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Hyperion Records

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Golden Days by Lee Campbell (b1951)
Private Collection / Bridgeman Art Library, London
Track(s) taken from CDA67853
Recording details: March 2010
Winchester Cathedral, United Kingdom
Produced by Adrian Peacock
Engineered by David Hinitt
Release date: June 2011
Total duration: 5 minutes 47 seconds

'The performances of Winchester Cathedral Choir are so good you hardly register the need to 'assess' them—exactly as it should be in devotional music. That's a huge tribute to the state of the singing at the cathedral, and to Andrew Lumsden, who directs it. A marvellous CD, beautifully planned and executed' (BBC Music Magazine)

'Howells's later works have failed to find their way into the regular repertoire but this recording by a radiant Winchester Cathedral Choir urges a thorough reappraisal. The long, fluid lines, startling cadences and massive chords which are so unique to Howells are all here in 'their' service' (The Observer)

'These are uniformly excellent performances and the recording quality is detailed yet superbly spacious. It's the first release from a renewed relationship between Winchester and Hyperion and, although I will hope for more rare Howells, I look forward to whatever else is on the cards. I highly commend this disc' (International Record Review)

Thee will I love
composer
27 February 1970; SATB + organ; marking the 1100th anniversay of Medehamstede Massacre and first performed in Peterborough Cathedral on 9 November 1970
author of text
from the Yattendon Hymnal of 1930

Introduction  EnglishFrançaisDeutsch
Taking words from Robert Bridges’ own Yattendon Hymnal of 1930, Thee will I love was Howells’ response to a commission for a work to commemorate the 1100th anniversary of the massacre of the monks of the Abbey of Medehamstede in 870ad. At the dissolution of the monasteries, the Abbey became Peterborough Cathedral, and this motet was composed for a Solemn Requiem, sung in the Cathedral on 9 November 1970 by the Cathedral Choir under its director, Stanley Vann. The setting makes much use of the opening four-note quaver motif in various guises, and with an extraordinary variety of harmonic colouring, expressing much of the devotional quality of the words, but also alluding perhaps in harmonic ambiguity and dissonance, to the anguish of the event being commemorated.

from notes by Paul Andrews © 2011

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