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Home , Cappella Giulia, Felice Anerio, Giovanni Maria Nanino, Gregorio Allegri, Sistine Chapel Choir

CORO The Sixteen Edition CORO The Sixteen Edition Other Sixteen Edition recordings available on CORO Allegri - Victoria - Requiem 1605 Music : , Stabat Mater Priest, scholar and singer, this remarkable Lotti: Crucifixus Spaniard epitomised the emotion from the ALLEGRI "Christophers draws and fervour of brilliant performances Europe. from his singers, both Victoria's lavish ANERIO technically assured and Requiem became Sistine vividly impassioned." his most famous and PALESTRINA revered work. cor16014 corsacd16033 Chapel MARENZIO

Recording Producer: Mark Brown 2007 The Sixteen Productions Ltd. Recording Engineer: Mike Hatch (Floating Earth Ltd) © 2007 The Sixteen Productions Ltd. Recorded in the church of St Silas the Martyr, For further information about recordings on CORO Kentish Town, London in November 2006 or live performances and tours by The Sixteen, includes 44 (0) 20 7488 2629 Italian Coach: Karen Fodor call + or email [email protected] Editions - Mapa Mundi, transcribed and edited by world premiere Martyn Imrie and Nigel Davison - J & W Chester: Assumpta est Maria, www.thesixteen.com recordings transcribed and edited by Nigel Davison THE VOICES OF Cover image: Eyalos, Shutterstock Inc. The Sixteen Design: Andrew Giles THE VOICES OF ��������������������� HARRY CHRISTOPHERS To find out more about The Sixteen, concert tours, and to buy CDs, visit www.thesixteen.com cor16047 1 “The whole plan of singing in musical modes shall be constituted Ave Regina caelorum a 8 4.44 Masters of not to give empty pleasure to the ear, but in such a way that the (1560-1614) words may be clearly understood by all, and the hearts of the 2 Ascendit Deus a 5 1.49 the Papal Chapels listeners be drawn to the desire of heavenly harmonies, in the G.P. da Palestrina (1525-1594) contemplation of the joys of the blessed” 3 Ave Maria a 5 3.16 he Church of has had a long Palestrina and turbulent history, most famously Thus decreed the Council of Trent in 1562, and what better 4 Angelus Domini descendit 3.14 Twith the great schisms of the late dictum for us to attempt to emulate? This recording will give de caelo a 5 Palestrina Middle Ages: the final separation of the you a rare insight into the world of the Papal chapels and in 5 Regina caeli laetare a 8 2.11 Eastern and Western Christians after many particular the most famous of all, that of the . Anerio centuries of dispute, by the rejection of The music can all be found in the , where 6 the Council of Florence in 1472; and that Stabat Mater a 12 7.35 precipitated by Urban VI, elected in 1378, there is a wealth of scores often chaotically catalogued and Anerio inaccessible to scholars. Some of the manuscripts are so fragile resulting in the dual Papacies of Avignon 7 4.13 that they can neither be safely handled nor photographed. Christus resurgens ex mortuis and Rome, resolved in 1417 in favour of the (1582-1652) latter city. Allegri is one of those whose reputation and 8 Che fa oggi il mio sole 1.10 However by the end of the 15th century renown rests on a single work - the Miserere*. However, he wrote other and masses (1553?-1599) the Church had achieved a degree of and here we will give you the opportunity to see Allegri in another light. Felice Anerio was Missa 'Che fa oggi il mio sole' stability, wealth and prestige which enabled another true master of composition. His music has, quite frankly, been a revelation to me and Allegri it, in addition to its pastoral role, to be I hope it will be the same for you. at the forefront of patronage of the Arts 9 Kyrie 4.05 bl (painting, music and architecture), as If, like Allegri and Anerio, you were associated with the Papal chapels in the sixteenth century Gloria 4.30 well as a political power of considerable or early seventeenth century, you could not fail to come under the magisterial influence of bm Credo 6.48 influence. Polyphonic music was well Palestrina. Without doubt he was the great master of all Papal composers and his spiritual craft bn Sanctus 2.26 established, alongside the ancient chants, as and harmonic vitality fulfilled the needs of the Vatican. Just listen to his glorious for the bo Benedictus 2.31 an essential part of the ritual observances Assumption, Assumpta est Maria, at the end of this disc, and you will understand completely. bp Agnus Dei 4.21 of the Church; singers and composers were bq in ever greater demand throughout the secundi toni a 8 7.09 hegemony of the Roman religion, and the Anerio churches and schools of what are now br Assumpta est Maria a 6 6.36 the Low Countries and France were a great Palestrina source of these for the great Italian city *available on the coro label as cor16014 Total playing time 67.49 states as well as the Vatican. 2 3 Built by Sixtus IV (1471 - 1484), Choir became significant, so much so that international, post-Josquin style, perhaps clarity in text setting. the Sistine Chapel is famous primarily for by 1512 there were nine in a choir of about best exemplified in the works of Morales, Likewise Palestrina and his younger its magnificant decorations, notably the twenty. In contrast, a hundred odd years who was a widely admired associates proceeded to rewrite much of ceiling frescoes of . But just later, the personnel was almost exclusively throughout Europe as well as in Spain the repertoire, with the revised texts of the as magnificent, but more transient, was Italian: the Liber Missarum of Archangelo and the New World. A later Italian was Council of Trent, in a more transparent the music written in the next century and Crivelli (1546-1617), copied as Sistine Giovanni Animuccia, a Florentine born in and text-orientated fashion. Ideally suited a half and sung by the Papal Choir within Chapel codex 25, in the year of his death, 1520, who worked mostly in Rome, and to the new needs of the revised Liturgy its walls. Notated in often richly-decorated lists the 31 singers who (presumably) were whose career straddled the period of the were pieces in double choir format, their manuscripts and sometimes issued in the performers of his six-voice Missa Canite Council of Trent. He was Palestrina’s most declamatory style favouring intelligible prints, preserved in the choir library tuba. Among them are three Spaniards, important Roman contemporary from 1550 projection of the text. Foremost in the until our time, this repertoire changed including Francisco Soto, (c.1533 - 1619), a on. Indeed in January 1555 he succeeded composition of such music were the significantly in style throughout the 16th ; one other is French, D. Theophilus Palestrina (who had been admitted to the Spaniard Tomás Luis de Victoria, and century. Initially dominated by Franco- Garganus Gallicanus; the rest seem all to Sistine Choir that month) at St. Peter’s Palestrina himself, as well as a host of Flemish composers, its flavour later swung be Italians, mostly Romans. Interestingly, as master of the , a post younger composers, dominantly Italians, in favour of native Italians, particularly the Italians generally have the town of he held until his death in 1571, when he Romans such as the Nanino and Anerio when the Counter Reformation gained their origin appended to their name, such was in turn succeeded by Palestrina, who brothers. strength after the Council of Trent (1545- as D. Horatius Crescentius Neapolitanus then held the post until his death in 1594. The elder Anerio brother, Felice, was 1563), which had been set up mainly for the (Naples), R. Archangelus Crivellus Palestrina, in the interim, had been ejected born in 1560, began his career in 1568 as definitive determination of the doctrines of Beramensis (Bergamo), or R. Jacobus from the Sistine Choir in July 1555, in that a choirboy at S. Maria Maggiore under the Church in response to the heresies of Razzius Perusinus (Perugia). Of course year of the three , because he was (1545-1607, who the Protestants. we must remember that the most famous married. Stylistically, Animuccia’s music was a Papal singer from 1577); and he sang Such a pattern was also evident in the Italian composer of the Renaissance called is very much continuing in the traditions under Palestrina in the Cappella Giulia national make-up of the singers in the himself Giovanni Pierluigi da Palestrina, of Morales, Gombert, Festa and their from 1575 to 1579. He wrote the usual Choir, although there was a more even after his birthplace. contemporaries: the 1552 book of Motets range of music for a composer of the time: balance in the early years. Since the late The first Italian composer of stature are backward looking, favouring deep, rich, both secular and sacred, music 15th century the Choir members had whose works appear in the Papal archives sonorous textures, with long and often for the Liturgy, some of it issued in print. considered themselves to be made up of was . Like his contemporary, complex, but elegant, vocal lines. However But the great achievement of his life three national groupings: the Franco- Cristóbal Morales, he was a singer in his later Masses, published in 1567, were to was his appointment as official Papal Flemish; the Italians; and the Spanish. With the . Festa became a show the influence of the Council of Trent composer, on 3rd April 1594, on the death the accession of Alexander VI (Rodrigo member in 1517 and died in 1545. His in their simpler style, with the composer of Palestrina, who had held the post since Borgia) in 1492, the “Spanish nation” in the compositions were written in the by-then shaping his inspiration to achieve greater 1565 - this triumph Anerio celebrated

4 5 in the of his 1596 book of Motets, Reformation in Rome at this time, finding comparatively little is still ever performed. harmony with clarity of text declamation. declaring proudly in large bold print:“Felicii its ultimate expression in the “massive His life and career spanned momentous Ascendens Deus, for Ascension Day, is set Anerii Capellae Apostolicae Compositoris”, ” of the 17th century: for example, years in the history of the Church, to a bright rising imitative point, the piece and underneath in smaller lettering the in the works of Vincenzo Ugolini, (1580 - including the Council of Trent and the concluding with joyful Alleluias. Ave Maria, actual contents: “Sacri hymni et cantica ...”. 1638), maestro of St Peter’s from 1620 Counter Reformation. He also was the first for the 4th Sunday of Advent, is more In this publication, Anerio shows on, who published Masses and Motets native Italian to publish a volume of Masses stately and reverential, its beautiful vocal himself as a true master, at least the equal in double and triple choir format, with in Rome, in 1554. They were dedicated to lines shaped by the ancient chant. Angelus of any other of his Italian contemporaries, fully figured parts for the Julius II, who was formerly the Bishop of Domini descendit de caelo, for Sunday except the greatest of them all, Palestrina. instrumental accompaniments. Palestrina (the town) before his election in the Easter Octave, shows the master The Marian , Ave Regina Attributed to Felice Anerio in the sole to the Papacy. It was he who appointed polyphonist at his best: the climactic word, caelorum, Regina caeli, and the Magnificat, source, a Roman set of twelve partbooks, Palestrina as a singer in the Papal Choir, surrexit (“he has risen”), is given a subtle all combine the many facets of his art now incomplete, the Stabat Mater was despite him being married. Palestrina emphasis by different voices combining to - beautiful flowing mixed with published in 1874 by Haberl under played a significant role too, as indeed sing it simultaneously; this is followed by a more homophonic passages, rhythmic Palestrina’s name. The settings by Palestrina did Felice Anerio, through his association sequence of Alleluias to uplift the heart of vitality, including shifts from duple to and Lassus for eight voices have long been with S. Filippo Neri’s Congregazione the worshipper. triple time and back, variation in density appreciated, but this is perhaps the most dell’Oratorio, in encouragement of informal Gregorio Allegri is another composer of scoring, all in accord with clear ambitious and beautiful extant. It is striking devotions and observances. His twenty- well known today, but in his case his presentation of the text. Notable are the in its unusual, and masterly, manipulation nine extra-liturgical Motets on texts from reputation has rested on just a single work, ostinato repetitions at gaudete and valde of harmonic rhythm to suggest triple time the Song of Songs, published 1584, were the Miserere. Ironically, its fame is largely decora in Ave Regina; and the rising bass when the music is notated in duple, (for his main contribution to this end, although due to the decorations added to the simple runs in Regina caeli at resurrexit. Anerio example, at the opening). True triple time he also composed two books of Madrigali chords, their secret jealously guarded by the sets the complete Magnificat text, except is only used by the composer at the words Spirituali. Papal singers until the time of Mozart, who for the intonation. It seems he did not Inflammatus et accensus... in die iudicia The Offertoria totius anni secundum was reputedly the first outsider to write write a complete set, in alternatim, as had near the end. With its control of harmony, Sanctae Romanae Ecclesiae, (“Offertories them down. been common practice with many of his rhythm and texture, interest and forward for the whole year according to the Use Born in 1582, Allegri was an important predecessors. impulse never flag despite the length of the of the Roman Church”), for five voices, of singer and composer in the Papal Choir The 12 voice Stabat Mater is an example text. 1593, could be said to enshrine the summit after 1630. He died in 1652, but his of the trend towards the use of massive Palestrina is almost too famous in of Palestrina’s art, yet they remain largely Miserere, and other polyphonic works, vocal (and indeed, instrumental) forces modern times to deserve further comment, unheard in our time. Settings of texts, often continued to be copied in the Sistine towards the end of the century. This aptly but this reputation is based in fact on now brief, from the reformed liturgy, they Chapel manuscripts almost into the 19th reflected the triumphal spirit of the Counter only a small portion of his music, for embody the ultimate synthesis of line and century. Like the Anerio and Nanino

6 7 brothers (one of whom was his teacher of singers as a symbol of the Church and the from the Song of Songs (the motet’s Part Coincident with this was a decline in traditional ), his compositions Virgin Mary? Perhaps the was just II: Quae est ista... acies ordinata? ). The the standard and importance of the Choir encompassed both the modern style, in a favourite of the choir. melodic outlines of the motifs used by itself. Falsettists singing the line pieces for solo voices and basso continuo, Short melodic lines are taken from the Palestrina are derived from or influenced had always been an important part of the as well as conventional ‘old style’ polyphony madrigal (e.g bass, first few bars, Kyrie by the plainchant (as with the rising Choir, but they were gradually replaced by for four to eight voices, Masses, Motets, II) and developed through imitation phrase sung by the at the very castrati. In the course of the 17th century, Hymns, Lamentations. Among the best and variation; also whole textures are beginning). The choice of voicing, with some of the castrati were even obliged, of these is the Motet Christus resurgens, transferred, such as in the first few bars two , give a solidity and richness to under protest, to sing the part (which for double choir, copied in 1638 into the of Kyrie where the madrigal’s opening is the middle of the texture, which balances was below their natural range), due to the Sistine Chapel codices. Allegri was to use it repeated. well with the brilliance of the two sopranos. increasing lack of high tenors. With the rise as a model for his of the same name, Written in the , the Mass is Palestrina repeats the substantial closing in popularity of , particularly Italian, preserved in a Chapel manuscript copied as very much polyphonic throughout, Allegri section of part I (beginning at the triple- there was suddenly a great demand for late as 1719. limiting totally homophonic passages, even time Gaudete... ) at the close of part II, so castrati - fame and, one imagines, mostly Allegri shows himself to be a master in the Credo, where there is a long text to that the overall shape and balance is very fortune, beckoned, and a place in the Papal too of more purely polyphonic writing, in traverse. Triple time is used to great effect, satisfying. Choir was now very far from the summit his Masses for five and six voices. Among e.g at Et resurrexit; and unusually there are Probably the earliest source for this of a singer’s or a composer’s ambition. The these, the Missa Che fa oggi il mio sole, for two Osannas, the second a substantial, and piece is the Capella Sistina choirbook loss of the best voices from the soprano five voices, is modelled by Allegri on the exciting, fast triple-time, of a type common 76, dating from 1585 -1599; but it is also and alto parts was inevitable and terminal. brief, but striking, madrigal by that greatest in Masses of the latter part of the 16th in partbooks as late as 1751 (copied by By the time of the visits of Mozart, then of writers in the genre, Luca Marenzio (ca century. The bass part is more harmonic “Joan[nis] Nicoletti Cappellae Pontificiae Mendelssohn (in 1831), the choir was by 1553 - 1599). The Mass was copied, the sole in its outlines (with its many leaps and Cantoris”). Indeed there are numerous all accounts a mere shadow of that great item, into the Sistine Chapel codex 53, in intervals of a 4th or a 5th) than would be Sistine manuscripts from mid-century Renaissance institution to which we owe so 1664: this manuscript has as a frontispiece usual in music by earlier composers such as with music by not only Palestrina and his much today. a painting of Noah’s Ark on Mount Ararat, Palestrina. Indeed the use of a significant contemporaries, but even earlier masters perched above the flood-devasted earth, number of sharps by the composer also such as Morales (d. 1553). That this music Acknowledgement with the dove returning carrying the olive makes the Mass seem more tonal than continued to be copied and used many Thanks are due to Nigel Davison for his leaf. We do not know what this picture modal to our ears. years after their deaths shows the esteem in editing of the Missa Che fa oggi il mio sole might have to do with the Mass; nor indeed Palestrina’s magnificent Assumption which the composers were still held. More by Allegri. why Allegri chose this particular madrigal motet Assumpta est Maria, has a text taken significantly, there can have been little new for parody. Was Marenzio’s young man from several plainchant antiphons, and repertoire of quality being composed to © Copyright 2007 Martyn Imrie and his loved-one seen by the composer or includes a well-known quotation originally replace it.

8 9 Texts & Translations 4 Angelus Domini descendit de caelo Angelus Domini descendit de caelo The Angel of the Lord came down from et dixit mulieribus: heaven and spake to the women: 1 Ave Regina caelorum Quem quaeritis, surrexit, sicut dixit. He whom you seek has arisen, as he said. Alleluia. Alleluia. Ave Regina caelorum, Hail, Queen of Heaven! Ave Domina Angelorum: Hail, Mistress of the Angels. Salve radix sancta Hail, sacred stem, ex qua mundo lux est orta: from whom light for the world has arisen. 5 Regina caeli laetare Gaude gloriosa Rejoice most glorious Virgin, Regina caeli laetare, alleluia: Queen of Heaven, rejoice, alleluia: super omnes speciosa: beautiful above all others. quia quem meruisti portare, alleluia: For he whom you were chosen to bear, alleluia: Vale, valde decora, Hail and farewell, most gracious one, Resurrexit, sicut dixit, alleluia: He has risen, as he said, alleluia: et pro nobis semper Christum exora. plead always with Christ for us. Ora pro nobis Deum, alleluia. Pray for us to God, alleluia.

2 Ascendit Deus 6 Stabat Mater Ascendit Deus in iubilatione God ascends amidst rejoicing Stabat Mater dolorosa The grieving mother et Dominus in voce tubae. and the Lord to the voice of the . Iuxta crucem lacrymosa, stood by the Cross weeping Alleluia. Alleluia. Dum pendebat Filius. where her son was hanging. Cuius animam gementem, Her weeping soul, Contristatem et dolentem contrite and grieving, 3 Ave Maria Per transivit gladius. was pierced by a sword. O quam tristis et afflicta O how sad and distressed Ave Maria, gratia plena: Hail Mary, full of grace, Fuit illa benedicta was that blessed Dominus tecum: the Lord be with you. Mater Unigeniti! Mother of the Only-begotten! benedicta tu in mulieribus Blessed art thou amongst women et benedictus fructus ventris tui. and blessed the fruit of thy womb. Quae maerebat et dolebat, She who mourned and grieved, Et tremebat, cum videbat and shivered, while she watched Nati poenas inclyti. the torment of her glorious child.

10 11 Quis est homo, qui non fleret, Who would not weep Iuxta Crucem tecum stare, That I may stand with thee by the Cross, Christi Matrem si videret. to see the Mother of Christ Et me tibi sociare sharing with thee in mourning, In tanto supplicio? in such torment? In planctu desidero. this I desire. Quis non posset contristari, Who could not feel compassion Virgo virginum praeclara, Virgin of all virgins, most noble, Piam Matrem contemplari on beholding the Mother of Christ Mihi iam non sis amara, be not bitter with me, Dolentem cum Filio? suffering with her son? Fac me tecum plangere. let me lament with thee. Pro peccatis suae gentis For the sins of his people Fac, ut portem Christi mortem, Make it that I may bear the death of Christ, Vidit Iesum in tormentis, she saw in torment Passionis fac consortem, share his Passion Et flagellis subditum. and subjected to the scourge. Et plagas recolere. and endure his wounds. Vidit suum dulcem natum She saw her own sweet offspring Fac me plagis vulnerari, Let me be wounded with his wounds, Morientem, desolatum, dying, forsaken, Cruce hac inebriare, let me be inebriated by the Cross Dum emisit spiritum. while he gave up the ghost. Ob amorem Filii. because of love for your son. Eia Mater, fons amoris, O Mother, font of love, Inflammatus et accensus Inflamed and set afire, Me sentire vim doloris make me feel the strength of your sorrow Per te, Virgo, sim defensus through thee, Virgin, may I be defended Fac, ut tecum lugeam. that I may grieve with you. In die iudicii. by you on the Day of Judgement. Fac, ut ardeat cor meum Grant that my heart may burn Fac me cruce custodire, Let me be guarded by the Cross, In amando Christum Deum, in the love of Christ the Lord Morte Christi praemuniri, armed by Christ’s death, Ut sibi complaceam. so that I might please him. Confoveri gratia. strengthened by grace. Sancta Mater, istud agas, Holy Mother, do this for me: Quando corpus morietur, When my body dies, Crucifixe fige plagas Let the pain of the Crucified Fac, ut animae donetur grant that to my soul is given Cordi meo valide. be imprinted on my heart. Paradisi gloria. the glory of Paradise. Tui nati vulnerati, Of your wounded son, Tam dignati pro me pati, worthy to be slain for me, Mecum poenas divide. share with me the torment. Fac me tecum vere flere, Make me truly weep with thee Crucifixo condolere, and grieve with the Crucified, Donec ego vixero. as long as I live.

12 13 7 Christus resurgens bl Gloria Christus resurgens ex mortuis, Christ, rising from the Dead, Gloria in exclesis Deo. Glory be to God on high. iam non moritur: now dies no more. Et in terra pax And on earth peace mors illi ultra non dominabitur, Death shall have no dominion over him; hominibus bonae voluntatis. to men of good will. quod enim mortuus est, for that he died, Laudamus te, benedicimus te, We praise Thee, we bless Thee, peccato mortuus est semel; he died to sin once; adoramus te, glorificamus te. we worship Thee, we glorify Thee. quod autem vivit, vivit Deo. Alleluia. but that he lives, he lives to God. Alleluia! Gratias agimus tibi We give thanks to Thee Mortuus est semel propter delicta nostra, He died once for our sins propter magnam gloriam tuam. for Thy great glory. et resurrexit, propter iustificationem and arose for our salvation. Domine Deus, Rex caelestis, Lord God, heavenly King, nostram. Alleluia. Alleluia! Deus Pater omnipotens. God the Father almighty. Quod enim mortuus est, For that he died, Domine Fili unigenite, Iesu Christe. O Lord, the only-begotten Son, Jesus Christ. peccato mortuus est semel; he died to sin once; Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. quod autem vivit, vivit Deo. Alleluia. but that he lives, he lives to God. Alleluia! Qui tollis peccata mundi, Thou that takest away the sins of the world, miserere nobis. have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the world, 8 Che fa oggi il mio sole suscipe deprecationem nostram. receive our prayer. Che fa oggi il mio sole, What does today my sun, Qui sedes ad dexteram Patris, Thou that sittest at the right hand Che fa il mio canto e il suono, what does my song and music, miserere nobis. of the Father, have mercy upon us. Che non cantan di lei la gloria el nome? if they sing not of her glory and name? Quoniam tu solus Sanctus, For Thou only art holy, Or queste mie viole Now I give her these my violets tu solus Dominus, Thou only art the Lord, e questi fior gli dono, and these flowers that she may make a tu solus Altissimus Iesu Christe. Thou only art the most high, Jesus Christ. Che ne facci corona a le sue chiome. crown of them for her hair. Cum Sancto Spiritu With the Holy Spirit in gloria Dei Patris. Amen. in the glory of God the Father. Amen.

Missa 'Che fa oggi il mio sole' bm Credo 9 Kyrie Credo in unum Deum I believe in God Kyrie eleison. Lord have mercy upon us. Patrem omnipotentem, the Father almighty, Christe eleison. Christ have mercy upon us. factorem caeli et terrae, Maker of heaven and earth, Kyrie eleison. Lord have mercy upon us. visibilium omnium et invisibilium. and of all things visible and invisible. 14 15 Et in unum Dominum, Iesum Christum, And in one Lord Jesus Christ, Et unam sanctam catholicam And I believe in one holy, Catholic and Filium Dei unigenitum, the only begotten Son of God, et apostolicam ecclesiam. Apostolic Church. et ex Patre natum ante omnia saecula. begotten of his Father before all worlds. Confiteor unum baptisma I acknowledge one Baptism Deum de Deo, lumen de lumine, God of God, Light of Light, in remissionem peccatorum. for the remission of sins. Deum verum de Deo vero, very God of very God, Et expecto resurrectionem mortuorum And I look for the resurrection of the dead genitum, non factum, begotten, not made, et vitam venturi saeculi. Amen. and the life of the world to come. Amen. consubstantialem Patri, being of one substance with the Father, per quem omnia facta sunt. by Whom all things were made. Qui, propter nos homines, Who for us men, bn Sanctus et propter nostram salutem, and for our salvation, Sanctus, Sanctus, Sanctus Holy, Holy, Holy descendit de caelis. came down from heaven. Dominus Deus Sabaoth. Lord God of hosts. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost Pleni sunt caeli et terra gloria tua. Heaven and earth are full of Thy glory. ex Maria virgine, of the Virgin Mary Hosanna in excelsis. Hosanna in the highest. et homo factus est. and was made man. Crucifixus etiam pro nobis And was crucified also for us sub Pontio Pilato; under Pontius Pilate. bo Benedictus passus et sepultus est. He suffered and was buried. Et resurrexit tertia die, And the third day He rose again Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of secundum scripturas; according to the scriptures; Hosanna in excelsis. the Lord. Hosanna in the highest. et ascendit in caelum, and ascended into heaven, sedet ad dexteram Patris. and sitteth at the right hand of the Father. Et iterum venturus est cum gloria And He shall come again with glory bp Agnus Dei iudicare vivos et mortuos, to judge both the quick and the dead; cuius regni non erit finis. Whose kingdom shall have no end. Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takest away the sins of Et in Spiritum Sanctum And I believe in the Holy Ghost miserere nobis. the world, have mercy upon us. Dominum et vivificantem, the Lord and giver of life, Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takest away the sins of qui ex Patre Filioque procedit; Who proceedeth from the Father and the Son; dona nobis pacem. the world, give us peace. qui cum Patre et Filio simul Who with the Father and the Son together adoratur et conglorificatur; is worshipped and glorified; qui locutus est per Prophetas. Who spake by the prophets.

16 17 bq Magnificat br Assumpta est Maria Magnificat anima mea Dominum. My soul doth magnify the Lord Assumpta est Maria in caelum: Mary has been taken up to heaven: Et exsultavit spiritus meus in Deo and my spirit hath rejoiced in God my gaudent Angeli, the Angels rejoice, salutari meo. Saviour. laudantes benedicunt Dominum. they bless the Lord praising him. Quia respexit humilitatem ancillae suae: For he hath regarded the lowliness of his Gaudete et exsultate omnes recti corde. Rejoice and exult all ye of upright heart, ecce enim ex hoc beatam me dicent handmaiden: for, behold, from henceforth Quia hodie Maria Virgo cum Christo for the Virgin Mary reigns with Christ omnes generationes. all generations shall call me blessed. regnat in aeternum. for ever. Quia fecit mihi magna qui potens est: For he that is mighty hath done great things Quae est ista quae progreditur quasi Who is she who goes forth like et sanctum nomen eius. to me, and holy is his name. aurora consurgens, pulchra ut luna, the growing dawn, beautiful as the moon, Et misericordia eius a progenie in And his mercy is from generation unto electa ut sol, brilliant as the sun, progenies timentibus eum. generation, unto them that fear him. terribilis ut castrorum acies ordinata? terrible as battle camps in full array? Fecit potentiam in brachio suo: He hath showed strength with his arm; he Gaudete et exsultate omnes recti corde. Rejoice and exult all ye of upright heart, dispersit superbos hath scattered the proud in the imagination Quia hodie Maria Virgo cum Christo for the Virgin Mary reigns with Christ mente cordis sui. of their hearts. regnat in aeternum. for ever. Deposuit potentes de sede, He hath put down the mighty from their et exaltavit humiles. seat and exalted the humble. Esurientes implevit bonis: He hath filled the hungry with good things, The Sixteen et divites dimisit inanes. and the rich he hath sent empty away. SOPRANO Julie Cooper Simon Berridge Suscepit Israel puerum suum He hath received Israel, his servant, Libby Crabtree Mark Dobell recordatus misericordiae suae. being mindful of his mercy. Grace Davidson Nicolas Robertson Sicut locutus est ad patres nostros, As he spoke to our forefathers, Julia Doyle David Roy Abraham et semini eius in saecula. to Abraham and his seed for ever. Sally Dunkley William Unwin Charlotte Mobbs Gloria Patri, et Filio, Glory be to the Father, and to the Son, and BASS Jonathan Arnold et Spiritui Sancto. to the Holy Ghost. ALTO Ian Aitkenhead Ben Davies William Missin Eamonn Dougan Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now and ever Christopher Royall Timothy Jones et in saecula saeculorum. Amen. shall be, world without end. Amen. Ben Turner Robert Macdonald

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