Britten The Sacred Choral Music Edward Higginbottom & New College Choir Oxford

• 1 Hymn to St Cecilia, Op. 27 11:02
• 2 A Wedding Anthem, Op. 46 08:43
• 3 Part III Whoso Dwelleth Under the Defence of the Most High 04:03
• 4 Te Deum in C Major 07:56
• 5 Jubilate Deo in E-Flat Major 02:54
• 6 Hymn to St. Peter, Op. 56a 05:16
• 7 Procession 01:31
• 8 Wolcum yole! 01:35
• 9 There is no rose 02:26
• 10 That yonge child 01:39
• 11 Balulalow 01:21
• 12 As dew in Aprille 01:03
• 13 This little Babe 01:31
• 14 Interlude 03:54
• 15 In freezing winter night 03:24
• 16 Spring Carol 01:12
• 17 Deo Gracias! 01:26
• 18 Recession 01:42
• 19 Rejoice in God, o ye Tongues 04:14
• 20 For I will consider my Cat Jeoffry 05:19
• 21 For I am under the same accusation 08:02
• 22 Festival Te Deum, Op. 32 06:02
• 23 Venite exultemus Domino 04:39
• 24 Jubilate Deo 02:38
• 25 A Hymn to the Virgin 03:16
• 26 Kyrie 01:21
• 27 Gloria 02:53
• 28 Sanctus - Benedictus 02:50
• 29 Agnus Dei 02:17
• 30 A Hymn of St. Columba 02:09
• 31 No. 1. Prayer I 02:05
• 32 No. 4. Prayer II 03:52
• 33 Antiphon, Op. 56b 06:04
• Total Runtime 02:00:19

Info zu Britten The Sacred Choral Music

Britten's sacred music is among the most engaging and original music of its kind composed in the middle years of the 20th century. New College Choir was among the first to recognise its quality, and continues to sing it with passion and panache. br>
This new New College anthology, released to mark the centenary of Britten's birth, is an overarching view of his work in this domain, featuring favourites such as Rejoice in the Lamb and the Hymn to St Cecilia alongside settings more rarely heard, the Hymns to St Peter and of St Columba, and the wedding anthem Amo ergo sum. Overall, it offers a definitive panorama of Britten's sacred music from the 1930s to the 1960s in exemplary performances by one of the world's leading choirs. br>
'This pair of discs from New College Oxford under their long-standing director of music offers two hours of exemplary music-making. Supported by the Britten–Pears Foundation, this beautifully presented recording gathers together, for the first time as far as I’m aware, all of Britten’s sacred choral music. It makes for a more substantial corpus of music than one might at first expect and yields many unknown treasures to those familiar with the composer’s home territory of opera and art song. br>
'A first-rate release to kick start the Britten centennial year and a fine addition to New College’s own recording label. Not to be missed.' (Choir and Organ) br>
“The two outstanding features are the high quality of the choral singing and the fairly relaxed pace throughout. Higginbottom has said that he finds some of Britten's metronome markings on the fast side...yet they use their time well, finding a depth of colour and expression that yields its own rewards.” (Gramophone) br>
“The Choir of New College, Oxford has a long association with this ever varied repertoire. They give fresh, confident readings – steered with firm authority by director Edward Higginbottom – of A Ceremony of Carols, Rejoice in the Lamb, Missa Brevis and shorter works. The Hymn to St Cecilia, to words of Auden, has particular joy and verve.” (The Observer) br>
New College Choir Oxford
Edward Higginbottom, coductor br>
Recorded in the Chapel of New College, Oxford, July 2011 & April 2012 br>

New College Choir
is one of the most celebrated and acclaimed choral groups of the UK. It comprises around thirty voices, including its famous boy choristers. It has been around since the late 14th century, when William of Wykeham set up a choral foundation within his ‘New’ College. Since then it has regularly sung chapel services, and continues to do so during the University terms (you can drop into Evensong any night of the week – bar Wednesday – and listen). What has changed rather more dramatically over the years is the Choir’s outreach: now its singing is heard the world over, through broadcasts (including regular webcasts of chapel services) and recordings. The Choir has also built up an enviable discography, numbering over one hundred CDs, presenting choral music from all corners of the repertory. Indeed, the range of music sung by the Choir is one of its defining features, making involvement in its work particularly rewarding for singers. It frequently tours, and in the last two years has visited the USA, France, Germany, Spain, Italy and Cyprus. From time to time, the Choir teams up with leading instrumental ensembles for live and recorded performances. The Choir has built up a timbre and style which are instantly recognizable, and in which the treble voices are a defining feature (listen to them on The Art of the Chorister).

New Century Baroque
Conceived during a highly successful year of touring throughout Europe, with the European Union Baroque Orchestra, the 27 members were driven by their enjoyment of playing together and the wonderful musical experiences they shared to create a new orchestra. NCB is made up of the new generation of period performers, from 11 different countries across Europe, bringing together a diversity of cultures, experiences and musical ideas. The result of which creates an ensemble with a very special sound, one of vitality and vibrancy.

NCB gave its very successful launch concert in May 2010 to a packed hall in Newbury and have since performed with soprano Gemma Bertagnolli in South Tirol and with harpsichordist Mahan Esfahani at the Piccola Accademia di Montisi, Italy. NCB’s recording of Haydn’s Nelson Mass with New College Choir, Oxford and Edward Higginbottom was released on the Novum Label in 2012. The group was selected as young ensemble in residence at the Centre Culturel D’Ambronay, France 2011 and gave its debut concert at the prestigious festival that year. In 2012, NCB was again invited to be Ensemble in Residence at Ambronay, and in 2013 released its recording of Mozart's Requiem and Clarinet Concerto for Ambronay Editions, with Leonardo García Alarcón, soloist Benjamin Dieltjens, and the Chamber Choir Namur. NCB also gave their debut performance in the 1st Valetta International Baroque festival, Malta in January 2013 to great critical acclaim.

Collectively the members have worked with some of Europe’s finest Baroque musicians and orchestras, in some of Europe’s most renowned venues and festivals. The group looks forward to continuing the musical journeys together, and to share our passion for Baroque music with audiences of all ages.

Edward Higginbottom
has been Director of Music at New College, Oxford since 1976. His early music training was primarily as an organist, and before he left school he had already gained his Fellowship of the Royal College of Organists, winning the Harding and Read prizes for the most outstanding candidate of the year. There followed a long association with Corpus Christi College, Cambridge, beginning with an organ scholarship (winning the John Stewart of Rannoch university prize in Sacred Music), continuing with graduate work and a doctoral thesis on French baroque music, and ending with a research fellowship (1973-76). From 1970 to 1972 he worked in Paris. His contact with French culture has born fruit in entries on French music for The New Grove Dictionary of Music, editions of Francois Couperin's chamber music, and activities related to French musical policy.

Since his appointment to New College, Edward Higginbottom has brought the Choir of New College into international relief. The Choir has toured extensively in most major European countries, and has also visited Brazil and Australia. It has become increasingly known for its performances of Renaissance and Baroque music, and these interests have shaped a very extensive discography (some 80 recordings), including many of music hitherto not recorded, for which Dr Higginbottom has been responsible for the new editions used (Gibbons, Mondonville, Italian composers of the early 17th century, etc.). Edward Higginbottom's work at Oxford also involves teaching in the Faculty of Music as a Lecturer.

He has also been active in advising the French Ministry of Culture on its policy of reintroducing choir schools in France, for which work he has been honoured with the decoration of `Commandeu de l'Ordre des Arts et des Lettres'. He has acted as jury president at various international music competitions and as consultant.

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