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Home , Gradual, Libera me, Requiem, Requiem (Fauré), Requiem (Ockeghem)

Tomás Luis de Victoria’s for six greatness of the thing itself exists outside time Requiem Mass, voices, written in 1603 and published in 1605, and is as impressive now as it was at its creation. 1605 Victoria is a masterpiece. For many, it represents what A great composer needs only to encapsulate his Renaissance is, what it sounds idea in notation and a great performer needs and feels like, and how expressive it can be. only to understand it and communicate it to a For those who have come to know it through an receptive audience. This is music, not modern 1 Versa est in luctum Alonso Lobo [5.32] interest in ‘early music’, some would be bold music or early music, new or old. But surely an enough to say it sits comfortably beside works understanding of the artists’ life contributes to Requiem Mass, 1605 Tomás Luis de Victoria like Bach’s St. Matthew Passion, Mozart’s own an understanding of his art. After all, the artist 2 Lesson: Taedet anima mea [3.05] Requiem mass, and perhaps even Beethoven’s was a person, creating art to be experienced by 3 : Requiem aeternam [6.20] Ninth Symphony as one of the truly great other people, at a specific time and in a specific achievements in the history of music; a place. A true understanding of the work therefore 4 [5.30] masterpiece, if there ever was one. However, it requires the acceptance of this idea and of 5 : Requiem aeternam [3.46] is still very much known as ‘early music’. Despite these limits. Isn’t all this talk of universality, 6 : Domine, Jesu Christe [6.46] the efforts and protestations of many performers, transcendence, and timelessness in art just a 7 & Benedictus [3.26] it is often appreciated through the lens (or is it bit of dreaming? Time definitively separates us 8 - 9 [2.46] actually a filter?) of the ‘academic exercise’. A from the past. The best we can do is understand barrier exists – in different places for different history’s facts and attempt to approach a 0 : Lux aeterna [4.06] people – between ‘early music’ and ‘not early recreation of another time. The closer we come to q Motet: Versa est in luctum [4.02] music’ which affects our relationship with ‘actually being there’, the closer we get to being w : , Domine [9.43] what we hear, how we engage with it the artist himself and thereby to understanding

emotionally, how we believe we are expected the creation of his art – in other words, relating e - z Lamentations Ieremiae Prophetae Alonso Lobo [23.47] to evaluate its performance, and even the extent to and interacting with the art in the most intense Total timings: [79.04] to which we allow it to excite and overwhelm us. way possible.

So, what is a masterpiece? Perhaps it is precisely This is the problem. We are all familiar with that work of art which, through its greatness, the staggering success many have achieved by forces us to forget history; when it was written, in attempting to be ‘historically informed’ about NIGEL SHORT DIRECTOR what circumstances, by whom, and for whom. The the music they perform. While in academic circles

www.signumrecords.com www.tenebrae-choir.com - 3 - these theoretical arguments have raged for a school in Avila before his voice broke and in 1565 publication entitled Officium defunctorum: in , and spent the last seven years of his life few decades now, in concert and on disc the he was sent to Rome to be first a singer and obitu et obsequiis sacrae imperatricis (The Office with less responsibility? historical ‘added value’ brought by the later director of music at the Collegio Germanico, of the Dead: for the death and obsequies of continued integration of academic research a Jesuit foundation training for German the holy empress). María left money in her will Alonso Lobo’s story raises similar sorts of into performances has enjoyed great popularity. missionary work. He was ordained a in which allowed Victoria to remain at the convent questions, though the differences between Indeed, it is precisely this enthusiasm which 1575 and remained in Rome working mainly until his death in 1611. the lives of Victoria and Lobo have been has brought works such as Victoria’s six-voice as a cleric, securing an income from his apparent to both men. Lobo was born in 1555 requiem mass to such widespread familiarity. assocation with two large religious houses in Does this information help us to appreciate in Osuna, a small town 50 miles east of Seville. But what makes some works stand out? Why is it Rome as well as benefices in Spain, but also the music Victoria wrote more than 400 years Lobo was educated in Seville and Osuna, that, regardless of our fascination with the publishing books of masses and motets. In 1585 ago? Does it aid in its appreciation to visualise becoming a priest in Osuna before beginning historical information we consume with such he was made chaplain to the Dowager Empress 30 or so wealthy, cloistered, barefoot, aristocratic his employment at Seville cathedral in 1591. delight, we are sometimes forced to encounter María, sister of King Philip II of Spain. María women sitting in a magnificent chapel in He journeyed north for eight years to take a job the difficult question of music’s timeless appeal? lived at the Monasterio de las Descalzas de central Madrid, listening to this music at the cathedral in Toledo, but returned to Seville It doesn’t matter how far we dig into history; S. Clara (Royal Convent of Barefoot Nuns of performed by 12 men and 4 boys, the to spend the rest of his life as director of music great music refuses to be limited, to be St. Clare) in Madrid with 32 other cloistered nuns loss of their matriarch, perhaps their friend? there. Lobo’s life seems to us less cosmopolitan understood, to elicit any response except in extraordinary luxury; the nuns were widowed Or does it help to realise that it was published than Victoria’s. Lobo didn’t enjoy royal patronage astonishment, humility, awe, and all of the or unmarried noblewomen, each bringing an and disseminated throughout Europe, performed and certainly didn’t live surrounded by luxury other more important feelings for which there endowment. Victoria became director of music in the early 17th-century at perhaps hundreds in a royal convent in Madrid, serving the king’s are no words. at the convent, supervising 12 adult singing of other ceremonies of varied descriptions by sister. As far as we know, he never spent time priests and 4 boys. He also had a personal of all sizes and abilities? Does it help outside of Spain. While Victoria and Lobo at least Perhaps as a demonstration of this, below is servant, private meals served to him, and a to remember that Victoria likely considered his corresponded, it is likely that Lobo was viewed an outline of the historical facts surrounding the month’s holiday every year (from 1592 until job as María’s chaplain as a ‘retirement’ by his contemporaries, perhaps as we do creation of Victoria’s six-voice requiem mass. 1595 he managed to expand his month’s holiday position? With this his last publication, was today, as outside of the top tier of musicians, Tomás Luis de Victoria was born in Avila, 55 to three years!) and he was even joined at the Victoria summing up his life’s work, or stuck in the south of Spain, off the map. The miles north west of Madrid, in 1548. He attended convent by one of his brothers, Agustín, who attempting to continue his successful but music Tenebrae have here recorded was most the school at the cathedral there under was also a chaplain. In 1603, the Empress died still nascent relationship with his Spanish likely written while he was in Toledo (as was the tutelage of Bernardino de Ribera and and in 1605 Victoria published the music he printer? Does it make a difference that Victoria most of his surviving music), perhaps before Juan Navarro, both well-known composers in wrote for her burial observance (which would relinquished the post of director of music for Victoria wrote his six-voice requiem, and while 16th-century Spain. He was educated at a Jesuit have lasted all day if not for many days) in a that of organist in 1604, one year after María’s its emotive power is obvious, so is the

- 4 - - 5 - difference in style from that of Victoria’s or how best to interpret them? Does the fact we 1 Versa est in luctum requiem music; more chromatic, more know more about the creation of Victoria’s Alonso Lobo adventurous, more extroverted. Can we be music than Lobo’s mean it affects us more, is certain that the influence of the great Palestrina, more powerful, is ‘better’ art? Crucially, does Versa est in luctum cithara mea, My harp is turned to mourning, whom Victoria knew in Italy, was so great our own awe and wonder at this music lack such et in vocem flentium. and my music into the voice of those that weep. that Lobo, only seven years Victoria’s junior, validity that we must seek to vicariously Parce mihi, Domine, Spare me, O Lord, already represented a coming wave of experience the emotions and understandings nihil enimsunt dies mei. for my days are as nothing. musical experimentation that Victoria missed of our artistic ancestors? or eschewed? Did Lobo’s marginalisation Requiem Mass, 1605 cause him to adopt a more adventurous style Tenebrae’s performance of this music seeks to Tomás Luis de Victoria in order to attract attention? Did Lobo even express the beauty and power hidden below the feel marginalised at all or was he happy to surface of historical circumstance, that which 2 Lesson: Taedet anima mea spend his life in the south of Spain away from marks out true masterpieces as works of art wholly the limelight? mysterious in their wonder and timeless in their Taedet animam meam vitae meae, My is weary of my life; meaning. Their energy, dedication, and precision dimittam adversum me eloquium meum, I will let go my speech against myself, Any attempt to contextualise great works of art are here matched by music of extraordinary loquar in amaritudine animae meae. and express the bitterness in my soul. results in questions like these. However, as quality. The result is a vivid manifestation of Dicam Deo: Noli me condemnare: I shall say to God: Do not condemn me, modern musicians and music lovers, we must what Victoria and Lobo – and all musicians indica mihi, cur me ita iudices. but show me why Thou judgest me in this manner. not forget that we are necessarily confronted and artists – must surely want; an expression Numquid bonum tibi videtur, Shall it seem a good thing to Thee with the practical consequences of these of inexplicable beauty. si calumnieris, el opprimas me, to cheapen me and oppress me, fragmentary histories. If we were somehow able opus manuum tuarum, the work of Thine own hands, to kneel with the nuns in Madrid in 1603, Greg Skidmore et consilium impiorum adiuves? and to support the schemes of the wicked? understand what it felt to have their Numquid oculi carnei tibi sunt: Are Thine eyes of flesh? relationships, live their lives, experience their aut sicut videt homo, et tu vides? Dost Thou even see only as men do? understanding of the world, would we think Numquid sicut dies hominis dies tui, Is Thy life like the life of men, the music was more beautiful or powerful? et anni tui sicut humana sunt tempora, and do Thy years pass like the days of men, As we have no information regarding the specific ut quaeras iniquitatem meam, that Thou shouldst enquire after my iniquity, use of either of the Lobo pieces recorded here, et peccatum meum scruteris? and investigate my sins? are we necessarily at a loss as to their meaning Et scias, quia nihil impium fecerim, Surely Thou knowest that I have done no wrong

- 6 - - 7 - cum sit nemo, qui de manu tua possit eruere. and there is no man that can deliver me from 6 Offertory: Domine, Jesu Christe Thy hand. Domine lesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, 3 Introit: Requiem aeternam libera animas omnium fidelium defunctorum deliver the of all who died in the faith de poenis inferni, et de profundo lacu. from the pains of hell and from the deep pit. Requiem aeternam dona eis, Domine, Grant them , O Lord, Libera eas de ore leonis, Deliver them from the lion’s mouth, et lux perpetua luceat eis. and let light perpetual shine upon them. ne absorbeat eas tartarus, lest the jaws of hell swallow them, Te decet hymnus Deus in Sion, A , O God, becometh Thee in Sion, ne cadant in obscurum: lest they fall into everlasting darkness. et tibi reddetur votum in lerusalem: and a vow shall be paid to Thee in Jerusalem: sed signifer Sanctus Michael But let Michael, the leader of hosts, exaudi orationem meam. give ear to my supplication, repraesentet eas in lucem sanctam: bring them forth into Thy holy light, ad te omnis caro veniet. unto Thee shall all flesh come. Quam olim Abrahae promisisti et semini eius. as Thou promised before to Abraham and to his seed. Hostias et tibi, Domine, We offer sacrifice and prayers of praise 4 Kyrie laudis offerimus: unto Thee, O Lord: tu suscipe pro animabus illis, receive them on behalf of those souls Kyrie eleison. Lord have mercy upon us. quarum hodie memoriam facimus: whom we remember this day: Christe eleison. Christ have mercy upon us. fac eas, Domine, de morte transire ad vitam, grant them, O Lord, to pass over from death to life, Kyrie eleison. Lord have mercy upon us. Quam olim Abrahae promisisti et semini eius. as Thou promised before to Abraham and to his seed.

5 Gradual: Requiem aeternam 7 Sanctus & Benedictus

Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, et lux perpetua luceat eis. and let light perpetual shine upon them. Dominus Deus Sabaoth, Lord God of Sabaoth, In memoria aeterna erit iustus: The just man shall remain in memory everlasting: pleni sunt caeli et terra gloria tua. the heavens and the earth are full of Thy glory. ab auditione mala non timebit. of ill report he shall not be afraid. Osanna in exceisis. in the highest.

Benedictus qui venit in nomine Domini. Blessed is he who cometh in the name of the Lord. Osanna in excelsis. Hosanna in the highest.

- 8 - - 9 - 8 - 9 Agnus Dei w Responsory - Libera me, Domine

Agnus Dei, qui tollis peccata mundi, , that takest away the sins of the world, Libera me, Domine, de morte aeterna, Deliver me, O Lord, from everlasting death dona eis requiem. grant them rest. in die illa tremenda: on that fearful day, Quando caeli movendi sunt et terra when the heavens and the earth shall be moved Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, dum veneris iudicare saeculum per ignem. and Thou shalt come to judge the world by fire. dona eis requiem. grant them rest. Tremens factus sum ego, et timeo, I am seized with trembling, I am sore afraid, Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, dum discussio venerit, atque ventura ira. for the day of judgement and for the wrath to come, dona eis requiem sempiternam. grant them eternal rest. Quando caeli movendi sunt et terra. when the heavens and the earth shall be moved.

0 Communion - Lux aeterna Dies illa, , calamitatis et miseriae, That day, a day of wrath, calamity and woe, dies magna et amara valde: a great day and bitter indeed, Lux aeterna luceat eis, Domine. Let light perpetual shine upon them, O Lord, Dum veneris iudicare saeculum per ignem. when Thou shalt come to judge the world by fire. cum sanctis tuis, in aeternum: in the company of Thy for evermore; quia pius es. because Thou art merciful. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and let light perpetual shine upon them. Requiem aeternam dona eis Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis and let light perpetual shine upon them Libera me, Domine, de morte aeterna, Deliver me, O Lord, from everlasting death, cum sanctis tuis in aeternum, in the company of Thy saints for evermore, in die illa tremenda: on that fearful day, quia pius es. because Thou art merciful. Quando caeli movendi sunt et terra: when the heavens and the earth shall be moved, Requiescant in pace. Amen Let them . Amen. Dum veneris iudicare saeculum per ignem. and Thou shalt come to judge the world by fire. q Motet - Versa est in luctum Kyrie eleison. Lord have mercy upon us. Christe eleison. Christ have mercy upon us. Versa est in luctum cithara mea, My harp is turned to mourning, Kyrie eleison. Lord have mercy upon us. et organum in vocem flentium. and my music into the voice of those that weep. Parce mihi, Domine, Spare me, O Lord, nihil enimsunt dies mei. for my days are as nothing.

- 10 - - 11 - e - z Lamentations Ieremiae Prophetae saturabitur opprobriis. he is filled full with reproach. Alonso Lobo 32 Ierusalem, convertere ad Dominum Deum tuum. Jerusalem, return to the Lord thy God.

13 De lamentatione, Ieremiae, Prophetae. From the Lamentations of Jeremiah. 14 Heth. Heth. BIOGRAPHIES 15 Misericordiae Domini quia non sumus consumpti, By the mercies of the Lord we are not consumed, because his compassions have not failed. quia non defecerunt miserationes eius. TENEBRAE 16 Heth. Heth. 17 They are new every morning, great is his faithfulness. Novi diluculo, multa est fides tua. Hailed as “one of the country’s most outstanding Since then they have collaborated with Sir John 18 Heth. Heth. vocal ensembles” (Evening Standard), Tenebrae Tavener, Karl Jenkins, Pierre Thilloy, Alexander 19 The Lord is my portion, saith my soul: Pars mea Dominus, dixit anima mea: has established itself as the chamber choir of Levine, and Joby Talbot. Their dedication to the therefore will I hope in him. propterea exspectabo eum. choice for critics and audiences in the UK and music of today is complemented by a commitment 20 Teth. Teth. around the world. Founded and directed by Nigel to the music of the past; from mediaeval 21 The Lord is good unto them that waiteth for him, Bonus est Dominus sperantibus in eum, Short, the group blends the passion of a large to Romantic masterworks, they respond to the to the soul that seeketh him. Animae quaerenti illum. cathedral choir with the precision of a chamber demands inherent in whatever they sing with 22 Teth. Teth. ensemble to create a unique and enchanting equal passion and musicality. 23 Bonum est praestolari It is good that a man should both hope sound, one which is as dazzlingly effective in and quietly wait for the of the Lord. cum silentio salutare Dei. mediaeval chant as it is in contemporary works. The group has toured all over the world, visiting 24 Teth. Teth. With every recital exploiting the unique acoustic Ireland, France, Germany, Belgium, Luxembourg, 25 It is good for a man that he hath borne the yoke Bonum est viro cum portaverit iugum ab and atmosphere of the venues in which they Italy, Spain, Switzerland, the USA and Bermuda, from his youth. adolescentia sua. perform with movement and light, often using performing in many renowned festivals (BBC 26 Jod. Iod. candlelight as the sole means of illumination, Proms, Montreux Choral Festival, Edinburgh 27 He sitteth alone and keepeth silence: Sedebit solitarius, et tacebit: the carefully chosen team of singers enable the Festival) and tailoring their distinctive because he hath borne it upon him. quia levavit super se. audience to experience the power and intimacy of performances to many venues (Royal Albert 28 Jod. Iod. the human voice at its very best. Hall, King’s College Chapel, Lausannes 29 He putteth his mouth in the dust: Ponet in pulvere os suum, Cathedral). Working with the LSO under Sir Co- if so there may be hope. si forte sit spes. Formed in 2001, the group was launched to lin Davis, the English Concert, the Chamber 30 Jod. Iod. critical acclaim with a performance of Nigel of Europe, the Scottish Ensemble, and 31 He giveth his cheek to him that smiteth him: Dabit percutienti se maxillam: Short’s own composition, The Dream of Herod. the Endymion ensemble, the choir have proved

- 12 - - 13 - themselves as adept at larger orchestral works Tenebrae, aiming to bring together what he loved as the a capella repertoire for which they are so best as a singer – namely the more passionate Basses well known. sounds of large Cathedral choirs and the precision Zoe Brown David Allsopp Ben Alden Gabriel Crouch of ensembles like The King’s Singers – to create Natalie Clifton Griffiths Mark Chambers William Blake William Gaunt Recording on the Signum, LSO Live! and Warner a new kind of choral group. Whilst embracing Grace Davidson Clare Wilkinson Benedict Hymas Jimmy Holliday Classics labels, the group has released a variety an eclectic repertoire, he wanted to have some Susanna Fairbairn Matthew Long of albums; from carols to solemn ‘signature’ works that would make Tenebrae Joanna Forbes L’Estrange Nick Madden , their revelatory performances have different, adding a theatrical element that would Emilia Hughes Nick Todd thrilled listeners across the world and ensured involve singers moving around as if on stage. Amy Moore their continued position as one of the world’s To that end he wrote The Dream of Herod, with Katie Trethewey favourite choirs. a central role for Colin Campbell, and www.tenebrae-choir.com commissioned Joby Talbot to write Path of Miracles, premiered in July 2005. Recorded at All Hallows, Oak and St Albans, Holborn on 1–4 November 2010. NIGEL SHORT In December 2006, Sir Colin Davis and the Producers - Nicholas Parker & Nigel Short Recording Engineer - Mike Hatch Nigel began his musical life as a chorister at LSO chose Tenebrae to perform Handel’s Mes- Recording Assistant - Craig Jenkins Solihull Parish Church going on to study singing siah and Berlioz’ L’Enfance du Christ to a sold-out Editor - Dave Rowell and piano at the Royal College of Music in audience at the Barbican. Cover Image - Shutterstock London. He began his career as a soloist in opera and and as a member of Nigel divides his time between directing Design and Artwork - Woven Design specialist vocal ensembles such as The Tallis Tenebrae and giving an ever-increasing number www.wovendesign.co.uk Scholars whilst maintaining a regular involvement of masterclasses and workshops for both P 2011 The copyright in this recording is owned by Signum Records Ltd. in , firstly as a member of professional and amateur vocal groups and © 2011 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.

Westminster Abbey Choir then Westminster choirs throughout Europe. He is also Director Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable Cathedral. He joined The King’s Singers when he of Music at St Bartholomew The Great, London. to an action 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. was 27 and stayed with them for seven years. SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] After a short break of about one ski season in the www.signumrecords.com Swiss Alps he set about founding his own group,

- 14 - - 15 - ALSO AVAILABLE on signumclassics

Allegri Miserere Figure Humaine: Tenebrae Choral Works by SIGCD085 Tenebrae SIGCD176

“This disc is a must for all connoisseurs of the finest “Poulenc’s Figure Humaine makes extreme demands on ensemble unaccompanied choral singing ... Tenebrae reveals itself as and intonation, as plenty of commercial recordings can prove. one of those exceptional choirs whose individual singers have Nigel Short’s Tenebrae is astonishing … a showcase for been moulded into a single superbly-sensitive and responsive Poulenc’s choral writing, I’m finding it hard to imagine this musical instrument.” recital being bettered.” The Daily Telegraph BBC Music Magazine

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