Purcell: Remember not, O Lord, our offences, Z50 - download (MP3 & FLAC)

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Out of Darkness

Out of Darkness

Music from Lent to Trinity


Bairstow:

The Lamentation

Britten:

Festival Te Deum in E, Op. 32

Byrd:

Cunctis diebus

Casals:

O vos omnes

Elgar:

The Spirit of the Lord is upon me (from The Apostles)

Hurford:

Litany to the Holy Spirit

Ives, G:

Listen sweet dove

Laloux:

Tantum ergo

Langlais:

Incantation pour un Jour Saint

Lhéritier:

Surrexit pastor bonus

MacMillan:

The Strathclyde Motets: Sedebit Dominus Rex

Purcell:

Remember not, O Lord, our offences, Z50

Rorem:

Breathe on me, breath of God

Sheppard, J:

Libera Nos

Stainer:

I saw the Lord

Stanford:

Ye Choirs of New Jerusalem, Op. 123

Tallis:

If ye love me


The Choir of Jesus College Cambridge, Mark Williams

The Choir of Jesus College Cambridge (‘superlative singing’ – The Northern Echo) present this album of sacred works which follows events in the Church calendar. From Ash Wednesday, through to the final feast of the year – Trinity, the recording features works by Bryd, Purcell, Casals, Elgar, Stanford, Britten, Tallis and James MacMillan, all directed by Mark Williams.

“The programme strays well off the ecclesiastical beaten track...The darkness-to-light format is familiar enough, but the sequence has been carefully thought through here and embraces sufficient variety of styles and texture – some with organ accompaniment, some without – to sustain the disc’s 75 minutes.” The Telegraph, 22nd February 2015 ***

“This is a fine recital, which has been planned discerningly and performed with great skill and commitment.” MusicWeb International, 1st April 2015

“Bairstow’s The Lamentation is interpreted with marvellous subtlety here.” Choir & Organ, May 2015 ****

Released or re-released in last 6 months

Signum - SIGCD409

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My Beloved Spake

My Beloved Spake

Anthems by Henry Purcell & Pelham Humfrey


Humfrey:

Magnificat and Nunc dimittis in E minor from Evening Service

O Lord my God

Purcell:

Rejoice in the Lord alway ('The Bell Anthem'), Z49

Hear my prayer, O Lord, Z15

My beloved spake, Z28

O sing unto the Lord, Z44

Remember not, O Lord, our offences, Z50

Jehova, quam multi sunt hostes mei, Z135

Behold now, praise the Lord, Z3


Iestyn Davies (counter-tenor), James Gilchrist (tenor), David Stout (baritone) & Neal Davies (bass)

Choir of St John’s College, Cambridge & St John’s Sinfonia, Andrew Nethsingha

Established in the 1670s, the Choir of St John’s College, Cambridge is today one of the finest college choirs in the world, known and loved by millions for its recordings and concert tours. On this album, the Choir and St John’s Sinfonia, conducted by Andrew Nethsingha, perform works by Henry Purcell and Pelham Humfrey. They are joined by four soloists: Iestyn Davies, James Gilchrist, David Stout, and Neal Davies.

Humfrey was an English composer of the seventeenth century, known mainly for his verse anthems. Being well travelled, he produced works that in their vocal character show the influence of Italian music, and in the instrumental writing that of French music. That said, from these major foreign influences Humfrey forged a personal style that is uniquely English. Although as a composer he was generally forward-looking, his music also shows sub-elements of the English Golden Age of yesteryear. O Lord my God, for instance, is influenced by John Dowland’s celebrated Lachrimae Pavan of almost eighty years earlier.

In contrast, the Magnificat and Nunc dimittis were composed simply to be liturgically appropriate, with a text setting that is naturalistic and direct. Humfrey died at the age of twenty-seven, but even at this young age, he exerted a strong influence on his peers, including Henry Purcell, who as a young boy sang treble in Humfrey’s Chapel Royal Choir.

The works by Purcell recorded here range from works written when the composer was in his teenage years (Jehova, quam multi sunt hostes mei being a masterly example) to the crowning glory of the recording, O sing unto the Lord, which Purcell wrote when he was in his thirties, and compositionally on fire. At this stage of his career no other composer could touch him. Instruments and voices sing from the same hymn sheet, form and content are inseparable, past and present musical styles seamlessly intermingle, technique and virtuosity are indistinguishable from each other – and soloists and choir mesh together in a dazzling and life-affirming way.

“The warm continental sound of the boys' voices might sometimes bestow an unexpectedly 'foreign' accent on this music (albeit shot through with imports from France and Italy), but the commitment, intensity and lucidity compels. And Nethsingha has assembled a formidable team.” BBC Music Magazine, February 2013 ****

“It is nice these days to have a chance to hear some of Purcell's church anthems sung by a choir of boys and men...It is in integrated works such as O Lord my God, where the expressive urgency of this choir's soloists can rub off, that the choir is at its best; less successful are the more patchwork pieces” Gramophone Magazine, January 2013

“Nethsingha juxtaposes such relatively unfamiliar fare with masterpieces including O Sing unto the Lord. He is a committed custodian of the Oxbridge choral tradition, as are his fine soloists” Sunday Times, 2nd December 2012

Chandos Chaconne - CHAN0790

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Purcell: Anthems

Purcell: Anthems


Purcell:

They that go down to the sea in ships, Z57

Jehova, quam multi sunt hostes mei, Z135

My beloved spake, Z28

O sing unto the Lord, Z44

Lord, how long wilt thou be angry?, Z25

Who hath believed our report?, Z64

Behold, I bring you glad tidings, Z2

In thee, O Lord, do I put my trust, Z16

Te Deum & Jubilate Deo in D, Z232

Funeral Sentances

Remember not, O Lord, our offences, Z50

March and Canzona in C minor

Thou knowest, Lord

I was glad when they said unto me, Z19

O Lord God of hosts, Z37

O give thanks unto the Lord, Z33


Purcell wrote so much in so many different spheres of musical activity that it is easy to forget that one of his main tasks was to be a royal composer, to provide music for the occasions of State in Westminster Abbey, just as the Gabrielis had done for the Doge at St Mark’s, or Lully for the French monarchs at Versailles. One of the most notable – and highly praised – accounts of Purcell’s choral music came from the Choir of St. John’s College, Cambridge, conducted by George Guest. They made three records for Argo – in 1964, 1972 and 1975 – covering Purcell’s Music for the Chapel Royal, a selection of Verse Anthems, the Te Deum and Jubilate and other works. The three are collected on a 2CD set. Texts are included in the booklet.

“Vibrant readings of some of Purcell's best loved choral works unalloyed by 'authentic' prissiness” BBC Music Magazine, October 2012 ****

“The impact of Inia Te Wiata's entry in They that go down to the sea in ships is almost sensational … Outstanding among the soloists is the counter-tenor, Charles Brett. The orchestral playing is sprightly, the choral singing polished” Gramophone Magazine

“The performances are excellent. James Bowman is in splendid voice and he is well matched by Charles Brett (in this music, the others are really a supporting cast to the countertenors). The orchestra plays with its usual sensitivity of tone and nuance. As for Mr. Guest, he understands the Funeral Sentences in no mean manner, for it is easy to overdo the pain or to adopt the stiff upper lip, yet he manages to combine the two in goodly proportion” Gramophone Magazine

Australian Eloquence - ELQ4805003

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Purcell & Macmillan - Bright Orb of Harmony

Purcell & Macmillan - Bright Orb of Harmony


MacMillan:

O bone Jesu

A Child's Prayer

The Strathclyde Motets: Mitte manum tuam

The Strathclyde Motets: Sedebit Dominus Rex

Purcell:

Miserere mei (canon 4 in 2), Z109

Music for the Funeral of Queen Mary, 1695: Funeral Sentences (first set)

Jehova, quam multi sunt hostes mei, Z135

Remember not, O Lord, our offences, Z50

Beati omnes qui timent Dominum, Z131

Let mine eyes run down with tears, Z24

O dive custos Auriacae domus, Z504

Thou knowest, Lord


2009 is a year of anniversaries - the three hundred and fiftieth anniversary of Henry Purcell’s birth (1659), James MacMillan’s fiftieth birthday (16 July 2009) and The Sixteen’s thirtieth anniversary. To celebrate, the ensemble has recorded live a brand new disc of music dedicated to these most innovative of British composers.

Purcell’s extraordinary use of harmony sounds as modern today as it must have sounded in the seventeenth century. Putting his heartfelt Funeral Sentences alongside James MacMillan’s powerfully emotive A Child’s Prayer, written in memory of the Dunblane Tragedy, and his hauntingly beautiful O bone Jesu (a piece originally commissioned by The Sixteen) will give the listener the chance to experience the true power of this music.

“Throughout, the choral sound is rich yet unfailingly transparent… the solo work is equally impressive - listen for example, to tenors Simon Berridge and Mark Dobell and bass Eamonn Dougan in Purcell's Let mine eyes run down with tears or sopranos Grace Davidson and Charlotte Mobbs in the same composer's splendid O dive custos. ..."Bright Orb of Harmony" deserves to be set among that constellation of previous dazzling recordings by an ensemble that is less a choir, more an institution.” Gramophone Magazine, June 2009

“Purity of voice, a tightly blended ensemble — the warming characteristics of Harry Christophers’s choir dominate this live recital, recorded in Guildford Cathedral. Four hundred years separate Purcell from James MacMillan, yet these composers suit each other, both skilled in penitential expression and harmonic daring. MacMillan commemorates the 1996 Dunblane shootings; the teenage Purcell writes Funeral Sentences — exquisite music in both cases.” The Times, 9th May 2009 ****

“Purcell's funeral and penitential liturgical settings contain some of the most heart-rending music in the choral repertory. MacMillan's tribute to his 16th century fellow-Scot O bone Jesu… holds up well, building to a glowing ending which, like all the MacMillan pieces on this disc, shows how deeply this composer understands the expressive and acoustic possibilities of the a cappella choir. Best of all though is the exquisite miniature A Child's Prayer. Excellent performances, sensitively recorded.” BBC Music Magazine, July 2009 *****

“These performances were recorded live during the opening concert of The Sixteen's 2009 Choral Pilgrimage to celebrate both Purcell's 350th birthday and Scottish composer James MacMillan's 50th. Thus, while the anthems, motets and the first set of Funeral Sentences by Purcell presented here definitely tend towards the sombre, and MacMillan's musical language often has recourse to a stark muscularity, the darkness invariably gives way to light in the form of ecstatic melismas and lucent major-mode harmonies.
Throughout, the choral sound is rich yet unfailingly transparent – as obvious in the opening Jehova quam multi sunt hostes mei of Purcell as in MacMillan's masterly O bone Jesu. But the solo work is equally impressive – listen, for example, to tenors Simon Berridge and Mark Dobell and bass Eamonn Dougan in Purcell's Let mine eyes run down with tears or sopranos Grace Davidson and Charlotte Mobbs in the same composer's splendid O dive custos.
Christophers's direction is, as always, forever alert to the relationship between words and music – especially close with these two composers – while ensuring the careful delineation of the overall musical structure and each phrase, period and paragraph within it. Some minor blemishes aside, 'Bright Orb of Harmony' deserves to be set among that constellation of previous dazzling recordings by an ensemble that is less a choir, more an institution.”
Gramophone Classical Music Guide, 2010

“Christophers paces [Tradiderunt me] to perfection, enabling The Sixteen to luxuriate in its rich sonorities and shape effortless phrases, each apparently voiced on a single undying breath...This terrific release offers a nourishing blend of recent Macmillan, beautifully performed and recorded, spanning the gamut from prayer-like introspection and harmonic simplicity to festive outbursts and bravura melodic displays.” Classic FM Magazine, December 2011 *****

Coro - COR16069

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Henry Purcell: Choral Works

Henry Purcell: Choral Works


Purcell:

Service in B flat major, Z230

Te Deum & Jubilate Deo in D, Z232

Magnificat & Nunc Dimitus in G minor, Z231

O God, thou hast cast us out, Z36

O Lord God of hosts, Z37

Remember not, O Lord, our offences, Z50

Lord, how long wilt thou be angry?, Z25

O God, thou art my god, Z35

Man that is born of a woman, Z27

Thou know'st, Lord, Z 58c

Jehova, quam multi sunt hostes mei, Z135

My heart is inditing, Z30

O sing unto the Lord, Z44

My beloved spake, Z28

They that go down to the sea in ships, Z57

Praise the Lord, O Jerusalem, Z46


Choir of Christ Church Cathedral, Oxford and The English Concert, Simon Preston

DG Archiv 2CD - 4594872

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Purcell - Full Anthems & Organ Music

Purcell - Full Anthems & Organ Music

Music on the Death of Queen Mary


Purcell:

Jehova, quam multi sunt hostes mei, Z135

Remember not, O Lord, our offences, Z50

I will sing unto the Lord as long as I live, Z22

Voluntary in D minor, Z718

O God, thou art my god, Z35

O God, the king of glory, Z34

Voluntary in G major, Z720

Lord, how long wilt thou be angry?, Z25

Hear my prayer, O Lord, Z15

Voluntary in C major, Z717

Blow up the trumpet in Sion, Z10

O God, thou hast cast us out, Z36

Music for the Funeral of Queen Mary, 1695


Andrew Carwood (tenor), Laurence Cummings (organ), Michael McCarthy (bass)

Oxford Camerata, Jeremy Summerly

“I would say that any disc which offered such a 24-carat Purcell selection in performances even half as good as these would be hard to resist.” Gramophone Magazine

“this glorious, darkly intense funeral music is given an outstandingly fresh and clear rendition, vividly recorded, matching even the finest rival versions. The sharpness of focus in the sound means that Purcell's adventurous harmonies with their clashing intervals are given extra dramatic bite in these dedicated performances, marked by fresh, clear soprano tone in place of boy trebles.” Penguin Guide, 2011 edition

Naxos - 8553129

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The Merton Collection: Merton College at 750

The Merton Collection: Merton College at 750


Berkeley, L:

Veni sponsa Christi

Byrd:

Praise our Lord, all ye Gentiles

Dunstaple:

Veni Sancte Spiritus

Ešenvalds:

Magnificat, Nunc dimittis (Merton College Service)

Gibbons, O:

This is the Record of John

Gjeilo:

Sacred Origins

Greene, E:

Lord, let me know mine end

Lavino:

Beati quorum via

Mundy, W:

Magnificat

Second Service ‘in F fa ut’

Nunc dimittis

Second Service ‘in F fa ut’

Parry:

There is an old belief (No. 4 from Songs of Farewell)

Pärt:

The Woman With The Alabaster Box

Purcell:

Hear my prayer, O Lord, Z15

Remember not, O Lord, our offences, Z50

Sheppard, J:

Libera nos 1

Stanford:

Justorum animae, Op. 38 No. 1

Beati quorum via, Op. 38 No. 3

Vaughan Williams:

Valiant for Truth


In 2014, Merton College in Oxford celebrates its 750th year. Benjamin Nicholas and Peter Phillips’ specially conceived programme journeys through three quarters of a millennium of choral repertoire. Not just a demonstration of this accomplished ensemble’s versatility, the recording also provides a bird’s-eye view of some important moments in musical history, and features two composers – John Dunstaple and Lennox Berkeley – associated with the College as well as three works specially commissioned for the anniversary celebrations. The choir, a relatively recent addition to this illustrious college’s complement of treasures, gives stylish and committed performances in the famous acoustic of Merton’s chapel.

'Advent at Merton' [DCD34122] was the best-seller on the Delphian label last Christmas. Gramophone noted "the most notable chapel choir offering" in their Christmas round-up. "All the music is radiant, all of it is unexpected...and comes from a choir that's gone from being a minor player in Oxbridge choral music to becoming one of the most exciting groups in its area". BBC Music Magazine gave it a Christmas Choice, citing "high levels of technical and expressive achievement."

Tracks 1–2, 15–16, 17 & 19 are premiere recordings

“In only a few years the choir has established itself as one of the leading collegiate choirs in the UK. This, its third disc for Delphian, confirms that it is now, surely, one of the jewels in that label’s crown...The singing throughout this programme is superb” MusicWeb International, 12th November 2013

“Though Merton is on the cusp of its 750th anniversary, this choir is a 2006 creation, yet has quickly gained distinction. Here it offers a panorama of world musical history...But it’s the transhistorical stylistic homogeneity of choral singing that comes through.” Sunday Times, 22nd December 2013

Delphian - DCD34134

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English Royal Funeral Music

English Royal Funeral Music


Morley:

I am the resurrection and the life

I know that my Redeemer liveth

We brought nothing into this world

Man that is born of a woman

In the midst of life

I heard a voice from heaven

Paisible:

The Queen’s Farewell

Purcell:

Hear my prayer, O Lord, Z15

Music for the Funeral of Queen Mary, 1695: March

Thou know'st, Lord, Z 58b

Canzona

O dive custos Auriacae domus, Z504

Man that is born of a woman, Z27

In the midst of life, Z 17a

Thou know'st, Lord, Z 58c

Remember not, O Lord, our offences, Z50

Tomkins:

A sad Pavan for these distracted times

I am the resurrection and the life

I know that my Redeemer liveth

We brought nothing into this world

I heard a voice from heaven

Weelkes:

Death hath deprived me


Les Trompettes des Plaisirs, Lingua Franca & Vox Luminis, Lionel Meunier

Much anticipated new release from the Gramophone Record of the Year winning Vox Luminis!

We know now that Purcell’s three Funeral Sentences were not written for the funeral of Queen Mary in 1695. Following the tradition of the English court, it was pieces by Thomas Morley, originally written for the funeral of Elizabeth I, that were sung there. Purcell’s only contribution to the ceremony was the composition of two pieces for slide trumpets (March and Canzona), and the anthem in the archaic style Thou knowest, Lord. During the funeral procession to Westminster Abbey, a band of oboes played two marches written by John Paisible and Thomas Tollet.

This recording assembles the music composed for the funeral of Queen Mary and that used at the funeral of Elizabeth I in 1603. The programme is completed by Purcell’s sublime a cappella anthems and a moving anthem by Weelkes on the death of Thomas Morley.

After the success of the recording of Schütz’s Musicalische Exequien (RIC311), voted Record of the Year by Gramophone magazine, this disc will be one of the major events of spring 2013.

“one might call it a classically 'English' choral sound - but any suspicions of coolness are easily dispelled by the commitment shown to the meaning of both music and text...Once again, Vox Luminis have touched the heart with their calm interpretative intelligence and vocal beauty.” Gramophone Magazine, June 2013

GGramophone Magazine

Editor's Choice - June 2013

Building a Library

First Choice - April 2015

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Ricercar - RIC332

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Pater Noster

Pater Noster

A Choral Reflection on The Lord’s Prayer


Bernstein:

Mass: The Lord's Prayer

Byrd:

Vigilate (from Cantiones sacrae 1589)

Despres:

Pater Noster

Duruflé:

Notre Père, Op. 14

Farrant, R:

Lord, for thy tender mercy's sake

Gregorian Chant:

Pater Noster

Harris, W:

Holy is the True Light

Hassler, H L:

Cantate Domino canticum novum

Lasso:

Domine Dominus noster

Ad te levavi animam meam

Palestrina:

Missa Papae Marcelli: Sanctus

Ego sum panis vivus

Poulenc:

Quatre petites prières de Saint François d'Assise

Purcell:

Remember not, O Lord, our offences, Z50

Schütz:

Die Himmel erzählen die Ehre Gottes, SWV 386

Vater unser, der du bist im Himmel

Stravinsky:

Pater Noster

Tavener:

The Lord's Prayer

Victoria:

Popule meus for 4 voices

Wood, C:

Oculi omnium

Zielenski:

Benedicimus Deum Coeli


David Hurley (countertenor), Timothy Wayne-Wright (countertenor), Paul Phoenix (tenor), Christopher Bruerton (baritone), Christopher Gabbitas (baritone) & Jonathan Howard (bass)

The King’s Singers

GRAMMY® Award winners in 2009, The King’s Singers are one of the world’s most celebrated ensembles. Their programming concept in this disc is unique: built upon the individual clauses of The Lord’s Prayer, beginning and ending in plainchant, it ranges over the centuries to explore the spiritually charged text. Chant is at the heart of the programme, and each composer’s setting illuminates the others, shedding rich interpretative light on the poetic and devotional aspects of the prayer.

One of the world’s most celebrated ensembles, The King’s Singers have a packed schedule of concerts, recordings, media and education work that spans the globe. Championing the work of both young and established composers, they are instantly recognisable for their spot-on intonation, impeccable vocal blend, flawless articulation of the text and incisive timing. They are also consummate entertainers: a class act with a delightfully British wit.

“There are few vocal ensembles that can work up a concept album like The King's Singers, and this somewhat disparate collection of sacred pieces blossoms into something rather wonderful...The performances have all the panache that we associate with this group” BBC Music Magazine, December 2012 *****

“what a rewarding CD this is, gloriously sung and perfectly recorded.” Gramophone Magazine, December 2012

Naxos - 8572987

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Purcell: Sacred Music

Purcell: Sacred Music


Purcell:

My beloved spake, Z28

Te Deum & Jubilate Deo in D, Z232

O Lord, thou art my God Z41

Lord, how long wilt thou be angry?, Z25

Remember not, O Lord, our offences, Z50

Hear my prayer, O Lord, Z15

Music for the Funeral of Queen Mary, 1695: Funeral Sentences


November 1694 was a busy month for Purcell. First, the triumphant return to London of King William III from the campaign in Flanders saw the composer produce a new anthem depicting the vanquishing of the King’s enemies. Secondly, for the celebration of St Cecilia’s Day, composed not the expected ode, but a Te Deum and a Jubilate. The Te Deum is full of grandeur, with the extra trumpets adding some thrilling drama to sections of the work. The scoring is also intimate, with some of Purcell’s most personal music – especially ‘ Vouchsafe, O Lord’, where the piling up of dissonances depicts a cry for mercy remarkable for the period.

These two works are masterpieces in Purcell’s output. However, the triumph was to be short-lived. In December 1694 a smallpox epidemic swept London, and Queen Mary died on 28 December. Purcell produced some of his greatest music for the Funeral Sentences, which he composed for her burial Setting words found in The Book of Common Prayer, Purcell’s music is moving and austere, and the sense of grief is almost palpable. The muted drums and Flatt trumpets in the Canzona leave a lasting impression on the listener. Purcell himself was dead eleven months later, aged 36.

Brilliant Classics Musica Sacra - 93981

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