1 	Adiemus	3:48
2 	Tintinnabulum 	10:57
3 	Cantus Inaequalis 	3:13
4 	Cantus Insolitus 	5:35
5 	In Caelum Fero 	7:45
6 	Cantus Iteratus 	6:36
7 	Amaté Adea 	5:12
8 	Kayama 	8:06
9 	Hymn 	2:37

Mary Carewe - Vocals 
Jody Barratt Jenkins - Percussion 
Karl Jenkins - Composer, Conductor, Orchestration
Mike Ratledge - Arranger, Drum Programming, Percussion
Frank Ricotti - Percussion 
Miriam Stockley - Vocals
Mike Taylor - Quena, Soloist
Pamela Thorby - Recorder, Soloist
Robert St. John Wright - Conductor, Leader, Orchestra Leader 
London Philharmonic Orchestra

The origins of the Adiemus concept dates back to 1994 when Welsh composer Karl Jenkins (and former member of the 1970’s jazz-rock group Nucleus and the progressive rock band Soft Machine), was approached to produce the music for the Delta Airlines Synchronised Flying TV commercial campaign. Karl had already achieved success in commercial music having produced the music for the 1993 De Beers A Diamond is Forever campaign, which memorably featured Palladio. The Delta Airlines creative brief was to produce an unique, contemporary and uplifting sound with reference to ethnic and ‘new age’ musical styles, which as well as being on-trend during the 1990’s, also reflected the global nature of the airline. Karl produced a thirty-second track especially for the commercial, which became an instant hit with the TV audiences worldwide.

Considerable public demand for an audio release of the Delta Airlines music prompted Karl to expand the thirty-second ad into a full four-minute track (entitled Adiemus). It was released in 1995 as a CD single and even spawned a 12” vinyl single of club remixes (cover artwork featuring Dolphin imagery from the TV commercial). Karl had produced eight more tracks which came together to form the best-selling album, Adiemus: Songs of Sanctuary. Over the following years, the Adiemus concept grew from strength-to-strength with the release of four further volumes, live, and best-of albums, achieving worldwide sales of c.1.5 million albums.

Now, more than two decades on from original release, Songs of Sanctuary is finally available as an LP, pressed on high quality 140g blue vinyl. The ’glassy’ 1995 audio master was originally created for (and perfectly suited) the CD format. Expert mastering engineers at renowned AIR Studios (London) painstakingly prepared the audio for vinyl transfer by means of analogue processing to add warmth and presence to the sound and a deliver a more satisfying listening experience. ---warnerclassics.com

Adiemus is the creation of three veteran musicians: composer Karl Jenkins, Mike Ratledge (like Jenkins a former member of Soft Machine) as arranger of programmed percussion, and vocalist Miriam Stockley. They also enlist the talents of the London Philharmonic, which helps to balance out the huge sound created by all the layers of Stockley's voice and the additional vocals by Mary Carewe. The concept of the album was to create modern music using classical forms, such as rondo and ternary, and not individual songs. To further the universal aspect of the music, all the vocals are written as vowel and consonants sounds. The voice here is used as simply another instrument with which to make music and not to convey a lyric message. The result is a powerful wall of sound: a full orchestra and a giant choir created by multiple harmony tracks of Stockley and Carewe. The concept may be classical form, but the music contained within those strict forms is a mix of African-tribal and Celtic-style melodies. The resulting hybrid sounds like the musical love child of Enya and Ladysmith Black Mambazo. ---Susan Cruickshank, AllMusic Review

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Palladio
1.I Allegretto 	3:47
2.II Largo 	3:32
3.III Vivace 	6:58

Adiemus Variations
4.I 	1:28
5.II 	3:32
6.III 	2:29
7.IV 	3:33

Passacaglia (In Memoriam Evelyn Mary Hopkins, 1903 1995)
8.Passacaglia 	4:53

String Quartet No. 2
9.I The Fifth Season 	3:43
10.II Tango 	5:50
11.III Waltz 	2:11
12.IV Romanze 	2:59
13.V Bits 	4:44

The London Philharmonic Strings (tracks: 1 to 3,8)
The Smith Quartet (tracks: 4 to 7,9 to 13)
Deirdre Cooper (Cello)
Violin – Dermot Crehan, Duncan Riddell, Konstantin Stoianov, Robert St. John Wright (tracks: 1 to 3) 
Conductor - Karl Jenkins 

Sir Karl William Pamp Jenkins (CBE), was born on 17th February, 1944, in Penclawdd, Wales. He first received music training from his father, who was a choirmaster and chapel organist. Jenkins began to learn the oboe, and subsequently played in the National Youth Orchestra of Wales. Further to this, he went and studied music at Cardiff University, and then at the Royal Academy of Music.

Regarded as the ‘most performed living composer in the world’, Jenkins’ work can be heard in films, TV series and concert halls. In 2005, Jenkins composed the score for the feature film, River Queen, which subsequently won the Golden Goblet Award for ‘Best Score’. Jenkins is also well-known for his Adiemus project, which combined Western classical styles with ethnic vocal sounds and percussion, with a new, invented language. Jenkins is also celebrated for his royal commissions such as his harp concerto Over the Stone, which was for HRH The Prince of Wales’ harpist. He has also worked with euphonium virtuoso, David Childs, violinist Marat Bisengaliev and Welsh baritone, Bryn Terfel.

The name Palladio has caused much discussion as to its origins. Put simply, it refers to Venice-born architect, Andrea Palladio. The form is a concerto grosso for string orchestra, with Jenkins saying this about the work:

“Palladio was inspired by the sixteenth-century Italian architect, Andrea Palladio, whose work embodies the Renaissance celebration of harmony and order. Two of Palladio’s hallmarks are mathematical harmony and architectural elements borrowed from classical antiquity, a philosophy which I feel reflects my own approach to composition. The first movement I adapted and used for the ‘Shadows’ A Diamond is Forever television commercial for a worldwide campaign. The middle movement I have since rearranged for two female voices and string orchestra, as heard in Cantus Insolitus from my woks Songs of Sanctuary.” ---Alex Burns, classicalexburns.com

The String Quartet No. 2t was written for a British ensemble, the Smith Quartet (none of whose members is named Smith). It is a suite-like work in five movements. The first movement, "The Fifth Season" is a kind of pattern music, with rhythmic ideas from Baroque music lying oddly atop a 5/4 beat. The second movement, "Tango," explores the basic tango pattern of a dotted eight, sixteenth, and two eight notes in various versions.

The third movement, "Waltz," serves the function of a scherzo. In the "Romance," movement, all four members of the quartet get an ardent solo. The final movement, "Bits," is a complex rondo with an intro and epilogue, so that its form can be expressed "IABACADAEI." The I (introduction and epilogue) is an Organum. The recurring A section is a Chorale, and the three episodes are, respectively, a Musette, a Blues, Hoe-Down, and Hollywood. ---Joseph Stevenson, allmusic.com

The passacaglia is a form that originated in the Baroque era, was revived by Brahms, and has again become important in the 20th century. Traditionally a rather somber sort of music. A passacaglia is a set of variations on a theme which is constantly repeated somewhere in the musical texture.

Jenkins passacaglia is based on a five-measure theme. The work is a memorial to the composer's aunt.

In 1995 Jenkins released highly successful record called "Adiemus, Songs of Sanctuary," and extended work for voice, percussion, and the strings of the London Philharmonic Orchestra. This disc topped both the classical and the pop charts of Europe and Japan. "Adiemus Variations" is a theme and four variations for string quartet based on the theme of the first movement of "Songs of Sanctuary." ---Joseph Stevenson, allmusic.com

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01. Cantus lacrimosus
02. Incantation (words trad.; sung in Arabic)
03. Vidit Jesum in tormentis
04. Lament (words by Carol Barratt)
05. Sancta Mater
06. Now my life is only weeping (words - Rumi Sung in English & Aramaic)
07. And the Mother did weep (words Karl Jenkins Sung in English, Hebrew, Latin, Aramaic & Greek)
08. Virgo virginum
09. Are you lost out in darkness? (words Anon. Sung in English & Aramaic)
10. Ave verum
11. Fac, ut portem Christi mortem
12. Paradisi Gloria

Belinda Sykes - soprano and duduk
Jurgita Adamonyte - soprano
Royal Liverpool Philharmonic Orchestra & Choir
Karl Jenkins – conductor

On 15 March 2008 Liverpool Cathedral saw the World Premiere of Welsh composer Karl Jenkins' Stabat Mater, 
with the RLPO conducted by the composer himself.

Karl Jenkins' setting of the Stabat Mater includes several additional texts, in English, Latin, Greek, and Aramaic, including a poem by Rumi and newly written poetry, and the entire work lasts over an hour. The listener's response to this piece will depend on his or her appreciation of Jenkins' other works in a classical vein targeting a crossover audience. The Stabat Mater is recognizably "classical," using traditional chorus, orchestra, and soloist with conventional harmonic progressions, often related to Baroque practices, but the whole has a distinctly pop feeling, particularly in its heavy deployment of percussion. Jenkins also uses a number of non-western instruments (as well as an "ethnic" vocalist), and the influence of world music is never far away. Jenkins' aesthetic may lack sophistication or stylistic integrity, but the slick professionalism of his facile mix of genres can't be denied. The work receives a top-notch performance, with Jenkins leading the Royal Liverpool Philharmonic Orchestra and Chorus and the EMO Ensemble, playing and singing with passion and conviction. Mezzo-soprano Jurgita Adamonyte sings with warmth and deep expressiveness, and elevates the material through the dignity of her performance. The same could be said of vocalist Belinda Sykes, who brings a Middle Eastern sensibility to her solos. EMI's sound is clean, warm, and vibrant. --- Stephen Eddins, allmusic.com

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1 	The Armed Man 	6:25
2 	The Call To Prayers (Adhaan)	2:04
3 	Kyrie	8:12
4 	Save Me From Bloody Men 	1:42
5 	Sanctus 	7:00
6 	Hymn Before Action 	2:38
7 	Charge! 	7:26
8 	Angry Flames 	4:44
9 	Torches 	2:58
10 	Agnus Dei 	3:39
11 	Now The Guns Have Stopped 	3:25
12 	Benedictus	7:36
13 	Better Is Peace 	9:33

Baritone Vocals – Nicholas Merryweather
Bass Vocals – Philip Shakesby
Choir – The National Youth Choir Of Great Britain
Conductor [National Youth Choir] – Mike Brewer OBE
Leader [Orchestra] – Duncan Riddell 
Mezzo-soprano Vocals – Rachel Lloyd
Orchestra – The London Philharmonic Orchestra 
Percussion [Additional] – Dave Hassell, Jody K Jenkins, Neil Percy
Soprano Vocals – Elizabeth Witts, Susie Parkes
Trumpet [Principal] – Paul Beniston 
+
Soloist [Meuzzin] – Mohammed Gad (2)
Soloist [Treble] – Tristan Hambleton (3)
Soloist, Cello – Guy Johnston (12)

Karl Jenkins, a British composer who has written award-winning music for advertising, created this choral work for the Royal Armouries, a museum of medieval military objects housed in the Tower of London. The idea, writes the museum's director, was to use the medieval tune L'homme armé (The Armed Man) to create a modern mass, just as composers of half a millennium ago did with some frequency -- and thus "to look back and reflect as we leave behind the most war-torn and destructive century in human history." L'homme armé is a little scrap of music saying basically that "the armed man must be feared." No one really knows why it was so popular in its day, but one theory is that it referred to the mustering of forces that followed in the wake of the fall of Constantinople (now Istanbul) to Islamic forces in 1453.

There's nothing in the individual sections of music here that you haven't heard a dozen times in film or television scores, and Jenkins is one of those crossover composers who feel the need to put down those who attempt music of a different kind. It's especially classless of him to disrespect John Cale, who played the viola when Jenkins was an oboist with the Wales National Youth Orchestra and who will be remembered long after The Armed Man: A Mass for Peace has fallen off the charts. Nevertheless, Jenkins' work gets points for sheer ambition, and it's easy to understand the tremendous popularity it has attained in Britain -- it has been programmed by community choirs all over the place. Jenkins does not weave L'homme armé into a flow of polyphony as a Renaissance composer would have done. Instead, he bookends the work with two different treatments of the tune (whose title is mispronounced by the National Youth Choir of Great Britain). In between come parts of the Ordinary of the Mass (the Gloria and Credo are missing), interspersed with other texts pertaining to war and its horrors: a Japanese poem about the firestorms that followed the atomic bombs, Rudyard Kipling's "Hymn Before Action," and an apocalyptic passage from India's Mahabharata. Those who already love this work would be advised to check out Leonard Bernstein's Mass, a similar sort of piece that achieves much more variety and more of a sense of genuine surprise. But Jenkins does manage to weave disparate sources together into a coherent and compelling whole. The Armed Man is much less well known in the U.S. than in Britain, probably because the U.S. crossover market is smaller than Britain's and more oriented toward singers. ---James Manheim, AllMusic Review

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1 	Cantilena: Ysbryd y Mynyddoedd (Spirit Of The Mountain)	3:29
2 	Cysga Di	2:56
3 	Delilah	2:26
4 	Abide With Me	2:43
5 	Suo Gan	3:23
6 	Danny Boy	4:16
7 	Son Of Maria	3:03
8 	Pie Jesu (From Requiem)	4:34
9 	Hyfrydol	3:38
10 	Evening Prayer	3:46
11 	In These Stones Horizons Sing	4:22
12 	Flower Duet	1:41
13 	Myfanwy	4:16
14 	Agnus Dei (From The Armed Man)	3:39
15 	Benedictus (From The Armed Man)	7:38
16 	Lle Cana'r Eryrod (Where Eagles Sing)

Brass Band – Cory Band
Choir – Cantorion
Conductor – Karl Jenkins
Conductor [Cantorion: Musical Director] – Tim Rhys-Evans
Conductor [Cory Band: Musical Director] – Robert Childs
Soloist, Euphonium – David Childs
Vocals - Only Men Aloud

Tracks on the album ‘This Land Of Ours’ are all special arrangements by Karl Jenkins and range from classical favourites and choral classics to traditional Welsh tunes and pop standards - all performed in that unique brass band style. ---prestomusic.com

This wonderful recording grabbed me at the first note and excepting for one track ("Delilah", whose inclusion I did and do fail to understand). I was in turn moved to tears, exalted, enchanted and in all, delighted by this recording. Given the nationality of the composer, it's not surprising that the land referred to in the title is Wales. The original songs by Karl Jenkens, performed in Welsh are gorgeous, showing a genuine affection for the music, and musicians of his homeland. The all male group, Cantorion are splendid. Some all-male (and-all female choruses, for that matter) can bring a sameness to their performances, but not Cantorion. The blend is awesome and the range of color of which this group is capable is nothing less than astounding. And as far as the instrumental ensemble, Cory Band, is concerned, the review who opined that this was 'not a good recording for them' must have been listening to something else entirely. First of all, the combination of male chorus and band is an ancient and honorable one in Wales. Also, the performances here are nothing short of awesome -- in every sense of the word. The final selection ends with an extended cadenza for the band that absolutely takes my breath away every time I listen to it. And every time I play it on my radio program, "Sunday Evening Songfest" (on WMNR Fine Arts Radio -- wmnr.org) I get calls from listeners who love what they hear and can't wait to get this recording. ---Annie Schwaikert, amazon.com

It seems slightly unfair to label this as a 'Karl Jenkins' album, as the performers here are the multi-award-winning brassists Cory Band and male voice choir Cantorion. Of course, fellow Welshman Jenkins is the arranger and producer of the material included on this EMI Classics debut, and it's his name that looms largest on the cover.

Jenkins' powerful use of surging vocal arrangements infused with drama, and the sprinkling of modern touches into classical structures is here in abundance - it's a Jenkins work and no mistake.

The inclusion of the Cory Band generates a clean, brass sound and an almost-Christmassy atmosphere.

Some lesser-known Welsh-language pieces such as Cysga Di (Go To Sleep) vie with age-old favourites (Delilah, Abide With Me, Pie Jesu) but Jenkins' skill comes in its own, allowing each to breathe; not one piece overwhelms another.

He's on top form with this interperative collection, aided by some of the UK's very best musical and vocal performers. ---James McLaren, bbc.co.uk

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Part I
01. Blessed are the peacemakers
02. Fanfara
03. Peace, peace!
04. I offer you peace
05. Inner peace
06. Healing Light: a Celtic prayer
07. Meditation: Peace is...
08. Evening Prayer
Intermezzo
09. Solitude

Part II
10. Fiat pax in virtute tua
11. He had a dream: Elegy for Martin Luther King
12. The Dove
13. The Peace Prayer of St Francis of Assisi
14. One Song
15. Let there be justice for all
16. Dona nobis pacem
17. Anthem: Peace, triumphant peace

Lucy Crowe, soprano
Chloe Hanslip, violin
Ashwin Shrinivasan, bansuri
Gareth Davies, flutes
Davy Spillane, uilleann pipes
Nigel Hitchcock, soprano saxophone
Laurence Cottle, fretless bass guitar
Clive Bell, shakuhachi
Jody K. Jenkins, ethnic percussion
Rundfunkchor Berlin
City of Birmingham Symphony Orchestra Youth Chorus
The Really Big Chorus
London Symphony Orchestra
Karl Jenkins - conductor

‘The Peacemakers is dedicated to the memory of all those who lost their lives during armed conflict: in particular, innocent civilians. When I composed The Armed Man: A Mass for Peace for the millennium, it was with the hope of looking forward to a century of peace. Sadly, nothing much has changed.’ ---Karl Jenkins CBE

The Peacemakers is a work extolling peace. One line, from Rumi (the 13th-century Persian mystic poet whose words I have set) sums up the ethos of the piece: ‘All religions, all singing one song: Peace be with you’. Many of the ‘contributors’ are iconic figures that have shaped history, others are less well known. I have occasionally placed some text in a musical environment that helps identify their origin or culture; the bansuri (Indian flute) and tabla in the Gandhi, the shakuhachi (a Japanese flute associated with Zen Buddhism) and temple bells in that of the Dalai Lama, African percussion in the Mandela and echoes of the blues of the deep American South (as well as a quote from Schumann’s Träumerei (Dreaming) in my tribute to Martin Luther King. ‘Healing Light: a Celtic prayer’ is just that, with uilleann pipes and bodhrán drums. I have also presented some odd combinations, such as ‘monastic chant meets the ethnic’ in ‘Let there be justice for all’ and ‘Inner peace’.

Having decided on The Peacemakers as the textual core and title of my new work the search was on to find messengers of peace. A handful of obvious figures came to mind, figures that have changed the world, such as Gandhi, Mandela and Martin Luther King, followed by such iconic and inspiring people as Mother Teresa and Anne Frank. Having sourced suitable and pithy text from these the net was cast to find other ‘peacemakers’. I had been aware of Albert Schweitzer as a boy, in part because my organist father had recordings of him playing Bach, and I had previously set the Persian mystic poet, Rumi, in my Stabat Mater. I felt I needed something from the Abrahamic religions, so there are words from Christ, the Qur’an, Judaism and St Seraphim of Sarov (a Russian Orthodox monk), while St Francis of Assisi is included by association. I also quote from the Old Testament Book of Isaiah in my homage to Martin Luther King, as he did in his ‘I have a dream’ speech. English poets, Shelley and Malory are heard, as is Bahá’u’lláh, the founder of the Bahá’í faith. Carol Barratt added further text with the odd sentence from me. Some anonymous traditional text has also been included. I feel privileged that Terry Waite CBE has contributed some wonderful words, especially written for The Peacemakers. ---Karl Jenkins, September 2011, boosey.com

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