Gabriel Jackson

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Gabriel Jackson

Sacred Choral Works

Choir of St Mary’s Cathedral, Edinburgh Matthew Owens Gabriel Jackson Choir of St Mary’s Cathedral, Edinburgh Sacred Choral Works Matthew Owens

Edinburgh Mass 5 O Sacrum Convivium [6:35] 1 Kyrie [2:55] 6 Creator of the Stars of Night [4:16] Katy Thomson treble 2 Gloria [4:56] Katy Thomson treble 7 Ane Sang of the Birth of Christ [4:13] Katy Thomson treble 3 Sanctus & Benedictus [2:20] Lewis Main & Katy Thomson trebles (Sanctus) 8 A Prayer of King Henry VI [2:54] Robert Colquhoun & Andrew Stones altos (Sanctus) 9 Preces [1:11] Simon Rendell alto (Benedictus) The Revd Canon Peter Allen precentor 4 Agnus Dei [4:24] 10 Psalm 112: Laudate Pueri [9:49] 11 Magnificat (Truro Service) [4:16] Oliver Boyd treble 12 Nunc Dimittis (Truro Service) [2:16] Ben Carter bass 13 Responses [5:32] The Revd Canon Peter Allen precentor 14 Salve Regina [5:41] Katy Thomson treble 15 Dismissal [0:28] The Revd Canon Peter Allen precentor 16 St Asaph Toccata [8:34]

Total playing time [70:22]

Recorded in the presence Producer: Paul Baxter All first recordings Michael Bonaventure organ (tracks 10 & 16) of the composer on 23-24 Engineers: David Strudwick, (except O Sacrum Convivium) February and 1-2 March 2004 Andrew Malkin Susan Hamilton soprano (track 10) (choir), 21 December 2004 (St Assistant Engineers: Edward Cover image: Peter Newman, The Choir of St Mary’s Episcopal Cathedral, Asaph Toccata) and 4 January Bremner, Benjamin Mills Vapour Trails (oil on canvas) 2005 (Laudate Pueri) in St 24-Bit digital editing: Session Photography: Edinburgh (tracks 1-9, 11-15) Mary’s Episcopal Cathedral, Adam Binks Gary Baker Simon Nieminski organ accompaniment (tracks 6 & 7) Edinburgh by kind permission 24-Bit digital mastering: (www.gbphotography.com) of the Provost Paul Baxter Design: John Christ Matthew Owens conductor Gabriel Jackson Choir of St Mary’s Cathedral, Edinburgh Sacred Choral Works Matthew Owens

Total playing time [70:22]

This recording is the culmination of a four-year repertoire is not to ossify and become equally importantly, because the Provost Some fourteen years separate the earliest association with Matthew Owens and the insulated from the world outside it desperately so values the music in his cathedral that he Jackson work recorded on this disc, the Choir of St Mary’s Cathedral which has been, needs the challenge and stimulus – for choir is minded to instigate new works personally. unaccompanied motet O Sacrum Convivium, for me, uniquely treasurable. Four of the and congregation alike – of new music. Rather and the most recent, the setting of Psalm 112 choral works on the disc were written than reassuring us with the cosy and the It has been a pleasure and a privilege for solo soprano and organ. In 1990, when specially for the choir and the others have familiar, genuinely new music speaks to contribute to the musical life of St Mary’s Jackson wrote O Sacrum Convivium, his all found a regular place in their repertoire powerfully of that which we don’t yet know, Cathedral as extensively as I have. The music was scarcely known beyond a small as well. It is unusual and very special for and it is this quality of revelation that can journey from Edinburgh airport to Haymarket circle of friends and cognoscenti. Today, a composer to have the opportunity to build make the work of living composers such Station, followed by a short walk to he is in constant demand as one of the most a long-term relationship of this kind. A first- a potent force in the daily liturgy. In the Palmerston Place and the imposing neo- accomplished and prolific writers of choral work hand and detailed knowledge of the particular sixteenth and seventeenth centuries, church Gothic cathedral, has become a well-worn in the UK, receiving performances by some abilities of the singers, of the building in music was written by the greatest composers and much-loved one, freighted as it is with of the leading choirs in both Britain and Europe. which they sing, and the style of worship of the day; by inviting major figures from eager anticipation of the unfailingly glorious at the cathedral has deeply affected the outside the organ loft tradition – Arvo Pärt, and vibrant music-making that lies ahead. Born in Bermuda in 1962, Jackson’s most music I have written: in the Edinburgh Mass, Howard Skempton, James MacMillan, Gavin The last four years have been a remarkable formative musical experience was three especially, I have tried to reflect the personality Bryars and Sir Peter Maxwell Davies among adventure and I am profoundly grateful years as a chorister at Canterbury Cathedral. of the choir – exuberant, fiercely intelligent, others – to compose new works for the choir, to everyone in the cathedral family – choir, Performing great choral repertoire in an yet also possessed of a rare numinousness Matthew has sought to ensure that this is clergy and congregation – for the warmth inspiring space left an indelible impression – and intimacy. To hear my work brought to life again the case, and thereby he has enriched of their hospitality and for their friendship. Jackson continues to regard unaccompanied with such fearless commitment and with an immeasurably the lives of worshippers voices in a resonant acoustic as his favourite intense musicality that is quite overwhelming at St Mary’s. Gabriel Jackson sound in music. The influence of the then in its fervour and immediacy has been an 6 December 2004 organist at Canterbury, Allan Wicks, was also exhilarating experience. All this has been achieved with not just significant. Wicks championed contemporary the support, but the active encouragement music, making early recordings of the I am by no means the only composer of the Provost of St Mary’s, The Very Revd Messiaen organ cycles and regularly to have been blessed with such artistry and Graham Forbes. Immediately after the first performing with the cathedral choir innovative compelling advocacy, for immediately upon performance of Creator of the Stars of Night new works such as the Tippett Canticles. his arrival in Edinburgh in 1999 Matthew on Advent Sunday in 2000, Graham asked Early music was also part of the mix, from sought to place contemporary music at the me if I would write ‘a sensible Mass’ for Purcell back to Elizabethan times and before. heart of the cathedral’s musical life with the choir. I was both honoured and excited This too left a lasting imprint on Jackson – an ambitious programme of commissions by this request, not only because an invitation the re-interpretation in its characteristic forms and other premieres. The importance of this to compose a major piece for this, the most of both late-medieval and Renaissance music cannot be overstated, for if the Anglican important Office, is an inspiring challenge but has become a central focus of his work. A note from the composer Notes on the music

By his teens, Jackson was already convinced the re-exploration of earlier musical to follow the economical, concise examples of intoning a falling melody, and the low of his ambition to compose. Initial studies models has come to the fore, though Poulenc (Mass in G), Stravinsky (Mass) and Pärt bass drone. After two increasingly intense with Richard Blackford, then with John Jackson has been at pains to point out that (Berliner Messe). The pared-down, almost terse repetitions, the second almost overwhelming Lambert at the Royal College of Music, gave his music, whilst drawing on an historical nature of this setting for unaccompanied voices in its high, piercing harmony, balm is at last him a flexible technique and immersed him legacy for its techniques and ideas, is serves to intensify its power and directness. applied in a closing Dona nobis pacem. in the mainstream of European modernist nonetheless specifically contemporary: there composition. By the mid-1980s, however, he is no idealisation of, or desired return to, The Kyrie begins simply, establishing the Mass’s Composed in 1990, O Sacrum Convivium was moving on, in search of a more personal a paradisal past. Rather, he seeks to re-make fundamental tonality (G) with an ornamented – which here plays the role of communion and directly communicative voice. Stravinsky for his own use the traditions of carol, votive melisma in bare, octave unisons for soprano and motet – is the earliest piece on this disc, and had remained a constant exemplar, but now antiphon and Eton Choirbook motet, the tenor. Lower voices intone the Christe eleison one of Jackson’s most frequently performed Jackson became drawn to the radical simplicity techniques of cantus firmus, canon and gimel, before a dramatic, emotive outburst seals the works. The gentle, perfumed harmonies of of Tavener and Górecki, at that point far less to create from them something new and third Kyrie. The Gloria opens brightly, with all the motet’s opening seem timeless, though modish figures than they were to become in personal that enhances both his own music voices at the top of their registers. The movement they are eventually broken at ‘mens impletur’ the succeeding decade. Jackson’s music has and the great tradition upon which it draws. proceeds in a series of clearly articulated sections, by a quicker, lighter section in a modally- elements in common with their work – the use the Laudamus te climaxing after a tumultuous inflected minor key. At ‘et futurae’ we of drones to underpin melismatic solo lines, Much of the music on this disc will have tintinnabulation for all voices. After a Qui tollis encounter one of Jackson’s most characteristic static, repetitive structures, block chords, all been first heard in the context of worship. rich in pathos and added-note harmony, the peal passages, a sonorous, ecstatic trope on serving to engender a meditative atmosphere. This is reflected in its placing here within a of voices returns for a ringing conclusion. the opening material in up to ten parts of Jackson himself says of his music that it is not format that includes a Mass with communion enhanced, added-note harmony. Once this about conflict and resolution, that even when motet, and a Choral Evensong (introit, preces Omitting the Creed (significantly, Jackson outpouring of splendour is spent, the work animated it remains essentially contemplative. and responses, psalm, canticles, anthem and describes himself as spiritual by temperament resumes its otherworldly meditation, serene voluntary – sermon, hymns and spoken texts but not by belief) the Mass continues with and untroubled to its conclusion. Unlike Tavener, Górecki, or Arvo Pärt, Jackson’s are omitted). Two carols are also included, the Sanctus, introduced by four upper-voice work rejoices in warm, major-key hues and situated between the two services. The settings soloists. This swells to ten singers, then, Two carols maintain the programme’s Marian Ionian modality, whilst echoing English music chosen are appropriate for celebration of the for the Pleni sunt caeli, full choir, rising thread. Creator of the Stars of Night, written of both the recent and more distant past. Feast of the Annunciation. The Marian theme to a fortissimo. By way of dramatic anticlimax, in 2000, was the first work to be commissioned An ecstatic quality is pre-eminent, associated is especially appropriate, in that it honours the the Hosanna is light and dance-like, and from Jackson by Matthew Owens. In setting by Jackson himself with uplifting childhood name saint of the cathedral whose choir has is followed by a demure Benedictus that this anonymous seventh-century carol, Jackson memories of experiencing timeless music in done so much to bring this music into being. spins a gentle alto melisma over a drone. skilfully re-evokes the contour of late-medieval a luminous acoustic. Amongst other twentieth vocal line in a graceful soprano melody, played century composers, Howells and Tippett are The opening work, Edinburgh Mass, was The concluding Agnus Dei recalls the out over a drone. The medieval influence is acknowledged influences; Rachmaninov and written in 2001 and is Jackson’s only setting of bareness of the opening Kyrie. A stark, three- also present through an element of isorhythm, Poulenc are also admired. Recently, however, the ritual to date. In approach, he has decided octave gap separates the high soprano line, verses 1 and 3 sharing the same rhythmic Notes on the music structure, as do verses 2 and 4. The climax A set of Preces and Responses follows. soprano rising ever higher before the Amen hovers around E flat major before a fresh comes in this last verse, where the voices soar Commissioned in 2003 by St Mary’s restores a sense of calm. section, ‘Ad te clamamus’, introduces a subtly up over fanfaring organ arpeggios, before the Cathedral, they reflect Jackson’s admiration tenser, more plangent momentum. A brief soprano solo reprises the opening melody. for the simple, four-part settings of Byrd, If Psalm 112 is one of the most varied and passage incorporating a solo soprano leads Smith and Gibbons, with their speech- complex of Jackson’s recent works, the 2001 to the anthem’s conclusion, a hushed, sonorous Ane Sang of the Birth of Christ, from 2002, inflected rhythms. Jackson, however, provides Magnificat and Nunc Dimittis (Truro Service), section in block chords that rises to an intense sets a poem in Scots by John Wedderburn a distinctive take on these familiar texts, written for Truro Cathedral, embodies simpler, climax for the final, reiterative line, ‘O clement, (c.1550-1556) celebrating the birth to Mary finding a surprise change of key to highlight more functional models. It was commissioned O loving, O sweet Virgin Mary’. of the infant Christ. It provides Jackson with the Lord’s Prayer. In further emulation of the by Judith Rowe in memory of her husband, a chance to write a ‘traditional’ carol setting great Tudor polyphonists, he also provides the who had been a chorister at Truro Cathedral, her St Asaph Toccata was commissioned in 2003 of simple tunefulness, in compound metre and occasional mellifluous Amen to disturb the intention being to leave a living memorial that for performance on the organ at Symphony with a soprano solo. The verses are interleaved otherwise traditionally syllabic text setting. would be ‘useful’ rather than a bronze tablet Hall, Birmingham. Originally, the work was with delicate organ introits, recalling the on the wall. At the suggestion of the Cathedral’s entitled Toccata Machine, Jackson having ornamentation of Scottish folk music. Jackson’s setting of Psalm 112: Laudate Pueri then organist, Andrew Nethsingha, Jackson in his mind an image of the gigantic Symphony was composed in spring 2004. A translation wrote a simple a cappella setting of the Hall instrument as a huge machine, spewing Jackson’s 2002 anthem A Prayer of King of the psalm’s Latin title reads ‘Praise the canticles, performable without much rehearsal out toccata figuration uncontrollably. Jackson’s Henry VI serves here as an Evensong introit. Lord, O ye children’. Jackson responds to and which could often be sung on Fridays, enjoyment in casting himself against type Written for the Chapel Choir at Oakham School, the cue with a joyous, brightly coloured work when the services were unaccompanied. by writing a loud, fast, quasi-minimalist piece it conjures, in its florid vocal lines and spacious, for a solo (adult) soprano and organ, which, Jackson employs the ancient formula of with lots of notes is evident, though amidst multi-voiced sonorities the spirit of a time five in its intricate formal design, draws inspiration chant and response, alternating grace-note- familiar toccata patterns (rapid figuration centuries distant – an age that saw the building from the motets of Monteverdi and his embellished monophonic lines with homophonic in the manuals, long notes in the pedals) of some of the grandest chapels of England, contemporaries, with their differently sections of austere four-part harmony, again there is some room for respite in slower, more most notably Kings College Cambridge and characterised sections separated by short reminiscent of the plain, post-Reformation typically Jackson music. Like Psalm 112, the Eton College (both founded by Henry VI). ritornelli. Although the opening, marked anthems of Tallis and his contemporaries. Toccata’s form is multi-sectional, closing, as all The opening melisma, recalling the step-wise ‘quick, dancing’, sets the tone with its high The key structure is fixed around A flat and good toccatas should, in a tumult of notes. contour of plainchant, unfolds in a steady register organ and sprung rhythms for the its subsidiary minor keys, though there is upward motion, as a prayer rising to the soprano, two more meditative interludes a surprise upward shift to A for the Gloria. © 2005 Matthew Greenall heavens, before returning to rest on a sonorous lie at the work’s heart. The second of these, This pattern is repeated in the Nunc Dimittis. major chord. Jackson’s admiration for the florid, beginning ‘Qui habitare facit’, relays the Matthew Greenall studied at the University effulgent Amens of English polyphony finds central message of the Annunciation in one The Latin anthem Salve Regina, written of Oxford and the Royal Academy of Music. expression in the anthem’s conclusion, an of Jackson’s most expansive and rapturous in 2000, is likewise a product of a connection He has been Director of the British Music ecstatic re-statement of the opening phrase, melodic spans to date. Fleet toccata with Truro and is dedicated to the composer’s Information Centre since 1996. this time spiced with false-relation dissonance. figurations open the closing Doxology, the mother. The opening, marked ‘tenderly’, Notes on the music structure, as do verses 2 and 4. The climax A set of Preces and Responses follows. soprano rising ever higher before the Amen hovers around E flat major before a fresh comes in this last verse, where the voices soar Commissioned in 2003 by St Mary’s restores a sense of calm. section, ‘Ad te clamamus’, introduces a subtly up over fanfaring organ arpeggios, before the Cathedral, they reflect Jackson’s admiration tenser, more plangent momentum. A brief soprano solo reprises the opening melody. for the simple, four-part settings of Byrd, If Psalm 112 is one of the most varied and passage incorporating a solo soprano leads Smith and Gibbons, with their speech- complex of Jackson’s recent works, the 2001 to the anthem’s conclusion, a hushed, sonorous Ane Sang of the Birth of Christ, from 2002, inflected rhythms. Jackson, however, provides Magnificat and Nunc Dimittis (Truro Service), section in block chords that rises to an intense sets a poem in Scots by John Wedderburn a distinctive take on these familiar texts, written for Truro Cathedral, embodies simpler, climax for the final, reiterative line, ‘O clement, (c.1550-1556) celebrating the birth to Mary finding a surprise change of key to highlight more functional models. It was commissioned O loving, O sweet Virgin Mary’. of the infant Christ. It provides Jackson with the Lord’s Prayer. In further emulation of the by Judith Rowe in memory of her husband, a chance to write a ‘traditional’ carol setting great Tudor polyphonists, he also provides the who had been a chorister at Truro Cathedral, her St Asaph Toccata was commissioned in 2003 of simple tunefulness, in compound metre and occasional mellifluous Amen to disturb the intention being to leave a living memorial that for performance on the organ at Symphony with a soprano solo. The verses are interleaved otherwise traditionally syllabic text setting. would be ‘useful’ rather than a bronze tablet Hall, Birmingham. Originally, the work was with delicate organ introits, recalling the on the wall. At the suggestion of the Cathedral’s entitled Toccata Machine, Jackson having ornamentation of Scottish folk music. Jackson’s setting of Psalm 112: Laudate Pueri then organist, Andrew Nethsingha, Jackson in his mind an image of the gigantic Symphony was composed in spring 2004. A translation wrote a simple a cappella setting of the Hall instrument as a huge machine, spewing Jackson’s 2002 anthem A Prayer of King of the psalm’s Latin title reads ‘Praise the canticles, performable without much rehearsal out toccata figuration uncontrollably. Jackson’s Henry VI serves here as an Evensong introit. Lord, O ye children’. Jackson responds to and which could often be sung on Fridays, enjoyment in casting himself against type Written for the Chapel Choir at Oakham School, the cue with a joyous, brightly coloured work when the services were unaccompanied. by writing a loud, fast, quasi-minimalist piece it conjures, in its florid vocal lines and spacious, for a solo (adult) soprano and organ, which, Jackson employs the ancient formula of with lots of notes is evident, though amidst multi-voiced sonorities the spirit of a time five in its intricate formal design, draws inspiration chant and response, alternating grace-note- familiar toccata patterns (rapid figuration centuries distant – an age that saw the building from the motets of Monteverdi and his embellished monophonic lines with homophonic in the manuals, long notes in the pedals) of some of the grandest chapels of England, contemporaries, with their differently sections of austere four-part harmony, again there is some room for respite in slower, more most notably Kings College Cambridge and characterised sections separated by short reminiscent of the plain, post-Reformation typically Jackson music. Like Psalm 112, the Eton College (both founded by Henry VI). ritornelli. Although the opening, marked anthems of Tallis and his contemporaries. Toccata’s form is multi-sectional, closing, as all The opening melisma, recalling the step-wise ‘quick, dancing’, sets the tone with its high The key structure is fixed around A flat and good toccatas should, in a tumult of notes. contour of plainchant, unfolds in a steady register organ and sprung rhythms for the its subsidiary minor keys, though there is upward motion, as a prayer rising to the soprano, two more meditative interludes a surprise upward shift to A for the Gloria. © 2005 Matthew Greenall heavens, before returning to rest on a sonorous lie at the work’s heart. The second of these, This pattern is repeated in the Nunc Dimittis. major chord. Jackson’s admiration for the florid, beginning ‘Qui habitare facit’, relays the Matthew Greenall studied at the University effulgent Amens of English polyphony finds central message of the Annunciation in one The Latin anthem Salve Regina, written of Oxford and the Royal Academy of Music. expression in the anthem’s conclusion, an of Jackson’s most expansive and rapturous in 2000, is likewise a product of a connection He has been Director of the British Music ecstatic re-statement of the opening phrase, melodic spans to date. Fleet toccata with Truro and is dedicated to the composer’s Information Centre since 1996. this time spiced with false-relation dissonance. figurations open the closing Doxology, the mother. The opening, marked ‘tenderly’, Delphian Records gratefully acknowledges support from the Finzi Trust, St Mary’s Music Society, and the RVW Trust. Delphian Records gratefully acknowledges support from the Finzi Trust, St Mary’s Music Society, and the RVW Trust. Texts and translations – Edinburgh Mass

1 Kyrie 3 Sanctus & Benedictus Kyrie eleison. Lord have mercy. Sanctus, Sanctus, Sanctus. Holy, Holy, Holy, Christe eleison. Christ have mercy. Dominus Deus Sabaoth: Lord God of hosts. Kyrie eleison. Lord have mercy. Pleni sunt caeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit Blessed is he that comes 2 Gloria in nomine Domini: in the name of the Lord: Gloria in excelsis Deo Glory to God in the highest, Hosanna in excelsis. Hosanna in the highest. et in terra pax hominibus bonae voluntatis. and on earth peace to men of good will. Laudamus te. Benedicimus te. We praise you. We bless you. Adoramus te. Glorificamus te. We adore you. We glorify you. 4 Agnus Dei Gratias agimus tibi propter We give you thanks for Agnus Dei, Lamb of God, magnam gloriam tuam. your great glory. qui tollis peccata mundi, who takes away the sins of the world, Domine Deus, Rex caelestis, Lord God, heavenly King, miserere nobis. have mercy upon us. Deus Pater omnipotens. God the Father Almighty. Agnus Dei, Lamb of God, Domine Fili unigenite, Jesu Christe; Lord, the only-begotten Son, Jesus Christ; qui tollis peccata mundi, who takes away the sins of the world, Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father, miserere nobis. have mercy upon us. Qui tollis peccata mundi, who takes away the sins of the world, Agnus Dei, Lamb of God, miserere nobis. have mercy upon us. qui tollis peccata mundi, who takes away the sins of the world, Qui tollis peccata mundi, Who takes away the sins of the world, dona nobis pacem. grant us peace. suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris, Who sits at the right hand of the Father, miserere nobis. have mercy upon us. Quoniam tu solus Sanctus, tu solus Dominus, For you only are Holy, you only are Lord, tu solus Altissimus, Jesu Christe. you only are Most High, Jesus Christ, Cum Sancto Spiritu with the Holy Spirit, in gloria Dei Patris. Amen. in the glory of God the Father. Amen. Texts and translations – Edinburgh Mass

5 O Sacrum Convivium 7 Ane Sang of the Birth of Christ O sacrum convivium, in quo Christus sumitur: O sacred feast, in which we feed on Christ: I come fra hevin heich to tell heich = high recolitur memoria passionis ejus, the memory of his passion is renewed, The best nowells that e’er befell. mens impletur gratia, the mind filled with grace, To you thir tythings trew I bring et futurae gloriae nobis pignus datur. and to us is given the promise of future glory. And I will of them say and sing. St Thomas Aquinas (c.1227-1272) Antiphon at Second Vespers, Corpus Christi This day to you is born ane child Of Marie meik and Virgin mild. That blissit bairn bening and kind bening = benign 6 Creator of the Stars of Night Sall you rejoyce baith hart and mind. Creator of the stars of night, Thy people’s everlasting light, Lat us rejoyis and be blyth Jesu, Redeemer, save us all, And with the Hyrdis go full swyth swyth = swiftly And hear Thy servants when they call. And see what God of his grace hes done Throu Christ to bring us to his throne. Thou camest, Bridegroom of the Bride, As drew the world to evening tide, My saull and life, stand up and see Proceeding from a virgin shrine, Wha lyis in ane cribbe of tree. The spotless Victim all divine. What Babe is that, sa gude and fair? It is Christ, Goddis Sonne and Air. At Thy great Name, exalted now, All knees must bend, all hearts must bow; O my deir hart, yung Jesus sweit, And things in heaven and earth shall own Prepair thy creddill in my spreit! That Thou art Lord and King alone. And I sall rock thee in my hart And never mair fra thee depart. To God the Father, God the Son, And God the Spirit, Three in One, Bot I sall praise thee evermoir Laud, honour, might and glory be With sangis sweit unto thy gloir. From age to age eternally. Amen. The kneis of my hart sall I bow, Anonymous (7th century) And sing that rycht Balulalow. Translated by JM Neale (1818-1866) vv 1, 3 & 4 adapted by the Editors of the New English Hymnal attrib. John Wedderburn (c.1500-1556) Used by permission of SCM-Canterbury Press Ltd, Norwich from Ane Compendious buik of godlie Psalmes Texts and translations

8 A Prayer of King Henry VI 10 Psalm 112: Laudate Pueri Domine, Jesu Christe, Lord Jesus Christ, Laudate pueri Dominum: Praise the Lord, O ye children: qui me creasti, redemisti, who did create me, redeem me, laudate nomen Domini. praise the name of the Lord. et preordinasti ad hoc quod sum, and has brought me now to that which I am. Sit nomen Domini benedictum, Blessed be the name of the Lord, tu scis quid de me facere vis; You know what you will have me to be; ex hoc nunc, et usque in saeculum. from this time forth, now and for ever. fac de me secundum voluntatem do with me according to your will, A solis ortu usque From the rising of the sun tuam cum misericordia. Amen. and show me your mercy Lord. Amen. ad occasum, to the going down of the same, King Henry VI (1421-1471) laudabile nomen Domini. the Lord’s name is to be praised. Excelsus super omnes gentes Dominus, The Lord is high above all nations, et super caelos gloria eius. and his glory above the heavens. 9 Preces Quis sicut Dominus Deus noster, Who is as the Lord our God, Versicle: O Lord, open thou our lips. qui in altis habitat: who dwells on high: Response: And our mouth shall Et humilia respicit and looks down on the humble things shew forth thy praise. in caelo et in terra? in heaven and in earth? Versicle: O God, make speed to save us. Suscitans a terra inopem Raising up the needy from the earth Response: O Lord, make haste to help us. et de stercore erigens pauperem. and lifting up the poor out of the dunghill. Versicle: Glory be to the Father, and to the Ut collocet eum cum principibus, That he may set him with princes, Son: and to the Holy Ghost; cum principibus populi sui. with the princes of his people. Response: As it was in the beginning, is now, Qui habitare facit sterilem in domo, Who makes a barren woman to keep house, and ever shall be: world without end. Amen. matrem filiorum laetantem. the joyful mother of children. Versicle: Praise ye the Lord. Gloria Patri et Filio Glory be to the Father, and to the Son, Response: The Lord’s Name be praised. et Spiritui Sancto. and to the Holy Ghost; Sicut erat in principio, et nunc, As it was in the beginning, is now, et semper, et in saecula saeculorum. Amen. and ever shall be: world without end. Amen.

Texts and translations

Texts

11 Magnificat (Truro Service) 12 Nunc Dimittis (Truro Service) 13 Responses 1st Collect: We beseech thee, O Lord, My soul doth magnify the Lord: Lord, now lettest thou thy servant Versicle: The Lord be with you. pour thy grace into our hearts; that, and my spirit hath rejoiced in God my Saviour. depart in peace: Response: And with thy spirit. as we have known the incarnation of thy For he hath regarded: according to thy word. Versicle: Let us pray. Son Jesus Christ by the message of an angel, the lowliness of his hand-maiden. For mine eyes have seen: thy salvation. Response: Lord, have mercy upon us. so by his cross and passion we may be For behold, from henceforth: Which thou hast prepared: Christ, have mercy upon us. brought unto the glory of his resurrection; all generations shall call me blessed. before the face of all people. Lord, have mercy upon us. through the same Jesus Christ our Lord. For he that is mighty hath magnified me: To be a light to lighten the gentiles: Response: Amen. and holy is his Name. and to be the glory of thy people Israel. Our Father, which art in heaven, Hallowed And his mercy is on them that fear him: Glory be to the Father, and to the Son: be thy Name. Thy kingdom come. Thy will 2nd Collect: O God, from whom all holy throughout all generations. and to the Holy Ghost; be done, in earth as it is in heaven. Give us desires, all good counsels, and all just He hath shewed strength with his arm: As it was in the beginning, is now, this day our daily bread. And forgive us our works do proceed; Give unto thy servants he hath scattered the proud in the and ever shall be: world without end. Amen trespasses, As we forgive them that trespass that peace which the world cannot give; imagination of their hearts. Luke 2: 29-32 against us. And lead us not into temptation; that both our hearts may be set to obey thy He hath put down the mighty from their seat: But deliver us from evil. Amen. commandments, and also that by thee we and hath exalted the humble and meek. being defended from the fear of our enemies He hath filled the hungry with good things: Versicle: O Lord, shew thy mercy upon us. may pass our time in rest and quietness; and the rich he hath sent empty away. Response: And grant us thy salvation. through the merits of Jesus Christ He remembering his mercy Versicle: O Lord, save the Queen. our Saviour. hath holpen his servant Israel: Response: And mercifully hear us Response: Amen. as he promised to our forefathers, when we call upon thee. Abraham and his seed, for ever. Versicle: Endue thy Ministers 3rd Collect: Lighten our darkness, we Glory be to the Father, and to the Son: with righteousness. beseech thee, O Lord; and by thy great mercy and to the Holy Ghost; Response: And make thy defend us from all perils and dangers of this As it was in the beginning, is now, chosen people joyful. night; for the love of thy only son, our Saviour, and ever shall be: world without end. Amen Versicle: O Lord, save thy people. Jesus Christ. Luke 1: 46-55 Response: And bless thine inheritance. Response: Amen. Versicle: Give peace in our time, O Lord. Response: Because there is none other that fighteth for us, but only thou, O God. Versicle: O God, make clean our hearts within us. Response: And take not thy Holy Spirit from us. Texts

14 Salve Regina Treble Alto Salve regina, mater misericordiae. Hail, O queen, mother of mercy. Oliver Boyd ° Robert Colquhoun Vita, dulcedo et spes nostra, salve. Our life, our sweetness, and our hope, hail. Andrew Bull Rory McCleery Ad te clamamus, exsules, filii Hevae. To you we cry, exiled children of Eve. Rosha Fitzhowle Simon Rendell Ad te suspiramus, gementes et flentes, To you we sigh, mourning and weeping Calum Heath Andrew Stones in hac lacrimarum valle. in this vale of tears. Peter Innes Eia ergo, advocata nostra, Turn then, our advocate, Adam Lagha illos tuos misericordes oculos ad nos converte. your merciful eyes towards us. Hanna Lagha Tenor Et Iesum, benedictum fructum ventris tui, And show us Jesus, the blessed fruit Lewis Main • Alexander Cadden nobis post hoc exsilium ostende, of your womb, after our exile here. Aonghas Maxwell Martin Hurst O clemens, O pia, O dulcis Virgo Maria. O clement, O holy, O sweet Virgin Mary. Alexander McCleery Christopher May attrib. Herman Contractus (1013-1054) Jourdan Penrice Ashley Turnell Antiphon to the Blessed Virgin Mary Gordon Robertson Ben Robinson Caitlin Spencer Bass 15 Dismissal Thomas Spencer Thomas Brimelow Versicle: The Lord be with you. Jennifer Sterling Ben Carter Response: And with thy spirit. Katy Thomson • Will Dawes Versicle: Let us bless the Lord. Colin Heggie Response: Thanks be to God. Peter Smith Jamieson Sutherland

All works published by Oxford Consultants on Scots University Press except track pronunciation: Susan Hamilton 10, available from the British •• Head Chorister, Decani and Dr Jamie Reid Baxter Music Information Centre, •• Head Chorister, Cantoris Organ Scholar: www.bmic.co.uk • ° Deputy Head Chorister Ruaraidh Sutherland Texts and translations Choir of St Mary’s Cathedral, Edinburgh

All works published by Oxford Consultants on Scots University Press except track pronunciation: Susan Hamilton 10, available from the British •• Head Chorister, Decani and Dr Jamie Reid Baxter Music Information Centre, •• Head Chorister, Cantoris Organ Scholar: www.bmic.co.uk • ° Deputy Head Chorister Ruaraidh Sutherland Gabriel Jackson Choir of St Mary’s Cathedral, Edinburgh

Gabriel Jackson’s music commissioned by Making Music for Symphony Orchestra, the BT Scottish is regularly performed and CHROMA. A second trilogy derived from Ensemble, the Royal College of Music and the broadcast throughout Europe works by Ian Hamilton Finlay – Eurydice for Dunedin Consort. The choir tours extensively; and the USA and has also solo clarinet, String Quartet No 2: Ring of in recent years it has been to Hungary, been heard, in recent years, Waves and Clarinet Quintet: In Prairial and Norway and Ireland. It also plays a major in Cape Town, Ho Chi Minh Thermidor – was completed in 1996 and part in the Edinburgh Festival. City, Kiev, Kuwait, Sydney, premiered at the Tate on the occasion Tokyo and Vancouver. of Finlay’s 70th birthday. Jackson has curated A recent innovation has again placed Particularly acclaimed for his choral works, concerts for Tate Britain, Tate St Ives and Edinburgh at the forefront of sacred choral he is a frequent collaborator with many of the the British Music Information Centre’s music with the commencement of The Bach world’s leading choirs, the BBC Singers, the Cutting Edge series. Cantata Project under the Presidency of Nederlands Kamerkoor and the Berlin RIAS- Sir John Eliot Gardiner: a Bach Cantata is Kammerchor among them; strongly influenced Recent works include Warldis Vanitie: Ane The Choir of St Mary’s Cathedral, Edinburgh, performed on the first Sunday of every month by medieval and Renaissance techniques, Mirrour for Marie Stuart (2001), a madrigal is regarded as one of the UK’s finest cathedral – incorporated within and forming a devotional he has also written a number of consort cycle on sixteenth-century Scots texts, choirs. It is unique in Scotland, in maintaining part of the liturgy. This often involves the pieces for the Clerks’ Group, Chapelle du Roi, A Woman’s Life and Loves (2002), a half-hour a daily choral tradition and singing over Orchestra of St Mary’s Music School who Cappella Nova, I Fagiolini and the Orlando companion piece to Schumann’s Frauenliebe 250 services every year. The choristers are frequently perform other major works within Consort. His liturgical works are in the und -leben with newly-written poems educated at St Mary’s Music School, which services such as the Fauré Requiem each repertoires of many of Britain’s leading by Sophie Hannah, the large-scale votive acts as the choir school for the cathedral, Remembrance Sunday and Viennese masses. cathedral and college choirs and at the antiphon Salve Regina 2 (2004), written again unique in Scotland. St Mary’s Cathedral inaugural British Composer Awards in 2003 for the 800th anniversary of the Foundation became the first in the UK to offer girls Many leading composers have written he was the Liturgical category winner with of Beaulieu Abbey and the ensemble pieces scholarships to sing with the boys as trebles for the choir. Under Matthew Owens it has O Doctor optime, written for the Choir Luna 21 in the Sea of Serenity, The Butterfly in 1978. The lay clerks of the choir consist of premiered works by Richard Allain, Gavin of Gonville and Caius College, Cambridge. Corona, (both 2003) and A Piece of Sky undergraduate choral scholars reading a diverse Bryars, Dave Heath, Francis Jackson, Gabriel (after Yoko Ono) (2004) all commissioned range of subjects at Edinburgh University Jackson, James MacMillan, Sir Peter Maxwell A strong involvement with the visual arts has and premiered by OKEANOS. alongside more experienced singers. Davies, Arvo Pärt, Howard Skempton, Janos produced a series of ensemble pieces based Vajda, Philip Wilby and others. on textworks by Richard Long: Black and July 2005 saw the premiere by Ex Cathedra of The choir broadcasts frequently on BBC White Trio (1988-9) for clarinet, violin and Sanctum est verum lumen, a 40-part motet Radios 3 & 4, and on television, and has made piano, commissioned by New Macnaghten commissioned by the Lichfield Festival for the a number of highly acclaimed recordings on Concerts, Rhapsody in Red (1990) for two Tallis quingentenary. the Black Box, Delphian, Herald and Lammas pianos, commissioned by the Tate Gallery, labels. It has a busy schedule of concerts and and In The Mendips (2003) for mixed sextet, has worked recently with the BBC Scottish Gabriel Jackson Choir of St Mary’s Cathedral, Edinburgh

Matthew Owens was Chamber Orchestra and the Orchestra Michael Bonaventure, born Susan Hamilton was born appointed Organist of St Mary’s Music School. With the in Edinburgh in 1962, was an in Edinburgh. A noted soloist and Master of the Music Choir of St Mary’s Cathedral he has made organ pupil of Herrick Bunney specialising in Baroque at St Mary’s Cathedral, ten recordings, which have met with at St Giles’ Cathedral. For and contemporary music, Edinburgh, in 1999; a post critical acclaim. many years he was Organist she sings regularly in Britain which he held until the age of St Peter’s, Lutton Place, and Europe with, among of 33 when he became Matthew has given recitals in France, Ireland, Edinburgh, where he gave others, the Dunedin Consort, Organist and Master of the Switzerland and throughout the UK, including numerous recitals during the Collegium Vocale, Florilegium, Choristers at Wells Cathedral in January 2005. festival appearances at Lichfield, Newbury, years 1997-2003. Since March 2003 he has The King’s Consort, The Ricercar Consort, He is also Conductor of The Exon Singers, Oxford and Peterborough and at venues such been based in London, working as a freelance and regularly appears at major International one of the UK’s leading chamber choirs. as St Paul’s Cathedral, Westminster Cathedral musician and Organist of All Saints’, Blackheath. Festivals. She has worked closely with many and St John’s Smith Square. As a conductor renowned conductors including Sir John Eliot Born in Manchester, he studied at Chetham’s and solo organist he has premiered many Numerous composers have written for Gardiner, Paul McCreesh and Ton Koopman. School of Music and was subsequently works by leading composers including Richard this indefatigable exponent of new music Susan has premiered new works by a host Organ Scholar at The Queen’s College, Allain, Gavin Bryars, Dave Heath, Francis including Geoffrey King, Judith Weir, James of composers including Witold Lutoslawski, Oxford. As a postgraduate he received Jackson, Gabriel Jackson, Naji Hakim, George MacMillan, Peter Nelson, Jean-Pierre Leguay; James MacMillan, and Ronald Stevenson. She the highest award for performance, the Lloyd, James MacMillan, Sir Peter Maxwell and many others. He has premiered almost appears regularly on the radio and television Professional Performance Diploma, with Davies, Arvo Pärt, Howard Skempton and fifty works, several of which were for organ and is widely recorded. distinction, at the Royal Northern College Giles Swayne. He is increasingly active and other forces. of Music; gained a Master’s Degree from as a composer and some of his works have Simon Nieminski the University of Manchester and won been recorded for commercial release and Michael has broadcast programmes thirteen prizes in the diplomas of the Royal broadcast on BBC Radio 3. of contemporary music on BBC Radio 3, Following Organ Scholarships at the College of Organists. He then studied at the BBC Radio Scotland, and on Swedish Radio. University of Cambridge and York Minster, Sweelinck Conservatorium in Amsterdam and He has given recitals throughout the UK – Simon Nieminski was Assistant Organist was appointed Sub-organist of Manchester playing regularly at all of London’s Cathedrals, at Dundee Cathedral, the Priory Church Cathedral in 1996. From 1994-99, he was Tutor and major City Churches – in Sweden, of St Bartholomew the Great in London in Organ Studies at the RNCM and Chetham’s. in the USA (with financial subsidy from the and St Mary’s Cathedral, Edinburgh. Scottish Arts Council) and throughout France; He has recorded a number of discs as an He was Assistant Conductor of the National particularly notable were two recitals at Notre- accompanist and soloist, the most recent Youth Choir of Great Britain from 1993-99; Dame Cathedral, Paris, given at the invitation of which features transcriptions of works he has also conducted the BT Scottish of Jean-Pierre Leguay. inspired by Shakespeare. Ensemble, the National Philharmonic Orchestra of Hungary, Ludus Baroque Matthew Owens Michael Bonaventure Susan Hamilton

Ascension 2000 Nails: contemporary works for solo organ Choir of St Mary’s Cathedral, Edinburgh Michael Bonaventure organ Matthew Owens conductor & solo organ world premiere recordings DCD34017 DCD34013

The powerful imagery of the Ascension has been a potent Bonaventure’s longstanding position as proponent of new music for inspiration to generations of composers. This recording presents the organ is recognised here, on disc, for the first time. Composers a Choral Evensong of contemporary works associated with St Mary’s featured are Avril Anderson, Lyell Cresswell, Eddie McGuire, Ian Cathedral, Edinburgh, leading up to Messiaen’s meditative organ McQueen, Peter Nelson, Judith Weir and Bonaventure himself. work L’Ascension. The disc features premiere recordings of works by James MacMillan and Richard Allain. ‘This fine player has commissioned more than 50 works in 25 years. Here are eight of them, recorded on the organ of Edinburgh ‘A shining service of contemporary works … The choir sings with University’s McEwan Hall – at once meditative and turbulent.’ tremendous fervour, clarity, and power’ – Gramophone, February 2004 – The Sunday Times, May 2005

Sir Peter Maxwell Davies: O magnum mysterium Howard Skempton: Choral Music and Songs Choir of St Mary’s Cathedral, Edinburgh / Matthew Owens The Exon Singers / Matthew Owens Michael Bonaventure solo organ Beth Mackay, Bartholomew Lawrence DCD34037 DCD34056

In the 1960s few would have predicted that Peter Maxwell Davies Best known as a composer of exquisitely quirky miniatures for his would eventually write a set of Evening Canticles; yet religious texts own instruments, the piano and accordion, Howard Skempton has have always been of fundamental importance to the composer, as this in recent years developed an equally strong affinity for the choral disc vividly demonstrates by bringing together sacred masterworks medium. The Exon Singers’ programme includes a new Missa brevis from both ends of his career – tough, uncompromising and of composed especially for the recording, as well as the Magnificat surpassing beauty. & Nunc dimittis which Skempton wrote for Matthew Owens’ Edinburgh choristers. ’boldly sculpted conceptions … The Edinburgh choristers, well trained by Matthew Owens, make light of the music’s demands, and the ’beautifully recorded and performed’ – The Scotsman, September 2008 recordings couple abundant atmosphere with a fair degree of natural clarity’ – Gramophone, Awards issue 2006 New music on Delphian