RES10110 In TheDark

Platinum Consort

Scott Inglis-Kidger conductor

In The Dark Felice Anerio (c. 1560-1614) Richard Bates (b. 1984) 1. Christus factus est [2:26] 6. Tamquam ad latronem [2:36] Platinum Consort Richard Bates 7. Tenebrae factae sunt [2:54] 2. In The Dark [5:20] 8. Animam meam [2:37] Scott Inglis-Kidger conductor 9. O vinea mea [1:45] Antonio Lotti (c. 1667-1740) 10. Jesum tradidit [1:56] 3. Crucifixus [3:02] 11. Caligaverunt [3:21] Emma Walshe soprano Zoe Brown soprano Tomás Luis de Victoria (c. 1548-1611) Tomás Luis de Victoria 12. Ecce quomodo moritur [5:32] Raffaele Pe 4. Versa est in luctum [3:35] Simon Ponsford countertenor (1532-1594) Oliver Jones tenor da Venosa (1560-1613) [4:52] 13. Tristis est anima mea [4:06] Michael Solomon Williams tenor 5. Tristis est anima mea Timothy Murphy bass Henry Purcell (1659-1695) Nick Ashby bass 14. Hear my prayer [2:20]

James MacMillan (b. 1959) 15. Miserere [11:32]

Total playing time [58:04] In The Dark: are gradually extinguished until only the top disciples will all ‘take flight’), Lassus’ innate follow a strict pattern in terms of structure, A celebration of music for, and candle remains lit. The office itself is pared understanding of the emotions and the with each third being in an inspired by, the Tenebrae tradition down so as to exclude any part which may significance of the text is dazzlingly vivid ABCBAB form; and Ecce quomodo moritur falls constitute an element of praise, with only throughout. into this category. The responsory is for use The Tenebrae tradition stretches back as the most basic facets of the service remaining. on and laments the taking far as the church’s liturgy, and the name The premise throughout is one of mourning Equally as significant from this same era of of a just man, while no one looking on of this specific ritual office refers to a and sorrow at the events that took place at music was the Spanish composer appears to care or can change it. number of services that occur in the last the end of ’s passion. The programme Tomás Luis de Victoria (c. 1548-1611), who three days of (, recorded here features music for, or inspired was born in Avila and received his early One of the most fascinating characters of and Holy Saturday). This by, the Tenebrae tradition, with the majority musical education at the city’s cathedral was Carlo Gesualdo da period – the culmination of Passiontide drawing on texts used at various points and later in Rome under the patronage of Venosa (1560-1613), and his setting of Tristis and the season of Lent – exists as a vital during the liturgy, or of closely related themes, Philip II of Spain, where he became inspired est anima mea embodies much of what is event in the Christian church’s year, and with both early and contemporary works by such figures as Palestrina, returning to so absorbing and at times even seemingly for many centuries the strong emotional inextricably bound by common sentiments. Spain in 1585. The first work of his featured erratic in his music. Aside from his unusual significance of this liturgy has provoked in this programme, Versa est in luctum, is and often chromatic music, he was the and inspired some of the most potent and One of the earliest works of this programme from his ‘Office for the Dead’, an extensive Prince of Venosa and Count of Conza, and poignant choral music in the western world. is by Orlande de Lassus (1532-1594) – without Requiem composed in tribute to the sister famously murdered his wife and her lover doubt the most celebrated composer of his of Philip II, the Dowager Empress Maria of having caught them in the act of adultery. More particularly in the Roman Catholic generation of Franco-Flemish polyphonic Austria and first performed at her memorial His music is supposed by some to be an rite, Tenebrae refers to the services of Renaissance. The text of Tristis est anima service in 1603 and published just two years outlet for his extreme lifelong guilt over and Lauds that take place in the mea, is taken from the words Jesus spoke later in 1605. The itself originally the murders, although he was not alone early hours (or the previous evening) on to his disciples immediately before his featured at the end of the Requiem Mass in writing in this particular dramatic style. each of these days towards the end of arrest in the Garden of Gethsemane and is text and before a setting of ‘Libera me’, and The contrast between this setting and Holy Week, and in hours of darkness. The from a responsory used on Maundy Thursday. depicts both the and the flute ‘tuned’ that of Lassus could not be starker, with word itself can be translated as ‘darkness’, At once present is the ability of Lassus to in sadness and grief with a final plea to the deceptively simple but vivid setting and each Tenebrae service features a portray the immense sadness of an occasion, God for mercy. been replaced with a highly sensual and ceremony that includes the extinguishing with a work that is quite sophisticated emotional version of this text. of a candle following each psalm or despite its apparent simplicity. From the The second work by Victoria, Ecce quomodo canticle to emphasise this theme. The opening imitative entries of ‘Sorrowful is moritur is the fifteenth of his eighteen Felice Anerio (c. 1560-1614) was born and liturgy begins with fifteen candles my soul, even unto death’, until the calm Tenebrae (Officium Hebdomadae spent his entire life in Rome, eventually customarily arranged in a triangular shape – and resigned air of ‘I shall go to be sacrificed Sanctae) first published in Rome in 1585 succeeding Palestrina as composer to representing the remaining eleven apostles, for you’, (preceded by the increased rhythmic before his return to his homeland. The the Papal choir – the only two people ever the three Mary’s and Christ himself – which activity of Jesus’ premonition that the responsories are grouped in threes and to hold such a position. The text of Christus factus est is from the Epistle to the Philippians, of his career in St Mark’s Basilica in Venice provides no exception. Commissioned by and is used as the gradual on Passion Sunday. gradually working his way up to the premier the AMUZ (Flanders Festival Antwerp) for Anerio here demonstrates his predilection to position of maestro di capella. A prolific the 2009 Laus Polyphoniae Festival, Miserere move away from the modality typical of this composer of both sacred and secular music – was first performed in Carolus-Borromeuskerk, period with a relatively simple homophonic including a substantial number of operas, Antwerp, by The Sixteen conducted by Harry work, while the text celebrates that in Christ and instrumental music – Lotti Christophers, it is a setting of the – giving his life on the cross to save the lives composed a number of different settings of a Latin text perhaps best-known in its of others, God has exalted him and ‘given the Crucifixus, the text of which is taken ubiquitous setting by . him the name which is above every name.’ from the Nicene Creed. This particular, and This version scored for eight voices by most well-known, of Lotti’s settings of the MacMillan does allude slightly to that of Considered by some as the finest composer text is taken from his Credo in F, which is Allegri, particularly in aspects of its partial Britain has ever produced, Henry Purcell part of his Missa Sancti Christophori and is recurring sectional construction, the use (1659-1695) holds central importance in the scored for eight voices. It is characterised of the full Miserere mei text and his rebirth of church music in England following by repeated suspensions and resolutions, employment of plainchant, but there is the barren period of the Commonwealth which gives added tension this most crucial where the similarities end. The broader and the subsequent restoration of the section of the creed ‘For our sake he was range of MacMillan’s setting provides a monarchy in 1660. His musical influence crucified under Pontius Pilate; he suffered particularly absorbing and potent version was also considerable outside the church death and was buried.’ of the text – from the opening homophonic Richard Bates and he is credited with contributing heavily section for the tenors and basses, which is to the birth of English opera. Hear my prayer Since a number of notable premieres in contrasted with an extended improvisatory contemporary music came about during the is the first part of an anthem intended for the 1990s – the best-known of these section, through to the stunningly simple Cambridge student days of both Bates and the funeral of Charles II but, as the state being The Confession of Isobel Gowdie – plainchant and the towering climax at the the group’s director Scott Inglis-Kidger, and funeral never took place following the James MacMillan (b. 1959) has become one end of the work at ‘Then shalt thou be the first concert by the group in November king’s conversion to Catholicism on his of the foremost composers in the world, in pleased with the sacrifice of righteousness, 2005 featured the premiere of Bates’s deathbed, the anthem remained unfinished, addition to being a renowned conductor. with the burnt-offerings and oblations: setting of the Mass composed in a leaving us only to imagine what Purcell Born and raised in Ayrshire, Scotland, then shall they offer young bullocks upon Renaissance style. Further smaller works may have written otherwise. While the MacMillan studied with Kenneth Leighton thine altar.’ followed for the group before the composition work is relatively short, it shows incredible and Rita McAllister at the University of of Tenebrae in 2009 and its subsequent economy of musical material, with seemingly Edinburgh and with John Caskin at the The Platinum Consort’s relationship with premier in London in 2010. In May 2012 relentless imitative entries that grow into University of Durham. Well-known as being the young British composer Richard Bates Bates was appointed the consort’s official an incredible climax and resolution. a fervent Catholic, MacMillan’s strong (b. 1984) dates back to the very earliest days composer-in-residence, while Inglis-Kidger faith has contributed significantly to many of the group’s existence. The idea to form a has continued to advocate Bates’s music Antonio Lotti (c. 1667-1740) spent much aspects of his music, and his Miserere consort to champion both Renaissance and with other groups, with a setting of Holy is the true light premiered recently in Venice humming to a semi-chorus made up of one by the Platinum Foundation’s Boys’ Choir of each of the SATB voices echoing the solo and a large-scale work for chorus and soprano’s words or interacting with her line orchestra forthcoming in 2013 for in counterpoint.’ Inglis-Kidger’s Thomas’s Choral Society along with further works for the Consort. Composed specially for this album, the inspiration for In The Dark came during the In looking to write a medium-scale work planning stages of this recording. In for the Consort, Bates was drawn to the discussing texts associated with the Tenebrae texts and particularly those Tenebrae theme, the compelling poem intended for Good Friday (Feria VI In You that have spent the silent night by the Parasceve), which, as the composer states, English tudor poet George Gascoigne lend themselves well to a dark musical (1525-1577) came into Bates’s mind as setting. Each of the six movements of particularly relevant. Scored for eight voices, Tenebrae provides a cogent reaction to the composer speaks of the premise of the the texts – Bates adds that ‘In this setting text as the ‘dawn of light’ providing a holy as in others, the movements do not form metaphor for the work, in which the poet a chronology, but represent scenes as in gives praise for the beginning of a new a fresco or icon. In their composition, I day following the ‘gloomy night’ when have focused on the poetic language and the ‘heav’nly day doth show his face’. character of each text and its relationship to music, rather than creating a narrative © 2012 Andrew Benson discourse.’ The six movements are linked together with a recurring solo soprano response that each make use of the similar material. Bates explains how ‘These passages use a recurrent theme, Platinum Consort which is elaborated upon by the soprano soloist. As tradition dictates, the texture of these response sections is different to the main body of each movement and additionally varied from one movement to another: from the rest of the choir Texts 3. Crucifixus 1. Christus factus est Antonio Lotti (c. 1667-1740) Felice Anerio (c. 1560-1614) Crucifixus etiam pro nobis For our sake he was crucified Christus factus est pro nobis Christ became obedient sub Pontio Pilato under Pontius Pilate; obediens usque ad mortem, for our sakes unto death, passus et sepultus est. he suffered death and was buried. mortem autem crucis. even death on the cross. Propter quod et Deus exaltavit illum Therefore has God highly exalted him from the Nicene Creed et dedit illi nomen, and given him the name quod est super omne nomen. which is above every name. 4. Versa est in luctum Philippians 2:8-9 Tomás Luis de Victoria (c. 1548-1611)

Versa est in luctum cithara mea, My harp is tuned for lamentation, 2. In The Dark et organum meum in vocem flentium. and my flute to the voice of those who weep. Richard Bates (b. 1984) Parce mihi Domine, Spare me, O Lord, nihil enim sunt dies mei. for my days are as nothing. You that have spent the silent night In sleep and quiet rest, Funeral Motet And joy to see the cheerful light that riseth in the East. 5. Tristis est anima mea And as the gloomy night did last, Carlo Gesualdo da Venosa (1560-1613) But for a little space, And heav’nly day now night is past Tristis est anima mea, usque ad mortem: Sorrowful is my soul, even unto death. Doth show his pleasant face. sustinete hic, et vigilate mecum. Stay here, and watch with me. Nunc videbitis turbam, que circumdabit me. Now you shall see the crowd, that will surround me. Now lift your hearts, your voices raise, Vos fugam capietis, You shall take flight, Your morning tribute bring, et ego vadam immolari pro vobis. and I shall go to be sacrificed for you. And pay a song , a grateful song of praise To heav’n’s almighty king. Ecce appropinquat hora, The time approaches, and the son of man et Filius hominis tradetur in manus peccatorum. shall be delivered into the hands of sinners. George Gascoigne (1525-1577) Tenebrae Responsory for Maundy Thursday Tenebrae 8. Animam meam (cont.) Richard Bates elluxit super me omnis terrae, and all the earth mourned for me. And there was nobody who would acknowledge me 6. Tamquam ad latronem quia non est inventus qui me agnosceret et faceret bene. and be kind to me. Tamquam ad latronem existis cum gladiis As if against a robber you have come out Insurrexerunt in me viri absque misericordia, Men without mercy rose up against me, et fustibus comprehendere me: with swords and cudgels to seize me. et non pepercerunt animae meae. and they spared not my life. Quotidie apud vos eram in templo docens, Every day I was with you teaching in the temple et non me tenuistis: and you did not arrest me. Now you torment me et ecce flagelatum ducitis ad crucifi gendum. and take me to death on a cross. 9. O vinea mea Cumque iniecissent manus in lesum When they had laid their hands on Jesus O vinea mea electa, ego plantavi: O my chosen vineyard, I planted you. et tenuissent eum dixit ad eos: and had arrested him, he said to them: Quomodo conversa es in amaritudinem, How is your sweetness become bitterness, Ut me crucifigeres, et Barabbem dimittere? that you crucify me and take Barabbas in my place? 7. Tenebrae factae sunt Sepivite, et lapides elegi ex te, I protected you, I took stones away from your path, et aedificavi turrim. and made a tower for your defence. Tenebrae factae sunt, There was darkness, dum crucifixissent Jesum Judeai: when Jesus was crucified by the Jews, et circa hora nonam exclamavit Jesus voce magna: and at about the ninth hour Jesus cried out loudly: 10. Jesum tradidit Deus meus ut quid me dereliquisti? My God, why have you forsaken me? inclinato capite, emisit spiritum. He bowed his head, and gave up the ghost. Jesum tradidit impius summis princibus Jesus was betrayed to the chief priests sacerdotum, senioribus populi. and the elders of the people by the impious man. Exclamans Jesus voce magna ait: Crying in a loud voice Jesus said: Petrus autem, sequebatur eum a longe, Peter, however, followed from a distance, Pater in manus Tuas commendo spiritum meum. Father, into your hands I commend my spirit. Ut videret finem. to see how it would end.

They led him to Caiphas, 8. Animam meam Adduxerunt autem eum ad Caiapham principem sacerdotum, the chief priest, ubi scribae et phariseai convenerant. where the scribes and pharisees were gathered. Animam meam dilectam tradidi I delivered my beloved life in manus iniquorum, into the hands of the wicked, and my possessions et facta est mihi hereditas mea sicut leo in silva. have become to me like a lion in the forest. Dedit contra me voces dicens: My enemy spoke against me saying: Congregamini et properate ad devorandum illum. Join together and hasten to devour him. Posuerunt me in deserto solitudinis They placed me in a solitary desert, 11. Caligaverunt 13. Tristis est anima mea Orlande de Lassus (1532-1594) Caligaverunt oculi mei a fletu meo: My eyes fail with tears, quia elongatus, est a me, He that consoled me Tristis est anima mea, usque ad mortem: Sorrowful is my soul, even unto death. qui consolabatur me: is now far from me. sustinete hic, et vigilate mecum. Stay here, and watch with me. Videte, omnes populi; Consider, all people; Nunc videbitis turbam, que circumdabit me. Now you shall see the crowd, that will surround me. si est dolor similis sicut dolor meus. If there is any sorrow like my sorrow. Vos fugam capietis, You shall take flight, et ego vadam immolari pro vobis. and I shall go to be sacrificed for you. O vos omnes qui transitis per viam, O all you that pass by this way, attendite et videte. look and consider. Tenebrae Responsory for Maundy Thursday

Tenebrae Responsories for Good Friday 14. Hear my prayer Henry Purcell (1659-1695)

12. Ecce quomodo moritur Hear my prayer, O Lord: Tomás Luis de Victoria and let my crying come unto thee.

Ecce quomodo moritur iustus, Behold how the just man dies, Psalm 102, v. 1 et nemo percipit corde: and no one takes it to heart: et viri iusti tolluntur, the just are taken away, et nemo considerat. and no one cares: 15. Miserere A facie iniquitatis In the face of violence James MacMillan (b. 1959) sublatus est iustus: is the just man taken: Et erit in pace memoria eius. And there shall be peace in the memory of him. Miserere mei, Deus: Have mercy upon me, O God: secundum magnam misericordiam tuam. after your great goodness. Tamquam agnus coram tondente se obmutuit, Like a lamb before his shearer is dumb, Et secundum multitudinem miserationum tuarum: According to the multitude of your mercies: et non aperuit os suum: he opened not his mouth: deleiniquitatem meam. do away my offences. de angustia, et de iudicio sublatus est. From misery and judgement he was taken. Amplius lava me ab iniquitate mea: For I acknowledge my faults: et a peccato meo munda me. and my sin is ever before me. Tenebrae Responsory for Holy Saturday Quoniam iniquitatem meam ego cognosco: Against you only have I sinned: et peccatum meum contra me est semper. and done this evil in your sight. Tibi soli peccavi, et malum coram te feci: ut That you might be justified in your saying: justificeris in sermonibus tuis, et vincas cum judicaris. and clear when you are judged. Ecce enim in iniquitatibus conceptus sum: Behold, I was shaped in wickedness: et in peccatis concepit me mater mea. and in sin did my mother conceive me. 15. Miserere (cont.)

Ecce enim veritatem dilexisti: But lo, you require truth in the inward parts: incerta et occulta sapientiæ tuæ manifestasti mihi. and will make me to understand wisdom secretly. Asperges me hyssopo, et mundabor: You will purge me with hyssop, and I shall be clean: lavabis me, et super nivem dealbabor. you will wash me, and I shall be whiter than snow. Auditui meo dabis gaudium et lætitiam: You will make me hear of joy and gladness: et exsultabunt ossa humiliata. that the bones which you have broken may rejoice. Averte faciem tuam a peccatis meis: Turn your face from my sins: et omnes iniquitates meas dele. and put out all my misdeeds. Cor mundum crea in me, Deus: Make me a clean heart, O God: et spiritum reotum innova in visceribus meis. and renew a right spirit within me. Ne projicias me a facie tua: Cast me not away from your presence: et spiritum sanctum tuum ne auferas a me. and take not your Holy Spirit from me. Redde mihi lætitiam salutaris tui: O give me the comfort of your help again: et spiritu principali confirma me. and establish me with your free Spirit. Docebo iniquos vias tuas: Then shall I teach your ways unto the wicked: et impii ad te convertentur. and sinners shall be converted unto you. Libera me de sanguinibus, Deus, Deliver me from blood-guiltiness, O God, Deus salutis meæ: you that are the God of my health: et exsultabit lingua mea justitiam tuam. and my tongue shall sing of thy righteousness. Domine, labia mea aperies: You will open my lips, O Lord: et os meum annuntiabit laudem tuam. and my mouth shall show your praise. Quoniam si voluisses sacrificium, dedissem utique: For you desire no sacrifice, else would I give it you: holocaustis non delectaberus. but you delight not in burnt-offerings. Sacrificium Deo spiritus contribulatus: The sacrifice of God is a troubled spirit: cor contritum et humiliatum, Deus, non despicies. a broken and contrite heart, O God, will you not despise. Benigne fac, Domine, in bona voluntate tua Sion: O be favourable and gracious unto Sion: ut ædificentur muri Jerusalem. build you the walls of Jerusalem. Tunc aceeptabis sacrificium justitiæ, oblationes Then will you be pleased with the sacrifice of et holocausta: righteousness, with the burnt-offerings and oblations: tunc imponent super altare tuum vitulos. then shall they offer young bullocks upon your altar.

Psalm 51 Platinum Consort Monteverdi’s Vespers (1610) and a semi-staged tour of Purcell’s Dido and Aeneas. In December Platinum Consort was founded by Scott 2013 Platinum will perform Bach’s Christmas Inglis-Kidger and Claire Jaggers in 2005. Oratorio with the Orchestra of the Age of Platinum has since expanded to comprise Enlightenment, as part of the Kings Place a professional Consort, a Boys’ Choir and Bach Unwrapped Festival. a series of varied Choral Workshops. Further expansion is planned and the www.platinumconsort.com existing Platinum ensembles will be joined in the future by a Girls’ Choir, a Chamber Choir and a Period Instrument Band.

The consort specialises in bringing vibrancy to , as well as breathing life into newly commissioned pieces. Originating at the University of Cambridge, the consort attracted singers from the renowned choirs of St John’s, Jesus, Trinity and King’s Colleges. Many of these original members are now professional singers with Platinum.

The group has an affinity with the music of Platinum’s Composer in Residence, Richard Bates, and recently premiered his Tenebrae. These, along with other works inspired by the Tenebrae tradition, appear on their debut album, In The Dark, released in 2012 on the Resonus Classics label.

Platinum Consort has an exciting 2012-2013 schedule planned, which includes the launch performance of In The Dark at Kings Place, a performance of More titles from Resonus Classics Scott Inglis-Kidger (conductor) Scott Inglis-Kidger establish Platinum Boys’ Choir and Platinum Mendelssohn: Octet Op. 20 gained an MA in Choral Workshops in 2011. World premiere recording of the original 1825 version Music from the Eroica Quartet and Friends University of Scott conducts Thomas’s Choral Society and RES10101 Cambridge, having recent sell-out concerts have included specialised in Handel’s Messiah with the Saraband Consort BBC Music Magazine, Chamber disc of the month early music, and John Rutter’s Requiem with Platinum ‘The label's first disc is a remarkable coup’ Boys’ Choir and Lakeswood Sinfonia. conducting and International Record Review the science and psychology of music. Scott recently recorded his debut album As a countertenor, Scott studied with David with Platinum Consort and toured to Venice Debussy and Ravel: String Quartets Lowe and sang in the world famous King’s with Platinum Boys’ Choir. In addition to The first modern recording on gut strings College Choir, appearing on the 2005 BBC conducting, Scott directs many workshops The Eroica Quartet television broadcast of Carols from King’s. around the country and is much in demand RES10107 With King’s, Scott performed many concerts as a vocal coach for individuals and groups, in Europe, most notably in the Concertgebouw and as an early music specialist. ‘Refreshingly rethought interpretations ... thought in Amsterdam and at the Stuttgart Barock provoking, deeply satisfying performances’ Festival. Scott also sang in the Cambridge www.scottinglis-kidger.com The Strad (‘The Strad Recommends’) University Chamber Choir and an array of ad hoc consorts, inspiring him to form Platinum Consort in 2005. © 2012 Resonus Limited Before Platinum became his full time project è 2012 Resonus Limited in 2011, Scott was Director of Music and Recorded in All Saints’ Chur ch, East Finchley, London on 5-7 February 2012 Master of the Choristers at Willington Producer, Engineer and Editor: Adam Binks Recorded at 24-bit / 96kHz resolution School, Wimbledon, where he established Cover image: Divine Light on Stone (Flickr.com/Neil Piddock, the renowned Willington School Choristers. Creative Commons Licence) He was subsequently Director of Music at Session photography © Platinum Consort

Thomas’s School, Battersea, where he DDD – MCPS managed one of the largest prep school departments in London. During this time, RESONUS LIMITED – LONDON – UK Scott developed a passion for training singers of all ages, which led him to [email protected] www.resonusclassics.com RES10110