(1653–1706)

P

Pachelbel: Ingressus in C minor (1652–1735): [originally in D minor] P92 Sonata à 5 in A minor 1. Sonata [0.57] 14. Allegro [3.19] 2. Deus in adiutorium [1.37] 15. Adagio [0.54] 3. Gloria patri [2.12] 16. Allegro [0.59] 4. Sicut erat [3.02] 17. Presto [0.44] 18. Adagio [1.04] Pachelbel: Magnificat in C major [orig. E-flat major] P250 Pachelbel: Ingressus in E minor 5. Sonata [1.04] [G minor] P96 6. Magnificat [0.52] 19. Sonata [1.06] 7. Et exultavit [1.46] 20. Deus in adiutorium [1.17] 8. Quia respexit [1.34] 21. Domine ad adiuvandum [1.14] 9. Et misericordia [2.33] 22. Gloria [1.45] 10. Fecit potentiam [2.51] 23. Gloria Patri, Sicut erat [3.47] 11. Suscepit Israel [1.59] 12. Gloria [4.14] Pachelbel: Ingressus in G major 13. Sicut erat [2.53] [A major] P97 24. Sonata [1.50] 25. Gloria Patri [1.22] 26. Sicut erat [3.15]

Pachelbel: Ingressus in G minor Pachelbel: Magnificat in F major [A minor] P98 [G major] P253 27. Sonata [1.50] 36. Magnificat [2.36] 28. Deus in adiutorium [1.24] 37. Deposuit [0.50] 29. Gloria [1.22] 38. Sicut locutus est [0.52] 30. Sicut erat [0.49] 39. Sicut erat, Amen [1.53] 31. Et in secula seculorum [3.21] Pachelbel: Ingressus in B-flat major Johann Caspar Kerll (1627–1693): [C major] P88 Sonata à 5 in G minor 40. Deus in adjutorium [1.21] 32. Allegro [1.06] 41. Sicut erat [1.58] 33. [Vivace] [0.36] 34. [Andante] [1.02] Total Timings [72.49] 35. Allegro [1.17]

The King’s Singers Charivari Agréable Directed by Kah-Ming Ng

www.signumrecords.com A Perfect and Rare Virtuoso keyboard chorale variations entitled Mu s i c a l i s c h e P Sterbens-Gedancken. The bitterness of such tragedy The music contained in this CD represents a did not, however, deter Pachelbel from remarrying selection of Vespers movements written by the in 1684: thereafter followed another son, stillborn, m organist Johann Pachelbel. They have in common before Wilhelm Hieronymus arrived in 1686, followed the distinctively sonorous scoring of four or two years later by a daughter Amalia. s m five-part choir, accompanied by a six-part string h orchestra to which is added, at the composer’s Erfurt was one of Thuringia’s most important and express request, a bassoon. The manuscripts of prosperous cities. At the heart of the Reformation, most of Pachelbel’s Vespers music are to be found Erfurt University’s most famous alumnus was in the Tenbury collection of Oxford University’s Martin Luther. When in June 1678 Pachelbel took Bodleian Library. That Oxford should come to be up the position of organist at the Predigerkirche, the unique source might be related to a concatenation he was to remain in the city for 12 years, his of unforeseen twists of fate and fortune. The longest tenure in any one place. There he first a d Vespers might never have come to be written had lodged in the home of Johann Christian Bach, Pachelbel been successful in his attempts at director of the town musicians, probably in e being a court musician. And had his second the same room that had been occupied by a c surviving son Carl Theodorus not abandoned his Johann Christian’s first cousin Johann Ambrosius b fatherland for the New World, the Vespers might Bach, father of the famous Johann Sebastian. p never have fetched up in Oxford. Pachelbel’s connections with the Bachs were ‘ s intricate: he later bought the house from Christian’s J Carl Theodorus would have been his fourth son, widow, and Pachelbel was godfather to Johann but both Pachelbel’s first son and wife died in Sebastian’s sister, Johanna Juditha, and teacher to a G 1683, victims of the most vicious plague in their eldest brother Johann Christoph. s ’s history since the time of the Black Death E u and the Thirty Years War. Its epicentre, Erfurt, The demands of his new position would have been p lost half its population within a couple of years. a welcome relief, for Pachelbel had just wasted e Pachelbel commemorated his devastating familial a whole year, from May 1677, as court organist o i losses by publishing in the same year a set of in Eisenach, the ancestral foraging ground of the D t

- 4 - - Bach clan. His prospects fizzled out when the court Pachelbel was released from service in the nick of S went into mourning after the death of his patron’s time, arriving in 1690 at Stuttgart three months brother. It turned out not to be the hoped-for before the birth of Carl Theodorus. Pious and s graduate job which might showcase the gifts of musical (given, occasionally, to composing o b a progressive composer who had cut his teeth hymns), the duchess was unfortunate to have been serving as Vicarius (assistant) to the organist married into a family with a worrying medical fi of the Stephansdom in Vienna. Here he met (and history. Her father-in-law Eberhard III died of probably studied with) Johann Caspar Kerll, who a stroke six months after her wedding, which e moved to Vienna also in 1673. promptly elevated her to Herzogin; three years later, she was widowed when Duke Wilhelm Ludwig died M Better than Eisenach, Erfurt nonetheless had its of a heart attack. drawbacks. Pachelbel’s contractual obligations t – in addition to the musical, directorial, There is no record of Pachelbel’s productivity l administrative and pedagogic duties required during his sojourn in Stuttgart, which in any case V of organists of major congregations – included could scarcely have been conducive to musical d an annual re-audition on the anniversary of his endeavour. Württemberg’s foreign policy was b appointment, during which half-hour recital conducted by the co-regent, the duchess’s s J he was expected to demonstrate his vocational brother-in-law Duke Friedrich Carl, who initially progress by drawing on the resources of the organ in managed to extract from France a generous P ‘delightful and euphonious harmony’. Unlike subsidy for standing aloof from the nine-year War i Johann Sebastian Bach, Pachelbel, nevertheless, of the Palatinate Succession (a.k.a. the War of kept on the good side of the city and church the League of Augsburg, the first war in which no authorities, flourishing as an outstandingly German prince fought on the French side). successful organist, composer and teacher. The duchy’s neutrality – initially brokered but G Eventually the needs of his growing family ultimately scuppered by the newly-created Elector prompted Pachelbel to consider a change of of Hanover – collapsed, and Württemberg, which environment. His feelers stretched to the court landed on the wrong side of the fence, found of Württemberg, then ruled by the regent itself in the crossfire as King Louis XIV set out Duchess Magdalena Sibylla von Hesse-Darmstadt. to consolidate his gains in the Holy Roman

- 5 - Empire before the Emperor Leopold I could extricate Following the example of the regent of T himself from war with the Turks. Friedrich Carl fled Württemberg, Pachelbel, sought refuge in his L c at the start of the war in 1688 to with hometown of Nuremberg. There he was immediately h his nephew Eberhard Ludwig, but was eventually snapped up by Erfurt’s neighbouring town of Gotha w o captured by the French in 1692 and brought as municipal organist at the Margarethenkirche. to Versailles. He did not stay long though. Immediately after [ the death of – organist of I With Württemberg serving as a doormat for Nuremberg’s Sebalduskirche, whose pupils had a the criss-crossing armies, primarily the French included Pachelbel himself, as well as Johann Blitzkrieg on Bavaria – whose claim to the see of Krieger – the authorities in Nuremberg contrived s Cologne ignited the whole affair – and the ravaging to parachute their celebrated son Pachelbel into of the Palatinate, Pachelbel was forced to flee the plummiest position they had to offer. This fait the ducal capital of Stuttgart. Yet there may have accompli was brought about by circumventing the been another reason for his hasty departure. With usual audition, and dispensing with the courtesy of the co-regent in the clutches of the French, the inviting the organists of the city’s lesser churches duchess petitioned Emperor Leopold to proclaim to apply. her son Eberhard Ludwig duke of Württemberg even before he had reached his majority. The The influence of the post-reformation church on c emperor acceded to the request in 1693, and the daily life can never be overstated. High festival t new 16-year old duke embarked on a career of days were ‘great days of fasting, penitence and c an absolute prince, in the process becoming prayer’: all commerce and trade had to stop widely regarded as weak and philistine, and during the service in order to ‘promote devotion’. preferring hunting to governing. No wonder that St Sebald’s, much of which liturgy was still sung M Pachelbel turned down a request to return to in Latin, offered the most musically sumptuous m Stuttgart, even after things had quietened down presentation of Vespers in the whole of Protestant after the young duke’s installation and the release Germany. Underlying this may have been an p of the duke’s uncle Friedrich Carl in France. issue of rivalry. In Georg Philipp Telemann’s t newer theatrical style of music for the Neukirche enticed worshippers to defect from the a

- 6 - Thomaskirche, causing the cantor of the local The elaborate Vespers liturgy of the St Sebald h W Latin school Johann Kuhnau in 1709 to voice conformed to the altkirchlich practices of the his concern that the ‘carnal desires of the early Reformation, with some modifications of the worldly-minded’ had wafted into church music. original Catholic rite. Beginning with the opening versicle ‘Deus in adjutorium meum intende’ t German Protestant vocal church music can be [referred to in Lutheran terminology as the broken into several discrete repertories. The lowest Ingressus], and the response ‘Domine ad N common denominator is the simple unison chorale; adjuvandum me festina’, there follows a sequence for the somewhat more sophisticated congregation, of psalms, hymns and motets (often replaced by B there is the motet (in parts, with accompaniment); sacred songs in the German vernacular), finished the most prestigious and thus costliest to put on off in a flamboyant fashion with a Magnificat. – as this involves professionals – is the concerted The variety inherent in the service allowed for music or cantata. That David Schedlich was also much use of polyphonic or concerted music writing concerted Vespers for the Lorenzkirche in – these were opportunities seized by the the 1690s might not simply have been competition organist and Director chori musici Pachelbel. By d with St Sebald or St Egidien; it may well have been blurring the traditional distinctions of theatre, a manifestation of Nuremberg’s observance to the chamber and church, he simply reflected letter of Martin Luther’s reforms, among which was contemporary tastes in fusing the profane with e the preservation the Roman Catholic liturgical the sacred. This trend had many champions, n calendar and Latin Mass. Not only did Luther not numbering among them the devotional poet and a want the devil to have the best tunes, but he – a pastor Erdmann Neumeister (1671–1756) and w d gifted musician in his own right – emphatically the composer–keyboardist polymath Johann encouraged vocal and instrumental church Mattheson, both of whom believed that opera’s music, positioning this ‘excellent gift of God … next power to stir the passions could be appropriated S p to theology’ and awarding it the ‘highest praise’ for the church. Pachelbel used a panoply of forms possible. He clearly appreciated the power of a and textures to underpin his melodic genius, at i well-executed musical performance in facilitating the same time blending the south-German n the clergy’s communication with the congregation. idiom with the cosmopolitan Italian style he had N absorbed during his apprenticeship in Vienna.

- 7 - His distinctive re-shaping of an older musical Nevertheless, it is hard to resist the temptation t d tradition affirmed Pachelbel’s status as a seminal to draw parallels with the Bach family. J. S. a c giant straddling both late seventeenth- and early Bach’s considerable Nachlaß (musical estate) eighteenth-century German church music. was carved up between his widow Anna Magdalena and two eldest sons. The first, also named Wilhelm More is the pity that little is known about the (Friedemann), ‘got most of it’ (according to the status of his vocal music after his death. Whether biographer Johann Nicolaus Forkel), and eventually his successors at St Sebald let his music lie he sold off piecemeal the contents of his dormant remains in the realm of speculation; any father’s (and also his own) library, thus leaving evidence to the contrary has yet to surface or was his family in penury. Musicologists rue with presumably destroyed in World War II. Given there ill-concealed dismay the cycles of cantatas, is little to suggest that the provisions for concerted keyboard pieces and chamber music squandered b Latin Mass and Vespers had been scaled down, into oblivion by Wilhelm, notwithstanding his the person best placed to revive Pachelbel’s music brilliance as an inspired improviser and composer would have been his eldest surviving son Wilhelm for the keyboard. Bach’s second son – perhaps not a Hieronymus, who arrived at the helm of St Sebald co-incidentally named – Carl (Philipp Emanuel) via a circuitous route which traced some of his was a considerably more successful career r father’s footsteps. Wilhelm was groomed by his musician. Fortunately for posterity, C.P.E. was father to audition for the famous Lübeck organist a keen archivist of his family’s works, and his B Dietrich Buxtehude, whose linking to the job of a extensive collection was eventually lodged in condition of marriage to his daughter drove away the Staatsbibliothek zu Berlin. p some serious contenders, viz. Wilhelm’s exact s contemporaries J. S. Bach, A seemingly worthier custodian of his own s and . Wilhelm’s compositional inheritance was Carl Theodorus Pachelbel, m style displays little influence of his father – nor, who packed a bunch of manuscripts on his o for that matter, any signs of originality – and so immigration to the colonies. The scores he v e it leaves us to conjecture as to his view about the offloaded at the halfway pit-stop of London s continuing value of his father’s music in a world appear to be fair (and, therefore, reference) e 1 where tastes were rapidly changing. copies, quite possibly written in Carl’s hand and o

- 8 - that of his father (in which case they would be depression, religious persecution, military autographs). They bear few scars associated conscription, and forced labour. B with the wear and tear of use, with the exception w of some gnaw marks, presumably from rodents, Carl Theodorus (now known as Charles Theodore thus occasioning some musical reconstruction Patchable or Perchival) headed for the German ( by the author of this essay. Germany experienced settlements. He is first recorded assisting in the s b in 1720–50 a population spurt that returned to installation of a new organ in Newport, Rhode the status quo ante bellum of the beginning of Island, in 1733. In 1736 he gave one of the first d f the seventeenth-century. What turned out to be publicly-advertised concerts in New York, followed h the vanguard of America’s German colony were a year later by a harpsichord recital in Charleston, i emigrants from the Palatinate who were trying to South Carolina, which he made his home after k escape the wars of Louis XIV: more than 13,000 becoming organist of St Philip’s Church in 1740. left in 1709 alone. The tide continued unstemmed Tenure thus secured, he advertised in 1749 b from other German provinces, and between 1727 his plans to open a singing school. Alas, soon and 1754 some 2000 a year arrived via Rotterdam after this, he was ‘afflicted with a lameness in his and London, the disaffected demographics hands’ and died within a year. ranging from Pietists to Silesian refugees. By m 1750 the number of German settlers in the There was evidently neither occasion nor talent to British colonies is estimated to have reached perform his father’s Vespers music, for their style e 100,000. Such a wealth of human resources would in any case have been at odds with the t prompted the Quaker colony in Pennsylvania prevailing Protestant propensity for gravity, to advertise in German newspapers, soliciting simplicity and restraint. Just as well then that he c settlers for the western frontiers. Despite the left the scores in London, already one of the i misery of traversing mountains, and dangers publishing powerhouses of Europe as well as of crossing oceans, the promise of a free and an international clearing house for music. The i vast New World proved too alluring for those earliest documented mention of the Vespers is o seeking escape from natural catastrophes, in a sale catalogue for an auction conducted in a epidemics, crop failures, food supply crises, 1779 by Christie & Ansell, in which is also c overpopulation, lack of farmland, economic noted the purchase by the organist Marmaduke

- 9 - Overend of his teacher William Boyce’s collection. surely not have lost so much of its lustre since The manuscripts subsequently passed through 1692, when his father had been headhunted several owners before finally being purchased by for an organist’s post in Oxford. This curious St Michael’s, Tenbury. When the college closed, its proposition is mentioned in Mattheson’s impressive library passed to Oxford University’s indispensable biographical lexicon, the Grundlage Bodleian Library. einer Ehren-Pforte (1740), but remains uncorroborated. Johann Pachelbel’s contemporaries Boyce would have been too young to acquire the and students were in accord about one thing scores for himself, for he was still apprenticed though: he was ‘a perfect and rare virtuoso’, to to Maurice Greene in the early 1730s. Greene, cite the testimonial of the Eisenach Kapellmeister however, had both the means (being of Daniel Eberlin. The distortion of Pachelbel’s gentry stock) and the inclination. He had posthumous reputation brought about by his hoped – forlornly, it turned out – to present a captivating but ubiquitous ‘Canon à 3’ – which comprehensive collection of ancient and modern has obscured his impressive oeuvre of keyboard, church music to every cathedral in the country; chamber and vocal works – can now be corrected his entire library was bequeathed to Boyce. by a knowledge of his Vespers. They are an eloquent Another plausible route may have been through embodiment of exceptional vocal writing and a Boyce’s other teacher Johann Christoph Pepusch, fitting fin de siècle summation of all that is the leading German émigré in London who Carl endearing about seventeenth-century music. Theodorus would undoubtedly have called on, After three centuries of quiescence, Pachelbel’s perhaps with a view to gauging the market Vespers may now be restored to the canon of value from such an avid antiquarian, one who choral masterpieces. had in 1729 given up composing to dedicate the last 23 years of his life to the study of ©2010 Kah-Ming Ng, Oxford ‘ancient musick’.

Having carted the manuscripts thus far, Carl Theodorus would have been loath to offer them up on a silver platter. The Pachelbel brand would

- 10 - Texts Fecit potentiam in brachio suo, dispersit superbos mente cordis sui; INGRESSUS deposuit potentes de sede p et exaltavit humiles; i Deus in adjutorium meum intende, esurientes implevit bonis Domine ad adjuvandum me festina. et divites dimisit inanes. u Gloria Patri, et Filio, et Spiritui Sancto. Suscepit Israel puerum suum, Sicut erat in principio, et nunc, et semper, recordatus misericordiae, et in sæcula sæculorum. Amen sicut locutus est ad patres nostros, c Abraham et semini ejus in saecula. h O God, come to my assistance; Gloria Patri, et Filio, et Spiritui Sancto. g p O Lord, make haste to help me. Sicut erat in principio, et nunc, et semper, h c Glory be to the Father and to the Son and to et in sæcula sæculorum. Amen. c the Holy Spirit; As it was in the beginning is now and ever shall My soul doth magnify the Lord : and my spirit hath h be, world without end. Amen. rejoiced in God my Saviour. A For he hath regarded : the lowliness of his fi MAGNIFICAT handmaiden. e For behold, from henceforth : all generations A Magnificat anima mea Dominum, shall call me blessed. p et exsultavit spiritus meus in Deo salvatore meo, For he that is mighty hath magnified me : and v c quia respexit humilitatem ancillae suae. holy is his Name. h Ecce enim ex hoc beatam me dicent omnes And his mercy is on them that fear him : throughout t generationes, all generations. ‘ quia fecit mihi magna, He hath shewed strength with his arm : he qui potens est, hath scattered the proud in the imagination of et sanctum nomen ejus, their hearts. et misericordia ejus in progenies et progenies He hath put down the mighty from their seat : timentibus eum. and hath exalted the humble and meek.

- 11 - He hath filled the hungry with good things : and the rich he hath sent empty away. He remembering his mercy hath holpen his servant Israel : as he promised to our forefathers, Abraham and his seed for ever. Glory be to the Father and to the Son and to r the Holy Spirit; As it was in the beginning is now and ever shall be, world without end. Amen.

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BIOGRAPHies

CHARIVARI AGRÉABLE new and very exciting phase of the early music revival, one that enriches the existing repertory and v v Violin: Bojan Cicic,/ Linda Hannah-Andersson can bring us ever closer to the spirit of the original Viola: Heather Birt, Rachel Stott music’ (Gramophone). Viola da gamba: Peter Wendland Bassoon: Michael Brain The ensemble specializes in the ingenious use of Violone: Elizabeth Harré period instruments to produce ‘ravishing sonorities Theorbo: Manuel Minguillon Nieto and full-bodied textures’ (Gramophone) with Chamber organ: David Bannister, Kah-Ming Ng ‘their powerful cohesion, warm sound, and their Harpsichord: Kah-Ming Ng eloquent authority’ (Diapason). The group has ‘carved something of a niche for itself in Charivari Agréable is recognized as ‘one of the imaginative and well-thought-out programming’; classiest baroque bands’ (The Observer), whose ‘its work is the fruit of both scholarly research and ‘musical intuitions are always captivating’ charismatic musicianship, a combination that (Goldberg). ‘Charivari Agréable is one of the puts it at the forefront of period-instrument most versatile Early Music groups around at the ensembles’ (BBC Music Magazine). With a moment; under its benign director, Kah-Ming chronological remit spanning epochs from the Ng, it appears to be infinitely adaptable, finding Renaissance to the Early Classical, the ensemble musicians who can fit into any of its many appears in many guises, from a continuo band, and varied programmes’ (International Record a viol consort, and an Elizabethan mixed consort, Review). The group has been hailed for its ‘thinking to a baroque orchestra and many other musicians who treat music of the past more surprising – yet historical – combinations. creatively’ via their arrangements of music, ‘based on a greater knowledge of the historical and Charivari Agréable (trans. ‘pleasant tumult’, from social contexts for the music’. They represent ‘a Saint-Lambert’s 1707 treatise on accompaniment)

- 13 - was formed at the University of Oxford in 1993, including Buckingham Palace; recent and T T and within the year became prize-winners of an forthcoming engagements include major festivals international Early Music Network (UK) competition, in the UK, and tours to Austria, Belgium, the made its debut at the Wigmore Hall, and recorded Czech Republic, Denmark, Finland, Germany, the first of many subsequent live concerts for the Hungary, The Netherlands, Slovenia, Spain, BBC, including Radio 3’s ‘In tune’, ‘Music Restor’d’, Sweden, South-East Asia, Turkey, and the USA. and ‘The Early Music Show’. Charivari Agréable t has since recorded for New York’s WNYC, and www.charivari.co.uk t many other European radio stations, including the European Broadcasting Union. Charivari Agréable CDs have garnered such awards as the Diapason d’Or, Gramophone Editor’s Choice, International c Record Review’s ‘Best CD of the Year’, Classic FM’s Christmas Choice’, BBC Music Magazine’s ‘Outstanding CD of the Month’, MusicWeb c International’s ‘Recording of the Year 2007’ c and top-star reviews by Goldberg and Classic FM Magazine. G I Apart from hosting an annual summer festival of early music in Oxford, the ensemble regularly expands into Oxford’s resident period-instrument w orchestra, Charivari Agréable Simfonie. The t orchestra has on-going collaborations with some forty vocal groups – choral societies and r r professional choirs alike – all over the UK, and has been conducted by many musicians of renown, including Sir Charles Mackerras. The ensemble has appeared at all prominent venues in London, B

- 14 - i THE KING’S SINGERS The King’s Singers are David Hurley (countertenor), f Paul Phoenix (tenor), Philip Lawson (baritone), i David Hurley, countertenor Christopher Gabbitas (baritone), Stephen Connolly Timothy Wayne-Wright, countertenor (bass) and Timothy Wayne-Wright (countertenor). H Paul Phoenix, tenor The ensemble has a huge range of some three S Philip Lawson, baritone and a half octaves, from Connolly’s low B-flat up Christopher Gabbitas, baritone to Hurley’s high F. There have only ever been Stephen Connolly, bass twenty-two King’s Singers including the current six – very few given the demanding nature of the E The King’s Singers are truly remarkable, described full-time job which requires a unique blend of by The Times as a group that has “stayed in musicianship, vocal ability and charisma, not to character over four decades, yet retuned itself to mention the stamina to be on tour for nine months the times” and by Gramophone as “enchanting the of the year. The repertoire in a single concert might ear from first to last note”. This celebrated group range from Renaissance polyphony, madrigals continues to be one of the most sought-after and and world or folk music to contemporary I critically acclaimed vocal ensembles in the world, classical or contemporary pop, because the ethos performing a rich and varied repertoire from of The King’s Singers has always been that it’s all F Gesualdo to György Ligeti and Michael Bublé. about the music. Internationally recognised for their work in the classical field, in early music in particular, they With a discography of over 100 releases The King’s retain the sparkle that delights so many fans Singers have garnered both awards and significant when they perform much loved numbers from critical acclaim. Their recent studio album Simple the lighter end of the repertoire. Whatever Gifts was awarded a Grammy in 2009. In addition o the repertoire The King’s Singers are instantly to this their DVD Live at the BBC Proms, a concert recognisable from their spot-on intonation, their recording of their 2008 BBC Proms performance p impeccable vocal blend, the flawless articulation from the Royal Albert Hall, won the title of Best h of the text and incisive timing. Concert DVD at the MIDEM Classical Awards i 2010. An EP titled From the Heart including John Brunning’s Pie Jesu and a special re-working of

- 15 - My Heart is a Holy Place by contemporary US Leonard The King’s Singers arrangements are composer Patricia van Ness was released in February sung by schools, college choirs and amateur and 2010. This year will also see the release in the UK professional ensembles the world over. Two DVDs of The King’s Singers new album Swimming over are available through Hal Leonard: King’s Singers: London, a disc that crosses genre borders in a way A Workshop features excerpts from master classes similar to Simple Gifts, using smooth jazz as the and concerts and follows the earlier video Th e inspiration for new pieces and arrangements with Art of The King’s Singers, a documentary-style The King’s Singers signature style and standards. program illustrating the everyday life of the sextet on the road, as well as in rehearsal, performance The King’s Singers maintain a deep commitment and master-class settings. to new choral music and have commissioned over 200 works from a host of prominent contemporary Visit www.kingssingers.com for the latest news, composers including Richard Rodney Bennett, blog entries, video blogs, Tweets and YouTube Luciano Berio, Peter Maxwell Davies, György Ligeti, updates. Steve Martland, Gian Carlo Menotti, Krzysztof Penderecki, Ned Rorem, John Rutter, Gunther Schuller, Toru Takemitsu, and John Tavener. This season The King’s Singers will premiere works by Ivan Moody, Gabriela Lena Frank, John McCabe, Bob Chilcott and Eric Whitacre.

In addition to their sold-out concerts worldwide, The King’s Singers efforts to share their artistry extends to numerous workshops and master classes. The King’s Singers have clocked up phenomenal sales of sheet music through three publishers over the years with over two million pieces of print in circulation with one publisher alone. Currently published by US giant Hal

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© Marco Borggreve

- 17 - kah-minG ng (Freiburg) and Christopher Kite (London). He is a winner of the Guildhall School’s Early Music Kah-Ming Ng studied at Monash University, Competition and a Fellow (in Harpsichord) of the Melbourne (where he obtained a B.E. in civil Trinity College of Music London. Kah-Ming regularly engineering), the State Academy of contributes reviews and articles to leading Music (as a DAAD scholar), and the London specialist music journals; he wrote the entries Guildhall School of Music (as an FCO scholar). on English and French baroque ornamentation He then went to Oxford University (as a British in the revised New Grove Dictionary of Music & Council Chevening scholar), to read for a Musicians. In between his performing and directing, performance M.Phil. at St Anne’s College, and he squeezes in some adjudicating (of competitions later a D.Phil. at Keble College, where he wrote and examinations) and lecturing, his most recent a doctoral thesis on continuo accompaniment in position being Course Coordinator & Lecturer in its social and artistic context. His harpsichord Early Music Studies (2004—6) at the Faculty of teachers included Elizabeth Anderson (Melbourne), Music, Oxford University.

Harald Hoeren (Cologne), Michael Behringer

© Felix Wu

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C M e M s ACKNOWLEDGEMENTS G Dr Glyn Redworth for daubing patches of purple in an otherwise pale prose. Dr Harry Diack Johnstone for positing the probability of Maurice Greene’s involvement in the purchase of the MSS from C M Carl Theodorus Pachelbel. p

Recorded at St Andrew’s Church, Toddington, Gloucestershire, 23–25 June 2009 Producer, Engineer and Editor - Adrian Hunter Booklet notes - Kah-Ming Ng t Cover Image - Shutterstock

Pitch - A=415Hz, keyboards tuned by Kah-Ming Ng to a 1/6-comma circular temperament

The music by Pachelbel recorded on this CD is performed using editions prepared by Kah-Ming Ng, and remain the copyright of Charivari Agréable. The work numbers refer to the catalogue compiled by Jean M Perreault. For details of the ensemble’s publications and discography, please visit www.charivari.co.uk

Design and Artwork - Woven Design www.wovendesign.co.uk

௚ 2010 The copyright in this recording is owned by Signum Records Ltd. © 2010 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

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- 19 - The King’s Singers & Charivari Agréable on signumclassics

SIGCD090 SIGCD119 SIGCD041 SIGCD049 Landscape & Time Siglo de Oro Modus Phantasticus Harmonia Caelestis

SIGCD121 SIGCD147 SIGCD069 SIGCD086 Simple Gifts Romance du Soir Esperar Sentir Morir The Virtuoso Godfather

SIGCD150 SIGCD177 SIGCD093 SIGCD157 Live at the BBC Proms From the Heart The Oxford Psalms The Original Brandenburg Concertos

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