Gibbons, O: Drop, drop, slow tears

Continuing Signum’s new partnership with Paul McCreesh and the Gabrieli Consort following the triumphant success of Berlioz’s 'Grande Messe des Morts' (SIGCD280 –, their next release will be a recording of the groups' renowned a cappella programme of music for mourning and consolation. This is a beautifully poignant programme of British choral music, including works by composers as diverse as Morley and Dove, Sheppard and Walton and featuring Howells’ sublime 'Requiem'.

There is surely no more quintessentially English sound than that of the Choir of King’s College, Cambridge, its unaccompanied voices – evocative of immemorial sandstone, of cool cloisters, of evensong in church, chapel and cathedral – serene in the music of Shakespeare’s contemporaries Byrd and Gibbons, ethereal in Delius heard of a summer’s night across the Backs of the River Cam.

No less iconic is the chapel that lends its unique acoustic to that sound. One of the glories of the English perpendicular style of architecture, it was eventually completed in 1547, a little over a century after the founding of the college itself by Henry VI.

This collection opens and closes with coronation music: Zadok the Priest was written for the crowning of George II in 1727, I was glad for that of Edward VII in 1902. Both were so successful that they have been sung at every coronation since their premières. Parry’s ‘processional anthem’ is heard here in its full panoply of extra brass and shouted Vivats, the choir of King’s choir providing the semi-chorus in the exquisite interlude ‘O pray for the peace of Jerusalem’.

In between are motets ancient and modern – from the miniature If ye love me and the architectural splendour of the 40-part Spem in alium to William Harris’s dramatic double-choir Spenser setting Faire is the Heaven; well-known psalms sung to Anglican chant; and favourite hymns, notably All people that on earth do dwell, arranged ceremonially for another coronation, that of Elizabeth II.

As well as national rejoicing there is solemn remembrance. Come ye sons of art away is Purcell’s 1694 birthday ode for Queen Mary, Thou knowest, Lord part of the music he wrote for her funeral just nine months later. John Ireland’s Greater love hath no man is often heard on Remembrance Sunday; Sir John Tavener’s Song for Athene made a powerful impression at the funeral of Diana, Princess of Wales; while John Rutter’s small-scale, personal Requiem touched a wider public following the attacks of 11 September 2001. But ‘Nimrod’ above all epitomises music of national remembrance. Here a choral setting of it, Lux aeterna, represents our ‘Shakespeare of music’, Edward Elgar.

A powerful and moving selection of Lent and Passiontide music for upper voices, including new works and arrangements written especially for the Ely Cathedral Girls’ Choir.

Concludes with Pergolesi’s perennial favourite setting for two-part upper voices of the Stabat Mater, here performed with intimate accompaniment of period-instrument string quartet and organ continuo, and with solo movements sung by members of the choir.

Ely Cathedral Girls' Choir was founded in September 2006. The 18 girls are in years 9 to 13 at the King's School Ely.

Since 2010, the choir has been directed by Sarah MacDonald, who is also Director of Music at Selwyn College, Cambridge.

This sequence of music for Lent, Passiontide and Easter represents a journey through perhaps the most dramatic part of the Church’s year. It is a season which has inspired many composers to write some of their most potent pieces, and contrasts the seriousness of intent and poignancy found in, say, Lotti’s Crucifixus with the exuberance of music such as Philips’s Ecce vicit Leo.

Other favourites in this anthology include Mendelssohn’s I waited for the Lord, Bruckner’s Christus factus est, and the beautiful Gibbons setting of Drop, drop, slow tears with the soloist Anthony Way (who caused such a stir in television’s The Choir). There are also two important new works, by John Sanders and Brian Chapple.

A celebration both of Easter and of exceptional singing.

Soothing English sacred choral music from the Tudor and Stuart periods, by some of England’s finest composers. Perfect music to calm the soul, performed by the outstanding Richmond Consort. The consort is made up of singers who regularly perform in the UK’s most prestigious cathedrals and colleges. They specialise in early music both sacred and secular and perform regularly throughout the UK and the rest of Europe.