SUPER AUDIO CD JOHN SHEPPARD Gaude, gaude, gaude Maria Sacred Choral Works

, Choir of St John s College, Cambridge CHANDOS early music Andrew Nethsingha © Lebrecht Music & Arts Photo Library Photo & Arts Music © Lebrecht

Seventeenth-century view of Magdalen College, Oxford John Sheppard (c. 1515 – 1558)

1 Gaude, gaude, gaude Maria virgo 14:00 Motet for six-part choir John Clapham tenor

2 In pace, in idipsum dormiam 6:09 Motet for four-part choir

3 The Lord’s Prayer 3:01 for five-part choir

4 In manus tuas, Domine 4:23 Motet for four-part choir Second setting Guy Edmund-Jones tenor

‘Western Wynde’ Mass 18:28 for four-part choir 5 Gloria 4:03 Guy Edmund-Jones tenor (intonation) Samuel Oladeinde tenor (duet) Geoffrey Claphambass (duet)

3 6 Haec dies 2:34 Chant Geoffrey Claphambass

‘Western Wynde’ Mass for four-part choir 7 Credo 4:20 Guy Edmund-Jones tenor 8 Sanctus 3:10 9 Benedictus 1:50 10 Agnus Dei 5:03

11 Christ rising again 3:48 Anthem for four-part choir Samuel Oladeinde tenor Xavier Hetherington tenor John Holland-Avery bass Geoffrey Claphambass

12 Spiritus Sanctus procedens 9:58 Motet for six-part choir Second setting Kieran Brunt tenor

4 13 Aeterne rex altissime 4:24 Motet for five-part choir Samuel Oladeinde tenor

14 Libera nos, salva nos 3:18 Motet for seven-part choir First setting Geoffrey Claphambass TT 70:07

Choir of St John’s College, Cambridge Andrew Nethsingha

5 Choir of St John’s College, Cambridge Andrew Nethsingha Director of Music Freddie James Edward Picton-Turbervill Organ Scholar

treble counter-tenor bass Maximilian Boorman Thomas Blackie Joseph Ataman Joel Branston Oliver El-Holiby Quintin Beer Oliver Brown Hamish McLaren Geoffrey Clapham Francis Bushell Alexander Simpson John Holland-Avery Jason Cobb Jonathan Hyde William Collison tenor Daniel Macklin Alec D’Oyly Kieran Brunt Augustus Perkins Ray Matthew Holman John Clapham Andrew Jones Guy Edmund-Jones Robert Murray John Julian Gregory Peter Nethsingha Xavier Hetherington Rufus Pawsey Samuel Oladeinde Michael Tuft Jed Upjohn Sebastian Wade Samuel Williams

6 Sheppard: Sacred Choral Works

Biographical background it may have been this very appointment that Who was John Sheppard? Like so many of his encouraged him to leave Oxford. Not much contemporaries, he first appears in sixteenth- more is known of his biography. Sheppard century sources only when he was already an retained his position in the established figure. The first recorded reference until the accession of Queen . to him is as Informator Choristarum (or Master According to surviving documents, he was of the Music) at Magdalen College, Oxford, accorded liveries for Elizabeth’s coronation, in 1543. When he was born, and where he which took place on 15 January 1559. Other grew up, is lost to history. What we know records, however, imply that Sheppard had of Sheppard in his prime is correspondingly died about a month earlier: we know that he scanty. He appears to have left Oxford after was buried on 21 December 1558. only five years, in 1548. His departure should In his 1554 supplication for the Oxford not be put down to bad behaviour, as was degree, Sheppard maintained that he had sometimes asserted in earlier histories; the been composing studiously for twenty years, misdemeanours of which he was accused were and that during this period he had produced probably committed by a near namesake, ‘many songs’. As a result of these clues, most Richard Shepper, also a Fellow of Magdalen. scholars have assigned the composer’s birth Though it is likely that he moved to London to somewhere between 1515 and 1520. His from Oxford, Sheppard tried to retain some career thus coincides with one of the most connection with the University. At least, he turbulent periods in English ecclesiastical supplicated for the degree of D.Mus. in 1554; history. Sheppard must have come of age just whether or not this was awarded is unclear. as Henry VIII was disestablishing the Church In 1552 Sheppard is listed among the and tearing down the monasteries – a process Gentlemen of the Chapel Royal. It is that often had as devastating an effect on possible that he was appointed as early as musicians as on priests. Sheppard must have 1548 – records are incomplete – and indeed been in his early thirties when Henry died

7 and was replaced by his nine-year-old son, death knell for the rich and glorious tradition Edward VI. The power behind the throne of English polyphony. during Edward’s brief reign (1547 – 53) was Yet, within only a few years, the wind had the Duke of Somerset, an ardent Protestant changed again. Like many church musicians, who sanctioned the publication of the first Sheppard will surely have welcomed the Anglican prayer book in 1549. Based on the accession in 1553 of Henry VIII’s daughter, work of Thomas Cranmer, this prayer book Mary. Queen Mary had imbibed Roman established – and indeed required – the Catholicism from her mother, Catherine of form of Anglican services celebrated to this Aragon, and she had no sympathy for the day. The implications for church music of reforms carried out under her father and these and later reforms were severe. In the half-brother. From the start of her brief reign injunctions sent to the Dean and Chapter (1553 – 58), Mary set about reviving Catholic of Lincoln Cathedral in 1548, for example, rituals, thereby encouraging once again the Cranmer stated that choirs composition of elaborate sacred music. shall from henceforth sing or say no anthems of our Lady or other Saints, Gaude, gaude, gaude Maria virgo but only of our Lord, and them not in The brevity of Sheppard’s career and the Latin; but choosing out the best and lack of hard facts make it difficult to assign most sounding to Christian religion individual works to particular periods. they shall turn the same into English, Historical context can nevertheless help setting thereunto a plain and distinct illuminate Sheppard’s œuvre. The text of the note for every syllable one: they shall first work recorded here,Gaude, gaude, gaude sing them and none other. Maria virgo, suggests that it dates from the Issued in the year that Sheppard left Oxford, reign of Mary. After all, Marian devotion was this edict may have been another reason one of the forms of worship most vigorously behind his departure from Magdalen. suppressed under her predecessor, Edward, Certainly, most composers were compelled to and this is clearly an anthem ‘of our Lady’, undergo some sort of stylistic change during to quote Cranmer again. The tale of the Edward VI’s reign. For many, the strictures Annunciation may also hint at an act of that Cranmer articulated seemed to ring the homage to Queen Mary. Musically, too, the

8 elaborate six-part texture of the motet implies Romans 6 and Corinthians 15, probably an origin in the last years of Sheppard’s career. springs from the same period. Its opening However, the work is structured round a cantus recalls Tallis’s famous anthem If ye love me. firmus in the tenor, a technique that was falling The anthem’s subtle balance of chordal and out of fashion in Sheppard’s lifetime. Where to imitative writing – as well as the low-lying, place the work within Sheppard’s œuvre must four-part texture – reveals a composer keen to therefore remain uncertain. What we can say explore the limits of expressive power while with confidence is that this is one of the most using only the most restricted means. Even thrilling of Sheppard’s surviving works. It is the concluding ‘Alleluias’ remain modest also one of the most ambitious, with effects in scope. Though it may be an exercise in ranging from widely spaced counterpoint to restraint, Christ rising again is indubitably a densely textured writing for higher voices, triumph; it demonstrates conclusively that most memorably in the section beginning Cranmer’s edicts could not hamstring a ‘O mater alma Christi carissima’. composer of Sheppard’s genius.

The Lord’s Prayer In pace, in idipsum dormiam Sheppard’s setting of The Lord’s Prayer lies In pace, in idipsum dormiam also addresses at the opposite end of the stylistic spectrum. eschatological themes, this time using texts Though the setting is contrapuntal in texture, from Psalms 4 and 132. The composition the individual lines are very simple and, taken alternates chant, unassuming imitation in isolation, each voice part very nearly satisfies (almost always starting in the two lowest Cranmer’s requirements of ‘a plain and distinct voices), and chaste chordal effects the simple note for every syllable one’. These stylistic charm of which can be most affecting.In pace, features, along with the fact that it is a setting in idipsum was probably intended for use at of a liturgical text in English, strongly suggest Compline; in fact, this motet and In manus that the work was composed for the church of tuas were the only responds ever sung at the Edward VI. last office of the day.

Christ rising again In manus tuas, Domine Christ rising again, a setting of texts from In manus tuas, Domine, Spiritus Sanctus

9 procedens, and Libera nos, salva nos are all choir. In the version recorded here, Sheppard texts that Sheppard set more than once. presents a richly wrought structure of In manus tuas, Domine exists in no fewer interweaving lines over a low bass part with than three settings. The version of the the chant in long notes. The way in which motet recorded here is in a simple four-part the composer lingers over the final words, texture, and the style lies somewhere between ‘O beata Trinitas’ (O blessed Trinity), is homophony and polyphony, as perhaps befits particularly worthy of note. The founder of the supplicatory text from John 6. The fact Magdalen, William Waynflete, ordered that that Sheppard does not set the words ‘Holy the to the Trinity be recited every Mary, Mother of God, pray for us’ in any of morning and night in the college chapel; his versions – a text included by the recusant from this we may deduce that Sheppard in his setting – would argue for composed his settings of Libera nos, salva nos composition before Mary’s reign. during his Oxford years, perhaps for use at the end of Compline. Spiritus Sanctus procedens The text ofSpiritus Sanctus procedens is Aeterne rex altissime associated with Pentecost: it tells of the Holy Like the pieces just discussed, Aeterne rex Spirit entering the hearts of the Apostles altissime is based round Gregorian chant. and causing them to speak with all manner However, the chant is assigned here to the of tongues. The texture, in six parts, is highest voice. Though presented in long appropriately multi-layered. However, the notes, it is slightly more ornamented than work is built round a section of Gregorian in Spiritus Sanctus procedens or Libera nos, chant that is presented in one of the two tenor salva nos. The text, a hymn whose four voices in an almost unwavering minim pulse. stanzas are assigned in alternation to chant Romantics might well interpret this as the and five-part polyphony, is intended for voice of God – or at least the Holy Spirit. on Ascension Day. The repetitions that run through the concluding section Libera nos, salva nos reflect appropriately the final line of the The two surviving settings ofLibera nos, text: ‘In sempiterna saecula. Amen’ (through salva nos are both scored for seven-part everlasting ages. Amen).

10 ‘Western Wynde’ Mass an œuvre determined as much by political By way of contrast, Sheppard’s ‘Western exigencies as by stylistic norms. Though Wynde’ Mass has secular roots, an unusual details of the composer’s life will probably phenomenon in English masses of the period. always remain uncertain, Sheppard’s It is one of three sixteenth-century works surviving works have a clear identity; they based on the secular song ‘Westron wynde mark him out as one of the strongest voices in when wyll thow blow’ (the other two are by a highly turbulent age. and ). The © 2013 Martin Ennis melody associated with this text – its exact transmission is unclear – appears some two dozen times in the course of the mass, usually Conductor’s note in the treble, but three times in the tenor, and It has been a joy for the Choir and me to once in the bass. Perhaps to avoid any sense of immerse ourselves in this glorious music. I tedium, the theme is presented in both duple would be sad if this repertoire were to become and triple metres. One striking feature of the preserve only of the excellent professional Sheppard’s setting is the presence of extended mixed voice consorts. Much of the music has passages for only two voices; another is the been rarely, if ever, recorded by boy trebles; prominent use of triplet rhythms, often yet, as time has gone on, I have enjoyed associated with extended melismata. Where hearing our boys sing these luxurious melodic these two devices combine – as in the ‘Et lines with more and more affection. incarnatus est’ section of the Credo or the Sheppard’s ‘Western Wynde’ Mass is ‘Pleni sunt caeli’ section of the Sanctus – the a marvellous work – full of contrast and effect is arresting. The ‘Western Wynde’ vigour, it is an imaginative and colourful set Mass, as was typical of the early Tudor period, of variations (though I realise that this word contains no setting of the Kyrie; this would is more often applied to later music) – and I have been sung in Gregorian chant. regret that scholars have written somewhat dismissively about it. On this CD I have Conclusion opted for rather different style and tempi The works recorded here give a very good from those of previous recordings, and hope cross-section of John Sheppard’s œuvre – that this might contribute to a fresh appraisal

11 of the work. Commentators have suggested be slightly smaller than those of their older that Sheppard’s work is inferior because it counterparts. I hope that Sheppard, who generally just has the theme in the treble line. knew all about running Oxbridge choirs, On the contrary, I would argue that by this would have approved of this pragmatic practice Sheppard deliberately set himself a approach! different challenge from Taverner in his mass I have arranged the works to form a of the same name. Indeed, the rare times liturgical sequence from the Feast of the when the melody leaves the top line become Purification through to Trinity Sunday, even more telling: listen to ‘Crucifixus’ in the although the works for Ascension and Credo or the magical opening of the third Pentecost are reversed so as to make a better ‘Agnus Dei’ – he saves that for the ante- musical sequence. The Mass appears next to penultimate ‘variation’ of the whole mass. the Easter music, with a plainsong proper Amongst Sheppard’s many other subtleties, interpolated: the Gloria and Credo benefit one of my favourites is the moment in the from not being heard one after the other. Credo when the music melts as God floats What a plethora of different styles there gently down to earth (‘descendit de caelis’), are! One of the choristers refused to believe landing softly and magically on an E flat that the mass had been written by the same major chord, the only time in the whole mass composer who wrote the other works! when the final G of the melody is harmonised © 2013 Andrew Nethsingha that way. As for the wild and eccentric ending to the Sanctus, perhaps that gives a glimpse of what his virtuosic keyboard music might have The Choir of St John’s College, Cambridge sounded like, had Sheppard written any! is one of the finest men and boys choirs in There is much scholarly debate about the world, known and loved by millions from the most appropriate pitch for these works. its recordings, broadcasts, and concert tours. Rather than coming down firmly on one A cornerstone of the great English choral side or the other, I have used different tradition since the 1670s, it is recognised for transpositions, based on what best suits the its distinctive, rich, and expressive sound. voices of our choral scholars in each piece – Under the current directorship of Andrew the vocal ranges of young adult singers can Nethsingha, the Choir is made up of sixteen

12 Choristers and four Probationers who are and in 2011 launched SJC Live, an online educated at St John’s College School. The archive for music lovers and choirmasters. alto, tenor, and bass parts are usually taken A key innovation of Nethsingha’s is the by fifteen Undergraduates, with two Organ establishment of St John’s Sinfonia, a Scholars assisting in the daily running of professional period-instrument ensemble the Choir. Frequently broadcast on BBC formed with Margaret Faultless in 2011, Radio 3, services in the College Chapel with which the Choir gives termly liturgical follow the Cathedral tradition of the Church performances of cantatas by Bach. Under of England, with six days a week Nethsingha and the former Directors of during term and Sung Eucharist on Sunday Music George Guest, Christopher Robinson, mornings. On the concert platform, in and David Hill, the Choir has produced an high-profile venues around the UK, the extraordinary and extensive discography. Choir regularly performs with orchestras Since signing an exclusive contract with and ensembles such as the Philharmonia Chandos Records in 2009, it has released Orchestra, Britten Sinfonia, Aarhus seven CDs, spanning music from across 500 Symfoniorkester, His Majestys Sagbutts and years, which have garnered international Cornetts, and London Mozart Players. In critical acclaim. Renowned for championing the course of a busy international touring contemporary music, the Choir of St John’s schedule it has visited the USA, Canada, College, Cambridge regularly commissions Brazil, South Africa, Japan, Australia, and new works, and has recently performed continental Europe. the world premieres of works by Jonathan The singers receive a unique musical Harvey, James MacMillan, Roxanna education in an extremely varied repertoire, Panufnik, Giles Swayne, and Judith Weir. from Renaissance polyphony and the www.sjcchoir.co.uk masses of Haydn to twentieth-century and specially commissioned contemporary Performing as a conductor and organist in music. Committed to engaging with a wide North America, South Africa, the Far East, audience through digital innovations, the and throughout Europe, Andrew Nethsingha Choir is the first in Britain to broadcast its has since 2007 been Director of Music at services in weekly webcasts all year round, St John’s College, Cambridge, where his

13 innovations have included weekly webcasts and Andrew Nethsingha has worked with some a termly Bach cantata series. He received his of the UK’s leading orchestras. His concerts early musical training as a chorister at Exeter with the Philharmonia Orchestra have Cathedral, where his father was organist for included performances of Mahler’s Eighth over a quarter of a century. He later studied Symphony, Beethoven’s Ninth Symphony, at the Royal College of Music, where he Britten’s War Requiem, Brahms’s Ein deutsches won seven prizes, and at St John’s College, Requiem, Elgar’s The Dream of Gerontius and Cambridge. He held Organ Scholarships The Kingdom, Walton’s Belshazzar’s Feast, under Christopher Robinson at St George’s, Poulenc’s Gloria, and Duruflé’s Requiem. He Windsor and George Guest at St John’s, has also worked with the Royal Philharmonic before becoming Assistant Organist at Wells Orchestra, City of Birmingham Symphony Cathedral. He was subsequently Director of Orchestra, London Mozart Players, Britten Music at Truro and Gloucester cathedrals. Sinfonia, Aarhus Symfoniorkester, and BBC Additionally, he has held the positions of Concert Orchestra, and recently conducted Artistic Director of the Gloucester Three at the BBC Proms, the Concertgebouw, Choirs Festival and Musical Director of the Amsterdam, and Suntory Hall, Tokyo. He Gloucester Choral Society, among others, and regularly runs choral courses abroad, notably served as President of the Cathedral Organists’ in France and the USA. His recordings for Association. Chandos Records have been well reviewed.

14 Ben Wright

Choir of St John’s College, Cambridge, with Andrew Nethsingha, Director of Music 1 Gaude, gaude, gaude Maria virgo Gaude, gaude, gaude Maria virgo Gaude, gaude, gaude Maria virgo, Rejoice, rejoice, rejoice, maiden Mary, cunctas haereses sola interemisti you alone have done away with all rivalry of beliefs, quae Gabrielis archangeli dictis credidisti. you who believed the sayings of the archangel Gabriel.

Dum virgo Deum et hominem genuisti While a virgin, you have borne God and man; et post partum virgo inviolata permansisti. and after birth you remained pure and inviolate.

Gabrielem archangelum scimus We know that Gabriel the archangel divinitus te esse affatum. spoke to you prophetically. Uterum tuum de Spiritu Sancto We believe that your womb credimus impregnatum. was made pregnant by the Holy Spirit. Erubescat Judeus infelix qui dicat May the unhappy Jew blush who says that Christum ex Joseph semine esse natum. Christ was born from the seed of Joseph.

Dum virgo Deum et hominem genuisti While a virgin, you have borne God and man; et post partum virgo inviolata and after birth, a virgin pure integra et casta es Maria. inviolate and chaste are you, Mary.

Quae es effecta fulgida coeli porta. You who have been made the shining door of Heaven. O mater alma Christi carissima, O loving and dearest mother of Christ, suscipe laudum pia praeconia uphold the pious prayers of our praises, nostra ut pura pectora sint et corpora, so that both our hearts and bodies may be pure; quae nunc flagitant devota voxque et corda. those things which now devoted voices and hearts Tu da per precata dulcissona demand. nobis perpetua frui vita. Grant through our prayers O benigna quae sola inviolata permansisti. that we may enjoy the sweetest perpetual life, Gloria Patri et Filio et Spiritui Sancto. kind Lady who alone has remained inviolate. Et post partum virgo inviolata permansisti. Glory to the Father and the Son and the Holy Spirit. And after birth you remained pure and inviolate. Respond and Prose at Second Vespers on the Feast of the Purification of the Blessed Virgin Mary

16 2 In pace, in idipsum dormiam In pace, in idipsum dormiam In pace, in idipsum dormiam et requiescam. In very peace I will lie down and take my rest. Si dedero somnum oculis meis If I give to my eyes sleep et palpebris meis dormitationem and slumbers to my eyelids, dormiam et requiescam. I will lie down and take my rest. Gloria Patri et Filio et Spiritui Sancto. Glory to the Father and the Son and the Holy Spirit. In pace, in idipsum dormiam et requiescam. In very peace I will lie down and take my rest. Psalm 4: 8 Psalm 132: 4 Respond at Sunday Compline in Lent

3 The Lord’s Prayer Our Father which art in heaven, Hallowed be thy Name. Thy kingdom come. Thy will be done in earth, As it is in heaven. Give us this day our daily bread. And forgive us our trespasses, As we forgive them that trespass against us. And lead us not into temptation; But deliver us from evil. Amen.

4 In manus tuas, Domine In manus tuas, Domine In manus tuas, Domine, Into your hands, O Lord, commendo spiritum meum. I commend my spirit. Redemisti me Domine, Deus veritatis. You have redeemed me, Lord, God of truth. Commendo spiritum meum. I commend my spirit.

17 In manus tuas, Domine, Into your hands, O Lord, commendo spiritum meum. I commend my spirit. John 6: 30 Respond at Compline on Passion Sunday

‘Western Wynde’ Mass ‘Western Wynde’ Mass 5 Gloria Gloria Gloria in excelsis Deo, Glory be to God on high, Et in terra pax hominibus bonae voluntatis. and in earth peace, good will towards men. Laudamus te. We praise thee, Benedicimus te. we bless thee, Adoramus te. we worship thee, Glorificamus te. we glorify thee, Gratias agimus tibi propter magnam gloriam we give thanks to thee for thy great glory, tuam. O Lord the only-begotten son Jesu Christ; Domine Fili unigenite Jesu Christe. O Lord God, Lamb of God, Son of the Father, Domine Deus, Agnus Dei, Filius Patris. that takest away the sins of the world, have mercy Qui tollis peccata mundi, miserere nobis. upon us. Qui tollis peccata mundi, suscipe deprecationem Thou that takest away the sins of the world, receive nostram. our prayer. Qui sedes ad dexteram Patris, miserere nobis. Thou that sittest at the right hand of the Father, have Quoniam tu solus sanctus. mercy upon us. Tu solus Dominus. For thou only art the Lord; Tu solus altissimus, Jesu Christe. thou only art holy; thou only, Jesu Christ, Cum Sancto Spiritu, in gloria Dei Patris. with the Holy Ghost, art most high in the glory of Amen. God the Father. Amen.

6 Haec dies Haec dies Haec dies, quam fecit Dominus: This is the day which the Lord hath made: exsultemus, et laetemur in ea. let us be glad and rejoice in it. 18 Confitemini Domino, quoniam bonus: O Give thanks unto the Lord, for he is gracious: quoniam in saeculum misericordia eius. and his mercy endureth for ever. Psalm 118: 24 and 29 for Easter Day

‘Western Wynde’ Mass ‘Western Wynde’ Mass 7 Credo Credo Credo in unum Deum, Patrem omnipotentem, I believe in one God the Father almighty, factorem caeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. and of all things visible and invisible: Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum. the only-begotten Son of God, Et ex Patre natum ante omnia saecula. begotten of his Father before all worlds. Genitum, non factum, consubstantialem Patri: Begotten not made, being of one substance with the per quem omnia facta sunt. Father, Qui propter nos homines, by whom all things were made; et propter nostram salutem descendit de caelis. who for us men Et incarnatus est de Spiritu Sancto and for our salvation came down from heaven, ex Maria Virgine: et homo factus est. and was incarnate by the Holy Ghost Crucifixus etiam pro nobis sub Pontio Pilato: and of the virgin Mary, and was made man. passus, et sepultus est. And was crucified also for us under Pontius Pilate. Et resurrexit tertia die, secundum scripturas, He suffered and was buried. et ascendit in caelum: sedet ad dexteram patris. The third day he rose again according to the Scriptures. Et iterum venturus est cum gloria judicare vivos And ascended into heaven, and sitteth on the right et mortuos: hand of the Father. cuius regni non erit finis. And he shall come again with glory to judge both the Et expecto resurrectionem mortuorum, quick and the dead: et vitam venturi saeculi. whose kingdom shall have no end. Amen. And I await the resurrection of the dead, and the life of the world to come. Amen.

19 8 Sanctus Sanctus Sanctus, sanctus, sanctus, Dominus Deus Holy, holy, holy, Lord God of hosts, sabaoth. heaven and earth are full of thy glory: Pleni sunt caeli et terra gloria tua. hosanna in the highest. Hosanna in excelsis.

9 Benedictus Benedictus Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord: Hosanna in excelsis. hosanna in the highest.

10 Agnus Dei Agnus Dei Agnus Dei, qui tollis peccata mundi: O Lamb of God, that takest away the sins of the world, miserere nobis. have mercy upon us.

Agnus Dei, qui tollis peccata mundi: O Lamb of God, that takest away the sins of the world, miserere nobis. have mercy upon us.

Agnus Dei, qui tollis peccata mundi: O Lamb of God, that takest away the sins of the world, dona nobis pacem. grant us thy peace.

11 Christ rising again Christ rising again from the dead now dieth not, death from henceforth hath no power upon him. For in that he died, he died but once to put away sin, but in that he liveth, he liveth unto God. And so likewise count yourselves dead unto sin but living unto God, in Christ Jesus our Lord. Alleluia. Christ is risen again, the first fruits of them that sleep. For seeing that by man came death, by man also cometh the resurrection of the dead. 20 For as by Adam all men do die, so by Christ all men shall be restored to life. Alleluia. Romans 6: 9 – 11 Corinthians 15: 20 – 22 Easter

12 Spiritus Sanctus procedens Spiritus Sanctus procedens Spiritus Sanctus procedens a throno The Holy Spirit coming forth from on high apostolorum pectora invisibiliter penetravit entered the hearts of the apostles unseen novum sanctificationis signum, with a new sign of his grace,

ut in ore eorum omnium that there might come forth from their mouths genera nascerentur linguarum. all manner of tongues.

Alleluia. Alleluia.

Advenit ignis divinus non comburens The divine fire came down not to burn sed illuminans but to give light, et tribuit eis carismatum dona, and it endowed them with the gifts of grace.

ut in ore eorum omnium that there might come forth from their mouths genera nascerentur linguarum. all manner of tongues.

Alleluia. Alleluia.

Gloria Patri et Filio et Spiritui Sancto. Glory to the Father and the Son and the Holy Spirit.

Alleluia. Alleluia. Third Respond at on Whitsunday

21 13 Aeterne rex altissime Aeterne rex altissime Aeterne rex altissime Eternal King most high Redemptor et fidelium, and Redeemer of your faithful Quo mors soluta deperit, through whom death in ruin perishes Datur triumphus gratiae. and the triumph of grace is bestowed:

Scandens tribunal dexterae As you ascend the throne at your Father’s Patris potestas omnium right hand, all power is conferred Collata est Jesu coelitus on you, Jesus, in heaven Quae non erat humanitus. which you had not among men.

Tu esto nostrum gaudium Be now our joy, Qui es futurus praemium; who are our future reward; Sit nostra in te gloria and be our glory ever in you Per cuncta semper saecula. throughout all ages.

Gloria tibi Domine Glory to you, Lord, Qui scandis supra sidera, who ascend today above the stars, Cum Patre et Sancto Spiritu with the Father and the Holy Spirit In sempiterna saecula. through everlasting ages. Amen. Amen. Hymn at First Vespers on Ascension Day

14 Libera nos, salva nos Libera nos, salva nos Libera nos, salva nos, justifica nos, Free us, save us, defend us, O beata Trinitas. O blessed Trinity. Antiphon at Matins on Trinity Sunday

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23 Recording producer Rachel Smith Sound engineer Jonathan Cooper Editor Rachel Smith A & R administrator Sue Shortridge Recording venue St John’s College Chapel, Cambridge; 11 – 13 January 2013 Front cover View of Magdalen College, Oxford; photograph courtesy of Old UK Photos Back cover Photograph of Andrew Nethsingha by Ronald Knapp Design and typesetting Cassidy Rayne Creative (www.cassidyrayne.co.uk) Booklet editor Finn S. Gundersen P 2013 Chandos Records Ltd C 2013 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK

24 with Andrew Nethsingha, Director ofMusic Choir ofSt John’s Cambridge, College,

Ben Wright CHANDOS SHEPPARD: SACRED CHORAL WORKS CHSA 0401 3:18 9:58 3:48 4:24 TT 70:07 CHSA 0401 England •

tenor bass Essex bass tenor tenor • tenor Colchester • Spiritus Sanctus procedens Aeterne rex altissime Geoffrey Clapham bass Christ rising again Libera nos, salva nos Xavier Hetherington John Holland-Avery Geoffrey Clapham Samuel Oladeinde Samuel Oladeinde Choir of St John’s College,Choir St Cambridge of John’s Andrew Nethsingha Kieran Brunt 1558) –

11 12 13 14

(c. 1515 3:10 4:20 4:03 1:50 3:01 4:23 5:03 2:34 6:09 18:28 14:00

DIGITAL

2013 Chandos Records Ltd Chandos Records Ltd Ltd Chandos Records 2013 Chandos Records

heppard

tenor tenor (intonation) tenor bass (duet) bass bass S tenor (duet) tenor CHACONNE tenor

2013 Chandos Records Ltd c 2013 Chandos Records p Western Wynde’ Mass Wynde’ Western John Guy Edmund-Jones Guy Edmund-Jones John Clapham ‘Western Wynde’ Mass Wynde’ ‘Western Sanctus Gaude, gaude, gaude Maria virgo In pace,in idipsum dormiam The Lord’s Prayer In manus tuas, Domine Haec dies Samuel Oladeinde Geoffrey Clapham Geoffrey Clapham Guy Edmund-Jones Agnus Dei Gloria

Credo Benedictus

8 9 1 2 3 4 5 6 7 CHANDOS 10

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Choir of St John’s College, Cambridge / Nethsingha CHSA 0401