St Stephen’s Church · timonium, maryland

presents

a recital of choral music for lent & holy week

in aid of Dr Bob’s Place

st stephen’s choir of men & boys

adric choirmaster

______________________________ Palm Sunday, April 5th, 2009 ✠ 6.00 PM _____________________________

The Mays Chapel Boychoir is a boys’ vocal ensemble which is open to any talented boy who enjoys singing and has a desire to receive a classical music education at no cost to his family. The boys are taught to read and write musical notation, and they quickly become proficient singing in multiple languages through exposure to a musical repertory spanning several centuries.

In a culture which focuses attention to the needs of boys primarily on sports and athletics, this organisa-tion is devoted to their artistic and intellectual development. The benefits of participation go far beyond developing a high level of musicianship; the choirboys develop social skills, self-discipline and the honest self-esteem that is earned from hard work. Opportunities of this calibre truly stand out on high school and college applications.

Membership in the Mays Chapel Boychoir is open to boys of all faith traditions. Prospective choristers ages 8 to 12 are welcomed at any time of the year. Enquiries may be directed to the Recruitment Director, Ms. Joan Boemmel, on 443.632.6452, or at boychoir@mac.com

for more information, please visit us online:

www. Mays Chapel Boychoir. com

the programme

ASH WEDNESDAY & LENT

Surely he hath borne our griefs G. F. Handel Drop, drop, slow tears Orlando Gibbons, arr. Adric Miserere mei, Deus (excerpts) Gregorio Allegri

Super flumina Babylonis G. P. da Palestrina Salvator mundi Thomas Tallis

HYMN: Forty days and forty nights Heinlein

MAUNDY THURSDAY

A new commandment Richard Shephard

Mass for five voices William Byrd · Sanctus · Benedictus · Agnus Dei

Ubi caritas Maurice Duruflé Ave verum corpus Flor Peeters INTERLUDE: O Mensch bewein dein Sünde gross J. S. Bach Tantum ergo Déodat de Séverac Domine non sum dignus T. L. de Victoria O bone Jesu! Marc’Antonio Ingigneri

GOOD FRIDAY

HYMN: O sacred head sore wounded Passion Chorale

Popule meus (excerpt) Victoria O vos omnes Pablo Casals There is a green hill far away Adric Crucifixus (a 8) Antonio Lotti

HYMN: When I survey the wondrous Cross Rockingham

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______________ MUSIC FOR ASH WEDNESDAY & LENT _____________ SURELY HE HATH BORNE OUR GRIEFS from Messiah George Frideric Handel (1685-1759)

Surely he hath borne our griefs and carried our sorrows: he was wounded for our transgressions, he was bruised for our iniquities; the chastisement of our peace was upon him. – Isaiah 53:4-5

DROP, DROP, SLOW TEARS Song 46 of Orlando Gibbons (1583-1625) arranged by Adric

Drop, drop, slow tears, and bathe those beauteous feet, which brought from heav’n the news and Prince of Peace. • Cease not, wet eyes, his mercies to entreat; to cry for vengeance sin doth never cease. • In your deep floods drown all my faults and fears; nor let his eye see sin, but through my tears. – Phineas Fletcher

MISERERE MEI, DEUS (excerpts) Gregorio Allegri (1582-1652)

1. Miserere mei, Deus, Have mercy upon me, O God, secundum magnam misericordiam tuam : after thy great goodness :

et secundum multitudinem miserationem according to the multitude of thy mercies, tuarum, dele iniquitatem meam. do away mine offences.

14. Libera me de sanguinibus, Deliver me from blood-guiltiness O God, Deus salutis meæ : thou that art the God of my health : et exsultabit lingua mea justitiam tuam. and my tongue shall sing of thy righteousness.

15. Domine, labia mea aperies : Thou shalt open my lips O Lord : et os meum annuntiabit laudem tuam. and my mouth shall shew thy praise.

16. Quoniam si voluisses sacrificium, dedise For thou desirest no sacrifice, else would I give it utique : holocaustis non delectaberis. thee : but thou delightest not in burnt offerings.

17. Sacrificium Deo spiritus contribulatus : cor The sacrifice of God is a troubled spirit : a broken contritum et humiliatum, Deus, non despicies. and contrite heart, O God, shalt thou not despise.

18. Benigne fac, Domine, in bona voluntate tua Sion : O be favourable and gracious unto Sion : ut ædificentur muri Jerusalem. build thou the walls of Jerusalem.

19. Tunc acceptabis sacrificium justitiæ, Then shalt thou be pleased with the sacrifice of right- oblationes et holocausta : eousness, with the burnt-offerings and oblations : tunc imponent super altare tuum vitulos. then shall they offer young bullocks upon thine altar.

– Psalm 51:1, 14-19

SUPER FLUMINA BABYLONIS Giovanni Pierluigi da Palestrina (c.1525-94)

Super flumina Babylonis, illic sedimus et flevimus, By the waters of Babylon we sat down and wept dum recordaremur tui, Sion. when we remembered thee, O Sion. In salicibus in medio eius On the willows in the midst thereof suspendimus organa nostra. we hung our harps.

– Psalm 137:1-2

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SALVATOR MUNDI Thomas Tallis (c.1505-85)

Salvator mundi salva nos, Saviour of the world, save us, qui per crucem et sanguinem redemisti nos; who by thy cross and blood hast redeemed us; auxiliare nobis, te deprecamur, Deus noster. help us, we beseech thee, our God.

– Matins antiphon for the Exaltation of the Cross

¶ All are invited to stand and sing

THE HYMN Heinlein, descant: Adric

¶ All are seated

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__________________MUSIC FOR MAUNDY THURSDAY ________________

A NEW COMMANDMENT Richard Shephard (b.1949)

A new commandment I give unto you: that ye love one another as I have loved you. By this shall all men know that ye are my disciples if ye have love one to another. – St John 13:34-5 MASS FOR FIVE VOICES (excerpts) William Byrd (c.1540-1623)

SANCTUS, sanctus, sanctus Dominus Deus Sabaoth. Holy, holy, holy Lord, God of Hosts. Pleni sunt cœli et terra gloria tua. Heaven and earth are full of thy glory. Hosanna in excelsis. Hosanna in the highest.

BENEDICTUS ✠ qui venit in nomine Domini. Blessed is he who cometh in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

AGNUS DEI, qui tollis peccata mundi: Lamb of God, who takest away the sins of the world: miserere nobis. have mercy upon us. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takest away the sins of the world: miserere nobis. have mercy upon us. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takest away the sins of the world: dona nobis pacem. grant us peace. UBI CARITAS Maurice Duruflé (1902-86)

Ubi caritas et amor, Deus ibi est. Where charity and love are found, there God is. Congregavit nos in unum Christi amor. We are gathered together as one in the love of Christ. Exsultemus et in ipso jucundemur. Let us rejoice and be glad in it. Timeamus et amemus Deum Vivum. Let us fear and love the living God. Et ex corde diligamus nos sincero. And let us love with a sincere heart. Ubi caritas et amor, Deus ibi est. Amen. Where charity and love are found, there God is. Amen.

– antiphon VIII and verses during the Washing of the Feet AVE VERUM CORPUS Flor Peeters (1903-86)

Ave verum corpus natum de Maria Virgine: Hail, true Flesh, born of the Virgin Mary: vere passum immolatum in cruce pro homine. who hath truly suffered, broken on the cross for man; Cujus latus perforatum unda fluxit et sanguine; From whose pierced side didst flow water and blood; esto nobis prægustatum in mortis examine. be for us a foretaste of the trial of death. O dulcis, O pie, O Jesu Fili Mariæ. Amen. O tender, O loving Jesu, Son of Mary. Amen.

– ascribed to Innocent (d.1276)

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_____________________________ THE OFFERING ____________________________

¶ An offering in aid of Dr Bob’s Place is received during the ORGAN INTERLUDE Llwyd Bowers, organist

O Mensch, bewein dein Sünde groß, BWV 622 Johann Sebastian Bach (1685-1750)

O MAN, LAMENT THY GREAT SIN, for the sake of which Christ left his Father’s bosom and came to earth. Of a pure, gentle virgin Jesus was born for us; He wanted to become the Mediator. He gave life to the dead and put aside all sickness, until the time arrived that he should be sacrificed for us. He bore the heavy burden of our sins stretched out on the cross. – Sebald Heyd

_________________________ DR BOB’S PLACE _________________________

This $4.5 million dollar facility will be the first hospice for children on the East Coast of the United States. Dr Bob’s will be located at 838 North Eutaw Street near Joseph Richey House in downtown Baltimore. Dr Bob’s Place will provide 10 private rooms, as well as beautiful public rooms and play areas. When complete, the 20,800 square foot facility will offer full hospice services to children, as well as providing hospice services to children at home. There are presently over 300 chilren in the state of Maryland in need of hospice care.

For more information, please go online to: www. Joseph Richey Hospice . org / drBob . html

music for

__________________________MAUNDY THURSDAY ________________________ (continued)

TANTUM ERGO Déodat de Séverac (1872-1921)

Tantum ergo Sacramentum veneremur cernui, Let us therefore devoutly revere this great sacrament, et antiquum documentum novo cedat ritui, and the old Law may give way to the new rite; præstet fides supplementum sensuum defectui. let faith afford assistance to the deficiency of our senses.

Genitori, genitoque laus et jubilatio, To the Begetter and the Begotten be praise and jubilation, salus, honor, virtus quoque sit et benedictio, salvation, honor, and strength and blessing, procedenti ab utroque compar sit laudatio. Amen. to the One proceeding from both be equal praise. Amen.

– att. Thomas Aquinas (1225?-1274) DOMINE, NON SUM DIGNUS Tomás Luís de Victoria (1548-1611)

Domine, non sum dignus, Lord, I am not worthy ut intres sub tectum meum: that thou shouldst enter under my roof: sed tantum dic verbo, et sanabitur anima mea. speak only the word and my soul shall be healed.

– Luke 7:6-7 O BONE JESU Marc’Antonio Ingegneri (c.1547-1592)

O bone Jesu, miserere nobis, O good Jesus, have mercy upon us, quia tu creasti nos, tu redemisti nos for thou hast created us, thou hast redeemed us sanguine tuo pretiosissimo. by thy most precious blood.

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______________________ MUSIC FOR GOOD FRIDAY _____________________

¶ All are invited to stand and sing

THE HYMN Passion Chorale v.3 arranged by Adric

¶ The Choir alone sings verse 3

In thy most bitter passion my heart to share doth cry, With thee for my salvation upon the cross to die. Ah, keep my heart thus moved to stand thy cross beneath, To mourn thee, well-beloved, yet thank thee for thy death.

¶ All are seated THE REPROACHES (excerpt) T. L. de Victoria

Popule meus, quid fecit tibi? My people, what have I done unto you? Aut in quo contristavite? Responde mihi. How have I offended you? Answer me.

1. Quia eduxi te de terra Ægypti, I led you out of the land of Egypt, parasti crucem salvatori tuo. but you led your Saviour to the cross.

Agios o Theos. Sanctus Deus. Holy God. Agios ischyros. Sanctus fortis. Holy Mighty One. Agios athanatos Sanctus et immortalis, Holy and Immortal One, eleison imas. miserere nobis. have mercy upon us.

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O VOS OMNES Pablo Casals (1876-1973)

O vos omnes qui transitis per viam, O all ye that pass by the way, attendite et videte: behold and see si est dolor sicut dolor meus. if there be any sorrow like unto my sorrow.

– Lamentations 1:12 THERE IS A GREEN HILL FAR AWAY Adric (b.1971) based upon a hymn tune by William Horsley (1774-1858)

There is a green hill far away, without a city wall, where the dear Lord was crucified, who died to save us all. • We may not know, we cannot tell, what pains he had to bear, but we believe it was for us he hung and suffered there. • He died that we might be forgiven, he died to make us good, that we might go at last to heaven, saved by his precious blood. • There was no other good enough to pay the price of sin, he only could unlock the gate of heaven, and let us in. • O dearly, dearly has he loved, and we must love him too, and trust in his redeeming blood, and try his works to do. – Cecil Frances Alexander (1818-95)

CRUCIFIXUS a 8 Antonio Lotti (1667-1740)

Crucifixus etiam pro nobis sub Pontio Pilato, He was crucified for us under Pontius Pilate, passus et sepultus est. suffered death and was buried.

– from the Credo

¶ All are invited to stand and sing

THE HYMN Rockingham descant by Adric

WHAT HAD TO SAY ABOUT THE COMPOSERS... Thomas Tallis (c.1505-1585) was an English composer whose first known appointment to a musical position was as organist of Dover Priory in 1530-31. His career took him to London, then to the Augustinian abbey of Holy Cross at Waltham until the abbey was dissolved in 1540; then he went to Canterbury Cathedral, and finally to Court as Gentleman of the Chapel Royal in 1543, composing and performing for Henry VIII, Edward VI, Queen Mary, and Queen Elizabeth I until his death. Throughout his service to successive monarchs as organist and composer, Tallis avoided the religious controversies that raged around him, though, like William Byrd, he stayed an ‘unreformed Roman Catholic.’ Elizabeth granted to Tallis and Byrd a 21-year monopoly in 1575 for polyphonic music and a patent to print and publish music, which was one of the first arrangements of that type in the country. Tallis retained respect during a succession of opposing religious movements and deflected the violence that claimed Catholics and Protestants alike. He endured a difficult period during the time of the church, and his music often displays characteristics of the turmoil. Giovanni Pierluigi da Palestrina (1525/6-1594) was an Italian composer who had a vast influence on the develop-ment of Roman Catholic church music, and whose work can be seen as a summation of Renaissance polyphony. He was born in Palestrina, a town near Rome, then part of the Papal States, and spent most of his career in Rome. Documents suggest he first visited the city in 1537 when he is listed as a chorister at Santa Maria Maggiore basilica. In 1551 Palestrina became maestro di cappella at the Cappella Giulia, the papal choir at St. Peter’s Basilica. His first published compositions, a book of masses made so favorable an impression with Pope Julius III (previously the Bishop of Palestrina), that he was appointed musical director of the Julian Chapel. By 1580 he had lost his brother, two of his sons, and his wife in three separate outbreaks of the plague. He seems to have considered becoming a priest at this time, but instead he married again, this time to a wealthy widow, giving him financial independence (he was not well paid as choirmaster) and he was able to compose prolifically until his death. He died in Rome of pleurisy in 1594. William Byrd (c.1540-1623) was an English composer who cultivated many of the forms current in England at the time, including various types of sacred and secular polyphony, keyboard and consort music. Born in London, Byrd was a pupil of Thomas Tallis, then the leading composing member of the Chapel Royal Choir. It is reasonable to speculate that Byrd was a Chapel Royal choirboy, though unfortunately the surviving records do not name the choristers individually. Byrd embarked on a grandiose programme to provide a cycle of liturgical music covering all the principal feasts of the Catholic church calendar, beginning with the three Ordinary of the Mass cycles (in four, three and five parts), which were published between 1592 and 1595. The editions are undated, do not name the printer, and consist of only one bifolium per partbook to aid concealment, all signs of secrecy which should remind us that the possession of heterodox books was still highly dangerous. A special feature of the four-part and five-part Masses is Byrd’s treatment of the Agnus Dei: the final words dona nobis pacem (grant us peace), which are set to chains of anguished suspensions in the four-part Mass and expressive block homophony in the five-part setting almost certainly reflect the aspirations of the troubled Catholic community of the 1590s. Marc’Antonio Ingegneri (c.1547-1592) was an Italian composer born in Verona. Even though he spent most of his life working in northern Italy, because of his stylistic similarity to Palestrina he is often considered to be a member of the Roman School of polyphonic church music. He is also famous as the teacher of Claudio Monteverdi. Around 1570 Ingegneri moved to Cremona, and established a reputation there as a composer and instrumentalist. He may have been an organist, and is known to have been a string player. In 1581 he became maestro di cappella of the cathedral there, and he apparently remained in this position for the rest of his life. His musical style usually shows the simplification and clarity of Palestrina’s, to whom his book of 27 Responsoria (including O bone Jesu) was long misattributed.

Tomás Luis de Victoria (1548-1611) ‘The Spanish Palestrina’, as he is known, was the most famous composer of the 16th century in Spain, and one of the most important composers of the Counter-Reformation, along with Giovanni da Palestrina and Orlando di Lasso. Victoria was born in Ávila, and is known to have gone to Rome around 1564, where he joined the monastery founded by St Ignatius Loyola as part of the fight against Lutheranism. He may have studied with Palestrina around this time, though the evidence is circumstantial; certainly he was influenced by the Italian’s style. In 1575 he was ordained as a priest, after a period of service at the monastery as maestro di cappella. He did not stay in Italy, however; in 1586 he returned to Spain, this time in the service of the Dowager Empress Maria, who was entering the convent of Descalzas Reales in Madrid. Victoria remained at the convent until the end of his life, performing several roles: priest, composer, choirmaster, and organist. Gregorio Allegri (1582-1652) was an Italian composer and priest. He mainly lived in Rome, and died there. He studied music under Giovanni Maria Nanini, the intimate friend of Palestrina. Being intended for the Church, he obtained a benefice in the cathedral of Fermo. Here he composed a large number of motets and other sacred music, which, being brought to the notice of Pope Urban VIII, obtained for him an appointment in the choir of the Sistine Chapel at Rome. He held this from December 1629 until his death. By far the most celebrated composition of Allegri is the Miserere mei, Deus, a setting of Psalm 51. The work acquired a considerable reputation for mystery and inaccessibility between the time of its composition and the era of modern recording; the Vatican, wanting to preserve its aura of mystery, forbade copies, threatening any publication or attempted copy with excommunication. They were not prepared, however, for a special visit in 1770 from a 14-year-old Mozart, who, on a visit to Rome with his father, heard it but twice and transcribed it faithfully from memory, thus creating the first ‘bootleg’ copy. In 1771 Mozart’s copy was procured and published in England, however this edition does not show the ornamentation for which the work was famous. Church music at the time placed a large gap between written and performance practice; embellishments were largely placed in the hands of the performers’ tastes. The music as it is performed today includes a strange error by a copyist in the 1880s. The curious ‘trucker’s gear change’ from G minor to C minor is because the second half of the verse is the same as the first half, but transposed up a fourth. The original never had a Top C. Orlando Gibbons (c.1583-1625) was an English composer and organist of the late Tudor and early Jacobean periods. Born in Oxford, he was a leading composer in the England of his day. Between 1596 and 1598 he sang in the Choir of King’s College, Cambridge, where his brother was master of the choristers; he entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. To this day, Gibbons’ obit service is commemorated every year in King’s College Chapel, Cambridge. Antonio Lotti (1667-1740) was an Italian composer of classical music. Born in Venice, Lotti made his career at St Mark’s, first as an alto singer (from 1689), then as assistant to the second organist, second organist, first organist, and finally maestro di cappella, a position he held from 1736 until his death. Lotti wrote in a variety of forms, producing masses, cantatas, madrigals, around thirty operas, and instrumental music. His work is considered a bridge between the established Baroque and emerging Classical styles. Lotti is thought to have influenced Bach & Handel, both of whom had copies of Lotti’s Missa Sapientiæ. Amongst his most famous of compositions is the 8-voice Crucifixus in which he aimed to break the rules of conventional harmony (unprepared dissonances, tritones and the like), and to this end can be called the first ‘atonal’ piece of music. George Frideric Handel (1685-1759) was an English Baroque composer of German birth who is famous for his operas, oratorios, and concerti grossi. His life and music may justly be described as ‘cosmopolitan’: he was born in Germany, trained in Italy, and spent most of his life in England. Born as Georg Friedrich Händel in Halle in Saxony-Anhalt, he settled in England in 1712, becoming a naturalized subject of the British crown on 22 January 1727. His works include Messiah, Water Music, and Music for the Royal Fireworks. Strongly influenced by the techniques of the great composers of the Italian Baroque era, as well as the English composer Henry Purcell, Handel’s music became well-known to many composers, including Haydn, Mozart, and Beethoven. Handel adopted the spelling ‘George Frideric Handel’ on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name (Georg Friedrich Händel) is generally used in Germany and elsewhere, but he is known as ‘Haendel’ in France, which causes no small amount of grief to cataloguers everywhere. There was another composer with a similar name, Handl, who was a Slovene and is more commonly known as Jacobus Gallus.

Déodat de Séverac (1872-1921) was a French composer profoundly influenced by the musical tradition of his native Languedoc. He is noted for his vocal and choral music, which include settings of verse in Provençal and Catalan as well as French poems by Verlaine and Baudelaire. His compositions for solo piano have also won critical acclaim, and his motet Tantum ergo is also relatively well known. He left his native Toulouse to study in Paris at the Schola Cantorum, an alternative to the training offered by the Conservatoire. He worked as an assistant to Isaac Albéniz and returned to the south of France. His opera Héliogabale was produced at Béziers in 1910. Pablo Casals (1876-1973) was a Spanish cellist and later conductor. Casals was born in El Vendrell, Catalonia, Spain where his father was a parish pipe organist and choirmaster. He made many recordings throughout his career, of solo, chamber, and orchestral music, also as conductor, but Casals is perhaps best remembered for the recording of the Bach: Cello Suites he made from 1936 to 1939. An ardent supporter of the Spanish Republican government, after its defeat in 1939, Casals vowed not to return to Spain until democracy had been restored, although he did not live to see the end of the Franco dictatorial regime. Maurice Duruflé (1902-1986) was a French composer, organist, and pedagogue born in Louviers, Haute-Normandie. In 1912, he became chorister at the Rouen Cathedral Choir School, where he studied piano and organ with Jules Haelling. At age 17, upon moving to Paris, he took private organ lessons with Charles Tournemire, whom he assisted at Basilique Ste-Clotilde, Paris until 1927. In 1920 Duruflé entered the Conservatoire de Paris, eventually graduating with first prizes in organ, harmony, piano accompaniment, and composition. In 1927, Louis Vierne nominated him as his assistant at Notre-Dame. Duruflé became titular organist of St. Étienne-du-Mont in Paris in 1929, a position he held for the rest of his life. In 1943 he became professor of harmony at the Conservatoire de Paris, where he worked until 1970. In 1947, Duruflé wrote what is probably the most famous of his few pieces: the Requiem op. 9, for soloists, choir, organ and orchestra. That same year, Marie-Madeleine Chevalier became his assistant at St-Étienne-du-Mont, and they married in 1953. The couple became a famous and popular organ duo, going on tour together several times throughout the sixties and early seventies. Duruflé suffered severe injuries in a car accident in 1975, and as a result he gave up performing and was largely confined to his apartment. Duruflé was highly critical of his own composition. He only published a handful of works and often continued to edit and change pieces after publication. The result of this perfectionism is that his music, especially his organ music, holds a very high position in the repertoire. Flor Peeters (1903-1986) was a Belgian composer, organist and teacher. Born and raised in the village of Tielen (near the Belgian-Dutch border), he was the youngest child in a family of eleven. When sixteen years old, he began his studies at the Lemmens Institute in Mechelen. In 1923 he became an organ teacher at the Institute; simultaneously he acquired the position of chief organist at the cathedral in Mechelen, which he held for most of the rest of his life. As an organist and pedagogue, Peeters enjoyed great renown, giving concerts and liturgical masterclasses all over the world. He also made recordings of sixteenth-, seventeenth- and eighteenth-century organ music; some of these have been reissued in recent years on compact disc. Most of his own works were for organ, choir, or both. Richard Shephard (b.1945) was a chorister at Gloucester Cathedral and was subsequently educated at Corpus Christi College, Cambridge. He is the Head Master of the Minster School, York and Chamberlain of York Minster. He is a Visiting Fellow of the Music Department and a member of the Court of the University of York. He is also Visiting Professor in the Music Department of the University of the South, Sewanee, Tennessee. He has served on the Archbishop's Commission on Church Music and on the Church Music Commission on Cathedrals. Adric is a fictional character in the long-running British science fiction television series Doctor Who. He was a young native of the planet Alzarius, which exists in the parallel universe of E-Space. A companion of the Fourth and Fifth Doctors, he was a regular in the programme from 1980 to 1982. The name Adric is an anagram derived from Nobel Prize-winning physicist Paul Dirac.

St STEPHEN’S CHOIR OF MEN AND BOYS

ALEX JORDAN, XANDER NICKOL, DAVIS PFUND · Trebles NICOLAS BUDOSH, JAMES MEIL, SIMON PYLES · Altos

STEWART DUNN, WILLIAM MORTON, KEN PYLES · Tenors JOHN BELKOT, JASON BUCKWALTER, STEPHEN WINAND · Basses

ADRIC · Choirmaster