This Christmas Night: Contemporary Carols / Original Release / WEB / FLAC / 24bit Lossless

This Christmas Night

Contemporary Carols

The Choir of Worcester College, Oxford

Stephen Farr conductor"'"'""'''"' and organ'"-
Edward Turner conductor''-""" and organ'"-""

About Stephen Farr:

'[Farr's]breadth of vision, intense sense of purpose and brilliant technique
combine to make this a recording which [...] deserves repeated listening'

Gramophone

'[Farr] brought an Inventive flair to his choice of registers,
offering a reading of notable light and shade'

Tempo

Hafliai Hallgrimsson (b. 1941)

1. Joseph and the Angel * [3:43]

Mark-Anthony Turnage

11. Claremont Carol *

[4:08]

Anthony Piccolo (b. 1946)

2. 1 look from afar [6:19J

Thomas Hyde (b. 1978)

3. Sweet was the song * [2:07]

Mark-Anthony Turnage (b. 1960)

4. Christmas Night * [2:45]

John McCabe (b. 1939)

5. Mary laid her child [2:21]

Malcolm Williamson (1931-2003)

6. This Christmas Night [3:06]

Matthew Martin (b. 1976)

7. 1 sing of a Maiden * [2:29]

Thomas Hyde

8. Improvisation on 'Puer Natus' * [5:16]

Judith Bingham (b. 1952)

9. Tu creasti Domine * [4:02]

Richard Allain |b. 196S)

10. Balulalow * [1:50]

Howard Skempton (b. 1947)

12. There is no rose * [2:39]

Gabriel Jackson (b. 1952)

13. HushI my dear * [3:30]

Peter Maxwell Davies (b. 1934)

14. Fleecy Care Carol * [2:58]

Cecilia McDowall (b. 1951)

15. Of a Rose* [2:48]

Geoffrey Bush (1920-1998)

16. 'Twas in the

year that King Uzziah died [3:05]

Elisabeth Lutyens (1906-1983)

17. Nativity [5:55]

Edmund Rubbra (1901-1986)

18. Let us securely enter [2:18]

Kenneth Leighton (1929-1988)

19. 0 leave your sheep [4:14]

20. Veni Redemptor - A Celebration [10:16]

Total playing time

[75:59]

* world premiere recording

The Choir of Worcester College, Oxford recording in the chapel of Keble College, Oxford

This Christmas Night

The theme of the Christmas story continues to
inspire composers the world over, with more
choral music written for this particular season
than any other in the Church's calendar. The
tradition is perhaps strongest in the British
Isles, with its long-established and flourishing
choral tradition that includes the creation
of the ubiquitous service of Nine Lessons
and Carols, which dates from 1880. This
programme of works for the Christmas
period, either by British composers or those
who have lived in Britain, attempts to bring
together some lesser-known works from
the latter half of the twentieth century
and the beginning of the twenty-first
century, with a selection linked with
Worcester College, Oxford.

No fewer than three of the composers
represented in this recording have strong
connections with Worcester College, the
earliest of these being Edmund Rubbra
(1901-1986), who was a fellow of the
college and lecturer at the newly formed
Faculty of Music from 1947 until his
retirement in 1968. A composer largely
known for his work as a symphonist (he
wrote eleven works in the genre), he also
composed a substantial body of- mostly
sacred - choral works. The tune for th
short and relatively simple carol, Let us

securely enter, Op. 93, was written in 1924,
with the harmonisation completed some
years later in 1956, along with a dedication
to the Elizabethan Singers. Rubbra himself
translated the original French text (Entrez-y
tous en surete) by the seventeenth-century
writer, Christin Prost.

It was during his time as a student of Classics
at The Queen's College, Oxford that Kenneth
Leighton (1929-1988) first came into contact
with Rubbra. As student and lecturer, they
began at Oxford during the same year, with
Rubbra (along with Bernard Rose) providing
guidance to Leighton during his subsequent
B.Mus. studies. Following study in Rome with
the avont garde composer Goffredo Petrassi
and university appointments in Leeds and
Edinburgh, it was ultimately as Rubbra's
successor that Leighton returned to Oxford
as a Fellow of Worceseter College in 1968.
Just two years later in 1970, Leighton was
tempted back to Edinburgh to become the
Reid Professor, a post which he held until
his untimely death in 1988.

Both Veni Redemptor - A Celebration, Op. 93
and O leave your sheep take their inspiration
from existing themes. The solo organ work
Veni Redemptor is based on the plainsong
Advent hymn Veni, redemptor gentium
(Come, thou redeemer of the earth) - a
hymn thought to have been written by

St Ambrose of Milan (340-397) - while O
leave your sheep Is an arrangement of a
French carol. The earlier of these two works,
O leave your sheep, was written in July of
1962 at the request of the publisher Novello
for inclusion in the volume Sing Nowell.

VenI Redemptor-A Celebration was
commissioned by William Mathias for the
1985 North Wales International Music
Festival and was first performed in
September 1985 by the organist John Scott
in St Asaph Cathedral. Leighton described
the hymn as a 'celebration of Christmas
which gives expression to awe and majesty
as well as to joy and brightness', which is
reflected in the concentrated introduction
that gives way to a resplendent Allegro.
The piece continues to grow in stature
until the final cadenza statement of the
plainsong.

Thomas Hyde (b. 1978) - the most recent
composer to have an association with
Worcester College - was a student at
both Oxford and London's Royal Academy
of Music, before being appointed a lecturer
in music at Worcester College in 2008. The
first of his two works in this recording.
Sweet was the song, was composed in
2003 to a commission from the Hampstead
Chamber Choir and dedicated to the
composer's sister. A gently rocking lullaby

underlies an expressive and exquisitely
crafted setting of this well-known text by
William Ballet, taken from the early-
seventeenth century manuscript Lute book
in Trinity College, Dublin. In contrast to the
calm of Sweet was the Song, is the intricate
toccata-like Improvisation on 'Puer natus'.
Op. 12 No. 1, for solo organ. It was written
in 2010 for a Christmas broadcast on BBC
Radio 3 and the EBU and first performed
by Stephen Parr in St Paul's Church,
Knightsbridge. Subsequently incorporated
into his Suite on Plainchant Themes, Op. 12,
the work builds gradually and almost
relentlessly in intensity towards an ebullient
statement of the plainsong in the closing
stages of the work.

As one of the most prolific living British
composers, Mark-Anthony Turnage (b. 1960)
has written only a handful of choral works.
The two settings here for upper voices and
organ - Christmas Night and Claremont
Carol - lack nothing of the unique and
idiomatic style found in many of his larger
scores. The immense variety of genres
that influence Turnage's work - including
jazz and blues as well as popular styles -
are clear from the opening of Christmas
Night, which was written for Reverend
Joseph Hawes and All Saints, Fulham. The
text by The Right Reverend William Ind -
a former Bishop of Truro - speaks of Christ

bringing light to the world in the dead of
night. Composed for the Claremont School
in Tunbridge Wells, Claremont Carol is a
setting of the familiar Joseph Mohr text
Silent Night. Treated strophically, each verse
goes through a variation before the
syncopated opening theme becomes
augmented accentuating the luxurious
harmony.

A member of the BBC Singers for many
years and subsequently their composer-in-
association from 2004 to 2009, Judith
Bingham (b. 1952), has returned regularly
to the choral medium. Born in Nottingham
and raised in Mansfield and Sheffield, she
studied singing and composing at London's
Royal Academy of Music, where her tutors
included Alan Bush and Eric Fenby, with
further lessons from Hans Keller. A winner
of many awards - including no fewer than
four British Composer Awards - Bingham
has also written for diverse groups including
orchestral, instrumental, concertos,
chamber, and brass groups, in addition to
her considerable choral output. Tu creasti
Domine was written in 1989 and later
revised in 2011. A setting of a text by the
Anglo-French writer and poet Hilaire Belloc
(1870-1953), the influence of the French
organ school on Bingham's music is clear,
with a keen sense of harmony that often
borders on exotic, while the closing image

of paradise remains unresolved.

Born and brought up in Sydney, Australia,
Malcolm Williamson (1931-2003) spent much
of his life in England, eventually becoming
the first non-British holder of the title of
Master of the Queen's Music, a post he held
from 1975 until his death. This Christmas
Night is a setting of a text by Mary Wilson,
a poet perhaps more well-known for being
the wife of former British Prime Minister,
Harold Wilson. A rich and sumptuous setting
of the text, Williamson captures the warmth
of the Christmas story.

Successor to Malcolm Williamson as Master
of the Queen's Music, Sir Peter Maxwell
Davies (b. 1934) trained at the then Royal
Manchester College of Music and was part
of the influential New Music Manchester
Group along with Harrison Birtwistle,
Alexander Goehr and the pianist John Ogdon.
Dedicated to HM The Queen and HRH The
Duke of Edinburgh for Christmas 2010, Fleecy
Care Carol was premiered on 12 December
in the same year by the Choir of the Chapel
Royal, St James's Palace, conducted by
Andrew Gant. It was the latest in a series
of carols that Maxwell Davies has composed
each year since his appointment as Master
of the Queen's Music as a personal gift to
the sovereign, and is a setting of an English
folk song. In a fairly straightforward strophic

carol Maxwell Davies combines a folk-like
melody with his own distinctive musical
language.

Like Maxwell Davies, John McCabe (b. 1939)
was also a student at the Royal Manchester
College of Music - in the generation
following the New Music Manchester Group -
and is well-known as both a pianist and a
composer Studying under Gordon Green
and Thomas B. Pitfield, McCabe was a
prolific writer of music from an early age
and has since written a wide range of
genres. Mary laid her child is a setting of
a text by the Cumbrian poet, Norman
Nicholson (1914-1987). McCabe echoes
the unequivocal writing of Nicholson in
his accessible yet uncompromising carol.

Born in Chester, and a pupil of Cornelius
Cardew, the music of Howard Skempton
(b. 1947) is immediately identifiable through
its refined economy and stillness, often
tranquil but deceptively simple. The
uncluttered quality of many of Skempton's
works is typified by There is no rose - a
setting of an anonymous fifteenth-century
carol, which focuses on the role of the
Blessed Virgin Mary -the virtuous rose
that brought Jesus into the world.

A former composer-in-association with the
National Youth Choir of Great Britain,

Richard Allain (b. 1965) has written in a
diverse number of musical genres including
choral and music theatre, while maintaining
a career in music education, and is an
innovative and creative voice in contemporary
music. The Scots text of Balulalow - attributed
to the sixteenth-century poets and brothers
James, John, and Robert Wedderburn from
Dundee - is a gentle yet luxurious lullaby
for the infant Christ.

Currently a rising star in British music,
Matthew Martin (b. 1976) has been
commissioned to write for most of the major
choirs in the UK as well as further afield.
Also well known as an organist and choir
director - having held positions at Magdalene
and New Colleges in Oxford, and in Canterbury
and Westminster Cathedrals - Martin studied
in Oxford and at the Royal Academy of Music
in London and is currently organist and
composer-in-residence at the London Oratory
Church. I sing of a maiden was first performed
in December 2010 by the Choir of Merton
College Oxford under their director Benjamin
Nicholas, and is a setting of a fifteenth-century
English hymn to the Blessed Virgin Mary.

Another established figure in British choral
music is Gabriel Jackson (b. 1962), whose
output for the genre is quite prolific. Currently
composer-in-association with the BBC Singers
in succession to Judith Bingham, Jackson

was born in Bermuda, was a chorister at
Canterbury Cathedral, and studied at the
Royal College of Music in London. With a text
by Isaac Watts, Hush! my dear is a simple
lullaby which typifies Jackson's unique
harmonic language, with instructions that
the scoring and dynamics for each verse can
be varied freely.

Known as a composer of accessible yet
uncompromising music in a number of
genres Cecilia McDowall (b. 1951) composes
music that is particularly expressive and
communicative. Written for Alan Lloyd
Davies and the Goodworth Singers, Of a Rose
is an energetic folk-inspired setting of this
paean to the Blessed Virgin Mary. While
a contemporary flavour colours the score
as a whole, there is a prevailing modal
quality to the melodic and harmonic
material throughout, while the brisk pace
is combined with a slightly irregular metre.

The composer Geoffrey Bush (1920-1998)
studied at Balliol College, Oxford, and for
much of his life taught music at university
level, firstly at Oxford and then at the
University of London. He wrote some six
operas, two symphonies, concertos and a
good number of songs in addition to his
contribution to the choral repertoire. The
dramatic cascading organ semiquavers
that open 'Twas in the year that King

Uzziah died characterise the remainder of
the piece, along with the bold unison melody
'in the 5th Mode: a metrical form of the
Sanctus', the text from The Book of Isaiah,
speaking of Isaiah's vision of Heaven.

The pioneering serial composer Elisabeth
Lutyens (1906-1983) was perhaps always an
outsider to a cautious musical establishment
in Britain, although her music is now more
appreciated and understood than ever before.
In Nativity Lutyens provides a lyrical setting
of a text by W.R. Rodgers. An extended
soprano then baritone solo gives way to
an urgent and almost sinister mood for
unison sopranos and tenors, before a
return to the calm of the baritone solo.

Hailing from Iceland, HafliSi Hallgrimsson
(b. 1941) has spent the largest part of his
career living and working in the UK, firstly
as a cellist with the English Chamber Orchestra
and the Scottish Chamber Orchestra, and
latterly purely as a composer Written
specially for this recording by Hallgrimsson,
Joseph and the Angel sets a text from
the Sloane Manuscript (1396), often known
as the 'Cherry Tree Carol'. It begins with a
simple melody from the sopranos, with
another voice part being added each
subsequent verse, leading to the
uncomplicated warmth of the full choir.

Born and raised in New Jersey, Anthony Piccolo
(b. 1946) trained as a pianist and composer
in the USA, and subsequently in Britain where
he lived for nine years. Piccolo served as a lay
clerk in a number of British cathedrals including
Canterbury, Lichfield and St Paul's in London.
Among the works he wrote while in the UK is
I look from afar, which was commissioned
for the Royal School of Church Music St Albans
Diocesan Choirs Festival in 1982. Using the
familiar words of the Advent Matins Responsory,
Piccolo provides a detailed response to the
text in an expressive work of great variety,
often coloured by obvious influences of jazz
and blues.

© 2012 Andrew Benson

Stephen Farr

Texts

(excluding texts in copyright)

Haflidi Hallgnmsson

1. Joseph and the Angel

As Joseph was a-walking

He heard an Angel sing:

"This night there shall be born

Our Heavenly King;

He neither shall be born

In housen nor in hall,

Nor in the place of Paradise,

But in an ox's stall."

Noel, Noel, Noel.

As Joseph was a-walking
He heard an Angel sing:
"This night there shall be born
Our Heavenly King;
He neither shall be clothed
In in purple nor in pall,
But all in fair linen
As wear babies all."
Noel, Noel, Noel.

As Joseph was a-walking
He heard an Angel sing:
"This night there shall be born
Our Heavenly King;
He neither shall be rocked
In silver nor in gold.
But in a wooden cradle
That rocks on the mold."
Noel, Noel, Noel.

As Joseph was a-walking
He heard an Angel sing:
"This night there shall be born
Our Heavenly King;
He neither shall be christened
In white wine nor in red,
But in the fair spring water
As we were christened."
Noel, Noel, Noel.

From the Shane MS. (1396)

Anthony Piccolo

2. I look from afar

I look from afar:

and lo, I see the power of God coming,

and a cloud covering the whole earth.

Go ye out to meet him and say:

Tell us, if thou art he who shall reign

over the people of Israel?

All ye inhabiters of the earth,

and ye children of men,

rich and poor, one with another.

Go ye out to meet him and say:

Hear, O thou shepherd of Israel,

thou that leadest Joseph like a flock.

Tell if thou art he.

Lift up your heads O ye gates,

and be ye lift up ye everlasting doors

and the king of glory shall come in

who shall reign over the people Israel.

Glory be to the Father, and to the Son,

and to the Holy Ghost.

Advent Matins Reponsery

Thomas Hyde

3. Sweet was the song

Sweet was the song the Virgin sang.

When she to Bethlem Juda came.

And was delivered of a son.

That blessed Jesus hath to name:

Lulla, lulla, lullaby.

Sweet Babe, sang she, 'my Son,

And eke a saviour born.

Who hast vouchsafed from on high

To visit us that were forlorn:

Lulla, lulla, lullaby.'

And rocked him sweetly on her knee.
William Ballet

(from the MS. Lute book, early-seventeenth century
Trinity College, Dublin)

Matthew Martin

7. I Sing of a Maiden

I sing of a maiden
That is makeless;
King of all kings
To her son she ches.

He came also still
Where his mother was
As dew in April
That falleth on the grass.

He came all so still

To his mother's bower

As dew in April

That falleth on the flower.

He came all so still
Where his mother lay
As dew in April
That falleth on the spray.

Mother and maiden
Was never none but she:
Well may such a lady
Godes mother be.

Fifteenth-century English

Richard Allain

10. Balulalow

O my deare hert, young Jesu sweit,
prepare thy credil in my spreit,
and I sail rock thee in my hert
and never mair from thee depart.

But I sail praise thee evermoir
with sanges sweit unto thy gloir;
the knees of my hert sail I bow,
and sing that richt balulalow.

Wedderburn (1567)

Mark-Anthony Turnage

Soft and easy is thy cradle.

To save us from eternal death

The secunde braunche sprong to helle.

11. Claremont Carol

Coarse and hard thy Saviour lay

The great Messiah came to earth.

The fiendes power doun to felle:

When his birthplace vjas a stable

Then let us all with united voice

Therein myht non soule dwelle;

Silent night, holy night,

And his softest bed was hay.

Sing Alleluia, all rejoice.

BIyss'd be the time the rose sprong!

All is calm, all is bright.

Alleluia.

Round young virgin mother and child.

See the kindly shepherds round him,

English folk poem from Napton, Warwickshire

Holy infant so tender and mild,

Telling wonders from the sky!

The thredde braunche is good and swote.

Sleep in heavenly peace.

Where they sought him, there they found him,

Cecilia McDowall

It sprang to hevene crop and rote.

Sleep in heavenly peace.

With his Virgin Mother by.

15. Of a Rose

There to dwell and ben our bote;

Ev'ry day it schewit in prystes bond.

Silent night, holy night.

May'st thou live to know and fear him.

Listen, lordynges, old and yonge.

Alleluia.

Shepherds quake at the sight.

Trust and love him all thy days;

How this rose began to sprynge;

Glories stream from heaven above.

Then go dwell for ever near him.

Such a rose to mine lykynge

Fourteenth-century English

Heavenly hosts sing Alleluia,

See his face, and sing his praise!

In all this world ne knowe 1 non.

Christ the Saviour is born.

Alleluia.

Geoffrey Bush

Christ the Saviour is born.

Isaac Watts

16. 'Twas in the year that King Uzziah died

The aungel came from hevene tour

Silent night, holy night.

Peter Maxwell Davies

To greet Marye with gret honour.

'Twas in the year that King Uzziah died,

All is calm, all is bright.

14. Fleecy Care Carol

Seyde she should bere the flour

A vision by Isaiah was aspied:

Round young virgin mother and child.

That should breke the findes bond.

A lofty throne the Lord was set thereon;

Holy infant so tender and mild,

As Shepherds tend their fleecy care.

Alleluia.

And with his glory all the temple shone.

Silent night, holy night.

A heav'niy angle does appear,

Bright Seraphim were standing round about.

Son of God, love's pure light.

"Shepherds, attend, to you 1 bring

The flower sprong in heye Bethlem,

Six wings had every of that quire devout.

Glad tidings of a new-born King.

That is both bryht and schen:

With twain he awesome veil'd his face, and so

Joseph Mohr

In Bethlem's town this blessed morn

The rose is Mary hevene qwene,

With twain he dreadful veil'd his feet below.

A saviour of mankind is born.

Out of here the blosme sprong.

With twain did he now hither, thither fly:

Gabriel Jackson

Born of a spotless virgin pure.

Alleluia.

And thus allowed did one to other cry:

13. Hush! my dear

Free from all sin and guile secure."

"Holy is God, the Lord of Sabaoth,

The ferste braunche is ful of myht.

Full of his glory, earth and heaven, both."

Hush! my dear, lie still and slumber;

"In swaddling clothes this babe behold,

That sprong on Chrystemesse nyht.

And at their cry the lintels moved apace,

Holy angels guard thy bed!

No costly garb his limbs enfold.

The sterre schon over Bethlem bryht

And clouds of incense fill'd the Holy Place.

Heavenly blessings w/ithout number

Laid in a manger; there you'll find

That is bothe brod and long.

Gently falling on thy head.

The great redeemer of mankind.

Alleluia.

Isaiah 6: 1-4

Arise, your tender care forsake,

Adapted by G.R. Woodward

With hasty steps your journey take

To David's city there you'll see

The pattern of humanity."

Kenneth Leighton

19. O leave your sheep

O leave your sheep,

Your lambs that follow after,

O leave the brook,

The pasture and the crook,

No longer weep.

Turn weeping into laughter,

O shepherds, seek your goal.

Your Lord, who cometh to console.

You'll find him laid
within a simple stable,
A babe new born,
in poverty forlorn.
In love array'd,
A love so deep 'tis able
To search the night for you,
'Tis he! The Shepherd true.

O kings so great,

a light is streaming o'er you,

IVIore radiant far

than diadem or star,

Forego your state,

A baby lies before you

Whose wonder shall be told:

Bring myrrh, bring frankincense and

French carol

Er)gUsh translation by Alice Raleigh

The Choir of Worcester College, Oxford

Sharing its duties mth one of the few boys'
choirs remaining in the Oxbridge choral
tradition, the Choir of Worcester College,
Oxford typically sings two services a
week in the eighteenth-century college
chapel, providing opportunities for
choral and organ scholars. The choir is
nnade up prinnarily of students from
Worcester College together with members
from other colleges and from outside
the student body.

The mixed choir sings a broad variety of
music, from contemporary works by
composers associated with the college to
medieval English polyphony and a range
of music in between. As well as making
frequent recordings The choir performs
concerts in and outside of Oxford on a
regular basis as well as undertaking foreign
or home tours and making day trips to sing
services in cathedrals throughout England.

Soprano

Zoe Bonner
Rebecca Field
Angelika Ketzer
Rachel Knight
Eleanor Pettit
Jennifer Snapes
Hannah Thomas
Klementyna Zastawniak

Alto

Jake Barlow
Kay Douglass
Claire Eadington
Giles Pilgrim Morris
Hannah Stout

Tenor

Guy Cutting
Michael Hawkes
Stuart McKerracher
Edward Saklatvala

Bass

Jonathan Arnold
Matthew Cheung Salisbury
Robin Culshaw
David Kennerley
Alan Ross
Alan Sheldon

Junior Organ Scholar: Nicholas Freestone
Senior Organ Scholar: Edward Turner

Stephen Farr

Stephen Farr is Director of Music at St Paul's
Church, Knightsbridge, and at Worcester
College, Oxford, posts which he combines
with a varied career as soloist, continuo
player, and conductor. He was Organ Scholar
of Clare College, Cambridge, graduating with
a double first in Music and an MPhil in
musicology. He then held appointments at
Christ Church, Oxford, and at Winchester
and Guildford Cathedrals.

A former student of David Sanger and a
prizewinner at international competition
level, he has an established reputation as
one of the leading recitalists of his generation,
and has appeared in the UK in venues
including the Royal Albert Hall (where he
gave the premiere of Judith Bingham's
The Everlasting Crown in the BBC Proms
2011); Bridgewater Hall; Symphony Hall,
Birmingham; Westminster Cathedral; King's
College, Cambridge, St Paul's Celebrity
Series and Westminster Abbey: he also
appears frequently on BBC Radio 3 as both
performer and presenter.

He has performed widely in both North and
South America (most recently as guest
soloist and director at the Cartagena
International Music Festival), in Australia,
and throughout Europe.

He has a particular commitment to
contemporary music, and has been involved
in premieres of works by composers including
Patrick Gowers, Francis Pott and Robert Saxton;
he also collaborated with Thomas Ades in a
recording of Under Hamelin Hill, part of an
extensive and wide-ranging discography.

His concerto work has included engagements
with the Bournemouth Symphony Orchestra,
Ulster Orchestra and the London Mozart
Players; he made his debut in the Amsterdam
Concertgebouw in 2005. He has also worked
with many other leading ensembles including
the Berlin Philharmonic (with whom he
appeared in the premiere of Jonathan Harvey's
Weltethos under Sir Simon Rattle in October
2011), Florilegium, the Bach Choir, Hoist
Singers, BBC Singers, Polyphony, The English
Concert, London Baroque Soloists, City of
London Sinfonia, City of Birmingham Symphony
Orchestra, Royal Philharmonic Orchestra,
Wallace Collection, Endymion Ensemble,
the Philharmonia, Academy of Ancient Music,
Britten Sinfonia and Orchestra of the Age of
Enlightenment.

www.stephenfarr.co.uk

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© 2012 Resonus Limited
©2012 Resonus Limited
Recorded in the Keble College Chapel, Oxford, on 17-19 June 2012
by kind permission of the Warden and Fellows of the College.
Producer, Engineer and Editor: Adam Binks
Session photography (D 2012 Resonus Limited
Recorded at 24-bit / 96kHz resolution
Cover image: Detail from the Polyptych of San Pancrazio: Predella panel (before 1338)
by Bernardo Daddi (1290-1350)

DDD-MCPS

RESONUS LIMITED - LONDON - UK

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