When the Lord Turned Again Adrian Batten
Whitgift School: The Tudor Choir Book Vol I
£5.99 – £11.99
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About this release
The album includes rare recordings of Tudor instrumental items by Coperario, Bassano and Ferrabosco, captured on menses instruments, too as choral greats from Tallis, Batten, Morley and Phillips, performed past the Croydon Minster Choir of Whitgift School, accompanied by the English Cornett & Sackbut Enesmble and directed by Ronny Krippner.
Commissioned Programme Notation
The advent of metrical psalters was mainly, although not exclusively, the trademark of the Protestant church. The Renaissance historian, Dr Jonathan Willis, argues that:
"Metrical Psalmody was a purely optional activity which found a identify in the church because of its genuine popular nature […] In attempting to facilitate congregational psalmody, the cathedrals had begun to negotiate for themselves a new religious dynamic, and a new role in English society."
These psalms were therefore intended to be sung by the choir and the congregation, very much like hymns today. In 1566, a stock of metrical psalters – probably the newly-published Sternhold and Hopkins Psalter of 1562 – was purchased for Canterbury Cathedral, and two of the Psalms on this record were taken from that very aforementioned edition, including the well-known Genevan melody to Psalm 100. The orchestral arrangement of the latter is particularly well known today and was written by Ralph Vaughan Williams for the Coronation of Queen Elizabeth Two in 1953. Read more
Another metrical psalm, which caught Vaughan Williams' attention early in his career, was Thomas Tallis' Phrygian melody to Psalm 2, published in 1567 in Archbishop Parker'south Psalter. This wonderful modal melody was the inspiration for Vaughan Williams' iconic work, Fantasia on a Theme past Thomas Tallis, written in 1910.
Adrian Batten
Adrian Batten (1591–1637) was organist, singer and composer at Westminster Abbey and St Paul's Cathedral. His Curt Communion Service is surprisingly plain and simple in style, however full of grace and dignity. This was probably to please evangelical sensibilities who wished liturgical music to be "modeste and destyncte", able to be "playnelye understanded, every bit if it were read without singing" (Royal Injunctions of 1559).
Another reason for the simple homophonic fashion of Crossbar'south setting could be the low status of the service of Holy Communion itself inside the Anglican Church at that fourth dimension. In 1563, for instance, the celebrations of communion were reduced to i a month at Canterbury Cathedral and were usually "dry out", meaning that they ended subsequently the creed.
The contrast between Batten's simple Communion setting and Thomas Morley'southward First Service is plain to hear, as Morley'south limerick is poles autonomously from the simplicity prescribed by Archbishop Cranmer a generation earlier. Morley (1577–1602), who was organist at St Paul's Cathedral and a student of William Byrd, displays a real mastery of counterpoint and melodic writing in both his Magnificat and Nunc Dimittis. The Royal Injunctions of 1559 not only encouraged simple evangelical music, simply besides catered for the "comforting of such as delyte in musicke", and allowed for "the best sorte of tune and musicke that maye be convenientlye devysed." This sort of statement is typical for the Anglican via media in regards to music; both plainly and more elaborate styles were accounted adequate.
Peter Philips
However, beingness a publicly-practising Roman Catholic in England at that fourth dimension was not acceptable, and, for this reason, Peter Philips (1561/62– 1628) was forced to exit his home country and settle in Brussels, where he was organist to the chapel of Albert VII, Archduke of Republic of austria.
Philips was an extremely prolific composer, whose sacred choral output was intended for Roman Catholic worship and, as a result, set to Latin texts – which made performances in Protestant England incommunicable. Bow Down Thine Ear is a contrafactum (text commutation) for Philips' madrigal Cantai mentre of 1596, perchance arranged by one of Philips' English language colleagues, such as Thomas Morley.
The Chapel Royal were probably the most prodigious poachers of musical talent in the English language Renaissance. In 1597, when Nathaniel Giles (1558–1633) was made Primary of the Children of the Chapel Royal, he was granted a warrant to:
"take suche and so many children as he… shall thinke meete", in order that the Chapel "should be furnished well with singing Children."
These farthermost chorister recruitment measures ensured high-quality music-making for the Chapel Imperial, and enabled information technology to play a fundamental role in nurturing English church music.
Whitgift
Archbishop John Whitgift (1530–1604) The anthem God, Which Equally On This Mean solar day, based on the Collect for Whit Sunday, shows Giles as a most competent composer of choral music, written in the English verse anthem style.
It is hard to assess fully the quality of sacred music written during John Whitgift's time as Archbishop. The poor survival charge per unit of manuscript sources from that catamenia may prevent united states from ever having a complete agreement of the choral output of cathedral composers in particular. Willis argues that:
"the Elizabethan catamenia cannot accurately be described every bit a period either of stasis or turn down for cathedrals. Rather, it was a period of development, of accommodation with the priorities of the new Protestant national church, and of the negotiation of a liturgical and ceremonial practice which balanced the requirements of the state with the desires of the community that lived within its precincts, and the wider community that worshipped at that place."
Although he is not exclusively commenting on the country of music in the English Church, it is reasonable to apply Willis' comment to the state of church music in cathedrals at that time.
Two of the instrumental items recorded on this CD (Bassano's Fantasia and Ferrabosco's Exaudi Deus) are taken from partbooks known as Fitzwilliam 734, which used to belong to the cornett and sackbut players in the employ of James I.
It is possible that Fantasias of that style served as ceremonial music at Canterbury Cathedral and would have certainly added to the sense of occasion during Whitgift's regular visitations as Archbishop.
(Ronny Krippner, 2017)
Almost the artists
The English language Cornett & Sackbut Ensemble
The English Cornett and Sackbut Ensemble is a virtuoso period instrument ensemble with a host of distinguished recordings to its name.
Since its germination in 1993, ECSE has performed at many major music festivals in the Uk and abroad. They have held sell-out concerts at London's Wigmore Hall, St John's Smith Square and the Purcell Room. Other performances include York Early on Music Festival, Bath International Festival, Spitalfields Festival, La Folle Journée, Laus Polyphoniae, and the International Izmir Festival.
ECSE regularly travels abroad with vocal ensembles inlcuding I Fagiolini, Alamire and Cantus Cölln. The group has appeared on numerous CDs. The Spy'south Choirbook with David Skinner and Alamire won the prestigious 2015 Gramophone Laurels for Early Music.
Releases
Following the success of its 5-star debut CD Accendo (2001) ECSE has been involved in a diverseness of recordings. These includeThe Madrigal in Venice, a large-calibration recording of Andrea Gabrieli's madrigals with I Fagiolini. It was described as 'one of the nigh enthralling madrigal anthologies on the market place'.
Its discography also includes the world premiere of Francesco Scarlatti'due south 'Miserere' with Emma Kirkby and The Armonico Espoused. Information technology also includes a critically acclaimed Monteverdi'south Vespers of 1610, and a CD of music by the Flemish composer Philippe Rogier with the choir of Rex'southward College London, directed by the late (and much missed) David Trendell. 2011 saw the release of Le Divin Arcadelt with Musica Contexta, and a further CD collaboration with I Fagiolini: the globe premiere recording of the momentous 40-part mass Ecco si beato giorno by Alessandro Striggio, which scooped both the Gramophone Laurels for Early Music and the Diapason d'Or.
ECSE has released 2 farther solo discs. The starting time, entitled A Hanseatic Festival (2004) is a recital of German music.Flower Of Cities All (2008) features music from Shakespeare's London. In 2012 ECSE gave solo recitals at the York Early on Music Festival, Dartington International Summer Schoolhouse and Kings Place. The aforementioned year saw the release of 2 new recordings. Byrd's Great Service with Musica Contexta (Chaconne), and the follow-upward to the Striggio disc, entitled 1612 Italian Vespers with Robert Hollingworth and I Fagiolini (Decca). The latter was performed at that years BBC Proms. In 2013 the grouping also featured on a Peter Philips CD with the choir of Royal Holloway College (Hyperion).
Collaborations
ECSE also works closely with other like-minded instrumental ensembles such equally the Monteverdi String Band and the Altenburg Ensemble. They perform regularly with choral societies throughout Britain, including many performances of Claudio Monteverdi's magnificent 1610 Vespers.
ECSE members also perform individually with some of the worlds leading period instrument groups. Collaborations include Il Giardino Armonico, The Taverner Consort, Concerto Palatino, the Gabrieli Espoused and Players, 50'Arpeggiata, The English Baroque Soloists, King's Consort, Ensemble La Fenice, Orchestra of the Age of Enlightenment and Tafelmusik. ECSE also provide music for plays at Shakespeare'south Earth Theatre on London's Bankside.
Visit website: English Cornett & Sackbut Ensemble
Croydon Minster Choir of Whitgift School
The Choir of Whitgift School is based at Croydon Minster, which is deeply rooted in the Anglican choral tradition. It boasts over 70 singers in its four choirs: the Choir of Boys & Men, the Girls' Choir, the Choral Scholars and Lay Clerks. At that place are 5 choral services each week during term time, as well every bit regular concerts throughout the year. All choirs have toured, broadcast and recorded.
Over the years, the Minster has developed strong links with Whitgift Schoolhouse and the Schoolhouse has now go a major part of the Minster's rich choral programme. More than than half of the Minster boy choristers attend Whitgift School where they receive a Minster Choristership carrying a remission of day fees of 10%. Whitgift also provides postgraduate Organ and Choral Scholars, as well equally professional person Lay Clerks to sing regularly with the Minster Boys' Choir, enabling the Minster to run a decorated schedule of cathedral-mode choral services.
Ronny Krippner
Ronny Krippner is Organist and Managing director of Choral Music at Croydon Minster and Whitgift School (London).
Born in Bavaria, Ronny is in the unique position of having been formed in both the High german and British choral traditions. He studied organ playing and improvisation with Prof. Franz-Josef Stoiber at the Hochschule für Kirchenmusik in Regensburg while at the same time working as Banana Choirmaster of the Regensburger Domspatzen" ("Regensburg Cathedral Sparrows"), Regensburg Cathedral's famous boys' choir. After graduating, Ronny went to Exeter University to accept his master's degree (K.A.) in "English Cathedral Music" whilst singing in the Cathedral Choir as a Choral Scholar. Edifice on these twin musical foundations, Ronny went on to have upwardly diverse organist posts, including St George'south Church building Hanover Square in London.
Beingness fascinated from an early historic period past organ improvisation, Ronny has made this a specialism. Finalist in the prestigious Organ Improvisation Contest in St Albans in 2009, he won ii Prizes in the International Organ Improvisation Competition in Biarritz in the same year. From 2010-2013, Ronny was Specialist Lecturer for Organ Improvisation at Birmingham Conservatoire and Trinity Laban Conservatoire, London.
Ronny has recorded several CDs of organ and choir music and has ofttimes been heard performing on television and radio, both in Germany and the Uk. He has given organ recitals in Germany, Kingdom of the netherlands, Belgium, the United Kingdom, the United states, United mexican states and Australia.
Credits
Catalogue number: CR042
Choir Croydon Minster Choir of Whitgift Schoolhouse
Ensemble English Cornett & Sackbut Enesmble (Gawain Glenton, Conor Hastings, Nicholas Perry, Catherine Motuz, Emily White, Tom Lees, Andrew Harwood-White, Adrian France)
Organ Tom Picayune
Violone Uri Smilansky
Conductor Ronny Krippner
Photography Mike Cooter
Engineering Adaq Khan
Mastering Adaq Khan
Producer Andrew King
Creative Director John Bevan
Executive Producer Adrian Light-green
Recorded 25, 27 March, 2017
Venue Croydon Minster, London
Total Duration 57 mins
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