In Paradisum - Truro Cathedral Choir Summer Concert, Saturday 20th June 20

PROGRAMME

  

The Truro Evening Canticles – Russell Pascoe (b 1960)

The Beatitudes – Arvo Pärt (b 1935)

Mother of God, here I stand – John Tavener (1944-2014)

Elegy – George Thalben-Ball (1896-1987)

Soloist: Luke Bond (organ)

Funeral Ikos – John Tavener

Herzliebster Jesu – Gabriel Jackson (b 1962)

Soloist: Luke Bond (organ)

Nunc Dimittis – Gustav Holst (1874-1934)

Soloists: James Lansdowne (treble) and Peter Thomson (tenor)

INTERVAL

Requiem – Maurice Duruflé (1902-1986)

Soloists: Jacob Dennison and Nicholas Hawker

1 Introitus

2 Kyrie

3 Domine Jesu Christe

4 Sanctus

5 Pie Jesu

6 Agnus Dei

7 Lux æterna

8 Libera me

9 In Paradisum

WORDS AND PROGRAMME NOTES

The Truro Evening Canticles – Russell Pascoe

Cornish composer Russell Pascoe was commissioned to write this set of evening canticles for the Cathedral Choir, which were broadcast live as part of Choral Evensong on BBC Radio 3 on the 17th of April, 2013. 

Pascoe chooses to set the Magnificat as a great song of praise, rather than in the more introspective style particularly characteristic of Herbert Howells, full of exciting syncopation and the use of quick changes of time signature to shift the pattern of strong and weak beats in both the music and words, often over a short phrase.  He confidently mixes tonal and modal harmonies alongside sometimes unexpected rhythms and free repetition of the words, always maintaining a sense of surging momentum, with the fully independent organ part adding sudden flourishes that leap out from the texture. The Gloria takes us briefly to another world entirely, one where there is a majestic timelessness. This world is one inhabited by Arvo Pärt and John Tavener whose music is greatly influenced by the Orthodox Church. For the opening of the Gloria, with its drone bass underpinning a strong melody with embellishments, Pascoe had in mind the eyes of an icon (like the Virgin of Tenderness of Vladimir in the Cathedral) staring out and requiring a response.

The Nunc Dimittis is much darker in tone, starting with the basses of the choir over a low organ drone, again evoking an atmosphere of the Orthodox Church. The texture gradually builds over the course of the words, which are not repeated. The canticle ends triumphantly, with a grand climax leading straight into a reworking of the majestic Gloria from the end of the Magnificat, the organ accompaniment far more embellished than before.

My soul doth magnify the Lord : and my spirit hath rejoiced in God my Saviour.

For he hath regarded : the lowliness of his handmaiden.

For behold, from henceforth : all generations shall call me blessed.

For he that is mighty hath magnified me : and holy is his Name.

And his mercy is on them that fear him : throughout all generations.

He hath shewed strength with his arm : he hath scattered the proud in the imagination of their hearts.

He hath put down the mighty from their seat : and hath exalted the humble and meek.

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 the Holy Ghost;

As it was in the beginning, is now, and ever shall be: world without end. Amen.

Luke 1.46-55, lesser doxology

Lord, now lettest thou thy servant depart in peace : according to thy word.

For mine eyes have seen : thy salvation,

Which thou hast prepared : before the face of all people;

To be a light to lighten the Gentiles : and to be the glory of thy people Israel.

Glory be to the Father, and to the Son: and to the Holy Ghost;

As it was in the beginning, is now, and ever shall be: world without end. Amen.

Luke 2.29-32, lesser doxology

The Beatitudes – Arvo Pärt

One of only three works composed by Arvo Pärt in English, this setting of Jesus’s “Sermon on the Mount” from Matthew's Gospel is an excellent example of the Estonian composer's “tintinnabuli” style, the name of which comes from the Latin for “bell”, that he established for himself in the 1970s. This style is characterised by the use of two voices, the first being the “tintinnabular” which jumps around the notes of a tonic triad, and the second a voice that moves by step. This often produces a curious texture of parts constantly crossing over each other; the trebles and tenors have the tintinnabular voice, with wide leaps, contrasting with the altos and basses, who move in contrary motion with each other (where one part goes up the other goes down, in relation to the tonal centre). Pärt’s genius lies in making what could so easily be dry compositional techniques into music of immense emotional power. 

The choir enter on a discord, and the sentences of the scripture are punctuated by silence, before being joined discreetly by an underpinning organ pedal. The piece gradually moves higher through the choir's range, building a kind of devotional intensity while the pedal holds beneath the voices until the colossal “Amen”, when the organ suddenly bursts into life concluding the piece with a fantasia, indicative of the blessings of heaven that await the faithful. The organ fantasia gradually falls in pitch, returning to the original key of the opening; not only do the choir parts mirror themselves in their pairs, but the piece itself is a harmonic mirror, reflected through the “Amen”, that great declaration of affirmation.

Blessed are the poor in spirit: for theirs is the kingdom of heaven.

Blessed are they that mourn: for they shall be comforted.

Blessed are the meek: for they shall inherit the earth.

Blessed are they which do hunger and thirst after righteousness: for they shall be filled.

Blessed are the merciful: for they shall obtain mercy.

Blessed are the pure in heart: for they shall see God.

Blessed are the peacemakers: for they shall be called the children of God.

Blessed are they which are persecuted for righteousness sake: for theirs is the kingdom of heaven.

Blessed are ye, when men shall revile you, and persecute you, and shall say all manner of evil against you falsely, for my sake.

Rejoice, and be exceeding glad: for great is your reward in heaven: for so persecuted they the prophets which were before you.

Amen.

Matthew 5.3-12

Mother of God, Here I stand – John Tavener

This simple, hymn-like setting is the opening anthem of John Tavener's The Veil of the Temple, a work that lasts over seven hours in its entirety and is performed overnight, much like Rachmaninov's All-night Vigil, commonly known as his Vespers. The text is a setting of the first two verses of Mikhail Lermontov's A Prayer Poem, translated by Mother Thekla, with whom Tavener shared an exceptionally close relationship, acting at times as librettist, spiritual advisor and even counsellor to the composer. 

The text is imbued with a simple honesty, the poet offering his prayers to the Mother of God not for himself in any way, but for “her alone”, reflected in the sustained phrases which repeat the same musical material for every two lines of text, focussing the devotional nature of the prayer. The end of each phrase features exceptionally low bass notes, common in the music of the Eastern Orthodox Church, laying a harmonic foundation like the pedal stops of an organ.

Mother of God, here I stand now praying,

Before this ikon of your radiant brightness,

Not praying to be saved from a battlefield;

Not giving thanks, nor seeking forgiveness for the sins of my soul, nor for all the souls

Numb, joyless and desolate on earth; but for her alone, whom I wholly give you...

Mikhail Lermontov, trans. Mother Thekla

Elegy – George Thalben-Ball

This Elegy, arguably Thalben-Ball's most recognisable piece, started life as an improvisation after a BBC broadcast during the Second World War when the service itself unexpectedly ended a few minutes early. So many listeners phoned the BBC to find out what piece he was in fact playing, Thalben-Ball decided to transcribe it as best he could remember. It is dedicated to Thalben-Ball's predecessor at the Temple, Sir Henry Walford Davies, and is reminiscent of the older organist's Solemn Melody, following a similar structure of a quiet opening statement that builds to a climax before returning to a subdued ending. The score notes that the first statement of this tune must have a “cello quality”, but no other registration instructions are given throughout, fitting its improvisational origins. This simple, dignified and never overly sentimental piece may well have been an affectionate tribute to Walford Davies, who died in 1941. 

Funeral Ikos – John Tavener

Written in 1981, this sets words from the Order for the Burial of Dead Priests from the Greek Orthodox liturgy.  Unfamiliar to most of us, it shows the frank and honest approach towards physical death, but that it does not diminish the souls of the righteous.

The long chanted lines, moving from unison to three parts and back again, coupled with the “Alleluia” refrain give the piece a meditative atmosphere, and help this delicate and deeply religious Ikos to move past being just music and words, and become more of an idea in and of itself – although performed out of context here, it echoes the message in The Beatitudes that heaven awaits the righteous but is beyond a veil of suffering and physical death, and that if we truly believe and keep faith we will find heaven. The text also touches on many aspects outside the funeral itself: the grief of feeling abandonment, loss, doubt, and fear of the unknown. Ultimately, the text points to closure; not just for the souls of the dying, but also the living who survive them, allowing them to move on and look to their faith: “Let us all, also, enter into Christ, that all we may cry aloud thus unto God: Alleluia”.

Why these bitter words of the dying, O brethren, which they do utter as they go hence?  I am parted from my brethren.  All my friends do I abandon, and go hence.  But whither I go, that understand I not, neither what shall become of me yonder; only God, who hath summoned me knoweth.  But make commemoration of me with the song: Alleluia.

But whither now go the souls?  How dwell they now together here?  This mystery have I desired to learn, but none can impart aright.  Do they call to mind their own people, as we do them?  Or have they forgotten all those who mourn them and make the song: Alleluia.

We go forth on the path eternal, and as condemned, with downcast faces, present ourselves before the only God eternal.  Where then is comeliness?  Where then is wealth?  Where then is the glory of this world?  There shall none of these things aid us, but only to say oft the psalm: Alleluia.

If thou hast shown mercy unto man, O man, that same mercy shall be shown thee there;and if on an orphan thou hast shown compassion, the same shall there deliver thee from want.  If in this life the naked thou hast clothed, the same shall give thee shelter there, and sing the psalm: Alleluia.

Youth and the beauty of the body fade at the hour of death, and the tongue then burneth fiercely, and the parched throat is inflamed.  The beauty of the eyes is quenched then, the comeliness to the face all altered, the shapeliness of the neck destroyed; and the other parts have become numb, nor often say: Alleluia.

With ecstasy are we inflamed if we but hear that there is light eternal yonder; that there is Paradise, wherein every soul of Righteous Ones rejoiceth.  Let us all, also, enter into Christ, that we all we may cry aloud thus unto God: Alleluia.

From The Order for the Burial of Dead Priests, trans. Isabel Hapgood

Herzliebster Jesu – Gabriel Jackson

Commissioned as part of The Orgelbüchlein Project, this chorale prelude was first performed by William Whitehead at The Passiontide Festival held at Merton College, Oxford, on 31st of March 2012. This project seeks to 'complete' Johann Sebastian Bach's Orgelbüchlein (Little Organ Book), which out of a total of 164 chorales for liturgical use throughout the church year saw only 46 completed by Bach at the time of his death, leaving 118 chorales either unfinished or entirely unwritten. Modern composers have been invited to contribute by either picking up where Bach left off or by creating an original composition, which will be collected and published alongside Bach's original preludes and published in one volume in 2017.

Gabriel Jackson finds inspiration from Bach in setting the chorale melody (a German hymn tune) in a solo voice in the right hand of the organ, while accompanied by left hand cluster chords and deep pedal notes underneath. While Jackson's melodic and rhythmic figures are beyond what Bach may have imagined or intended, the modern idiom is not so far removed from other decorated chorale melodies (such as O Mensch, bewein BWV 622), and the outline of the melody is well-preserved. The irregular rhythm in the accompanying parts promotes a sense of unease matching the dark undertones of the text, the first verse of which is printed here.

Herzliebster Jesu, was hast du verbrochen,

Daß man ein solch scharf Urteil hat gesprochen? Was ist die Schuld? In was für Missetaten Bist du geraten?

O dearest Jesus, what law hast Thou broken

That such sharp sentence should on Thee be spoken?

Of what great crime hast Thou to make confession,

What dark transgression?

Johann Heerman, trans Catherine Winkworth

Nunc Dimittis – Gustav Holst

Composed one hundred years ago, this unaccompanied Nunc Dimittis was commissioned by Richard Terry, then Organist of Westminster Cathedral. It received its liturgical première on Easter Sunday of 1915 as part of compline (which explains why there is no accompanying Magnificat), and almost completely disappeared thereafter. It was rediscovered in the 1970s by the composer's daughter Imogen, who revised it slightly ahead of its first 'modern' performance, given by the BBC Northern Singers as part of the 27th Aldeburgh Festival in 1974.

One of the most recognisable openings of any evening canticle setting, the eight parts enter one by one, holding “Nunc” until the full choir is singing. From this, Holst uses a great deal of techniques to vary the eight part texture constantly – renaissance inspired counterpoint gives way to full sections, antiphony not only between the first and second parts but also between the upper and lower voices, and two short but effective solos, sung by a treble and tenor. The piece culminates with a thrilling Gloria full of exciting counterpoint, ending with a sustained top A in the trebles that peals out, the final major chord instilling a sense of joy.

Nunc dimittis servum tuum, Domine, secundum verbum tuum in pace:

Quia viderunt oculi mei salutare tuum

Quod parasti ante faciem omnium populorum:

Lumen ad revelationem gentium, et gloriam plebis tuae Israel.

Gloria Patri, et Filio, et Spiritui Sancto,

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

Lord, now lettest thou thy servant depart in peace : according to thy word.

For mine eyes have seen : thy salvation,

Which thou hast prepared : before the face of all people;

To be a light to lighten the Gentiles : and to be the glory of thy people Israel.

Glory be to the Father, and to the Son: and to the Holy Ghost;

As it was in the beginning, is now, and ever shall be: world without end. Amen.

Luke 2.29-32, lesser doxology

INTERVAL

Requiem – Maurice Duruflé

Born in 1902, Maurice Duruflé began his musical training at the age of ten, when his father enrolled him as a chorister at Rouen Cathedral, the choir of which was famous for singing entirely from memory until the time of the French Revolution. It is also the home of Jean Titelouze, recognized as the founder of the great French Organ School of composers. It was in this environment that the young Duruflé found his love of Gregorian Chant, on which much of his limited compositional output is based – only 14 opus numbers were published in total. The Requiem is a fusion of many disparate elements that Duruflé juxtaposes with incredible skill, making the melodies and modal flavour of Gregorian chant seem a natural match to the lush, almost impressionistic harmonies surrounding it.

The Requiem itself was possibly started as early 1941, but was not completed until 1947, when it was dedicated to the memory of his father, who had died that year. Initially conceived as a suite of solo organ pieces based on the chants for the Missa pro Defunctis (Mass for the Dead), it gradually expanded to this setting in nine movements for choir and orchestra, which Duruflé later reduced to choir and organ accompaniment, as it is performed tonight. (There is also a third version, accompanied by organ and chamber orchestra.)

The structure takes inspiration from Fauré's Requiem, and follows in its mood of dignified acceptance of death and confidence in God’s mercy. Amongst the dramatic moments are the massive 'Hosanna' in the Sanctus which gives listeners a vision of the gates of heaven, and the 'Dies irae, dies illa' that reminds us that God will come and judge the world by fire in the end of days. The solos in the third and eighth movements use the uppermost part of the range, providing a magisterial effect, particularly in the phrase “tu suscipe” in the third movement. Finally, in the sublime ending, the last moments of the In Paradisum itself, having seen heaven from afar, we are led by flights of angels as the choir and organ melt away into eternity.

I. Introit

Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.

Te decet hymnus Deus in Sion, et tibi redetur votum in Jerusalem.

Exaudi orationem meam; ad te omnis caro veniet.

Rest eternal grant unto them, O Lord: and let light perpetual shine upon them.

Thou, O God, art praised in Sion, and unto thee shall the vow be performed in Jerusalem:

Hear my prayer; all flesh shall come to thee.

II. Kyrie

Kyrie eleison.

Christe eleison.

Kyrie eleison.

Lord, have mercy upon us.

Christ, have mercy upon us.

Lord, have mercy upon us.

III. Domine Jesu Christe

Domine Jesu Christe, Rex gloriae,

libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu:

Libera eas de ore leonis, ne absorbeat eas tartarus: ne cadant in obscurum.

Sed signifer sanctus Michael repraesentet eas in lucem sanctam,

Quam olim Abrahae promisisti, et semini ejus.

Hostias et preces tibi, Domine, laudis offerimus:

tu suscipe pro animabus illis quarum, hodie memoriam facimus. 

Fac eas, Domine, de morte transire ad vitam.

Quam olim Abrahae promisisti, et semini ejus.

O Lord Jesus Christ, King of glory,

deliver the souls of the departed from the pains of hell and the bottomless pit:

Deliver them from the lion’s mouth, lest hell devour them: may they not fall into darkness, but let Saint Michael, the standard bearer, lead them into the holy light,

which thou once promised to Abraham and his seed.

Sacrifices and prayers do we offer to thee, O Lord:

do thou accept them for those souls in whose memory we make this oblation.

Make them, O Lord, to pass from death to life,

which thou once promised to Abraham and his seed.

IV. Sanctus

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth.

Pleni sunt cœli et terra gloria tua.

Hosanna in excelsis.

Benedictus qui venit in nomine Domini.

Hosanna in excelsis.

Holy, holy, holy, Lord God of Hosts.

Heaven and earth are full of Thy glory.

Blessed is he who cometh in the name of the Lord.

Hosanna in the highest.

V. Pie Jesu

Pie Jesu Domine, dona eis requiem.

Dona eis sempiternam requiem.

Blessed Lord Jesus, grant them rest.

Grant them eternal rest.

VI. Agnus Dei

Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

O Lamb of God, who takes away the sins of the world, grant them rest.

O Lamb of God, who takes away the sins of the world, grant them rest eternal.

VII. Lux aeterna

Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum: quia pius es.

Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.

Quia pius es.

Let light eternal shine upon them, O Lord: with thy saints for evermore: for thou art gracious.

Rest eternal grant unto them, O Lord: and let light perpetual shine upon them.

For thou art gracious.

VIII. Libera me

Libera me, Domine, de morte aeterna, in die illa tremenda:

Quando coeli movendi sunt et terra; Dum veneris judicare saeculum per ignem.

Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira.

Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde.

Requiem aeternam dona eis Domine, et lux perpetua luceat eis.

Deliver me, O Lord, from everlasting death in that fearful day:

When the heavens and earth shall be shaken; When thou shalt come to judge the world by fire.

I am in fear and trembling, until the sifting be upon us and the wrath to come.

That day, the day of wrath, calamity and misery, the great day of exceeding bitterness.

Rest eternal grant unto them, O Lord: and let light perpetual shine upon them.

IX. In Paradisum

In paradisum deducant Angeli, in tuo adventu suscipiant te martyres,

et perducant te in civitatem sanctam Jerusalem.

Chorus Angelorum te suscipiat,

et cum Lazaro quondam paupere aeternam habeas requiem.

May the Angels lead thee into Paradise, and the Martyrs receive thee at thy coming

and bring thee into the holy city Jerusalem.

May the choir of Angels receive thee, and mayest thou,

with Lazarus once poor, have everlasting rest.

Missa pro Defunctis

Programme notes by Paul-Ethan Bright

Truro Cathedral Choir

Truro Cathedral has had a choir of boys and men since it was consecrated in 1887. The current team of eighteen boy choristers and twelve gentlemen sings at six services each week during term time as well as at the major services around Christmas and Easter. They also undertake regular concerts, broadcasts, webcasts, foreign tours and CD recordings.

In recent years the choir has performed live on BBC1 as well as making recordings for BBC1’s Songs of Praise programme and a BBC2 documentary The Truth about Carols. There are regular live broadcasts on BBC Radio 3 and, in 2011, it became the first British cathedral choir to webcast a service. On Radio 4’s Desert Island Discs programme, Howard Goodall chose the choir’s recording of music by French composer Maurice Duruflé as his favourite disc.

Recent CD recordings have attracted praise from critics in the international classical press: “Inspirational singing from one of the top cathedral choirs in the land” (Organists’ Review); “The singing of the choir, set in the wonderful acoustic of Truro Cathedral, is beyond praise” (MusicWeb International); “They have a fresh, unforced sound and encompass with ease the bigger eight-part writing and unexpected harmonic progressions. It’s noticeable that the solo voices include five different boy choristers of equal accomplishment – a tribute to Gray’s expert training.” (Gramophone).

In addition to its commitments in Truro, the Choir has performed in Germany, Austria, Switzerland, France, Sweden, Italy, Spain and the USA.

A great deal of new music has been written specially for Truro Cathedral Choir by some of the UK’s top composers, among them David Bednall, David Briggs, Jonathan Carne, Paul Comeau, Paul Drayton, Graham Fitkin, Howard Goodall, Gabriel Jackson, James MacMillan, Russell Pascoe, Howard Skempton and Philip Stopford.

The eighteen boy choristers are all educated at Polwhele House School. They rehearse every day before school for at least 45 minutes. On most weekdays they come straight from school to the Cathedral where they do their homework before rehearsing for another 40 minutes and singing a service at 5.30 pm. They sing two further services on Sundays.

The boys are joined by twelve gentlemen who sing the alto, tenor and bass parts. Seven are Lay Vicars who are based permanently here in Cornwall. Five are Choral Scholars who come from various parts of the UK and further afield to spend their gap years singing with our renowned choir. There is also an Organ Scholar. All organise their lives, work and holidays around the choir’s busy schedule of commitments.

Truro Cathedral supports three other choirs which provide singing opportunities for boys and girls aged 7 to 18, as well as adults. A separate team of girl Choristers, in the age range 13 to 18, will join Truro Cathedral Choir next September. Full details can be found on the Cathedral’s website.

O Radiant Dawn - Truro Cathedral Choir Spring Concert with Joel Garthwaite, Friday 27th February 2015

PROGRAMME

O Radiant Dawn – James MacMillan (b 1959)

The Three Kings – Jonathan Dove (b 1959)

Soloists: Louis Cain and Fraser Rogers treble

Christ hath a garden – Jeremy Jackman (b 1952)

Soloists: Jake Barlow alto, Peter Thomson tenor and Charlie Murray bass

Aria for Joel and Vicki – Gabriel Jackson (b 1962) (first performance)

Soloists: Luke Bond organ and Joel Garthwaite saxophone

From ‘Seven Magnificat Antiphons’: – Gabriel Jackson

O Adonai

O Radix Jesse

O Clavis David

O Oriens

Cantate Domino – Patrick Hawes (b 1958)

Soloist: Toby Pearce treble

Organ – Graham Fitkin (b 1963)

Soloist: Luke Bond organ

All wisdom cometh from the Lord – Philip Moore (b 1943)

Soloist: Charlie Murray bass

The Seal Lullaby – Eric Whitacre (b 1970)

Nunc Dimittis – Philip Stopford (b 1977)

Vox clara ecce intonat – Gabriel Jackson

Soloists: Joel Garthwaite saxophone and Paul-Ethan Bright alto

WORDS AND PROGRAMME NOTES

O Radiant Dawn – James MacMillan

MacMillan is one of the leading composers of this generation, whose varied output touches almost every aspect of sacred and secular music, informed not only by his faith as a Roman Catholic, but also by the traditional music of his native Scotland. This piece comes from the Strathclyde Motets, and is a setting of O Oriens, the antiphon for the 21^st of December, which compares the light of Christ to the rising sun. It opens with the full choir in strict homophony (all parts moving together, as in a hymn), using grace notes in the treble and tenor parts to imitate the 'Scotch snap', and builds itself on simple repeated phrases. Suspensions (dissonances which resolve) add to the devotional character of the words, and the last word of the antiphon, “death”, is left unresolved. While the first section is the text of the antiphon, the second section is taken from Isaiah, and is sung by the upper voices alone, in consonant thirds. The antiphon is repeated and “death” finds its resolution as the choir sings the ‘Amen’ – the short, repeated phrases adding to the devotional nature, with a final 'Scotch snap' into the last chord.

O Radiant Dawn, Splendour of eternal Light,

Sun of Justice: come, shine on those who dwell in darkness and the shadow of death.

Isaiah had prophesied, 'The people who walked in darkness have seen a great light;

upon those who dwelt in the land of gloom a light has shone.'

Amen.

Antiphon for the 21^st of December, Isaiah 9, v2

The Three Kings – Jonathan Dove

Commissioned by the Choir of King’s College, Cambridge for its Festival of Nine Lessons and Carols in 2000, this carol succeeds in preserving the narrative intensity of the poem while developing its own musical character. The nature of the poem is reminiscent of the ancient French 'forme fixe' Rondeau, using “O balow, balow la lay/Gifts for a baby King, O” as the refrain, tied together rhythmically throughout the piece. The different characters of each of the kings is represented through different choral textures – the melancholy of the youngest expressed by the doleful treble solos, the solemnity of the middle King focused by always being sung by no more than four parts at once, and the joy of the oldest King accentuated by the ebullient, virtuosic triplet figures at “Many a gaud and glittering toy”. The final chorus builds to an impassioned climax, before returning to the quiet character of the opening.

The first king was very young,

O balow, balow la lay,

With doleful ballads on his tongue,

O balow, balow la lay,

He came bearing a branch of myrrh

Than which no gall is bitterer,

O balow, balow la lay,

Gifts for a baby King, O.

The second king was a man in prime,

O balow, balow la lay,

The solemn priest of a solemn time,

O balow, balow la lay,

With eyes downcast and reverent feet

He brought his incense sad and sweet,

O balow, balow la lay,

Gifts for a baby King, O.

The third king was very old,

O balow, balow la lay,

Both his hands were full of gold,

O balow, balow la lay,

Many a gaud and glittering toy,

Baubles brave for a baby boy,

O balow, balow la lay,

Gifts for a baby King, O.

Dorothy L Sayers

Christ hath a garden – Jeremy Jackman

A three part setting of a hymn by Isaac Watts, this short anthem is full of originality and unexpected wit, including a quote from the classic jazz song “Autumn Leaves”. While the tonality is major overall, the harmonic centre constantly twists and turns, with surprising intervals and extended suspensions. The alto part is particularly characterised by upward leaps of a seventh, and there are moments of subtle word painting to be found: at the words “Awake, O wind of heav’n” and “Stir up, O South” the tenors and basses surge forward with a driving quaver rhythm, the altos reach their highest notes of the piece (another leap of a seventh) at the word “bloom”, and again at the end, where the springing rhythm in the alto part reflects the “springing green”. Jackman has previously been a countertenor in The King's Singers, and was once famous as the voice of the doggerel rhymes in the theme music of Blackadder II.

Christ hath a garden all around,

A paradise of fruitful ground,

Chosen by love and fenc'd by grace,

From out the world's wide wilderness.

Like trees of spice his servants stand,

There planted by his mighty hand,

By Eden's gracious streams that flow,

To feed their beauty where they grow.

Awake O wind of heav'n, and bear

Their sweetest perfume thro' the air,

Stir up, O South, the boughs that bloom,

Till the beloved Master come.

That he may come, and linger yet,

Among the trees that he hath set,

That he may evermore be seen.

To walk amid the springing green.

Isaac Watts

Aria for Joel and Vicki – Gabriel Jackson (first performance)

Composed in celebration of the marriage of Joel Garthwaite and his fiance, this work reflects the joy of the wedding ceremony. It uses the entire range of the Tenor Saxophone, alongside the considerable tonal resources of the organ, and is full of Jackson's signature style, with long melodic phrases using lombardic rhythms, the true expression of the 'scotch snap'. The opening phrase features an organ melody over cluster chord accompaniment, giving way to the saxophone, in the middle of its register, in the spirit of the expressive 'en taille' aria movements of the French organ mass. While one instrument holds a note or chord, the other plays syncopated phrases, which are swapped back and forth over the piece. As we approach the end, the opening Saxophone melody is repeated up an octave, and finally draws to a close in a peaceful mood.

From ‘Seven Magnificat Antiphons’ – Gabriel Jackson

O Adonai, O Radix Jesse, O Clavis David and O Oriens

Gabriel Jackson composed six of his seven Magnificat Antiphons for the gentlemen and boys of Truro Cathedral Choir who gave their first performance on 7^th December. The remaining antiphon, O Clavis David was composed for the Choir of Merton College, Oxford and premiered in 2012.

The words come from the seven ‘great O antiphons’ (so named because each one starts with an ‘O’) which are used liturgically in the seven days leading up to Christmas Day. Jackson’s settings use the full resources of the choir, with O Adonai for the tenors and basses, O Radix Jesse for the trebles and altos, and the others for the full choir, split into up to eight parts.

These are a further expression of the style already encountered in the Aria for Joel and Vicki, full of lively syncopation and colourful harmonies. The long held notes (so-called ‘pedal notes’), especially in O Clavis David, act as great granite-like drones, underpinning the text sung in the other parts. Jackson often moves the tune around the different voice-parts of the choir, sometimes clearly at the top of the texture, sometimes in the basses, and sometimes with the whole choir, in unison.

O Adonai, et Dux domus Israel, qui Moysi in igne flamme rubi apparuisti, et ei in Sina legem dedisti: veni ad liberandum nos in brachio extento. O Radix Jesse, quistas in signum populorum, super quem continebunt reges os suum, quem Gentes deprecabuntur: veni ad liberandum nos, jam noli tardere. O Clavis David, et sceptrum domus Israel, qui aperis et nemo claudit; claudis, et nemo aperit: veni, et educ vinctum de domo carceris, sedentem in tenebris, et umbra mortis O Oriens, splendor lucis aeternae, et sol justitae: veni, et illumina sedentes in tenebris, et umbra mortis.

O Lord, and leader of the house of Israel, who appearedst in the bush to Moses in a flame of fire, and gavest him the law in Sinai: Come and deliver us with an outstretched arm. O Root of Jesse, which standest for an ensign of the people, at whom kings shall shut their mouths, to whom the Gentiles shall seek: Come and deliver us, and tarry not. O Key of David, and sceptre of the house of Israel, that openest and no man shuttest; and shuttest and no man openeth: Come, and bring the prisoner out of the prison house, and him that sitteth in darkness, and the shadow of death. O Dayspring, Brightness of light everlasting, and sun of righteousness: Come, and enlighten him that sitteth in darkness, and the shadow of death.

Antiphons for the 18^th, 19^th, 20^th and 21^st December

Cantate Domino – Patrick Hawes

Commissioned by the saxophonist Christian Forshaw, this short anthem uses the timbres of upper voices, the organ, and the saxophone high in its range to create an avant-garde sound world. Hawes uses plainsong chant as the basis of his melody, which he shares between the different voice-parts of the choir. The short text is repeated several times through the piece, clothed in haunting melodies.

Cantate Domino, benedicite nomen eius:

bene nuntiate de die in diem salutare eius,

Alleluia

O sing unto the Lord, bless his name:

tell out his salvation from day to day,

Alleluia

Psalm 95, v2

ORGAN – Graham Fitkin

Here, rhythm, texture and sheer volume lead this music, rather than a specific melody. The composer leaves a set of detailed yet simple instructions to the performer, and writes that he “focused on three things while composing ORGAN” – the power of the absolute full organ, juxtaposing contrapuntal interest against block chords and utilising a bass line composed of only two notes. It was commissioned for the Organ of Birmingham’s Symphony Hall in 2004, and shows a starkness of texture to match the neo-classical style of that particular instrument. There is no suggested registration or manual changes, just changes in the dynamic level, and the tempo stays exactly the same throughout the entire piece. The highest part of the texture is dominated by a constantly moving semiquaver figure, giving way to massive chords, while the left hand punctuates with melodic interest. It ends as suddenly and as abruptly as it began, free of any classical resolution.

All wisdom cometh from the Lord – Philip Moore

Written in celebration of the 50^th anniversary of Lanesborough Preparatory School, where the choristers of Guildford Cathedral Choir are educated, this anthem is a triumph of form as much as anything else. The huge variety in the musical texture compliments the different aspects of wisdom presented to us in the Biblical words from the book of Ecclesiasticus – the strong and austere opening gives way to a rhythmically sharp motif, the irregular beat pattern adding to the questioning nature of the text. The central section, a bass solo, answers the questions presented to us. Afterwards, the rhythm picks up again, returning to the jaunty syncopation of the second section, but this time in a major mode, with a celebratory feeling. 

Finally, in the last section, the trebles sing the words of the psalm to the plainsong melody associated with the Nunc Dimittis, while the tenors and bases repeat the melody from the very start but now drawn out with longer note values. The organ part also uses material we have previously heard, using some of the same harmonic progressions from the bass solo. At the very end of the piece, as the trebles finish their plainsong tune, the opening motif is repeated one last time, moving from the altos to the basses and finally to the tenors; all voice-parts have a share in the wisdom of the Lord.

All wisdom cometh from the Lord, and is with Him for ever.

Who can number the sand of the sea and the drops of rain and the days of eternity?

Who can find out the height of heav'n, and the breadth of the earth and the deep and wisdom?

Wisdom hath been created before all things and the understanding of prudence from everlasting.

The word of God most high is the fountain of Wisdom, and her ways are everlasting commandments.

To whom hath the root of Wisdom been revealed? Or who hath known her wise counsels?

There is one wise and greatly to be fear'd, the Lord sitting upon his throne.

He created her and saw her and numbered her, and poured her out upon all his works.

She is with all flesh according to his gifts, and he hath given her to them that love him.

The fear of the Lord is honour and glory and gladness and a crown of rejoicing.

The fear of the Lord maketh a merry heart and bringeth joy and gladness and a long life.

Teach me O Lord the way of thy statutes: and I shall keep it unto the end.

Give me understanding and I shall keep thy law; yea I shall keep it with my whole heart.

Make me to go in the way of thy commandments: for therein is my desire.

O stablish thy word in thy servant: that I may fear thee.

Behold my delight is in thy commandments: O quicken me in thy righteousness.

Ecclesiasticus 1 vv1-6 & 8-12, and Psalm 119 vv33-35 & 38-40

The Seal Lullaby – Eric Whitacre

With words from a classic Kipling story, Whitacre wrote this in response to a commission for an animated film. Simple yet accessible, the music imitates the rolling movement of the waves. The melodic interest is shared between all parts of the choir and the accompanying piano, and closes by repeating the opening chorus. This particular arrangement was commissioned by the Towne Singers, after the animation studio dropped the project to make Kung Fu Panda instead. 

Oh! hush thee, my baby, the night is behind us,

And black are the waters that sparkled so green.

The moon, o'er the combers, looks downward to find us

At rest in the hollows that rustle between.

Where billow meets billow, there soft be thy pillow;

Ah, weary wee flipperling, curl at thy ease!

The storm shall not wake thee, nor shark overtake thee,

Asleep in the arms of the slow-swinging seas.

Rudyard Kipling

Nunc Dimittis (from The Truro Evening Canticles) – Philip Stopford

In the Nunc Dimittis, composed in 2011 for unaccompanied choir, Stopford shows his talent for writing a beautiful, uncomplicated melody, and for engineering a good musical climax. Specially commissioned for Truro Cathedral Choir, this service has entered the regular repertoire, as well as being featured in webcasts, recordings and broadcasts. Stopford juxtaposes the delicacy of the treble melody with the vulnerability in the text, as the old Simeon gives thanks to the Lord for meeting the child Jesus, knowing that his lifetime of service to the temple has finally been rewarded by seeing his saviour. As in The Seal Lullaby, the lower parts present a gently rocking accompaniment of pure calm.

Lord, now lettest thou thy servant depart in peace: according to thy word.

For mine eyes have seen: thy salvation,

Which thou hast prepared: before the face of all people;

To be a light to lighten the Gentiles: and to be the glory of thy people Israel.

Glory be to the Father, and to the Son: and to the Holy Ghost;

As it was in the beginning, is now, and ever shall be: world without end. Amen.

Luke 2:29-31, minor doxology

Vox clara ecce intonat – Gabriel Jackson

As the saxophone bursts into life, high in its register, the choir answers with “Hark! A herald voice is calling”, like rays of light shining through darkness. The voices rise to embrace the exuberance of the saxophone part, sometimes playing in a 'call and answer' style, and at other times fully involved in the texture. In the third verse, the tenors and basses provide a sustained backdrop for an alto solo, which duets with the saxophone, with imitative exchanges and parallel phrases. The fourth verse slowly builds in choral texture, and is dominated by the brilliance of the saxophone part, moving to the final verse which gives way to the ‘Amen’, chorally subdued but topped off with a final dramatic flourish.

Vox clara ecce intonat,

obscura quaeque increpat:

procul fugentur somnia;

ab aethre Christus promicat.

Mens iam resurgat torpida

quae sorde exstat saucia;

sidus refulget iam novum,

ut tollat omne noxium.

Esursum Agnus mittitur

laxare gratis debitum;

omnes pro indulgentia

vocem demus cum lacrimis.

Secundo ut cum fulserit

mundumque horror cinxerit,

non pro reatu puniat,

sed nos pius tunc protegat.

Summo Parenti gloria

Natoque sit victoria,

et Flamini laus debita

per saeculorum saecula. Amen.

Hark! a herald voice is calling:

'Christ is nigh,' it seems to say;

'Cast away the dreams of darkness,

O ye children of the day!'

Startled at the solemn warning,

Let the earth-bound soul arise;

Christ, her Sun, all sloth dispelling,

Shines upon the morning skies.

Lo! the Lamb, so long expected,

Comes with pardon down from heaven;

Let us haste, with tears of sorrow,

One and all to be forgiven;

So when next he comes with glory,

Wrapping all the earth in fear,

May he then as our defender

On the clouds of heaven appear.

Honour, glory, virtue, merit,

To the Father and the Son,

With the co-eternal Spirit,

While unending ages run. Amen.

6^th century Latin hymn, sung at the hour of Lauds during Advent, translated by Edward Caswall

Programme notes by Paul-Ethan Bright

Truro Cathedral Choir

Truro Cathedral has had a choir of boys and men since it was consecrated in 1887. The current team of eighteen boy choristers and twelve gentlemen sings at six services each week during term time as well as at the major services around Christmas and Easter. They also undertake regular concerts, broadcasts, webcasts, foreign tours and CD recordings.

In recent years the choir has performed live on BBC1 as well as making recordings for BBC1’s Songs of Praise programme and a BBC2 documentary The Truth about Carols. There are regular live broadcasts on BBC Radio 3 and, in 2011, it became the first British cathedral choir to webcast a service. On Radio 4’s Desert Island Discs programme, Howard Goodall chose the choir’s recording of music by French composer Maurice Duruflé as his favourite disc.

Recent CD recordings have attracted praise from critics in the international classical press: “Inspirational singing from one of the top cathedral choirs in the land” (Organists’ Review); “The singing of the choir, set in the wonderful acoustic of Truro Cathedral, is beyond praise” (MusicWeb International); “They have a fresh, unforced sound and encompass with ease the bigger eight-part writing and unexpected harmonic progressions. It’s noticeable that the solo voices include five different boy choristers of equal accomplishment – a tribute to Gray’s expert training.” (Gramophone).

In addition to its commitments in Truro, the Choir has performed in Germany, Austria, Switzerland, France, Sweden, Italy, Spain and the USA.

A great deal of new music has been written specially for Truro Cathedral Choir by some of the UK’s top composers, among them David Bednall, David Briggs, Jonathan Carne, Paul Comeau, Paul Drayton, Graham Fitkin, Howard Goodall, Gabriel Jackson, James MacMillan, Russell Pascoe, Howard Skempton and Philip Stopford.

The eighteen boy choristers are all educated at Polwhele House School. They rehearse every day before school for at least 45 minutes. On most weekdays they come straight from school to the Cathedral where they do their homework before rehearsing for another 40 minutes and singing a service at 5.30 pm. They sing two further services on Sundays.

The boys are joined by twelve gentlemen who sing the alto, tenor and bass parts. Six are Lay Vicars who are based permanently here in Cornwall. Six are Choral Scholars who come from various parts of the UK and further afield to spend their gap years singing with our renowned choir. There is also an Organ Scholar. All organise their lives, work and holidays around the choir’s busy schedule of commitments.

Truro Cathedral supports three other choirs which provide singing opportunities for boys and girls aged 7 to 18, as well as adults. A separate team of girl Choristers, in the age range 13 to 18, will join Truro Cathedral Choir next September. Full details can be found on the Cathedral’s website.

Joel Garthwaite Saxophonist

Graduating from both the Royal Welsh College of Music and Drama (BMus 2006) and the Guildhall School of Music and Drama (MMus 2007) Joel is sought after as a soloist, chamber musician and recording artist.

His performance work is centred on the award winning Lunar Saxophone Quartet which, since 2006, has developed a reputation as one of the leading chamber music ensembles in the UK. Other regular performance work includes solo performances, orchestral work with the London Contemporary Orchestra and session work. Joel’s media work has included live broadcasts for BBC Radio 5 Live, BBC Radio Wales, BBC Radio 3, Sky Arts, ITV and BBC TV.

His performances have spanned classical halls across the UK including the Barbican Hall and St David’s Hall, and more diverse venues including The Roundhouse, Jazz at Pizza Express Soho, and Bryn Terfel’s Faneol Festival.

Joel is a Signum Records and Edition Records recording artist.