"Music can sometimes really express more than the word."Luister, 15-7-2021
Andrew Nethsingha and The Choir of St John’s College, Cambridge release the second volume in the highly-praised Magnificat series and present nine settings of the Evening Canticles by celebrated Organist-Composers, written between 1932 and 1952, and non-church musicians from 1974-1989. The recording culminates with a contemporary setting by Julian Anderson, composed for the Chapel’s 150th anniversary.
“These first volumes are designed to complement one another. Magnificat 1 started earlier, with Stanford in the 1880s; Volume Two brings us briefly up to the present day. The first release contained celebrated works by Tippett and Leighton from 1961 and 1972 respectively, in between the two main periods represented on this disc. Both albums contain iconic works by Howells, written a year apart. We hear composers creating different orders of priority for the parameters of composition.” Andrew Nethsingha
Performing as a conductor and organist in North America, South Africa, Far East, and throughout Europe, Andrew Nethsingha has been Director of Music at St John’s College, Cambridge since 2007. His innovations at St John’s have included weekly webcasts and a termly Bach cantata series. His recordings for Chandos have been well reviewed.
Andrew Nethsingha received his early musical training as a chorister at Exeter Cathedral, where his father was organist for over a quarter of a century. He later studied at the Royal College of Music, where he won seven prizes, and at St John’s College, Cambridge. He held Organ Scholarships under Christopher Robinson, at St George’s Windsor, and George Guest, at St John’s, before becoming Assistant Organist at Wells Cathedral. He was subsequently Director of Music at Truro and Gloucester Cathedrals. Other recent positions have included Artistic Director of the Gloucester Three Choirs Festival and Musical Director of the Gloucester Choral Society.
He has served as President of the Cathedral Organists’ Association. He has worked with some of the UK’s leading orchestras. Andrew’s concerts with the Philharmonia Orchestra have included many of the major choral works: Mahler’s 8th Symphony, Beethoven’s 9th Symphony, Britten War Requiem, Brahms Requiem, Elgar’s The Dream of Gerontius and The Kingdom, Walton Belshazzar’s Feast, Poulenc Gloria and Duruflé Requiem. He has also worked with the Royal Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, the London Mozart Players, Britten Sinfonia, the Aarhus Symfoniorkester and the BBC Concert Orchestra. Recent conducting engagements have included the BBC Proms, Amsterdam Concertgebouw and Tokyo Suntory Hall. He regularly runs choral courses in various countries, including France and the U.S.A.
Sir William Walton, in full Sir William Turner Walton, (born March 29, 1902, Oldham, Lancashire, Eng.—died March 8, 1983, Ischia, Italy), English composer especially known for his orchestral music. His early work made him one of England’s most important composers between the time of Vaughan Williams and that of Benjamin Britten.
Walton, the son of a choirmaster father and a vocalist mother, studied violin and piano desultorily as a boy and also sang, with somewhat better results, in his father’s choir. He taught himself composition, although he received advice from both Ernest Ansermet and Ferruccio Busoni. In 1912 he entered the University of Oxford, where he sang in the choir of Christ Church. He put in the requisite four years of study but failed by one examination (Responsonions) to win a bachelor of music degree. At Oxford he had met the Sitwell brothers, Osbert and Sacheverell, by whom he was virtually adopted, and he spent most of the next decade traveling with them or living with them at Chelsea. During this period he composed Façade (1923)—a set of pieces for chamber ensemble, to accompany the Sitwells’ sister Edith in a recitation of her poetry—as well as Sinfonia Concertante for piano and orchestra (1928; revised 1943) and Portsmouth Point (1926), which established his reputation as an orchestral composer.
Walton was influenced by some of his older contemporaries, notably Edward Elgar, Igor Stravinsky, and Paul Hindemith. Hindemith was soloist in the first performance of one of Walton’s finest works, his Viola Concerto (1929). Walton also composed a number of scores for motion pictures, including Major Barbara (1941), Henry V (1944), Hamlet (1947), and Richard III (1954). His vocal music includes the oratorio Belshazzar’s Feast (1931) and the operas Troilus and Cressida (1954) and The Bear (one act; 1967). The composer received a knighthood in 1951.
Music can sometimes really express more than the word.