QUEEN MARY’S BIG BELLY A bitter cup: Summer 1555 hope for an Heir in Catholic England y Whitsun: Loquebantur variis linguis Thomas Tallis [4.05] u Trinity: Libera nos John Sheppard [3.04] i Vain, all our life II John Sheppard [2.30]

Expectation: Summer 1554 Total timings: [77.42] 1 Pater noster Philip van Wilder [4.21] 2 Exsurge Christe William Mundy [0.55] 3 Peccavimus cum patribus Christopher Tye [11.58] 4 Te spectant, Reginalde, Poli Orlande de Lassus [2.21] GALLICANTUS | ELIZABETH KENNY LUTE | GABRIEL CROUCH DIRECTOR

Mary at Court (from the Mulliner Book) www.signumrecords.com 5 Like as the doleful dove Thomas Tallis [1.59] 6 New Ballad of the Marigold anon. (text by William Forrest) [1.42] 7 Fansye Anthony Newman [1.32] QUEEN MARY’S BIG BELLY bottomless mercy, to mitigate the strictness of that Law: assuage thine anger for a while, and Prayers for the Quickening: November 1554 A Prayer made by Dr. Weston, Dean of Westminster, cherish in the bosom of thy favour and mercy 8 Sarum Litany after Thomas Tallis [10.48] daily to be said for the Queen’s Deliverance: our most gracious Queen Mary, being now at 9 O sacrum convivium Thomas Tallis [3.04] the point to be delivered: So help her, that O most righteous Lord God, which for the offence without danger of her life she may overcome the Feast Days: Spring 1555 of the first Woman, hast threatened unto all sorrow, and in due season bring forth a Child, in 0 Purification:Quod chorus vatum Thomas Tallis [4.56] q Annunciation: Christi virgo dilectissima John Sheppard [6.50] Women a common, sharp, and inevitable body beautiful and comely, in mind noble w Maundy: Deus misereatur John Sheppard [10.05] Malediction, and hast enjoined them that they and valiant... should conceive in sin, and being conceived, Hugh Weston, A prayer made by the Dean of Westminster, Lying-in at Hampton Court: April 1555 should be subject to many and grievous torments, and finally, be delivered with the and delivered to the children of the Queen’s Majesty’s grammar e When shall my sorrowful sighing slack Thomas Tallis [1.45] school there, and said by them daily, morning and evening r Vain, all our life I John Sheppard [1.43] danger and jeopardy of their lives; We beseech for her Majesty (London: John Cawood, 1555) t Martyr Dei qui unicum John Sheppard [4.00] thee for thine exceeding great goodness and

- 3 - Long-awaited news of a Tudor royal birth winged Hampton Court to Oatlands Palace in the first its way to London on 30 April 1555. A male days of August. heir had been born: a pledge of dynastic fertility after decades of royal stillbirths, miscarriages There would be no apotheosis in 1555, but it and marital misadventures. This was surely had been tantalizingly imminent. This disc a sign of God’s pleasure with Mary I explores the musical traces of an extraordinary (1516-1558) and a vindication of her mission year of hopes raised and dashed. The to restore Catholic religion, reverse the music performed here resonates with the doctrinal experiments of the previous two circumstances of the mid-1550s, even if decades, and return England to its historic some of the items were composed outside place in Europe. The bells of London accordingly Mary’s own reign; some pieces stemmed rang out while Te Deum laudamus, the from the royal ceremonies in which Mary traditional hymn of thanksgiving, was sung by participated as queen; and some of the the city’s choirs. music sung here can be directly tied to the specific events of 1554-5, including a newly- The festivities came to an abrupt end on 1 reconstructed Litany which was performed May. Yesterday’s news had been a mere rumour: during Mary’s assumed pregnancy. The viewpoint there was to be no royal birth, not yet at least. shifts from the streets of London and its ‘It turned out otherwise to the pleasure of suburbs, through the ceremonial grandeur of God’, wrote the merchant-tailor Henry Machyn, the royal palaces and their chapels, to the assuring himself that the birth would happen intimacy of the queen’s birthing chamber. ‘whenever it pleases God’. At thirty-nine years old Queen Mary was superannuated by We begin in the royal Privy Chamber. Mary’s sixteenth-century obstetric standards, but her lifetime witnessed a transformation in the pregnancy was generally deemed credible and polyphonic vocabulary of English musicians, she had not yet come to term by 1 May. The aided by immigrant musicians from Italy and summer months drew on, but still no news. Flanders. Chief among these was Philip van Long after the original due date, Mary Wilder (d. 1553), a Fleming who spent his Hugh Weston, Prayer for safe delivery of a male heir (London: John Cawood, 1555). eventually gave up hope, withdrawing from career in London. Known to many Englishmen

- 4 - - 5 - simply as ‘Mr Philips’, he was by far the (today known by its old name, Westminster legislatively dismantled. The year 1554 was one (1527-1598) son of Emperor Charles V, future best-paid musician working in the court of Abbey); by 1548 he was a lay clerk at the of entrenchment: the material and ceremonial king of Spain, and bridegroom of Mary Tudor, Henry VIII, Mary’s father ‘of famous memory’; parish of St Mary at Hill in London, a centre fabric of traditional religion was gradually eleven years his senior; a few months later, he taught Mary the lute in the late 1530s of music-making where he remained until he stitched back together, married clergy were Cardinal Reginald Pole (1500-1558), estranged and was rewarded with gifts from the princess became a lay vicar at St Paul’s Cathedral in ejected, and heresy investigated; leading cousin of Henry VIII, champion of Catholic on his marriage and his first child’s birth. He 1558 or 1559. Throughout Mary’s reign, therefore, Protestants fled abroad. The broad direction of renewal, and future archbishop of Canterbury. directed the singers of the Privy Chamber, he was at work in a city church closely travel was clear but the destination was not Pole’s return from his Roman exile in November a select ensemble of men and boys distinct connected with the Chapel Royal. At yet reached or fully defined. Although under 1554 marked England’s imminent acceptance arrest, the Protestant Thomas Cranmer nominally back into the papal fold. Coming to court from the ceremonial choir of the Chapel Royal. least one of Mundy’s monumental Latin remained archbishop of Canterbury until his after a 20-year absence, Pole greeted Mary For this group van Wilder composed numerous anthems, moreover, may have been composed deprivation as late as November 1555, and no with the traditional words of the Angelus: French-texted chansons, but it is likely that for Queen Mary’s coronation festivities in new Latin service books were printed through ‘Hail Mary, full of grace, the Lord is with thee: his Latin Pater noster was also sung as a August 1553 (we will meet William Forrest, the first year of Mary’s reign. Churchwardens blessed art thou, and blessed is the fruit of devotional piece in the Privy Chamber; unlike the author of this anthem’s text, in a moment). and clergy ferreted out once-discarded chant thy womb’. His double pun confirmed a most of van Wilder’s music, which circulated Exurge Christe is a pithy and unflinching books, patched them up, and pressed them gathering belief that Mary’s union with Philip posthumously in Elizabethan manuscripts, the three-part canon, apt to its non-liturgical (and into service once again. of Spain, solemnized in Winchester four months Pater noster was printed abroad (in the Liber probably purpose-written) text invoking Christ earlier, was bearing fruit. quartus ecclesiasticarum cantionum quatuor to end schism and restore apostolic truth. Into this legal limbo step two giants of the vocum of Tylman Susato, Antwerp, 1554). Renaissance: in July 1554, Philip of Spain Philip van Wilder had died a few months before Calls for truth and unity weren’t the sole Mary’s accession, but music by her one-time preserve of any religious party in the sixteenth lute-teacher would have retained her favour, century, but Exurge Christe was most topical not least a setting of the Lord’s Prayer. in the mid-1550s. After six years of Protestant reform in the name of her half-brother Anglia resurges: a medallion struck to At first sight, the brief motetExurge Christe Edward VI (r. 1547-53), Mary had fought her commemorate England’s by William Mundy (c.1528-91) takes us from way to the throne in the summer of 1553, batting return to Roman obedience the privacy of Mary’s royal apartments into the aside Edward’s chosen heir, her Protestant on 30 November 1555. bustle of London’s Billingsgate ward. From cousin Lady Jane Grey. Latin services resumed 1541 until 1544 Mundy had been a chorister in the Chapel Royal and, by Christmas, much at the recently-founded Westminster Cathedral of the Edwardian Reformation had been

- 6 - - 7 - 1554 ended on a note of high expectation: triumphant return home, however: the heavy tearful parliament bursting into spontaneous contains several other pieces heard here: England would soon be reconciled with Rome; pun cannot be missed, while Pole’s conversion applause. The news circulated throughout Mundy’s Exurge Christe, with the title ‘Tres Thomas Cranmer and his heretical ilk would of England from (Protestant) obduracy to Europe, sped in large part through the medium partes in una’; Newman’s Fansye, a competent soon re-convert or face the consequences; tearful (Catholic) applause was never more of print. Since the moment of Mary’s accession, early essay in what would become a classic the restoration of traditional religion would topical than in 1554-5. A composition date in the presses had been busily at work in her Elizabethan genre, the free fantasia; and soon be completed; Mary would soon give 1554 is suggested by the reported presence praise or deprecation. From the early months two charming partsongs by Thomas Tallis birth to a Catholic heir. But mission was not in England of Orlande de Lassus (1532-94) of her reign, certainly before her marriage (d. 1585). The first of these,Like as the yet accomplished: hence the expectant rather within the entourage of the Neapolitan to Philip (of whom it makes no mention), the doleful dove, sets a text by Tallis’s Chapel than triumphant tone of Exurge Christe. The singer-diplomat Giulio Cesare Brancaccio New Ballad of the Marigold was the work of Royal colleague, William Hunnis, which was grand seven-part motet Peccavimus cum in that year. The ‘auspicious fires’ emitted William Forrest, royal chaplain and author of later published in the Paradyse of Daynty patribus by court composer Christopher Tye by Reginaldus have been taken as evidence the panegyric Vox patris coelestis which had deuises (1576) by Richard Edwards, also of (d. 1573), a mélange of Biblical paraphrase for a later composition date of 1556, when probably been set to music by William Mundy the Chapel; the second Tallis partsong, When and pleas for mercy, has also been dated to Pole was consecrated archbishop and the during the first weeks of Mary’s reign. Printed shall my sorrowful sighing slack, is found in this same period of repentant expectation. heretic-burnings were in full swing; but a by Richard Lant without a melody, it is sung numerous manuscripts, one of which belonged Although by no means the only Renaissance less sinister interpretation of these flaming here to the tune ‘I smile to see how you to the courtier, Henry Fitzalan, 12th Earl of motet to strike a penitential pose, Dr Tye’s portents, as a fashionably Humanistic allusion devise’. No hard evidence connects Forrest’s Arundel, a leading Catholic to whom Mary Peccavimus recalls one of the most striking to Book II of the Aeneid, points towards platitudinous rhyme with this melody save granted Henry VIII’s unfinished pleasure dome, images of the mid-1550s, the medallion ‘Anglia the period before Pole’s elevation to Canterbury. their matching meters and their shared origins Nonsuch Palace, in 1556. resurges’, in which prodigal England kneels at in Tudor court culture. The music is found in the feet of Pope Julius III. Educated Tudor Te spectant was subsequently published by an early Elizabethan source closely connected The geopolitical future of England and Europe listeners would also have noticed the text’s Jan Laet of Antwerp in 1556, the year of with Mary’s court: the so-called Mulliner Book would be settled in the stuffy confines of the allusion to Judith, slayer of the Assyrian Pole’s consecration as archbishop. England’s (British Library, Add, MS 30513). This book is royal birthing chamber to which Mary would general Holofernes, a much-favoured Biblical religious affairs played to a continental a lute and keyboard miscellany connecting the retreat, following ancient custom, around analogue for Queen Mary. audience, not least because the baby that old pre-Reformation world of plainsong-based Easter 1555. Part songs and lute songs in Mary believed she was carrying would be heir organ versets with newer, predominantly English, French and Italian were the pastimes Reginald Pole may not yet have embarked to a vast sprawl of continental territories. Pole secular forms: fantasia, arrangements of dances, of the secular spaces of Privy Chamber for England when Tye composed Peccavimus. formally received England back into Roman part songs and anthems, musical numbers and, later on, birthing chamber. But it Te spectant, Reginalde, poli must surely have obedience on St Andrew’s day, 30 November from choirboy plays, and scrapbook snippets was in ceremonies and processions of public been written at or soon after the cardinal’s 1554; writing to Pope Julius, Pole recalled a of contrapuntal exemplars. The same source worship that kingship was performed most

- 8 - - 9 - conspicuously, even when the queen herself Cathedral, one copy now in Lambeth Palace Palace, where Queen Mary was staying); but was absent. The main forum for this worship Library, the other in the Bibliothèque the starting point was in St Margaret’s was, of course, the Chapel Royal – not a single Nationale, Paris1. This setting bears a close churchyard: so St Margaret of Antioch has building, but a permanent body of clergy, lay resemblance to Tallis’s mould-breaking five-part been included among the Litany of Saints singers and boy choristers who sang services English litany, which had almost certainly invoked in this recording. in whichever Thames-side palace the king and been composed in 1544. Only the Medius and queen were resident during the legal terms. Bassus parts survive, but much of the Tenor The remaining pieces presented here trace Members of the Chapel frequently lived and was based on the traditional plainsong tone, the arc of Mary’s pregnancy from the optimism worked in Greenwich (Thomas Tallis), London allowing the two Contratenor parts to be of New Year of 1555 towards the summer and Westminster (John Sheppard). They might reconstructed – in this case, by Jason Smart. of disappointment. It was probably around lend their voices to local churches such as St We can be certain that this litany is the this time that Thomas Tallis composed his Mary at Hill; equally, the Chapel might draw one sung on Mary’s behalf in 1554-5: in incomparably fine setting of the respond in members of local choirs whenever a each source, different copyists added litany Quod chorus vatum for the feast of particularly grand procession was needed. petitions in favour of ‘Mary our pregnant Purification (2 February). A few weeks later, The first two years of Mary’s reign witnessed queen’ and ‘Philip our king’. The litany is the feast of the Annunciation marked the many such processions that quite literally immediately followed, in the Paris copy, with beginning of the new calendar year (25 March), stamped traditionalism upon the streets of the Eucharistic motet O sacrum convivium by and provided an opportunity to sing John London and its environs. Thomas Tallis − presumably in veneration of Sheppard’s respond, also for six voices, the holy sacrament that was carried in public Christi virgo dilectissima. Later still, on From the first announcement of Mary’s assumed processions. Given the Westminster provenance Maundy Thursday (11 April), Mary performed pregnancy, made in St Paul’s Cathedral late of the two sources, it would seem likely that the annual pedilavium, one of her last public on 28 November 1554, prayers for her safe this litany/motet combination was performed appearances before entering confinement. delivery had been made in large public in a procession organized by Hugh Weston, A detailed description of this rite survives from processions. Litanies, intercessory dialogues dean of Westminster, that took place on the following year, when the queen gave alms between priest and singers, were a standard Sunday 27 January 1555. The destination to 41 poor women in Greenwich Palace, washing element of these processions. By chance a was Temple Bar, reached via the Strand and their feet while the Chapel Royal sang psalm suitable polyphonic Latin litany has survived, Portrait of Mary I by Antonis Mor in autumn 1554; painted King Street (which passed through Whitehall verses and antiphons in alternation. A setting on the commission of her father-in-law Charles V, and probably jotted into the endpapers of two printed service completed by 20 December 1554 when Mor was appointed books belonging to singers at Westminster Philip’s painter in London. 1 This is discussed in M. Williamson, ‘Queen Mary I, Tallis’s O sacrum convivium and a Latin Litany’, Early Music, 44 (2016), pp. 251-70.

- 10 - - 11 - by John Sheppard (d. 1558) of one of these Marian Catholicism. John Sheppard’s Libera during the initial burst of optimism, could be or else that she was bewitched; but what was psalms, Deus misereatur, is interspersed here nos (Trinity), also for seven voices, is often quietly discontinued. Her majesty’s intimates, the truth thereof the Lord knoweth, to whom with the antiphon Maria unxit ergo pedes: not attributed to his stint at Magdalen College, he wrote, expected the pregnancy to end in wind. nothing is secret. the official liturgical combination, perhaps, Oxford, in the mid-1540s, but would equally but the best modal match between the chant have suited the Chapel Royal, whose dedicatee A second false pregnancy in 1558 also John Foxe, Actes and monuments of these latter and perillous dayes and Sheppard’s polyphony, in which all verses was the Holy Trinity. But it is unlikely that produced no heir, but instead precipitated touching matters of the Church (London: John Day, 1563), p. 1205. cadence on the same chord of F. Mary had much appetite for either of these Mary’s death on 17 November of that year. All notes © Magnus Williamson, Newcastle University great set pieces in 1555. As the summer In later years, Mary’s childlessness would be Soon after Easter Sunday, 14 April 1555, Mary grew hotter, doubts started to gnaw; with its depicted as a providential turning point, clearing entered her confinement at Hampton Court. reminder that ‘such is the cost of all our pain, the way for a Protestant succession. Narrated in Eyewitnesses described her appearance at but labour lost and spent in vain’, hearing John Foxe’s best-selling Acts and Monuments a casement window, watching her husband John Sheppard’s Vain, all our life may have (1563), Mary’s false pregnancies became lodged as he presided over the traditional Garter required superhuman stoicism on Mary’s part. in folk memory. As late as the 1680s, amidst procession on St George’s day, 23 April; Martyr fears that Queen Mary of Modena, wife Dei qui unicum was among the hymns sung It was all over on 3 August. News quickly of James II, would give birth to a son, on this feast, and John Sheppard’s six-part reached the London diarist Henry Machyn that Foxe’s narrative served to whip up popular setting, with its rich culminating ‘Amen’ may Philip and Mary had retreated to Oatlands hostility to a possible Catholic succession. have been written specifically for Garter day. Palace. In his dispatch of 5 August, the Quoting the Old Testament book of Ecclesiastes, Hopes remained high as Mary sat out the Venetian ambassador reported to the Doge, the pamphlet Idem iterum, or the History of Q. early summer in the gloomy confinement of noting the official reason why the queen had Mary’s Big-belly (1688) reminded its readers: her birthing chamber. Whit Sunday on 2 June, vacated Hampton Court (the need for a spring ‘The thing that hath been, it is that which shall Trinity Sunday on 9th and Corpus Christi clean); everyone knew, but dare not say, that be…there is no new thing under the Sun’. the following Thursday were a climax of the the queen’s pregnancy had been spectral, royal festal calendar year and would normally he said, and that the change of residence Some said this rumour of the Queen’s conception be occasions for the most lavish ceremonial: enabled the fact to be acknowledged without was spread for a policy; some other affirmed, although it cannot be securely dated, Thomas the need for an embarrassing public that she was deceived by a Tympany or some Tallis’s splendidly ebullient seven-part announcement; quitting Hampton Court for other like Disease, to think her self with Child, respond Loquebantur variis linguis (Whitsun) the relative solitude of Oatlands also meant and was not; some thought she was with perfectly suited the temper and style of that the constant public processions, convened Child, and that it did by some chance miscarry,

- 12 - - 13 - 1 Pater noster Qui ut omnia potes: As you are all powerful, Philip van Wilder ita omnibus vere te invocantibus vere praesto es. so you are truly present for all who call upon you. Respice itaque in nos infelices peccatores, Be merciful, therefore, to us miserable sinners, Pater noster qui es in coelis, Our Father, who art in heaven, bonitas immensa. O immense goodness. sanctificetur nomen tuum: hallowed be your name. Respice in nos ingratissimos miseros: Be mindful of us ungrateful wretches, adveniat regnum tuum: Your kingdom come, salus et misericordia publica, O salvation and manifest mercy, fiat voluntas tua, your will be done, nam despecti ad omnipotentem venimus; for in this wretched state, we come to the Almighty; sicut in coelo et in terra. on earth as it is in heaven. vulnerati ad medicum currimus deprecantes injured, we run to the healer in supplication Panem nostrum quotidianum da nobis hodie, Give us this day our daily bread, ut non secundum peccata nostra facias so that you will not treat us according to our sins, et dimitte nobis debita nostra, and forgive our sins neque secundum iniquitates nostras retribuas nor reward us according to our wickedness. sicut et nos dimittimus debitoribus nostri: as we forgive those who sin against us. nobis. Rather, remembering your ancient mercies, et ne nos inducas in tentationem, And lead us not into temptation, Quin potius misericordiae tuae antiquae memor continue your former clemency, sed libera nos a malo. Amen but deliver us from evil. Amen pristinam clementiam serva and confirm your custom, ac mansuetudini adhibe incrementum you who have for so long stayed the sword of 2 Exsurge Christe qui tam longanimiter suspendisti ultionis gladium. vengeance. William Mundy Ablue innumerositatem criminum, Wash away our innumerable crimes, qui delectaris multitudine misericordiarum. you who delights in a multitude of mercies. Exurge Christe defende nos, salva et libera nos; Rise up, O Christ, defend us, save and free us; Ingere cordibus nostris tui sanctissimum amorem Pour into our hearts your most holy love, confundantur universi, Domine, qui te oderunt; let all those who hate you, Lord, be confounded; peccati odium ac caelestis patriae hatred of sin, and a burning desire per te schisma profligatur; reviviscat inter nos through you schism is wasted; may apostolic truth ardens desiderium, for the heavenly kingdom, veritas apostolica. be revived among us. quod magis ac magis crescere faciat and let your almighty goodness tua omnipotens bonitas. Amen. make them grow more and more. Amen. 3 Peccavimus cum patribus Christopher Tye 4 Te spectant Reginalde Poli Orlande de Lassus Peccavimus cum patribus nostris, We have sinned with our fathers, iniuste egimus, iniquitatem fecimus. we have done wrong and behaved wickedly. Te spectant, Reginalde, poli, The heavens observe you, Reginald, Tuae tamen clementiae spe animati But, moved by the hope of thy mercy, tibi sidera rident, exsultant montes, the stars smile for you, the mountains exult, ad te supplices confugimus benignissime Jesu. we fly to you as worshippers, O most bounteous Jesus. personat Oceanus, Anglia dum plaudit the ocean resounds, while England applauds,

- 14 - - 15 - quod faustos excutis ignes; because you send forth auspicious fires 8 Sarum Litany elicis et lacrimas ex adamante suo. and elicit tears from its diamond. Kyrie eleison. Lord have mercy upon us. 5 Like as the doleful dove 6 New Ballad of the Marigold Christe eleison. Christ have mercy upon us. Thomas Tallis Anonymous (text by William Forrest) Kyrie eleison. Lord have mercy upon us. Christe audi nos. Christ hear us. Like as the doleful dove The God above, for man’s delight, Christe exaudi nos. Christ graciously hear us. delights alone to be, Hath here ordained every thing, Pater de caelis Deus, miserere nobis. God the Father of heaven, have mercy upon us. and doth refuse the bloomed branch, Sun, moon and stars, shining so bright, Fili redemptor mundi Deus, God the Son redeemer of the world, choosing the leafless tree, With all kind fruits that here doth spring, miserere nobis. have mercy upon us. where on wailing his chance, And flowers that are so flourishing; Spiritus sancte Deus, miserere nobis. God the Holy Ghost, have mercy upon us. his bitter tears bespent, Amongst all which that I behold, Sancta Trinitas unus Deus, miserere nobis. Holy Trinity one God, have mercy upon us. doth with his bill his tender breast As to my mind best contenting, Sancta Maria, ora pro nobis. Holy Mary, pray for us. oft pierce and all to rent; I do commend the Marigold. Sancta Dei genitrix, ora pro nobis. Holy Mother of God, pray for us. whose grievous groanings though, Sancta virgo virginum, ora pro nobis. Holy virgin of virgins, pray for us. whose grips of pining pain, Be thou O God so good as thus Sancte Michael, ora pro nobis. Saint Michael, pray for us. whose ghastly looks, whose bloody streams Thy perfect faith to see take place: Sancte Gabriel, ora pro nobis. Saint Gabriel, pray for us. outflowing from each vein, Thy peace thou plant here among us, Sancte Raphael, ora pro nobis. Saint Raphael, pray for us. whose falling from the tree, That error may go hide his face: Omnes sancti Angeli, et Archangeli, All ye Holy Angels, and Archangels, whose panting on the ground, So to concord us in each case, orate pro nobis. pray for us. examples be of mine estate, As in thy court it is enrolled, Omnes sancti beatorum spirituum ordines, All ye holy orders of blessed spirits, though there appear no wound. We all, as one, to love her grace, orate pro nobis. pray for us. That is our Queen, this Marigold. Sancte Iohannes Baptista, ora pro nobis. Saint John Baptist, pray for us. Omnes sancti Patriarchae, et Prophetae, All holy Patriarchs, and Prophets, orate pro nobis. pray ye for us. Sancte Petre, ora pro nobis. Saint Peter, pray for us. Sancta Margareta, ora pro nobis. Saint Margaret, pray for us. Omnes Sancti, ora pro nobis. All holy Saints, pray for us. Propitius esto parce nobis Domine Be merciful unto us, spare us O Lord.

- 16 - - 17 - Ab omni malo, libera nos Domine. From all evil, O Lord deliver us. 0 Quod chorus vatum In hora mortis, succurre nobis Domine. In the hour of death, help us O Lord. Thomas Tallis In die iudicii, libera nos Domine. In the day of Judgment, O Lord deliver us. Peccatores, te rogamus audi nos. We sinners do beseech thee hear us. Quod chorus vatum venerandus olim As the venerable throng of seers once Ut pacem nobis dones, That ye might give us peace, Spiritu Sancto cecinit repletus, sang, filled with the Holy Spirit, te rogamus audi nos. we beseech thee to hear us. In Dei factum genetrice constat so the mother of God is established Ut misericordia et pietas That thy mercy might keep us faithful, Esse Maria. to be Mary. tua nos custodiat, we beseech thee to hear us. Fili Dei, te rogamus audi nos. Son of God, we beseech thee hear us. Haec Deum caeli Dominumque terrae The God of heaven and Lord of earth Agnus Dei, qui tollis peccata mundi, Lamb of God that takest away the sins of the world, Virgo concepit peperitque virgo, a virgin conceived and a virgin bore, exaudi nos Domine. hear us graciously O Lord. Atque post partum meruit manere and after giving birth was worthy to remain Agnus Dei, qui tollis peccata mundi, Lamb of God that takest away the sins of the world, Inviolata. inviolate. parce nobis Domine. spare us O Lord. Agnus Dei, qui tollis peccata mundi, Lamb of God that takest away the sins of the world, Quem senex iustus Symeon in ulnis The just old man Simeon took him in his arms miserere nobis. have mercy upon us. In domo sumpsit Domini, gavisus in the house of the Lord, rejoicing Kyrie eleison. Lord have mercy upon us. Ob quod optatum proprio videret to see for himself the longed-for Christe eleison. Christ have mercy upon us. Lumine Christum. Christ. Kyrie eleison. Lord have mercy upon us. Tu libens votis petimus precantes, Praying we beg you to favour our pleas, 9 O sacrum convivium Regis aeterni genetrix faveto, mother of the eternal king, Clara quae celsi renitens Olimpi you who in shining brightness sought out Olympus’ O sacrum convivium, O sacred feast, Regna petisti. high kingdoms. in quo Christus sumitur at which Christ is received recolitur memoria passionis eius. the memory of his passion is renewed. Sit Deo nostro decus et potestas, To our God be glory and might, Mens impletur gratia Our souls are filled with grace, Sit salus perpes, sit honor perennis, be unbroken salvation, be perpetual honour, et futurae gloriae nobis pignus datur. and a pledge of future glory is given to us. Qui poli summa residens in arce who resides in the highest heaven, Alleluia. Alleluia. Trinus et unus. Amen. three and one. Amen.

- 18 - - 19 - q Christi virgo dilectissima Antiphon: John Sheppard Maria ergo unxit pedes Jesu Mary then anointed Jesus’s feet et extersit capillis suis And wiped them dry with her hair, Christi virgo dilectissima virtutum operatrix opem O Virgin, most dear to Christ, who deals in mighty et domus impleta est And the house was filled fer miseris subveni domina clamantibus ad te actions, bring help to the wretched, and to those ex odore unguenti. with the odor of the ointment. jugiter. Quoniam peccatorum mole premimur et who cry to you continually. For we are burdened by non est qui adjuvet. our iniquity, and there is no one to help us. e When shall my sorrowful sighing slack Thomas Tallis w Deus misereatur John Sheppard When shall my sorrowful sighing slack, When shall my woeful wailing cease, Deus misereatur nostri, et benedicat nobis; God be merciful unto us, and bless us: When shall my tears and mourning make illuminet vultum suum super nos, and shew us the light of his countenance, Mercy and pity me to release? et misereatur nostri: and be merciful unto us. When shall the pensive heart find peace, ut cognoscamus in terra viam tuam, That thy way may be known upon earth: When shall the mind find quiet rest, in omnibus gentibus salutare tuum. thy saving health among all nations. That hath been long with thought oppressed? Confiteantur tibi populi, Deus: Let the people praise thee, O God: yea, confiteantur tibi populi omnes. let all the people praise thee. How long shall I in woe lament, Lætentur et exsultent gentes, O let the nations rejoice and be glad: How long shall I in care complain, quoniam judicas populos in æquitate, for thou shalt judge the folk righteously, How long shall danger me torment, et gentes in terra dirigis. and govern the nations upon earth. Augmenting still my deadly pain? Confiteantur tibi populi, Deus: Let the people praise thee, O God: Till hope and dread between them twain confiteantur tibi populi omnes. let all the people praise thee. Agree that hope have her request, Terra dedit fructum suum: Then shall the earth bring forth her increase. Till then live I with thought oppressed. benedicat nos Deus, Deus noster! God, even our own God, shall give us his blessing. Benedicat nos Deus, God shall bless us: et metuant eum omnes fines terræ. and all the ends of the world shall fear him.

- 20 - - 21 - r & i Vain, all our life Gloria tibi Domine Glory be to you, O Lord, John Sheppard qui surrexisti a mortuis who rose from the dead, cum patre et Sancto Spiritu with the Father and the Holy Spirit, Vain, all our life we spend in vain, in sempiterna saecula. Amen. into life eternal. Amen. All worldly pleasure is but vain. Vain fancies still he doth invent, y Loquebantur variis linguis All things are vain to nature bent, Thomas Tallis All wordly gain doth soon relent. Thus men are vain when life is spent, Loquebantur variis linguis The apostles were speaking in different tongues Soon won, soon lost, thus all is vain. apostoli magnalia Dei, Alleluia. of the mighty works of God, Alleluia. Repleti sunt omnes Spiritu Sancto, They were filled with the Holy Spirit, t Martyr Dei qui unicum et ceperunt loqui and began to speak John Sheppard magnalia Dei, Alleluia. of the great works of God, Alleluia. Gloria Patri et Filio, Glory to the Father, and the Son, Martyr Dei, qui unicum Martyr of God, who by following et Spiritui Sancto. Alleluia. and to the Holy Spirit. Alleluia. Patris sequendo Filium, the father’s only son victis triumphas hostibus, does triumph over conquered foes u Libera nos victor fruens cælestibus. and revels in heaven’s glory: John Sheppard

Tui precatus munere By your gracious offering of prayer Libera nos, salva nos, iustifica nos, Deliver us, save us, justify us, nostrum reatum dilue, our guilt is washed away; o beata Trinitas. O blessed Trinity. arcens mali contagium, we are protected from the scourge of sin vitæ repellens tædium. and from the drudge of every day life.

Soluta sunt iam vincula With the chains now broken tui sacrati corporis; from your sacred body, nos solve vinclis sæculi, free us also from our bonds amore Filii Dei. for the love of the Son of God.

- 22 - - 23 - Gallicantus regularly releases benchmark programmes on CD on the Signum label, which form the basis of their concert programmes. With “Hymns, Psalms and Lamentations”, dedicated to the music of Robert White, critics The membership of Gallicantus, comprising acclaimed an “impressive debut” (Observer) some of Britain’s finest consort singers, is bound of “impassioned, exciting music” (The Times), by a belief in the rhetorical power of great whilst Gramophone Magazine declared: Renaissance music. Under the direction of “What an outstanding disc... The opening of Gabriel Crouch, the group creates performance the Lamentations could stand as a kind of projects which explore narratives and draw illuminated initial at the beginning of a out unifying themes within apparently diverse gorgeous manuscript, so transparent and repertoire. Literally meaning ‘rooster song’ or luminous is it.” Their second recording ‘cock crow’, Gallicantus was a name used “Dialogues of Sorrow - Passions on the Death in monastic antiquity for the office held just of Prince Henry (1612)”, was described as before dawn, which celebrated the renewal “one of the best choral releases of the year” of life and offered a sense of gratitude and by TheArtsDesk.com, possessing “singing of optimism for the coming day. clarity, suppleness and poignancy” (Daily Telegraph); whilst International Record Review Gallicantus has performed in many significant proclaimed “... this is a well sung, intelligently venues and festivals in the UK (Wigmore Hall, produced and exhaustively researched project, Spitalfields Festival, York Early Music Festival), which deserves great success.” © Susan Porter-Thomas Germany, Austria, Poland, Italy, Belgium, in Gramophone Magazine, which noted that Gallicantus as one of Europe’s foremost early the Netherlands, Estonia and Norway. In the The 2012 release “The Word Unspoken”, featuring “the ensemble’s view is delivered with such music ensembles, earning a second consecutive USA the group holds regular residencies at music by William Byrd and Philippe de Monte intelligence and rhetorical persuasiveness ‘Editor’s Choice’ selection from Gramophone, universities such as Yale and Princeton, giving was equally well received, with The Sunday that the cumulative weight of their Byrd, in as well as nomination for a coveted Gramophone concerts and interacting with student vocalists Times saying “The intensity of the music is particular, is well-nigh symphonic in effect.” Award in 2014. and composers, and has recently made its reflected in Gallicantus’s beautifully shaped The group’s fourth CD - the remarkable Lagrime debut at Carnegie Hall. performances”. It was named ‘Editor’s Choice’ di San Pietro by Lassus, has cemented

- 24 - - 25 - Performers Soprano Baritone Zoë Brookshaw (ZB) Richard Bannan (RB) Gabriel Crouch (GC) Alto Mark Chambers (MC) Bass David Allsopp (DA) William Gaunt (WG) Tenor Lute Christopher Watson (CW) Elizabeth Kenny (EK) Nicholas Todd (NT) Nicholas Madden (NM)

1 Pater noster ZB, MC, DA, NT 2 Exsurge Christe MC, NT, GC, WG 3 Peccavimus cum patribus ZB, DA, NT, CW, RB, GC, WG 4 Te spectant Reginalde Poli DA, NM, CW, GC, WG 5 Like as the doleful dove GC, EK 6 New Ballad of the Marigold MC, EK 7 Fansye EK 8 Sarum Litany MC, NT, CW, GC, WG 9 O sacrum convivium MC, NT, CW, GC, WG 0 Quod chorus vatum MC, DA, NT, GC, WG q Christi virgo dilectissima ZB, MC, NT, CW, GC, WG w Deus misereatur DA, NM, CW, GC, WG e When shall my sorrowful sighing slack MC, EK r Vain, all our life I RB, EK t Martyr Dei qui unicum ZB, DA, CW, NT, GC, WG y Loquebantur MC, DA, NM, CW, RB, GC, WG u Libera nos MC, DA, NM, CW, RB, GC, WG i Vain, all our life II MC, DA, NT, GC

- 26 - - 27 - ELIZABETH KENNY lute and theorbo: She has given premiere performances of solo and chamber pieces by Elizabeth Kenny is one of Europe’s leading lute James MacMillan, Benjamin Oliver, Heiner players. Her playing has been described as Goebbels and Rachel Stott. “incandescent” (Music and Vision), “radical” (The Independent on Sunday) and “indecently Elizabeth taught for two years at the Hochschule beautiful” (Toronto Post). In twenty years of der Künste, Berlin, and is Professor of Musical touring she has played with many of the Performance at Southampton University and world’s best period instrument groups, including Professor of Lute at the Royal Academy of extended spells with Les Arts Florissants and Music. She guest-edited a Dowland-themed the Orchestra of the Age of Enlightenment. She issue of Early Music to celebrate the 450th has an extensive discography of collaborations anniversary of the composer’s birth in 2013, with chamber ensembles across Europe and and is the author of occasional articles on the USA, and her own repertoire interests have seventeenth century performance. led to critically acclaimed recordings of solo music from the ML Lute Book, and songs by Lawes, Purcell and Dowland. In 2007 she formed Theatre of the Ayre, who have become known for their innovative approach to seventeenth century music for voices and instruments. In 2011 she was shortlisted for the Royal Philharmonic Society Awards in the best instrumentalist category.

She was a member of the artistic advisory team for the York Early Music Festival from 2011-2014. She returned to York in 2016 with Theatre of the Ayre as judge for the National Centre for Early Music’s Young Composers’ Award, as part of a growing commitment to new work for

- 28 - - 29 - ALSO AVAILABLE on signumclassics

WeWe are are profoundly profoundly grateful grateful toto Sally Dunkley forfor herher excellent excellent edition edition of of Tye’s Tye’s Peccavimus cumcum patribuspatribus, ,and to Jasonto Dr MagnusSmart for Williamson his reconstructed of Newcastle edition University of the without Sarum Litany,whose and to insight Dr Magnus and guidance Williamson this of recording Newcastle would University not have without been possible. whose insight and guidance this recording would not have been possible.

Recorded at St Augustine’s Church, Kilburn, London from 3rd to 5th January 2016 Producer – Nigel Short Recording Engineer – Andrew Mellor Editors – Andrew Mellor & Claire Hay Mixed and Mastered – Andrew Mellor

Cover Image – Getty Images Design and Artwork – Woven Design www.wovendesign.co.uk

P 2017 The copyright in this sound recording is owned by Signum Records Ltd © 2017 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

William Byrd, Philippe de Monte: The Word Unspoken Lassus: Lagrime di San Pietro Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action Gallicantus Gallicantus by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. SIGCD295 SIGCD339

SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. “The singing is beyond exemplary: deeply felt, tenderly phrased, “Gallicantus sing this cycle of sacred madrigals and its climactic +44 (0) 20 8997 4000 E-mail: [email protected] perfectly balanced, with the most profound understanding, motet with all the gravity and respect it requires as the major www.signumrecords.com seemingly bred in the bone.” milestone in the development of art music that it was. Live, Choir & Organ on a rainy Sunday afternoon at the Wigmore Hall, it was one of the most profound musical experiences of my year; on disc it comes almost as close.” Gramophone, Highlights of 2014

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 20 - - 31 -

CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD464 BLACK Job Title: Queen Mary

SIGNUM CLASSICS SIGCD464 QUEEN MARY’S BIG BELLY

Hope for an Heir in Catholic England

1 Pater noster Philip van Wilder [4.21]

2 Exsurge Christe William Mundy [0.55] 3 Peccavimus cum patribus Christopher Tye [11.58] Belly Big Mary’s Queen 4 Te spectant, Reginalde, Poli Orlande de Lassus [2.21] 5 Like as the doleful dove Thomas Tallis [1.59] 6 New Ballad of the Marigold anon. (text by William Forrest) [1.42] 7 Fansye Anthony Newman [1.32] 8 GALLICANTUS Sarum Litany after Thomas Tallis [10.48] 9 O sacrum convivium Thomas Tallis [3.04] 0 Quod chorus vatum Thomas Tallis [4.56] q Christi virgo dilectissima John Sheppard [6.50] w Deus misereatur John Sheppard [10.05] e When shall my sorrowful sighing slack Thomas Tallis [1.45] r Vain, all our life I John Sheppard [1.43] GALLICANTUS GALLICANTUS t Martyr Dei qui unicum John Sheppard [4.00] y Loquebantur variis linguis Thomas Tallis [4.05] u Libera nos John Sheppard [3.04] i Vain, all our life II John Sheppard [2.30]

Queen Mary’s Big Belly Total timings: [77.42]

GALLICANTUS ELIZABETH KENNY LUTE GABRIEL CROUCH DIRECTOR

LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD464

CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2017 Signum Records DDD SIGCD464 © 2017 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 04642 5 SIGNUM