CORO Edition CORO live The Sixteen – Allegri - Miserere Vivaldi: Gloria in D Palestrina: Missa Papae Marcelli, Stabat Mater Bach: Magnificat in D Lotti: Crucifixus Resounding "The tone of the choir is performances of superb, the intonation two fine choral works excellent, the acoustic perfect." from two masters Fauré the gramophone of the Baroqe era. cor16014 cor16042 à la Gloire de Dieu A Mother's Love RE UIEM Stravinsky: Symphony of Psalms An album of music written in honour of the Poulenc: Sept Répons Virgin Mary. Q des Ténèbres "Performances through- Tippett: Five Negro out show this marvelous Spirituals choir at their most "...deeply committed and eloquent, beautifully technically brilliant..." balanced and blended." Elin Manahan Thomas • Roderick Williams the gramophone the gramophone cor16013 ucj 476 6295 The Sixteen THE VOICES OF Academy of St Martin in the Fields Design: Andrew Giles - [email protected] N To find out more about The Sixteen, concert tours, and to buy CDs, visit www.thesixteen.com cor16057 HARRY CHRISTOPHERS I first had the pleasure of conducting the Academy of St The Live Recording Martin in the Fields in July 2003 at the Barbican Centre (1756 - 1791) eat equations can account in detail in London, and the lasting memory was one of a quite 1 exceptional group of musicians, who played not only with Ave, verum Corpus (K618) 3.00 for the reproduction of music on incredible physicality and depth but also with a real love of Vesperae solennes de record, delivering ideal models for Nmicrophone placement and the balance of their art. They were quite simply a joy to make music with. Confessore (K339) sound. When it comes to the business of That basic love of making music is also the raison d'être 2 Dixit Dominus 3.54 preserving musical spontaneity, though, of The Sixteen, so when the possibility arose to unite these 3 Confitebor 4.11 metaphysics appears to have the edge over two wonderful ensembles for the Mostly Mozart Festival at mathematics. A performance recorded 4 Beatus vir 4.02 the Barbican, the opportunity of making a live recording in the flesh, by rights, should easily win was not to be missed. There is always something very special 5 Laudate pueri 3.54 the coveted atmosphere stakes, leaving about a concert - not only playing or hearing music live, 6 Laudate Dominum 4.00 studio albums to contest lesser prizes for accuracy and precision. Hefty evidence but also seeing the reaction of performers and audience 7 Magnificat 4.04 alike to the various emotions one experiences. Of course, suggests otherwise, with countless ‘live’ it is very difficult to convey this through a recording; we cannot see it first hand, we can albums radiating a cadaverous chill caught only imagine. Suffice it to say that this concert was a truly memorable occasion for all Gabriel Fauré (1845 - 1924) somewhere between the concert hall and the production suite. The Sixteen, in company involved. The audience was totally absorbed in the simple sincerity of Mozart's Ave, verum Requiem with the Academy of St Martin in the Corpus, and the festive effervescence of Mozart's Vespers. The silence at the end of Fauré's Fields and fine soloists, came up with the Requiem was so long and peaceful, that one truly felt that every single person in the hall 8 Introït et Kyrie 5.17 9 alchemy required to convert a captivating had experienced, in Fauré's own words, "a happy deliverance, an aspiration towards the Offertoire 7.20 concert into a genuinely faithful recording happiness of the beyond." bl Sanctus 3.12 of insightful, high-octane music making, I do hope that you, like me, feel that this recording reflects that unique live experience. bm Pie Jesu 3.21 their interpretations of Mozart and Fauré To experience the full benefit listen to each work in its entirety. bn masterpieces evolving and flourishing Agnus Dei 5.14 under Harry Christophers’ guidance. bo Libera me 4.47 Those not present at the Barbican Centre bp In Paradisum 3.04 for this performance in the venue’s Mostly Mozart season in 2007 can listen to its Total playing time 59.28 recorded legacy and experience, from

2 3 the best seat in the house, what audience voices bring to bear on results. Yet surface The Music Salzburg and its archdiocese into a series of members have already taken to their sheen never detracts from considerations modernising reforms. The new man, second hearts: sublime artistry from The Sixteen; of underlying structure throughout the alzburg, Mozart’s birthplace, retained a son of the imperial state vice-chancellor, swagger and panache from the Academy’s piece. Consequently, the Sanctus delivers proud, at times defiant independence tackled a floundering economy, imposed musicians; poetic phrasing, and moments of its ‘Hosanna’ punch with respect to the from the surrounding Habsburg crown Viennese models on the school system, imaginative invention rarely heard in such following Pie Jesu, preparing rather landsS for centuries. Prince-Archbishop Paris suppressed the tradition of moralising choral warhorses as Fauré’s Requiem and than destroying the scene for the sweet Lodron’s mighty defensive walls, raised dramas with music of the Benedictines, Mozart’s Ave, verum corpus. The routine tranquility of Elin Manahan Thomas’s during the Thirty Years War to preserve trimmed the length of Mass, and proscribed collocation of ‘warhorse’ with either of radiant solo. Likewise, the Agnus Dei Salzburg’s neutrality, presented a visible such splendid local expressions of faith these works demands analysis. In the case of flows out of the soprano’s supplication to reminder of the city’s otherness, as did the as the firing of cannons during religious Harry Christophers and his collaborators, ‘Blessed Jesu’, capturing the uncertainty later brutal and near-ruinous expulsion of processions. His regime, essentially one of both compositions receive an infusion of the movement’s treatment of ‘dona eis her Protestant population. Italian Baroque enlightened thinking, has routinely been of fresh lifeblood, free from the taint of requiem’, ‘grant them eternal rest’, at times, tastes were cultivated in the arts, shaped portrayed by musicologists as tight-fisted empty performance convention or strained expressed as a humble request, at others, with distinct local traits; the Jesuits were and hostile to music. Colloredo’s reforming authenticity. It would have been simple to delivered with commanding force. forbidden to operate within the city, and broom, in fact, swept away much that was strip down Fauré’s peerless Requiem setting Such myriad subtleties of phrasing and the university based its curriculum on reactionary and irrational, the traditions to its original scoring, or at least something expression also serve the cause of Mozart’s ancient Benedictine teachings. In short, of singing hymns in Latin and substituting approaching it, and stamp ‘job done’. Vesperae solennes de Confessore, intensified the Salzburg of Mozart’s day took seriously instrumental for choral pieces in church This account uses the score’s orchestral by the adrenalin and occasion of public its status as a principality, part of the services among them. The new man also version as a foundation for, rather than the performance. In the first movement, for Holy Roman Empire but free from direct forced his archiepiscopal composers to be raison d’etre of, a more honest, ultimately instance, the five successive dynamic marks Habsburg control. It was not free, however, more concise and to the point when writing enlightening interpretation. Listen, for that etch the words ‘reges, in die irae’ (‘kings, from Vienna, seat of the imperial and royal sacred music. example, to the Offertory, ‘O Domine, Jesu in the day of [His] wrath’) are expertly Habsburg dynasty, which effectively led the Tradition and renewal came together in the Christe’, where the funereal speed and ‘flat’ delivered: most choirs fall at the first of way in matters political and cultural. Vienna case of Salzburg Vespers settings, generally singing style habitually adopted here is these vocal hurdles, leaving the orchestra also influenced Salzburg’s musical scene, conservative in style, short in length and replaced by a fluid approach to tempo and to carry off the effect. The apparently staid especially through the Italianate example and sparing in the number of instruments they an impassioned response to Fauré’s plea on counterpoint of Laudate pueri, set down occasional visits of Antonio Caldara, deputy conventionally employed. These conditions behalf of the ‘souls of the departed’. by Mozart with sparse contrasts of the Kapellmeister to the Habsburg court. ideally suited the Colloredo directives Clearly, the sheer quality, the blend loud and soft variety, emerges here as a The 1772 election of Hieronymous on church music. Mozart composed two and exceptional control of The Sixteen’s fascinating musical landscape. Colloredo as Prince-Archbishop plunged Vespers for Salzburg use, both of which

4 5 manage to conform to local customs while propelled by bold timpani strokes and an notes’ in his Singspiel, Die Entführung aus text’s train of thought.” preserving certain ‘operatic’ qualities that eloquent interchange between the choir’s dem Serail, a charge that could never stand Until recently the genesis of Fauré’s Messe Colloredo’s regulations permitted elsewhere forthright chordal proclamations of ‘Dixit’ against the composer’s peerless setting of de Requiem was unclear, obscured in part in music for the Mass. The Vesperae solennes and ‘Dominus’ and a boisterous answering Ave, verum corpus. He undoubtedly drew by the composer’s own hazy recollection de Confessore, five psalms and the Magnificat melody from the violins. on the Salzburg motet tradition of his youth of its creation and the assumption of early presented in Neapolitan fashion as separate, Concision is raised to a virtue in the and the legacy of Archbishop Colloredo’s biographers that it was written at some undivided movements of a continuous work, Confitebor tibi Domine, the psalm text reforms to distil the maximum expressive point between the death of Fauré’s father were apparently written in 1780 for a saint’s articulated clearly by the choir, with few effect from the simplest of melodic and in July 1885 and that of his mother in day. No evidence of a first performance date traces of counterpoint, before being passed, harmonic materials. The piece dates from the December 1887. In March 1910, Fauré wrote has survived to determine the saint’s identity, relay fashion, among the solo quartet. last year of Mozart’s life, a period of testing to the musicologist and composer Maurice although the music itself would certainly The movement includes sparky contrasts financial hardship and personal despair, and Emmanuel to confirm that his Requiem grace the feast of a major figure from the of choral and solo texture, delicately was completed on 18 June 1791. Mozart had setting was performed for the first time sanctoral calendar. shaded and crowned in its closing pages interrupted work on to visit in 1890. “My Requiem was composed for Mozart here satisfies Archbishop by a wholehearted full choir statement of his wife Constanze who was undertaking nothing ... for fun, if I may be permitted to Colloredo’s demands for brevity without the ‘Gloria Patri’. Beatus vir upholds the the costly ‘cure’ offered at the sulphur say so! [....] If my memory serves me right, sacrificing inventive richness or, in the case celebratory tone, albeit in more earnest terms springs in Baden, around fifteen miles from the deceased of 1890 was a M. Le Soufaché, of the work’s celebrated Laudate Dominum, than the preceding Dixit and Confitebor. Its Vienna. Apparently Anton Stoll, the Baden which is not exactly an ordinary name!” The lyrical beauty. He also pays court to the graceful solo soprano part nods lightly in choirmaster and a close friend of the Mozarts, register of deaths at the Parisian church of requirements of tradition, treating the the direction of the opera house without asked the composer to provide a short piece La Madeleine, where Fauré served as maitre Laudate pueri text, that of Psalm 112, to disturbing the psalmist’s message of faithful for performance on the Sunday following de chapelle of the parish for almost thirty an academically correct fugue, elaborate steadfastness in God. Secular rejoicing the feast of Corpus Christi. Remarkable years, shows that the funeral service held in its working out and coloured by a sits well with the text of Psalm 116/117, for its intensity, Ave, verum corpus reveals for the architect Joseph Le Soufaché on 16 striking diminished seventh interval at the Laudate Dominum, omnes gentes, reflected Mozart at his most tender and devotional. January 1888, involved the participation of heart of its principal theme. In Salzburg in Mozart’s beguilingly operatic setting “It is … eloquent proof of the composer’s a choir and orchestra. A telegram from the and beyond, Psalm 112 commanded a for solo soprano. The choir exchanges its profound religious feelings,” wrote Hermann composer sent the previous day confirms special reverence from eighteenth-century principal role here to contribute a hymn-like Abert in his monumental survey of Mozart’s that the earliest version of his Requiem was worshippers, usually underlined in musical central interlude and accompanying support life and works. “With the single exception indeed first performed for the sake of Le settings by the use of ‘ancient’ contrapuntal to the soloist’s exquisite final flourish. of its extended ending, the work never steps Soufaché’s soul. forms. The opening Dixit Dominus sets the According to legend, the Emperor Joseph outside the folk-like symmetry of its four- Fauré worked on the Requiem’s original prevailing festive mood with its first phrase, II accused Mozart of writing ‘too many bar structure, while perfectly mirroring the form from the autumn of 1887 to early 6 7 January 1888, setting five sections of the year, its orchestration recently attributed Latin Mass for the Dead. He first composed by the French musicologist Jean-Michel Soloists Academy of St Martin in the Fields the Pie Jesu before completing the Introït Nectoux either in part or whole to one of soprano first violin Second violin clarinet and Kyrie, In Paradisum, Agnus Dei and Fauré’s pupils, Roger Ducasse. Elin Manahan Thomas Harvey de Souza * Martin Burgess * Nicholas Carpenter Sanctus, scoring what he described as his In 1902 Fauré explained that he had alto Amanda Smith * Nicole Wilson * Richard West ‘little Requiem’ for the unusual and highly intended to ‘do something different’ with Ruth Massey Catherine Morgan * Matthew Ward * bassoon Helen Paterson * Thomas Elliott * effective combination of violas, cellos, organ, his Requiem. “Perhaps my instinct led me to tenor Graham Sheen Elizabeth Williams * Clare Hayes Gavin McNaughton harp and timpani. In May 1888 he added stray from the established path after all those Mark Dobell Helena Smart * Alison Dods parts for two trumpets and two horns for years accompanying funerals.” The tender, horn Richard Milone viola another performance at the Madeleine. intimate style of expression adopted by the Roderick Williams Martin Gwilym-Jones Timothy Brown Robert Smissen Joanna Hensel Although the Offertoire had been sketched composer for the Pie Jesu and In Paradisum, Fiona Bonds Nicholas Hougham in 1887, the 'Hostias' setting for solo baritone the heart-felt qualities of the Libera me, Duncan Ferguson Alexia Cammish remained incomplete until the spring of and the prevailing lyricism certainly set Martin Humbey The Sixteen Trumpet 1889, while the opening and closing choral his work apart from the grand Requiem Ian Rathbone Julia Knight William Houghton sections appear to date from 1894. The settings of Berlioz and Verdi, complete with soprano tenor Michael Laird Ildiko Allen Jeremy Budd cello Libera me, composed for solo voice and their tumultuous treatments of the Day of Emma Brain-Gabbott Mark Dobell Stephen Orton trombone organ in 1877, was revised and added to Judgment. One critic described Fauré’s Katy Butler George Pooley John Heley Roger Harvey the Requiem in 1891. Fauré’s publishers, Requiem setting as ‘a cradle-song of death’, Julie Cooper Benjamin Rayfield† Susan Dorey Lindsay Shilling Hamelle, were reluctant to issue a potentially a view welcomed by the composer, who saw Alison Hill Nicolas Robertson Jane Oliver Patrick Jackman Kirsty Hopkins David Roy popular work in its original, idiosyncratic death “as a joyful deliverance, an aspiration Double bass timpani Charlotte Mobbs William Unwin Lynda Houghton Tristan Fry scoring. The composer eventually responded towards a happiness beyond the grave, Amy Moore to their requests for a version of the Requiem rather than a painful experience”. Charles Bass Cathy Elliott harp Rebecca Outram Benjamin Davies flute Skaila Kanga for symphony orchestra with additional Koechlin later observed that, “We need not Claire Tomlin Robert Davies Andrew Nicholson organ parts for violins and woodwinds, which was regret that [Fauré’s] art could not tackle a alto Julian Empett Sarah Newbold Huw Williams performed in concert on 17 May 1894. The detailed and minute picture of a hell which Ian Aitkenhead Robert Evans ‘official’ premiere of the revised score was his heart could not desire when, thanks to Margaret Cameron Timothy Jones oboe Christopher Cowie * Violin in given as part of the Universal Exhibition the overflowing of that heart, the aeterna David Clegg Stuart Young Ruth Massey Rachel Ingleton Fauré Requiem at the Trocadéro in Paris on 12 July 1900. requies is of such serene gentleness and William Missin †Mozart Vesperae only Hamelle did not publish a symphonic consoling hope.” Christopher Royall version of the Requiem until the following © Andrew Stewart Benjamin Turner† 8 9 Juravit Dominus, et non poenitebit eum: The Lord hath sworn, and he will not repent: Wolfgang Amadeus Mozart Tu es sacerdos in aeternum secundum Thou art a priest for ever according to the ordinem Melchisedech. Dominus a dextris order of Melchisedech. The Lord at thy right tuis, confregit in die irae suae reges. hand hath broken kings in the day of his wrath. 1 Ave, verum Corpus Judicabit in nationibus, implebit ruinas; He shall judge among nations, he shall fill Ave, verum Corpus, Hail, true body of Christ, conquasabit capita in terra multorum. ruins: he shall crush the heads in the land of Natum de Maria Virgine; born of the virgin Mary; De torrente in via bibet: propterea the many. He shall drink of the torrent in the Vere passum, immolatum truly suffered, sacrificed exaltabit caput. way: therefore shall he lift up the head. In cruce pro homine; on the cross for mankind; Gloria Patri, et Filio, et Spiritui Sancto. Glory be to the Father, and to the Son and the Cujus latus perforatum whose pierced side Sicut erat in principio, et nunc, et semper, Holy Spirit. As it was in the beginning is now Unda fluxit et sanguine: flowed with water and blood: et in saecula saeculorum. Amen. and ever shall be, world without end. Amen. Esto nobis praegustatum be for us a forestate In mortis examine. in the trial of death. Psalm 110

Vesperae solennes de Confessore 3 Confitebor (solo quartet, chorus) 2 Dixit Dominus (solo quartet, chorus) Confitebor tibi Domine in toto corde I will praise thee, O Lord, with my whole meo, in consilio justorum, heart; in the council of the just: Dixit Dominus Domino meo: sede a The Lord said to my Lord: Sit thou at et congregatione. and in the congregation. dextris meis, donec ponam inimicos my right hand: Until I make thy enemies tuos, scabellum pedum tuorum. thy footstool. Magna opera Domini, Great are the works of the Lord: exquisita in omnes voluntates ejus. sought out according to all his wills. Virgam virtutis tuae emittet Dominus The Lord will send forth the sceptre of thy ex Sion: dominare in medio power out of Sion: rule thou in the midst Confessio et magnificentia opus ejus: et His work is praise and magnificence: and inimicorum tuorum. of thy enemies. justitia ejus manet in saeculum saeculi. his justice continueth for ever and ever. Tecum principium in die virtutis tuae, With thee is the principality in the day of thy in splendoribus sanctorum: ex utero strength: in the brightness of the saints: from ante luciferum genui te. the womb before the daystar I begot thee.

10 11 Memoriam fecit, mirabilium suorum; He hath made a remembrance of his wonderful 4 Beatus vir (solo quartet, chorus) misericors et miserator et justus: works, being a merciful and gracious Lord: escam dedit timentibus se. He hath given food to them that fear him. Beatus vir, qui timet Dominum: in Blessed is the man that feareth the Lord: he madatis ejus volet nimis. shall delight exceedingly in his commandments. Memor erit in saeculum testamenti sui: He will be mindful for ever of his covenant: virtutem operum suorum annuntiabit He will shew forth to his people the power of Potens in terra erit semen ejus: His seed shall be mighty upon earth: the populo suo. his works. generatio rectorum benedicetur. generation of the righteous shall be blessed. Ut det illis hereditatem gentium: That he may give them the inheritance of the Gloria et divitiae in domo ejus: et justitia Glory and wealth shall be in his house: and opera manuum ejus gentiles: the works of his hands are ejus manet in saeculum saeculi. his justice remaineth for ever and ever. veritas et judicium. truth and judgment. Exortum est in tenebris lumen rectis: To the righteous a light is risen up in darkness: Fidelia omnia mandata ejus: All his commandments are faithful: misericors, et miserator, et justus. he is merciful, and compassionate and just. confirmata in saeculum saeculi, confirmed for ever and ever, Jucundus homo qui miseretur et commodat; Acceptable is the man that showeth mercy and facta in veritate et aequitate. made in truth and equity. disponet sermones suos in judicio: quia lendeth: he shall order his words with judgment: Redemptionem misit Dominus populo He hath sent redemption to his people: in aeternum non commovebitur. because he shall not be moved for ever. suo: mandavit in aeternum He hath commanded his covenant In memoria aeterna erit justus: ab The just shall be in everlasting remembrance: testamentum suum. for ever. auditione mala non timebit. he shall not fear the evil tidings. Sanctum et terribile nomen ejus: Holy and terrible is his name: the fear Paratum cor ejus sperare in Domino, His heart is ready to hope in the Lord: his initium sapientiae timor Domini. of the Lord is the beginning of wisdom. non commovebitur donec despiciat heart is strengthened, he shall not be moved Intellectus bonus omnibus facientibus A good understanding to all that do it: inimicos suos. until he look over his enemies. eum: laudatio ejus manet his praise continueth Dispersit, dedit pauperibus: justitia ejus He hath distributed, he hath given to the poor: in saeculum saeculi. for ever and ever. manet in saeculum saeculi: his justice remaineth for ever and ever: Gloria Patri, et Filio, et Spiritui Sancto. Glory be to the Father, and to the Son and the cornu ejus exaltabitur in gloria. his horn shall be exalted in glory. Sicut erat in principio, et nunc, et semper, Holy Spirit. As it was in the beginning is now Peccator videbit, et irascetur, The wicked shall see, and shall be angry, et in saecula saeculorum. Amen. and ever shall be, world without end. Amen. dentibus suis fremet et tabescet: he shall gnash with his teeth and pine away: Psalm 111 desiderium peccatorum peribit. the desire of the wicked shall perish.

12 13 Gloria Patri, et Filio, et Spiritui Sancto. Glory be to the Father and to the Son and the 6 Laudate Dominum (soprano solo, chorus) Sicut erat in principio, et nunc, et semper, et Holy Spirit. As it was in the beginning is now in saecula saeculorum. Amen. and ever shall be, world without end. Amen. Laudate Dominum omnes gentes: O praise the Lord, all ye nations: laudate eum omnes populi. praise him, all ye people. Psalm 112 Quoniam confirmata est super nos For his mercy is confirmed upon us: 5 Laudate pueri (chorus) misericordia ejus: et veritas Domini and the truth of the Lord manet in aeternum. remaineth for ever. Laudate pueri Dominum, Praise the Lord, ye children: Glory be to the Father, and to the Son and the laudate nomen Domini. praise ye the name of the Lord. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, Holy Spirit. As it was in the beginning is now Sit nomen Domini benedictum, Blessed be the name of the Lord, et in saecula saeculorum. Amen. and ever shall be, world without end. Amen. ex hoc nunc, et usque in saeculum. from henceforth now and for ever. Psalm 117 A solis ortu usque ad occasum, From the rising of the sun unto its going laudabile nomen Domini. down, praise the name of the Lord. 7 Magnificat (solo quartet, chorus) Excelsus super omnes gentes Dominus, The Lord is high above all nations; and his Magnificat anima mea Dominum. My soul doth magnify the Lord et super coelos gloria ejus. Quis sicut glory above the heavens. Who is as Et exsultavit spiritus meus in Deo and my spirit hath rejoiced in God Dominus Deus noster, qui in altis habitat, the Lord our God, who dwelleth on high, salutari meo. my Saviour. et humilia respicit in coelo et in terra? and looketh down on heaven and in earth? Quia respexit humilitatem ancillae For he hath regarded the lowliness of his Suscitans a terra inopem, et de stercore Raising up the needy from the earth, and the suae: ecce enim ex hoc beatam me handmaiden: for, behold, from henceforth erigens pauperem: Ut collocet eum cum poor out of the dunghill: That he may place dicent omnes generationes. all generations shall call me blessed. principibus populi sui. him with princes of his people. Quia fecit mihi magna qui potens est: For he that is mighty hath done great things Qui habitare facit sterilem in domo, Who maketh a barren woman to dwell in a et sanctum nomen eius. to me, and holy is his name. matrem filiorum laetantem. house, the joyful mother of children. Et misericordia eius a progenie in And his mercy is from generation unto progenies timentibus eum. generation, unto them that fear him. Gloria Patri, et Filio, et Spiritui Sancto. Glory be to the Father, and to the Son and the Fecit potentiam in brachio suo: He hath showed strength with his arm; Sicut erat in principio, et nunc, et semper, Holy Spirit. As it was in the beginning is now dispersit superbos he hath scattered the proud et in saecula saeculorum. Amen. and ever shall be, world without end. Amen. mente cordis sui. in the imagination of their hearts. Psalm 113 Deposuit potentes de sede, He hath put down the mighty from their seat 14 15 et exaltavit humiles. and exalted the humble. 9 Offertoire (baritone solo, chorus) Esurientes implevit bonis: He hath filled the hungry with good things, O Domine, Jesu Christe, Rex gloriae, libera O Lord, Jesus Christ, King of Glory, deliver the et divites dimisit inanes. and the rich he hath sent empty away. animas defunctorum de poenis inferni souls of the departed from the pains of Hell He hath received Israel, his servant, Suscepit Israel puerum suum et de profundo lacu; and from the deep pit; recordatus misericordiae suae. being mindful of his mercy. libera eas de ore leonis, save them from the mouth of the lion Sicut locutus est ad patres nostros, As he spoke to our forefathers, ne absorbeat eas tartarus nor allow the dark lake to swallow them up Abraham et semini eius in saecula. to Abraham and his seed for ever. ne cadant in obscurum. nor darkness to enshroud them. Gloria Patri, et Filio, Glory be to the Father, and to the Son, Hostias et preces tibi, Domine, laudis With our prayers, O Lord, we offer a sacrifice et Spiritui Sancto. and to the Holy Ghost. offerimus; of praise; Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now and ever Tu suscipe pro animabus illis do Thou receive it on behalf of those souls et in saecula saeculorum. Amen. shall be, world without end. Amen. quarum hodie memoriam facimus; whom we this day commemorate; grant, O Lord, that they may pass from death Luke 1 vv.46-55 fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti to life, which thou didst promise to Abraham et semini ejus, Amen. and his seed, Amen.

Gabriel Fauré bl Sanctus (chorus) Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Requiem Dominus Deus Sabaoth. Lord God of hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory. 8 Introït et Kyrie (chorus) Hosanna in excelsis. Hosanna in the highest. Requiem aeternam dona eis Domine, Eternal rest grant them, O Lord, Et lux perpetua luceat eis. and let perpetual light shine upon them. bm Pie Jesu (soprano solo) Te decet Hymnus Deus in Sion A hymn, O God, becometh Thee in Sion, Et tibi reddetur votum in Jerusalem. and a vow shall be paid to Thee in Jerusalem. Pie Jesu, Domine, dona eis requiem; Blessed Jesus, O Lord, grant them rest; grant them eternal rest. Exaudi orationem meam, Hear my prayer, dona eis requiem sempiternam. Ad te omnis caro veniet. all flesh shall come to Thee. Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. 16 17 bn Agnus Dei (chorus) Agnus Dei, qui tollis peccata mundi, Lamb of God, who takest away the sins of dona eis requiem. the world, grant them rest. Lux aeterna luceat eis, Domine, Let perpetual light shine on them, O Lord, cum sanctis tuis in aeternum, quia pius es. together with Thy saints, for Thou art good. Requiem aeternam dona eis, Domine, Eternal rest grant them, O Lord, et lux perpetua luceat eis. and let perpetual light shine upon them. bo Libera me (baritone solo, chorus) Libera me, Domine, de morte aeterna, Deliver me, O Lord, from eternal death in die illa tremenda; in that awful day quando coeli movendi sunt et terra; when heaven and earth shall be moved, when Eton Choirbook and the prestigious dum veneris judicare saeculum per ignem. Thou shalt come to judge the world by fire. The Classical Brit Award for ‘Renaissance’. Tremens factus sum ego et timeo, dum Trembling, I stand before Thee and I fear the Sixteen The Sixteen tours throughout Europe, Japan, Australia and the Americas and discussio venerit atque ventura ira. trial that shall be at hand and the wrath to come. Harry Christophers Dies illa, dies irae, calamitatis et miseriae; That day, that day of wrath, of calamity and has given regular performances at major concert halls and festivals worldwide, dies magna et amara valde. misery, a great day and exceeding bitter. he Sixteen is recognised as one of including the Barbican Centre, Queen Elizabeth Requiem aeternam dona eis, Domine, Eternal rest grant them, O Lord, the world’s greatest vocal ensembles. Hall, Sydney Opera House, and Vienna et lux perpetua luceat eis. and let perpetual light shine upon them. Its special reputation for performing Musikverein; also the BBC Proms, and the Libera me, Domine. Deliver me, O Lord. earlyT English polyphony, masterpieces of the festivals of Salzburg, Granada, Lucerne and Renaissance and a diversity of 20th century Istanbul. The group promotes The Choral bp In Paradisum (chorus) music is drawn from the passions of conductor Pilgrimage in some of the UK’s finest cathedrals, and founder, Harry Christophers. Over ninety bringing music back to the buildings for which In paradisum deducant angeli; in tuo May the angels receive thee in paradise; recordings reflect The Sixteen’s quality in a it was written. The Sixteen are Associate Artists adventus suscipiant te martyres et at thy coming may the martyrs receive thee range of work spanning the music of five of London’s Southbank Centre and also well perducant te in civitatem sanctam Jerusalem. and bring thee into the Holy City Jerusalem. hundred years, winning many awards including known as the ‘The Voices of Classic fM’. The Chorus angelorum te suscipiat, There may the choir of angels receive thee a Grand Prix du Disque for Handel’s Messiah, Sixteen’s own CD label CORO now releases most et cum Lazaro quondam paupere, and with Lazarus, once a beggar, numerous Schallplattenkritik, the coveted of the group’s recordings. aeternam habeas requiem. may thou have eternal rest. Gramophone Award for Early Music for the www.thesixteen.com 18 19 that now boasts well over 500 entries, making schedule of international touring alongside its Academy receives no direct government subsidy the Academy the most recorded chamber concerts and outreach work in the UK and is and relies solely on its commercial initiative orchestra in the world. The Academy is a regular visitor to concert halls across Europe and donations from trusts, foundations and particularly well-known for its Mozart and the USA. individual donors for its continued success. recordings with Sir Neville Marriner including Unlike most major UK orchestras the www.asmf.org the multi award winning soundtrack to the film Amadeus. Thanks to its huge catalogue and widespread radio coverage, the Academy’s name has become familiar to audiences across Elin Manahan Thomas he Academy of St Martin in the the globe. soprano Fields was formed in 1958 as a small, In addition to its performances with Life conductorless chamber ensemble. President Sir Neville Marriner and Director lin Manahan Thomas is known in her LedT by Neville Marriner and attracting some Kenneth Sillito, the Academy now collaborates Welsh homeland as the ‘Soprano bach’. of the finest players in It pays affectionate tribute to the ‘little London, the orchestra soprano’E while recognising her passion for at first concentrated Bach, one of the towering giants of western on repertoire from the classical music. In 2005 she made headline Baroque era, developing news as the first singer to perform Bach’s a style of performance seductive aria Alles mit Gott for almost three that launched the centuries. Elin’s crystal clear voice, with its 1960’s Baroque revival. blend of tonal beauty and expressive intensity, The Academy was so amounts to the ideal instrument to reconnect named after the various modern listeners with music written before concert-giving societies the Industrial Revolution. or ‘Academies’ that Elin studied Anglo Saxon, Norse from Weimar to New York. She soon found had flourished in 18th and Celtic at Clare College, Cambridge, herself singing for Harry Christophers' century London and the graduating with a starred first-class degree. celebrated choir The Sixteen, Polyphony famous church in which Performing in Clare chapel, undertaking and the Gabrieli Consort. Her solo career it gave its first concert on concert tours and recordings quickly blossomed thereafter with the 2007 Eternal 13 November 1959. ensured that singing for a living became Light album receiving high critical acclaim Only two years later it had secured its with a number of guest directors including an option. She joined the Monteverdi Choir from the classical media and music fans first recording contract, with the independent Murray Perahia, Joshua Bell, Gil Shaham, after a successful audition with Sir John Eliot alike, and reaching number 2 in the classical L’Oiseau-Lyre label. This was to be the begin- Anthony Marwood, Julia Fischer and Julian Gardiner and toured on Gardiner’s Bach charts. For further information go to ning of a literally record-breaking discography Rachlin. The orchestra maintains a busy Cantata Pilgrimage, performing in venues www.elinmanahanthomas.com

20 21 Ruth took the role of Ardelia. with Tenebrae in Spain, and a tour of South Roderick Williams baritone Ruth Massey alto Forthcoming engagements include Handel’s Korea and Japan with the Orchestra of the Age of Dixit Dominus for Paul McCreesh and the Enlightenment and Mark Padmore, performing oderick Williams encompasses a uth Massey Gabrieli Consort in Rome, Duruflé's Requiem J. S. Bach's St John Passion. wide repertoire, from Baroque to g r a du at e d contemporary music, in the opera with a Rhouse, on the Rdegree in Law from performed both at concert platform the University of Mark Dobell tenor home and abroad and in recital. Cambridge in 1999, ark Dobell was a choral scholar of with many leading He has enjoyed where she was a Clare College, Cambridge, where he choirs and consort close relationships Choral Scholar at read Classics. He later studied as a groups, such as with Opera North Clare College. Now Mpostgraduate at the Royal Academy of Music, the Monteverdi and Scottish based in London, under the tuition of Edward Brooks and Iain Choir and the Opera and future she is in increasing Ledingham, where he was awarded the Clifton Tallis Scholars; he commitments demand as a talented Prize for the best final recital. is also a regular take him to the young soloist. Recent Mark has performed as a soloist for member of The Royal Opera solo performances many eminent conductors, including Harry Sixteen. Since and English include Rach- Christophers, Sir Roger Norrington, Sir March 2003 he has National Opera. maninov's Vespers and Paul McCreesh; been a member He is particularly for Stephen Layton’s Holst Singers, her debut at he has given concerts in cathedrals and of the prestigious associated with the Royal Festival Hall with the Philharmonia concert halls throughout the UK, Europe and the medieval quartet the baritone roles under the direction of András Schiff, and United States. The Consort and in September 2006 he of Mozart, but has also sung world premieres Vivaldi's Gloria in the Bath International Music In addition to his work as a soloist, Mark has joined the choir of Westminster Abbey. of operas by, among others, David Sawer, Sally Festival with Andrew Manze and the English Beamish and Alexander Knaifel. Concert. Recording Producer: Mark Brown For further information about recordings on He has worked with orchestras throughout Ruth is a passionate consort singer, and Recording Engineer: Andrew Connolly CORO or live performances and tours Europe, including all the BBC orchestras in works with several professional groups, including (Floating Earth Ltd) by The Sixteen call + 44 (0) 20 7488 2629 the UK, and his many festival appearances The Gabrieli Consort, Polyphony, Exaudi and the Recorded live at the Barbican Hall, London or email [email protected] include the BBC Proms, Edinburgh and Dunedin Consort. on 2 August 2007 www.thesixteen.com Aldeburgh. Operatic roles to date include Giacinta (Mozart Photographs: For further information about Academy of St His recital appearances have taken him to ) and Orindo (Handel Admeto), The Sixteen: Mark Harrison Martin in the Fields call + 44 (0) 20 7702 1377 London’s Wigmore Hall and many European both for New Chamber Opera, Medoro (Handel The Academy of St Martin in the Fields: Mike Hoban or email [email protected] festivals and amongst his many recordings his Orlando) with Cambridge Handel Opera Group. Elin Manahan Thomas: Simon Fowler www.asmf.org series of English song CDs with Iain Burnside In 2005 Opera Restor’d performed John Stanley’s  2007 2007 has received particular acclaim. Teraminta for the first time in 250 years, in which The Sixteen Productions Ltd. © The Sixteen Productions Ltd. 22 23