Gardiner, H B: Evening Hymn (Te lucis ante terminum)

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.

Few choirs in the world today offer greater precision, musicianship and sheer beauty of sound than The Sixteen. This collection offers the great anthems of English Choral Music over the past 100 years, part of the Cathedral Music tradition which (alongside the Anglican Hymn) is widely considered England’s greatest single contribution to music before The Beatles!

An album which could lead many to discover a whole new world of music, aided by performances of radiant beauty from Harry Christophers and The Sixteen.

The Choir of St George's Chapel,Windsor Castle offers a sumptuous programme of jewels from the anthem tradition whose repertoire spans five centuries. Under the luminous direction of Timothy Byram-Wigfield, and in the luxurious resonance of St George's Chapel, the choir resounds with exhilarating energy.

This recording is dedicated to all those who lost their lives on 11 September, 2001.The proceeds from this track will be donated to the British Memorial Garden Trust Inc. www.britishmemorialgarden.org

After thirty years of world-wide performance and recording, The Sixteen, "The Voices of Classic FM", are recognised as one of the world’s greatest ensembles. Comprising both choir and period instrument orchestra, The Sixteen's total commitment to the music it performs is its greatest distinction. Its special reputation for performing early English polyphony, masterpieces of the Renaissance, bringing fresh insights into Baroque and early Classical music and a diversity of twentieth century music, is drawn from the passions of conductor and founder, Harry Christophers.

The Sixteen has recently featured in the highly successful BBC Four television series, Sacred Music, presented by actor Simon Russell Beale.

The Sixteen’s album IKON was nominated for a 2007 Grammy.

A New Heaven narrows the gap between our secular age and a time when the Anglican Church was among the most important patrons and consumers of British music. It also offers listeners the chance to reconnect with spiritual matters richly expressed by composers with the flair and imagination required to distil big issues of life and death into miniature forms.