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John Rutter (b. 1945)
Gloria • Magnificat • Te Deum
The three works heard on this recording span a period of
just over fifteen years, from 1974 to 1990. All three are
festive and celebratory in character, composed for joyful
occasions, and all three use the resources of voices and
instruments together. The Gloria (1974) is the earliest,
and represented a milestone in my career because it was
the first major commission I had received from overseas.
I was approached out of the blue by a concert choir in
the American midwest called the Voices of Mel Olson,
who wanted me to compose an accessible but
challenging choral work of about twenty minutes’
duration which I was to come over and guest-conduct.
Their conductor visited me in Cambridge to discuss the
commission, and the guidelines were laid down: a
familiar text, preferably sacred; instrumental
accompaniment, but (for budgetary reasons) less than an
orchestra; no professional soloists; and a positive,
‘upfront’ quality so that a non-specialist audience could
enjoy the music at first hearing. All this steered my
thoughts towards the text of the Gloria, which forms a
complete section of the familiar Ordinary of the Mass,
beginning with the words of the angels to the shepherds
on Christmas Night, not often set to music on its own.
Asking myself what instruments the angels would have
played as heralds of the glad tidings, the answer was
obviously trumpets, and that chimed in with what I knew
to be a fine tradition of brass playing in the midwest,
where marching bands are an established part of school
and college life. I decided to supplement a brass
ensemble accompaniment with timpani, percussion and
organ, and I set to work. The music was written quickly
in the spring of 1974, and in looking back at it now I find
a mixture of influences: Walton (who knew a thing or
two about brass bands, and about festive and ceremonial
writing), Stravinsky, Poulenc, and, running like a thread
through the whole work, Gregorian chant. Eclecticism
was less acceptable at that time in European musical
circles than it is now, so perhaps it was fortunate that the
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work had its première well away from our own music
critics and in the friendlier climate of America, where a
firestorm of performances followed in the late 1970s and
1980s, continuing as a steady flow to this day. Gradually
(as with much of my other work) the Gloria began to
filter back to the land where it was written and across the
world, something I could not have predicted. Much of
the credit must go to Mel Olson (who died, too young, a
while ago but whose support and friendship I still miss)
because, in telling me what he was looking for in a new
choral work, he was telling me what thousands of other
choral directors were looking for too.
The Magnificat was the result of an invitation from a
New York-based concert organization called
MidAmerica Productions which specializes in giving
large-scale choral/orchestral concerts in Carnegie Hall. I
had been guest-conducting a number of their concerts
for some two years when I was asked to write a forty-
minute work for one such concert, in May 1990. The
chorus, numbering over 200 voices, was made up of
hand-picked choirs from all over the United States,
every one of them happy and excited at the prospect of
joining forces in the magnificent setting of Carnegie
Hall, and I also had the resources of orchestra and
soloist(s) available. Within these parameters, I was
given a completely free hand, and I immediately felt I
wanted to write something joyous because that would
reflect the mood of the performers. Having written the
reflective and subdued Requiem four years earlier, I
wanted my next large-scale choral work to be as
different as possible, and the text of the Magnificat
seemed an obvious choice. Composers seem to have
fought shy of writing extended settings of it (though
there are many short Anglican liturgical settings),
probably because of the daunting shadow cast by J. S.
Bach, and I had avoided it myself because I could not
think how I would set it to music except that I knew
Gregorian chant would feature in some way. The answer
2 11
Abraham and his seed for ever.
0 Gloria Patri, et Filio,
et Spiritui Sancto.
Glory be to the Father, and to the Son,
and to the Holy Ghost.
*Sancta Maria, succurre miseris,
iuva pusillanimes, refove flebiles:
ora pro populo, intervene pro clero,
intercede pro devote femineo sexu:
sentiant omnes tuum iuvamen,
quicumque tuum sanctum implorant auxilium.
Alleluia.
Holy Mary, succour those in need,
help the faint-hearted, console the tearful:
pray for the laity, assist the clergy,
intercede for all devout women:
may all feel the power of your help,
whoever prays for your holy aid.
Alleluia.
*Antiphon at Feasts of the Blessed Virgin Mary
Sicut erat in principio,
et nunc, et semper, et in saecula saeculorum.
Amen.
As it was in the beginning,
is now, and ever shall be, world without end.
Amen.
! TE DEUM
(Early Church hymn, possibly 6th cent.)
We praise thee, O God:
we acknowledge thee to be the Lord.
All the earth doth worship thee:
the Father everlasting.
To thee all angels cry aloud:
the heavens and all the Powers therein.
To thee Cherubin and Seraphin:
continually do cry,
Holy, Holy, Holy, Lord God of Sabaoth;
Heaven and earth are full
of the Majesty of thy Glory.
The glorious company of the Apostles praise thee,
The goodly fellowship of the Prophets praise thee.
The noble army of Martyrs praise thee.
The holy Church throughout all the world
doth acknowledge thee;
The Father of an infinite Majesty,
Thine honourable, true, and only Son;
Also the Holy Ghost, the Comforter.
Thou art the King of Glory, O Christ.
Thou art the everlasting Son of the Father.
When thou tookest upon thee to deliver man:
thou didst not abhor the Virgin’s womb.
When thou hadst overcome the sharpness of death:
thou didst open the Kingdom of heaven
to all believers.
Thou sittest at the right hand of God:
in the glory of the Father.
We believe that thou shalt come:
to be our Judge.
We therefore pray thee, help thy servants:
whom thou hast redeemed with thy precious blood.
Make them to be numbered with thy Saints:
in glory everlasting.
O Lord, save thy people: and bless thine heritage.
Govern them: and lift them up for ever.
Day by day we magnify thee;
And we worship thy Name:
ever world without end.
Vouchsafe, O Lord: to keep us this day without sin.
O Lord, have mercy upon us.
O Lord, let thy mercy lighten upon us:
As our trust is in thee.
O Lord, in thee have I trusted:
let me never be confounded.
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The rose is called Mary, heaven’s queen.
Out of her bosom a blossom sprang.
The first branch was of great honour:
That blest Marie should bear the flow’r;
There came an angel from heaven’s tower
To break the devil’s bond.
The second branch was great of might,
That sprang upon Christmas night;
The star shone over Bethlem bright,
That man should see it both day and night.
The third branch did spring and spread;
Three kinges then the branch gan led
Unto Our Lady in her child-bed;
Into Bethlem that branch sprang right.
The fourth branch it sprang to hell,
The devil’s power for to fell:
That no soul therein should dwell,
The branch so blessedfully sprang.
The fifth branch it was so sweet,
It sprang to heav’n, both crop and root,
Therein to dwell and be our *bote:
So blessedly it sprang.
Pray we to her with great honour,
She that bare the blessed flow’r,
To be our help and our succour,
And shield us from the fiendes bond.
(15th-century English)
*bote=salvation
6 Quia fecit mihi magna qui potens est:
et sanctum nomen eius.
For he that is mighty hath magnified me:
and holy is his name.
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*Sanctus, Sanctus, Sanctus
Dominus Deus Sabaoth.
Pleni sunt caeli et terra gloria tua.
Hosanna in excelsis.
Holy, Holy, Holy,
Lord God of hosts.
Heaven and earth are filled with thy glory.
Hosanna in the highest.
*from the Ordinary of the Mass
7 Et misericordia eius
a progenie in progenies timentibus eum.
And his mercy is on them
that fear him throughout all generations.
8 Fecit potentiam in brachio suo:
dispersit superbos mente cordis sui.
Deposuit potentes de sede,
et exaltavit humiles.
He hath shewed strength with his arm:
he hath scattered the proud
in the imagination of their hearts.
He hath put down the mighty from their seat,
and hath exalted the humble and meek.
9 Esurientes implevit bonis:
et divites dimisit inanes.
Suscepit Israel puerum suum,
recordatus misericordiae suae.
Sicut locutus est ad patres nostros,
Abraham et semini eius in saecula.
He hath filled the hungry with good things:
and the rich he hath sent empty away.
He remembering his mercy
hath holpen his servant Israel.
As he promised to our forefathers,
10
came from looking at the context of the words: the
Virgin Mary has learned that she is to give birth to Jesus,
and she is pouring out her joy to her cousin Elizabeth, in
words which recall the Song of Hannah from the Old
Testament, combining faith, trust, and wonder. The
Magnificat is known as the Canticle of the Blessed
Virgin Mary, and it is mainly in the sunny southern
countries – Spain, Mexico, Puerto Rico – that Mary is
most celebrated and enjoyed. This led me to conceive
the music as a bright Latin-flavoured fiesta. On feast
days of the Virgin Mary in Latin countries, the
population sings, dances, dresses in its most colourful
clothes, processes in the open air, and celebrates. I wrote
my setting in that spirit, using just a single soprano
soloist representing Mary; her music draws mainly on
the tradition of the musical theatre. It has always seemed
to me that if inspiration can be drawn from another area
of music such as the theatre, there is no reason not to
bring it into the concert hall. Gregorian chant is indeed
used at a number of points, either plainly or disguised,
and I also followed Bach’s precedent, from his original
1723 Magnificat version, of adding other texts to the
‘official’ Latin one. There are two of these, a lovely
fifteenth-century English poem on the theme of Mary,
one of many written in England at that time, and then in
the last movement a Latin prayer to Mary which gives
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the soloist a final say before the music comes to a
jubilant conclusion.
The version of the work heard on this recording is
one with chamber orchestra and organ accompaniment,
which I made shortly after the first performance, with
the needs of smaller choirs in mind.
The Te Deum sprang from rather more Anglican soil.
In 1988 the Guild of Church Musicians (a British-based
church music organization doing much good work)
celebrated its centenary, marked by a service of
thanksgiving in Canterbury Cathedral, and I was invited
to compose a succinct Te Deum for performance on this
occasion. The text has been associated with rejoicing
and ceremony for centuries – Henry V in Shakespeare’s
play orders it to be sung to celebrate the victory at
Agincourt – but it is not easy to set effectively to music
because it is not the work of a single author but a
compilation of three separate texts, and (to be frank) it
rather tails off at the end. The solution I found was to
make the final section hymn-like, binding the rest of it
together with the varied use of one or two melodic
outlines. As with the Gloria, the accompaniment is for
brass, timpani, percussion and organ.
John Rutter
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Elizabeth Cragg GLORIA
(from the Ordinary of the Mass / Translation from the
Elizabeth Cragg studied at Royal Holloway College‚ and the Royal College of Music Book of Common Prayer, 1662)
with assistance from the Countess of Munster Trust. She won the Muriel Kistner Prize
and the Dorothy Silk Prize for Practical Singing. Her wide repertoire ranges from 1 Gloria in excelsis Deo.
Purcell to the contemporary and recent engagements include Flower Maiden (Parsifal) Et in terra pax hominibus bonae voluntatis.
and Frantik (The Cunning Little Vixen) at the Royal Opera House‚ Covent Garden; Laudamus te. Benedicimus te.
Clorinda (Il combattimento di Tancredi e Clorinda) for Netherlands Opera; Belinda Adoramus te. Glorificamus te.
(Dido and Aeneas) with the Akademie für Alte Musik‚ in Berlin and Brussels; The Gratias agimus tibi propter magnam gloriam tuam.
Swan in Jonathan Doves’s Swanhunter (Opera North); First Niece (Peter Grimes) in (Gloria in excelsis Deo.)
the Salzburg Easter Festival and Berlin under Sir Simon Rattle; Fauno (Ascanio in
Alba) for the Buxton Festival; Handel’s Orazio, Bononcini’s Muzio Scevola and Celia Glory be to God on high,
in Handel’s Silla (which she has recorded with the London Handel Festival); Jano and on earth peace, good will towards men.
(Jenůfa (ENO); Zerbinetta (Garsington); and Ida (Die Fledermaus) at Glyndebourne. We praise thee. We bless thee.
We worship thee. We glorify thee.
We give thanks to thee for thy great glory.
(Glory be to God on high.)
2 Domine Deus, Rex caelestis,
Deus Pater omnipotens.
Domine Fili unigenite Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris.
Qui tollis peccata mundi,
miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris,
miserere nobis.
O Lord God, heavenly King,
God the Father Almighty.
O Lord, the only-begotten Son Jesu 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.
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3 Quoniam tu solus sanctus.
Tu solus Dominus.
Tu solus altissimus, Jesu Christe.
Cum Sancto Spiritu,
in gloria Dei Patris. Amen.
(Gloria in excelsis Deo. Amen.)
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.
(Glory be to God on high. Amen.)
MAGNIFICAT
(English translation of the Magnificat
from the 1662 Book of Common Prayer)
4 Magnificat anima mea Dominum:
et exsultavit spiritus meus in Deo salutari meo.
Quia respexit humilitatem ancillae suae:
ecce enim ex hoc beatam me dicent
omnes generationes.
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.
5 Of a Rose, a lovely Rose,
Of a Rose is all my song.
Hearken to me both old and young,
How this Rose began to spring;
A fairer rose to mine liking
In all this world ne know I none.
Five branches of that rose there been,
The which be both fair and sheen;
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Tom Winpenny St Albans Abbey Girls Choir

Director: Tom Winpenny
Tom Winpenny took up the post of Assistant Master of the Music at St Albans
Cathedral in 2008, where his duties include accompanying the daily choral services Formed in 1996, the St Albans Abbey Girls Choir sings Evensong twice a week and consists of 26 girls aged eight
and directing the Abbey Girls Choir. Previously, he was Sub-Organist at St Paul’s to fourteen drawn from many local schools. Primarily an upper-voice choir, for certain weekend services each term
Cathedral, and during this time he played for many great state occasions. He has and for other special events the girls sing with the Lay Clerks of the Cathedral Choir. In addition to its rôle at the
broadcast regularly on BBC Radio and been featured on American Public centre of the Cathedral’s daily round of worship, the Choir plays a major part in the prestigious St Albans
Media’s  Pipedreams. He began organ lessons under John Scott Whiteley while a International Organ Festival, which takes place biennially. The choir has broadcast Choral Evensong on BBC Radio
chorister at York Minster, and continued as a Music Scholar at Eton College under 3, and its recordings include an album of Baroque motets featuring the soprano Emma Kirkby. In recent years, the
Alastair Sampson. After holding the post of Organ Scholar at Worcester Cathedral and choir has made concert tours to the United States (Washington DC, New York City and Miami), Holland and
then St George’s Chapel, Windsor Castle, he was for three years Organ Scholar at Germany. Concerts closer to home have included performances of Handel’s Messiah, J.S. Bach’s Christmas
King’s College, Cambridge, where he accompanied the choir for services and concerts, Oratorio, and Britten’s St Nicolas, and the choir has sung services at St Paul’s Cathedral, London and St George’s
including the world-famous Festival of Nine Lessons and Carols. He has taken part in Chapel, Windsor Castle.
the first performance of works by Sir John Tavener, Judith Bingham, Francis Pott,
Jonathan Dove and Francis Grier. He has studied with Thomas Trotter and Johannes
Geffert, and won First Prize and the Audience Prize at the Miami International Organ Imogen Bernays Bryony Hulbert Cleo Newton * Cecilia Young
Competition.  As a recitalist, he has performed at venues throughout the United Kingdom and given recitals in the Kitty Bishop Emma Huggett Lydia Pazzi-Axworthy Freya Young
United States. His first solo organ recordings, made on the St Albans Cathedral organ include the first recordings of Isabelle Blain Kate James Emily Price Sarah Young
organ works by Judith Bingham. Daisy Daniell (Head Chorister) Jessica Price
Katie Foxton Amelia James Nina Vinther *soloist in Track 2
Olivia Hardy Maisie James Jennie Walton
Andrew Lucas Alice Hilder Jarvis Riahne McQuade Jessica Woodhouse
Andrew Lucas has been Master of the Music of St Albans Cathedral and Music
Director of St Albans Bach Choir since 1998 and was Artistic Director of the St
Albans International Organ Festival from 1999 to 2007, directing four festivals. At the
cathedral he is head of the music programme which includes four choirs and a parish
orchestra. In this time he has conducted much of the larger-scale repertoire for choir
and orchestra from all periods, but his principal musical activity is in preparing and
directing the music for daily choral worship in the cathedral. Born in Wellington,
Shropshire, in 1958, from 1976 he studied organ at the Royal College of Music in
London, where his teachers included John Birch and Herbert Howells. After
graduating from London University (BMus) he continued study with Peter Hurford,
and with Piet Kee in Amsterdam. He worked for seventeen years at St Paul’s Cathedral
in London, the last eight years as the Assistant Director of Music until moving to St
Albans. As a solo organist he has played concerts throughout Britain, Europe,
Australia, Bermuda and the United States. In 1997 he spent three months as Acting
Organist and Master of the Choristers at St Andrew’s Cathedral in Sydney, Australia.

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St Albans Cathedral Choir Ensemble DeChorum

Master of Music: Andrew Lucas Artistic Director: Jonathan Manners

The ancient Benedictine monastery at St Albans had a distinguished musical history before 1539, when the Abbey was Launched in 2010, Ensemble DeChorum is an instrumental ensemble whose primary function is to accompany the
dissolved by Henry VIII. When the Abbey church became a cathedral in 1877 a boys choir was again formed after 238 work of the DeChorum choir. Founded in 2003 by Jonathan Manners, the DeChorum choir has built a strong
years but, like today, comprised local schoolboys who committed to sing services and attend rehearsal every day of the reputation performing at music festivals both at home and abroad, and has given world premières of works by
week, except one, during school term time. Unlike the ancient English cathedrals there is no residential choir school so composers including Richard Rodney Bennett, John Tavener and Gabriel Jackson. The choir perform an annual
the boys rehearse before and after normal school and sing the service of Choral Evensong on three weekdays, with three festival of Nine Lessons and Carols in aid of Cancer Research UK and have recorded a disc of Christmas Music
choral services on Saturday and Sunday. At weekend services, greater Feast days, concerts and tours the choir contains entitled What Sweeter Music, also in aid of the charity.
up to 24 boys and twelve adult Lay Clerks to make up the full Cathedral Choir. Under their current director, Andrew
Lucas, the choir has toured Sweden and Rome, performed at the International Organ Festival in Haarlem, Netherlands Magnificat
and the Thomas à Becket Festival at Angers Cathedral, France, and undertook a very successful tour of the United Violin I: Peter Hanson (leader), Nicola Goldsheider
States in October 2006. The choir also plays host to two other Cathedral Choirs in the biennial St Albans International Violin II: Fiona McNought, Miriam Teppich
Organ Festival’s Three Choirs Concert. The choir has made many recordings over the last three decades, including in Viola: Judith Busbridge, Chris Pitsillides
recent years discs of music by Stanford (Priory Records) Christmas Music and a disc of German Romantic Choral and Cello: Deirdre Cooper
Organ music (Lammas). Double Bass: Benjamin Griffiths
Flute: Clare Findlater
CHORISTERS LAY CLERKS Oboe: Lauren Weavers
Daniel Collins Dominic Lowth Alto Tenor Bass Clarinet: Emma Canovan
William Drake Alec Newton Neil Baker Simon Colston Kenneth Burgess Bassoon: Laurence O’Donnell
Barnabas Elbourn Thomas Simon Barton Rogers Covey-Crump David Entwistle Horn: Corrine Bailey
Joseph Elbourn Pazzi-Axworthy Derek Harrison Jonathan Knight † Alan Herbert Timpani: Scott Bywater
William Foxton Christopher Price Roger Mullis * David Martin-Smith William Houghton † Percussion: Nigel Shipway, Christopher Nall
Alexander Hall Caspar Singh * Tony Price Oliver Martin-Smith † Christopher Howarth † Harp: Helen Tunstall
Rory Hall (Head Chorister) Thomas Blackie † Graham Rees David Ireson
Thomas Johnson Jacob Smith Andrew Shepstone Geoffrey McMahon Gloria and Te Deum
Eric Kocharyan George Throup Trumpet I: Robert Farley
James Leadbeater * Julian Trevelyan *soloist in Track 2 Trumpet II: Ross Brown
† former chorister Trumpet III: David Ward
Trumpet IV: Howard Rountree (Gloria only)
Trombone I: Matthew Knight
Trombone II: Douglas Coleman
Bass Trombone: Patrick Jackman
Tuba: Peter Smith
Timpani: Scott Bywater
Percussion: Nigel Shipway, John Rockliffe

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St Albans Cathedral Choir Ensemble DeChorum

Master of Music: Andrew Lucas Artistic Director: Jonathan Manners

The ancient Benedictine monastery at St Albans had a distinguished musical history before 1539, when the Abbey was Launched in 2010, Ensemble DeChorum is an instrumental ensemble whose primary function is to accompany the
dissolved by Henry VIII. When the Abbey church became a cathedral in 1877 a boys choir was again formed after 238 work of the DeChorum choir. Founded in 2003 by Jonathan Manners, the DeChorum choir has built a strong
years but, like today, comprised local schoolboys who committed to sing services and attend rehearsal every day of the reputation performing at music festivals both at home and abroad, and has given world premières of works by
week, except one, during school term time. Unlike the ancient English cathedrals there is no residential choir school so composers including Richard Rodney Bennett, John Tavener and Gabriel Jackson. The choir perform an annual
the boys rehearse before and after normal school and sing the service of Choral Evensong on three weekdays, with three festival of Nine Lessons and Carols in aid of Cancer Research UK and have recorded a disc of Christmas Music
choral services on Saturday and Sunday. At weekend services, greater Feast days, concerts and tours the choir contains entitled What Sweeter Music, also in aid of the charity.
up to 24 boys and twelve adult Lay Clerks to make up the full Cathedral Choir. Under their current director, Andrew
Lucas, the choir has toured Sweden and Rome, performed at the International Organ Festival in Haarlem, Netherlands Magnificat
and the Thomas à Becket Festival at Angers Cathedral, France, and undertook a very successful tour of the United Violin I: Peter Hanson (leader), Nicola Goldsheider
States in October 2006. The choir also plays host to two other Cathedral Choirs in the biennial St Albans International Violin II: Fiona McNought, Miriam Teppich
Organ Festival’s Three Choirs Concert. The choir has made many recordings over the last three decades, including in Viola: Judith Busbridge, Chris Pitsillides
recent years discs of music by Stanford (Priory Records) Christmas Music and a disc of German Romantic Choral and Cello: Deirdre Cooper
Organ music (Lammas). Double Bass: Benjamin Griffiths
Flute: Clare Findlater
CHORISTERS LAY CLERKS Oboe: Lauren Weavers
Daniel Collins Dominic Lowth Alto Tenor Bass Clarinet: Emma Canovan
William Drake Alec Newton Neil Baker Simon Colston Kenneth Burgess Bassoon: Laurence O’Donnell
Barnabas Elbourn Thomas Simon Barton Rogers Covey-Crump David Entwistle Horn: Corrine Bailey
Joseph Elbourn Pazzi-Axworthy Derek Harrison Jonathan Knight † Alan Herbert Timpani: Scott Bywater
William Foxton Christopher Price Roger Mullis * David Martin-Smith William Houghton † Percussion: Nigel Shipway, Christopher Nall
Alexander Hall Caspar Singh * Tony Price Oliver Martin-Smith † Christopher Howarth † Harp: Helen Tunstall
Rory Hall (Head Chorister) Thomas Blackie † Graham Rees David Ireson
Thomas Johnson Jacob Smith Andrew Shepstone Geoffrey McMahon Gloria and Te Deum
Eric Kocharyan George Throup Trumpet I: Robert Farley
James Leadbeater * Julian Trevelyan *soloist in Track 2 Trumpet II: Ross Brown
† former chorister Trumpet III: David Ward
Trumpet IV: Howard Rountree (Gloria only)
Trombone I: Matthew Knight
Trombone II: Douglas Coleman
Bass Trombone: Patrick Jackman
Tuba: Peter Smith
Timpani: Scott Bywater
Percussion: Nigel Shipway, John Rockliffe

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Tom Winpenny St Albans Abbey Girls Choir

Director: Tom Winpenny
Tom Winpenny took up the post of Assistant Master of the Music at St Albans
Cathedral in 2008, where his duties include accompanying the daily choral services Formed in 1996, the St Albans Abbey Girls Choir sings Evensong twice a week and consists of 26 girls aged eight
and directing the Abbey Girls Choir. Previously, he was Sub-Organist at St Paul’s to fourteen drawn from many local schools. Primarily an upper-voice choir, for certain weekend services each term
Cathedral, and during this time he played for many great state occasions. He has and for other special events the girls sing with the Lay Clerks of the Cathedral Choir. In addition to its rôle at the
broadcast regularly on BBC Radio and been featured on American Public centre of the Cathedral’s daily round of worship, the Choir plays a major part in the prestigious St Albans
Media’s  Pipedreams. He began organ lessons under John Scott Whiteley while a International Organ Festival, which takes place biennially. The choir has broadcast Choral Evensong on BBC Radio
chorister at York Minster, and continued as a Music Scholar at Eton College under 3, and its recordings include an album of Baroque motets featuring the soprano Emma Kirkby. In recent years, the
Alastair Sampson. After holding the post of Organ Scholar at Worcester Cathedral and choir has made concert tours to the United States (Washington DC, New York City and Miami), Holland and
then St George’s Chapel, Windsor Castle, he was for three years Organ Scholar at Germany. Concerts closer to home have included performances of Handel’s Messiah, J.S. Bach’s Christmas
King’s College, Cambridge, where he accompanied the choir for services and concerts, Oratorio, and Britten’s St Nicolas, and the choir has sung services at St Paul’s Cathedral, London and St George’s
including the world-famous Festival of Nine Lessons and Carols. He has taken part in Chapel, Windsor Castle.
the first performance of works by Sir John Tavener, Judith Bingham, Francis Pott,
Jonathan Dove and Francis Grier. He has studied with Thomas Trotter and Johannes
Geffert, and won First Prize and the Audience Prize at the Miami International Organ Imogen Bernays Bryony Hulbert Cleo Newton * Cecilia Young
Competition.  As a recitalist, he has performed at venues throughout the United Kingdom and given recitals in the Kitty Bishop Emma Huggett Lydia Pazzi-Axworthy Freya Young
United States. His first solo organ recordings, made on the St Albans Cathedral organ include the first recordings of Isabelle Blain Kate James Emily Price Sarah Young
organ works by Judith Bingham. Daisy Daniell (Head Chorister) Jessica Price
Katie Foxton Amelia James Nina Vinther *soloist in Track 2
Olivia Hardy Maisie James Jennie Walton
Andrew Lucas Alice Hilder Jarvis Riahne McQuade Jessica Woodhouse
Andrew Lucas has been Master of the Music of St Albans Cathedral and Music
Director of St Albans Bach Choir since 1998 and was Artistic Director of the St
Albans International Organ Festival from 1999 to 2007, directing four festivals. At the
cathedral he is head of the music programme which includes four choirs and a parish
orchestra. In this time he has conducted much of the larger-scale repertoire for choir
and orchestra from all periods, but his principal musical activity is in preparing and
directing the music for daily choral worship in the cathedral. Born in Wellington,
Shropshire, in 1958, from 1976 he studied organ at the Royal College of Music in
London, where his teachers included John Birch and Herbert Howells. After
graduating from London University (BMus) he continued study with Peter Hurford,
and with Piet Kee in Amsterdam. He worked for seventeen years at St Paul’s Cathedral
in London, the last eight years as the Assistant Director of Music until moving to St
Albans. As a solo organist he has played concerts throughout Britain, Europe,
Australia, Bermuda and the United States. In 1997 he spent three months as Acting
Organist and Master of the Choristers at St Andrew’s Cathedral in Sydney, Australia.

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Elizabeth Cragg GLORIA
(from the Ordinary of the Mass / Translation from the
Elizabeth Cragg studied at Royal Holloway College‚ and the Royal College of Music Book of Common Prayer, 1662)
with assistance from the Countess of Munster Trust. She won the Muriel Kistner Prize
and the Dorothy Silk Prize for Practical Singing. Her wide repertoire ranges from 1 Gloria in excelsis Deo.
Purcell to the contemporary and recent engagements include Flower Maiden (Parsifal) Et in terra pax hominibus bonae voluntatis.
and Frantik (The Cunning Little Vixen) at the Royal Opera House‚ Covent Garden; Laudamus te. Benedicimus te.
Clorinda (Il combattimento di Tancredi e Clorinda) for Netherlands Opera; Belinda Adoramus te. Glorificamus te.
(Dido and Aeneas) with the Akademie für Alte Musik‚ in Berlin and Brussels; The Gratias agimus tibi propter magnam gloriam tuam.
Swan in Jonathan Doves’s Swanhunter (Opera North); First Niece (Peter Grimes) in (Gloria in excelsis Deo.)
the Salzburg Easter Festival and Berlin under Sir Simon Rattle; Fauno (Ascanio in
Alba) for the Buxton Festival; Handel’s Orazio, Bononcini’s Muzio Scevola and Celia Glory be to God on high,
in Handel’s Silla (which she has recorded with the London Handel Festival); Jano and on earth peace, good will towards men.
(Jenůfa (ENO); Zerbinetta (Garsington); and Ida (Die Fledermaus) at Glyndebourne. We praise thee. We bless thee.
We worship thee. We glorify thee.
We give thanks to thee for thy great glory.
(Glory be to God on high.)
2 Domine Deus, Rex caelestis,
Deus Pater omnipotens.
Domine Fili unigenite Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris.
Qui tollis peccata mundi,
miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris,
miserere nobis.
O Lord God, heavenly King,
God the Father Almighty.
O Lord, the only-begotten Son Jesu 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.
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3 Quoniam tu solus sanctus.
Tu solus Dominus.
Tu solus altissimus, Jesu Christe.
Cum Sancto Spiritu,
in gloria Dei Patris. Amen.
(Gloria in excelsis Deo. Amen.)
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.
(Glory be to God on high. Amen.)
MAGNIFICAT
(English translation of the Magnificat
from the 1662 Book of Common Prayer)
4 Magnificat anima mea Dominum:
et exsultavit spiritus meus in Deo salutari meo.
Quia respexit humilitatem ancillae suae:
ecce enim ex hoc beatam me dicent
omnes generationes.
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.
5 Of a Rose, a lovely Rose,
Of a Rose is all my song.
Hearken to me both old and young,
How this Rose began to spring;
A fairer rose to mine liking
In all this world ne know I none.
Five branches of that rose there been,
The which be both fair and sheen;
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The rose is called Mary, heaven’s queen.
Out of her bosom a blossom sprang.
The first branch was of great honour:
That blest Marie should bear the flow’r;
There came an angel from heaven’s tower
To break the devil’s bond.
The second branch was great of might,
That sprang upon Christmas night;
The star shone over Bethlem bright,
That man should see it both day and night.
The third branch did spring and spread;
Three kinges then the branch gan led
Unto Our Lady in her child-bed;
Into Bethlem that branch sprang right.
The fourth branch it sprang to hell,
The devil’s power for to fell:
That no soul therein should dwell,
The branch so blessedfully sprang.
The fifth branch it was so sweet,
It sprang to heav’n, both crop and root,
Therein to dwell and be our *bote:
So blessedly it sprang.
Pray we to her with great honour,
She that bare the blessed flow’r,
To be our help and our succour,
And shield us from the fiendes bond.
(15th-century English)
*bote=salvation
6 Quia fecit mihi magna qui potens est:
et sanctum nomen eius.
For he that is mighty hath magnified me:
and holy is his name.
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*Sanctus, Sanctus, Sanctus
Dominus Deus Sabaoth.
Pleni sunt caeli et terra gloria tua.
Hosanna in excelsis.
Holy, Holy, Holy,
Lord God of hosts.
Heaven and earth are filled with thy glory.
Hosanna in the highest.
*from the Ordinary of the Mass
7 Et misericordia eius
a progenie in progenies timentibus eum.
And his mercy is on them
that fear him throughout all generations.
8 Fecit potentiam in brachio suo:
dispersit superbos mente cordis sui.
Deposuit potentes de sede,
et exaltavit humiles.
He hath shewed strength with his arm:
he hath scattered the proud
in the imagination of their hearts.
He hath put down the mighty from their seat,
and hath exalted the humble and meek.
9 Esurientes implevit bonis:
et divites dimisit inanes.
Suscepit Israel puerum suum,
recordatus misericordiae suae.
Sicut locutus est ad patres nostros,
Abraham et semini eius in saecula.
He hath filled the hungry with good things:
and the rich he hath sent empty away.
He remembering his mercy
hath holpen his servant Israel.
As he promised to our forefathers,
10
came from looking at the context of the words: the
Virgin Mary has learned that she is to give birth to Jesus,
and she is pouring out her joy to her cousin Elizabeth, in
words which recall the Song of Hannah from the Old
Testament, combining faith, trust, and wonder. The
Magnificat is known as the Canticle of the Blessed
Virgin Mary, and it is mainly in the sunny southern
countries – Spain, Mexico, Puerto Rico – that Mary is
most celebrated and enjoyed. This led me to conceive
the music as a bright Latin-flavoured fiesta. On feast
days of the Virgin Mary in Latin countries, the
population sings, dances, dresses in its most colourful
clothes, processes in the open air, and celebrates. I wrote
my setting in that spirit, using just a single soprano
soloist representing Mary; her music draws mainly on
the tradition of the musical theatre. It has always seemed
to me that if inspiration can be drawn from another area
of music such as the theatre, there is no reason not to
bring it into the concert hall. Gregorian chant is indeed
used at a number of points, either plainly or disguised,
and I also followed Bach’s precedent, from his original
1723 Magnificat version, of adding other texts to the
‘official’ Latin one. There are two of these, a lovely
fifteenth-century English poem on the theme of Mary,
one of many written in England at that time, and then in
the last movement a Latin prayer to Mary which gives
3 8.572653
the soloist a final say before the music comes to a
jubilant conclusion.
The version of the work heard on this recording is
one with chamber orchestra and organ accompaniment,
which I made shortly after the first performance, with
the needs of smaller choirs in mind.
The Te Deum sprang from rather more Anglican soil.
In 1988 the Guild of Church Musicians (a British-based
church music organization doing much good work)
celebrated its centenary, marked by a service of
thanksgiving in Canterbury Cathedral, and I was invited
to compose a succinct Te Deum for performance on this
occasion. The text has been associated with rejoicing
and ceremony for centuries – Henry V in Shakespeare’s
play orders it to be sung to celebrate the victory at
Agincourt – but it is not easy to set effectively to music
because it is not the work of a single author but a
compilation of three separate texts, and (to be frank) it
rather tails off at the end. The solution I found was to
make the final section hymn-like, binding the rest of it
together with the varied use of one or two melodic
outlines. As with the Gloria, the accompaniment is for
brass, timpani, percussion and organ.
John Rutter
572653bk Rutter US_572653bk Rutter 02/02/2011 12:54 Page 2
John Rutter (b. 1945)
Gloria • Magnificat • Te Deum
The three works heard on this recording span a period of
just over fifteen years, from 1974 to 1990. All three are
festive and celebratory in character, composed for joyful
occasions, and all three use the resources of voices and
instruments together. The Gloria (1974) is the earliest,
and represented a milestone in my career because it was
the first major commission I had received from overseas.
I was approached out of the blue by a concert choir in
the American midwest called the Voices of Mel Olson,
who wanted me to compose an accessible but
challenging choral work of about twenty minutes’
duration which I was to come over and guest-conduct.
Their conductor visited me in Cambridge to discuss the
commission, and the guidelines were laid down: a
familiar text, preferably sacred; instrumental
accompaniment, but (for budgetary reasons) less than an
orchestra; no professional soloists; and a positive,
‘upfront’ quality so that a non-specialist audience could
enjoy the music at first hearing. All this steered my
thoughts towards the text of the Gloria, which forms a
complete section of the familiar Ordinary of the Mass,
beginning with the words of the angels to the shepherds
on Christmas Night, not often set to music on its own.
Asking myself what instruments the angels would have
played as heralds of the glad tidings, the answer was
obviously trumpets, and that chimed in with what I knew
to be a fine tradition of brass playing in the midwest,
where marching bands are an established part of school
and college life. I decided to supplement a brass
ensemble accompaniment with timpani, percussion and
organ, and I set to work. The music was written quickly
in the spring of 1974, and in looking back at it now I find
a mixture of influences: Walton (who knew a thing or
two about brass bands, and about festive and ceremonial
writing), Stravinsky, Poulenc, and, running like a thread
through the whole work, Gregorian chant. Eclecticism
was less acceptable at that time in European musical
circles than it is now, so perhaps it was fortunate that the
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work had its première well away from our own music
critics and in the friendlier climate of America, where a
firestorm of performances followed in the late 1970s and
1980s, continuing as a steady flow to this day. Gradually
(as with much of my other work) the Gloria began to
filter back to the land where it was written and across the
world, something I could not have predicted. Much of
the credit must go to Mel Olson (who died, too young, a
while ago but whose support and friendship I still miss)
because, in telling me what he was looking for in a new
choral work, he was telling me what thousands of other
choral directors were looking for too.
The Magnificat was the result of an invitation from a
New York-based concert organization called
MidAmerica Productions which specializes in giving
large-scale choral/orchestral concerts in Carnegie Hall. I
had been guest-conducting a number of their concerts
for some two years when I was asked to write a forty-
minute work for one such concert, in May 1990. The
chorus, numbering over 200 voices, was made up of
hand-picked choirs from all over the United States,
every one of them happy and excited at the prospect of
joining forces in the magnificent setting of Carnegie
Hall, and I also had the resources of orchestra and
soloist(s) available. Within these parameters, I was
given a completely free hand, and I immediately felt I
wanted to write something joyous because that would
reflect the mood of the performers. Having written the
reflective and subdued Requiem four years earlier, I
wanted my next large-scale choral work to be as
different as possible, and the text of the Magnificat
seemed an obvious choice. Composers seem to have
fought shy of writing extended settings of it (though
there are many short Anglican liturgical settings),
probably because of the daunting shadow cast by J. S.
Bach, and I had avoided it myself because I could not
think how I would set it to music except that I knew
Gregorian chant would feature in some way. The answer
2 11
Abraham and his seed for ever.
0 Gloria Patri, et Filio,
et Spiritui Sancto.
Glory be to the Father, and to the Son,
and to the Holy Ghost.
*Sancta Maria, succurre miseris,
iuva pusillanimes, refove flebiles:
ora pro populo, intervene pro clero,
intercede pro devote femineo sexu:
sentiant omnes tuum iuvamen,
quicumque tuum sanctum implorant auxilium.
Alleluia.
Holy Mary, succour those in need,
help the faint-hearted, console the tearful:
pray for the laity, assist the clergy,
intercede for all devout women:
may all feel the power of your help,
whoever prays for your holy aid.
Alleluia.
*Antiphon at Feasts of the Blessed Virgin Mary
Sicut erat in principio,
et nunc, et semper, et in saecula saeculorum.
Amen.
As it was in the beginning,
is now, and ever shall be, world without end.
Amen.
! TE DEUM
(Early Church hymn, possibly 6th cent.)
We praise thee, O God:
we acknowledge thee to be the Lord.
All the earth doth worship thee:
the Father everlasting.
To thee all angels cry aloud:
the heavens and all the Powers therein.
To thee Cherubin and Seraphin:
continually do cry,
Holy, Holy, Holy, Lord God of Sabaoth;
Heaven and earth are full
of the Majesty of thy Glory.
The glorious company of the Apostles praise thee,
The goodly fellowship of the Prophets praise thee.
The noble army of Martyrs praise thee.
The holy Church throughout all the world
doth acknowledge thee;
The Father of an infinite Majesty,
Thine honourable, true, and only Son;
Also the Holy Ghost, the Comforter.
Thou art the King of Glory, O Christ.
Thou art the everlasting Son of the Father.
When thou tookest upon thee to deliver man:
thou didst not abhor the Virgin’s womb.
When thou hadst overcome the sharpness of death:
thou didst open the Kingdom of heaven
to all believers.
Thou sittest at the right hand of God:
in the glory of the Father.
We believe that thou shalt come:
to be our Judge.
We therefore pray thee, help thy servants:
whom thou hast redeemed with thy precious blood.
Make them to be numbered with thy Saints:
in glory everlasting.
O Lord, save thy people: and bless thine heritage.
Govern them: and lift them up for ever.
Day by day we magnify thee;
And we worship thy Name:
ever world without end.
Vouchsafe, O Lord: to keep us this day without sin.
O Lord, have mercy upon us.
O Lord, let thy mercy lighten upon us:
As our trust is in thee.
O Lord, in thee have I trusted:
let me never be confounded.
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RUTTER
Gloria • Magnificat • Te Deum
Elizabeth Cragg, Soprano
The Choirs of St Albans Cathedral
Ensemble DeChorum • Tom Winpenny, Organ
This recording was generously supported by Neil Baker in memory of his wife Katherine.
Andrew Lucas, Conductor
Thanks are also due to the Dean and Chapter of St Albans Cathedral,
The Fraternity of the Friends of St Albans Abbey,
the St Albans Cathedral Music Trust,
Borras Construction Ltd., and Thomas Hewitt Jones for their generous assistance with this project.

8.572653 12
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NAXOS

NAXOS
Acclaimed British composer John Rutter’s Gloria was a milestone in his career and
remains an evergreen favourite with choirs worldwide for its freshness, drama and sheer
beauty. His joyous setting of the Magnificat was conceived, in the composer’s words, as ‘a
bright Latin-flavoured fiesta’ and is performed here in its version for choir, organ and
chamber orchestra. This delightful choral album concludes with Rutter’s setting of the DDD
Te Deum, one of the church’s most ebullient hymns of praise to the Almighty.
RUTTER: Gloria • Magnificat • Te Deum

RUTTER: Gloria • Magnificat • Te Deum

8.572653
John
RUTTER
Playing Time
64:40
(b. 1945)
Gloria (1974) 17:21
1 I. Allegro vivace 5:29
2 II. Andante 6:17
3 III. Vivace e ritmico 5:35
Magnificat (1990) 39:15
4 Magnificat anima mea 6:57
5 Of a Rose, a lovely Rose 5:26
6 Quia fecit mihi magna 6:23
7 Et misericordia * 5:00
www.naxos.com
Printed & Assembled in USA
Disc Made in Canada
Booklet notes in English
 & 훿 2011 Naxos Rights International Ltd.
8 Fecit potentiam 3:38
9 Esurientes * 6:39
0 Gloria Patri * 5:22
! Te Deum (1988) 7:54
Elizabeth Cragg, Soprano *
The Choirs of St Albans Cathedral
Ensemble DeChorum
Tom Winpenny, Organ • Andrew Lucas, Conductor
Recorded at the Cathedral and Abbey Church of St Alban, St Albans, Hertfordshire, UK
from 13th to 14th July, 2010 (Magnificat) and 16th to 17th July, 2010 (Gloria and Te Deum)
8. 57 26 53

8.572653

Producer, Engineer and Editor: Adam Binks • Booklet Notes: John Rutter
Includes sung texts and translations which may also be accessed at www.naxos.com/libretti/572653.htm
With thanks to Neil Baker, The Fraternity of the Friends of St Albans Abbey, the St Albans Cathedral
Music Trust, Thomas Hewitt Jones, and Borras Construction Ltd. for their generous support
Cover Picture: Sun is Shining (© Devation / Dreamstime.com)