FOR THE FALLEN Choral Music from the Time of The Great War t Nyne otpuschaeshi Sergei Rachmaninov [3.14] Solo: Samir Savant

1 For the Fallen Douglas Guest (1916–1996) [2.16] y Nunc dimittis Gustav Holst (1874–1934) [3.08] Solos: Katy McAdam, Toby Scholz 2 Expectans expectavi Charles Wood (1866–1926) [3.57] Organ: Martin Toyer u Psalm 23 Ivor Gurney (1890–1937) [2.13]

3 Nachtlied Max Reger (1873–1916) [2.44] i Since I Believe in God the Father Almighty Ivor Gurney [5.14]

4 Trois beaux oiseaux du Paradis Maurice Ravel (1875–1937) [2.45] o For Lo! I Raise Up Charles Villiers Stanford (1852–1924) [8.03] Solos: Leonora Dawson-Bowling, Solos: Danielle Toyer, Andrew Craig Rose Dixon, Toby Scholz, Graham Wood Organ: Martin Toyer

A Short Requiem Henry Walford Davies (1869–1941) p To Music George Dyson (1883–1964) [2.37] 5 Salvator mundi [1.43] a The Dying Soldier Traditional, arr. Mack Wilberg (b.1955) [4.09] 6 De profundis clamavi [1.45] 7 Requiem aeternam I [1.31] Solo: Graham Kirk and Nigel Short (b.1965) 8 Levavi oculos [1.43] s Ich bin der Welt abhanden gekommen Gustav Mahler (1860–1911), [5.30] 9 Requiem aeternam II [2.05] Solo: Alice Joensen arr. Clytus Gottwald (b.1925) 0 Audi vocem [1.32] q Hymn [3.02] Total timings: [67.19] w Gloria Patri [1.06] e Vox ultima cruces [2.35] Solos: Madeline Smith, Philippa Ouvry-Johns, Gareth Moss, Adrian Collister r Blagoslovi dushe moya gospoda Sergei Rachmaninov (1873–1943) [4.25] PEGASUS Solo: Philippa Ouvry-Johns MATTHEW ALTHAM DIRECTOR

www.signumrecords.com Composers and together at the Royal College of Music (RCM) in name by Charles Sorley, who had been killed Maurice Ravel was keen to join the French air the Great War London. Charles Villiers Stanford alone taught at the Battle of Loos in 1915, at the age of 20. force the moment the war began, but was numerous composers affected by the war, The Latin title refers to the opening line of thwarted in his attempts to enlist on account The First World War involved soldiers from across including Charles Wood, Henry Walford Davies, Psalm 40, “I waited patiently for the Lord”, a of his age, short height and weak health. He the world, but its effects were most keenly George Dyson, Gustav Holst and Ivor Gurney, phrase that would have been familiar to readers became a truck driver instead, stationed at the felt in Europe, where old empires crumbled, all featured on this recording, and others, and listeners of the time. Wood’s anthem for Verdun front. Trois beaux oiseaux du Paradis monarchies were toppled and new countries including George Butterworth and Cecil Coles, choir and organ sits firmly within the Anglican was written in December, 1914, as he waited born. Amongst the political upheaval and who were among those killed in action, their tradition, and is effective in the striking to begin his service. It is one of three songs for social turmoil, there was one rather unexpected music silenced at a tragically young age. contrast between the dramatic build-up and unaccompanied choir which mark a rare foray consequence: the war was the first major the surprising pianissimo coda, representing a into choral writing for Ravel, and for which conflict to generate an outpouring of creative We open with a work that looks back from the personal plea. he wrote both the texts and music. This piece work from those who either fought on the vantage point of a more peaceful era. Douglas is a melancholy reflection on the war for battlefields, or were somehow deeply affected Guest was born in 1916, at the height of the In common with many of the composers which Ravel was preparing, and it includes by it, including writers, painters and musicians. war. He had a distinguished career in church featured here, the German Max Reger was deeply references to the three colours of the French There is an astonishing legacy of work which music, serving as organist of Salisbury and patriotic and committed to his own country’s flag as well as to a soldier who has left for war. allows us to understand the horrors they Worcester cathedrals and finishing his career war effort. At the beginning of the war he The innocence of the flowing soprano solo endured and the ways they tried to make sense at Westminster Abbey. Although he composed began to compose a setting of the Latin contrasts sharply with the harsh realities Ravel of it all through their art. Almost unwittingly, comparatively little, his music is always Requiem, having in mind his countrymen who was to experience during active service. they became commentators for their age, and beautifully crafted, with a natural feel for text. were dying. It was first performed in July, changed society’s conception of what war meant. Guest’s setting of Laurence Binyon’s famous 1916, a few months after his death. Reger’s Acht Shropshire-born Henry Walford Davies studied poem For the Fallen was written for geistliche Lieder (Eight Sacred Songs) of 1914 at the RCM, where he later became a member We should not overlook the personal and human Westminster Abbey choir in 1971 and is show the influence of Bach in their technical of the composition faculty. He did not serve cost of war, and in compiling the pieces for widely performed on Remembrance Sunday mastery, and of Brahms in their introspection in the war, but in 1918 he was appointed the this recording we have been inspired by the each year. and harmonic richness. Nachtlied (Night Song) first director of music of the newly created individual stories of the artists involved, is one of the set, a setting of a text by the Royal Air Force, for which he wrote his Royal including composers from five countries Like his fellow Irishman, Stanford, Charles sixteenth-century German Protestant theologian Air Force March Past. Davies composed A affected by the conflict. The war was in part Wood made his name writing church music. He and hymn writer Petrus Herbert, calling upon Short Requiem, published in 1915, “In sacred the heart-wrenching story of close personal composed Expectans expectavi in 1919, setting God for protection during the night. memory of all those who have fallen in the friends, including many who studied or worked the last two stanzas of a poem of the same war”. The work favours texts from the Bible

- 4 - - 5 - over the Latin mass, including a setting of solo with gentle choral interjections, and the by the composer’s daughter, Imogen Holst. Gurney’s choral works are rarely heard, and Psalm 121 (“I will lift up mine eyes unto the second an impassioned tenor singing the Holst’s love of Renaissance music is clear in many of them remain unpublished, like a great hills”), which is often performed on its own Nunc dimittis (the biblical Song of Simeon). this unaccompanied piece, particularly the number of the more than 1,500 poems that in Anglican worship, and a religious poem by Rachmaninov was particularly enamoured way the male and female voices of the eight-part he wrote during the war. His setting of Psalm the medieval monk John Lydgate. Since the of Nyne oputschaeshi, which sets the text in choir answer each other antiphonally. 23 (“The Lord is my shepherd”) was written Reformation, British composers had shied traditional church Slavonic, and expressed a in 1914 while Gurney was still a student, and away from writing Requiem masses, as lavish desire to have it sung at his own funeral. Of all the composers on this recording, Ivor he used to sing it to himself in the trenches musical settings of prayers for the dead were Gurney has perhaps the most tragic life story. to calm his nerves. Since I Believe in God seen as too Catholic in sentiment. Davies Gustav Holst wanted to enlist at the outbreak Born in modest circumstances in Gloucester, the Father Almighty, a motet for double can therefore be said to have written the first of the war and was frustrated to be found he won a scholarship to the RCM in 1911, but choir composed in 1925, sets words by “British” Requiem; certainly, other British unfit for military service. He taught and his studies were interrupted in 1915 by his Robert Bridges which explore a contradictory composers were to copy his model, including composed instead, completing the orchestral enlistment in the Gloucestershire Regiment. relationship with God, reflecting Gurney’s own most notably Davies’s own pupil, Herbert suite The Planets, the first movement of which The war inflicted great personal hardship on doubts after witnessing the inhumanity of war Howells. The mood of the work is one of is a vivid evocation of “Mars, the Bringer of Gurney: he was shot in the arm, gassed, and at first hand. quiet contemplation and private reflection, with War”. In 1918 Holst finally had the chance spent much time in military hospitals, even Davies using solo voices particularly effectively to contribute to the war effort, eagerly attempting suicide in 1918. Although it was Charles Villiers Stanford moved from London to convey a sense of personal hope. volunteering for the music section of the thought that Gurney was a victim of shell-shock, when the war began, fearful of the air-raids, YMCA’s education department, to work with it is now generally accepted that his illness and in the course of the conflict he learned Thousands of miles away in Russia, over a British troops stationed in Salonica awaiting predated the war, but his experiences in battle of many of his RCM pupils who had been period of just two weeks in early 1915, Sergei demobilisation. For the purpose, he changed may have worsened his condition. After the war injured or killed. For Lo! I Raise Up was written Rachmaninov composed his All-Night Vigil. his name from “von Holst” to “Holst”, Gurney recovered from his physical injuries in 1914, and its turbulent mood, with strident Often referred to as the Vespers, this most fearing that it looked too German to be enough to resume his studies, but his traumatic passages for choir and organ, dispelled only important and popular of the composer’s acceptable in such a role. Holst’s experiences ultimately took their toll and his towards the end by a feeling of calm and awe, religious works had its premiere in Moscow unaccompanied Nunc dimittis dates from 1915 behaviour became more erratic. From 1922 reflects the composer’s terror of what war might in March of that year to benefit the Russian and was written for Richard Terry, organist he was institutionalised, ending his days in bring. Certainly, the text from the Old Testament war effort, and was so warmly received that of Westminster Cathedral, and first a mental hospital in London, where he died of book of Habbakuk is an apt description of the it was repeated five times within a month. performed on Easter Sunday of that year. For tuberculosis in 1937, aged 47. ravages of invasion and defeat. Both of the movements on this recording some reason it was afterwards forgotten and feature solo voices, the first a luxuriant alto was only published in 1979, in an edition

- 6 - - 7 - George Dyson had first-hand experience of with other artists a keen awareness of the 1 For the Fallen 2 Expectans expectavi the war: he joined the Royal Fusiliers in 1914 coming cataclysm. Ich bin der Welt abhanden Douglas Guest (1916–1996) Charles Wood (1866–1926) and wrote a training pamphlet on the use of gekommen is one of the composer’s Rückert grenades. In 1916 he was sent home, suffering Lieder, settings of the German Romantic poet They shall grow not old, as we that are left grow old; This sanctuary of my soul, from shell-shock, but he recovered enough to Friedrich Rückert originally written for solo voice Age shall not weary them, nor the years condemn. Unwitting I keep white and whole, join the air force and became involved with and orchestra or piano. The song, heard here in At the going down of the sun and in the morning Unlatched and lit, if Thou shouldst care its military bands. His anthem To Music is a a choral arrangement by Clytus Gottwald, was We will remember them. To enter or to tarry there. serene setting of words by the seventeenth-century composed at the turn of the twentieth century. With parted lips and outstretched hands, poet Robert Herrick. Its elegiac introspection may be said to Text by Laurence Binyon (1869–1943) And listening ears Thy servant stands. encapsulate – and bid farewell to – a world Call Thou early, call Thou late, We cross the Atlantic for a brief but haunting that was to be irreparably ruptured by the To Thy great service dedicate. traditional American song, The Dying Soldier, outbreak of war. My soul, keep white, and whole. arranged for baritone solo and chorus by Mack Wilberg and adapted by Nigel Short. The piece Notes by Samir Savant Text by Charles Sorley (1895–1915) depicts the final moments of a young soldier Pegasus chairman 1995-2016 as he contemplates his death, his faith, and the repercussions for his family. Although not directly related to the First World War, it is a reminder of the universality of the human 3 Nachtlied experience in times of war. Max Reger (1873–1916)

Gustav Mahler died a few years before the Die Nacht ist kommen, The night has fallen, beginning of the war, but he is included in Drin wir ruhen sollen; And we should rest; this programme because to contemporary Gott walt’s, zum Frommen God is there, to care for us ears, the lush late Romanticism of his music Nach sein’m Wohlgefallen, By his goodwill, can typify the decadence and self-absorption of Daß wir uns legen So that we may lay ourselves down the last years of the Austro-Hungarian empire, In sein’m G’leit und Segen, In his company and blessing, unaware that it was on the verge of catastrophe. Der Ruh’ zu pflegen. To maintain the peace. Nevertheless, Mahler sometimes seems to share

- 8 - - 9 - Treib, Herr, von uns fern Lord, drive far from us Le premier était plus bleu que ciel, The first was bluer than the sky Die unreinen Geister, All impure spirits; (Mon ami z’il est à la guerre) (My beloved is away at war), Halt die Nachtwach’ gern, Keep the night watch; Le second était couleur de neige, The second was the colour of snow, Sei selbst unser Schutzherr, Be thou our protector; Le troisième rouge vermeil. The third a red vermilion. Schirm beid Leib und Seel’ Shield both body and soul Unter deine Flügel, Under your wings; “Beaux oiselets du Paradis, “Lovely little birds of Paradise Send’ uns dein’ Engel! Send us your angels! (Mon ami z’il est à la guerre) (My beloved is away at war), Beaux oiselets du Paradis, Lovely little birds of Paradise, Laß uns einschlafen Let us go to sleep Qu’apportez par ici?” What do you bring here?” Mit guten Gedanken, With good thoughts, Fröhlich aufwachen Happily awaken “J’apporte un regard couleur d’azur. “I bring a look from blue eyes Und von dir nicht wanken; And not falter from you; (Ton ami z’il est à la guerre)” (Your beloved is away at war).” Laß uns mit Züchten Let us, with rearing, “Et moi, sur beau front couleur de neige, “And I, on your snow-white brow Unser Tun und Dichten Focus our deeds and words Un baiser dois mettre, encor plus pur.” Am to lay a kiss, even purer.” Zu dein’m Preis richten! On your glory! “Oiseau vermeil du Paradis, “Red bird of Paradise Text by Petrus Herbert (1533–1571) (Mon ami z’il est à la guerre) (My beloved is away at war), Oiseau vermeil du Paradis, Red bird of Paradise, Que portez-vous ainsi?” What do you bring?” 4 Trois beaux oiseaux du Paradis Maurice Ravel (1875–1937) “Un joli coeur tout cramoisi, “A dear heart all crimson (Ton ami z’il est à la guerre)”... (Your beloved is away at war)”... Trois beaux oiseaux du Paradis, Three beautiful birds from Paradise “Ah! je sens mon coeur qui froidit ... “Ah! I feel my heart grow cold... (Mon ami z’il est à la guerre) (My beloved is away at war), Emportez-le aussi.” Carry it off as well.” Trois beaux oiseaux du Paradis Three beautiful birds from Paradise Ont passé par ici. Have passed by here. Text by the composer

- 10 - - 11 - A Short Requiem 7 & 9 Requiem aeternam I & II 0 Audi vocem w Gloria Patri Henry Walford Davies (1869–1941) Requiem aeternam dona eis, Domine, I heard a voice from heaven saying unto me: Glory be to the Father, and to the Son, 5 Salvator mundi et lux perpetua luceat eis. Write: from henceforth and to the Holy Ghost; Blessed are the dead which die in the Lord. As it was in the beginning, is now, O Saviour of the world, (Eternal rest grant them, Lord, Even so saith the Spirit, for they rest from their labours. and ever shall be, Who by Thy cross and precious blood and let light perpetual shine upon them.) World without end. Amen. hast redeemed us, q Hymn Save us and help us, we humbly e 8 Levavi oculos Vox ultima cruces beseech thee, O lord. No more to sigh, no more to weep, The faithful dead in Jesus sleep. Tarry no longer toward thy heritage, 6 De profundis clamavi I will lift up mine eyes unto the hills, Unfading let their memories bloom Haste on thy way and be of right good cheer. from whence cometh my help. While rest their bodies in the tomb; Go each day onward on thy pilgrimage. Out of the deep have I called unto you, My help cometh even from the Lord, Nor will the Lord their love distrust Think how short time thou shalt abide thee here. O Lord, Lord hear my voice. who hath made heaven and earth. That strews its garlands o’er the dust. Thy place is built above the starre’s clear; O let your ears consider well the voice of my He will not suffer thy foot to be moved: None earthly palace wrought in so stately wise. complaint. and he that keepeth thee will not sleep. Though in the grave their clay is cold Come on, my friend, my brother most dear! If thou, Lord, will be extreme to mark Behold, he that keepeth Israel shall neither They have not left the Christian fold; For thee I offered my blood in sacrifice. what is done amiss, Lord who may abide it? slumber nor sleep. Still we are sharers of their joy, Tarry no longer! For there is mercy with thee, The Lord himself is thy keeper: Companions of their blest employ; the Lord is thy defence upon thy right hand. therefore shalt thou be feared. And Thee in them, O Lord most high, Text by John Lydgate (c1370–c1451) I look for the Lord, my soul doth wait for him; So that the sun shall not burn thee by day, And them in Thee we magnify. in his word is my trust. neither the moon by night. My soul fleeth unto the Lord, before the morning The Lord shall preserve thee from all evil: An Angel sings that they are blest, watch I say, before the morning watch. yea, it is even he that shall keep thy soul. Yea, saith the spirit, sweet their rest; O Israel trust in the Lord, for with the Lord The Lord shall preserve thy going out, and thy In bowers of Paradise they meet, there is mercy, and with him is plenteous coming in, from this time forth, and even Secure beneath their Saviour’s feet, redemption. for evermore. Nor fear the trump that soon shall all And he shall redeem Israel from all his sins. Before the throne of judgment call.

Text by Robert Campbell (1814–1868)

- 12 - - 13 - r Blagoslovi dushe moya gospoda y Nunc dimittis Sergei Rachmaninov (1873–1943) Gustav Holst (1874–1934)

Amin’. Blagoslovi, dushe moya, Gospoda. Amen. Bless thou the Lord, O my soul. Nunc dimittis servum tuum, Domine, Lord, now lettest thou thy servant depart in peace, Blagosloven esi, Gospodi. Blessed art thou, O Lord. secundum verbum tuum in pace: According to thy word. Gospodi Bozhe moy, vozvelichilsya esi zelo. O Lord my God, thou art very great. Quia viderunt oculi mei salutare tuum For mine eyes have seen thy salvation Blagosloven esi, Gospodi. Blessed art thou, O Lord. Quod parasti ante faciem omnium populorum: Which thou hast prepared before the face of all peoples, Vo ispovedaniye i v velelepotu obleklsya esi. Thou art clothed with honour and majesty. Lumen ad revelationem gentium, To be a light to lighten the Gentiles Blagosloven esi, Gospodi. Blessed art thou, O Lord. et gloriam plebis tuae Israel. And to be the glory of thy people Israel. Na gorakh stanut vodi. The waters stand upon the mountains. Gloria Patri, et Filio, Glory be to the Father, and to the Son, Divna dela Tvoya, Gospodi. Marvellous are thy works, O Lord. et Spiritui Sancto, and to the Holy Ghost. Posrede gor proydut vodi. Among the hills flow the waters. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and ever shall be, Divna dela Tvoya, Gospodi. Marvellous are thy works, O Lord. et in saecula saeculorum. Amen. world without end. Amen. Vsya premudrostiyu sotvoril esi. In wisdom hast thou made them all. Slava ti, Gospodi, sotvorivshemu vsya. Glory to thee, O Lord, who hast created all. t Nyne otpuschaeshi Sergei Rachmaninov u Psalm 23 Nyne oputschaeshi raba Tvoego, Vladyko, Lord, now lettest thou thy servant depart in peace, Ivor Gurney (1890–1937) Po glagolu Tvoyemu s mirom, According to thy word. I will fear no evil: for thou art with me; Yako videsta ochi moi spaseniye Tvoye, For mine eyes have seen thy salvation The Lord is my shepherd; I shall not want. thy rod and thy staff they comfort me. Ezhe esi ugotoval pred litsem vsekh lyudei, Which thou hast prepared before the face of all peoples, He maketh me to lie down in green pastures: Thou preparest a table before me in the presence Svet vo otkrovenie yazykov, To be a light to lighten the Gentiles he leadeth me beside the still waters. of mine enemies: thou anointest my head with oil; I slavu lyudei Tvoih Izrailya. And to be the glory of thy people Israel. He restoreth my soul: he leadeth me in the paths of righteousness for his name’s sake. my cup runneth over. Yea, though I walk through the valley of the Surely goodness and mercy shall follow me shadow of death, all the days of my life: and I will dwell in the house of the Lord for ever.

- 14 - - 15 - i Since I Believe in God the Father Almighty o For Lo! I Raise Up I will stand upon my watch and set me upon the tower, a The Dying Soldier Ivor Gurney Charles Villiers Stanford (1852–1924) And look forth to see what he will say to me, Traditional, arr. Mack Wilberg (b.1955) And what I shall answer concerning my complaint. and Nigel Short (b.1965) Since I believe in God the Father Almighty, For, lo! I raise up that bitter and hasty nation, And the Lord answered me and said: Man’s Maker and Judge, Overruler of Fortune, Which march through the breadth of the earth, The vision is yet for the appointed time, Oh brother Green, oh come to me, ‘Twere strange should I praise anything and To possess the dwelling places that are not theirs. And it hasteth toward the end, and shall not lie: For I am shot and bleeding, refuse Him praise, They are terrible and dreadful, Though it tarry, wait for it, because it will surely come. Now I must die, no more to see, Should love the creature forgetting the Creator, Their judgment and their dignity For the earth shall be filled with the knowledge My wife and my dear children. Nor unto Him in suff’ring and sorrow turn me: proceed from themselves. of the glory of the Lord, Nay how could I withdraw me from His embracing? Their horses also are swifter than leopards, As the waters cover the sea. But the Lord The fighting foe has laid me low, And are more fierce than the evening wolves. is in his holy temple: On this cold ground to suffer, But since that I have seen not, and cannot know Him, And their horsemen spread themselves, Let all the earth keep silence before Him. Stay brother, stay, and lay me away, Nor in my earthly temple apprehend rightly Yea, their horsemen come from far. And write my wife a letter. His wisdom, and the heav’nly purpose eternal; They fly as an eagle that hasteth to devour, p To Music Therefore will I be bound to no studied system They come all of them for violence; George Dyson (1883–1964) Oh brother I am dying now, Nor argument, nor with delusion enslave me, Their faces are set as the east-wind, Oh see I die so easy, Nor seek to please Him in any foolish invention, And they gather captives as the sand. Charm me asleep, and melt me so Oh surely death has lost its sting, Which my spirit within me, that loveth beauty Yea, he scoffeth at kings, With thy delicious numbers, Because I love my Jesus. And hateth evil, hath reprov’d as unworthy: And princes are a derision unto him. That, being ravish’d, hence I go For he heapeth up dust and taketh it. Away in easy slumbers. Go tell my wife she must not grieve, But I cherish my freedom in loving service, Then shall he sweep by as a wind Ease my sick head, Oh kiss my dear little children, Gratefully adoring for delight beyond asking that shall pass over, And make my bed, For they will call for me in vain, Or thinking, and in hours of anguish and darkness And be guilty, Thou power that canst sever When I am gone to heaven. Confiding always on His excellent greatness. Even he, whose might is his God. From me this ill, Art not thou from everlasting, And quickly still, Text – “Johannes Milton Senex” by Robert Bridges (1844–1930) O Lord, my God, mine Holy One? Though thou not kill We shall not die. My fever. O Lord, thou hast ordained him for judgement,

And thou, O Rock, hast established him for Text by Robert Herrick (1591–1674) correction. - 16 - - 17 - s Ich bin der Welt abhanden gekommen PEGASUS Gustav Mahler (1860–1911), arr. Clytus Gottwald (b.1925) Soprano Alto Tenor Bass Leonora Dawson-Bowling Rhian Billington Niall Bird David Benedict Ich bin der Welt abhanden gekommen, I have become lost to the world Alice Joensen Rose Dixon Andrew Craig Adrian Collister Mit der ich sonst viele Zeit verdorben, In which I once wasted much time. Judith Kerr David Gabbe Gareth Moss Richard Ford Sie hat so lange nichts von mir vernommen, It has heard nothing from me for so long Katy McAdam Kirstin Gillon Samir Savant Peter Hatch Sie mag wohl glauben, ich sei gestorben! That it may well think I have died! Martha Oddy Philippa Ouvry-Johns Toby Scholz Graham Kirk Madeline Smith Natasha Woodward Martin Toyer Tim Peters Es ist mir auch gar nichts daran gelegen, And it is of no concern to me Danielle Toyer Graham Wood Ob sie mich für gestorben hält, Whether it considers me dead. Ich kann auch gar nichts sagen dagegen, I can’t contradict it, Denn wirklich bin ich gestorben der Welt. For indeed I have died to the world.

Ich bin gestorben dem Weltgetümmel, I have died to the world’s clamour Und ruh’ in einem stillen Gebiet! And rest in a quiet region. Ich leb’ allein in meinem Himmel, I live alone in my heaven, In meinem Lieben, in meinem Lied. In my loving, in my song. © Edward Webb

- 18 - - 19 - Founded in 1995, Pegasus has established a Pegasus’s repertoire includes sacred music by MATTHEW ALTHAM reputation as one of London’s most versatile English and continental composers from the chamber choirs, with an extensive repertoire Renaissance onwards, major cantatas and Matthew Altham has been the director of embracing sacred and secular music from motets by J.S. Bach, oratorios by Handel, and Pegasus since 2001. While studying Russian the Renaissance to the present day. The choir works by modern and contemporary American and German at Oxford University he sang in presents numerous concerts each year in composers. The choir has premiered works the Schola Cantorum, the university’s premier collaboration with music societies, music festivals by leading British composers including John chamber choir. During his time as a student and charities in London and southern England. Tavener, Thomas Adès, and two pieces Matthew began conducting choirs, leading commissioned by the choir itself from Francis performances of music by Poulenc and Pegasus’s members are experienced singers Grier, A Baby Asleep after Pain and Pax. The the major English Renaissance composers. who pursue their passion for choral music choir’s secular repertoire ranges from opera Matthew directs Pegasus alongside his work as alongside busy careers. Rather than rehearsing choruses to folksong and jazz. director of strategy for a business information weekly, the choir meets for intensive rehearsals company. He has toured with the choir to over several weeks prior to each performance. In 2013 Pegasus won the Chamber Choir prize Arezzo, Dublin, Tolosa and Tours. He also This gives Pegasus the flexibility to be involved and the Francis Poulenc prize at the Florilège conducts the London Bach Players, with whom in a wide range of musical projects. Pegasus Vocal de Tours International Choral Competition he has performed in Pau and Copenhagen. works regularly with the London Handel in France. Pegasus was a semi-finalist in Among the major works he has conducted Orchestra, including in two staged performances the BBC Choir of the Year competition in are Bach’s Mass in B Minor, the St John of Handel’s Acis and Galatea, conducted by 2005, and a prize-winner at the 2007 Tolosa Passion and the St Matthew Passion. Matthew Laurence Cummings, at the 2018 London International Choral Competition in Spain. The has a particular passion for exploring less Handel Festival, and Bach’s Mass in B Minor choir has been featured on BBC Radio and frequently performed repertoire, such as the at the 2016 Tilford Bach Festival and at Classic FM, as well as in the Channel 4 premiere music of Szymanowski, as well as contemporary St John’s Smith Square. That year the choir of Jonathan Dove’s opera When She Died. composers, including Judith Bingham, Francis also performed Monteverdi’s Vespers of Pegasus has performed in five productions Grier and James MacMillan. He has broadcast © Pete Le May 1610 for Tilford Bach Society. Pegasus sings with ballet dancer Carlos Acosta at the London on BBC Radio and Classic FM. regularly as part of the Brandenburg Choral Coliseum, the Royal Opera House, Covent Garden Festival of London at St Martin-in-the-Fields, and the Royal Albert Hall. Pegasus’s first CD, and in 2017 took part in a performance Twelve Days – A Celebration of Christmas, was of Mahler’s Resurrection Symphony at London’s released in partnership with Princess Alice Barbican Hall. Hospice and is available online. - 20 - - 21 - MARTIN TOYER

Martin Toyer has been a member of Pegasus for more than 20 years, with roles as singer, pianist, organist and conductor. He began his musical career as organ scholar and director of the chapel choir at Brasenose College, Oxford. Martin is currently Director of Music at the Roman Catholic Church of Our Lady, St John’s Recorded in St George’s Church, Tooting, London from 30th January to 1st February 2015. Wood, in London, where he leads the adult Producer – Alistair Dixon choir in unaccompanied repertoire ranging Recording Engineer – Alexander Van Ingen Editors – Alistair Dixon and Samir Savant from plainchant to the eighteenth century, and occasional works with orchestra. In 2007 Cover Image – From ‘Gassed’ by John Singer Sargent. © IWM. Reproduced with permission. he founded the church’s junior choir, which Design and Artwork – Woven Design www.wovendesign.co.uk sings motets and plainchant each week and in P 2018 The copyright in this sound recording is owned by Signum Records Ltd concert. Away from the church, Martin gives © 2018 The copyright in this CD booklet and design is owned by Signum Records Ltd regular performances as a singer, pianist and © 2018 The copyright in the booklet notes is owned by Pegasus organist, as well as being guest conductor 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 or accompanist for various London-based 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. ensembles. He also directs Ensemble 42, a SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. small group of musicians who perform solo +44 (0) 20 8997 4000 E-mail: [email protected] and ensemble works in many genres from www.signumrecords.com plainchant and Lieder to modern opera. © Gideon Hart

- 22 - - 23 - ALSO AVAILABLE on signumclassics

No Exemptions, No Exceptions Jonathan Dove: For an Unknown Soldier Great War Songs Nicky Spence tenor, Melvyn Tan piano Robin Tritschler tenor London Mozart Players, Oxford Bach Choir Malcolm Martineau piano Portsmouth Grammar School Chamber Choir SIGCD401 Nicholas Cleobury director SIGCD452 “Tritschler proves an expert guide to all this material. His linguistic and vocal skills combine to splendid effect...Tritschler’s “Dove has a profound feel for literature as well as a protean technical and expressive skills combine throughout to bring out compositional talent...And Dove’s matchless experience of the best in the words as well as the music.” BBC Music Magazine writing community operas is evident in the way that choirs of young children, older children (Portsmouth Grammar School) and adults (Oxford Bach Choir) are each given a distinct strand of the narrative … Nicky Spence is wonderfully tender in the tenor solos … it’s a marvellously atmospheric work and should be heard.” The Times

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 MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD825 BLACK Job Title: For The Fallen

SIGNUM CLASSICS SIGCD825 FOR THE FALLEN

Choral Music from the Time of The Great War

1 For the Fallen Douglas Guest (1916–1996) [2.16] FALLEN THE FOR

2 Expectans expectavi Charles Wood (1866–1926) [3.57] 3 Nachtlied Max Reger (1873–1916) [2.44] 4 Trois beaux oiseaux du Paradis Maurice Ravel (1875–1937) [2.45] 5- e A Short Requiem Henry Walford Davies (1869–1941) [17.31] r Blagoslovi dushe moya gospoda Sergei Rachmaninov (1873–1943) [4.25] t Nyne otpuschaeshi Sergei Rachmaninov [3.14] y Nunc dimittis Gustav Holst (1874–1934) [3.08] u Psalm 23 Ivor Gurney (1890–1937) [2.13] ALTHAM / PEGASUS i Since I Believe in God the Father Almighty Ivor Gurney [5.14] PEGASUS / ALTHAM o For Lo! I Raise Up Charles Villiers Stanford (1852–1924) [8.03] p To Music George Dyson (1883–1964) [2.37] a The Dying Soldier Traditional, arr. Mack Wilberg (b.1955) and Nigel Short (b.1965) [4.09] s Ich bin der Welt abhanden gekommen Gustav Mahler (1860–1911), arr. Clytus Gottwald (b.1925) [5.30]

Total timings: [67.19]

FOR THE FALLEN

PEGASUS MATTHEW ALTHAM DIRECTOR

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD825

CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2018 Signum Records DDD SIGCD825 © 2018 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 08252 2 SIGNUM