Saint Nicolas I wanted to recreate this idea of the community. BRItten Mark Le Brocq, tenor There are over 200 singers and only one, the Saint Nicolas & A Ceremony of Carols Crouch End Festival Chorus tenor soloist, is a professional. Whilst we never BBC Concert Orchestra lost sight of musical excellence, the performance Coldfall Primary School Choir celebrates the voices ‘of the people’, who sing Hannah Brine Choirs, with total commitment and passion. Members of Hertfordshire Chorus and other guests Saint Nicolas, Op. 42 A Ceremony of Carols, Op. 28 Mariana Rosas, conductor of Gallery Choir Britten was a cultured and sophisticated artist 1 0 I. Introduction [5.28] I. Procession [1.32] David Temple who also revelled in playfulness, rawness and 2 II. The Birth of Nicolas [2.20] q II. Wolcum Yole! [1.20] passion. He loved the sound of the natural 3 III. Nicolas devotes himself to God [4.37] w III. There is no Rose [2.38] A Ceremony of Carols human voice, especially the voices of children. 4 IV. He journeys to Palestine [7.51] e IV. That yongë child [1.56] Crouch End Festival Chorus He died eight years before Crouch End Festival Chorus began but I am convinced that he (in 5 V. Nicolas comes to Myra and [6.41] r V. Balulalow [1.22] Sally Pryce, harp common with Tippett, in 1994) would have been is chosen Bishop t VI. As dew in Aprille [0.59] David Temple taken with the sound and the total commitment 6 y VI. Nicolas from Prison [3.04] VII. This little Babe [1.28] of the choir, which is made up of beautiful, 7 VII. Nicolas and the Pickled Boys [6.12] u VIII. Interlude [4.09] Introduction flexible and mainly untrained voices. 8 VIII. His piety and marvellous works [4.57] i IX. In Freezing Winter Night [3.42] BY DAVID TEMPLE 9 IX. The Death of Nicolas [6.51] o X. Spring Carol [1.09] The children chosen for this recording are from p XI. Deo Gracias [1.11] Both Saint Nicolas and A Ceremony of Carols a London state primary school (Coldfall Primary a XII. Recession [1.42] have been recorded many times before, so what School), where they have been superbly taught is it about this new recording that sets it apart but still retain that freshness and innocence that Total Timing: [71.12] from those already available? Britten craved. The spirit within the recording sessions was to celebrate getting it right rather Britten’s Saint Nicolas commission (made in than fear getting it wrong. 1947 for £100) was essentially a community project for amateur musicians, involving Lancing The character of Saint Nicolas is so compellingly Crouch End Festival Chorus & BBC Concert Orchestra College – whose centenary the work celebrated attractive, as demonstrated by the glorious send- DAVID TEMPLE – as well as other local schools. In our recording off he gets towards the end of the piece (‘His

www.signumrecords.com - 3 - Piety and Marvellous Works’) – rather like the What I found particularly moving, though, was Britten: Saint Nicolas & The cantata Saint Nicolas was commissioned early stages of an Irish wake where the first the extent to which they embraced the ‘community’ A Ceremony of Carols to celebrate the centenary of Lancing College, few drinks fuel the warmth and tears as each approach to this work, and – in common with where Peter Pears had been at school: his school group relates stories about this beloved person. all the singers (Crouch End Festival Chorus, A Ceremony of Carols (1942/3) and Saint Nicolas days were more conventional than Britten’s, Choosing a tenor for this recording was a Coldfall Primary School, the Congregation choir (1948) are the earliest works that Benjamin and much happier. Lancing was the first of a fascinating exercise. Not only did he need to and Mark Le Brocq) – created such warmth Britten composed for public performance primarily series of schools founded by Nathaniel Woodard, have a fine voice, but it was essential to select and joy in the room. for boys’ voices. It is true that the performers a high-church Anglican clergyman who had someone who performs with insight, intelligence for which Saint Nicolas was originally composed become increasingly preoccupied with the and a profound understanding of the work. A Ceremony of Carols was recorded earlier in the included the choir of a girls’ school, St Michael’s education of the children of the middle classes Mark Le Brocq gave all of that and more. year, using a choir of c. 40 singers from within Bognor, but for Britten they were in a literal sense while a curate in Shoreham-on-Sea, in Sussex. Crouch End Festival Chorus. Again, it was the marginal: ‘I think St Michael’s will have to be In August 1848 he opened Shoreham Grammar Saint Nicolas was recorded in the recently singers’ energy, enthusiasm and attention to relegated to the galleries (where anyhow all girls School and Collegiate Institution, which soon restored Victorian Theatre at Alexandra Palace detail which made this recording day so special should be in Church), because they are obviously became St Nicolas’ Grammar School, taking its in north London. Visually, the space is full of for me. Once the singers had left, I was privileged the most efficient, & their breathy voices are name from Old Shoreham Church. The grammar character and great beauty, but of course for a to hear Britten’s extraordinary harp solo from the obviously most suited to the wind noises & so school merged with a day-school that Woodard recording venue this is of little importance! It is work (played so exquisitely by Sally Pryce) ring out forth’, as he wrote to Peter Pears while composing had previously founded, St Mary’s, and moved the acoustics that are vital. Just before the first in the crystal clear acoustic of All Saints’ Church the piece. Britten retained his interest in boys’ to its present site in Lancing in 1857. Two other session, I asked the choir to warm up with one in East Finchley. voices throughout his composing career, and boys’ schools founded by Woodard in Shoreham, of the hymns from the work. We were all while it might have had a nostalgic aspect, born St John’s and St Saviour’s, moved out to become open-mouthed at the wonderful sound – clear, Of course, neither Saint Nicolas nor A Ceremony of of a sense of innocence lost, the nostalgia was Hurstpierpoint and Ardingly, and the choirs of dynamic and warm. As the recording progressed, Carols would ever have seen the light of day had not for Britten’s own schooldays, which were not these schools, along with that of another Woodard we became more and more aware that London MS Axel Johnson – the ship which transported particularly happy. Real boys could never live up foundation, St Michael’s Girls’ School in Bognor, has been graced with a stunning new recording Britten and Pears back to the UK from America to the ideal in Britten’s imagination. Indeed both joined the Lancing choir in the official premiere on venue and concert hall. in 1942 – been attacked by a German U-boat: works received their first performances from adult 24 July 1948. This was not the first performance, A Ceremony of Carols was composed during that choirs, and have been frequently performed by as Britten had conducted it in Aldeburgh Church The excellent BBC Concert Orchestra are possibly very journey (and Saint Nicolas six years later). adults (sometimes with the addition of children) on 5 June, in the opening concert of the first the most versatile orchestra in existence so it and by girls’ choirs since their composition. Aldeburgh Festival, with largely adult forces. was no surprise that they played Saint Nicolas © David Temple 2020 with such skill, commitment and character.

- 4 - - 5 - The work is scored for tenor solo, main chorus, of Lancing College Chapel, provided an obvious ends with Nicolas reaching adulthood, and the the style of Handel (or the Rossini of the Petite gallery choir, piano duet, organ, strings and subject, and Crozier was sufficiently engaged tenor sings the final ‘God be glorified!’ Messe Solennelle) on the words ‘Serve the Faith percussion. Britten provides a note in the score with the story that he went on to write a children’s and spurn his enemies’, representing a rather with advice to the conductor which reveals book on the subject, The Life and Legends of Saint 3. Nicolas devotes himself to God: in complete more protestant form of Christianity; and the something of his approach to the work – an Nicolas: Patron Saint of Children (1949). In a note contrast to the preceding movement this solo for movement ends with the audience or congregation approach he took to other works for community at the front of the score, Crozier refers to Nicolas the tenor is full of anguish, as Nicolas mourns his joining in with a hymn, ‘All people that on performance. ‘It is suitable for performance by as ‘Bishop of Myra, Patron-saint of children, parents and comes to terms with his calling. earth do dwell’, following in the tradition of any numerically big chorus, even if the singers seamen and travellers’, and the episodes of the performances of Bach’s passions. The words and are not very experienced. The choir in the gallery cantata illustrate these aspects. And while the 4. He journeys to Palestine: this is the first of tune would have been well known to the original should have a separate conductor. The string Nicolas of Crozier’s book is located clearly in the two dramatic movements. The lower voices tell audiences, and Britten’s setting here predates parts are not very sophisticated and can be world of the ancient Mediterranean, the saint he the story of a sea voyage, with piano arpeggios Vaughan Williams’s arrangement made for the played by amateur players, preferably be led created for Britten transcends time and place, to depicting the waves. When a storm arrives, it is Queen’s coronation five years later. by a professional quintet. The piano duet part be invoked by seamen and travellers in Sussex, or evoked by the ‘breathy voices’ of the gallery is also of only moderate difficulty. The first Suffolk, as well as Asia Minor. choir. Nicolas calms the storm, and takes over 6. Nicolas from Prison: the second part of the percussion part is obligato and should be played the narrative, while the piano arpeggios now work opens with another solo for the tenor, as by a professional drummer… the second part Saint Nicolas is a work of nine movements, which evoke the sunlight glittering on the calm a parallel to movement 3. The Church is under is ad libitum and may be played by as many divide into two balanced halves. surface of the sea. attack, and Nicolas calls on the persecutors to gifted and/or enthusiastic amateurs as there are seek repentance. instruments. On the other hand, the solo tenor 1. Introduction: the chorus invokes Nicolas; he 5. Nicolas comes to Myra and is chosen Bishop: part, as can easily be seen, is no amateur matter. appears and inspires them to keep the Christian the organ introduces this evocation of a Byzantine 7. Nicolas and the Pickled Boys: this is the The conductor must be cool-headed and should faith alive. service of consecration. The gallery choir has a second dramatic movement, involving travellers turn to the congregation/audience to conduct different role from the previous movement, here in a famine-struck landscape saved by Nicolas them in the two hymns.’ 2. The Birth of Nicolas: Britten wrote a deliberately describing the rich vestments and implements from eating human flesh. The gallery choir now child-like tune in 6/8 time for the story of Nicolas’ as they are presented to the new bishop. By represents the mothers of kidnapped children, Britten asked Eric Crozier to provide the libretto: miraculous childhood, sung by upper voices. At including the crozier in this list, the librettist is and at the climax of the movement three children he had written the libretto for Britten’s most the premiere this would have been the younger subtly inserting himself into the work. Nathaniel (‘small boys’ according to the score) represent the recent opera, Albert Herring, and had directed the boys, and Britten specifies that the words ‘God be Woodard would no doubt have approved of three boys restored to life by the saint. first production of Peter Grimes in 1945. The life glorified!’ at the end of each verse is to be sung this high-church ritual. But at the end of the of Saint Nicolas, dedicatee (along with St Mary) by the youngest boy in the choir. The movement ceremony, the music transforms into a fugue in

- 6 - - 7 - 8. His piety and marvellous works: this A Ceremony of Carols was begun while Britten and Britten completed his Hymn to St Cecilia, writing the Fleet Street Choir, in Norwich Castle in parallels the account of Nicolas’s birth and Peter Pears were returning from the United States out much of it from memory, as his sketches had December 1942. The following year Britten childhood in the second movement. The music to England in 1942 on the cargo ship MS Axel been confiscated in New York before he began the revised it, adding a further anonymous 14th- is reminiscent of Elgar and Fauré, which Britten Johnson. The last port at which the ship called voyage, as well as composing what he called ‘7 century poem, ‘That yongë child’, and the harp may have considered appropriate for describing before it began the Atlantic crossing was Halifax, Christmas Carols for women’s voices and harp’. interlude. This final version was first performed adulthood, but there are still elements that evoke Nova Scotia, and there Britten picked up a copy of This was made up of the six songs mentioned by the Morriston Boys’ Choir, conducted by Britten childhood (and the ‘legends that our children The English Galaxy of Shorter Poems, chosen and above, and a setting of ‘Hodie Christus natus est’, himself, with the harpist Maria Korchinska, in and their children’s children treasure still’), in edited by Gerald Bullett, and originally published the festive Antiphon for the Magnificat at Vespers London in December 1943. particular the canon sung by the semi-choruses in 1923. This anthology included five of the texts on Christmas Day, the music for which Britten to the words ‘Let the legends that we tell, Praise that Britten set in A Ceremony of Carols: the later adapted for ‘Wolcum Yole!’. Britten had with The work begins and ends with unaccompanied him, with our prayers as well’. anonymous 14th- and 15th- century poems ‘There him two harp manuals, which he was consulting plainchant as the choir processes in at the start is no rose’, ‘As dew in Aprille’ and ‘Deo Gracias’ with a view to composing a concerto for the of the work and out at the end. Within this frame 9. The Death of Nicolas: the final movement, (or ‘Adam lay ybounden’), and two by the 16th- principal harpist of the Philadelphia Symphony are a sequence of movements for full three- like the fifth, has a ritual tone, with the chorus century poet Robert Southwell, ‘This little Babe’ Orchestra, and this may have inspired his choice part choir, singing sometimes in harmony and intoning the Nunc dimittis as Nicolas utters his and ‘In Freezing Winter Night’. of accompaniment. sometimes in canon, with short movements for final words. The chanting grows louder, and there solo (‘That yongë child’) and duet (‘Spring Carol’) is an orchestral climax which dies away before Britten and Pears wrote out other poems Brahms, a composer Britten did not approve of, as well as one or two solo voices singing over the the organ introduces the second congregational on the blank pages at either end, including had composed Four Songs for Women’s Chorus, chorus (‘Balulalow’, ‘In Freezing Winter Night’). hymn, ‘God moves in a mysterious way’, with another of the texts in A Ceremony of Carols, Two Horns and Harp, Op. 17, but Britten’s The use of canon, where different voices sing the Nicolas’s departure mirroring his miraculous ‘Balulalow’. This text, comprising two verses approach to the instrument is very different. same musical line a number of beats apart, is a entrance at the start of the work. Here, after from a translation into Scots of Martin Luther’s On his return to England Britten added the feature of Britten’s writing for children throughout a quiet opening verse, the counterpoint of the hymn ‘Vom Himmel hoch, da komm ich her’, had plainsong ‘Procession’ and ‘Recession’ using the his composing life, from the final song, ‘Old second brings Bach very clearly to mind, and been set two decades earlier by Peter Warlock. text of ‘Hodie Christus natus est’, and reused the Abram Brown’, of his early Friday Afternoons the work ends with the full forces of the Warlock had also composed settings of ‘As dew music composed for those words to set another (1933–5) and the penultimate movement of Saint ensemble unleashed. in Aprille’ and ‘Adam lay ybounden’, and this anonymous 14th-century poem, ‘Wolcum Yole!’. Nicolas, to the operas The Little Sweep (1949) and may explain why it was included – Pears’s first He also added the ‘Spring Carol’, setting the Noye’s Fludde (1958). recording, made in 1936, had been of Warlock’s poem ‘Pleasure it is to hear iwis, the Birdès sing’ ‘Corpus Christi carol’. The voyage from Halifax by William Cornysh (d. 1523). The work received © Hugh Bowden 2020 to Liverpool lasted twelve days and in that time its first performance, by the women’s voices of

- 8 - - 9 - TEXTS CHORUS Help us, Lord! to find the hidden road Saint Nicolas that leads from love to greater Love, Text by Eric Crozier from faith to greater Faith. Strengthen us, O Lord! Screw up our strength to serve Thee with simplicity. 1 Introduction 2 The Birth of Nicolas CHORUS Our eyes are blinded by the holiness you bear. CHORUS The bishop’s robe, the mitre and the cross of gold Nicolas was born in answer to prayer obscure the simple man within the Saint. and leaping from his mother’s womb he cried: Strip off your glory, Nicolas, and speak! NICOLAS (BOY) God be glorified! NICOLAS Across the tremendous bridge of sixteen hundred years CHORUS I come to stand in worship with you as I stood Swaddling-bands and crib awaited him there among my faithful congregation long ago. but Nicolas clapped both his hands and cried:

All who knelt beside me then are gone. NICOLAS Their name is dust, their tombs are grass and clay God be glorified! yet still their shining seed of Faith survives - in you! CHORUS It weathers time, it springs again in you! Innocent and joyful, naked and fair With you it stands like forest oak he came in pride on earth to abide. or withers with the grasses underfoot. © Paul Robinson NICOLAS Recording Saint Nicolas in Alexandra Palace Theatre Preserve the living Faith for which your fathers fought! God be glorified! For Faith was won by centuries of sacrifice and many martyrs died that you might worship God.

- 10 - - 11 - CHORUS 3 Nicolas devotes himself to God 4 He journeys to Palestine The captain went below to sleep Water rippled Welcome! in the bath-tub by his side and left the helmsman there to keep he dived in open-eyed, he swam, he cried: NICOLAS TENORS & BASSES his course with one of the crew. My parents died. All too soon Nicolas sailed for Palestine NICOLAS I left the tranquil beauty of their home across the sunlit seas Nicolas swore he ‘d punish them God be glorified! and knew the wider world of man. The South West wind blew soft and fair for mocking at the Lord Poor Man! I found him solitary, racked seagulls hovered through the air The wind arose, the thunder roared CHORUS By doubt: born, bred, doomed to die and spices scented the breeze. lightning split the waves that poured When he went to church at Christmastide in everlasting fear of everlasting death: in wild cascades on board. he climbed up to the font to be baptised. the foolish toy of time, the darling of decay - Everyone felt that land was near: hopeless, faithless, defying God. all dangers now were past: Waterspouts rose in majesty NICOLAS except for one who knelt in prayer until the ship was tossed God be glorified! Heartsick, in hope to mask fingers clasped and head quite bare abaft, aback, astern, abeam the twisted face of poverty alone by mizzen-mast. lit by the lightning’s livid gleam CHORUS I sold my lands to feed the poor and all aboard cried, “Lost!” Pilgrims came to kneel and pray by his side. I gave my goods to charity The sailors jeered at Nicolas He grew in grace, his name was sanctified. but love demanded more. who paid them no regard SOPRANOS & ALTOS until the hour of sunset came Lightning hisses through the night NICOLAS Heartsick, I cast away and up he stood and stopped their game blinding sight with living light! God be glorified! all things that could distract my mind of staking coins on cards. Ah! from full devotion to His will CHORUS I thrust my happiness behind Nicolas spoke and prophesied TENORS & BASSES Nicolas grew in innocence and pride. but love desired more still. a tempest far ahead “Spare us!” His glory spread in rainbow round the countryside. The sailors scorned such words of fear “Man the pumps!” “Nicolas will be a Saint!” the neighbours cried. Heartsick, I called on God since sky and stars shone bright and clear “Save us…” to purge my angry soul so “Nonsense!” they all said. “Man the pumps! NICOLAS (MAN) to be my only master, friend and guide Axes! Axes!” God be glorified! I begged for sweet humility Darkness was soon on top of them “… Saviour!” and Love was satisfied. but still the South wind blew

- 12 - - 13 - SOPRANOS & ALTOS SOPRANOS & ALTOS Pity our simplicity CHORUS Winds and tempests howl their cry Thunder rends the sky asunder for we are truly pitiable in Thy sight. Place the mitre on your head to show your mastery of battle through the raging sky! with its savage shouts of wonder! Amen.” of men! Amen. Ah! Ah! Take the golden robe that covers you with Christ’s The winds and waves lay down to rest authority! Amen. TENORS & BASSES TENORS & BASSES the sky was clear and calm Wear the fine dalmatic woven with the cross of “Spare us!” “Pray to God! Kneel and pray!” The ship sailed onward without harm faith Amen. and all creation sang a psalm “Lifeboats!” SOPRANOS & ALTOS “Save us… ” of loving thankfulness. Bear the crozier as a staff and comfort to your Lightning, Thunder, Tempest, Ocean flock! Amen. “Lifeboats! Lower away!” Praise their God with voice and motion. “… Saviour!” Beneath the stars the sailors slept Set the ring upon your hand in sacramental sign exhausted by their fear, while I TENORS & BASSES of wedlock with thy God! Amen. knelt down for love of God on high SOPRANOS & ALTOS Nicolas waited patiently Serve the faith and spurn his enemies! and saw his angels in the sky Waves repeat their angry roar till they were on their knees smile down at me, and wept. CONGREGATION and CHORUS Fall and spring again once more! then down he knelt in thankfulness All people that on earth do dwell Ah! begging God their ship to bless 5 Nicolas comes to Myra and is chosen Bishop sing to the Lord with cheerful voice! and make the storm to cease. Him serve with fear, His praise forth tell TENORS & BASSES CHORUS NICOLAS Come ye before Him and rejoice. “Let her run before the wind!” Come Stranger sent from God! Come, man of God! “Shorten sail!” “O God! We are all weak, sinful, foolish men. Stand foremost in our church and serve this diocese We pray from fear and from necessity at death O enter then His gates with praise “Shorten sail!” as Bishop Nicolas, our shield, our strength, our peace! approach with joy His courts unto “Reef her!” in sickness or private loss Without the prick of fear our conscience praise, laud and bless His name always ”Reef her!” NICOLAS For it is seemly so to do. “Reef her!” sleeps, forgetful of Thy grace. I, Nicolas, Bishop of Myra and its diocese ”Reef her!” shall with the unfailing grace of God Help us, O God, to see more clearly For why? The Lord, our God is good: “Heave her to!” defend his faithful servants Tame our stubborn hearts His mercy is for ever sure comfort the widow and fatherless Teach us to ask for less His truth at all times firmly stood and fulfill his will for this most blessed church. and offer more gratitude to Thee. and shall from age to age endure. Amen. Amen.

- 14 - - 15 - 6 Nicolas from Prison 7 Nicolas and the Pickled Boys CHORUS THREE SMALL BOYS, GALLERY & CHORUS Let us share this dish of meat “Alleluia” to their King! NICOLAS CHORUS Come, my friends, sit down and eat! 8 Persecution sprang upon our church Famine tracks us down the lanes Join us, Bishop, for we know His piety and marvellous works and stilled its voice hunger holds our horses’ reins that you have far to go! Eight barren years it stifled under Roman rule: winter heaps the roads with snow CHORUS And I lay bound O we have far to go! SOPRANOS & ALTOS (IN GALLERY) For forty years our Nicolas condemned to celebrate my lonely sacrament with Mary meek and Mother mild our prince of men, our shepherd prison bread Starving beggars howl their cry who lost thy Jesus as a child and our gentle guide walked by our side. while wolves ran loose among my flock. snarl to see us spurring by our Timothy, Mark and John are gone, are gone! O man! The world is set for you as for a king! times are bad and travel slow We turned to him at birth and death Paradise is yours in loveliness O we have far to go! CHORUS in time of famine and distress The stars shine down for you for you Come, your Grace, don’t eat so slow! in all our grief to bring relief. the angels sing Take some meat! SOPRANOS (IN GALLERY) He led us from the valleys yet you prefer your wilderness We mourn our boys, our missing sons! You hug the rack of self NICOLAS to the pleasant hills of grace We sorrow for three little ones! O do not taste! O do not feed on sin! He fought to fold us in from mortal sin embrace the lash of sin Timothy, Mark and John are gone, are gone! pour your treasures out to bribe distress But haste to save three souls in need! O! He was prodigal of love! You build your temples fair without and foul within: CHORUS The mothers’ cry is sad and weak You cultivate your wilderness A spendthrift in devotion to us all Landlord, take this piece of gold! within these walls they lie and blessed as he caressed Yet Christ is yours, yours! Bring us food before the cold For you he lived and died whom mothers sadly seek. We keep his memory alive makes our pangs of hunger grow in legends that our children God in mercy gave his Son Timothy, Mark and John O we have far to go! and their children’s children treasure still. to bless you all, to bring you life put your fleshly garments on! and Him you crucified ALTOS (IN GALLERY) Come from dark oblivion! Come! to desecrate your wilderness SMALL CHOIRS Day by day we seek to find A captive at the heathen court Turn, turn away from sin! Ah! CHORUS some trace of them but oh! Unkind! wept sorely all alone Bow down your hard and stubborn hearts! Timothy, Mark and John are gone, are gone! See! Three boys spring back to life Confess, confess yourselves to Him in penitence who, slaughtered by the butcher’s knife “O Nicolas is here, my son! and humbly vow your lives to Him, to holiness. lay salted down! And he will bring you home!” And entering, hand in hand they stand and sing

- 16 - - 17 - “Fill, fill my sack with corn!” he said Let the legends that we tell For mine eyes have seen Thy salvation A Ceremony of Carols “We die from lack of food!” praise him, with our prayers as well. which Thou hast prepared 0 And from that single sack he fed before the face of all people Procession a hungry multitude. CHORUS to be a light to lighten the gentiles Hodie Christus natus est: We keep his memory alive and to be the glory of Thy people Israel. hodie Salvator apparuit: Three daughters of a nobleman in legends that our children hodie in terra canunt angeli laetantur archangeli: were doomed to shameful sin and their children’s children treasure still. Glory be to the Father hodie exsultant justi dicentes: till our good Bishop ransomed them and to the Son and to the Holy Ghost gloria in excelsis Deo. Alleluia! by throwing purses in. 9 The Death of Nicolas As it was in the beginning is now and ever shall be world without end. q Wolcum Yole! The gates were barred, the black flag flew NICOLAS Amen! three men knelt by the block Death, I hear thy summons and I come Wolcum, Wolcum, But Nicolas burst in like flame in haste, for my short life is done CONGREGATION & CHORUS Wolcum be thou hevenè king, and stayed the axe’s shock. And o! my soul is faint with love God moves in a mysterious way Wolcum Yole! for Him who waits for me above. His wonders to perform Wolcum born in one morning, “O help us, good Nicolas! He plants His footsteps in the sea Wolcum, for whom we sall sing! Our ship is full of foam!” Lord, I come to life, to final birth and rides upon the storm. Wolcum be ye, Stevene and Jon, He walked across the waves to them I leave the misery of earth Wolcum, Innocentes every one, and led them safely home. for light, by Thy eternal grace Deep in unfathomable mines Wolcum, Thomas marter one, where I shall greet Thee face to face. of never failing skill Wolcum be ye, good Newe Yere, He sat among the bishops He treasures up his bright designs Wolcum Twelfthe Day both in fere, who were summoned to Nicaea: Christ, receive my soul with tenderness and works His sovereign will. Wolcum seintes lefe and dere. then rising with the wrath of God for in my last of life I bless Wolcum Yole, Wolcum Yole, Wolcum! boxed Arius’s ear! Thy name who lived and died for me Ye fearful saints, fresh courage take Candelmesse, Quene of bliss, and dying, dying yield my soul to Thee. the clouds ye so much dread Wolcum bothe to more and lesse. He threatened Constantine the Great are big with mercy and shall break Wolcum, Wolcum, Wolcum be ye that are here, with bell and book and ban: CHORUS in blessings on your head. Wolcum Yole, Wolcum alle and make good cheer. till Constantine confessed his sins Lord, now lettest Thou Thy servant Amen! Wolcum alle another yere. like any common man. depart in peace, according to Thy word Wolcum Yole, Wolcum!

- 18 - - 19 - w There is no Rose Whoso attendeth to her song y This little Babe u Interlude (Harp Solo) And leaveth the first then doth he wrong. There is no rose of such vertu This little Babe so few days old, i In Freezing Winter Night As is the rose that bare Jesu. r Balulalow Is come to rifle Satan’s fold. Alleluia, Alleluia. All hell doth at his presence quake, Behold, a silly tender babe, For in this rose conteinèd was O my deare hert, young Jesu sweit Though he himself for cold do shake; In freezing winter night, Heaven and earth in litel space Prepare thy creddil in my spreit, For in this weak unarmèd wise In homely manger trembling lies. Res miranda, Res miranda. And I sall rock thee to my hert, The gates of hell he will surprise. Alas, a piteous sight! By that rose we may well see And never mair from thee depart. With tears he fights and wins the field, The inns are full; no man will yield There be one God in persons three, But I sall praise thee evermoir His naked breast stands for a shield; This little pilgrim bed. Pares forma, Pares forma. With sanges sweit unto thy gloir; His battering shot are babish cries, But forced he is with silly beasts The aungels sungen the shepherds to: The knees of my hert sall I bow His arrows looks of weeping eyes; In crib to shroud his head. Gloria in excelsis Deo. And sing that richt Balulalow! His martial ensigns Cold and Need, This stable is a Prince’s court, Gaudeamus, Gaudeamus. And feeble Flesh his warrior’s steed. This crib his chair of State; Leave we all this werldly mirth, t As dew in Aprille His camp is pitchèd in a stall, The beasts are parcel of his pomp, And follow we this joyful birth. His bulwark but a broken wall; The wooden dish his plate. Transeamus, Transeamus, Transeamus. I sing of a maiden that is makèles: The crib his trench, haystalks his stakes, The persons in that poor attire King of all kings to her son she ches. Of shepherds he his muster makes; His royal liveries wear; Alleluia, Res miranda, Pares forma, Gaudeamus, He came al so stille there his moder was, And thus, as sure his foe to wound, The Prince himself is come from heaven; Transeamus, Transeamus, Transeamus. As dew in Aprille that falleth on the grass. The angels’ trumps alarum sound. This pomp is prized there. He came also stille to his moder’s bour, My soul, with Christ join thou in fight, With joy approach, O Christian wight, Do homage to thy King, e That yongë child As dew in Aprille that falleth on the flour. Stick to the tents that he hath pight; He came also stille there his moder lay Within his crib is surest ward, And highly praise his humble pomp, That yongë child when it gan weep As dew in Aprille that falleth on the spray. This little Babe will be thy guard; wich he from Heaven doth bring. With song she lulled him asleep Moder and mayden was never none but she: If thou wilt foil thy foes with joy, That was so sweet a melody Well may such a lady Goddes moder be. Then flit not from this heavenly boy. It passèd alle minstrelsy. The nightingalë sang also: Her song is hoarse and nought thereto:

- 20 - - 21 - o Spring Carol a Recession

Pleasure it is to hear iwis, the Birdès sing. Hodie Christus natus est: The deer in the dale, the sheep in the vale, hodie Salvator apparuit: The corn springing. hodie in terra canunt angeli laetantur archangeli: hodie exsultant justi dicentes: God’s purvayance for sustenance, gloria in excelsis Deo. Alleluia! It is for man, it is for man. Then we always to give him praise, And thank him than. p Deo Gracias

Deo Gracias! Deo Gracias! Adam lay ibounden, bounden in a bond; Four thousand winter thought he not too long. Deo Gracias! Deo Gracias! And all was for an appil, An appil that he tok, As clerkès finden written in their book. Deo Gracias! Deo Gracias!

Ne had the appil takè ben, The appil takè ben, Ne haddè never our lady A ben hevenè queen. Blessed be the time That appil takè was. Therefore we moun singen, © Paul Robinson Deo Gracias! Deo Gracias! Recording Saint Nicolas in Alexandra Palace Theatre

- 22 - - 23 - CROUCH END FESTIVAL regular collaborations with Sir Ray Davies, Ennio CHORUS Morricone, Noel Gallagher and Hans Zimmer, all of whom are patrons of the choir. Recent recordings Founded in 1984, Crouch End Festival Chorus include the fi rst in forty-fi ve years of J.S. Bach’s St has established a reputation as one of the world’s John Passion sung in English, which was released leading symphonic choirs, repeatedly commended by Chandos Records in 2017 and continues for its communicative power and versatility. Under to garner critical acclaim; the world-premiere David Temple MBE, its conductor and co-founder, recording of Hubert Parry’s oratorio Judith, the choir gives concerts that illuminate the choral released in March 2020 also on Chandos Records; world with imaginative and bold programming, and the American composer Arnold Rosner’s in which established choral works are mixed with Requiem – another world-premiere recording. commissions of great variety and innovation. www.cefc.org.uk The Chorus is much in demand among the top orchestras in the UK and performs regularly for the BBC, recently participating in the UK premiere of John Luther Adams’s work for massed choirs In the Name of the Earth at the 2019 BBC Proms. It has appeared in recent concert performances of Prokofi ev’s Cantata for the Twentieth Anniversary of the October Revolution under Vladimir Ashkenazy and Berlioz’s Grande Messe des morts under François-Xavier Roth, among others. In constant demand for recording work

Paul Robinson and live promotions, the Chorus has worked with

© musicians from the rock and pop world and with Crouch End Festival Chorus with the London Mozart players at the Barbican, London television and fi lm composers; recent highlights include recording the Grammy-nominated soundtrack for Rocketman and the music for the TV series Good Omens. It has also enjoyed

- 24 - - 25 - Saint Nicolas A Ceremony of Carols

Crouch End Kate Screen Gaenor Kyffin Paul Winter Soloists Festival Chorus Rachel Seghers Diana Leadbetter Steve Wright Caroline Milton, treble 2 (That yongë child); Genevieve Helsby, treble 1 (Balulalow) * Gallery Choir (conducted Melanie Servante * Hannah Leonard Rosemary Zolynski, treble 1; Alison Brister, treble 2 (In Freezing Winter Night) by Mariana Rosas) Hannah Shaw Paula Miller Basses Rosemary Zolynski, treble 1; Caroline Milton, treble 2 (Spring Carol) Emily Soppet Caroline Milton * Neil Beston Sopranos Dinu Suntook Lesley Murphy Hugh Bowden Rosamund Bell Julia Taylor Annemarie O’Callaghan Bruce Boyd Treble 1 Treble 2 Treble 3 * Rosie Best Isabella Van Braeckel * Diana Parkinson Michael Brookes Naomi Rolfe Eugenie Aitchison Alison Brister * Catherine Best Pamela Vernon Sarah Proudlove Nick Buxton Louise Borjes Ros Bell Chandrika Chevli * Jenny Boyce * Jenny Vernon Chen Tereza Shwartz Richard Cracknell Jenny Boyce Catherine Best Ida Griffith Clementine Chirol Lucy Whitman Karen Stead Stephen Fellowes Flora Cox Rosie Best Charlotte Halliday * Pamela Constantinou Rachel Yarham * Nina Weiss Robert Gorrie Margaret Ellerby Tina Burnett Yola Jacobsen Margaret Ellerby * Rosemary Zolynski Cathy Welch Stephen Greenaway Liz Forgan Sarah Elliot Emma Kingsley * Ellie Fieldsend * Jennifer Weston Bryan Hammersley Genevieve Helsby Ellie Fieldsend Gaenor Kyffin Felicity Ford Altos Duncan McAlpine Elizabeth Lawlor Natalie Fine Diana Leadbetter * Tanya Forward Lucy Bailey Tenors John Mindlin Davina Ross-Anderson Clare James Hannah Leonard * Genevieve Helsby * Alison Brister Bob Bishop Daryn Moody Imogen Rush Sarah Niblock Paula Miller Sheila Holloway Tina Burnett * Ivan Brett Peter Newsom Emily Soppet Annemarie O’Callaghan Caroline Milton * Rachel Johnson Helen Casson * James Brown Bryn Popham Lucy Whitman Kate Screen Sarah Proudlove * Marianne Johnson * Chandrika Chevli Martin Dowling John Rayfield Rachel Yarham Melanie Servante Karen Stead * Emma Lindsey Becky Claye John Featherstone Alistair Scott Rosemary Zolynski Julia Taylor Jennifer Weston Pinky Millward Katharine Duncan Matt Griffin David Sloan * Kirsten Morrell Sarah Elliot Peter Herbert Ralph Smith Procession and Recession Singers Sarah Niblock Natalie Fine * Steve James Peter West Rowan Reiss Ida Griffith * Colin McIntyre Christopher Wetherall Sarah Robinson Mary Grove Robin Pietà Robin White Naomi Rolfe Yola Jacobsen John Vernon Alistair Yates Davina Ross-Anderson * Alice Jeffery * Adrian Warner Imogen Rush * Jane Kember Toryn Westcott Roxanne Scott * Emma Kingsley * David Williams

- 26 - - 27- BBC CONCERT ORCHESTRA The BBC Concert Orchestra appears annually Along with its regular engagements throughout concerts, the BBC Family Orchestra; Chorus and at the BBC Proms, with concerts last season the UK, the Orchestra tours internationally. more. As part of the 2019 - 20 season, Principal The mission of the BBC Concert Orchestra is to celebrating the summer of 1969 and the legacy The BBC Concert Orchestra, alongside the BBC Guest Conductor Designate Anna-Maria Helsing bring inspiring musical experiences to everyone, of Proms founder-conductor Henry Wood, as well Symphony Orchestra and Chorus, BBC Singers conducted our family concert at the Southbank everywhere, with the ensemble’s great versatility as at Proms in the Park in Hyde Park alongside and BBC Proms as part of Get Involved, offer Centre, Musical Roots. There is something for as the key. The Orchestra can be heard regularly world-class headliners Barry Manilow and family concerts and enjoyable, adventurous and everyone – schools, families, students and on BBC Radio 2’s Friday Night Is Music Night Chrissie Hynde. It is an Associate Orchestra innovative education work which includes singing amateur musicians of all ages. and on BBC Radio 3 exploring a wide selection at the Southbank Centre, where highlights of workshops, family-friendly introductions to of classical and contemporary music. The the 2019 - 20 season included the European Orchestra has performed on many TV soundtracks, premiere of Flower Power by Julia Wolfe, a 1st Violins Violas Timpani including the original Blue Planet and Serengeti, performance as part of the EFG London Jazz Nathaniel Anderson-Frank Leader Timothy Welch Marney O’Sullivan Charles Mutter Nigel Goodwin as well as being seen courtside for The No.1 Festival, and a noir-inspired audio drama by Court Celebration from Wimbledon. Rebecca Turner Helen Knief Percussion Kurt Elling The Big Blind. Peter Bussereau Mike Briggs Alasdair Malloy Chereene Price Judit Kelemen Mick Doran Juan Gonzalez Adrian Smith Tom Lee Rustom Pomeroy Helen Goatly Alice Hall Piano Caroline Bishop Cellos Ben Dawson Tim Warburton Benjamin Hughes Caroline Jaya Ratnam Robin Martin Miwa Rosso Matthew Lee Organ 2nd Violins Josephine Abbott Malcolm Hicks Marcus Broome Rowena Calvert Daniel Mullin Jane Lindsay Sarah Freestone Anna Ritchie Double Basses Nicola Goldscheider Andrew Wood Sheila Law Stacey-Ann Miller Robin Martin Dave Brown Rob Yeomans Siret Lust Julia Stewart

- 28 - - 29 - COLDFALL PRIMARY Anastasia Litfar Isaac Munn Sol Smith SCHOOL CHOIR Dania Grace Makki Natasha Mushamani Anjuna Somavarapu Vanessa Mbyuambo Calvin Qui Levente Szegi Coldfall School is a large state-run primary school Jemima McCourt Sandie Hammond Richards Butterfly Thomas-Robinson Eden McNicholas Elodie Saunders † Arwen Ward in the London Borough of Haringey. Its school Clarissa Mensah Sofia Siddique Evie Worton choir is formed of pupils from Year 5 and 6 who perform regularly in London and further afield. The choir rehearses weekly under the direction of Kate Vetch with assistance from Rob Bean and sings HANNAH BRINE CHOIRS Congregational Choir: Brian Martin a wide range of music in 3- and 4-part harmony. Hannah Brine Choirs, Fred Matthews Recent performances include the London premiere Hannah Brine Choirs, comprising singers from members Sava Mintchev of Hertfordshire Chorus and Robin Morley of Rio Amazonas with Roland Perrin and his Finsbury Park Singers, Kensington Singers and Blue Planet Orchestra at the Barbican, Carmina other guests Tom Murphy Zachary Almeida-Rosser (Boy Nicolas) Victoria Park Singers, under their award-winning Burana at the Queen Elizabeth Hall with Crouch Rebecca Naylor conductor, Hannah Brine, has an enviable Suzanne Andrea Mary Newton End Festival Chorus, and the world premiere Temple. The choir was also recently invited to reputation for performing not only arrangements Bath Arscott Nina Pang of James McCarthy’s One Giant Leap by James perform at the Music for Youth National Festival of traditional, pop, and classical music but Rosie Bannister Alex Phennah McCarthy with the London Orchestra da Camera at Symphony Hall, Birmingham, and has sung in also for pioneering new works. In recent years Leila Brookes Dan Pope and Hertfordshire Chorus also at the Queen the Wigmore Hall, Royal Albert Hall, Union Chapel members have performed at the Proms (European Janet Cameron Evelyn Poulton Elizabeth Hall, all under the baton of David and Alexandra Palace Theatre. premiere of John Luther Adams’s In the Name of Beth Chappell Alison Schroeder Jessica Dormer the Earth), The Royal Variety Show and The Olivier Laura See † Jo Edwards Harriet Spicer Coldfall Primary School Choir Lois Cole Lara Gosling Awards (with Gary Barlow and Girls), and at the Samson Ewo Sue Steel Katherine Vetch, music director Holly Cook Ella Gosling Barbican and St John’s Smith Square. They have * Boy Nicolas Lola Currie Ivy Gray Louisa Gummer Mike Storey also premiered works written specifically for them, † Three Small Boys Nancy Dickie Rimay Harlow Victoria Haddock Richard Syme Taisa Fluery Anna Hilber including Benny Lee’s Requiem. They are proud to Guy Hale Carole Teacher Priscilla Grace Aina Lyra Gardiner Anna Hodge be non- auditioned choirs and further details can Minna Hartikainen Peter White Zachary Almeida-Rosser * Erykah Golon † Lina Hachimi Idrissi be found at www.hannahbrine.co.uk. Susie Houtheusen Marjorie Wilson Stanley Badasconyi Julian Gonzalez Beth Ingber Anne Lambourne Daria Zenkova Thea Blain Spencer Gooding Ellie Kajimura Natalia Langlais Eva Clark Neri Gordon Lily Kohler

- 30 - - 31 - DAVID TEMPLE MARK LE BROCQ

David Temple MBE began his life as a musician Mark Le Brocq held a choral scholarship at when, at the age of eighteen, he joined the St. Catharine’s College, Cambridge where he London Philharmonic Choir. He taught himself read English. He studied at the Royal Academy to read music and was, within weeks, singing of Music with Kenneth Bowen and later under conductors such as Sir Georg Solti, Sir continued at the National Opera Studio where Adrian Boult, Bernard Haitink, and Leopold he was sponsored by the Friends of English Stokowski. His passion for classical music National Opera. drew him towards conducting, and after having made a number of commercial recordings he Mark’s opera roles include Tamino (The became the founding conductor of Crouch Magic Flute), Paris (King Priam), Cassio End Festival Chorus. His extensive repertoire (Otello), Narraboth (Salome), Vasily Golitsyn includes an impressive collection of commissions, (Khovanshchina), Filka Morozov (From the from 1985 to 2018. With CEFC he has conducted House of the Dead) and Bassanio (The Mahler’s Eighth Symphony in a sold-out Royal Merchant of Venice) for Welsh National Opera. Festival Hall and Harmonium by John Adams

© Debbie Ram His many roles with Opera North include Bob in the presence of the composer. He has also Boles (Peter Grimes), Siegmund (Die Walküre), prepared the choir for concerts under genres, including Ray Davies, Ennio Morricone, Froh (Das Rheingold), Shapkin (From the House RLPO and at the Royal Albert Hall). Mark has conductors such as Valery Gergiev, Esa-Pekka and Hans Zimmer, all of whom are patrons of of the Dead), and Vitek (The Makropulos Case) appeared with the BBC Symphony Orchestra Salonen, Semyon Bychkov, Edward Gardner, Crouch End Festival Chorus. (also at Edinburgh International Festival). in Dead Man Walking and Schubert’s Mass in and Jiří Bělohlávek. A guest chorus master of E Flat, and has performed Mozart’s Requiem, the BBC Symphony Chorus, he has also, since On the concert platform Mark has appeared as Handel’s Dixit Dominus and Purcell’s The Fairy 2000, been Music Director of Hertfordshire a soloist worldwide. UK performances include Queen at the BBC Proms. Further afield, he has Chorus; in June 2016 he recorded Will Todd’s J.S. Bach’s Christmas Oratorio at Cadogan Hall; performed Elgar’s The Dream of Gerontius with Ode to a Nightingale and James McCarthy’s Beethoven’s Missa Solemnis at the Three Choirs the RTÉ National Symphony Orchestra in Dublin, Codebreaker with HC and the BBC Concert Festival; J.S. Bach’s St Matthew Passion with the Beethoven’s ‘Choral’ Symphony at the BBC Orchestra. David Temple relishes his Academy of Ancient Music and Gabrieli Consort Dubai Proms and Janáček’s The Diary of One Who collaborations with musicians from other and Orff’s Carmina Burana (Ulster Orchestra, Disappeared at Nuremberg International Festival.

- 32 - - 33 - Mark’s recent engagements include Pierre in Her concerto work has included performances Crouch End Festival Chorus would like to thank those CEFC Members and Friends who Welsh National Opera’s acclaimed production of Debussy’s Danses with the Northern Sinfonia, generously sponsored this recording. of Prokofiev’s War & Peace. He also performed Britten Sinfonia and Orchestra of the Swan. the role of Harry King in Anthropocene, a new With Adam Walker (flute) she has performed DEDICATIONS work by Stuart MacRae for Scottish Opera, and Mozart’s Flute and Harp Concerto with the Royal returned to David Pountney’s production of Philharmonic and Bournemouth Symphony “For my grandson Ren and his children’s children. “Commemorating first performing Britten in 1964 From the House of the Dead with WNO at the Orchestras and the Academy of St Martin in the This is Grannemarie’s favourite story.” (‘Pickled Boy’ understudy), also Janáček Brno Festival, Czech Republic. On the Fields (Mostly Mozart Festival, Barbican). Annemarie O’Callaghan life-long friend Chris Newbegin (1953–2020).” concert platform Mark joined the BBC Symphony Bruce Boyd Sally was the solo harpist for a critically Orchestra to sing Sylvester in Mark-Anthony “In memory of my late aunt, Joyce Doreen Turner, acclaimed series of performances of Britten’s Turnage’s The Silver Tassie. classical music lover and bassoon player.” “In memory of Freda, long-serving Bach Choir Canticles with Ian Bostridge. Other highlights Will Paine member and CEFC supporter.” Robin White SALLY PRYCE include numerous concerts at the Wigmore Hall with various groups including the Nash Ensemble “In memory of Rachel Bowden (1932–2020).” “In memory of Anne Smith and of Praised for her ‘deft musicality’, Sally is as well as her own group (Sally Pryce Ensemble), Noël Cameron Smith.” much in demand as soloist, chamber and world premieres at the Presteigne Festival and orchestral musician. BBC Radio 3 broadcasts of performances from “Gratefully,” Pinky Millward the Cheltenham Festival. She is principal harp with the Aurora Orchestra, with whom she has been a participant in a wide variety of projects from full symphonic Recorded 18th January 2020 at All Saints’ Church, East Finchley, London, P 2020 The copyright in this sound recording is owned by BBC & Signum Records Ltd. (Saint Nicolas) performances at the BBC Proms to being a and 13th-14th March 2020 at Alexandra Palace Theatre, London. P 2020 The copyright in this sound recording is owned by Signum Records Ltd. (A Ceremony of Carols) regular chamber performer for their popular © 2020 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Producer – Isabella de Sabata Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Far Far Away concerts for children. As a freelance Recording Engineer, Mixing and Mastering – Mike Hatch Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. orchestral musician, Sally regularly guests with Recording Assistant & Editor – Tom Lewington Licences for public performances or broadcasting may be obtained from Phonographic Performance Crouch End Festival Chorus Project Manager – Genevieve Helsby Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, orchestras including the RPO, BBC Symphony and or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or Concert orchestras, CBSO, Britten Sinfonia and Cover Image – Witold Krasowski otherwise, without prior permission from Signum Records Ltd. Design and Artwork – Woven Design www.wovendesign.co.uk at the Royal Opera House. SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middlesex, UB6 7LQ, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com

- 34 - - 35 - ALSO AVAILABLE on signumclassics

Adeste Fideles A Winter’s Night Christmas Carols from Her Majesty’s Chapel Choir Christmas Music for Choir, Brass Quintet & Organ SIGCD460 SIGCD646

Huw Williams leads the choir of Her Majesty’s Chapel Royal in Hear the increasingly popular sound of brass ensemble, choir a festive new recording of Christmas carols old and new from and organ, when Winchester College Chapel Choir and Onyx St James’ Palace, London. Brass team up to create an eclectic list of Christmas pieces.

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

- 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN Customer SignumClassics MAGENTA YELLOW Catalogue No.SIGCD649 BLACK Job Title: Britten SIGNUM CLASSICS

SIGCD649 BRItten

Saint Nicolas & A Ceremony of Carols BRITTEN: Saint Nicolas, Op. 42 A Ceremony of Carols, Op. 28 1 I. Introduction [5.28] 0 I. Procession [1.32]

2 II. The Birth of Nicolas [2.20] q II. Wolcum Yole! [1.20] SAINT NICOLAS / A CEREMONY OF CAROLS · CEFC / BBCCO / TEMPLE 3 III. Nicolas devotes himself to God [4.37] w III. There is no Rose [2.38] 4 IV. He journeys to Palestine [7.51] e IV. That yongë child [1.56] 5 V. Nicolas comes to Myra and is chosen Bishop [6.41] r V. Balulalow [1.22] 6 VI. Nicolas from Prison [3.04] t VI. As dew in Aprille [0.59] 7 VII. Nicolas and the Pickled Boys [6.12] y VII. This little Babe [1.28] 8 VIII. His piety and marvellous works [4.57] u VIII. Interlude [4.09] 9 IX. The Death of Nicolas [6.51] i IX. In Freezing Winter Night [3.42] o X. Spring Carol [1.09] p XI. Deo Gracias [1.11] a XII. Recession [1.42]

Total Timing: [71.12]

SAINT NICOLAS / A CEREMONY OF CAROLS · CEFC / BBCCO / TEMPLE / BBCCO / CEFC · CAROLS OF CEREMONY A / NICOLAS SAINT Crouch End Festival Chorus & BBC Concert Orchestra DAVID TEMPLE Mark Le Brocq • Sally Pryce • Coldfall Primary School Choir • Hannah Brine Choirs

BRITTEN: • Members of Hertfordshire Chorus and other guests Mariana Rosas LC15723

P 2020 BBC & Signum Records Signum Records Ltd, Suite 14, 21 Wadsworth Road, (Saint Nicolas) DDD P SIGCD649 Perivale, Middlesex UB6 7LQ, United Kingdom. SIGCD649 2020 Signum Records (A Ceremony of Carols) 24 bit digital recording www.signumrecords.com © 2020 Signum Records 6 35212 06492 4 SIGNUM CLASSICS