Royal Rhymes and Rounds ELIZABETH II Choral Dances from “Gloriana” Benjamin Britten u Time [1.51] i Concord [2.25] HENRY VIII o Time and Concord [1.46] 1 Pastime with good companie (The King’s Ballad) King Henry VIII [1.53] p Country Girls [1.17] 2 Ah, Robin, gentle Robin William Cornysh [2.26] a Rustics and Fishermen [1.00] 3 Blow thy horn, hunter William Cornysh [2.23] s Final Dance of Homage [2.20] 4 King Henry VIII [1.33] It is to me a right great joy d A Rough Guide to the Royal Succession Paul Drayton [12.48] 5 Anonymous [3.56] Hey, trolly lolly lo! (It’s just one damn King after another…)

ELIZABETH I Total timings: [65.50] 6 Long live, fair Oriana [2.39] 7 The Silver Swan (Round) [2.00] THE KING’S SINGERS 8 The Silver Swan Orlando Gibbons [1.46] 9 Fair Oriana, beauty’s Queen John Hilton [2.21] www.signumrecords.com 0 Lightly she whipped o’er the dales [3.11] q Flow, O my tears John Dowland [1.37] ROYAL RHYMES AND ROUNDS w Weep, O mine eyes John Bennet [2.44] medieval times to the prestigious position of e As Vesta was from Latmos hill descending [3.19] There is little doubt that the development of ‘Master of the Queen’s Music’, currently held by Western classical music over the centuries owes Sir Peter Maxwell Davies (b.1934). In this VICTORIA a great deal to the patronage of kings and Diamond Jubilee year, as we mark the 60th r The Triumph of Victoria Sir Walter Parratt [2.33] queens. This programme of music celebrates anniversary of the accession of Queen Elizabeth t Who can dwell with greatness? Sir Hubert Parry [3.07] the large collection of music written for the II (b.1926), we look at the musical heritage of monarchs of England (and after 1603 of Britain). three of her more colourful predecessors, King y To her beneath whose steadfast star Sir Edward Elgar [4.51] The royal court has provided support for many Henry VIII (1491-1547), Queen Elizabeth I musicians, from the minstrels and trouvères of (1533-1603) and Queen Victoria (1819-1901).

- 3 - King Henry VIII was a man of many parts, and collated in around 1520, although some believe All three of Henry’s children inherited his love In the real world of the Elizabethan court, amongst other accomplishments he was noted it to be later. The songs’ texts reflect the of music, and despite the religious turmoil of the background to the collection seems less as a fine musician, both as an instrumentalist conventions of life at court in the relatively the time, composing flourished during the 16th idealised. The Triumphs may have been written and as a composer. Many musical works were carefree early years of Henry’s rule, and they are and 17th centuries. By the end of the reign of for an actual pageant or masque performed ascribed to him, but although the provenance predominantly secular. The theme of courtly love Elizabeth I it had reached a level rarely in front of the Queen herself, but the collection of some may be rather dubious (most notably is to the fore in many of the works, but some approached again. This Golden Age produced some was not dedicated to her. Instead, Morley Greensleeves), others were certainly penned by border on the bawdy, such as Blow thy horn, of the best church music ever written, whilst the gave that dubious honour to the Queen’s the King. These include masses, motets and hunter and Hey, trolly lolly lo. The text of Ah, English , a unique nationalisation of the cousin, Charles Howard, Earl of Nottingham part-songs. He employed a great number of Robin is attributed to the lyrical poet Thomas Italian style, was perhaps its finest flower. (1536-1624). In 1598 Morley had been granted musicians in his private household, many as Wyatt (1503-42), who, in 1536, was imprisoned a monopoly on printed music, which had been ‘Gentlemen of the Chapel Royal’, and the growing for alleged adultery with Anne Boleyn. He was Among the many works written for Elizabeth very lucrative. He wished to repay her generosity, wealth of England during the reigns of the later released thanks to his father’s friendship was (1601), an and while he could not ask the Queen for Tudor monarchs provided a secure basis for with Thomas Cromwell. The composer William extravagant musical compliment paid by more money to pay for the collection, by the cultural blossoming of the Renaissance. Cornysh (d.1523) set the words as a ‘round’ (c.1557-1602), Gentleman of assigning the dedication to Howard he twisted During Henry’s reign, an increasing number of or ‘catch’, words that debate the constancy of the Chapel Royal. Inspired by an earlier Italian the Earl’s hand to act as patron; to have foreign musicians were employed in the English a woman. collection, Il Trionfo di Dori, The Triumphs refused could have been interpreted as a slight court, including Dionisio Memo (1507-39) from consists of 25 by 23 different on Elizabeth. Italy, who served as one of the King’s organists. My lady is unkind I wis, composers. Each madrigal concludes with the The writings of Nicolo Sagudino, secretary to the Alack why is she so? refrain, ‘Then sang the shepherds and nymphs Amongst the contributors to The Triumphs of Venetian Ambassador, reveal that Henry listened She lov’th another better than me, of Diana: Long live fair Oriana’. The compliment Oriana were Ellis Gibbons (1573-1603), the for four hours to the playing of Memo on one And yet she will say no. would have been immediately apparent. Elizabeth elder brother of Orlando, John Hilton (d.1609), particular occasion. had long been equated with Oriana, the heroine who was organist at Trinity College, , Henry’s own contributions to the manuscript of the chivalric romance Amadis de Gaul. It John Mundy (c.1555-1630), organist at St The Henry VIII Manuscript (BL Add Ms 31,922) include the famous Pastime with good was also fitting that the nymphs of Diana, George’s Chapel, Windsor Castle, and Thomas is one of few surviving songbooks from the companie, also known as “The ‘King’s Ballad”, Goddess of Chastity, should attend on Elizabeth, Weelkes (c.1576-1623), who served in the early 16th century, providing a valuable insight and a round entitled It is to me a right great the Virgin Queen. The idealised, pastoral same role at Winchester College and Chichester into the styles of music prevalent in the court. joy. As with all his works he signed the pieces setting presents Elizabeth as the eternally Cathedral. John Bennet (c.1575, fl 1599-1614), Although it is difficult to date the manuscript “By the King’s Hand”. beautiful Queen presiding over Arcadia, the who contributed a madrigal to The Triumphs, with any certainty, it is probable that it was justly revered ruler of an idyllic land. wrote Weep, O mine eyes as a tribute to John

- 4 - - 5 - Dowland (1563-1626), using part of Dowland’s the most significant developments in the four-part songs, suitable for domestic patriarchal age, gives your Majesty’s servants celebrated Flow my tears. Dowland’s short popularisation of music were the advent of music-making. The second group of part-songs a natural opportunity for expressing the round, also based on the longer work, is mass-produced, modestly-priced upright pianos, could be described as nostalgic in flavour, written devotion to your Throne and Person which lies included here to give a flavour of the original. and the invention of cheap music printing, both in imitation of Elizabethan madrigals, the at the heart of all your subjects. Orlando Gibbons (1583-1625) was one of the of which revolutionised music tastes in Britain. singing of which had been revived by the Glee most versatile English composers of his time, In an era when people had to entertain Clubs of the late 18th century. Both these Two of the works, those by Parratt and Edward writing a quantity of keyboard works, around themselves, the demands of an increasingly styles are in evidence in a collection of 13 “Choral Elgar (1857-1934), were performed in the 30 fantasias for viols, many popular verse sophisticated bourgeoisie had to be satisfied. songs by various writers and composers in Quadrangle of Windsor Castle during the anthems, and a number of madrigals. Although honour of Her Majesty Queen Victoria”, or as it is Queen’s breakfast on her birthday. The entire his working life began after the death of Whilst the drawing-room ballad and genteel sometimes called The Triumphs of Oriana (1899). collection was first heard a few days later, but Elizabeth, the simple perfection of The Silver piano solo were probably the most popular the Queen was not present for that performance. Swan warrants its inclusion here. His royal genres, the part-song did not lag far behind. At Towards the end of 1897 Sir Walter Parratt Parratt’s contribution to the collection, The connections are impeccable. He was appointed the time of Queen Victoria’s accession to the (1841-1924), the Master of the Queen’s Music, Triumph of Victoria, sets text by Sir Thomas a Gentleman of the Chapel Royal by King throne, the Glee was still in fashion amongst proposed a volume of part-songs to celebrate Herbert Warren (1853-1930), an academic James I (1566-1625), and in 1625 he became the somewhat alcoholic Gentlemen’s Catch Clubs. the Queen’s 80th birthday. In the dedication to who was President of Magdalen College, the Chapel Royal’s senior organist, with Thomas In many respects, it was the Queen herself who the first edition the Queen was addressed in Oxford and the university’s Professor of Tomkins (1572-1656) as his junior. He also influenced the transition from the vigorous, mildly the following manner: Poetry. Sir Hubert Parry (1848-1918) worked held positions as keyboard player in the contrapuntal Glee to the simpler, more melodious with the poet and essayist, Austin Dobson privy chamber of the court of Prince Charles part-song. Her marriage to Prince Albert It was the custom of bygone days for sovereigns (1840-1921), to produce Who can dwell with (later King Charles I, 1600-1649), and as (1819-1861) marked a new receptiveness to to require and for subjects to express respect greatness? which describes the Queen as “Royal, organist at Westminster Abbey. German influences, quickly captured in this and devotion in terms of unmeasured hyperbole; and yet lowly, lowly and yet great”, carefully instance by Felix Mendelssohn (1809-1847), such conventional homage added little lustre avoiding the “unmeasured hyperbole” of Music in England in the early 19th century was who in 1839 had been inspired (reportedly to the monarch for whose honour it was their Tudor predecessors. In July 1898 Parratt generally considered to be an accomplishment after hearing some English Glees) to write designed; the current coin of compliment wrote to Edward Elgar, enclosing a poem by the or an entertainment merely for the nobility or some “Part-songs for Open Air”. rang hollow. Your Majesty has taught your classical scholar, poet and philosopher, Frederic the well-to-do, but during the reign of Queen subjects to value sincerity above praise, Myers (1843-1901). “I am getting up a sort of Victoria (which began in 1837), the effects of The part-song itself could be divided into and genuine affections above indiscriminate Victorian Triumphs of Oriana, a tribute by the the Industrial Revolution had now penetrated two categories: firstly those that followed adulation; the auspicious year in which Composers and Poets of the day. Madrigals even the misty realms of the Arts. Two of Mendelssohn’s original, gentle, unaccompanied your Majesty attains in health and vigour a must be for unaccompanied part singing,

- 6 - - 7 - not however in antique form”. The day before the imaginatively recreated Beggar’s Opera, prejudice – all set to music. Anglo-Saxons published, performed and broadcast worldwide, the first performance Elgar received a telegram exemplify this, replete as they are with bawdy drone in plainsong. The troubadour Richard and he has enjoyed a particularly long inviting him to conduct his part-song To her humour and common vernacular. has his very own ballad. Henry V goes forth to relationship with The King’s Singers. His recent beneath whose stedfast star. He jumped Normandie with the Agincourt Song, while book Unheard Melodies, a light-hearted and straight on a train from Malvern to London, The Choral Dances from “Gloriana” are taken the Tudors have their own commercial take on non-technical guide to music, is available staying the night at Paddington Station, to be from the opening scene of Act II, where the Pastime with good companie. Queen Anne’s online at Amazon.com and his beginner’s in time for the early morning premiere. Queen is entertained by a masque during a genteel tea-drinking is rudely interrupted by piano guide Fun for Ten Fingers (OUP) has state visit to the city of Norwich. A succession of uncouth Hanoverians – plus a little Handel. sold around 50,000 copies to date. The opera Gloriana was composed by Benjamin dancers representing Time, Concord, the Earth Order is restored by Victoria and Elgar, and Britten (1913-1976), with a libretto by (rustics), and the Sea (fishermen) offer tokens finally we get down to business – a cockney William Plomer (1903-1973), in 1953 to mark of love to the Queen so that she might remember knees-up to celebrate the dawning of a new the coronation of Queen Elizabeth II. The opera the city and its people. The dancers move to Elizabethan era. Es besteht wenig Zweifel, dass die Entwicklung centres on the turbulent relationship between the unaccompanied songs presented here, which der westlichen klassischen Musik während der Queen Elizabeth I and Robert Devereaux, the are now published as a separate entity. Paul Drayton letzten Jahrhunderte viel der Unterstützung 2nd Earl of Essex (1565-1601). Composers durch Könige und Königinnen verdankt. Diese and poets often used pseudonyms to refer to The composer Paul Drayton (b.1944) is familiar Paul Drayton gained the advanced piano CD feiert das umfangreiche Musikrepertoire, the first Queen Elizabeth. These include to King’s Singers’ audiences thanks to his performing diploma of the Royal Academy of welches für die Monarchen Englands—und Oriana, the Goddess of Love and Passion, Masterpiece, which aims to illustrate the entire Music while still only 16, then read for a music nach 1603 Großbritanniens—geschrieben wurde. Cynthia, Astrea, Diana and Gloriana, this latter history of Western classical music in about degree at Oxford, followed by a B.Mus. in Der Königshof hat stets viele Musiker unterstützt, being coined by Edmund Spenser (1552-1599) nine minutes. For the Queen’s Diamond Jubilee, composition. Alongside his day-job as a von den Minnesängern und Trouvères aus in The Fairie Queene. Benjamin Britten’s the King’s Singers have commissioned a new teacher he has performed several of the dem Mittelalter bis zu den Vertretern der preoccupation with the written and musical work from Paul. He has given the piece the title mainstream piano concertos, given informal hochangesehenen Position des ‚Master der art of the English Renaissance is clearly A Rough Guide to the Royal Succession (It’s lecture recitals and even appeared occasionally Musik der Königin‘, derzeit besetzt von Sir evident in his choral output. Often he preferred just one damn King after another…). He writes: in a jazz trio. Peter Maxwell Davies (geb. 1934). In diesem to plunder Britain’s folk heritage for inspiration Diamantenen Jubiläumsjahr, in dem wir den and sources rather than the more elevated To cover a thousand years of kings and queens Now living in Cornwall he is conductor of St. 60. Geburtstag der Thronbesteigung von mythical or sacred themes of courtly music in about ten minutes poses something of a Austell Choral Society and musical director of Königin Elisabeth II (geb. 1926) feiern, werfen and verse. Operas such as Gloriana, A challenge. Don’t expect erudition. This is history Duchy Opera, which recently premiered his opera wir einen Blick auf das musikalische Erbe drei Midsummer Night’s Dream, and particularly told through a mixture of factoid, anecdote and The Hanging Oak. His compositions have been ihrer schillernden Vorfahren: König Heinrich VIII

- 8 - - 9 - (1491-1547), Königin Elisabeth I (1533-1603), des frühen 16ten Jahrhunderts und gewährt Zu Heinrichs Manuskriptbeiträgen gehören das fair Oriana.” Das Kompliment war offensichtlich. und Königin Viktoria (1819-1901). einen wertvollen Einblick in die Musik, die am berühmte Pastime with good companie, auch als Elisabeth war oft mit Oriana, der Heldin der Hof gepflegt wurde. Obwohl es schwierig ist, ‚King’s Ballad‘ bekannt, und It is to me a right ritterlichen Romanze Amadis de Gaul verglichen Heinrich VIII war ein vielseitiger Mann und unter das Manuskript genau zu datieren, dürfen wir great joy. Wie all seine Stücke unterzeichnete er worden. Es passte auch, dass die Nymphen anderem bekannt als guter Musiker—als annehmen, dass es ca. 1520 zusammengestellt diese mit „By the King’s Hand.“ von Diana, der Göttin der Keuschheit, Elisabeth, Instrumentalist sowie Komponist. Viele wurde, bestenfalls etwas später. Die Texte der der jungfräulichen Königin dienen sollten. Das Musikwerke werden ihm zugesprochen, und Lieder spiegeln die Konventionen des Alle drei von Heinrichs Kindern erbten seine idealisierte ländliche Umfeld stellt Elisabeth obwohl die Herkunft einiger fragwürdig ist Hoflebens und der relativ sorglosen frühen Liebe für Musik, und trotz des religiösen Chaos als die ewig schöne Königin dar, die über (besonders die von Greensleeves), wurden Jahre von Heinrichs Regierungszeit wieder, und der Zeit florierte das Komponieren während des Arkadien herrscht—die zu Recht verehrte andere bestimmt vom König verfasst. Dazu sie sind vornehmlich weltlich. Das Thema der 16ten und 17ten Jahrhunderts. Am Ende der Fürstin eines idyllischen Landes. gehören Messen, Motetten und Lieder Minne oder höfischen Liebe steht meist im Regentschaft von Elisabeth I hatte es seine (part-songs). Eine große Anzahl Musiker standen Vordergrund, aber einige Werke grenzen ans Blüte erreicht. Dieses goldene Zeitalter brachte In der tatsächlichen Welt des elisabethanischen im Dienst seines privaten Haushalts, viele Obszöne wie z.B. Blow thy horn hunter und Hey, mit die beste Kirchenmusik hervor, die je Hofes waren die Umstände weniger idyllisch. als ‚Herren der Hofkapelle,‘ und der wachsende trolly lolly lo! Der Text von Ah Robin wird dem geschaffen wurde, und das englische Madrigal, Obwohl die Triumphs eventuell verfasst wurden, Reichtum Englands während der Tudor lyrischen Poeten Thomas Wyatt (1503-42), der eine einzigartige Anpassung des italienischen um vor der Königin aufgeführt zu werden, waren Monarchie war eine solide Basis für das 1536 wegen einer angeblichen Affäre mit Anne Stils an den Britischen, war unter Umständen sie ihr nicht gewidmet. Diese dubiose Ehre kulturelle Aufblühen der Renaissance. Während Boleyn eingesperrt wurde, zugeschrieben. Er ihr wertvollstes Produkt. wurde stattdessen dem Cousin der Königin, Heinrichs Herrschaft wurde außerdem eine wurde später dank der Freundschaft seines Charles Howard, Earl von Nottingham zunehmende Anzahl ausländischer Musiker Vaters mit Thomas Cromwell freigelassen. Der Unter den vielen Werken, die für Elisabeth (1536-1624) zuteil. 1598 hatte Morley das am Englischen Hof angestellt. Unter ihnen war Komponist William Cornysh (gest. 1523) setzte geschrieben wurden, war The Triumphs of Monopol für gedruckte Musik bekommen, das Dionisio Memo (1507-39) aus Italien, welcher die Worte als Kanon oder ‚catch‘; sie äußern Oriana (1601), ein extravagantes musikalisches sich als sehr lukrativ erwies. Er wollte sich bei als königlicher Organist arbeitete. Die sich über die Standhaftigkeit von Frauen: Kompliment von Thomas Morley (c.1557-1602) der Königin für ihre Großzügigkeit bedanken; Aufzeichnungen von Nicolo Sagudino, Sekretär ‚ Herrn der Hofkapelle.‘ The Triumphs bezog aber da er sie nicht um mehr Geld bitten des Venezianischen Botschafters, weisen My lady is unkind I wis, seine Inspiration von einer früheren italienischen wollte, widmete er die Komposition Howard und darauf hin, dass Heinrich mindestens einmal Alack why is she so? Sammlung von Musikstücken, Il Trionfo di verpflichtete ihn dadurch zu finanzieller vier Stunden dem Orgelspiel von Memo lauschte. She lov’th another better than me, Dori, und besteht aus 25 Madrigalen von 23 Unterstützung. Hätte sich Howard geweigert, And yet she will say no. verschiedenen Komponisten. Jedes Madrigal hätte dies als Affront gegen die Königin ausgelegt Das Henry VIII Manuscript (BL Add Ms 31,922) ist endet mit dem Refrain: “Then sang the werden können. eines der wenigen noch erhaltenen Liederbücher shepherds and nymphs of Diana: Long live

- 10 - - 11 - Beiträge zu den Triumphs of Oriana stammten Außerdem bekleidete er einen Posten als Zeit von Viktorias Thronbesteigung war das Gegen Ende des Jahres 1897 schlug Sir Walter von Ellis Gibbons (1573-1603), dem älteren Keyboard-Spieler im ‚geheimen Gemach‘ (privy Chorlied in den alkoholisch angehauchten Parratt (1841-1924), der ‚Master der Musik der Bruder von Orlando; John Hilton (gest. 1609), chamber) des Hofs von Prinz Charles (später Herrengesangs- vereinen noch stark vertreten. Königin‘ die Zusammenstellung eines Bandes Organist am Trinkt College, Cambridge; John König Charles I, 1600-1649), und als Organist In vieler Hinsicht war es die Königin selbst, von Liedern zur Feier des 80sten Geburtstags der Mundy (c. 1555-1630), Organist an der St. am Westminster Abbey. die die Wandlung des kraftvollen, leicht Regentin vor. Die Widmung in der ersten Auflage George Chapel, Windsor Castle; und Thomas kontrapunktartigen in das einfachere, lautete wie folgt: Weelkes (c. 1576-1623), Organist am Winchester Im England des frühen 19ten Jahrhunderts melodischere Chorlied beeinflusste. Ihre College und der Kathedrale von Chichester. John galt Musik generell lediglich als eine Heirat mit Prinz Albert (1819-1861) führte zu In vergangenen Zeiten war es Brauch für die Bennet (c. 1575-1614), der ein Madrigal zu den Errungenschaft oder ein Zeitvertreib für den einer neuen Aufgeschlossenheit deutschen Herrscher und Pflicht für die Untertanen, Triumphs beisteuerte, schrieb Weep, O mine Adel oder den vermögenden Stand, aber während Einflüssen gegenüber, die z. B. von Felix Respekt und Ergebenheit in maßloser eyes als Tribut an John Dowland (1563-1626), der Regierungszeit von Königin Viktoria (die Mendelssohn (1809-1847) 1839 umgesetzt Übertreibung auszudrücken. Solch und borgte dafür von Dowlands berühmtem 1837 begann) machte sich der Einfluss der wurde als er, angeblich durch das Hören einiger konventionelle Huldigung fügte dem Ruf Flow my tears. Dowlands kurzer Kanon, der Industriellen Revolution auch in der elitären englischer Songs inspiriert ‚Lieder zum Vortrag des Monarchen, der geehrt werden sollte, auch auf dem längeren Werk basiert, ist hier Welt der schönen Künsten bemerkbar. Zwei der im Freien‘ schrieb. wenig Glanz hinzu. Die Komplimente klangen beigefügt, um ein Gefühl für das Original zu ausschlaggebendsten Entwicklungen in Bezug hohl. Eure Majestät haben Eure Untertanen vermitteln. Orlando Gibbons (1583-1625) war auf die Popularisierung von Musik waren das Es gab zwei Arten von mehrstimmigen gelehrt, Aufrichtigkeit vor Lobpreis zu schätzen, einer der vielseitigsten englischen Komponisten Aufkommen von massenproduzierten, relativ Liedern: erstens diejenigen, welche Mendelssohns und wahre Zuneigung vor maßloser seiner Zeit, der eine Anzahl von Stücken für kostengünstigen Klavieren, und die Erfindung ursprünglichen, sanften, unbegleiteten Verherrlichung. Das verheißungsvolle Jahr, in Tasteninstrumente, ungefähr 30 Fantasien des billigen Notendrucks. Beide revolutionierten vierstimmigen Liedern nachempfunden waren welchem Eure Majestät in Gesundheit und für Violas, viele populäre Hymnen, und diverse den britischen Musikgeschmack. In einem und sich für das Musizieren zu Hause eigneten. Kraft ein patriarchalisches Alter erreichen, Madrigale schrieb. Obwohl seine Schaffensperiode Zeitalter, in dem die Menschen sich selbst Die zweite Art hatte einen eher nostalgischen gibt den Untertanen Eurer Majestät die in die Zeit nach Elisabeths Tod fällt, rechtfertigt zu unterhalten hatten, mussten die Ansprüche Charakter und war im Stil der elisabethanischen natürliche Gelegenheit, die Ergebenheit die schlichte Perfektion von The Silver Swan, einer zunehmend gebildeten Bourgeoisie Madrigale geschrieben, die durch die ‚Glee Clubs‘ Eurem Thron und Eurer Person gegenüber seine Aufzeichnung hier. Gibbons‘ Verhältnis befriedigt werden. (Gesangvereine) des späten 18ten Jahrhunderts auszudrücken, die sie in ihrem Herzen tragen. zum Königshof war ausgezeichnet. Er wurde wiederbelebt worden waren. Beide Stile sind in von König James I (1566-1625) zum „Herrn Während die Salonballade und das gepflegte der Sammlung „Chorlieder von verschiedenen Die Stücke von Parratt und Edward Elgar der Hofkapelle“ ernannt, und 1625 wurde er Klaviersolo wahrscheinlich die am weitesten Poeten und Komponisten zu Ehren ihrer Majestät (1857-1934) wurden im Innenhof von Windsor leitender Organist der Hofkapelle, mit Thomas verbreiteten Genres waren, stand das Königin Viktoria“, auch manchmal The Triumphs Castle während des Geburtstagsfrühstücks der Tomkins (1572-1656) als Juniororganist. mehrstimmige Lied nicht weit hinten an. Zur of Oriana (1899) genannt, vertreten. Königin aufgeführt. Die gesamte Sammlung

- 12 - - 13 - wurde erst ein paar Tage später vorgetragen, Paddington Station und kam pünktlich zur Die Choral Dances from „Gloriana” sind der Angelsachsen leiern Lieder herunter. Der aber die Königin war bei diesem Anlass nicht Morgenpremiere seines Stücks. Anfangsszene von Akt II der Oper, wo die Königin Troubadour Richard singt seine eigene Ballade. zugegen. Parratts Beitrag zu dem Band, The während eines Staatsbesuchs in Norwich durch Heinrich V begibt sich mit dem Agincourt Song Triumph of Viktoria, ist die musikalische Die Oper Gloriana wurde 1953 von Benjamin eine Maske unterhalten wird, entnommen. Eine in die Normandie, während die Tudors ihre Umsetzung eines Texts von Sir Thomas Herbert Britten (1913-1976) zum Anlass der Krönung Reihe von Tänzern welche ‚Zeit,‘ ‚Eintracht,‘ eigene kommerzielle Interpretation von Warren (1853-1930), Professor für Dichtung von Elisabeth II komponiert. Das Libretto stammt die ‚Erde‘ und das Meer (Fischer) repräsentieren, Pastime with good companie liefern. Königin und Präsident von Magdalen College, Oxford. von William Plomer (1903-1973). Im Mittelpunkt offerieren der Königin Liebesbezeigungen, damit Annes gepflegtes Teetrinken wird abrupt von Sir Hubert Parry (1848-1918) und der Poet der Oper steht die turbulente Beziehung sie sich an die Stadt und ihre Bürger erinnere. rüden Hannoverschen – und ein bisschen und Essayist Austin Dobson (1840-1921) zwischen Königin Elisabeth I und Robert Die Tänzer bewegen sich zu den unbegleiteten Händel – unterbrochen. Ordnung wird von schufen Who can dwell with greatness?, welches Devereaux, dem Zweiten Earl von Essex Liedern, die hier vorgestellt und jetzt separat Viktoria und Elgar wiederhergestellt, und die Königin als „Königlich, und doch einfach, (1565-1601). Komponisten und Dichter benutzten veröffentlicht sind. schließlich kommts zum eigentlichen Teil – einfach, und doch groß“ (‚Royal, and yet lowly, oft Pseudonyme für Elisabeth I. Zu diesen gehören einem Cockney Schwof, um das Erwachen lowly and yet great‘) beschreibt und danach ‚Oriana,‘ Göttin der Liebe und Leidenschaft; Der Komponist Paul Drayton (geb. 1944) ist dem einer neuen elisabethanischen Ära zu feiern. trachtet, die ‚maßlose Übertreibung‘ ihrer Tudor ‚Cynthia,‘ ‚Astrea,‘ ‚Diana‘ und ‚Gloriana,‘ letzteres Publikum der „King’s Singers“ durch sein Stück Vorfahren zu vermeiden. Im Juli 1898 schrieb eine Wortschöpfung aus Edmund Spensers Masterpiece bekannt, in dem er versucht, die Paul Drayton Parratt an Edward Elgar, und legte dem Brief (1552-1599) The Fairie Queene. Brittens ganze Geschichte westlicher klassischer Musik ein Gedicht des klassischen Gelehrten, Poeten intensive Auseinandersetzung mit der Dichtung in ungefähr neun Minuten zu illustrieren. Zum Paul Drayton legte mit nur 16 Jahren die und Philosophen Frederic Meyers (1843-1901) und Musik der englischen Renaissance spiegelt diamantenen Jubiläum der Königin haben die Diplomprüfung für Klavier der Royal Academy bei: „Ich konzipiere eine Art viktorianisches sich in seinen Chorwerken wieder. Oft zog er King’s Singers bei Paul ein weiteres Werk in of Music ab, studierte dann Musik in Oxford Triumphs of Oriana, einen Tribut der es vor, sich von Großbritanniens volkstümlichem Auftrag gegeben. Er hat das Stück A Rough und machte anschließend seinen Bachelor der gegenwärtigen Komponisten und Dichter. [Die] Erbe statt den realitätsfremden mythischen Guide to the Royal Succession (It’s just one Musik im Fach Komposition. Obwohl Lehrer im Madrigale müssen sich zum unbegleiteten oder ehrwürdigen Themen höfischer Musik und damn King after another…) genannt. Er schreibt: Hauptberuf hat er mehrere Klavierkonzerte und mehrstimmigen Singen eignen, dürfen aber Poesie inspirieren zu lassen. Opern wie Gloriana, musikalische Vorlesungen mit Recital gegeben nicht in antiker Form geschrieben sein.“ Am A Midsummer Night’s Dream, und besonders die Eintausend Jahre von Königen und Königinnen sowie gelegentlich in einem Jazz Trio gespielt. Tag vor der ersten Aufführung erreichte Elgar erfinderisch neugestaltete Beggar’s Opera mit in zehn Minuten abzudecken ist eine große ein Telegramm, dass ihn zum Dirigieren seines ihrem derben Humor und volkstümlicher Sprache Herausforderung. Erwarten Sie keine Er lebt in Cornwall und ist Dirigent der St. Liedes To her beneath whose steadfast star veranschaulichen dies. Belesenheit. Dies ist Geschichte, die anhand Austell Choral Society und musikalischer einlud. Er sprang in den nächsten Zug von einer Mixtur von kleinen Fakten, Anekdoten und Direktor der Duchy Oper, die vor kurzem sein Malvern nach London, blieb die Nacht in Vorurteilen erzählt wird - und alles zu Musik. Werk The Hanging Oak erstaufführte. Seine

- 14 - - 15 - Kompositionen sind weltweit veröffentlicht, TEXTS Virtue to use, vice to refuse, aufgeführt und im Rundfunk gesendet worden, Thus shall I use me. und er hat seit langem eine enge professionelle 1 Pastime with good companie Beziehung mit den King’s Singers. Sein jüngstes (The King’s Ballad) 2 Ah, Robin, gentle Robin Buch Unheard Melodies, ein heiterer Musikführer für Laien, ist bei Amazon.com erhältlich, und Pastime with good companie Ah, Robin, gentle, Robin, von seiner Anleitung zum Klavierspiel für I love, and shall until I die. Tell me how thy leman doth Anfänger, Fun for Ten Fingers (OUP), sind Gruch who lust but none deny; and thou shalt know of mine. bisher ca. 50.000 Exemplare verkauft worden. So God be pleased, thus live will I For my pastance, hunt, sing and dance; My lady is unkind I wis, My heart is set, Alack why is she so? All goodly sport, for my comfort, She lov’th another better than me, Who shall me let? And yet she will say no.

Youth must have some dalliance Ah, Robin, gentle Robin … Of good or ill some pastance Company me thinks then best I cannot think such doubleness All thoughts and fancies to digest. for I find women true, For idleness, is chief mistress In faith my lady lov’th me well Of vices all, she will change for no new. Then who can say. but mirth and play is best of all. Ah, Robin, gentle Robin …

Company with honesty 3 Blow thy horn, hunter Is virtue, vices to flee, Company is good and ill, Blow thy horn, hunter, © Ben Ealovega But every man hath his free will. And blow thy horn on high! The best ensue, the worst eschew, There is a doe in yonder wood, My mind shall be; In faith she will not die:

- 16 - - 17 - Now blow thy horn, hunter, Now blow thy horn, hunter, 5 Hey, trolly lolly lo! Nay, God forbid, that may not be! Now blow thy horn, jolly hunter! Now blow thy horn, jolly hunter! I wis my mother then shall us see. Hey, trolly lolly lo, maid, whither go you? Sore this deer stricken is, To the covert both they went, I go to the meadow to milk my cow. Ye have my heart, say what ye will, And yet she bleeds no whit; For I found where she lay; Then at the meadow I shall you meet, Wherefore ye must my mind fulfill, She lay so fair, I could not miss, An arrow in her haunch she hent, To gather the flowers both fair and sweet. And grant me here your maidenhead, Lord, I was glad of it: For faint she might not bray. Nay, God forbid, that may not be! Or else I shall for you be dead. Now blow thy horn, hunter, Now blow thy horn, hunter, I wis my mother then shall us see. Nay, in good faith, I’ll not mell with you! Now blow thy horn, jolly hunter! Now blow thy horn, jolly hunter! I pray you, sir, let me go milk my cow Now in the meadow fair and green Why will ye not give me no comfort, As I stood under a bank, I was weary of the game, We may us sport and not be seen, That in the fieldes we may us sport? The deer shoff on the mead; I went to tavern to drink; And if ye will, I shall consent. Nay, God forbid, that may not be! I struck her so that down she sank Now, the construction of the same – How say ye, maid? Be ye content? I wis my mother then shall us see. But yet she was not dead. What do you mean or think? Nay, in good faith, I’ll not mell with you! Now blow thy horn, hunter, Now blow thy horn, hunter, I pray you, sir, let me go milk my cow Then for this once I shall you spare, Now blow thy horn, jolly hunter! Now blow thy horn, jolly hunter! Why will ye not give me no comfort, But the next time ye must beware, That in the fieldes we may us sport? How in the meadow ye milk your cow. There she go’th! See ye not, Here I leave and make an end Nay, God forbid, that may not be! Adieu, farewell, and kiss me now! How she go’th over the plain? Now of this hunter’s lore: I wis my mother then shall us see. Nay, in good faith, I’ll not mell with you! And if ye lust to have a shot, I think his bow is well unbent, I pray you, sir, let me go milk my cow I warrant her barrain. His bolt may flee no more. Ye be so nice and so meet of age Why will ye not give me no comfort, Now blow thy horn, hunter, Now blow thy horn, hunter, That ye greatly move my courage. That in the fieldes we may us sport? Now blow thy horn, jolly hunter! Now blow thy horn, jolly hunter! Sith I love you, love me again. Nay, God forbid, that may not be! Let us make one, though we be twain. I wis my mother then shall us see. He to go and I to go, 4 It is to me a right great joy Nay, in good faith, I’ll not mell with you! But he ran fast afore; I pray you, sir, let me go milk my cow I bade him shoot and strike the doe, It is to me a right great joy, Why will ye not give me no comfort, For I might shoot no more. Free from danger and annoy. That in the fieldes we may us sport?

- 18 - - 19 - 6 Long live, fair Oriana 9 Fair Oriana, beauty’s Queen Then sang the shepherds and nymphs of Diana: Then sang the shepherds and nymphs of Diana, (from The Triumphs of Oriana) (from The Triumphs of Oriana) Long live fair Oriana. Long live fair Oriana.

Long live, fair Oriana. Fair Oriana, beauty’s queen, q Flow, O my tears r The Triumph of Victoria Hark, did you ever hear so sweet a singing? Tripped along the verdant green. They sing young Love to waken. The fauns and satyrs running out Flow, O my tears and cease not. Oh! Happy hour, most meet for merry ditty The nymphs unto the woods Skipped and danced round about. Alas, these your spring tides methinks increase not. When fair did fall fair England, field and city, their Queen are bringing. Flora forsook her painted bowers, O when begin you to swell so high Then were the banners and the beacons flaunting, There was a note well taken! And made a coronet of flowers. that I may drown me in you? Then were the toppling towers O good! Hark, how joyfully ‘tis dittied, Then sang the nymphs of chaste Diana: one burthen chaunting, A Queen and song most excellently fitted! Long live fair Oriana. w Weep, O mine eyes For our great blessing, Deo gratia et gloria, I never heard a rarer Victoria, long live Victoria! I never saw a fairer. 0 Lightly she whipped o’er the dales Weep, O mine eyes and cease not. Then sing ye shepherds and nymphs of Diana: (from The Triumphs of Oriana) Alas, these your spring tides methinks increase not. Then on the sea and shore Long live fair Oriana. O when begin you to swell so high the cannon boomèd, Lightly she whipped o’er the dales that I may drown me in you? All hail! Great Queen, 7 - 8 The Silver Swan Making the woods proud with her presence. on shore and sea renowmèd! Gently she trod the flowers, e As Vesta was from Latmos hill descending Then carolled court and cot, causey and alley, The Silver Swan who, living, had no note, And they as gently kissed her tender feet. (from The Triumphs of Oriana) Mountain and plain and every pretty valley When death approach’d, The birds in their best language For our great blessing, Soli Deo gloria, unlock’d her silent throat. Bade her welcome, As Vesta was from Latmos hill descending, Victoria, long reign Victoria! Leaning her breast against the reedy shore, Being proud that Oriana heard their song. She spied a maiden queen the same ascending, Thus sung her first and last, And sung no more: The clove-foot Satyrs singing, Attended on by all the shepherds swain, Bright Sun, upon her empire setting never, “Farewell all joys, O death come close mine eyes. Made music to the Fauns a-dancing To whom Diana’s darlings And stars that cynosure her navies ever, More geese than swans now live, more fools And both together with an emphasis came running down amain, As on your sister planet’s birthday morning, than wise.” Sang Oriana’s praises, First two by two, then three by three together, Ye sang together for her brave adorning, Whilst the adjoining woods with melody Leaving their goddess all alone, hasted thither; Chime with our singing, Deo gratia et gloria, Did entertain their sweet harmony. And mingling with the shepherds of her train, Our great, our good Victoria, long reign Victoria! With mirthful tunes her presence entertain. Long live Victoria!

- 20 - - 21 - t Who can dwell with greatness? Flash from the flamy Northern night Choral Dances from “Gloriana” o Time and Concord Speech to the Austral main: Who can dwell with greatness! u Time From springs of bounty Greatness is too high; To her whose patient eyes have seen Through this county Flowers are for the meadow, Man’s knowledge wax thro’ ebb and flow, Yes, he is Time, Streams abundant suns are for the sky; Till some have felt those bars between Lusty and blithe! Of thanks shall flow. Ah! but there is greatness Wind of the Spirit blow; Time is at his apogee Where life was scanty, in this land of ours, Tho’ some, heart-worn with doubt and strife, Although he thought to see Fruits of plenty High as is the sunlight, Would bid the doomful thunder fall, A bearded ancient with a scythe. Swell resplendent humble as the flowers! Bind as with bands the cosmic Life, No reaper he From earth below! And dream the end of all: That cries ‘Take heed!’ No Greek nor Roman Queen, of thee the fable! Time is at his apogee! Queenly woman Lady, thine the fate! Beyond, beyond their wisdom’s bound, Young and strong in his prime! Knew such favour Royal, and yet lowly, Thro’ fairer realms the Queen shall roam, Behold the sower of the seed! From Heav’n above lowly and yet great; Till soul with soul the Wife hath found As she whose presence Is our pleasance… Great in far dominion, Her mystic-wedded home: i Concord Gloriana great in pomp of years, While her long-rumoured glories stir Hath all our love! Greater still as woman, The blue tide’s earth-engirdling wave, Concord is here greatest in thy tears! With love, with life, her Prince and her Our days to bless p Country Girls The All-Father shield and save! And this our land to endue y To her beneath whose steadfast star With plenty, peace and happiness. Sweet flag and cuckoo flower Let the Queen live for ever! Cowslip and columbine To her beneath whose steadfast star Concord and Time Kingcups and sops-in-wine, From pole to pole in lusty play Each needeth each: Flower deluce and calaminth, Her English wander, forcing far The ripest fruit hangs where Harebell and hyacinth, Their world-ingathering way; Not one, but only two, only two can reach. Myrtle and bay and rosemary between, Outsoar the Caesar’s eagle flight, Norfolk’s own garlands for her Queen. Outrun the Macedonian reign,

- 22 - - 23 - a Rustics and Fishermen Some were bluff and hearty, Came a smell of burning cakes. Till he finally reached his penalty spot, Some periwigged and prim – He lit the torch of freedom And on that spot From fen and meadow And then there’s Cromwell, That none on earth could quench, He was shot. In rushy baskets But we don’t mention him! Till William (The Bastard) They bring ensamples of all they grow. (That warty Lord Protector, Tried to make us speak in French: Henry the First enjoyed his meals, In earthen dishes We’d better not mention him) Those nasty knights from Normandy But expired having eating too many eels. Their deep-sea fishes; Came over babbling French. Henry the Second, he suffered no end Yearly fleeces, First of all we had those early kings For causing the death of Becket, his friend: Woven blankets; With names that no-one can spell: England was a fair field, Kneeling in the cathedral crypt New cream and junkets Cerdic and Ceolwulf, A fair field full of folk: He found it helped to be lightly whipped – And rustic trinkets, Egbert and Athelstan, Counting the inhabitants Like a syllabub he was lightly whipped. On wicker flaskets, And Ethelbald as well. Had got beyond a joke. Their country largess Who they were and what they did There were farms, there were estates, King Stephen was almost The best they know. Is veiled in myth – There were smithies, there were mills, Escorted from the premises Aethelred the Unredey Swine in the orchards and sheep on the hills. By menacing Matilda, his arch-nemesis. s Final Dance of Homage And his mother Aelfthrith. William counted everything, His wife, it’s true, was a Matilda too. Their behaviour was brutal, From hall to inglenook: Being spied on either side These tokens of our love receiving They were far from being saints. Ev’ry stable, shed or conservatory, By a Matilda meant O take them, Princess great and dear. And with rats and lice and flies They all went into a book. Bewilderment! From Norwich city you are leaving, It will come as no surprise So when it came to taxes That you afar may feel us near. Many suffered from peculiar complaints – but… No-one was off the hook – Richard the First was a warrior bold – It all went down in the Domesday Book! The heart of a lion had he. d A Rough Guide to the Royal Succession Great Alfred was our founder, A fearless crusader, yet skilled in minstrelsy. (It’s just one damn King after another…) With tresses long and flaxen, William’s son was Rufus, he had A captive in a foreign land, Proud and independent, Red hair and a florid face, His singing set him free. Our monarchs stand in sturdy line, Indubitably Saxon. But he was not just florid, Far from home, I languish A chain that history forges In politics and fighting He was really rather horrid, In misery, and … anguish! Of Edwards, Richards, Williams, He had just what it takes, His personal skills a disgrace. His faithful minstrel heard him, Of Charleses, Jameses, Georges. While drifting from the kitchen With his friends in the forest he hunted a lot “I know that voice!” cried he.

- 24 - - 25 - He made a dash for a cashpoint, Split apart by feud or faction, And here are the results in reverse order: Life grew ever darker and austerer And Richard soon was free. But in their hearts they knew their parts: A man of style was George the Fourth, Till the dawning of a new Elizabethan era The warm-up act before the main attraction – But corpulent and lazy. But how can we know? The Tudors! George the Third said “What, what, what?” So give three hearty cheers And went a little crazy. For they have mellowed with the years, We may never know what really occurred Pastime with good companie – It seems that George the Second Now they feel our pain and share our woe. With Richard the Second and Richard the Third. Oh how we love that Tudor dynasty! Immortality was seeking; They may be stalked by hacks, You can never be sure. All their pastimes airing on TV, May the King live for ever They’d have to pay the tax, Richard the Fourth was a cunning hoax: Their company is “Tudors PLC”. Amen, Allelujah, Amen. And sit through the Royal Variety Show. Perkin Warbeck with one of his jokes! There’s love, of course, While George the First was “English-averse” Oh no! And serial divorce, And didn’t even want to BE King! Some monarchs come in two parts, And tons of jewellery: You may not see them on the bus, Like Shakespeare’s Henry Four, They’re now a brand, William the Fourth was a naval man, But they’re just a bit like us And some go forth like Hen. the Fifth Preserved and canned, With Nelson he worked hard to keep the peace. With their barbecues and TV soaps. En route to Agincourt: So buy the DVD! He hadn’t much to bring to the job, They may no longer have the power Our King went forth to Normandie But he paved the way for his dutiful young niece. To lock us in the Tower With grace and might of Chivalrie! Tudors all were really Welsh Or have interminable arguments with Popes. A milder mix was Henry Six, With Celtic kith and kin. Victoria had everything: A seeker after knowledge: Stuarts all were bonny Scots, An army and a navy no foreign foe could crush, But… He built a certain chapel With a little bit of French thrown in. The mightiest of empires, and toilets that could flush. At a certain Cambridge College, They drove out James the Second, Postage stamps and railways, Our monarchs stand in sturdy line, Renowned for its musicians among other things: (No-one liked him much) Christmas trees and garden gnomes, A chain that history forges A famous band of minstrels started life at King’s. And wheeled in William of Orange (Alfred, Lord) Tennyson and Dickens and Disraeli, Of Edwards, Richards, Williams, Who turned out to be Dutch. D’Oyly Carte and Sherlock Holmes. Of Charleses, Jameses, Georges. Magna Carta, bad King John, So after one thousand years Edwards One, Two, Three, Queen Anne was fond of drinking tea As soon as his Mother vacated the throne What will the future be? Murder, war and pestilence, Which quite restored the British monarchy; Edward the Seventh lowered the tone. We couldn’t really comment. Revolting peasantry! But soon we had a shocking new experience: George the Fifth shunned glitz and glamour, You’ll just have to wait and see! Scheming and ambitious, One hundred years of German Hanoverians! But left his son with a bit of a stammer.

- 26 - - 27 - THE KING’S SINGERS With two million pieces of sheet music in Mit einer Diskographie von mehr als 150 circulation, The King’s Singers’ arrangements Aufnahmen haben die King’s Singers Preise David Hurley - Countertenor are sung by schools, college choirs and amateur sowie bedeutenden kritischen Beifall gewonnen. Timothy Wayne-Wright - Countertenor and professional ensembles the world over. Ihr Studio Album Simple Gifts mit Signum Paul Phoenix - Tenor gewann 2009 einen Grammy. Während einer Christopher Bruerton - Baritone (tracks 7 and 23) Visit www.kingssingers.com for the latest Tour in den USA nahmen die King’s Singers das Philip Lawson - Baritone news, blog entries, video blogs, Tweets and Album High Flight mit dem angesehenen Christopher Gabbitas - Baritone YouTube updates. Concordia College Chor auf; es stellt KS Jonathan Howard - Bass Aufträge von Eric Whitacre and Bob Chilcott vor und wurde im Herbst 2011 herausgegeben. One of the world’s most celebrated ensembles, Als eines der meistgefeierten Ensembles der

The King’s Singers have a packed schedule of © Ben Ealovega Welt haben die King’s Singers ständig ein Die King’s Singers zeigen großes Engagement concerts, recordings, media and education work volles Programm mit internationalen Konzerten, für neue Chormusik und haben über 200 Werke that spans the globe. Championing the work With a discography of over 150 recordings The Tonaufnahmen, und Medien- und Ausbildungsarbeit. bei einer Vielzahl zeitgenössischer Komponisten of young and established composers, they King’s Singers have garnered both awards and Mit Enthusiasmus unterstützen sie junge wie in Auftrag gegeben, unter ihnen Rodney Bennett, remain consummate entertainers; a class-act significant critical acclaim; their studio album etablierte Komponisten und bleiben dabei Berio, Maxwell Davies, Ligeti, Lukaszewski, with a delightfully British wit. The King’s Singers Simple Gifts on Signum was awarded a engagierte Unterhaltungskünstler, ein ‘Class-Act’ Penderecki, Rutter, Takemitsu, und Tavener. are instantly recognisable for their spot-on Grammy® in 2009. While touring the USA, The mit charmantem britischem Witz. Die King’s Singers intonation, impeccable vocal blend, the flawless King’s Singers recorded the album High Flight stechen hervor durch ihre erstklassige Intonation, Zwei Millionen Noten der King’s Singers sind im articulation of the text and incisive timing. with the renowned Concordia College Choir which ihre perfekte Harmonie der Stimmen, ihre Umlauf, und so werden ihre Arrangements von included KS commissions by Eric Whitacre and lupenreine Artikulation und ihr exaktes Timing. Schulen, College Chören, Amateurgruppen sowie Each year, The King’s Singers perform over 120 Bob Chilcott and was released in autumn 2011. professionellen Ensembles weltweit gesungen. concerts across the globe in some of the world’s Jedes Jahr geben die King’s Singers über 120 most beautiful concert halls including the The King’s Singers maintain a deep commitment Konzerte in aller Welt, in einigen der schönsten Besuchen Sie www.kingssingers.com, um die Carnegie Hall in New York, Berlin’s Philharmonie, to new choral music and have commissioned over Konzertsälen der Welt, u.a. der Carnegie Hall letzten Neuigkeiten zu erfahren und Blogs, the Concertgebouw in Amsterdam and The 200 works from a host of prominent contemporary in New York, der Berliner Philharmonie, dem Tweets und YouTube Aufnahmen zu sehen. National Centre for the Performing Arts in Beijing. composers including Rodney Bennett, Berio, Concertgebouw in Amsterdam und dem Maxwell Davies, Ligeti, Łukaszewski, Penderecki, Nationalzentrum für die Darstellenden Künste Rutter, Takemitsu, and Tavener. in Beijing.

- 28 - - 29 - The King’s Singers would like to thank our producers Nick Parker and Adrian Peacock, Steve, Mike, Matt and all at Signum Records, and Claire, Carolyn and Rebecca at Music Productions.

Recorded at St Mary’s Church, Harrow, on 4 - 6 July 2011. Producers and Editors - Nick Parker Adrian Peacock (Tracks 4, 7 & 23) Recording Engineer - Mike Hatch Recording Assistant - Brett Cox ‘Gloriana’ texts by William Plomer, reproduced with kind permission.

Cover Image - Lebrecht Images Design and Artwork - Woven Design www.wovendesign.co.uk

P 2012 The copyright in this recording is owned by Signum Records Ltd. © 2012 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]

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© Ben Ealovega

- 30 - - 31 - ALSO AVAILABLE on signumclassics

The Triumphs of Oriana High Flight The King’s Singers The King’s Singers SIGCD082 Concordia Choir SIGCD262

“The King’s Singers deliver these songs with insistent voices, “ ... fragile, intimate settings highlighting the King’s Singers’ the imitative pairs beautifully balanced across the stereo, the consummate skill as close-harmony singers … An interesting, intonation faultless and the diction unmistakable.” well-planned collection, well worth investigating.” The Times BBC Music Magazine

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