Other releases in this series include: DDD

English Choral Music 8.555794

STANFORD
Anthems and Services
For Lo, I raise Up • Three Latin Motets
Morning, Communion and Evening Service in C
Choir of St John’s College, Cambridge • Christopher Robinson

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Charles Villiers Stanford (1852-1924)
Anthems and Services
Sir Charles Villiers Stanford was one of the seminal
figures of the British musical renaissance in the late
nineteenth century. Born in Dublin, he demonstrated
talents as a composer from his teens and won an organ
scholarship to Queens’ College, Cambridge, in 1870.
During 1874 and 1875 he also studied with Carl
Reinecke in Leipzig and Friedrich Kiel in Berlin.
From 1874 to 1892 he was organist of Trinity College,
Cambridge, and his skills as a conductor led to
appointments that included CUMS (Cambridge
University Musical Society) and the Bach Choir. His
two principal academic appointments were as
professor of music at Cambridge from 1887 to 1924
and as professor of composition at the Royal College
of Music from 1883 to 1924. He taught two
generations of British composers including Vaughan
Williams, Holst, Ireland, Moeran and Howells, and
was knighted in 1902. Brahms was Stanford’s musical
‘god’, and his own music reflects his influence. During
his life his compositions were highly successful at
home and abroad. His legacy includes seven
symphonies, of which the Third, the ‘Irish’ (1887), is
best known, choral works large and small, ranging
from the Requiem (1896) and Songs of the Fleet
(1910), to the exquisite part-song The Bluebird (1910),
and operas such as Shamus O’Brien (1894-5).
It is for his contribution to Anglican church music,
however, that Stanford is principally remembered.
This included major settings of the canticles as well as
anthems, hymns and organ works. In his first
important setting of the Services, in B flat (1879), it is
clear that he is sweeping away the moribund approach
of earlier Victorian composers and is establishing new
expressive means through applying Brahmsian
procedures in cyclical unity, thematic transformation
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Yea, he scoffeth at kings and princes are a derision I will stand upon my watch and set me upon the
unto him. tower and look forth to see what he will say to
For he heapeth up dust and taketh it. me and what I shall answer concerning my
and symphonic structure. The rôle of the complaint.
accompanying organ is also heightened to superb Then shall he sweep by as a wind that shall pass
effect. These tenets, subsequently enriched and over and be guilty, And the Lord answered me and said:
developed with maturity, mark all the Services that even he whose might is his God. The vision is yet for the appointed time, and it
followed. Are not thou from everlasting, O Lord my God, hasteth toward the end and shall not lie;
Stanford’s last important setting of the Morning, mine Holy One? We shall not die. tho’ it tarry, wait for it, because it will surely
Communion and Evening Services, in C major, was O Lord, thou hast ordained him for judgement come.
composed in 1909. It is arguably his grandest and the and thou, O Rock, hast established him for For the earth shall be filled with the knowledge of
one in which the thematic ideas are most closely knit correction. the glory of the Lord as the waters cover the sea.
together to provide a unifying force. The opening of But the Lord is in his holy temple: let all the earth
the Te Deum is sonorous and expansive, its curvaceous keep silence before Him.
melodic line, like the arches of a great cathedral,
permeates the settings. So too the theme introduced by
the basses at ‘The glorious company of the Apostles’,
and the organ’s accompaniment figure at the section
beginning ‘When thou tookest upon thee to deliver
man’. At the end the opening idea returns to sweep the
music to its resplendent climax at ‘O Lord in thee have
I trusted’. Superficially the music of the lilting
Benedictus is unrelated to the Te Deum, but links are
present in the key scheme underlying its two principal
ideas, and in the Gloria, when the opening phrase of
the Te Deum returns in the glorious, affirmatory
‘Amen’.
The unaccompanied Three Latin Motets have
justly remained among the most enduring of
Stanford’s sacred works. Although published in 1905,
they were composed earlier in 1887-8. The words of
Justorum animae derive from the third chapter of the
Book of Wisdom. Cast in ternary form, the calm of the
first section is contrasted by a more animated middle
part with the voices entering in imitation. Coelos
ascendit hodie is a setting of a medieval hymn whose
words describe the glory of the ascended Christ.
Conceived for double choir, the music is exultant
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 Whose kingdom shall have no end.
And I believe in the Holy Ghost,
The Lord and giver of life,
Who proceedeth from the Father and the Son,
Who with the Father and the Son
together is worshipped and glorified,
Who spake by the Prophets.
And I believe one Catholick and Apostolick
Church.
I acknowledge one Baptism for the remission of
sins.
And I look for the Resurrection of the dead,
And the life of the world to come. Amen.
0 Sanctus
Holy, holy, holy, Lord God of hosts,
heaven and earth are full of thy glory:
Glory be to thee, O Lord most High.
! Benedictus
Blessed be he that cometh in the name of the Lord.
Hosanna in the highest.
@ Agnus Dei
O Lamb of God that taketh away
the sins of the world,
have mercy upon us.
O Lamb of God that taketh away
the sins of the world,
grant us thy peace.
# Gloria
Glory be to God on high, and in earth peace,
good will towards men.
We praise thee, we bless thee, we worship thee,
we glorify thee, we give thanks to thee
for thy great glory,
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O Lord God, heavenly King,
God the Father Almighty.
O Lord, the only-begotten Son, Jesus Christ;
O Lord God, Lamb of God, Son of the Father,
that takest away the sins of the world,
have mercy upon us.
thou that takest away the sins of the world,
receive our prayer.
thou that sittest at the right hand of God the
Father,
have mercy upon us.
For thou only art holy; thou only art the Lord;
thou only, O Christ, with the Holy Ghost,
art most high in the glory of God the Father.
Amen.
Evening Service in G Op.81
% Magnificat Please refer to texts for
^ Nunc dimittis tracks 6 and 7
* For Lo, I raise up
For lo, I raise up that bitter and hasty nation,
which march thro’ the breadth of the earth, to
possess the dwelling places that are not theirs.
They are terrible and dreadful, their judgement and
their dignity proceed from themselves.
Their horses also are swifter than leopards, and are
more fierce than the ev’ning wolves,
and their horsemen spread themselves yea,
their horsemen come from far.
They fly as an eagle that hasteth to devour,
they come all of them for violence;
their faces are set as the east wind, and they gather
captives as the sand.
10
throughout, and utilises antiphonal effects such as the
pervasive crisp, fanfare-like call on the words
‘Alleluia’ which is tossed exuberantly between the
choirs. Psalm 119 provides the words for the Beati
quorum via which is scored in six parts. Particularly
beautiful is the still moment when the upper and lower
voices in turn hover between major and minor chords
on the word ‘Beati’, and the tender, arched phrase at
‘quorum via’ near to the end.
For his Evening Service in C major Stanford wrote
an Allegro moderato movement around sonata-form
principles with the verses of the canticle divided into
four short sections. It begins with a majestic, ecstatic
statement of praise; notable too is the contrast of
textures at the start of the fourth section (‘He hath
filled the hungry’), when the full choir is pared down
to trebles, then tenors and basses at the words ‘the rich
he hath sent empty away’. The Nunc dimittis is
conceived in one span and builds resplendently to its
final climax on the phrase ‘and to be the glory of thy
people Israel’ which is a variant of the opening of the
Te Deum. Both canticles end with the Gloria from the
Benedictus thus achieving further thematic integrity.
In the late nineteenth century it was not standard
practice to set the whole of the Communion Service so
that in the Communion Service in C the principal
sections are the Credo, Sanctus and Gloria. During
Stanford’s lifetime, however, choirs began to sing the
Benedictus and Agnus Dei. In 1909 he added these to
his earlier Service in F, but tonally they match the C
major and B flat settings as well. A complementary
Kyrie eleison was arranged by C.S. Phillips and C.E.S.
Littlejohn in 1935 from Stanford’s Responses to the
Commandments of his Communion Service in G. By
this, a complete version of the Mass is achieved as is
heard on this recording. In the Credo, Sanctus and
Gloria the clarity of the words are emphasized for the
communicant by vocal writing in which all parts move
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together, whilst in the Kyrie, Agnus Dei and
Benedictus the lines are more independent. The latter
begins with a melody of serene beauty for the basses
which is marked by an expressive fall at the repetition
of the word ‘Blessed’.
The Prelude in G major and Postlude in D minor
for organ that frame this recording of the Magnificat
and Nunc dimittis in G were composed in 1907.
Within the G major Services composed in 1902, the
evening canticles have remained the most popular.
This is partly owing to the composer’s striking use of
the solo treble and bass voices, emphasizing that the
texts are the ‘songs’ of the Virgin and Simeon
respectively. The fleet Magnificat has a weaving
arpeggiated accompaniment, which Sir Edward
Bairstow perceptively likened to the image of the
spinning-wheel that is invariably present in
Renaissance paintings of the Annunciation.
Throughout soloist and choir are interwoven in a
seamless weft, with the soloist soaring high as if
reflecting the Virgin’s heart leaping with joy at the
angel’s news. By contrast the Nunc dimittis is solemn,
growing from the organ’s introductory bars to which
the crucial words ‘depart in peace’ are later set. The
Glorias of both canticles are for choir alone and in
Stanford’s customary manner utilise the same music
but to entirely different effect.
For lo, I will raise up is one of Stanford’s most
powerful utterances: an anthem that in its scope is akin
to an operatic scena with contrasting emotions, tempos
and choral colours. It was composed in 1914, and
Stanford’s choice of words from the Book of
Habakkuk is significant, given the onset of hostilities
and his abhorrence of war. The opening section is
ominous, restless, with an agitated accompaniment
that seems to set in motion implacable and relentless
forces of destruction. Vivid musical images arise from
the words, for instance the sound of the galloping
horses’ hooves at ‘Their horses also are swifter than ‘earth shall be filled with the knowledge of God’, he hath put down the mighty from their seat,
leopards’. An emphatic unison at ‘whose might is his followed by a triumphant organ passage which ends and hath exalted the humble and meek.
God’, halts the terror, and leads to a reflective section, with a dramatic harmonic jolt on the climactic chord. he hath filled the hungry with good things,
and a change to the major key, in which the oppressed A brief, masterly conceived coda concludes the and the rich he hath sent empty away.
place their hope in God and affirm their belief in his anthem, as the Lord in his holy temple is evoked by he remembering his mercy
powers at ‘We shall not die’. Solos for treble and tenor hushed music suffused with awe. hath holpen his servant Israel,
lead to God’s promise that the foes will ultimately be as he promised to our forefathers,
vanquished. The tempo quickens and leads to a Abraham and his seed, for ever.
blazing, radiant treble phrase mirroring the words Andrew Burn
Glory be to the Father, and to the Son,
and to the Holy Ghost:
as it was in the beginning, is now,
and ever shall be;
world without end. Amen.
(Luke 1 vv 46-55)
7 Nunc dimittis
Lord, now lettest thou thy servant depart in peace,
according to thy word;
For mine eyes have seen thy salvation,
which thou hast prepared before the face
of all people,
To be a light to lighten the Gentiles,
and to be the glory of thy people Israel.
Glory be to the Father, and to the Son,
and to the Holy Ghost:
as it was in the beginning, is now,
and ever shall be;
world without end. Amen.
(Luke 2, vv.29-32)
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Communion Service in C Op.115
8 Kyrie
Kyrie eleison.
Christe eleison
Kyrie eleison.
Lord have mercy upon us.
Christ have mercy upon us.
Lord have mercy upon us.
9 Credo
I believe in one God, the Father Almighty,
Maker of heaven and earth,
And of all things visible and invisible:
And in one Lord Jesus Christ,
the only-begotten Son of God,
Begotten of his Father before all worlds,
God of God, Light of Light,
Very God of very God,
Begotten, not made,
Being of one substance with the Father,
By whom all things were made:
Who for us men and for our salvation
came down from heaven,
And was incarnate
by the Holy Ghost of the Virgin Mary,
And was made man,
And was crucified also for us under Pontius Pilate.
he suffered and was buried,
And the third day he rose again
according to the Scriptures,
And ascended into heaven,
And sitteth on the right hand of the Father.
And he shall come again with glory
to judge both the quick and the dead:
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 To give knowledge of salvation unto his people
for the remission of their sins;
Through the tender mercy of our God whereby the
dayspring from on high hath visited us;
To give light to them that sit in darkness, and in
the shadow of death and to guide our feet into
the way of peace.
Glory be to the Father, and to the Son, and to the
Holy Ghost;
as it was in the beginning, is now, and ever shall
be, world without end. Amen.
Three Latin Motets
3 Justorum animae in manu Dei sunt,
et non tanget illos tormentum mortis.
Visi sunt oculis insipientium mori,
illi autem sunt in pace.
(The souls of the righteous are in the hands of
God, and there shall no torment of malice touch
them. In the eyes of fools they seem to die, but
they are in peace.)
4 Coelos ascendit hodie Jesus Christus Rex gloriae,
Alleluia!
Sedet ad Patris dexteram, gubernat coelum et
terram, Alleluia!
Iam finem habent omnia Patris Davidis carmina,
Alleluia!
Iam Dominus cum Domino sedet in Dei solio,
Alleluia!
In hoc triumpho maximo, Alleluia!
Benedicamus Domino, laudatur Sancta Trinitas,
Deo dicamus gratias, Alleluia! Amen.
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(Today has gone up into heaven Jesus Christ, the
King of glory, Alleluia!
Who sits at the right hand of the Father and who
rules heaven and earth, Alleluia!
Now all the songs of the Patriarch David have
been fulfilled, Alleluia!
Now the Lord sits with the Lord on the throne of
God, Alleluia!
In this great triumph, Alleluia!
Let us bless the Lord, let the Holy Trinity be
praised,
let us give thanks to God, Alleluia! Amen.)
5 Beati quorum via integra est:
Qui ambulant in lege Domini.
(Blessed are those that are undefiled in the way:
who walk in the law of the Lord.)
Evening Service in C Op.115
6 Magnificat
My soul doth magnify the Lord:
and my spirit hath rejoiced in God my Saviour.
For he hath regarded
the lowliness of his hand-maiden.
For behold from henceforth
all generations shall call me blessed.
For he that is mighty hath magnified me,
and holy is his Name.
And his mercy is on them that fear him
throughout all generations.
He hath showed strength with his arm;
he hath scattered the proud
in the imagination of their hearts.
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The Choir of St John’s College, Cambridge
St John’s College was founded in 1511 and
is one of the Colleges of the University of
Cambridge. The College Choir, which has a
world-wide reputation for its unique sound
and for the quality of its music-making, has
had as its main duty since the 1670s the
singing of the daily services in the College
chapel during the University Term. The
Services follow the Church of England
Cathedral Tradition with Evensong six
times a week and a Sung Eucharist on
Sunday mornings.
The all-male Choir consists of fourteen
Choral Students and seventeen Choristers. The Choristers are appointed at Voice Trials, which take place
regularly, and are educated at St John’s College School, which is situated at the edge of the College grounds.
The School now educates some 440 boys and girls up to the age of thirteen. There is intense competition for
places, not only for the financial rewards in terms of scholarships, but also for the unique musical training which
the Choristers receive. The ages of the Choristers range from nine to thirteen years and they are encouraged to
play a full part in the life of the School as well as the Choir. There are also four Probationers who begin their
training at the age of eight and join the choir as vacancies arise. The alto, tenor and bass parts are taken by Choral
Students who are admitted as undergraduates to the College to study a variety of subjects. Choral Students very
often become professional singers and many have been awarded scholarships by the Royal Academy of Music
and the Royal College of Music. Apart from its liturgical commitments, the Choir gives a number of concerts
each year both in the United Kingdom and overseas. Recent tours have taken the Choir to Australia, South
Africa, Canada, the United States, Holland, Belgium, Sweden and Japan.
The repertoire of the Choir stretches from the fifteenth century to the present day. Many highly acclaimed
recordings have been made and these are available world-wide. The Advent Carol Service, the Lent Meditation,
and Evensong on Ash Wednesday (when Allegri’s Miserere is sung) are broadcast annually on BBC Radio 3.
This is the choir’s sixth recording in an English Choral Music series on the Naxos label. The series, including
discs of Howells (Winner of the Cannes Classical Award 2001), Britten (nominated for a Gramophone Award
2000), Tavener (nominated for a Classical Brit Award and a Gramophone Award 2001), Rubbra (nominated for
a Gramophone Award 2001) and Walton (nominated for a Gramophone Award 2002), has sold 85,000 copies to
date. Many composers have written for the Choir, including Tippett, Howells, and Langlais; more recently works
have been commissioned from Francis Grier, Andrew Gant, John Tavener and Judith Bingham
The present Director of Music, Christopher Robinson, has been in charge of the Choir since 1991. He is
assisted by two Organ Students who are undergraduates of the College.
8.555794
Choristers Morning Service in C, Op.115 Make them to be number’d with thy Saints in
Theo Bamber Benjamin Howson glory everlasting.
Quintin Beer Alexander Jones 1 Te Deum
Hugh Bushell Bernard Keegan-Fischer We praise thee, O God, we acknowledge thee to O Lord, save thy people, and bless Thine heritage.
Thomas Curran Oliver Lepage-Dean * ° be the Lord. Govern them, and lift them up forever.
Benjamin Durrant Nicholas Morton All the earth doth worship thee, the Father Day by day we magnify thee, and we worship thy
Joseph Gardom Joshua O’Connor everlasting. name ever world without end.
James Geidt Brindley Wallis To thee all Angels cry aloud, the Heav’ns and all Vouchsafe, O Lord, to keep us this day without sin.
Julian Gregory Thomas Welham the Pow’rs therein. O Lord, have mercy upon us.
Simon Horner To thee Cherubim and Seraphim continually
do cry, O Lord, let thy mercy lighten upon us, as our trust
Choral Students Holy! Holy! Holy! Lord God of Sabaoth! is in thee.
Altos Basses Heav’n and earth are full of the majesty of thy O Lord, in thee have I trusted, let me never be
Aaron Burchell James Birchall Glory. confounded.
Peter Crawford Ronan Collett The glorious company of the Apostles, praise thee.
Iestyn Davies George Humphreys The goodly fellowship of the Prophets, praise thee. 2 Benedictus
Lester Lardenoye Gareth Jones † The noble army of Martyrs, praise thee. Blessed be the Lord God of Israel
Oliver Wright The Holy Church thro’out all the world doth For he hath visited, and redeemed his people;
Tenors acknowledge thee; And hath raised up a mighty salvation for us in the
Michael Anderson Organ Scholars The Father of an infinite Majesty; house of his servant David;
Alastair Brookshaw Christopher Whitton Thine honourable, true and only Son; As he spake by the mouth of his holy Prophets
Allan Clayton Jonathan Vaughn Also the Holy Ghost, the Comforter. which have been since the world began;
Stephen Shorter That we should be saved from our enemies and
Andrew Staples * Thou art the King of Glory, O Christ. from the hands of all that hate us;
Thou art the everlasting Son of the Father. To perform the mercy promised to our fathers and
† soloist in the Nunc Dimittis in G • * soloist in For Lo I raise up • ° soloist in Magnificat in G When thou tookest it upon thee to deliver man, to remember his holy covenant;
thou didst not abhor the Virgin’s womb. To perform the oath which he sware to our
When thou had’st overcome the sharpness of forefather Abraham
Christopher Robinson death, That he would give us,
Christopher Robinson has been Organist and Director of Music at St John’s College, Cambridge since October Thou did’st open the Kingdom of Heav’n to all That we being delivered out of the hands of our
1991. His expertise as a choral and orchestral conductor was already well known following similar appointments believers. enemies might serve him without fear,
at Worcester Cathedral (1963–74) and St George’s Chapel, Windsor Castle (1975–91). He was conductor of the Thou sittest at the right hand of God, in the Glory In holiness and righteousness before him all the
City of Birmingham Choir from 1964 to 2002 and conducted the Oxford Bach Choir from 1977 to 1997. of the Father. days of our life.
Christopher Robinson was elected an honorary member of the Royal Academy of Music in 1980 and was We believe that thou shalt come to be our Judge. And thou, child, shalt be called the Prophet of the
President of the Royal College of Organists from 1982 to 1984. He holds honorary degrees from Birmingham We therefore pray thee, help thy servants, Highest for thou shalt go before the face of the
University and the University of Central England. In 1992 the Queen honoured him with the appointment of Whom thou hast redeemed with thy precious Lord to prepare his ways;
Commander of the Royal Victorian Order in recognition of his work at Windsor Castle. In 2002 he was awarded blood.
a Lambeth doctorate.

8.555794 6 7 8.555794
Choristers Morning Service in C, Op.115 Make them to be number’d with thy Saints in
Theo Bamber Benjamin Howson glory everlasting.
Quintin Beer Alexander Jones 1 Te Deum
Hugh Bushell Bernard Keegan-Fischer We praise thee, O God, we acknowledge thee to O Lord, save thy people, and bless Thine heritage.
Thomas Curran Oliver Lepage-Dean * ° be the Lord. Govern them, and lift them up forever.
Benjamin Durrant Nicholas Morton All the earth doth worship thee, the Father Day by day we magnify thee, and we worship thy
Joseph Gardom Joshua O’Connor everlasting. name ever world without end.
James Geidt Brindley Wallis To thee all Angels cry aloud, the Heav’ns and all Vouchsafe, O Lord, to keep us this day without sin.
Julian Gregory Thomas Welham the Pow’rs therein. O Lord, have mercy upon us.
Simon Horner To thee Cherubim and Seraphim continually
do cry, O Lord, let thy mercy lighten upon us, as our trust
Choral Students Holy! Holy! Holy! Lord God of Sabaoth! is in thee.
Altos Basses Heav’n and earth are full of the majesty of thy O Lord, in thee have I trusted, let me never be
Aaron Burchell James Birchall Glory. confounded.
Peter Crawford Ronan Collett The glorious company of the Apostles, praise thee.
Iestyn Davies George Humphreys The goodly fellowship of the Prophets, praise thee. 2 Benedictus
Lester Lardenoye Gareth Jones † The noble army of Martyrs, praise thee. Blessed be the Lord God of Israel
Oliver Wright The Holy Church thro’out all the world doth For he hath visited, and redeemed his people;
Tenors acknowledge thee; And hath raised up a mighty salvation for us in the
Michael Anderson Organ Scholars The Father of an infinite Majesty; house of his servant David;
Alastair Brookshaw Christopher Whitton Thine honourable, true and only Son; As he spake by the mouth of his holy Prophets
Allan Clayton Jonathan Vaughn Also the Holy Ghost, the Comforter. which have been since the world began;
Stephen Shorter That we should be saved from our enemies and
Andrew Staples * Thou art the King of Glory, O Christ. from the hands of all that hate us;
Thou art the everlasting Son of the Father. To perform the mercy promised to our fathers and
† soloist in the Nunc Dimittis in G • * soloist in For Lo I raise up • ° soloist in Magnificat in G When thou tookest it upon thee to deliver man, to remember his holy covenant;
thou didst not abhor the Virgin’s womb. To perform the oath which he sware to our
When thou had’st overcome the sharpness of forefather Abraham
Christopher Robinson death, That he would give us,
Christopher Robinson has been Organist and Director of Music at St John’s College, Cambridge since October Thou did’st open the Kingdom of Heav’n to all That we being delivered out of the hands of our
1991. His expertise as a choral and orchestral conductor was already well known following similar appointments believers. enemies might serve him without fear,
at Worcester Cathedral (1963–74) and St George’s Chapel, Windsor Castle (1975–91). He was conductor of the Thou sittest at the right hand of God, in the Glory In holiness and righteousness before him all the
City of Birmingham Choir from 1964 to 2002 and conducted the Oxford Bach Choir from 1977 to 1997. of the Father. days of our life.
Christopher Robinson was elected an honorary member of the Royal Academy of Music in 1980 and was We believe that thou shalt come to be our Judge. And thou, child, shalt be called the Prophet of the
President of the Royal College of Organists from 1982 to 1984. He holds honorary degrees from Birmingham We therefore pray thee, help thy servants, Highest for thou shalt go before the face of the
University and the University of Central England. In 1992 the Queen honoured him with the appointment of Whom thou hast redeemed with thy precious Lord to prepare his ways;
Commander of the Royal Victorian Order in recognition of his work at Windsor Castle. In 2002 he was awarded blood.
a Lambeth doctorate.

8.555794 6 7 8.555794
 To give knowledge of salvation unto his people
for the remission of their sins;
Through the tender mercy of our God whereby the
dayspring from on high hath visited us;
To give light to them that sit in darkness, and in
the shadow of death and to guide our feet into
the way of peace.
Glory be to the Father, and to the Son, and to the
Holy Ghost;
as it was in the beginning, is now, and ever shall
be, world without end. Amen.
Three Latin Motets
3 Justorum animae in manu Dei sunt,
et non tanget illos tormentum mortis.
Visi sunt oculis insipientium mori,
illi autem sunt in pace.
(The souls of the righteous are in the hands of
God, and there shall no torment of malice touch
them. In the eyes of fools they seem to die, but
they are in peace.)
4 Coelos ascendit hodie Jesus Christus Rex gloriae,
Alleluia!
Sedet ad Patris dexteram, gubernat coelum et
terram, Alleluia!
Iam finem habent omnia Patris Davidis carmina,
Alleluia!
Iam Dominus cum Domino sedet in Dei solio,
Alleluia!
In hoc triumpho maximo, Alleluia!
Benedicamus Domino, laudatur Sancta Trinitas,
Deo dicamus gratias, Alleluia! Amen.
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(Today has gone up into heaven Jesus Christ, the
King of glory, Alleluia!
Who sits at the right hand of the Father and who
rules heaven and earth, Alleluia!
Now all the songs of the Patriarch David have
been fulfilled, Alleluia!
Now the Lord sits with the Lord on the throne of
God, Alleluia!
In this great triumph, Alleluia!
Let us bless the Lord, let the Holy Trinity be
praised,
let us give thanks to God, Alleluia! Amen.)
5 Beati quorum via integra est:
Qui ambulant in lege Domini.
(Blessed are those that are undefiled in the way:
who walk in the law of the Lord.)
Evening Service in C Op.115
6 Magnificat
My soul doth magnify the Lord:
and my spirit hath rejoiced in God my Saviour.
For he hath regarded
the lowliness of his hand-maiden.
For behold from henceforth
all generations shall call me blessed.
For he that is mighty hath magnified me,
and holy is his Name.
And his mercy is on them that fear him
throughout all generations.
He hath showed strength with his arm;
he hath scattered the proud
in the imagination of their hearts.
8 5
The Choir of St John’s College, Cambridge
St John’s College was founded in 1511 and
is one of the Colleges of the University of
Cambridge. The College Choir, which has a
world-wide reputation for its unique sound
and for the quality of its music-making, has
had as its main duty since the 1670s the
singing of the daily services in the College
chapel during the University Term. The
Services follow the Church of England
Cathedral Tradition with Evensong six
times a week and a Sung Eucharist on
Sunday mornings.
The all-male Choir consists of fourteen
Choral Students and seventeen Choristers. The Choristers are appointed at Voice Trials, which take place
regularly, and are educated at St John’s College School, which is situated at the edge of the College grounds.
The School now educates some 440 boys and girls up to the age of thirteen. There is intense competition for
places, not only for the financial rewards in terms of scholarships, but also for the unique musical training which
the Choristers receive. The ages of the Choristers range from nine to thirteen years and they are encouraged to
play a full part in the life of the School as well as the Choir. There are also four Probationers who begin their
training at the age of eight and join the choir as vacancies arise. The alto, tenor and bass parts are taken by Choral
Students who are admitted as undergraduates to the College to study a variety of subjects. Choral Students very
often become professional singers and many have been awarded scholarships by the Royal Academy of Music
and the Royal College of Music. Apart from its liturgical commitments, the Choir gives a number of concerts
each year both in the United Kingdom and overseas. Recent tours have taken the Choir to Australia, South
Africa, Canada, the United States, Holland, Belgium, Sweden and Japan.
The repertoire of the Choir stretches from the fifteenth century to the present day. Many highly acclaimed
recordings have been made and these are available world-wide. The Advent Carol Service, the Lent Meditation,
and Evensong on Ash Wednesday (when Allegri’s Miserere is sung) are broadcast annually on BBC Radio 3.
This is the choir’s sixth recording in an English Choral Music series on the Naxos label. The series, including
discs of Howells (Winner of the Cannes Classical Award 2001), Britten (nominated for a Gramophone Award
2000), Tavener (nominated for a Classical Brit Award and a Gramophone Award 2001), Rubbra (nominated for
a Gramophone Award 2001) and Walton (nominated for a Gramophone Award 2002), has sold 85,000 copies to
date. Many composers have written for the Choir, including Tippett, Howells, and Langlais; more recently works
have been commissioned from Francis Grier, Andrew Gant, John Tavener and Judith Bingham
The present Director of Music, Christopher Robinson, has been in charge of the Choir since 1991. He is
assisted by two Organ Students who are undergraduates of the College.
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horses’ hooves at ‘Their horses also are swifter than ‘earth shall be filled with the knowledge of God’, he hath put down the mighty from their seat,
leopards’. An emphatic unison at ‘whose might is his followed by a triumphant organ passage which ends and hath exalted the humble and meek.
God’, halts the terror, and leads to a reflective section, with a dramatic harmonic jolt on the climactic chord. he hath filled the hungry with good things,
and a change to the major key, in which the oppressed A brief, masterly conceived coda concludes the and the rich he hath sent empty away.
place their hope in God and affirm their belief in his anthem, as the Lord in his holy temple is evoked by he remembering his mercy
powers at ‘We shall not die’. Solos for treble and tenor hushed music suffused with awe. hath holpen his servant Israel,
lead to God’s promise that the foes will ultimately be as he promised to our forefathers,
vanquished. The tempo quickens and leads to a Abraham and his seed, for ever.
blazing, radiant treble phrase mirroring the words Andrew Burn
Glory be to the Father, and to the Son,
and to the Holy Ghost:
as it was in the beginning, is now,
and ever shall be;
world without end. Amen.
(Luke 1 vv 46-55)
7 Nunc dimittis
Lord, now lettest thou thy servant depart in peace,
according to thy word;
For mine eyes have seen thy salvation,
which thou hast prepared before the face
of all people,
To be a light to lighten the Gentiles,
and to be the glory of thy people Israel.
Glory be to the Father, and to the Son,
and to the Holy Ghost:
as it was in the beginning, is now,
and ever shall be;
world without end. Amen.
(Luke 2, vv.29-32)
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Communion Service in C Op.115
8 Kyrie
Kyrie eleison.
Christe eleison
Kyrie eleison.
Lord have mercy upon us.
Christ have mercy upon us.
Lord have mercy upon us.
9 Credo
I believe in one God, the Father Almighty,
Maker of heaven and earth,
And of all things visible and invisible:
And in one Lord Jesus Christ,
the only-begotten Son of God,
Begotten of his Father before all worlds,
God of God, Light of Light,
Very God of very God,
Begotten, not made,
Being of one substance with the Father,
By whom all things were made:
Who for us men and for our salvation
came down from heaven,
And was incarnate
by the Holy Ghost of the Virgin Mary,
And was made man,
And was crucified also for us under Pontius Pilate.
he suffered and was buried,
And the third day he rose again
according to the Scriptures,
And ascended into heaven,
And sitteth on the right hand of the Father.
And he shall come again with glory
to judge both the quick and the dead:
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 Whose kingdom shall have no end.
And I believe in the Holy Ghost,
The Lord and giver of life,
Who proceedeth from the Father and the Son,
Who with the Father and the Son
together is worshipped and glorified,
Who spake by the Prophets.
And I believe one Catholick and Apostolick
Church.
I acknowledge one Baptism for the remission of
sins.
And I look for the Resurrection of the dead,
And the life of the world to come. Amen.
0 Sanctus
Holy, holy, holy, Lord God of hosts,
heaven and earth are full of thy glory:
Glory be to thee, O Lord most High.
! Benedictus
Blessed be he that cometh in the name of the Lord.
Hosanna in the highest.
@ Agnus Dei
O Lamb of God that taketh away
the sins of the world,
have mercy upon us.
O Lamb of God that taketh away
the sins of the world,
grant us thy peace.
# Gloria
Glory be to God on high, and in earth peace,
good will towards men.
We praise thee, we bless thee, we worship thee,
we glorify thee, we give thanks to thee
for thy great glory,
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O Lord God, heavenly King,
God the Father Almighty.
O Lord, the only-begotten Son, Jesus Christ;
O Lord God, Lamb of God, Son of the Father,
that takest away the sins of the world,
have mercy upon us.
thou that takest away the sins of the world,
receive our prayer.
thou that sittest at the right hand of God the
Father,
have mercy upon us.
For thou only art holy; thou only art the Lord;
thou only, O Christ, with the Holy Ghost,
art most high in the glory of God the Father.
Amen.
Evening Service in G Op.81
% Magnificat Please refer to texts for
^ Nunc dimittis tracks 6 and 7
* For Lo, I raise up
For lo, I raise up that bitter and hasty nation,
which march thro’ the breadth of the earth, to
possess the dwelling places that are not theirs.
They are terrible and dreadful, their judgement and
their dignity proceed from themselves.
Their horses also are swifter than leopards, and are
more fierce than the ev’ning wolves,
and their horsemen spread themselves yea,
their horsemen come from far.
They fly as an eagle that hasteth to devour,
they come all of them for violence;
their faces are set as the east wind, and they gather
captives as the sand.
10
throughout, and utilises antiphonal effects such as the
pervasive crisp, fanfare-like call on the words
‘Alleluia’ which is tossed exuberantly between the
choirs. Psalm 119 provides the words for the Beati
quorum via which is scored in six parts. Particularly
beautiful is the still moment when the upper and lower
voices in turn hover between major and minor chords
on the word ‘Beati’, and the tender, arched phrase at
‘quorum via’ near to the end.
For his Evening Service in C major Stanford wrote
an Allegro moderato movement around sonata-form
principles with the verses of the canticle divided into
four short sections. It begins with a majestic, ecstatic
statement of praise; notable too is the contrast of
textures at the start of the fourth section (‘He hath
filled the hungry’), when the full choir is pared down
to trebles, then tenors and basses at the words ‘the rich
he hath sent empty away’. The Nunc dimittis is
conceived in one span and builds resplendently to its
final climax on the phrase ‘and to be the glory of thy
people Israel’ which is a variant of the opening of the
Te Deum. Both canticles end with the Gloria from the
Benedictus thus achieving further thematic integrity.
In the late nineteenth century it was not standard
practice to set the whole of the Communion Service so
that in the Communion Service in C the principal
sections are the Credo, Sanctus and Gloria. During
Stanford’s lifetime, however, choirs began to sing the
Benedictus and Agnus Dei. In 1909 he added these to
his earlier Service in F, but tonally they match the C
major and B flat settings as well. A complementary
Kyrie eleison was arranged by C.S. Phillips and C.E.S.
Littlejohn in 1935 from Stanford’s Responses to the
Commandments of his Communion Service in G. By
this, a complete version of the Mass is achieved as is
heard on this recording. In the Credo, Sanctus and
Gloria the clarity of the words are emphasized for the
communicant by vocal writing in which all parts move
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together, whilst in the Kyrie, Agnus Dei and
Benedictus the lines are more independent. The latter
begins with a melody of serene beauty for the basses
which is marked by an expressive fall at the repetition
of the word ‘Blessed’.
The Prelude in G major and Postlude in D minor
for organ that frame this recording of the Magnificat
and Nunc dimittis in G were composed in 1907.
Within the G major Services composed in 1902, the
evening canticles have remained the most popular.
This is partly owing to the composer’s striking use of
the solo treble and bass voices, emphasizing that the
texts are the ‘songs’ of the Virgin and Simeon
respectively. The fleet Magnificat has a weaving
arpeggiated accompaniment, which Sir Edward
Bairstow perceptively likened to the image of the
spinning-wheel that is invariably present in
Renaissance paintings of the Annunciation.
Throughout soloist and choir are interwoven in a
seamless weft, with the soloist soaring high as if
reflecting the Virgin’s heart leaping with joy at the
angel’s news. By contrast the Nunc dimittis is solemn,
growing from the organ’s introductory bars to which
the crucial words ‘depart in peace’ are later set. The
Glorias of both canticles are for choir alone and in
Stanford’s customary manner utilise the same music
but to entirely different effect.
For lo, I will raise up is one of Stanford’s most
powerful utterances: an anthem that in its scope is akin
to an operatic scena with contrasting emotions, tempos
and choral colours. It was composed in 1914, and
Stanford’s choice of words from the Book of
Habakkuk is significant, given the onset of hostilities
and his abhorrence of war. The opening section is
ominous, restless, with an agitated accompaniment
that seems to set in motion implacable and relentless
forces of destruction. Vivid musical images arise from
the words, for instance the sound of the galloping
Charles Villiers Stanford (1852-1924)
Anthems and Services
Sir Charles Villiers Stanford was one of the seminal
figures of the British musical renaissance in the late
nineteenth century. Born in Dublin, he demonstrated
talents as a composer from his teens and won an organ
scholarship to Queens’ College, Cambridge, in 1870.
During 1874 and 1875 he also studied with Carl
Reinecke in Leipzig and Friedrich Kiel in Berlin.
From 1874 to 1892 he was organist of Trinity College,
Cambridge, and his skills as a conductor led to
appointments that included CUMS (Cambridge
University Musical Society) and the Bach Choir. His
two principal academic appointments were as
professor of music at Cambridge from 1887 to 1924
and as professor of composition at the Royal College
of Music from 1883 to 1924. He taught two
generations of British composers including Vaughan
Williams, Holst, Ireland, Moeran and Howells, and
was knighted in 1902. Brahms was Stanford’s musical
‘god’, and his own music reflects his influence. During
his life his compositions were highly successful at
home and abroad. His legacy includes seven
symphonies, of which the Third, the ‘Irish’ (1887), is
best known, choral works large and small, ranging
from the Requiem (1896) and Songs of the Fleet
(1910), to the exquisite part-song The Bluebird (1910),
and operas such as Shamus O’Brien (1894-5).
It is for his contribution to Anglican church music,
however, that Stanford is principally remembered.
This included major settings of the canticles as well as
anthems, hymns and organ works. In his first
important setting of the Services, in B flat (1879), it is
clear that he is sweeping away the moribund approach
of earlier Victorian composers and is establishing new
expressive means through applying Brahmsian
procedures in cyclical unity, thematic transformation
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Yea, he scoffeth at kings and princes are a derision I will stand upon my watch and set me upon the
unto him. tower and look forth to see what he will say to
For he heapeth up dust and taketh it. me and what I shall answer concerning my
and symphonic structure. The rôle of the complaint.
accompanying organ is also heightened to superb Then shall he sweep by as a wind that shall pass
effect. These tenets, subsequently enriched and over and be guilty, And the Lord answered me and said:
developed with maturity, mark all the Services that even he whose might is his God. The vision is yet for the appointed time, and it
followed. Are not thou from everlasting, O Lord my God, hasteth toward the end and shall not lie;
Stanford’s last important setting of the Morning, mine Holy One? We shall not die. tho’ it tarry, wait for it, because it will surely
Communion and Evening Services, in C major, was O Lord, thou hast ordained him for judgement come.
composed in 1909. It is arguably his grandest and the and thou, O Rock, hast established him for For the earth shall be filled with the knowledge of
one in which the thematic ideas are most closely knit correction. the glory of the Lord as the waters cover the sea.
together to provide a unifying force. The opening of But the Lord is in his holy temple: let all the earth
the Te Deum is sonorous and expansive, its curvaceous keep silence before Him.
melodic line, like the arches of a great cathedral,
permeates the settings. So too the theme introduced by
the basses at ‘The glorious company of the Apostles’,
and the organ’s accompaniment figure at the section
beginning ‘When thou tookest upon thee to deliver
man’. At the end the opening idea returns to sweep the
music to its resplendent climax at ‘O Lord in thee have
I trusted’. Superficially the music of the lilting
Benedictus is unrelated to the Te Deum, but links are
present in the key scheme underlying its two principal
ideas, and in the Gloria, when the opening phrase of
the Te Deum returns in the glorious, affirmatory
‘Amen’.
The unaccompanied Three Latin Motets have
justly remained among the most enduring of
Stanford’s sacred works. Although published in 1905,
they were composed earlier in 1887-8. The words of
Justorum animae derive from the third chapter of the
Book of Wisdom. Cast in ternary form, the calm of the
first section is contrasted by a more animated middle
part with the voices entering in imitation. Coelos
ascendit hodie is a setting of a medieval hymn whose
words describe the glory of the ascended Christ.
Conceived for double choir, the music is exultant
2 11 8.555794
Other releases in this series include: DDD
English Choral Music 8.555794

STANFORD
Anthems and Services
For Lo, I raise Up • Three Latin Motets
Morning, Communion and Evening Service in C
Choir of St John’s College, Cambridge • Christopher Robinson

8.555794 12
 CMYK

NAXOS
8.555794

Sir Charles Villiers Stanford is considered the father of English choral music and played a major
role in the English musical renaissance through his legacy of teaching and composing. Almost
every major 20th Century English composer benefited from his strict tuition: Holst, Moeran,
Bliss, Vaughan Williams, Howells and Bridge all studied under him. In his compositions he
re-shaped and enriched the repertoire with finely-wrought anthems and services, many of which DDD
are still performed every day in Anglican cathedrals around the world.
8.555794
Charles Villiers

STANFORD: Anthems and Services

Playing Time
STANFORD 71:09
STANFORD: Anthems and Services

(1852-1924)
Morning Service in C, Op. 115 13:26 0 Sanctus 1:36
1 Te deum laudamus 8:08 ! Benedictus 1:47
2 Benedictus 5:17 @ Agnus Dei 2:33
Three Latin Motets 8:59 # Gloria 3:19
3 Justorum animæ 3:21 $ Prelude in G minor, for Organ* 3:21
4 Cœlos ascendit hodie 2:05 Evening Service in G, Op. 81 8:28
5 Beati quorum via 3:33 % Magnificat 4:08
Evening Service in C, Op. 115 8:31 ^ Nunc dimittis 4:21
www.naxos.com
Made in Canada
Sung texts in English and Latin
Booklet notes in English
h & g 2003 HNH International Ltd.
6 Magnificat 5:09 & Postlude in D minor, for Organ* 4:44
7 Nunc dimittis 3:23
* For lo, I raise up, Op. 145 7:24
Communion Service in C,
Op. 115 16:16
8 Kyrie 1:53
9 Credo 5:08
Choir of St John’s College, Cambridge
Christopher Robinson • Christopher Whitton, Organ*
Recorded 12th - 13th July 2002 in St John’s College Chapel, Cambridge
This recording has been recorded and edited at 24-bit resolution
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NAXOS

Producer: Andrew Walton (K&A Productions Ltd.) • Engineer: Eleanor Thomason

Post-production: Andrew Walton • Booklet Notes: Andrew Burn • Publishers: Stainer and Bell
Cover Picture: Yellow Building watercolour by John Doyle
(reproduced by permission of Contemporary Watercolours Ltd.)