sign in sign up
<<
Home , Ave maris stella, Ave Regina caelorum, Palestrina

Giovanni Pierluigi da 7

PALESTRINA volume CORO

The Sixteen Sixteen The CHRISTOPHERS HARRY

cor16124 cor16133 cor16106 cor16114

GRAMOPHONE ” BBC MUSIC MAGAZINE MUSIC BBC ***** Performance ***** Recording ***** Performance www.thesixteen.com www.thesixteen.com INTERNATIONAL RECORD REVIEW RECORD INTERNATIONAL INTERNATIONAL RECORD REVIEW RECORD INTERNATIONAL .” Gloria

To find out more about The Sixteen, concert tours, and to buy CDs visit visit buy CDs Sixteen, and to The concert tours, about find out more To through the firm yet carefully carefully yet firm the through shaped the sensitively Giovanni Pierluigi da · Vol.6 · Pierluigi da Palestrina Giovanni Giovanni Pierluigi da Palestrina · Vol.5 · da Palestrina Pierluigi Giovanni Giovanni Pierluigi da Palestrina · Vol.4 · Pierluigi da Palestrina Giovanni Giovanni Pierluigi da Palestrina · Vol.3 · Palestrina da Pierluigi Giovanni animating the words to vibrant effect.” vibrant to animating the words rendered rendered making.” making.” Choral & Song OctoberChoral Choice 2015, Inspired and grippingly performed.Inspired “[The … painting and energetic and ardent Sixteen] are “ “What from Sixteen be, The turn out to superb advocates “The Sixteen’s Palestrina“The cycle Sixteen’s just may be classic in the a

PALESTRINA

Giovanni Pierluigi da Pierluigi Giovanni

cor16155

CORO

Giovanni Pierluigi da volume scriptures – alongside some of his settings of the Song of Songs. Palestrina published PALESTRINA 7 29 such settings, which he dedicated to Gregory XIII. In that dedication, he apologised, and indeed ‘blushed and grieved’, for having possessed light and vain ideas in the past (presumably referring to such music as his hugely popular madrigals Palestrina’s legacy and impact on sacred music on profane texts); and he asserted that he had changed his purpose by choosing worldwide is second-to-none. Composers through ‘those poems which have been written of the praises of our Lord Christ and his the centuries have studied and learnt from his gift for Most Holy Mother the Virgin Mary’. Remember that the Song of Songs comes from writing exquisite polyphony. Small wonder then that that part of the Old Testament which was often considered too sensual and erotic to he has been called not only ‘the prince and father of be read. It was originally Hebrew love poetry, written down possibly 300 years or so music’ but also ‘the saviour of church music’. At the before the birth of Christ, but these are texts which in Renaissance times were used final session of the Council of Trent, there were many in praise of the Virgin Mary.

discussions about the use of polyphony and whether Borggreve Marco Photograph: or not it should be banned. In 1607, the composer I have always regarded Palestrina as the master craftsman whose music composers Agostino Agazzari wrote: ‘music of the older kind is of all ages have attempted to emulate. He shapes his music in a beautifully sonorous no longer in use because of the confusion and Babel way using a lot of suspensions but always coming back into the line of the music. of the words’. And he went on to say that this music However, it is this perfect craftsmanship that can sometimes make Palestrina’s music would have come very near to being banished from the holy Church by a sovereign sound all too perfect and occasionally academic. We have attempted to achieve real pontiff had not Giovanni Palestrina found the remedy. The price of fame for Palestrina ebb and flow in his music, not clipping the ends of phrases but allowing the music to was that his legacy was to contain as many myths as facts. breathe, to convey the real meaning of the words and making our breaths part of the music as a whole. There is a wealth of word painting in which to indulge, especially in Over the next few years, we are going to undertake a series honouring his great art, his Song of Songs motets. Our aim has been to be sensitive to this wonderful poetry recording much unfamiliar but stunning music from every part of his life, giving a and inject an energy and beauty to our performances that I hope goes some way to more accurate picture of his great achievements in music. I hasten to add that we are honour Palestrina as ‘the celebrated light of music’. not endeavouring to record every note Palestrina penned – that would be more than a lifetime’s work considering he wrote 104 Masses! But what we will do is present each volume based around a single , here the Missa , and a theme relevant to that Mass – in this case women who feature so prominently in the

2 3 Giovanni Pierluigi da volume alestrina (1525-94) is perhaps the output published in modern notation. (1525-1594) 7 PALESTRINA Pmost famous of all Renaissance Today some pieces are quite familiar, composers, certainly by name. His others less so or almost unknown, much proper name was Giovanni Pierluigi, but superb music still lacking a proper place 1 Domini descendit 8.05 like many of his contemporaries, proud in the repertoire, in church or in concert. of their origins, he liked to be called 2 6.12 after the place of his birth, Palestrina, a Women feature prominently throughout 3 In diebus illis 4.42 small town about 25 miles from . the Old and New Testaments. Apparently 4 Beatae Mariae Magdalenae 3.50 By the time of his death his reputation Mary was a common name in Jesus’ time 5 Beata Barbara 8.06 outshone all others, to some extent it in Palestine and several Marys took part must be said because he spent his life in in some of the most important events of SONG OF SONGS: nos. 19-21 Rome as a servant of the Roman Catholic the New Testament (e.g. being present 6 Adiuro vos filiae Ierusalem 2.53 Church, at the centre of the Counter- at the Crucifixion and being the first to 7 Caput eius aureum optimum 2.15 Reformation, providing music for the know of the Resurrection). Obviously 8 Dilectus meus descendit in hortum suum 2.56 Pope himself and the most prestigious the Virgin Mary, the mother of Jesus, 9 Susanna ab improbis senibus 6.59 group of singers in the world at that was a pivotal figure in the establishment bl Veni sponsa Christi 2.20 time, the Papal Choir. His musical legacy of Christianity, and a huge amount of is prodigious even by the standards of music has been written in her praise. MISSA AVE REGINA CAELORUM the time – he wrote over 100 Masses and Every composer of importance set all bm Kyrie 3.20 numerous motets, , hymns the standard Marian texts. Other women bn Gloria 4.55 and other pieces for all the main feasts feature in the Gospels, among them bo 7.37 in the Church year. He was fortunate in Mary Magdalene and Mary of Bethany bp 1.45 being able to publish much of his music (sister of Martha and Lazarus), Mary, bq Benedictus 2.03 himself in his own lifetime, and also to be the mother of James and Mary Salome. br I & II 4.03 the first Renaissance composer to have Inevitably there is some confusion of Total Running Time 72.01 a complete edition of almost his whole identity of the various Marys, less so with 4 5 that Mary who appears in all four Gospels, these first witnesses of the Resurrection. Sacri in Breviaro Romano. Polyphonic and final verse in canon at the octave called Magdalene, which may be taken The same narrative is used by Francisco hymns, alternatim with chant, such as below with the soprano. to mean ‘from Magdala’, a settlement on Guerrero in his masterly 6-voice motet these, were basic repertoire for churches the Sea of Galilee. Maria Magdalene of 1570, which begins large and small in the late 16th century In diebus illis (for 4 voices, marked In enigmatically ‘Maria Magdalene et altera and there was a substantial demand for die Sanctae Mariae Magdalenae) was Palestrina’s 5-voice motet Angelus Domini Maria...’; in Palestrina’s version of the text, new settings with the reformed texts first published by Palestrina in 1564. descendit (Dominica Resurrectionis) was the names of the women are nowhere approved during the Councils of Trent. In The motet relates the story of the sinner first published in 1581. He had begun mentioned. ABCB in form, each part of modern times, hymns have fallen out of woman at the house of Simon the leper issuing his music at the age of 30 in the motet ends with triple-time Alleluias, favour often because of the lack of correct who anoints the feet of Jesus with 1554 with the first book of Masses; the in celebration of the Resurrection. chants for the alternatim verses, with the ointment from an alabaster box. She is first motet collection came out in 1564, Palestrina set this text (or part thereof) versions paraphrased by composers in not named in the text, but in the 16th other volumes appearing regularly in three times: the Offertory (Dominca in the polyphony no longer available in century she was thought to be Mary the following years. Numerous reprints, Octava Paschae) published in 1593 uses a modern chant books such as the Liber Magdalene. Later interpretation of the in his lifetime and after, attested to shortened version; and there is an 8-voice Usualis. Ave maris stella (marked In festis Gospel passages led to identification the music’s popularity and suitability setting copied in a 1748 manuscript in Beatae Virginis) was such a staple of the of the sinful woman as another woman for use in churches from the largest the Vatican library. Marian repertoire that the chant was altogether, perhaps still called Mary. and most prestigious to the smallest more or less standardised by Palestrina’s provincial foundation. Palestrina published a set of hymns for time. There are minor variants from that Likewise, for the Feast of St Mary the Church year (4, 5 & 6 voices) in 1589, in the today, but the version Magdalene on 22nd July, the text for Here the story is of the women going simultaneously in Rome (choirbook) Palestrina uses is easily confirmed from Beatae Mariae Magdalenae contains to the tomb, according to the Gospel of and in Venice (partbooks). They were the polyphony: in many hymns of the another example of the confusion John to anoint the body of Jesus, and reprinted immediately in 1590 (Venice); in time the chant is generally clearly caused by the presence of the various finding it empty with an angel there. 1625 (Rome), with a basso continuo part; outlined in the tenor voice. He uses that Marys in the Gospel narratives. Here Mary Each of the Synoptic Gospels and John and in Antwerp in 1644, unattributed best-known version of Ave maris stella, Magdalene is erroneously conflated with have rather different versions of the and edited to suit the latest revision of which starts with a rising fifth. Palestrina Mary of Bethany, the sister of Lazarus, story and of which of the Marys were the Breviary, in a volume entitled Hymni adds an extra voice (tenor) for the 7th who was famously raised back to life

6 7 by Jesus from the depths of his tomb connections with the Gonzagas over private and public devotions, for the richly sonorous combination. Susannah after four days. Palestrina gives us a many years. In 1578 Duke Guglielmo practice of spiritual exercises encouraged was another woman who chose a life finely wrought musical response to the Gonzaga commissioned several Masses by such notables as St Philip Neri, and by of virtue, but not chastity, for she was words, set with his favoured 5-voice from Palestrina composed around various religious confraternities. They married. She also, like Barbara, may have combination of voices, with two tenors. chant from the Mantuan liturgy, which were undoubtedly extremely popular been a mythical figure personifying had survived the standardisations and affordable, for there were 11 reprints a didactic moral tale. Her extensive Of course, there were many women who of the Councils of Trent; and in 1583 up to 1613. story, recorded in the Apocrypha in the played an important part in the life of the Palestrina even embarked on ultimately Protestant tradition, and as an appendix early Christian church other than those unsuccessful discussions with Guglielmo The 3 motets from the set recorded to the book of Daniel in the Vulgate, is mentioned in the Biblical narratives. regarding moving to Mantua as here are nos. 19, 20 and 21, Adiuro vos an example of a seemingly impossible Some became saints and composers choirmaster. Beata Barbara, for 6 voices, filiae Ierusalem, Caput eius aureum moral predicament from which she is would celebrate them in music. St is in two parts, in ABCB form. Rather optimum and Dilectus meus descendit only saved by her trust in the goodness Barbara, a 3rd-century Greek, was an less well-known than the 5-voice Gaude in hortum suum. All are scored for the of the Lord. When it seems she is doomed, example of virginal virtue, rewarded Barbara, it is equally fine, and deserving usual five voices, this time with two the wise intervention of a young man with a place in heaven, martyred for of more frequent performances. altos rather than two tenors. They are called Daniel, presumably the prophet steadfastly maintaining her Christian intimate vocal chamber music, set in a himself, snatches her from the jaws of beliefs in the face of pagan persecution The 29 motets on verses from the simple style, lacking any pretension to death. Her story with its sexual moral by, amongst others, her father. Though Song of Songs take us back to the most complexity or virtuosity, yet not out of dilemma makes her seem more human her story is nowadays regarded as wholly important Biblical woman of all, Mary place sung by a large choir in a cathedral. than St Barbara. She was several times fabulous, she still remains in the list of the mother of Jesus. These pieces are, Palestrina demonstrates in these pieces chosen as a subject by great artists Catholic saints. The Gonzaga dynasty, with Palestrina’s books of madrigals, what variety and intensity of feeling (Van Dyck, Rembrandt, Gentileschi, who ruled in Mantua from the 14th to somewhat anomalous in his output. can be expressed with the simplest of Tintoretto, Rubens and others), probably the 17th centuries, adopted her as their They are non-liturgical, although they means. His motet Susanna ab improbis in part because of the opportunity for the patron saint. Palestrina wrote two motets could be, and were, sung in services. But senibus, first published in 1575, is, like depiction of a voluptuous female nude, in her praise, both published in 1572, much of their purpose was for use by the Beata Barbara, for six voices, with two but also because of her human frailty and not surprisingly, for he had had close ordinary man or woman, in occasional sopranos and two tenors, a bright and vulnerability. Handel (1749) composed

8 9 an oratorio on this same story from the which remained in manuscript until well served by Palestrina, if not in great variety and of the highest quality, as the time of the Babylonian exile. Palestrina’s published in Haberl’s complete edition quantity, certainly with music of great pieces recorded here demonstrate. setting of this long narrative is masterly in 1887. Missa Ave Regina caelorum, for Martyn Imrie in maintaining interest throughout, 4 and 5 voices, is written in a fairly simple © 2017 Vanderbeek & Imrie Ltd right up to the joyous triple time of the style, making it suitable for a wide range conclusion celebrating the saving of of Marian services in churches large and innocent blood. small. Characteristically Palestrina writes two Hosannas, a couple of brief phrases Veni sponsa Christi, published in 1564, in duple time and a more extended alestrina (1525-94) è probabilmente musicale di Palestrina è prodigiosa, marked In festo virginum, was standard separate section in the usual quick triple Pil più noto tra i compositori anche per il metro di quei tempi. Egli liturgical repertoire, set to music by many time. Agnus Dei II expands to five voices rinascimentali, perlomeno di nome. In compose più di cento messe e numerosi composers. Palestrina’s music, for 4 voices, with a canon between the tenor and realtà si chiamava Giovanni Pierluigi, ma mottetti, , inni ed altri brani is simple and intimate in style, just like his 2nd alto at the interval of a fifth, giving come molti dei suoi contemporanei, fieri per tutte le principali ricorrenze dell’anno 29 Song of Songs motets. The plainchant a satisfying conclusion to this fine Mass. delle proprie origini, preferiva essere ecclesiastico. Palestrina ebbe la is memorable and unmistakeable in its conosciuto col nome del suo paese di di poter pubblicare gran parte della sua melodic outlines (rising and falling in Renaissance church composers naturally nascita, Palestrina, una piccola città a circa musica egli stesso nel corso della sua thirds at the outset). Palestrina also wrote assigned a large part of their output to 40 chilometri da Roma. All’epoca della vita, oltre ad essere il primo compositore a 4-voice Mass on the same chant melody. the various liturgical and extra-liturgical morte la sua reputazione offuscava quella rinascimentale ad avere una completa celebrations in praise of the BVM – and di tutti gli altri compositori; va detto che edizione di quasi tutta la sua produzione Five of Palestrina’s Masses take the indeed Palestrina was no exception in qualche modo questo si doveva al fatto pubblicata in notazione moderna. Oggi historic chants of the great Marian in this respect, dedicating some of his che egli avesse passato la vita a Roma al alcuni brani sono piuttosto noti, altri Ave Regina caelorum, Regina greatest music to her. One only has to servizio della Chiesa Cattolica Romana, meno o quasi sconosciuti, con molta caeli (2), Alma and think of his for 8 voices, durante la Controriforma, producendo musica eccellente che ancora non ha for their thematic material. much performed and admired in his own musica per lo stesso Papa e per quello trovato un luogo adatto nel repertorio, All were issued in print between 1599 time as well as today. But other women che era al tempo il più prestigioso coro sia concertistico che da chiesa. Le donne and 1601, except for Missa Salve Regina in the Christian story have also been del mondo: il Coro Papale. L’eredità ricoprono un ruolo di rilievo sia nel

10 11 Vecchio che nel Nuovo Testamento. Si Il mottetto a cinque voci di Palestrina La medesima narrativa è impiegata da senza attribuzione ed editi in modo da ritiene che Maria fosse un nome molto Angelus Domini descendit (Dominica Francisco Guerrero nel suo magistrale conformarsi alla più recente revisione diffuso in Palestina ai tempi di Gesù, e Resurrectionis) fu pubblicato per la mottetto a sei voci Maria Magdalene del del Breviario, in un volume intitolato molte donne di nome Maria prendono prima volta nel 1581. Egli aveva iniziato 1570, il quale esordisce enigmaticamente Hymni Sacri in Breviaro Romano. Inni parte ad alcuni dei più importanti eventi a pubblicare la sua musica all’età di con “Maria Madgdalene et altera Maria…”; Polifonici, cantati in alternatim come narrati nel Nuovo Testamento, come ad trent’anni, nel 1554, col primo libro di al contrario nella versione di Palestrina il questi, costituivano il repertorio di base esempio l’essere presenti alla crocifissione messe; poi seguì la prima collezione di testo non cita i nomi delle donne. Ogni per chiese d’ogni dimensione nel tardo e le prime ad essere a conoscenza della mottetti, presentata nel 1564, seguita parte del mottetto in forma ABCB si XVI secolo, quando vi era una grande resurrezione. Ovviamente la Vergine da altri volumi che comparvero conclude con degli Alleluia in tempo richiesta di nuove versioni basate sui Maria, madre di Gesù, era une figura regolarmente negli anni seguenti. ternario a celebrare la resurrezione. testi riformati ed approvati dal Concilio centrale nell’affermazione della cristianità, Numerose ristampe si susseguirono Palestrina mette in scena questo testo (o di Trento. In tempi moderni hanno perso e un’enorme quantità di musica è stata nel corso della sua vita come dopo la sue parti) tre volte; l’Offertorio (Dominca popolarità, spesso per la mancanza di scritta in sua lode. morte, a testimonianza della popolarità in octava paschae) pubblicato nel 1593 vocalizzazioni adatte ai versi in alternatim, delle composizioni e la loro idoneità ne utilizza una versione abbreviata, ed laddove i compositori hanno parafrasato Ogni compositore di rilievo ha messo in per l’esecuzione in chiese, dalle più esiste una versione ad otto voci copiata versioni polifoniche non più disponibili scena tutti i testi mariani classici. Altre grandi e prestigiose alle più piccole sedi in un manoscritto del 1748 custodito nei moderni corali come il Liber Usualis. donne compaiono nei Vangeli, tra le provinciali. nella Biblioteca Vaticana. Ave maris stella (contrassegnato festis quali Maria Maddalena e Maria di Betania Beatae Virginis) era un tale punto fermo (sorella di Marta e Lazzaro), Maria, la Qui si narra la storia delle donne che si Nel 1589 Palestrina pubblicò una serie del repertorio mariano che ai tempi di madre di Giacomo e Maria Salome. recano al sepolcro, a detta del Vangelo di inni per l’anno ecclesiastico (a 4, 5 e Palestrina il canto era già stato più o meno Inevitabilmente v’è una certa confusione di Giovanni, per ungere il corpo di Gesù, 6 voci) simultaneamente a Roma come standardizzato. Oggi esistono varianti di identità tra le varie Marie, ad eccezione e lo trovano vuoto, sorvegliato da un libro corale e a Venezia come libro di minori rispetto a quella in Liber Usualis, della Maria che appare in tutti e quattro angelo. Ciascuno dei Vangeli sinottici, e parti. Questi vennero immediatamente ma la versione che Palestrina impiega è i Vangeli, detta Maddalena, che può lo stesso Giovanni, racconta una versione ristampati a Venezia nel 1590, a Roma nel facilmente confermata dalla polifonia: in essere intesa a significare “di Magdala”, un differente su quale tra le Marie fosse 1625 con una parte per basso continuo, molti inni del tempo solitamente il canto insediamento sul Mar di Galilea. tra i primi testimoni della resurrezione. e ad Anversa nel 1644; questi ultimi è chiaramente delineato nella voce del

12 13 14 15

tenore. Egli usa la più popolare versione un altro esempio della confusione completamente immaginaria, essa delle donne bibliche, Maria la madre di Ave maris stella, che inizia con una causata dalla presenza di varie Marie rimane annoverata tra i santi cristiani. di Gesù. Questi brani sono, insieme quinta ascendente. Palestrina aggiunge nella narrativa del Vangelo. Qui Maria La dinastia dei Gonzaga, che governò al libro di madrigali di Palestrina, in una voce di tenore per il settimo e ultimo Maddalena è erroneamente confusa con Mantova dal XIV al XVII secolo, la adottò qualche modo anomali nel contesto verso nel canone, all’ottava inferiore Maria di Betania, la sorella di Lazzaro, come Santa Patrona. Palestrina scrisse della sua produzione. Non sono liturgici, insieme al soprano. che notoriamente Gesù riportò in vita a due mottetti in sua lode, entrambi nonostante lo potrebbero essere e quattro giorni dalla sepoltura. Palestrina pubblicati nel 1572, e ciò non sorprende venissero cantati durante le funzioni, ma In diebus illis (per quattro voci, ci regala una musica finemente cesellata in quanto egli aveva mantenuto uno la loro funzione principale era d’essere contrassegnato come In die Sanctae in risposta alle parole, messe in scena con stretto contatto con i Gonzaga nel corso usati dalle persone comuni, in devozioni Mariae Magdalenae) fu pubblicato la sua combinazione prediletta, a cinque di molti anni. Nel 1578 il Duca Guglielmo occasionali, pubbliche o private, per la per la prima volta da Palestrina nel voci con due tenori. Gonzaga commissionò a Palestrina pratica di esercizi spirituali incoraggiati 1564. Il mottetto racconta la storia diverse messe, composte su canti della da notabili quali San Filippo Neri e da della peccatrice nella casa di Simone il Naturalmente ci sono molte donne, oltre liturgia mantovana, che era sopravvissuta varie confraternite religiose. Questi Lebbroso, che unge i piedi di Gesù con a quelle citate nella narrazione biblica, alla standardizzazione del Concilio di mottetti erano indubbiamente molto un unguento preso da un contenitore di che ebbero un ruolo importante nella Trento. Nel 1538 Palestrina intraprese popolari ed economici, a giudicare dalle alabastro. Essa non è nominata nel testo, vita della prima chiesa cristiana. Alcune con Guglielmo una trattativa, seppur poi undici ristampe pubblicate fino al 1613. ma nel XVI secolo si riteneva si trattasse furono santificate, e i compositori le senza esito, riguardante la possibilità di di Maria Maddalena. Una più tarda celebrarono in musica. Santa Barbara, trasferirsi a Mantova come maestro del I tre mottetti di questa serie qui interpretazione del brano del Vangelo donna greca del terzo secolo, era un coro. Beata Barbara è per sei voci, in due presentati sono il 19, 20 e 21, Adiuro portò ad identificare il personaggio con esempio di virtù verginale, ricompensata parti, in forma ABCB. Seppur meno nota vos filiae Ierusalem, Caput eius aureum un’altra donna, anch’essa possibilmente con un posto in paradiso, martirizzata della popolare Gaude Barbara, a cinque optimum e Dilectus meus descendit in di nome Maria. per aver mantenuto la sua fede cristiana voci, questa è ugualmente raffinata e hortum suum. Tutti sono composti per con fermezza anche di fronte alla meriterebbe esecuzioni più frequenti. le consuete cinque voci, questa volta Allo stesso modo, per la festa di Santa persecuzione pagana subita ad opera con due alti invece dei due tenori. Si Maria Maddalena del 22 luglio, il testo di suo padre tra gli altri. Nonostante I ventinove mottetti su versi dal Canto dei tratta di intima musica vocale da camera, di Beatae Mariae Magdalenae contiene la sua storia sia considerata oggi Cantici ci riportano alla più importante presentata in uno stile semplice, senza

14 15 pretese di complessità e virtuosismo, giovane di nome Daniele, probabilmente e di stile intimo, così come i suoi 29 tempo ternario. Agnus Dei II si espande a eppure non fuori luogo se cantate da un lo stesso profeta, la strappa dalle fauci mottetti del Cantico dei Cantici. Il canto cinque voci con un canone tra il tenore e grande coro in una cattedrale. In questi della morte. La sua storia, con il suo piano è memorabile e inconfondibile il secondo alto ad un intervallo di quinta, brani Palestrina dimostra quale varietà dilemma morale di origine sessuale, la nelle sue linee melodiche (intervalli di dando una soddisfacente conclusione a e intensità di sentimento possa essere fa apparire più umana di Santa Barbara. terza ascendente e discendente all’inizio). questa raffinata messa. espressa con i più semplici espedienti. Il Susanna fu più volte scelta da vari artisti stessa melodia Palestrina scrisse mottetto Susanna ab improbis senibus, (Van Dyck, Rembrandt, Gentileschi, una messa per quattro voci. I compositori rinascimentali di musica che Palestrina pubblicò per la prima volta Tintoretto, Rubens e altri ancora) da chiesa ovviamente riservavano una nel 1575, è come Beata Barbara, per sei probabilmente in parte per l’opportunità Cinque delle messe di Palestrina larga parte della loro produzione alle voci con due soprani e due tenori, una di ritrarre un voluttuoso nudo femminile, prendono come materiale tematico varie celebrazioni, liturgiche e non, della combinazione brillante e riccamente ma forse anche per la sua umana gli storici canti della grande Antifona Beata Vergine Maria, e infatti Palestrina sonora. Susanna era un’altra donna che fragilità e vulnerabilità. Nel 1749 Handel mariana Ave Regina caelorum, Regina non fu un’eccezione in questo senso, scelse una vita di virtù, ma non di castità, compose un Oratorio su questa stessa caeli (2), e Salve dedicandole alcune delle sue migliori in quanto era sposata. Può darsi che essa storia dei tempi dell’esilio Babilonese. La Regina. Tutte furono date alle stampe composizioni. Basti pensare al suo Stabat pure, come Barbara, sia un personaggio versione di questa lunga narrativa, che tra il 1599 e il 1601, eccetto per la Missa Mater per otto voci, spesso eseguito immaginario inteso a personificare Palestrina scrive per sei voci, è magistrale Salve Regina che rimase in forma di ed ammirato ai suoi tempi quanto oggi. una favola morale e didattica. La sua nel mantenere acceso l’interesse per manoscritto fino alla pubblicazione Ma Palestrina ha ben servito anche altre complessa storia è riportata negli Apocrifi tutta la sua durata, fino al gioioso tempo nella Edizone Completa di Haberl nel donne della storia cristiana, se non in della tradizione protestane, e compare ternario della conclusione che celebra il 1887. Missa Ave Regina caelorum, per gran quantità certamente con musica come appendice al Libro di Daniele nella risparmiare di sangue innocente. quattro e cinque voci, è scritta in uno stile di grande varietà e della più alta qualità, Vulgata. Si tratta di un esempio di difficile piuttosto semplice, rendendola adatta come dimostrano i brani qui presentati. frangente morale, apparentemente Veni sponsa Christi, pubblicata nel 1564 per una vasta gamma di funzioni mariane insolvibile, dal quale Susanna viene e contrassegnata In festo virginum, era in chiese grandi e piccole. Tipicamente Martyn Imrie salvata solo grazie alla sua fiducia nella parte del repertorio liturgico consueto, Palestrina scrive due Osanna, un paio © 2017 Vanderbeek & Imrie Ltd bontà del Signore. Quando ella pare musicata da molti compositori. La musica di brevi frasi in tempo binario e sezioni Italian Translation condannata, il saggio intervento di un di Palestrina, per quattro voci, è semplice separate e più estese nel consueto rapido © 2017 Roberto Battista

16 17 PALESTRINA

2 Ave maris stella 1. Ave maris stella, 1. Hail, star of the sea, Dei Mater alma, bountiful Mother of God Atque semper Virgo, and eternal Virgin, TEXTS & TRANSLATIONS Felix caeli porta. happy gateway to heaven.

2. Sumens illud Ave 2. By that ‘Ave’ 1 Angelus Domini descendit de caelo Gabrielis ore: from the mouth of Gabriel, Funda nos in pace, establish us in peace, Angelus Domini descendit de caelo, The Angel of the Lord came down from heaven Mutans Evae nomen. changing Eve’s name around. et accedens, revolvit lapidem, and approaching, he rolled back the stone et super eum sedit. and sat upon it. 3. Solve vincla reis, 3. Throw off the bonds, Et dixit mulieribus: Nolite timere. And he spake thus to the women: Fear not. Profer lumen caecis, bring light to the blind, Scio enim quia crucifixum quaeritis, For I know the crucified one you seek Mala nostra pelle, banish our ills, iam surrexit. has risen. Bona cuncta posce. intercede for all good things. Venite, et videte locum Come and see the place ubi positus erat Dominus. Alleluia. where the Lord was put. Alleluia. 4. Monstra te esse matrem: 4. Show thyself a mother, Sumat per te , let Him receive our prayers through thee, Et introeuntes in monumentum, And going into the tomb, Qui pro nobis natus, He who was born for us viderunt iuvenem sedentem in dextris, they saw a young man sitting on the right, Tulit esse tuus. and is called thy son. coopertum stola candida, dressed in a white robe; et obstupuerunt: and they were astonished. 5. Virgo singularis, 5. O peerless Virgin, qui dixit illis: Nolite timere. And he said to them: Fear not. Inter omnes mitis, gentle above all others, Scio enim quia crucifixum quaeritis, For I know the crucified one you seek Nos, culpis solutos, make us, freed from sin, iam surrexit. has risen. Mites fac et castos. meek and pure. Venite, et videte locum Come and see the place ubi positus erat Dominus. Alleluia. where the Lord was put. Alleluia.

18 19 PALESTRINA PALESTRINA

6. Vitam praesta puram, 6. Through thy perfect life, 4 Beatae Mariae Magdalenae Iter para tutum: protect our way Ut videntes Jesum, that, seeing Jesus, Beatae Mariae Magdalenae, quaesumus May the prayers of the Blessed Mary Magdalene semper collaetemur. we may rejoice always. Domine suffragiis adiuvemur, help us, O Lord: cuius precibus exoratus for it was in answer to them 7. Sit laus Deo Patri, 7. Praise to God the Father, quatriduanum fratrem, that Thou didst call her brother back Summo Christo decus, glory to Christ on high, vivum ab inferis resuscitasti. from the grave to life after four days. Spiritui Sancto, and to the Holy Spirit, Tribus honor unus. Amen. honour Three in One. Amen.

3 In diebus illis 5 Beata Barbara In diebus illis, In those days, mulier quae erat in civitate peccatrix, a woman that was in the city, a sinner, Beata Barbara, Blessed Barbara, ut cognovit quod Jesus accubuit when she knew that Jesus sat at meat ad locum certaminis ducta, led to the place of strife, in domo Simonis leprosi, in the house of Simon the leper, genibus flexis, with bended knee, attulit alabastrum unguenti: brought an alabaster box of ointment; inclinato capite martyrii, head inclined for martyrdom, et stans retro secus pedes Domini Jesu, and standing behind at the feet of the Lord Jesus, consummationem accepit. she accepted her fate. lacrimis coepit rigare pedes eius, she began to wash His feet with tears, Gloriosam mortem, Embracing a glorious death, et capillas capitis sui tergebat: and wiped them with the hair of her head; magis quam odibilem vitam better than a hateful existence, et osculabatur pedes eius, and kissed His feet, complectens, she went forward, et unguento ungebat. and anointed them with the ointment. voluntarie, praeibat ad supplicium, voluntarily kneeling in supplication: genibus flexis, with bended knee, inclinato capite martyrii, head inclined for martyrdom, consummationem accepit. she accepted her fate.

20 21 PALESTRINA PALESTRINA

8 Dilectus meus descendit in hortum suum SONG OF SONGS • nos. 19-21 Dilectus meus descendit My beloved is gone down in hortum suum, ad areolam aromatum, into his garden to the beds of spices, 6 Adiuro vos filiae Ierusalem ut ibi pascatur in hortis, as there to feed in the gardens, et lilia colligat. and to gather lilies. Adiuro vos filiae Ierusalem, I charge you, daughters of Jerusalem, Ego dilecto meo, et dilectus meus mihi, I am my beloved’s and my beloved is mine, si inveneritis dilectum meum, if you find my beloved, qui pascitur inter lilia. he who feeds among the lilies. ut nuntietis ei quia amore langueo. that you tell him I languish with love. Qualis est dilectus tuus ex dilecto, What is thy beloved more than another, O pulcherrima mulierum? O thou most beautiful of women? Qualis est dilectus tuus ex dilecto, What is thy beloved more than another, quia sic adiurasti nos? that you so charge us? Dilectus meus candidus et rubicundus, My beloved is white and ruddy, electus ex milibus. chosen from thousands. 9 Susanna ab improbis senibus 7 Caput eius aurum optimum Susanna ab improbis senibus obsessam Susanna, seeing herself beset by the old men, se videns, qui forma eius capti eam, nisi and a captive, unless she submitted to the Caput eius aurum optimum. His head is as the finest gold. sibi obsequeretur adulterii se accusaturos accusation of adultery with which they Comae eius sicut elatae palmarum, His locks are as the tops of palms, minitabantur, ingemuit et ait: threatened her, sighed and said: nigrae quasi corvus. black as the raven. Angustiae mihi sunt undique. I am straitened on every side: Oculi eius sicut columbae super His eyes are as of doves by Si enim hoc egero, mors mihi est. for if I do this thing, it is death unto me; rivulos aquarum, the water brooks, Si autem non egero, and if I do it not, quae lacte sunt lotae, eyes washed with milk, non effugiam manus vestras. I shall not escape your hands. et resident iuxta fluenta plenissima. there by the bursting streams. Sed melius est mihi in manus vestras It is better for me to fall into your hands, absque opere incidere, and without doing it, quam peccare in conspectu Domini. than to sin in the sight of the Lord.

22 23 PALESTRINA PALESTRINA

Postquam autem falso eorum testimonio When she was then found guilty by their false damnata est, cum innocentiae testimony, and in her innocence MISSA AVE REGINA CAELORUM suae paratum sibi supplicium videret, saw punishment being prepared, exclamavit et dixit: then she cried out and said: bm Kyrie Deus aeterne, O everlasting God, qui absconditorum es cognitor, that knowest all things hidden away, Kyrie eleison. Lord, have mercy on us. tu scis, quoniam falsum testimonium You know they have borne false witness Christe eleison. Christ, have mercy on us. tulerunt contra me. Et ecce morior: against me, and behold, I must die; Kyrie eleison. Lord, have mercy on us. cum nihil horum fecerim, whereas I have done none of these things, quae isti malitiose composuerunt adversum which these men have maliciously forged me. Exaudivit autem Dominus vocem eius, against me. And the Lord heard her voice, bn et salvatus est sanguis innoxius in die illa. and her innocent blood was saved that day. Gloria . Glory be to God on high. Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. Laudamus te, benedicimus te, We praise Thee, we bless Thee, bl Veni sponsa Christi adoramus te, glorificamus te. we worship Thee, we glorify Thee. Gratias agimus tibi We give thanks to Thee Veni sponsa Christi, Come, bride of Christ, propter magnam gloriam tuam. for Thy great glory. accipe coronam, quam tibi Dominus receive the crown which the Lord has Domine Deus, Rex caelestis, Lord God, heavenly King, praeparavit in aeternum. prepared for you in eternity. Deus Pater omnipotens. God the Father almighty. Domine Fili unigenite, Jesu Christe. O Lord, the only-begotten Son, Jesus Christ. 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, miserere nobis. have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of the Father, miserere nobis. have mercy upon us.

24 25 PALESTRINA PALESTRINA

Quoniam tu solus Sanctus, For Thou only art holy, passus et sepultus est. He suffered and was buried. tu solus Dominus, Thou only art the Lord, Et resurrexit tertia die, And the third day He rose again tu solus Altissimus Jesu Christe. Thou only art the most high, Jesus Christ. secundum scripturas; according to the scriptures; Cum Sancto Spiritu With the Holy Spirit et ascendit in caelum, and ascended into heaven, in gloria Dei Patris. Amen. in the glory of God the Father. Amen. sedet ad dexteram Patris. and sitteth at the right hand of the Father. Et iterum venturus est cum gloria And He shall come again with glory iudicare vivos et mortuos, to judge both the quick and the dead; cuius regni non erit finis. whose kingdom shall have no end. bo Credo Et in Spiritum Sanctum And I believe in the Holy Ghost Dominum et vivificantem, the Lord and giver of life, Credo in unum Deum I believe in God qui ex Patre Filioque procedit; who proceedeth from the Father and the Son; Patrem omnipotentem, the Father almighty, qui cum Patre et Filio simul who with the Father and the Son together factorem caeli et terrae, Maker of heaven and earth, adoratur et conglorificatur; is worshipped and glorified; visibilium omnium et invisibilium. and of all things visible and invisible. qui locutus est per Prophetas. who spake by the prophets. Et in unum Dominum, Jesum Christum, And in one Lord Jesus Christ, Et unam sanctam catholicam And I believe in one holy, catholic Filium Dei unigenitum, the only begotten Son of God, et apostolicam ecclesiam. and apostolic Church. et ex Patre natum ante omnia saecula. begotten of His Father before all worlds. unum baptisma I acknowledge one baptism Deum de Deo, lumen de lumine, God of God, Light of Light, in remissionem peccatorum. for the remission of sins. Deum verum de Deo vero, very God of very God, Et expecto resurrectionem mortuorum And I look for the resurrection of the dead genitum, non factum, begotten, not made, et vitam venturi saeculi. and the life of the world to come. consubstantialem Patri, being of one substance with the Father, Amen. Amen. per quem omnia facta sunt. by Whom all things were made. Qui, propter nos homines, Who for us men, et propter nostram salutem, and for our salvation, descendit de caelis. came down from heaven. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost 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 sub Pontio Pilato; under Pontius Pilate.

26 27 PALESTRINA HARRY CHRISTOPHERS is known internationally as founder and conductor of The Sixteen as well as a bp Sanctus regular guest conductor for many of the major symphony orchestras and opera companies worldwide. He has Sanctus, Sanctus, Sanctus Holy, Holy, Holy directed The Sixteen choir and orchestra throughout Dominus Deus Sabaoth. Lord God of hosts. Europe, America and Asia-Pacific, gaining a distinguished Pleni sunt caeli et terra gloria tua. Heaven and earth are full of Thy glory. reputation for his work in Renaissance, Baroque and 20th- Osanna in excelsis. Hosanna in the highest. and 21st-century music. In 2000 he instituted The Choral Photograph: Marco Borggreve Marco Photograph: Pilgrimage, a national tour of English cathedrals from York to Canterbury in music from the pre-Reformation, as The bq Benedictus Sixteen’s contribution to the millennium celebrations. The Pilgrimage in the UK is now central to The Sixteen’s annual Benedictus qui venit Blessed is He that cometh artistic programme. in nomine Domini. in the name of the Lord. Osanna in excelsis. Hosanna in the highest. Since 2008 Harry Christophers has been Artistic Director of Boston’s Handel and Haydn Society; he is also Principal Guest Conductor of the Granada Symphony Orchestra. As well as enjoying a partnership with the BBC Philharmonic, with whom he won a Diapason d’Or, he is a regular guest conductor with the Academy of St Martin-in-the- br Agnus Dei I & II Fields. With The Sixteen he is an Associate Artist at The Bridgewater Hall in Manchester and features in the highly successful BBC television series Sacred Music, presented by Agnus Dei, Lamb of God, Simon Russell Beale. qui tollis peccata mundi: who takes away the sins of the world, miserere nobis. have mercy on us. Harry has conducted numerous productions for Lisbon Opera and English National Opera as well as conducting the UK premiere of Messager’s opera Fortunio for Grange Park Opera. Agnus Dei, Lamb of God, He is a regular conductor at Buxton Opera where he initiated a very successful cycle of qui tollis peccata mundi: who takes away the sins of the world, Handel’s operas and oratorios including Semele, Samson, Saul and Jephtha. dona nobis pacem. grant us peace. He is an Honorary Fellow of Magdalen College, Oxford, as well as the Royal Welsh College of Music and Drama, and has Honorary Doctorates from the Universities of Canterbury Christ Church and Leicester. He was awarded a CBE in the 2012 Queen’s Birthday Honours.

28 29 After more than three decades of worldwide 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 SOPRANO ALTO TENOR BASS Camilla Harris early classical periods, and a diversity of 20th- and Ian Aitkenhead * Simon Berridge Ben Davies Katy Hill Daniel Collins Jeremy Budd Eamonn Dougan # 21st-century music, all stems from the passions of Kirsty Hopkins Martha McLorinan ** Mark Dobell Jimmy Holliday ## conductor and founder, Harry Christophers. Alexandra Kidgell Kim Porter George Pooley Tim Jones Charlotte Mobbs Caroline Trevor Rob Macdonald The Sixteen tours internationally giving regular performances at the major concert halls Emilia Morton and festivals. At home in the UK, The Sixteen are ‘The Voices of Classic FM’ as well as * tracks bm, bn & bo only # tracks 1, 3, 4, 5 & bm -br Associate Artists of The Bridgewater Hall, Manchester. The group also promotes The Choral ** except bm, bn & bo ## except 3, 4, 5 & bm -br 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 Belém Centre, and new productions of Monteverdi’s Il ritorno Recording Producer: Mark Brown d’Ulisse at Lisbon Opera House and The Coronation of Poppea at English National Opera. Recording Engineer: Mike Hatch (Floating Earth) Recorded at: Church of St Alban the Martyr, Holborn, London, 9-11 January 2017 Over 100 recordings reflect The Sixteen’s quality in a range of work spanning the music Cover image: Palestrina, © Shutterstock of 500 years. In 2009 the group won the coveted Classic FM Gramophone Artist of the Design: Andrew Giles: [email protected] Year Award and the Baroque Vocal Award for Handel’s Coronation Anthems. The Sixteen also features in the highly successful BBC television series Sacred Music, presented by 2017 The Sixteen Productions Ltd. the voi ces of Simon Russell Beale. © 2017 The Sixteen Productions Ltd. Made in Great Britain For further information about recordings on CORO or live performances and tours by In 2011 the group launched Genesis Sixteen, a new training programme for young The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected] singers. Aimed at 18- to 23-year-olds, this is the UK’s first fully funded choral www.thesixteen.com programme for young singers, designed specifically to bridge the gap from student to professional practitioner. Also available as a studio master quality download at www.thesixteenshop.com

30 31