Dixit Dominus Stabat Mater

Home , Academy of Ancient Music, Chandos Anthems, Dixit Dominus (Handel), Dixit Dominus (Vivaldi), Gloria (Vivaldi), Stabat Mater (Vivaldi)

CORO The Sixteen Edition CORO The Sixteen Edition

Messiah Coronation Anthems G. F. Handel (3 CDs Special Edition) G. F. Handel includes: Sampson, Wyn-Rogers, · Organ concerto in F Padmore, Purves · Overture to Jephtha · Arrival of the Queen “... rare vividness and of Sheba. Handel expressive force… this inspiriting new “Fresh spontaneous performance becomes Coronation Anthems a first choice” that leap to the top of the heap” Dixit Dominus the daily telegraph cor16062 cor16066 gramophone: Editor's Choice Bright Orb of Harmony The Sixteen - Sounds Sublime Steffani Henry Purcell, James MacMillan The Essential Collection (2 CD set) ExquisiteCORO works byThe Sixteen Edition CORO The Essential Collection Some of the most 2 CDs The Fairy Queen Handel: Dixit Dominus two ofHenry PurcellBritain’s (2 CD set) mostSteffani: Stabat Mater celebrated recordings Based on Shakespeare's The Sixteen adds to A Midsummer Night's its stunning Handel Purcell The Fairy Queen Dream, The Fairy Queen Handel collection with a The Fairy Queen Dixit Dominus Stabat Mater innovativewas composedcomposers in 1691/2 brand new recording The Steffani from Harry Christophers and remains without of his Dixit Dominus Stabat Mater doubt one of Purcell's set alongside a little

The Sixteen greatest works adding his The Sixteen know treasure - magic, wit and sensuality Agostino Steffani’s Sixteen includingcor16005 toPurcell’s that of the play. cor16076 Stabat Mater. and his award-winning

Compilation by: Robin Tyson - podiummusic.co.uk Re-mastering: Matt Howell (Floating Earth) heartfelt Cover image: FuneralThe Concert of Angels -, by Gaudenzio Ferrari (/0-) ensemble, this disc detail of fresco in the Sanctuary of Santa Maria delle Grazie, Saronno, Italy Sounds The Bridgeman Art Library Nationality/copyright status: Italian/out of copyright Sentences Design: Andrewand Giles - [email protected] James provides a definitive For further information about recordings on CORO or live performances and tours by Sublime The Sixteen, call +44 (0) 20 7488 2629 or email [email protected]

2009 The Sixteen Productions Ltd. The Voices of MacMillan’s© 2009 Thepowerfully Sixteen Productions Ltd. The Sixteen collection of familiar To find out more about The Sixteen, concert tours, and to buy CDs visit HARRY CHRISTOPHERS emotive Awww.thesixteen.com Child’s Prayer cor16073. classics and lesser- cor16069 cor16073 known treasures. The Sixteen To find out more about The Sixteen, concert tours, and to buy CDs visit harry christophers www.thesixteen.com cor16076 President of the Academy of Ancient It could not be more different Steffani St a b a t Ma t e r Music in London. This was a group from the almost crazy effervescence of aristocratic amateur musicians of Handel’s Dixit Dominus. After Handel Di x i t Do m i n u s and some eminent professionals, Handel had met Steffani in Hanover who met fortnightly in the Crown in the early 1700s, he wrote: and Anchor in the Strand, in an “he (Steffani) received me with ince our debut in 1979, I have attempt to restore ancient church great kindness, and took an early Smade a habit of putting relatively music (the ancients being those who opportunity to introduce me to the unknown works alongside the well- lived before the end of the sixteenth Princess Sophia and the Elector's known. Steffani is one of those century). The thirteen original son, giving them to understand that composers who was highly regarded members included such people as I was what he was pleased to call a and respected in his lifetime but, Maurice Greene, Galliard, Pepusch virtuoso in music."

sadly, is relatively neglected today. I Borggreve Marco Photograph: and Samuel Wesley; Bononcini, Croft, A couple of years later, they were have to confess that I knew nothing Geminiani, Hayes and Senesino to meet up again in Rome. Handel about him until an old friend of mine, joined later, and Steffani was elected would have only been twenty years Roland Tatnell, drew my attention to president in 1727. It was for these old, and the highly influential and his work. Roland and I used to sing people that he wrote his Stabat Mater, well established Steffani may well have together at Westminster Abbey back probably his last ever composition, as heard the young man’s Dixit Dominus. in the early 1980s and, unbeknown he was to die of apoplexy only a few On listening to this amazing work, he, to me, he used to spend many hours months after completing it. As you like us today, would have been taken at the British Library sifting through will hear, it is an extraordinary work, on what can only be called a roller manuscripts of Steffani. very sonorous and richly textured, coaster of vocal exuberance. Although much revered as a yet at times quite archaic, reflecting musician, Steffani spent the latter part affairs and the church; however, perhaps the aims of the society for of his life more involved in diplomatic his final years saw him appointed which it was written.

2 3 Agostino Steffani (1654-1728) Stabat Mater dolorosa Soprano: Elin Manahan Thomas & Grace Davidson Steffani and Handel Tenor: Jeremy Budd & Mark Dobell Bass: Rob Macdonald he composers represented on this acceded to the British throne. In 1727 1 Solo (S) Stabat Mater dolorosa 1.57 recording are linked in several ways. Steffani was elected president of London’s 2 T Soli (SST) and Chorus Cuius animam gementem 2.13 Born in 1654, Steffani was just over Academy of Vocal Music (which became 3 Soli (TT) Quis est homo qui non fleret 3.04 thirty years older than Handel (born in the Academy of Ancient Music) and Handel, 4 Chorus Pro peccatis suae gentis 1.34 1685): they were about a generation apart. who had been settled in England for fifteen 5 Solo (B) Vidit suum dulcem Natum 1.13 6 Steffani served the house of Hanover years, applied for naturalisation as a British Soli (SSTT) and Chorus Eia Mater, fons amoris 5.47 from 1688 to 1703 – first as Kapellmeister subject. Steffani’s operas and vocal chamber 7 Solo (T) and Chorus Fac me vere tecum flere 2.32 and then (from 1695) as a diplomat duets provided a model for Handel, who 8 Soli (TTB) Virgo virginum praeclara 1.36 (‘envoyé extraordinaire’); Handel was the 9 Soli (SST) Fac ut portem Christi mortem 1.17 freely borrowed musical material and ideas bl Chorus Fac me plagis vulnerari 1.00 Hanoverian Kapellmeister from 1710 to from both kinds of work and adapted them bm Soli (TTB) Inflammatus et accensus 1.39 1713, the year before Elector Georg Ludwig in his own compositions. bn Chorus Quando corpus morietur 3.44 Stabat Mater dolorosa Agostino Steffani (1654-1728) George Frideric Handel (1685-1759) Dixit Dominus (hwv 232) orn in the Veneto, Steffani moved establish opera in north Germany. Most of Soprano: Elin Manahan Thomas & Grace Davidson Alto: Ruth Massey to Munich at the age of thirteen and his sacred music was composed during his Tenor: Jeremy Budd & Mark Dobell Bass: Eamonn Dougan Bspent the rest of his life in Germany. Munich period (1667-88), but it emerges bo Chorus Dixit Dominus 5.15 Although he embarked on a musical career, from his correspondence with Giuseppe bp Aria (A) Virgam virtutis tuae 3.12 as a singer, keyboard player and composer, Riva, the Modenese diplomatic resident in bq Aria (S) Tecum principium in die virtutis 3.03 he developed into an accomplished diplomat, London, that his Stabat Mater was composed br Chorus Iuravit Dominus 2.09 bs politician, bishop and, finally, Apostolic at Hanover between April 1727 and January Chorus Tu es sacerdos in aeternum 1.43 Vicar of Northern Germany. As a composer 1728. In his last letter to Riva, Steffani bt Soli (SSTTB) and Chorus Dominus a dextris tuis 2.51 bu he was known in his day particularly for his described it as his final composition and his Chorus Iudicabit in nationibus 3.39 vocal chamber duets (‘the smoothly finished masterpiece, and offered to send it to the cl Soli (SS) and Chorus De torrente in via bibet 4.22 cm counterpoint of which even Handel could Academy of Vocal Music. This he appears to Chorus Gloria Patri et Filio 6.05 only imitate but not surpass’: Bukofzer) have done, for all the surviving manuscripts Total Running Time 60.10 and for his Hanover operas, which helped are of English provenance.

4 5 The words of the Stabat Mater are a sense of seriousness and intensity. Although the changes are confined to rescoring. These for voices and instruments, the material of medieval sequence, probably Franciscan in the writing for voices and instruments features are reinforced by a tonal similarity the vocal section is combined with that of origin. Essentially a prayer to the Virgin, the occasionally reflects its date of composition, it between verses xiii-xvi and xvii-xx. the instrumental interlude, which turns out poem depicts Mary, the mother of Christ, also has much in common with seventeenth- The work also displays mastery of to be the setting of ‘Amen’. All this material at the foot of the cross, expresses sympathy and even sixteenth-century styles. The counterpoint. Not content with imitation is exploited in the concluding twenty bars. with her and a desire to share her grief and mixture of ancient and modern is somewhat at orthodox intervals, Steffani also writes By saving his most ambitious counterpoint her son’s suffering, and prays for protection reminiscent of Purcell, but the ancient also entries at the second or seventh. The clearest to the end, Steffani ensured that the closing on the day of judgment both from her and evokes the other-worldliness of the subject – example occurs in verse xx where, at the word words, which refer to the day of judgement, from the cross. Removed from the liturgy the mystery of the cross – and thus promotes ‘morietur’, each voice enters a note above would receive the maximum emphasis. As in the sixteenth century by the Council the composer’s expressive purpose. its predecessor. The following fugue begins he composed this movement, he must have of Trent, it had been restored to universal The Stabat Mater is the most powerful with a section for voices only, based on the known that his own end was nigh: that use by Pope Benedict XIII in 1727 and expression of Steffani’s religious fervour and, last two lines of text. The instruments then he died shortly afterwards lends a special was set by many composers around that outside opera, his largest, most varied and introduce a new idea. In the final section, poignancy to his setting. time. Various versions of the text were in most heart-felt composition. The emphasis circulation: the one set by Steffani is found on solo voices in verses i-vi highlights also in Alessandro and Domenico Scarlatti subjective elements in the text. The opening Dixit Dominus (hwv232) George Frideric Handel (1685-1759) and in Pergolesi; other versions were used solo conveys Mary’s loneliness as well as andel finished composing Dixit manuscript volume of Steffani duets and by Caldara and d’Astorga; Vivaldi set only her grief, and the solo voices used for the Dominus in Rome in April 1707, at concentrated, as a composer, on chamber the first half of the poem, in its guise as a rhetorical questions in verses v-vi speak to Hthe age of twenty-two. As a youngster music, oratorio and church music. The text vespers hymn. each individual listener. The full ensemble in Halle he had received keyboard and of Dixit Dominus, Psalm 109 in the Vulgate, Steffani’s Stabat Mater is scored for six of verse vii portrays the sins ‘of his people’ composition lessons from Friedrich Wilhelm is part of the vespers service, but there is voices (two trebles, alto, two tenors, bass), six (‘suae gentis’), the bass soloist in verse viii Zachow, the local organist. At the age of no evidence that his setting was performed string instruments and organ. To judge from the dying Christ. The vocal scoring of verses eighteen he had left home for Hamburg, in this context on the Feast of Our Lady of the sources, the string instruments were two ix-xx places greater emphasis on the full where he worked as a theatre violinist and Mount Carmel, as has been suggested. violins, three violas and cello, a combination ensemble and duet and trio combinations. harpsichordist and composed his first operas. Brimming with youthful energy and that produces a rich and sonorous texture; Verses ix-xii become a single movement, and Three years later he had set off for Italy, virtuosity, Dixit Dominus is the earliest the string writing makes relatively modest the similarity between the opening words effectively to finish his musical education. He work by Handel to have secured a place technical demands of the players. In a similar of verses ix and xi prompts the re-use of the visited and worked in all the major artistic in the repertory. It is scored for five voices way, the vocal writing is confined mainly to same music, with slight changes. A similar centres, but his principal base was Rome. (two sopranos, alto, tenor, bass) and, rather the middle and lower registers, conveying a thing happens at verses xiii and xvii, where There, among other things, he acquired a unusually, five-part strings (with two violas).

6 7 Apart from the ‘Gloria Patri’ (the last two of suspensions. In no. 5 (‘Tu es sacerdos’) verses of the psalm), each movement is Handel combines two forms of scale – rising Agostino Steffani based on a single verse. For the last verse, crotchets and falling semiquavers; in no. 7, at ‘Sicut erat in principio’ (‘As it was in the ‘implebit ruinas’, he uses the opposite – rising Stabat Mater dolorosa beginning’), Handel recalls music from the semiquavers and falling crotchets (although first movement; not all psalm-settings of this the crotchets are subdivided). Later in no. 7 he Soprano: Elin Manahan Thomas & Grace Davidson period employ such repetition. Incidentally, illustrates ‘conquassabit’ with repeated notes Tenor: Jeremy Budd & Mark Dobell the cantus firmus here sounds as though it reminiscent of Monteverdi’s stile concitato. Bass: Rob Macdonald is a liturgical melody, but the model for it The soprano duet of no. 8 is supported in the (if any) has never been found. The alto and other voices by slow repeated notes followed soprano are the only voices to have solo arias by a descending octave leap; this figure is 1 (S solo) (nos. 2 and 3), but every voice is given a solo speeded up in the bass at the beginning of Stabat Mater dolorosa or duet passage (which may be integrated no. 9, where it turns out to be the music for i. Stabat Mater dolorosa, The grieving Mother stood into a chorus), and the writing is often very ‘et in Spiritui Sancto’: Handel ‘did’ subtlety as iuxta crucem lacrimosa, weeping beside the cross taxing. well as vigour! dum pendebat Filius. where her Son was hanging. If the control of forces is masterly, the When he left Italy for Hanover, and range of texture and style is breathtaking. when he settled in London, the composer 2 The alto aria, no. 2, is an object-lesson in effectively sacrificed his best chance of Cuius animam gementem (SST soli and Chorus) two-part counterpoint between the voice securing a performance of his youthful ii. Cuius animam gementem Whose weeping soul, and an ostinato-like bass. Here, and in masterpiece. At the same time, because the contristantem et dolentem saddened and grieving, the soprano aria, since psalm verses lack work was unknown north of the Alps, he pertransivit gladius. has been pierced by a sword. the shape and rhyme scheme of a da capo opened up the possibility of using it as a aria text, Handel invents the musical form source of material for other compositions, iii. O quam tristis et afflicta O how sad and afflicted by means of (varied) repetition and tonal as he did in his ‘Utrecht’ Te Deum (1713), fuit illa benedicta was that blessed planning. The basic texture of no. 6 – vocal his ‘Chandos’ anthems (1717-18) and his Mater Unigeniti! Mother of the Only-begotten! duets over a running bass – is that of the oratorio Deborah (1733). Handel can hardly iv. Quae moerebat et dolebat, She mourned and grieved, trio sonata. The choral writing uses all the be blamed for ‘borrowing’ from himself in et tremebat, cum videbat the gentle Mother, as she saw available textures, from simple homophony this way, for his setting of Dixit Dominus is nati poenas incliti. the torment of her glorious Son. to complex counterpoint; special emphasis irresistible. is placed on syllabic word-setting and chains © Colin Timms 2009.

8 9 3 Quis est homo qui non fleret (TT soli) x. Fac ut ardeat cor meum Grant that my heart may burn in amando Christum Deum with the love of Christ, my God, v. Quis est homo qui non fleret, Who is the man who would not weep ut sibi complaceam. that I may please Him. Christi matrem si videret if he saw the Mother of Christ in tanto supplicio? in such agony? xi. Sancta Mater, istud agas, Holy Mother, grant this of yours, Crucifixi fige plagas that the wounds of the Crucified vi. Quis non posset contristari, Would not he have compassion cordi meo valide. may be fixed firmly in my heart. piam matrem contemplari when he beheld the devout Mother dolentem cum Filio? suffering with her Son? xii. Tui Nati vulnerati Grant that the punishment of your wounded Son, tam dignati pro me pati so graciously suffered for me, poenas mecum divide. may be shared with me. 4 Pro peccatis suae gentis (Chorus) vii. Pro peccatis suae gentis For the sins of His people 7 Fac me vere tecum flere (T solo and Chorus) vidit Iesum in tormentis she saw Jesus in torment et flagellis subditum. and subjected to the scourge. xiii. Fac me vere tecum flere Let me sincerely weep with you, Crucifixo condolere, bemoan the Crucified, donec ego vixero. for as long as I live. 5 Vidit suum dulcem Natum (B solo) xiv. Iuxta crucem tecum stare To stand beside the cross with you, viii. Vidit suum dulcem Natum She saw her sweet Son te libenter sociare and to join you morientem, desolatum, dying, forsaken, in planctu desidero. in mourning, this I desire. dum emisit spiritum. while He gave up His spirit.

8 6 Eia Mater, fons amoris (Chorus) Virgo virginum praeclara (TTB soli) xv. Virgo virginum praeclara, Chosen Virgin of virgins, ix. Eia Mater, fons amoris, O Mother, fountain of love, mihi iam non sis amara; do not treat me harshly now; me sentire vim doloris let me feel the power of sorrow, fac me tecum plangere. let me weep with you. fac, ut tecum lugeam. that I may grieve with you.

10 11 9 Fac ut portem Christi mortem (SST soli) George Frideric Handel xvi. Fac ut portem Christi mortem, Grant that I may bear the death of Christ, passionis eius sortem grant me a share in His passion Dixit Dominus et plagas recolere. and the remembrance of His wounds. Soprano: Elin Manahan Thomas & Grace Davidson bl Fac me plagis vulnerari (Chorus) Alto: Ruth Massey Tenor: Jeremy Budd & Mark Dobell xvii. Fac me plagis vulnerari, Let me be wounded with His wounds, Bass: Eamonn Dougan cruce hac inebriari, let me drink the cup of the cross ob amorem Filii. and the blood of your Son. bo Dixit Dominus (Chorus) bm Inflammatus et accensus (TTB soli) Dixit Dominus Domino meo: The Lord said unto my Lord: xviii. Inflammatus et accensus So that I do not burn, consumed by flames, Sede a dextris meis, Sit thou on my right hand, per te, Virgo, sim defensus then through you, O Virgin, may I be defended donec ponam inimicos tuos until I make thine enemies in die iudicii. on the day of judgement. scabellum pedum tuorum. thy footstool. xix. Fac me cruce custodiri, Let me be guarded by the cross, bp morte Christi praemuniri, fortified by the death of Christ, Virgam virtutis tuae (Alto aria) confoveri gratia. and cherished by grace. Virgam virtutis tuae emittet The Lord shall send the rod of thy Dominus ex Sion: dominare power out of Sion: be thou ruler, bn Quando corpus morietur (Chorus) in medio inimicorum tuorum. even in the midst among thine enemies. xx. Quando corpus morietur, When my body dies, bq fac ut animae donetur grant that to my soul may be given Tecum principium in die virtutis (Soprano aria) paradisi gloria. Amen. the glory of paradise. Amen. Tecum principium in die virtutis tuae In the day of thy power shall the people in splendoribus sanctorum: offer thee free-will offerings with an ex utero ante luciferum genui te. holy worship: the dew of thy birth is of the womb of the morning. 12 13 br Iuravit Dominus (Chorus) cm Gloria Patri et Filio (Chorus) Iuravit Dominus et non poenitebit eum. The Lord sware and will not repent. Gloria Patri et Filio, et Spiritui Glory be to the Father, and to the Son, Sancto: sicut erat in principio, and to the Holy Ghost: as it was in the bs (Chorus) et nunc et semper, beginning, is now and ever shall be, Tu es sacerdos in aeternum et in saecula saeculorum. Amen. world without end. Amen. Tu es sacerdos in aeternum Thou art a priest for ever Vulgate: Psalm 109 Psalm 110 secundum ordinem Melchisedech. after the order of Melchisedech. bt Dominus a dextris tuis (SSTTB soli and Chorus) The Sixteen Dominus a dextris tuis The Lord upon thy right hand shall wound soprano Julie Cooper, Grace Davidson, Sally Dunkley, confregit in die irae suae even kings in the day of his wrath. Elin Manahan Thomas, Charlotte Mobbs, Rebecca Outram reges. ALTO Ian Aitkenhead, David Clegg, Ruth Massey, Christopher Royall bu Iudicabit in nationibus (Chorus) TENOR Simon Berridge, Jeremy Budd, Mark Dobell, David Roy BASS Eamonn Dougan, Timothy Jones, Rob Macdonald, Stuart Young Iudicabit in nationibus, He shall judge among the heathen; implebit ruinas: he shall fill the plains with the dead bodies: conquassabit capita in terra and smite in sunder the heads over divers VIOLIN I Walter Reiter (leader), Claire Duff, Simon Jones, multorum. countries. Sarah Sexton, Laima Olsson VIOLIN II Miles Golding, Jean Paterson, Theresa Caudle, Ellen O'Dell cl De torrente in via bibet (SS soli and Chorus) VIOLA Stefanie Heichelheim, Jane Norman, Marianna Szucs, Katie Heller, Mari Giske, Dan Shilladay, Kate Fawcett De torrente in via bibet: He shall drink of the brook in the way: propterea exaltabit caput. therefore shall he lift up his head. violonCELLO Joseph Crouch, Imogen Seth-Smith BASS Violin Jan Spencer THEORBO David Miller ORGAN & HARPSICHORD Mark Williams

14 15 Harry Christophers is known internationally as founder and conductor of The Sixteen as well as a regular guest conductor for many of the major symphony orchestras and opera companies worldwide. He has directed The Sixteen choir and orchestra throughout Europe, America and the Far East gaining a distinguished reputation for his work in Renaissance, Baroque and twentieth century music. In 2000 he instituted the Choral Pilgrimage, a national tour of English cathedrals Borggreve Marco Photograph: from York to Canterbury in music from the pre-Reformation, as The Sixteen’s contribution to the millennium celebrations. It raised awareness of this historic repertoire so successfully After three decades of world-wide performance and that the Choral Pilgrimage in the UK is now central to The recording, The Sixteen is recognised as one of the world’s Sixteen's annual artistic programme. greatest ensembles. Comprising both choir and period instrument orchestra, the group’s special reputation for In 2008 Harry Christophers was appointed Artistic Director of Boston’s Handel and Haydn performing early English polyphony, masterpieces of the Society, he is also Principal Guest Conductor of the Granada Symphony Orchestra as well Renaissance, Baroque and early Classical, and a diversity of twentieth century music, all stems as enjoying a very special partnership with the BBC Philharmonic with whom he won a from the passions of conductor and founder, Harry Christophers. Diapason d’Or. He is a regular guest conductor with the Academy of St Martin in the Fields and the Orquestra de la Comunidad de Madrid and he has conducted the Hallé, the London The Sixteen tours throughout Europe, Japan, Australia and the Americas and has given Symphony Orchestra and the San Francisco Symphony. regular performances worldwide at the major concert halls and festivals. At home in the UK, Increasingly busy in opera, Harry Christophers has conducted Monteverdi’s Il ritorno The Sixteen are "The Voices of Classic FM" as well as Associate Artists of Southbank Centre, d’Ulisse, Gluck’s Orfeo, Mozart’s Die Zauberflöte, Purcell’s King Arthur and Rameau’s Platée London. The group also promotes the Choral Pilgrimage, an annual tour of the UK’s finest for Lisbon Opera. After an acclaimed English National Opera debut with The Coronation of cathedrals, bringing music back to the buildings for which it was written. Poppea he has since returned for Gluck’s Orfeo and Handel’s Ariodante, as well as conducting The Sixteen’s period instrument orchestra has taken part in acclaimed semi-staged the UK premiere of Messager’s opera Fortunio for Grange Park Opera. He conducts regularly performances of Purcell’s Fairy Queen in Tel Aviv and London, a fully-staged production of at Buxton Opera. Purcell’s King Arthur in Lisbon’s Belem Centre, and new productions of Monteverdi’s Il ritorno In October 2008, Harry Christophers was awarded the Honorary Degree of Doctor of d’Ulisse at Lisbon Opera House and The Coronation of Poppea at English National Opera. Music from the University of Leicester. In July 2009 he was elected an Honorary Fellow of Over one hundred recordings reflect The Sixteen’s quality in a range of work spanning The Royal Welsh College of Music and Drama and he was elected an Honorary Fellow of the music of five hundred years, winning many awards. In 2008, The Sixteen featured in the Magdalen College, Oxford in October 2009. highly successful BBC Four television series, Sacred Music, presented by Simon Russell Beale. 16 17 soloists on this recording

Elin Manahan Thomas Grace Davidson Ruth Massey

The Sixteen www.thesixteen.com Photograph: Simon Fowler Photograph: Stefan Schweiger Harry Christophers Photograph: Mark Harrison Jeremy Budd Mark Dobell Rob Macdonald Eamonn Dougan Recording Producer: Mark Brown Recording Engineer: Mike Hatch (Floating Earth) Keyboard Technician: Keith McGowan Recorded at: St Silas the Martyr Church, Kentish Town, London, May 2009 Cover image: Shutterstock Design: Andrew Giles - [email protected] For further information about recordings on CORO or live performances and tours by The Sixteen, call: +44 (0) 20 7488 2629 or email: [email protected]