on Thursday 15 April at 20:00, at the Arab-Hebrew Theatre
The Choir will also be carrying out a musical workshop earlier in the day at Tabeetha School in Jaffa, on Yefet Street
Strathclyde University Chamber Choir was founded by Alan Tavener in 1980 and, on St Cecilia’s Day of that year, they gave their inaugural concert featuring Cecilian Odes by Handel and Purcell. At the time of its formation, Strathclyde University Chamber Choir was one of very few chamber choirs in the West of Scotland, and it is therefore not surprising that it immediately attracted Members from outside the University who were, and still are, prepared to travel considerable distances to be able to rehearse and perform alongside the Student and Staff Members of the Choir, as well as former Students who have returned, or have never left!
During the 1990s, the Chamber Choir widened its performance base to include choral services and touring, resulting in a broadening of repertoire, which now includes anything from plainsong and renaissance a cappella music to baroque oratorios and twentieth century chamber choir ‘standards’ by such composers as Vaughan Williams, Britten, Finzi, Poulenc and Copland. This has gone hand in hand with periodic mini-residencies in North British Cathedrals, when the Chamber Choir sings the major choral services in place of the regular Cathedral Choir, which have included Carlisle, Chester, Durham, St Mary’s Edinburgh and Ripon Cathedrals, with a return visit to Chester scheduled for next month. Concert tours further afield have included the Orkney Islands, Andalucia, Poland and Russia, and no fewer than five trips to Germany. As ambassadors for the City of Glasgow, four of these have been as guests of Cappella Sebaldina Nurnberg, our twin city in Germany.
In 1999, BBC Radio 4 chose Strathclyde University Chamber Choir to record a Sunday Morning service at Govan Old Parish Church, since when the Choir has also broadcast on both BBC Radio 3 and Radio 2. In 2003, the Chamber Choir recorded its first CD Sae Fresh and Fair, featuring romantic Scottish partsongs and fine quality settings of Robert Burns, which has been released by REL Records Ltd.
In 2000 the Chamber Choir joined Cappella Nova for its 18th Birthday celebrations in performances of Thomas Tallis’s spectacular 40-voice motet Spem in Alium in Glasgow and Inverness. To celebrate the 150th anniversary in 2006 of the birth of Russian composer Alexander Kastalsky, the Chamber Choir in collaboration with Svetlana Zvereva (the leading specialist on the composer) gave the Scottish premieres of a number of his short pieces, culminating in the world premiere performances in Glasgow and London of a version of his large-scale Requiem for Fallen Brothers.
Since 2005, the Chamber Choir has been engaged in an ongoing project to give the first performances of a series of new communion motets composed by James MacMillan especially for the University Mass – ten of these have been premiered by the Choir to date, one of which was given as part of a live broadcast on BBC Radio 4 at the end of 2007.
ALAN TAVENER (CONDUCTOR)
Alan Tavener read music at the University of Oxford where he was awarded the Heberden Organ Scholarship to Brasenose College. He studied organ with Nicholas Danby, gaining ARCM and ARCO diplomas, and conducting with Roderick Bryden and George Hurst. He is Director of Music at the University of Strathclyde, where he combines teaching and the promotion of a professional concert series with the direction of a wide range of student choirs, orchestras and ensembles, including Strathclyde University Chamber Choir (the group for which James MacMillan is continuing to compose the Strathclyde Motets) which has toured many times in Europe, and has recently released a debut CD of Romantic Scottish partsongs: Sae fresh and fair. Since 1980, he has also been Organist and Choirmaster of Jordanhill Parish Church, where he also directs a community choir to serve the locale as well as the church. Recent projects have included the recording of a solo organ CD, the direction of a Masterclass for Student Choral Directors at the Moscow Conservatoire, the direction of renaissance Scottish music for the BBC TV series Grace Notes with Phil Cunningham,and the initiation of ongoing investigative work into the holistic benefits of choral singing.
In 1982, together with Rebecca Tavener, Alan Tavener founded Cappella Nova, a professional vocal ensemble which has since gained an unrivalled reputation as champions of Scotland’s unique treasury of early vocal music, as well as being renowned for its performances of contemporary music, having commissioned and premiered more than 60 new works since 1986, which include John Tavener’s monumental three-hour oratorio, Resurrection (1990), broadcast on BBC Radio 3, and James MacMillan’s cantata for Holy Week Seven Last Words from the Cross (1994), which was the subject of seven short films for BBC2 TV. Cappella Nova is particularly well-known for championing the music of the 16th century Scottish polyphonist, Robert Carver and, together with its medieval offshoot ensemble Canty (directed by Rebecca Tavener), has made 14 CDs, including ten of medieval and renaissance music, all of which are ‘world premieres in modern times’, and Tenebrae –an entire disc of the choral music of James MacMillan, which was ‘Editor’s Choice’ in the January 2008 edition of The Gramophone. Besides appearances in many British festivals, the group has toured many times abroad, including several visits to Germany and France, and tours in Ireland, Belgium, Hungary, Russia and the USA.
PROGRAMME
Iubente Petrus (13th century Scottish manuscript, Office of St Kentigern)
A Scottish Renaissance Faburden Mass (anon 16th century, ed. D James Ross)
Omnes gentes, attendite (anon Scottish c1550, ed. D James Ross)
Si quis diligit me (David Peebles, c1510-79)
Psalm 18 in Reports, “O God, my Strength and Fortitude” (Andrew Blackhall, c1535-1609)
Miserere mei Deus (William Byrd, c1540-1623)
Sweet Suffolk Owl (Thomas Vautor, early 1600s)
The Blue Bird (C V Stanford, 1852-1924)
Hymn (after a Song of Wisdom) (Stanford)
O Mistress Mine (Shakespeare, set by Hamish MacCunn, 1868-1916)
It was a lover and his lass (Shakespeare, set by John Rutter, 1868-1916)
Soldier, rest (Sir Walter Scott, set by Hamish MacCunn, 1868-1916)
O hush thee, my Baby (Sir Walter Scott, set by Sir Arthur Sullivan, 1842-1900)
The Lamb (William Blake, set by John Tavener, b1944)
Mitte manum tuam (Communion motet for the Sunday after Easter, set by James MacMillan, b1959)
So Deep (Robert Burns, set by James MacMillan, b1959)
Comin' thro' the rye (Robert Burns, set by John McIntosh)
Ye Banks and Braes (Robert Burns, set by James Hunter)
Auld Lang Syne (Robert Burns, set Cedric Thorpe Davie)
My Spirit sang all Day (Robert Bridges, set by Gerald Finzi, 1901-56)
I love my Love (Cornish folksong, set by Gustav Holst, 1874-1934)
Broken Brook (Robert Louis Stevenson, set by Dave Whyte and arr John McIntosh)
Nancy (Eddie McGrory & Dave Whyte, set by Dave Whyte and arr John McIntosh)
*The Dark Island (David Silver, set by Iain MacLachlan and arr John McIntosh)
Ceilidh (Alexander McCall Smith, set by Tom Cunningham)
PROGRAMME
Iubente Petrus (13th century Scottish manuscript, Office of St Kentigern)
|
Iubente Petrus Domino
inescat piscem hamulo
in quo reperto statere
didragmam jussit solvere.
Sic Kentegerni merito,
regina piscis baiulo
de stagno aurum attulit
quo velut insons claruit.
Reginam rex supplicio
mortis pro adulterio
torquebat, sed redemptio
miranda fit in anulo.
Gloria Patri et Filio et Spiritui Sancto.
Gens Cambrina cum regina
Plaudite trepudio.
Vibex, fletus, dolor, metus
et mortis condicio.
Jam cassantur et purgantur
vitali remedio.
Limpha celat quod revelat
ixtis here clanculo.
Latet regem per quam legem
diletur cum anulo.
Ensem tortor condit, orror
sedatur pre gaudio.
Laudes ergo Kentegerno
decantat hec conscio.
Metham auro quo reperto
traxit de ergastulo. |
As the Lord ordered, Peter lured a fish with a little hook; in it a silver coin was found and he was told to pay a double drachma.*
So too by the good action of Kentigern a fish brought gold from the waters to a workman of the queen, by which it was clear that she was innocent.
The king was tormenting the queen with the death penalty for adultery, but a miraculous deliverance came about through a ring, by which it was clear that she was innocent.
Glory to the Father and to the Son and to the Holy Spirit.
Oh ye Cambrian people, join the queen and clap your hands with holy dancing!
Weals, weeping, grief, fear and the threat of death were now annulled
and cleared away by a life-giving remedy.
The water hid what the fish secretly revealed to its mistress.
It was unknown to the king by what law she was enriched with the ring.
The torturer put back his sword; horror fell back in the face of joy.
Therefore she repeatedly sang praises to Kentigern her helper, who when the gold was found brought the queen (?) from the prison. |
* Reference to Matthew 17.27: Jesus saith unto him (Peter)... Go then to the sea and cast an hook, and take up the fish that first cometh up, and when thou hast opened his mouth thou shalt find a piece of money (stater): that take and give unto them (kings of the earth) for me and thee.
A Scottish Renaissance Faburden Mass (anon 16th century, ed. D James Ross): Sanctus & Agnus Dei
|
Sanctus, sanctus, sanctus, Dominus Deus sabaoth. Pleni sunt celi et terra gloria tua; osanna in excelsis.
Benedictus qui venit in nomine Domini; osanna in excelsis.
Agnus Dei, qui tollis peccata mundi:
miserere nobis.
Agnus Dei, qui tollis peccata mundi: miserere nobis.
Agnus Dei, qui tollis peccata mundi: dona nobis pacem. |
Holy, holy, holy, Lord God of Hosts,
Heaven and earth are full of thy glory,
hosanna in the highest!
Blessed is he who comes in the name
of the Lord. Hosanna in the highest!
O Lamb of God, that takest away the sins of the world, have mercy upon us.
O Lamb of God, that takest away the sins of the world, have mercy upon us.
O Lamb of God, that takest away the sins of the world, grant us Thy peace. |
Omnes gentes, attendite (anon Scottish c1550, ed. D James Ross)
|
Omnes gentes, attendite, ad tam
pulchrum spectaculum.
Deo gratias agite qui sic dilexit populum.
Mariae formam sumite, que virtutis est spectaculum. Alleluia. |
Attend all ye people, to this beautiful spectacle.
Give thanks to God, who thus delights the people.
Worship the beauty of Mary, who is the spectacle of virtue. Alleluia. |
Si quis diligit me (David Peebles, c1510-79)
|
Si quis diligit me sermonem meum servabit et Pater meus diligit eum;
et ad eum veniemus et mansionem
apud eum faciemus. Alleluia. |
If anyone loves me he observes my words,
and my Father will love him; and we will
visit him and make our abode beside him. Alleluia. |
Psalm 18 in Reports (Andro Blackhall, 1535/6-1609)
O God, my strength and fortitude of force I must love thee:
Thou art my castell and defence, in my necessitie.
My God, my rock, in whom I trust, the worker of my wealth:
My refuge, buckler, and my shield, the horne of all my health.
The sly and subtle snares of hell were round about me set
And for my death there was prepared a deadly trapping net
I thus beset with pain and grief did pray to God for grace
And he forthwith did hear my plaint out of his holy place.
For God it is that gave me pow’r reveng-ed for to be
And with his holy word subdued the people unto me,
And from my foes delivered me and set me up from those
That cruel and ungodly were, and up against me rose.
And for this cause O Lord my God to thee give thanks I shall,
And sing out praises to thy name among the Gentiles all.
That gavest, great prosperity, unto the King, I say,
To David thine anointed King, and to his seed for aye.
Miserere mei Deus (William Byrd, c1540-1623)
|
Miserere mei Deus, secundum magnam, misericordiam tuam,
Et secundum multitudinem miserationum tuarum, dele iniquitatem meam.
|
Have mercy upon me, O God, after Thy great goodness:
according to the multitude of Thy mercies do away mine offences.
|
Sweet Suffolk Owl (Thomas Vauter, early 1600s)
Sweet Suffolk Owl, so trimly dight
With feathers like a lady bright,
Thou sing`st alone, sitting by night,
Te whit, te whoo! Te whit, te whoo!
Thy note, that forth so freely rolls,
With shrill command the mouse controls;
And sings a dirge for dying souls,
Te whit, te whoo! Te whit, te whoo!
The Blue Bird, Op 119 No 3 (Charles Villiers Stanford, 1852-1924)
The lake lay blue below the hill,
O’er it, as I looked, there flew
Across the waters, cold and still
A bird whose wings were palest blue.
The sky above was blue last,
The sky beneath me blue in blue,
A moment, ere the bird had passed,
It caught his image, as he flew.
The lake lay blue below the hill.
Hymn after a Song of Wisdom (C V Stanford)
Oh! for a closer walk with God,
A calm and heav’nly frame;
A light to shine upon the road
That leads me to the Lamb!
Return, O holy Dove, return!
Sweet messenger of rest.
I hate the sins that made thee mourn,
And drove thee from my breast.
So shall my walk be close with God,
Calm and serene my frame:
So purer light shall mark the road
That leads me to the Lamb.
O Mistress Mine (Shakespeare, set by Hamish MacCunn, 1868-1916)
O mistress mine, where are you roaming?
O stay and hear your true love’s coming,
That can sing both high and low.
Trip no further, pretty sweeting,
Journeys end in lovers’ meeting,
Ev’ry wise man’s son doth know.
O what is love? ‘tis not hereafter,
For present mirth hath present laughter;
What’s to come is still unsure,
In delay there lies no plenty,
Then come kiss me, sweet and twenty,
Youth’s a stuff will not endure.
It was a lover and his lass (Shakespeare, set by John Rutter, 1868-1916)
It was a lover and his lass,
with a hey and a ho, and a hey nonny no,
That o’er the green cornfields did pass,
In Springtime,
The only pretty ring time:
When birds do sing, Hey ding-a-ding,
ding-a-ding ba doo.
Sweet lovers love the Spring.
Between the acres of the rye,
With a hey, and a ho, and a hey nonny no,
These pretty country folks would lie,
In the spring time, the only pretty ring time,
When birds do sing, hey ding a ding, ding;
Sweet lovers love the spring.
And therefore take the present time,
With a hey and a ho and a hey nonny no,
For love is crowned with the prime,
In Springtime, in Springtime, the only pretty ring time.
Sweet lovers love the Spring ‘cos the sun shines.
Soldier, Rest! thy warfare o’er (Sir Walter Scott, set by Hamish MacCunn, 1868-1916)
Soldier rest! thy warfare o’er,
Sleep the sleep that knows no breaking;
Dream of battled fields no more,
Days of danger, nights of waking.
In our isle’s enchanted hall,
Hands unseen thy couch are strewing,
Fairy strains of music fall,
Ev’ry sense in slumber dewing.
Soldier, rest! they warfare o’er,
Dream of fighting fields no more;
Sleep the sleep that knows no breaking,
Morn of toil, or night of waking.
O hush thee, my Baby (Sir Walter Scott, set by Sir Arthur Sullivan, 1842-1900)
O hush thee, my babie, thy sire was a knight,
Thy mother a lady both gentle and bright;
The woods and the glens from the tow'rs which we see,
They are all belonging, dear babie, to thee.
O fear not the bugle, though loudly it blows;
It calls but the warders that guard thy repose.
Their bows would be bended, their blades would be red,
Ere the step of a foeman draws near to thy bed.
O hush thee, my babie, the time soon will come,
When thy sleep shall be broken by trumpet and drum.
Then hush thee, my darling, take rest while you may,
For strife comes with manhood and waking with day.
The Lamb (William Blake, set by John Tavener, b1944)
Little Lamb, who made thee?
Dost thou know who made thee?
Gave thee life, and bit thee feed
By the stream and o’er the mead;
Gave thee clothing of delight,
Softest clothing, woolly, bright;
Gave thee such a tender voice,
Making all the vales rejoice?
Little Lamb, who made thee?
Dost thou know who made thee?
Little Lamb, I’ll tell thee,
Little Lamb, I’ll tell thee:
He is called by thy name,
For he calls himself a Lamb.
He is meek, and he is mild;
He became a little child.
I, a child, and thou a lamb,
We are called by his name.
Little Lamb, God bless thee!
Little Lamb, God bless thee!
Mitte manum tuam (Communion motet for the Sunday after Easter, set by James MacMillan, b1959)
|
Mitte manum tuam et cognosce loca clavorum, alleluia:
et noli esse incredulus sed fidelis, alleluia. |
Stretch forth your hand, and feel the place where the nails were, alleluia:
and be not doubtful but believing, alleluia. |
So Deep (Robert Burns, set by James MacMillan, b1959)
O my Luve’s like a red, red rose
That's newly sprung in June:
O my Luve’s like the melodie
That’s sweetly play’d in tune.
As fair art thou my bonnie lass,
So deep in luve am I:
And I will luve thee still, my dear,
Till a’ the seas gang dry.
Till a’ the seas gang dry, my dear,
And the rocks melt wi’ the sun;
I will luve thee still, my dear,
While the sands o’ life shall run.
And were ten thousand mile, my Luve,
Tho’ it were ten thousand mile,
And I will come again, my Luve,
Tho’ it were ten thousand mile.
Comin' thro' the rye (Robert Burns, set by John McIntosh)
Gin a body meet a body
Comin’ thro’ the rye;
Gin a body, kiss a body,
Need a body cry?
Ilka lassie has her laddie,
Nane they say hae I,
Yet a’ the lads they smile at me,
When comin thro’ the rye.
Gin a body meet a body
Comin’ frae the toon;
Gin a body, meet a body,
Need a body froon?
Ilka lassie has her laddie, &c
Amang the train there is a swain
I dearly lo’e mysel’,
But what his name, or whaur his hame,
I dinna care to tell.
Ilka lassie has her laddie, &c
Ye Banks and Braes (Robert Burns, set by James Hunter)
Ye banks and braes o’ bonnie Doon,
How can ye bloom sae fresh and fair?
How can ye chant ye little birds,
And I sae weary full o’ care?
Thou'lt break my heart, ye warbling birds,
That wanton through the flowering thorn,
Thou minds me o’ departed joys,
Departed never to return.
Oft hae I strayed by bonnie Doon,
To see the rose and woodbine twine,
And ilka bird sang o’ its love,
And fondly sae did I o’ mine.
Wi' lichtsome heart I pulled a rose,
Full sweet upon its thorny tree,
And my false lover Stole my rose,
But ah! He left the thorn wi’ me.
My Spirit sang all Day (Robert Bridges, set by Gerald Finzi, 1901-56)
My spirit sang all day
O my joy.
Nothing my tongue could say,
Only My joy!
My heart an echo caught
O my joy
And spake,
Tell me thy thought,
Hide not thy joy.
My eyes gan peer around,
O my joy
What beauty hast thou found?
Shew us thy joy.
My jealous ears grew whist;
O my joy
Music from heaven is't,
Sent for our joy?
She also came and heard;
O my joy,
What, said she, is this word?
What is thy joy?
And I replied,
O see, O my joy,
'Tis thee, I cried, 'tis thee:
Thou art my joy.
I love my Love (Cornish folksong, set by Gustav Holst, 1874-1934)
Abroad as I was walking, one evening in the spring,
I heard a maid in Bedlam so sweetly for to sing;
Her chains she rattled with her hands,
and thus repli-ed she:
"I love my love because I know
my love loves me!
O cruel were his parents who sent my love to sea,
And cruel was the ship that bore my love from me;
Yet I love his parents since they're his
although they've ruined me:
I love my love because I know
my love loves me!
With straw I'll weave a garland, I'll weave it very fine
With roses, lilies, daisies, I'll mix the eglantine;
And I'll present it to my love
when he returns from sea
I love my love because I know
my love loves me!
Just as she there sat weeping, her love he came on land,
Then, hearing she was in Bedlam, he ran straight out of hand;
He flew into her snow white arms,
and thus repli-ed he:
I love my love because I know
my love loves me!
She said: "My love don't frighten me; are you my love or no?"
"O yes, my dearest Nancy, I am your love, also
"Also I am return'd to make amends for all your injury;
I love my love because I know
my love loves me!
So now these two are married, and happy may they be
Like turtle doves together, in love and unity.
All pretty maids with patience wait
that have got loves at sea;
I love my love because I know
my love loves me!
Broken Brook (Robert Louis Stevenson, set by Dave Whyte and arr John McIntosh)
She rested by the broken brook,
She drank of weary well.
She moved beyond my lingering look,
Ah whither none can tell!
She came, she went. In other lands,
Perchance in fairer skies,
Her hands will cling to other hands,
Her eyes to other eyes.
She vanished. In the sounding town,
Will she remember too?
Will she call the eyes of brown
As I recall the blue?
Nancy (Eddie McGrory & Dave Whyte, set by Dave Whyte and arr John McIntosh)
Nancy with the golden hair
Tender as a dove
Hooked on glue and heroin
And illicit love.
Hustler in the Cowgate
Where sterile flowers live
Easy to remember
Easy to forgive.
Nancy with the golden hair
seeks pleasure while she may
It dulls the sense and for a while
It takes the pain away.
Hustler in the Cowgate &c
Nancy with the golden hair
blue eyes and lips of red
Moves with some uncertainty
Towards her stony bed.
Hustler in the Cowgate &c
Nancy with the golden hair
Raddled, young and dead
Absolved from all necessity
to earn her daily bread.
Hustler in the Cowgate &c
The Dark Island (David Silver, set by Iain MacLachlan and arr John McIntosh)
Away to the westward I’m longing to be,
Where the beauties of heaven unfold by the sea;
Where the sweet purple heather blooms fragrant and free,
On a hilltop high above the dark Island.
Oh, isle of my childhood I’m dreaming of thee,
As the steamer leaves Oban and passes Tiree;
Soon I’ll capture the magic that lingers for me,
When I’m back once more upon the dark Island.
True gem of the Hebrides, bathed in the light
Of the midsummer dawning that follows the night
How I yearn for the cries of the seagulls in flight,
As they circle high above the Dark Island.
Oh, isle of my childhood I’m dreaming of thee, &c
How gentle the sea breeze that ripples the bay,
Where the stream joins the ocean and young children play;
On the strand of pure silver I’ll welcome each day,
And I’ll roam for ever more the Dark Island.
Oh, isle of my childhood I’m dreaming of thee, &c
Ceilidh (Alexander McCall Smith, set by Tom Cunningham)
Dance!
A village hall is all these dancers
Need, is all these dancers need;
A fiddler versed in local airs,
A man who sings the things they know;
These simple steps, these well-loved notes
Repeat what has repeated been;
As tides, as winds, on island shore,
Repeat what has repeated been.
Tunes composed by bothy light,
Tunes composed and danced by night,
Danced in tiny village halls,
Say enough, the rest we know.
Dance through the night, dance till the morn
Paints with a golden finger hill and glen,
Nimble of foot, wings of the kilt,
All around the room we follow.
