CORO CORO The Sixteen Edition Claudio Monteverdi Handel: Dixit Dominus Selva morale e spirituale Vol. I Steffani: Stabat Mater “These are some of “The Sixteen also the most spirited combine precision Claudio and individual and maximum performances of this excitement in the Monteverdi repertory available.” precocious, thrilling bbc music magazine brilliance of Handel’s Dixit Dominus.” the sunday times Selva cor16087 cor16076 morale e spirituale Palestrina Volume 1 The Italian Collection “The approach of Special slipcase edition Harry Christophers containing five of The is distinctive and Sixteen’s celebrated Volume ii revelatory, and he has CDs. Includes Allegri surrounded the Mass by Miserere and Scarlatti a well-chosen array of Iste Confessor as well as motets in praise of the Virgin Mary.” masterpieces by Handel, Palestrina, Lotti and The Sixteen cor16091 bbc music magazine cor16099 Monteverdi. h a r r y christophers

To find out more about The Sixteen, concert tours, and to buy CDs visit www.thesixteen.com cor16101 onteverdi published Selva full of contrasts not only vocally but also instrumentally. Frances, Dai and Al luxuriate M morale e spirituale in the final in Monteverdi’s harmonic language: the variety of textures and sonorities they achieve years of his life; it was to be the largest are quite extraordinary. collection of sacred music he had made since his magnificent Vespers Performing his sacred music is in many ways no different from performing his of 1610 and indeed it was to be the operas; the same principles apply. It is essential we follow Monteverdi’s dictum: recitar

last collection of music he published. Borggreve Marco Photograph: cantando (speak through singing). This allows the most amazing licence. As a result, It is jam packed with brilliant works, time relationships do not become mechanical. They are intuitively felt, thus giving us from solo songs to thrilling eight- the freedom to be expressive and interpret the words, just as any great actor recites part vocal pieces with added strings; Shakespeare. A set of words, often repeated many times, can have different inflections, every composition is full of luscious a different gesture each time. The opening of Laudate Dominum (Terzo) is just that – a harmonies, beautifully constructed series of gestures. for all concerned. This is the second volume in our Monteverdi collection and I am so looking forward to Once again the three days we spent recording this second volume proved to be some of completing the series. Thanks to the whole choir but, in particular, Elin, Grace, Mark, the most enjoyable and evocative music making in which we have ever participated. In Joe, Jeremy, Simon, Julian, Stuart and Rob for their extraordinarily versatile singing; effect, we recorded it in the round, the harpsichord precariously placed (well it looked Walter, Simon, Mark and Joe for being always intuitive and responding so instinctively that way but was actually very safe) on top of the chamber organ, so that Al could move in their interplay with the singers, all finally signed and sealed by our classy continuo with ease from one instrument to the other, chittarone, harp and strings on either side team, Al, Dai and Frances. Simply a pleasure! with the choir facing them. Everyone was in eye contact so that each subtle nuance and invention could be passed aurally and visually from one to another with great ease. Not that the music is easy; Monteverdi stretches every singer’s versatility to the limit. It is demanding but so exhilarating. Just listen to the rhythmic vitality of the eight-part Dixit, the relative simplicity of the full choir’s rendering of his old style Messa à 4 da cappella and then the extraordinary bass solo, Ab aeterno, where Stuart had to master a range of just over two octaves in often very florid and virtuosic writing, everything In Memoriam Richard Campbell

2 3 Claudio Monteverdi (1567-1643) 8 Credo from Messa à 4 da cappella 5.52 Selva morale e spirituale Volume ii 9 Sanctorum meritis (Primo) 4.43 soprano Grace Davidson 1 Laudate Dominum (Terzo) 4.19 bl Sanctus from Messa à 4 da cappella 2.28

soprano Elin Manahan Thomas, Grace Davidson bm alto Jeremy Budd, Mark Dobell Benedictus from Messa à 4 da cappella 1.23 tenor Simon Berridge, Julian Stocker bn Agnus Dei Messa à 4 da cappella 2.14 bass Rob Macdonald, Stuart Young from bo 2 Confitebor tibi Domine (Primo) 8.08 Crucifixus 2.08 soprano Grace Davidson, Elin Manahan Thomas alto Christopher Royall, David Clegg, Ian Aitkenhead alto Jeremy Budd, Simon Berridge tenor 1 Joseph Cornwell, Simon Berridge tenor Mark Dobell, Julian Stocker tenor 2 Jeremy Budd, Julian Stocker bass Rob Macdonald, Stuart Young bass Tim Jones, Eamonn Dougan, Rob Macdonald bp 3 O ciechi, ciechi 3.50 Laudate Dominum in sanctis eius 4.14 soprano Elin Manahan Thomas, Grace Davidson tenor Joseph Cornwell alto Simon Berridge bq Et iterum venturus est 1.32 tenor Mark Dobell bass Rob Macdonald tenor Jeremy Budd, Joseph Cornwell bass Eamonn Dougan 4 Jubilet tota civitas 5.01 br soprano Elin Manahan Thomas, Grace Davidson Ab aeterno ordinata sum 6.48 bass Stuart Young 5 Kyrie from Messa à 4 da cappella 2.38 bs Dixit Dominus (Primo) 9.10 6 Gloria from Messa à 4 da cappella 3.20 soprano Elin Manahan Thomas, Grace Davidson 7 Deus tuorum militum (Secondo) 2.33 alto Jeremy Budd, Mark Dobell tenor Simon Berridge, Julian Stocker soprano Grace Davidson bass Rob Macdonald, Stuart Young tenor Simon Berridge bass Rob Macdonald Total running time 70.32

4 5 Similarly, the Selva morale is framed by ricchezze? U’ son gli honori, E le gemme, Claudio Monteverdi Selva morale e spirituale music that Monteverdi may have chosen e gli scetri, e le corone?’ (Where are your (1567-1643) (or, indeed, composed) with Vienna and riches now? Where are the honours, The his dedicatee in mind. As mentioned above, gemstones, the sceptres and the crowns?). owards the end of his long choirmaster to Vincenzo Gonzaga, duke the music of the lament which closes the The relevance to royalty is clear, even life, Claudio Monteverdi, then of Mantua (1590–1612): the Eighth book was probably first heard by the nine– though the compiler of Monteverdi’s text choirmaster of the ducal church Book of Madrigals includes the Ballo year–old Eleonora at the first performance carefully omitted those lines by Petrarch Tof San Marco, Venice, published two delle ingrate, first performed at Mantua of the opera Arianna at Mantua in 1608. that make specific reference to emperors – monumental collections of music. The in 1608, and the Selva morale is rounded And the Selva opens with a sequence of ‘There I saw those who were called happy first was his Eighth Book of Madrigals, off by the Pianto della Madonna (The spiritual madrigals and arias that seem – popes, kings and emperors – now naked, Madrigali guerrieri et amorosi (Warlike Lament of the Madonna), an adaptation to be aimed at Viennese sensibilities. All miserable, beggars’. and amorous madrigals), issued in 1638, to Latin words of the renowned ‘Lament are vanitas settings – that is, reflections on the second his Selva morale e spirituale (A of Ariadne’, first heard in Monteverdi’s the transitory nature of human existence, At the end of the first section of the Selva moral and spiritual forest), issued in 1641, opera Arianna, also of 1608. Moreover, wealth, power and achievement – and there is another setting that has been though in the case of one of the surviving both volumes were dedicated to members the first, ‘O ciechi, ciechi’, seems to have linked to Vienna. This is the motet ‘Ab copies including a second title-page dated of the ruling house of the Holy Roman been chosen by Monteverdi especially aeterno ordinata sum’, for virtuoso solo 1640 which has misled many people into Empire: the madrigal collection to the for its relevance to an emperor’s widow bass and continuo. ‘Ab aeterno’ is a setting supposing that the volume was first issued Emperor Ferdinand III, the Selva morale noted for her piety, and thus as an apt of Proverbs 8:23–31, a text rarely set by in that year. to his mother, Eleonora Gonzaga, widow text with which to begin a book dedicated other composers. However, a slightly of the Emperor Ferdinand II and daughter to her. The text is by Petrarch, adapted, extended setting, also for virtuoso bass, Both volumes might be seen as summing of Duke Vincenzo Gonzaga. It has been perhaps, by Monteverdi himself. It comes is found, together with a Pianto della up Monteverdi’s achievement during his argued that both volumes, to some extent, from the first part of Petrarch’s Trionfo Madonna, in the Motetti a voce sola (1638) Venetian years, but the picture is not quite reflect Viennese tastes: in the case of the della morte (The Triumph of Death). by Giovanni Felice Sances, an Italian as straightforward as it might appear. madrigal book, through the inclusion of Monteverdi has taken 17 lines of the text, composer who had worked in the Venetian Both volumes include music that, in its large-scale madrigals of a kind widely and transposed the first four to become orbit in the early 1630s, but moved north original form, belonged to his years as cultivated at Vienna. the last four, beginning ‘U’ son hor le to join the imperial chapel choir as a tenor

6 7 from 1636, ultimately rising to become Agnus Dei by a modified form of this Sixteen on Volume I of this series). The a setting of Psalm 150, which calls for the imperial choirmaster. In Vienna, the text material, suggesting that the setting may implication is that it, too, can be substituted Lord to be praised to the sound of various of ‘Ab aeterno’ was associated with the be based on an as yet unidentified model. for the equivalent movement of the four- musical instruments. Like many motets of doctrine of the Immaculate Conception part Mass. The resulting hybrid setting rejoicing written for use at Venice, it is set of the Blessed Virgin – and the idea that In its simplest form, the Mass would may seem odd when the Mass is heard as largely in a joyful triple time and ends with she was predestined ‘ab aeterno’ (from certainly have been suitable for use concert music, but it causes no problems an extended ‘Alleluia’. The sounds of some the beginning of time) to be the mother in Empress Eleonora’s private chapel. in a liturgical setting, where the mixture of the instruments are easy to identify in of God. Since the text of the motet is However, Monteverdi also included in the of styles matches differences in liturgical the setting – the fanfares that represent written in the female voice, Monteverdi’s Selva mass sections in a more up-to-date function. The intrusion of a massive the sound of the trumpet, for instance, seemingly contradictory choice of a style that could be substituted for parts of Gloria setting suggests that Monteverdi and the repeated notes suggesting the bass to sing the text may have reflected the simpler setting, turning it into a hybrid had in mind a performance at Christmas striking of cymbals – others less so. The his imitation of Sances or simply his a cappella / instrumentally accompanied or Easter, following the absence of the other motet – ‘Jubilet tota civitas’, for two awareness that this was a voice much setting. Two of these sections, with Gloria text in masses celebrated during sopranos – is conceived as a dialogue. favoured at the Viennese court. obligatory organ accompaniment – a Advent and Lent. Monteverdi’s choice of One soprano, in triple time, calls upon chromatic ‘Crucifixus’, and a setting of ‘Et substitute sections for the ‘Crucifixus’ and the city to rejoice. The other asks what Between the spiritual madrigals and the iterum venturus est’ for three voices, come the second coming perhaps narrows this the occasion is for rejoicing. The first motet which frame the first part of the from the part of the Credo, dealing with to Easter. soprano then names the saint whose feast Selva, Monteverdi included a Mass setting Christ’s crucifixion and the second coming. day is being celebrated, and the setting is for four voices deliberately written, as The contents list of the Selva specifically The second part of theSelva morale consists rounded off with an ‘Alleluia’. The saint’s with all Monteverdi’s published masses, directs that the more modern-style settings of settings for the service of Vespers, name is given simply as ‘sanctus N.’, in the restrained a cappella style of sacred can be substituted for the appropriate together with two motets for use either in making this a general purpose motet into polyphony characteristic of the masses sections of the four-part Mass. The matter Vespers or Mass, and settings of the ‘Salve which any saint’s name can be inserted as of Palestrina. In Monteverdi’s setting the does not end here, though, because in the Regina’ to be sung after either Vespers or required. Kyrie and Gloria are linked by the use same sequence as these substitutes for the Compline, and, of course, the Pianto della of the same thematic material at their ‘Crucifixus’ is also found the great seven- Madonna. Of the two motets, ‘Laudate Unlike Monteverdi’s better known Vespers openings, and the Credo, Sanctus and part concertato Gloria (recorded by The Dominum in sanctis eius’, for tenor solo, is of 1610, which contains only a single

8 9 sequence of psalms and hymns for feasts thus presented a challenge to the composer Monteverdi is simply going to alternate displayed and the doge present in chapel. of the Blessed Virgin, the Selva morale wanting to construct a setting of reasonable the two groups verse by verse, since the In many cases the composers of San Marco includes multiple settings of individual length. The third setting in theSelva morale soloists sing verse 1 and the ripieno verse produced for these occasions eight-voice psalm texts, mainly for use on the feasts is one of Monteverdi’s most ingenious 2. In fact, though, the ripieno group sings settings in which two four-part choirs sang of male saints, from which a choirmaster responses to this challenge. Although the only verses 2 and 6, the first half of verse in alternation. Monteverdi’s approach is could select whichever settings were most text is not a dialogue, Monteverdi sets 9 and the Gloria Patri. In verses 2 and 9 much more fluid, with contrasts between appropriate for a particular occasion. it as though it were, with two sopranos this choice seems clearly to reinforce the soloists and the full texture. Verse 1, for Similarly, Monteverdi provided several (perhaps representing heavenly beings) meaning of the text – ‘Great are the works example, begins with a secondo choro hymn settings and indicated that each calling on the people to praise the Lord. At of the Lord’ and ‘Holy and fearsome is his chanting on a single pitch, as if intoning the could be used for other hymns in the first the people respond only with the word name’, respectively, and the Gloria Patri is beginning of a plainsong psalm. However, same metre, just as in modern hymn ‘quoniam’ (because), effectively turning it an obvious place for the full eight–voice this proves to be only the beginning of a books. Monteverdi’s hymn settings, into a question. After the heavenly beings texture. In verse 6 Monteverdi may have large-scale structure encompassing verses though, were not for congregational use, have answered this question, through the used the ripieno to reflect the repeated 1 and 2, in which solo voices and small but for soloists, as may be heard in ‘Deus text of verse 2 – ‘because His mercy is reference to the works of the Lord, or ensembles are contrasted with the full tuorum militum’, a triple time setting for confirmed upon us’ – the people respond simply for variety. eight voices singing en bloc. Verse 3, which three voices, two violins and organ (which positively. The Gloria Patri is then sung by actually begins with a plainsong psalm Monteverdi indicated could also be used the two heavenly beings, whose voices at ‘Dixit Dominus’ is the psalm appointed to tone built into the opening tenor duet, for the hymns ‘Jesu corona Virginum’, the end of the setting seem to fade away begin almost every celebration of Vespers, and verses 6 and 7 are similarly crafted and ‘Christe redemptor omnium’) and into the distance. and Monteverdi opened the second from contrasting textures and repeated ‘Sanctorum meritis’ for soprano, again in section of the Selva morale with two very lines used to build larger structures, with triple time with a ritornello for two violins The first of the three ‘Confitebor’ settings large-scale settings, for eight voices and a particularly memorable use of the full between the verses, and a concluding in the Selva morale is scored for solo Alto, two violins, to which other instruments choir to portray a vengeful God striking instrumental section. Tenor and Bass with a further five voices can be added by the choirmaster. Settings through his enemies and laying waste to (SSATB) ‘ne repieni’, which may indicate for eight voices were required to be sung the land. The psalm L‘ audate Dominum’ consists of that these parts were sung by more than at Vespers whenever the Pala d’Oro – the only two verses and the Gloria Patri and one voice. At first it seems as though great golden altarpiece of San Marco – was © February 2012 John Whenham

10 11 Confessio et magnificentia opus eius: His work is honourable and glorious: Translations by Jeremy White Texts & Translations et iustitia eius manet in saeculum saeculi. and his righteousness endureth for ever.

Memoriam fecit mirabilium suorum, He hath made his wonderful works to be remembered, 1 Laudate Dominum (Terzo) misericors et miserator Dominus: the Lord is gracious and full of compassion: escam dedit timentibus se. He hath given meat unto those that fear him. Soprano: Elin Manahan Thomas, Grace Davidson Alto: Jeremy Budd, Mark Dobell Tenor: Simon Berridge, Julian Stocker Bass: Rob Macdonald, Stuart Young Memor erit in saeculum testamenti sui: He will ever be mindful of his covenant: virtutem operum suorum annuntiabit populo suo: He hath shewed his people the power of his works: Laudate Dominum omnes gentes: O praise the Lord, all ye nations: laudate eum omnes populi. praise him, all ye people. Ut det illis haereditatem gentium: That He may give them the heritage of the heathen: opera manuum eius veritas et iudicium. the works of his hands are verity and judgement. Quoniam confirmata est super nos misericordia ejus: Because his mercy is confirmed upon us: et veritas Domini manet in aeternum. and the truth of the Lord endureth for ever. Fidelia omnia mandata eius, All his commands are sure, confirmata in saeculum saeculi: they stand fast forever and ever: Gloria Patri, et Filio: Glory be to the Father, and to the Son: facta in veritate et aequitate. and are done in truth and uprightness. et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, et semper: As it was in the beginning, is now, and ever shall be: Redemptionem misit populo suo: He sent redemption unto his people: et in saecula saeculorum. Amen. world without end. Amen. mandavit in aeternum testamentum suum. He hath commanded his covenant forever.

Psalm 117 Sanctum et terribile nomen eius: Holy and fearsome is His name: initium sapientiae timor Domini. the fear of the Lord is the beginning of wisdom. 2 Confitebor tibi Domine (Primo) Intellectus bonus omnibus facientibus eum: A good understanding have all they that do his commandments: laudatio eius manet in saeculum saeculi. his praise endureth for ever. Soprano: Grace Davidson, Elin Manahan Thomas Alto: Jeremy Budd, Simon Berridge Tenor: Mark Dobell, Julian Stocker Bass: Rob Macdonald, Stuart Young Gloria Patri, et Filio: Glory be to the Father and the Son: et Spiritui Sancto. and to the Holy Ghost. Confitebor tibi Domine in toto corde meo: I will praise you Lord with my whole heart: Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and always shall be, in consilio iustorum et congregatione. in the assembly of the upright, and in the congregation. et in saecula saeculorum. Amen. forever and ever. Amen.

Magna opera Domini: Great are the works of the Lord: Psalm 111 exquisita in omnes voluntates eius. sought out of all them that have pleasure therein.

12 13 3 O ciechi, ciechi 4 Jubilet tota civitas Soprano: Elin Manahan Thomas, Grace Davidson Alto: Simon Berridge Soprano: Elin Manahan Thomas, Grace Davidson Tenor: Mark Dobell Bass: Rob Macdonald Jubilet tota civitas. Let the whole city rejoice. O ciechi, ciechi! Il tanto affaticar, che giova? O blind ones, blind! What use is all your great toiling? Psallat nunc organis Mater Ecclesia Let Mother Church now sing with instruments Tutti tornate alla gran madre antica, You all return in the end to the great ancient mother, Deo aeterno, quae Salvatori nostro to the eternal God, she who to our Saviour E’l nome vostro appena si ritrova. And even your names can scarcely be recalled. gloriae melos laetabunda canat. now joyfully sings a song of glory. Pur delle mille un’utile fatica Of your thousand labours scarcely one is worthwhile Quae occasio cor tuum, dilectissima Virgo, What glad and happy occasion, most beloved Virgin, Che non sian tutte vanità palesi! If indeed they are not all patently in vain! gaudio replet tanta hilaris et laeta? Nuntia mihi. fills your heart with such joy? Tell me. Ch’ intende i vostri studi, sì mel dica. What is the goal of your efforts, I ask myself? Che vale a soggiogar tanti paesi, What is the value in subjugating so many countries, Festum est hodie Sancti gloriosi Today is the feast of the glorious Saint E tributarie far le gente strane In making foreign peoples your tributaries qui coram Deo et hominibus operatus est. who worked in the sight of God and of men. Con gli animi al suo danno sempre accesi? When your souls are so bent on their own damnation? Dopo l’imprese perigliose e vane, After all your perilous and vain enterprises, Quis est iste Sanctus qui pro lege Dei Who is this Saint who, for the law of God, E col sangue acquisitar terra e tesoro Your winning land and treasure with the shedding of blood, tam illustri vita et insignis operationibus with such a distinguished life and outstanding works Vie più dolce si trova l’acqua, e ‘l pane, Does water seem sweeter to you, or bread, usque ad mortem operatus est. laboured until his death? E ‘l vetro, e ‘l legno, che le gemme, e gli ori. Or glass, or wood, thanks to your jewels and your gold? Est Sanctus Blasius. It is Saint Blaise. U’ son hor le ricchezze? U’ son gli honori, Where are your riches now? Where are the honours, E le gemme, e gli scetri, e le corone, The gemstones, the sceptres and the crowns, O Sancte benedicte! O holy and blessed man! E le mitre con purpurei colori? The mitres of royal purple hue? Dignus est certe ut in ejus laudibus He is assuredly worthy that in his praises Miser chi speme in cosa mortal pone! Alas for the man who places his trust in mortal things! Semper versentur fidelium linguae. the tongues of the faithful will always be exercised. Jubilet ergo. Jubilet ergo tota civitas. Therefore let the city rejoice. Alleluia. Alleluia.

14 15 5 Kyrie from Messa à 4 da cappella 7 Deus tuorum militum (Secondo) Soprano: Grace Davidson Tenor: Simon Berridge Bass: Rob Macdonald Kyrie eleison. Lord have mercy on us. Christe eleison. Christ have mercy on us. Deus tuorum militum God, of your soldiers Kyrie eleison. Lord have mercy on us. Sors et corona, praemium, the fate, crown and reward, Laudes canentes martyris, absolve those singing the praises Absolve nexu criminum. of the martyr from the bond of sin. 6 Gloria from Messa à 4 da cappella Paenas cucurrit fortiter He passed through his hardship bravely Gloria in excelsis Deo. Glory be to God on high. Et sustulit viriliter: and endured manfully: Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. Pro te effundens sanguinem, and pouring his blood for You, Laudamus te, benedicimus te, We praise Thee, we bless Thee, Aeterna dona possidet. achieved his eternal reward. adoramus te, glorificamus te. we worship Thee, we glorify Thee. Laus et perennis gloria Praise and eternal glory Gratias agimus tibi We give thanks to Thee Deo Patri et Filio, be to God the Father and the Son, propter magnam gloriam tuam. for Thy great glory. Sancto simul Paraclito, and also to the Holy Ghost, Domine Deus, Rex caelestis, Lord God, heavenly King, In sempiterna saecula. Amen. in the everlasting age. Amen. Deus Pater omnipotens. God the Father almighty. Domine Fili unigenite, Jesu Christe. O Lord, the only-begotten Son, Jesus Christ. Hymn for the Common of one Martyr Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, Thou that takest away the sins of the world, 8 Credo from Messa à 4 da cappella miserere nobis. have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the world, Credo in unum Deum I believe in God suscipe deprecationem nostram. receive our prayer. Patrem omnipotentem, the Father almighty, Qui sedes ad dexteram Patris, Thou that sittest at the right hand of the Father, factorem caeli et terrae, Maker of heaven and earth, miserere nobis. have mercy upon us. visibilium omnium et invisibilium. and of all things visible and invisible. Quoniam tu solus Sanctus, For Thou only art holy, Et in unum Dominum, Jesum Christum, And in one Lord, Jesus Christ, tu solus Dominus, Thou only art the Lord, Filium Dei unigenitum, the only begotten Son of God, tu solus Altissimus Jesu Christe. Thou only art the most high, Jesus Christ. et ex Patre natum ante omnia saecula. begotten of His Father before all worlds. Cum Sancto Spiritu With the Holy Spirit Deum de Deo, lumen de lumine, God of God, Light of Light, in gloria Dei Patris. Amen. in the glory of God the Father. Amen. Deum verum de Deo vero, very God of very God,

16 17 genitum, non factum, begotten, not made, 9 Sanctorum meritis (Primo) being of one substance with the Father, consubstantialem Patri, Soprano: Grace Davidson per quem omnia facta sunt. by Whom all things were made. Qui, propter nos homines, Who for us men, Sanctorum meritis inclita gaudia The signal joys the saints have earned et propter nostram salutem, and for our salvation, Pangamus, socii, gestaque fortia; let us sing forth, friends, and their mighty deeds; descendit de caelis. came down from heaven. Nam gliscit animus promere cantibus for the heart swells to exalt in song Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost Victorum genus optimum. this, the noblest race of victors. ex Maria virgine, et homo factus est. of the Virgin Mary and was made man. Crucifixus etiam pro nobis And was crucified also for us Hi pro te furias atque ferocia For your sake they bore the fury sub Pontio Pilato; under Pontius Pilate; Calcarunt hominum, saevaque verbera: the violence and the savage lashes of men: passus et sepultus est. He suffered and was buried. Cessit his lacerans fortiter ungula, for them the cruelly tearing hook lost its power, Et resurrexit tertia die, And the third day He rose again, Nec carpsit penetralia. and could not gnaw them inwardly. secundum scripturas; according to the scriptures; Quae vox, quae poterit lingua retexere What voice, what tongue could weave the song et ascendit in caelum, and ascended into heaven, Quae tu Martyribus munera preparas? of the rewards you prepare for you Martyrs? sedet ad dexteram Patris. and sitteth at the right hand of the Father. Rubri nam fluido sanguine, laureis for, reddened with the tide of their blood, Et iterum venturus est cum gloria And He shall come again with glory Ditantur bene fulgidis. they are ennobled now with brightest laurels. Judicare vivos et mortuos, to judge both the quick and the dead, cuius regni non erit finis. Whose kingdom shall have no end. Te summa Deitas unaque poscimus We beseech you, highest Godhead undivided, Et in Spiritum Sanctum And I believe in the Holy Ghost Ut culpas abluas, noxia subtrahas, to wash away our sins and take away all harm, Dominum et vivificantem, the Lord and giver of life, Des pacem famulis, his quoque gloriam to grant your people peace, and that they may qui ex Patre Filioque procedit; Who proceedeth from the Father and the Son; Per cuncta tibi saecula. Amen. give glory through all the ages. Amen. 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. bl Et unam sanctam catholicam And I believe in one holy, Catholic Sanctus from Messa à 4 da cappella et apostolicam ecclesiam. and Apostolic Church. Sanctus, Sanctus, Sanctus Holy, Holy, Holy Confiteor unum baptisma I acknowledge one Baptism Dominus Deus Sabaoth. Lord God of hosts. in remissionem peccatorum. for the remission of sins. Pleni sunt caeli et terra gloria tua. Heaven and earth are full of Thy glory. Et expecto resurrectionem mortuorum And I look for the resurrection of the dead Osanna in excelsis. Hosanna in the highest. et vitam venturi saeculi. Amen. and the life of the world to come. Amen.

18 19 bm Benedictus from Messa à 4 da cappella bp Laudate Dominum in sanctis eius Tenor: Joseph Cornwell Benedictus qui venit Blessed is He that cometh in the name of the Lord. in nomine Domini. Laudate Dominum in sanctis eius: O praise God in his holiness: Hosanna in the highest. Osanna in excelsis. Laudate eum in firmamento virtutis eius. Praise Him in the firmament of his power.

Laudate eum in sono tubae: Praise Him in the sound of the trumpet: bn Agnus Dei from Messa à 4 da cappella Laudate eum in psalterio et citara. Praise Him upon the lute and harp. Laudate eum in timpano et choro: Praise Him in the timbrel and dances: Agnus Dei, qui tollis peccata mundi: Lamb of God, who takest away the sins of the world, Laudate eum in cimbalis bene sonantibus. Praise Him upon the well-tuned cymbals. miserere nobis. have mercy on us. Laudate eum in cimbalis jubilationis: Praise Him upon the cymbals of rejoicing: Agnus Dei, Lamb of God, who takest away the sins of the world, Omnis spiritus laudet Dominum. Alleluia. Let everything that has breath Praise the Lord. Alleluia. dona nobis pacem. grant us peace. Psalm 150 bo Crucifixus bq Et iterum venturus est Alto: Christopher Royall, David Clegg, Ian Aitkenhead Tenor: Jeremy Budd, Joseph Cornwell Bass: Eamonn Dougan Tenor 1: Joseph Cornwell, Simon Berridge Tenor 2: Jeremy Budd, Julian Stocker Et iterum venturus est cum gloria And He shall come again with glory Bass: Tim Jones, Eamonn Dougan, Rob Macdonald judicare vivos et mortuos, to judge both the quick and the dead, cujus regni non erit finis. Whose kingdom shall have no end. Crucifixus etiam pro nobis, He was crucified also for us, sub Pontio Pilato; under Pontius Pilate; passus et sepultus est. He died and was buried.

20 21 br Ab aeterno ordinate sum bs Dixit Dominus (Primo) Bass: Stuart Young Soprano: Elin Manahan Thomas, Grace Davidson Alto: Jeremy Budd, Mark Dobell Tenor: Simon Berridge, Julian Stocker Bass: Rob Macdonald, Stuart Young Ab aeterno ordinata sum, I was set up from everlasting, et ex antiquis antequam terra fieret. from the beginning, or ever the earth was. Dixit Dominus Domino meo: The Lord said unto my Lord: Nondum erant abyssi, et ego iam concepta eram, When there were no depths, I was brought forth, Sede a dextris meis, Sit thou on my right hand, necdum fontes aquarum eruperant, when there were no fountains abounding with water, Donec ponam inimicos tuos Until I make thine enemies necdum montes gravi mole constiterant; before the mountains were settled; scabellum pedum tuorum. thy footstool. ante omnes colles ego parturiebar. before the hills was I brought forth. Adhuc terram non fecerat, et flumina, While as yet he had not made the earth, nor the rivers, Virgam virtutis tuae emittet Dominus ex Sion: The Lord shall send the rod of thy power out of Sion: et cardines orbis terrae. nor the highest part of the dust of the world. dominare in medio inimicorum tuorum. be thou ruler, even in the midst among thine enemies. Quando preparabat caelos aderam, When he prepared the heavens I was there, Tecum principium in die virtutis tuae In the day of thy power shall the people offer thee quando certa lege et giro vallabat abissos, when he set a compass upon the face of the depth, in splendoribus sanctorum: free-will offerings with an holy worship: quando etera firmabat sursum, when he established the clouds above, ex utero ante luciferum genui te. the dew of thy birth is of the womb of the morning. when he strengthened the fountains of the deep, et librabat fontes aquarum, Juravit Dominus et non poenitebit eum: The Lord sware and will not repent: quando circumdabat mari terminum suum when he gave to the sea his decree Tu es sacerdos in aeternum thou art a priest for ever et legem ponebat aquis, ne transirent fines suos, that the waters should not pass their boundaries, secundum ordinem Melchisedech. after the order of Melchisedech. quando appendebat fundamenta terrae: when he appointed the foundations of the earth: cum eo eram, cuncta componens then I was by him, as one brought up with him Dominus a dextris tuis, The Lord upon thy right hand shall wound, confregit in die irae suae reges. even kings in the day of his wrath. et delectabor per singulos dies, and I was daily his delight, ludens coram eo omni tempore, rejoicing always with him, Judicabit in nationibus, He shall judge among the heathen, ludens in orbem terrarum, rejoicing in the habitable part of the earth, implebit ruinas: He shall fill the plains with the dead bodies: et deliciae meae esse cum filiis hominum. and my delights were with the sons of men. conquassabit capita in terra multorum. and smite in sunder the heads over divers countries. De torrente in via bibet: He shall drink of the brook in the way: Proverbs 8: 23-31 propterea exaltabit caput. therefore shall he lift up his head. Gloria Patri et Filio: Glory be to the Father, and to the Son: et Spiritui Sancto. and to the Holy Ghost: sicut erat in principio, et nunc et simper: as it was in the beginning, is now and ever shall be: et in saecula saeculorum. Amen. world without end. Amen. Psalm 110 22 23 Harry Christophers is known internationally as founder and conductor of The Sixteen as well as a regular The Sixteen guest conductor for many of the major symphony orchestras h a r r y christophers and opera companies worldwide. He has directed The Sixteen choir and orchestra throughout Europe, America and the Far East gaining a distinguished reputation for his work in violins Walter Reiter, Simon Jones Renaissance, Baroque and 20th-century music. In 2000 he instituted the Choral Pilgrimage, a national tour of English Borggreve Marco Photograph: violoncello Mark Caudle / Joseph Crouch cathedrals from York to Canterbury in music from the pre- chitarrone David Miller Reformation, as The Sixteen’s contribution to the millennium harp Frances Kelly celebrations. It raised awareness of this historic repertoire organ/harpshichord Alastair Ross so successfully that the Choral Pilgrimage in the UK is now central to The Sixteen's annual artistic programme. In 2008 Harry Christophers was appointed Artistic Director of Boston’s Handel and Haydn Society; he is also Principal Guest Conductor of the Granada Symphony Orchestra. As well soprano Julie Cooper, Grace Davidson as enjoying a very special partnership with the BBC Philharmonic, with whom he won Sally Dunkley, Kirsty Hopkins a Diapason d’Or, he is a regular guest conductor with the Academy of St. Martin in the Fields. With The Sixteen he is an Associate Artist at The Bridgewater Hall in Manchester Elin Manahan Thomas, Charlotte Mobbs and features in the highly successful BBC television series, Sacred Music, presented by alto Ian Aitkenhead, David Clegg Simon Russell Beale. William Missin, Christopher Royall Increasingly busy in opera, Harry has conducted numerous productions for Lisbon Opera and tenor Simon Berridge, Jeremy Budd English National Opera as well as conducting the UK premiere of Messager’s opera Fortunio Joseph Cornwell, Mark Dobell, Julian Stocker for Grange Park Opera. He is a regular conductor at Buxton Opera where he initiated a very successful cycle of Handel’s operas and oratorios including Semele, Samson and Saul. bass Ben Davies, Eamonn Dougan Tim Jones, Rob Macdonald, Stuart Young Harry Christophers is an Honorary Fellow of Magdalen College, Oxford, as well as the Royal Welsh College of Music and Drama and has been awarded the Honorary Degree of Doctor of Music from the University of Leicester.

24 25 After three decades of world-wide performance and recording, The Sixteen is recognised as one of the world’s greatest ensembles. Its special reputation for performing early English polyphony, masterpieces of the Renaissance, Baroque and early Classical periods, and a diversity of 20th-century music, all stems from the passions of conductor and founder, Harry Christophers. The Sixteen tours internationally giving regular performances at the major concert halls and festivals. At home in the UK, The Sixteen are ‘The Voices of Classic FM’ as well as Associate Artists of Bridgewater Hall, Manchester. The group also promotes the Choral Pilgrimage, an annual tour of the UK’s finest cathedrals. The Sixteen’s period-instrument orchestra has taken part in acclaimed semi-staged performances of Purcell’s Fairy Queen in Tel Aviv and London, a fully-staged production of Purcell’s King Arthur in Lisbon’s Belem Centre, and new productions of Monteverdi’s Il ritorno d’Ulisse at Lisbon Opera House and The Coronation of Poppea at English National Opera. Over 100 recordings reflect The Sixteen’s quality in a range of work spanning the music of 500 www.thesixteen.com years. In 2009 they won the coveted Classic FM Gramophone Artist of the Year Award and the Baroque Vocal Award for Handel’s Coronation Anthems. The Sixteen also features in the highly Photograph: Mark Harrison successful BBC television series, Sacred Music, presented by Simon Russell Beale. In 2011 the group launched a new training programme for young singers called Genesis Sixteen. Also available as a download at www.thesixteendigital.com Aimed at 18 to 23 year-olds, this is the UK’s first fully funded choral programme for young singers designed specifically to bridge the gap from student to professional practitioner. Recording Producer: Raphaël Mouterde Recording Engineer: Andrew Mellor For further information about recordings on CORO or live performances and tours by Recorded at: St Silas the Martyr, Kentish Town, London, May and November 2011 44 (0) 20 7936 3420 The Sixteen, call: + or email: [email protected] Cover image: From Sir Walter Raleigh’s Book of Hours (MS.Add.A.185.Fol.135r) reproduced by kind permission of the Bodleian Library, 2012 The Sixteen Productions Ltd. The Voices of © 2012 The Sixteen Productions Ltd. Oxford University. Made in Great Britain www.thesixteen.com Design: Andrew Giles - [email protected]

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