipsed, Why, what hath my Lord done? What makes this Holy Ghost. As it was in the beginning, is now and damped and benummed, smothered and rage and spite? ever shall be, world without end. Amen. stupefied till now. He made the lame to run, he gave the blind their Now God comes to thee, not as in the dawning of sight. 7 The seasons of his mercies the day, Sweet injuries! Yet they at these themselves Richard Rodney Bennett not as in the bud of the spring, displease, and ‘gainst him rise! but as the sun at noon, to illustrate all shadows, They rise and needs will have my dear Lord God made sun and moon to distinguish seasons, as the sheaves in harvest to fill all penuries. made away; and day and night, All occasions invite his mercies, and all times are a murderer they save, the prince of life they slay. and we cannot have the fruits of the earth but in his seasons. Yet cheerful he to suff’ring goes, their seasons; that he his foes from thence might free. but God hath made no decree to distinguish the 8 My song is love unknown Here might I stay and sing, no story so divine; seasons of his mercies. Francis Pott never was love, dear king! Never was grief In Paradise the fruits were ripe the first minute, like thine. and in Heaven it is always autumne. My song is love unknown; my saviour’s love to me; This is my friend, in whose sweet praise His mercies are ever in their maturity. love to the loveless shown, that they might lovely be. I all my days could gladly spend. Amen. If some King of the earth have so large an extent O who am I, that for my sake of dominion, in north and south, my Lord should take frail flesh and die? as that he hath winter and summer together in his He came from his blest throne, salvation to dominions, bestow, so large an extent east and west as that he hath but men made strange, and none the longed-for day and night together in his dominions, much Christ would know. more hath God mercy and judgement together. But O, my friend, my friend indeed, He brought light out of darknesse, not out of a Who at my need his life did spend. lesser light: Sometimes they strew his way, and his sweet he can bring thy summer out of winter, though praises sing;

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After a short break of about one ski season in the performance in 2001 Tenebrae has given concerts BIOGRAPHies Swiss Alps he set about founding his own group, in Spain, Italy, Germany, France, Switzerland, UK, Tenebrae, aiming to bring together what he loved USA and Bermuda. best as a singer - namely the more passionate sounds of large Cathedral choirs and the precision Nigel and the group have performed and recorded TENEBRAE Cambridge. Many of Te n e b r a e ’s singers have of ensembles like The King’s Singers - to create a live with The Chamber Orchestra of Europe for worked with the leading specialist vocal groups new kind of choral group. Whilst embracing an Wa rner Classics and have given several Tenebrae is a professional chamber choir, founded including I Fagiolini, The Tallis Scholars, The eclectic re p e rt o i re he wanted to have some p e rf o rmances with The English Concert. They and directed by Nigel Short. Perf o rming by Swingle Singers and The King’s Singers. ‘ s i g n a t u re’ works that would make Te n e b r a e record regularly with Signum Classics. candlelight, the choir creates an atmosphere of Contributing to the dramatic qualities of different, adding a theatrical element that would spiritual and musical reflection, where medieval Te n e b r a e ’s perf o rming style are singers fro m involve singers moving around as if on stage. To Nigel divides his time between directing Tenebrae chant and renaissance works are interspersed Britain’s two major opera houses, Covent Garden that end he wrote The Dream of Herod, with a and giving an ever increasing number of with contemporary compositions to create an and English National Opera. This combination central role for baritone Colin Campbell, and m a s t e rclasses and workshops for both ethereal mood of contemplation. The beautiful weaves together a huge variety of choral commissioned Joby Talbot to write Path of professional and amateur vocal groups and choirs acoustics and lighting effects of a Te n e b r a e experience, giving the choir an exceptional range Miracles, premiered in July 2005. Since its debut throughout Europe. c o n c e rt are further enhanced by the choir’s of vocal power and colour. dramatic use of movement around the performing space. As singers move around their surroundings NIGEL SHORT to explore all possible sound perspectives, each member of the audience is able to experience the Nigel began his musical life as a chorister at power and intimacy of the human voice. Solihull Parish Church going on to study singing and piano at the Royal College of Music. He began PASSION & PRECISION his career as a soloist in opera and oratorio and as a member of specialist vocal ensembles such as Passion and Precision is the motto of Tenebrae The Tallis Scholars whilst maintaining a regular and its members are drawn from musical involvement in church music, firstly as a member backgrounds reflecting these qualities, such as of Westminster Abbey Choir then Westminster the Monteverdi Choir, the choirs of Westminster Cathedral. He joined the King’s Singers when he Abbey and Cathedral and King’s College, was 27 and stayed with them for seven years.

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Sopranos Basses Natalie Clifton-Griffith Matthew Brook Carys Lane Simon Grant Anna Crookes Colin Campbell Grace Davidson David Porter Thomas Kirsty Hopkins Giles Underwood Elizabeth Cragg Richard Savage Emily Benson Robert McDonald Helen Parker Organ Jeremy Filsell Altos Hindu temple gong (in Mother and Child) Steve Long Mark Chambers Clare Wilkinson Anne Jones Timothy Kenworthy-Brown Frances Bourne Jeremy Filsell Peter Gritton © Eric Richmond Rebecca Lodge

Tenors

Chris Watson Recorded in Temple Church, London, 4 - 7 March 2003 P 2003 The copyright in this recording is owned by Signum Records Ltd. Mark Dobell C 2003 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Producer - Adrian Peacock Paul Badley Engineer - Limo Hearn Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Editors - Limo Hearn & Stephen Frost Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Andrew Busher Licences for public performances or broadcasting may be obtained from Phonographic Performance John Bowley Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or Design and Artwork - Woven Design transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, Nicholas Mulroy www.wovendesign.co.uk without prior permission from Signum Records Ltd.

Gerry O’Bierne www.signumrecords.com SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected]

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