CORO CORO The Flowering of Genius Venetian Treasures Guerrero, Tallis, Gabrieli, Caldara, Byrd, Victoria Monteverdi, Lassus, Cavalli “The Sixteen’s sound is distilled, ethereal – “…this programme forms hard to imagine a rich, satisfying sequence, The Earth a more sublime an effect heightened by performance.” The Sixteen’s superb renditions.” bbc music magazine Resounds cor16001 cor16053 goldberg

Palestrina – Volume 1 James MacMillan: Miserere “The approach of “MacMillan’s Strathclyde Josquin Harry Christophers Motets and Tenebrae is distinctive and Responsories offer an revelatory, and he has opportunity to savour Brumel surrounded the mass just what a superb choir by a well-chosen array The Sixteen are, and their of motets in praise of especial affinity with the Virgin Mary.” this music heightens the Lassus bbc music magazine impact of these powerful cor16091 cor16096 performances.” gramophone The Sixteen To find out more about The Sixteen, concert tours, and to buy CDs visit Harry Christophers eamonn dougan www.thesixteen.com cor16097 The Earth Resounds

On this recording, I have decided overtly decorative Mass movements of Brumel (Missa Et ecce terraemotus), to explore the quite amazing sacred where the twelve parts interweave in extensive imitation and thrilling tracery, music emanating from Flanders in culminating in the magical harmonic stillness of Lassus (Timor et tremor) and the 15th and 16th centuries. This his highly evocative 10-part setting of Aurora lucis rutilat, guaranteed, as John extraordinary music spans 100 so rightly says, to “make the earth resound on Easter Day”. years of innovation and brilliance and as John Milsom says in his Borggreve Marco Photograph: Recording is always an interesting process and one in which we attempt to be wonderful notes, “in each case as natural as possible. The two days we spent making this CD were, for me, the composer has pushed beyond some of the most challenging of my career. Temporarily incapacitated by a the normal bounds of artistic and back problem, I was in the main unable to conduct and The Sixteen’s Associate technical orthodoxy to release the Conductor Eamonn Dougan was frequently required to conduct the choir dramatic potential of the words.” under my direction in the way I wished the music to be interpreted; no easy This is music to our ears as, for The task, but one which Eamonn dispatched with great aplomb. Sixteen, words are of the essence whatever the period of music. This recording is a tribute to the way The Sixteen bond as a group and excel in all respects. My thanks to everyone involved for seeing it all realised. Josquin, Brumel and Lassus were truly European composers, who left their origins to work in the top establishments of Aix-en-Provence, Ferrara, Rome and Munich. Their music has a unique sonority which I believe will astound you all – from the depth of expression and fascinatingly complex texts of Josquin (there is an almost surreal feeling in Praeter rerum seriem) to the

2 3 The Earth Resounds The Earth Resounds

BBC Radio 4’s celebrated series Desert sublimity, mystery, pathos or peril; and 1 Orlande de Lassus (c.1532–1594) Island Discs once featured an interview in each case the composer has pushed Aurora lucis rutilat 5.11 with a professional inventor who made beyond the normal bounds of artistic 2 Josquin Desprez (c.1452–1521) an astonishing claim: that he could and technical orthodoxy to release the Praeter rerum seriem 5.48 never look at any manufactured object dramatic potential of the words. Clearly without wondering how it had been these are special pieces, made for special 3 Orlande de Lassus made. Few of us tread such an analytical events or situations, yet their historical Timor et tremor 4.44 path through life; normally it is the origins are obscure: not one of them 4 Josquin Desprez utility of things that matters, not how can be dated or contextualized precisely, Huc me sydereo 5.43 they came into being. But with works leaving us to guess when and why they 5 of art the situation is different. Typically came into being. What they do contain, Antoine Brumel (c.1460–1512-1513) we want to know who made the work in however, is clear evidence of how they Gloria from Missa Et ecce terraemotus 8.41 question. Sometimes we ask why it was were made; and it is worth our while to 6 Orlande de Lassus made, or when, or for whom. And faced ponder that evidence. By examining their Magnificat secundi toni super Praeter rerum seriem 9.57 with an elaborate painting, a convoluted craftsmanship, we not only gain some 7 Antoine Brumel novel or a beguiling symphony, we might sense of their special properties, but also Sanctus from Missa Et ecce terraemotus 6.45 even ponder the creative process itself. discover ways of listening to them. How were these splendid artworks 8 Josquin Desprez conceived and made? Strangest by far is the 12-voice Missa O Virgo prudentissima 6.07 Et ecce terraemotus, known sometimes 9 Orlande de Lassus The extraordinary sound-sculptures as the ‘Earthquake Mass’. Its composer, Magnificat octavi toni super Aurora lucis rutilat 8.05 featured on this disc all bring these Antoine Brumel, lived from roughly questions to mind. Musically they are 1460 until 1512-13, working as a church Total running time 61.07 audacious and arresting works, based musician variously in Chartres, Geneva, on verbal texts that deal with themes of Chambéry, Laon, Paris and Ferrara; but

4 5 none of those places can definitively lay within the polyphony, where we are least unstable bulk therefore functions as a any need for score notation. There may be claim to the Earthquake Mass, which likely to spot it. Moreover, he has found sonorous equivalent to a real earthquake. some truth in this, yet a piece as intricate today survives only in a huge manuscript a way of superimposing the melody on But there is more to it than that; Brumel as the Missa Et ecce terraemotus could choirbook copied for use in Munich itself in three voices simultaneously, also tries to impress and overwhelm the hardly have been made wholly in that way, some years after Brumel’s death. Possibly each statement starting on a different listener with a surfeit of sound, in the any more than a great cathedral could be the Mass was meant for Eastertide note and sung in a different rhythm, same way that natural phenomena can built without some reliance on sketches or celebrations, since it takes its inspiration usually very slowly. As a polyphonic idea fill us with awe. His approach brings to plans. The reality is that composers, like from the Resurrection story as told in this is ingenious, but it is also virtually mind Debussy’s great orchestral suite La architects, probably worked extensively Matthew 28:2: ‘And behold, there was impossible for the listener to follow; so Mer, which makes no attempt to mimic on erasable surfaces, which by their a great earthquake: for the angel of the why is it there? The most likely answer the sounds of the sea, but does powerfully nature leave no trace of the work-in- Lord descended from heaven, and came is that Brumel crafted it as a backbone invoke the motion of the swell, and (more progress. A finished work may hint at the and rolled back the stone from the door against which he could then add the significantly) does its utmost to arouse stages of construction; in Brumel’s Mass, [of the sepulchre where Jesus’s body had remaining nine voices; and this is our emotions. Music can do this because, for instance, the three-voice chant-based lain]’. Yet the sheer scale of the work because it was the nine-voice flesh, not like physical movement, it passes through backbone must have been conceived suggests there is more to it than Easter the three-voice backbone, that was his time; and it can also stun us by the sheer first, as a core around which everything alone. In truth, the story of its genesis main concern. In fact, from a listener’s intensity of its noise. Debussy achieves else could be built. But Brumel’s drafts may never be known. point of view the Earthquake Mass is those effects inLa Mer – but amazingly, so themselves have long since disappeared: really not ‘about’ its plainchant model. does Brumel, in a choral work composed wiped away, like chalk from a blackboard. Like most Masses of its age, this one It is about earthquakes. four centuries earlier. quotes from pre-existing musical material. Some Renaissance composers seem to The model here is the plainchant antiphon Astonishingly, in this work Brumel has How was this 12-voice Mass actually have been inveterate sketchers. One ‘Et ecce terraemotus’, sung annually on set out to simulate the phenomenon of made? Few autograph scores survive from of them was Brumel’s most famous Easter morning; but Brumel almost trembling land, and to make us wonder the Renaissance, and almost none for contemporary, Josquin Desprez (c.1452– never allows this melody to rise to the at it. Against the slow-moving harmonies works by the most competent composers. 1521). No autograph scores by Josquin sounding surface of his Mass. Only in generated by the chant backbone, layer This might imply that 16th-century survive, but many of his works contain the Sanctus at the word ‘Hosanna’ does upon layer of quivering melody has been musicians could devise whole pieces in clues about how they were made. All it sing out loud and clear; elsewhere, built up, creating textures that literally their heads, and then write out sets of three motets by him included on this Brumel tends to hide the chant deep seem to shake. The music’s vast but performers’ parts immediately, without disc have backbones of plainchant – and

6 7 in each case the chant is much easier to poet Angelo Poliziano (1454-94), is an In O Virgo prudentissima something the extent that the tune’s identity is lost discern than in Brumel’s Mass. Each appeal to the Virgin Mary for protection more radical happens. At first Josquin’s even to listeners who know it well. The motet inhabits a unique sound-world at times of peril. Each motet additionally methods recall those of Huc me sydereo, augmentations become less gross as the that supremely matches the subject of its quotes a plainchant melody, with words but as the piece proceeds the words of motet proceeds, but nonetheless they verbal text, so it would seem that Josquin, taken from the medieval liturgy; and each Poliziano’s text are invaded and thrust shrink down to an everyday pace only as when pondering a new set of words, therefore challenges the listener to follow away by those of the plainchant. Thus all the motet nears its end. Again we need to could broadly sense how a finished piece two sets of words at once. Again we might six voices, and not just the Tenor part, end ponder the composer’s actions here: why should sound, even before working on ask why the composer has done this. up by singing the ancient liturgical text ‘O has he so distorted this tune? the actual polyphony. And at a more local blessed Mother and unwedded Virgin, O level, all three motets reveal Josquin’s love To an extent it is a matter of convention. glorious Queen of the world, intercede for The most likely answer is that he of scrupulous craftsmanship in which Many motets written between the 13th us with the Lord’. This is not how chant- wanted his musical setting broadly to melodies are combined with one another and 15th centuries superimpose the based motets normally behave. mirror the meaning of the text. Praeter in ingenious ways – kernel ideas which, singing of a new text (or more than one rerum seriem contemplates the mystery once sketched, could then be expanded text) on a backbone of ancient chant, Praeter rerum seriem is equally of the Immaculate Conception, an outwards to become longer vocal lines. so in this regard Josquin merely treads idiosyncratic. This striking motet, for six- unfathomable act of God that lay (to the path of his forebears. But his way of voice choir, probably dates from Josquin’s quote the motet’s opening words) far Two of these motets set texts by 15th- combining new with old is exploratory later years – perhaps after 1504, following ‘outside the natural order’ of things. By century Italian poets. This might suggest and innovative. In Huc me sydereo, the his return from Italy to his homelands near massively stretching the tune, Josquin that Josquin wrote them while living and phrases of Vegio’s text have been set to the Franco-Belgian border. Its backbone too has made it almost impossible to working in Rome or Ferrara; but possibly terse and expressive melodies that pass is a medieval chant widely sung by comprehend; but in the process he has they were commissions or gifts for Italian from voice to voice in imitation – which French choirboys and nuns at Christmas also laid down a colossal backbone, patrons, sent (as music often was) from is straightforward to make when no and on major feasts of the Blessed Virgin declaimed by tenors and sopranos in turn, composer to recipient by courier. Huc me plainchant is in play, but much harder Mary, with words that are rhythmical against which to devise music of utter sydereo, scored for five-voice choir, sets to compose against a Tenor part singing and rhymed, and a tune that is positively solemnity. The vocal lines do not deliver words attributed to Maffeo Vegio (1407- the backbone of pre-existing chant. An sprightly. This tune sounds continuously the words in the declamatory manner of 58), and is a harrowing meditation on erasable tablet would have been handy in Josquin’s motet, but is quoted in a Huc me sydereo, but instead sing melodies the Crucifixion. The six-voice O Virgo here, as a site for drafting combinations most unusual way. In the motet’s first half, of great stateliness that arise from purely prudentissima, to a text by the humanist that are easy on the ear yet clever as craft. each of its notes is hugely distended, to musical invention. Meshed together, these

8 9 melodies create a dense fabric of dark the language of current madrigal styles. like all Renaissance Magnificat settings, voice Aurora lucis rutilat, a hymn for minor harmonies that unfolds through Nonetheless Lassus did occasionally look it draws on one of the traditional Easter morning, celebrates the triumph time in unpredictable deep rhythms, back to a more distant past. We know, plainchant formulae used for singing this of the Resurrection by making brilliant leaving the listener guessing whether the for instance, that he and his choir at the canticle – in this case, Mode 2 (‘secundi use of two five-part choirs, one of higher music proceeds in broad counts of two or Bavarian court chapel sang Brumel’s toni’). The odd-numbered verses of the voices, the other of lower. Here Lassus three. Few Renaissance motets are more Missa Et ecce terraemotus, for they wrote text were not set polyphonically by Lassus, revels in the colourful imagery of the text, massive, mysterious and monumental their names into the Munich choirbook but instead are sung to the Mode 2 chant. mirroring the vivid contrasts between than this one. where this work survives. And we can The even-numbered verses, conversely, life and death through exchanges gauge the depth of Lassus’s respect for are turned into polyphony that manages between the high/low choirs. The words One person known to have been Josquin from his remarkable Magnificat to allude to two different models at are delivered with great force but also impressed by Praeter rerum seriem is secundi toni super Praeter rerum seriem. once – to the Mode 2 chant on the one extreme economy; each phrase of text Orlande de Lassus (c.1532–1594), who hand, and to Josquin’s Praeter rerum is sung once only, save for the words paid it the ultimate tribute by creating This title is a mouthful, and needs to be seriem on the other. ‘fortissimus’ (most mighty), ‘triumphans’ a new work carved out of its musical taken in three smaller bites. First, Lassus (triumphant), and the closing doxology. substance. This act of homage is all has here composed a Magnificat, using The remaining pieces by Lassus draw us Lassus subsequently transferred some the more interesting because of the age the words expressed by the Virgin Mary straight into the world of the madrigal. of this motet’s music into his Magnificat difference between the two men. Three at the scene of the Visitation. Second, it Here the music grows directly from octavi toni super Aurora lucis rutilat, a generations separate them – which is to is a Magnificat super Praeter rerum seriem the composer’s intuitive reading of the Mode 8 setting for use at Eastertide; but say that Josquin was to Lassus what Bach because Lassus quotes and develops texts, not from old plainchant melodies. the allusions are slight when compared to was to Beethoven: a veritable past master, musical ideas taken directly from Josquin’s Timor et tremor is a study in musical those of the Magnificat on Praeter rerum still respected in a world of significantly Praeter rerum seriem. The quotations are queasiness, brought on by the opening seriem. Instead, Lassus freely reinvents changed musical fashion. Between justified for two reasons: first, they invoke words (‘fear and trembling’), and worked and extends the sound-world of Aurora Josquin and Lassus lies a whole musical a motet that had itself contemplated the out as a sequence of stomach-churning lucis rutilat to create a truly spectacular genre that flourished only after Josquin’s mystery of the Immaculate Conception; chromaticisms. Relief is to be had only display of choral fireworks. This is a death: the madrigal, with its quicksilver and second, they allow Lassus to pay from trust in the Lord – expressed by Magnificat guaranteed to make the earth responsiveness to the setting of words. homage to Josquin through acts of Lassus in the reassuringly firm musical resound on Easter Day. Lassus grew up with madrigals in his ears, citation and recomposition. Third, the tread at the closing words ‘non confundar’ and his own music essentially speaks piece is a Magnificat secundi toni because, (let me not be confounded). The ten- © 2011 John Milsom

10 11 Texts & Translations Gloria tibi, Domine, Glory to you, Lord, qui surrexisti a mortuis, who are risen from the dead, 1 cum Patre et Sancto Spiritu with the Father and with the Holy Spirit Lassus Aurora lucis rutilat in sempiterna saecula. Amen. for endless ages. Amen. Aurora lucis rutilat, The dawn glows with rosy light, caelum laudibus intonat, heaven resounds with praises, 2 mundus exsultans iubilat, the world rejoices in exultation, JOSQUIN Praeter rerum seriem gemens infernus ululate; hell groans and shrieks; Praeter rerum seriem Outside the natural order Cum Rex ille fortissimus, When that most mighty King, parit Deum hominem a Virgin yet a Mother mortis confractis viribus, shattering the power of death, Virgo Mater; gives birth to a God as man; pede conculcans tartara crushes hell underfoot nec vir tangit virginem, and no man has known this virgin, solvit a poena miseros. and releases wretched man from punishment. nec prolis originem nor can her child novit pater. be claimed by any father. Ille, qui clausus lapide, He, who was closed in with a stone custoditur sub milite, under guard of the soldiery, Virtus Sancti Spiritus It is the power of the Holy Spirit triumphans pompa nobili triumphant now in noble pomp opus illud coelitus that carries out this work victor surgit de funere. rises victorious from death. operator; from heaven; initus et exitus who could explore in all its depth Solutis iam gemitibus With all weeping spent partus tui penitus the manner and the means et inferni doloribus, and all hell’s anguish, quis scrutatur? of your giving birth? quia surrexit Dominus that the Lord is risen in glory resplendens clamat angelus. the angel now proclaims. Dei providentia, By the providence of God, quae disponit omnia which orders all things Quaesumus, Auctor omnium, We pray you, Creator of all things, tam suave, so delightfully, in hoc paschali gaudio, in this great Easter joy, tua puerperia transform your childbirth ab omni mortis impetu that from all assaults of death transfer in mysteria. into a holy mystery. tuum defende populum. you defend your people. Mater, ave. Hail, Mother.

12 13 3 Lassus Timor et tremor Tenor: They will mourn for him as for an only son, Timor et tremor venerunt super me, Fear and trembling have come upon me, for our innocent Lord is slain. et caligo cecidit super me: and darkness has fallen upon me: miserere mei, Domine, have mercy on me, Lord, Compelled by Love to descend from starry Olympus, quoniam in te confidit anima mea. for my soul has trusted in you. here with a fierce wound I am fastened by Love. Exaudi, Deus, deprecationem meam, Hear, O God, my prayer, I faint, but none comes to relieve my Love quia refugium meum es tu for it is you who are my refuge which even the harsh law of the Cross cannot crush. et adiutor fortis. and my strong helper. To wear this piercing crown upon his head Domine, invocavi te: Lord, I have called upon you: and to bear such harsh scourges your Lord has been taught by mighty Love. non confundar. let me not be confounded. With bitter gall Love has slaked the thirst of your high King, his breast ready to receive the spear all for Love. 4 Over me Love alone has been able to triumph, JOSQUIN Huc me sydereo alone has transfixed with nails my feet and hands. Tenor: If, then, you desire to repay me with tokens of a grateful heart, Plangent eum quasi unigenitum, love me in return for such great Love; Love alone suffices for me. quia innocens Dominus occisus est. Huc me sydereo, descendere iussit Olympo, 5 hic me crudeli vulnere fixit Amor. Brumel Gloria from Missa Et ecce terraemotus Langueo, nec quisquam nostro succurrit Amori Gloria in excelsis Deo Glory to God in the highest quem nequeunt durae frangere iura crucis. Et in terra pax And on earth peace Pungentem capiti Dominum gestare coronam hominibus bonae voluntatis. to men of goodwill. fortis Amor docuit verbera tanta pati. Laudamus te, benedicimus te, We praise you, we bless you, Felle sitim magni Regis satiavit amaro, adoramus te, glorificamus te. we adore you, we glorify you. pectus ut hauriret lancea fecit Amor. Gratias agimus tibi We give thanks to you De me solus Amor potuit perferre triumphum, propter magnam gloriam tuam. for your great glory. ille pedes clavis fixit et ille manus. Domine Deus Rex coelestis, Lord God, heavenly King, Si cupis ergo animi mihi signa rependere grati, Deus Pater omnipotens. almighty God and Father. dilige pro tantis; sat mihi solus Amor. Domine Fili unigenite, Jesu Christe. O Lord, the only begotten Son, Jesus Christ. 14 15 Domine Deus, Agnus Dei, Lord God, Lamb of God, Fecit potentiam in brachio suo: He has shown strength with His arm; Filius Patris. Son of the Father. dispersit superbos He has scattered the proud Qui tollis peccata mundi, You take away the sins of the world, mente cordis sui. in the imagination of their hearts. miserere nobis. have mercy on us. Deposuit potentes de sede: He has put down the mighty from their seat Qui tollis peccata mundi, You take away the sins of the world, et exaltavit humiles. and exalted the humble. suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris, You sit at the right hand of the Father, Esurientes implevit bonis: He has filled the hungry with good things, miserere nobis. have mercy on us. et divites dimisit inanes. and the rich He has sent empty away. Quoniam tu solus sanctus, For you only are holy, Suscepit Israel puerum suum: He has taken up Israel, His servant, tu solus Dominus, you only are Lord, recordatus misericordiae suae. being mindful of His mercy. tu solus altissimus, Jesu Christe, you only are most high, Jesus Christ, Sicut locutus est ad patres nostros: As He promised to our forefathers, cum Sancto Spiritu with the Holy Spirit Abraham et semini eius in saecula. to Abraham and his descendants for ever. in gloria Dei Patris. in the glory of God the Father. Gloria Patri et Filio, Glory be to the Father, and to the Son, Amen. Amen. et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, As it was in the beginning, is now, et semper, et in saecula saeculorum. and ever shall be, world without end. 6 Lassus Magnificat secundi toni super Praeter rerum seriem Amen. Amen. Magnificat anima mea Dominum: My soul magnifies the Lord et exultavit spiritus meus and my spirit has rejoiced 7 in Deo salutari meo. in God my Saviour. Brumel Sanctus from Missa Et ecce terraemotus Quia respexit humilitatem ancillae suae: For He has regarded the lowliness of His Sanctus, Sanctus, Sanctus Holy, holy, holy, ecce enim ex hoc beatam me dicent handmaiden: for, behold, from henceforth Dominus Deus Sabaoth. Lord God of Hosts. omnes generationes. all generations shall call me blessed. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Quia fecit mihi magna qui potens est: For He who is mighty has done great things Hosanna in excelsis. Hosanna in the highest. et sanctum nomen eius. to me: and holy is His name. Et misericordia eius a progenie in And His mercy is from generation unto progenies: timentibus eum. generation, unto those that fear Him.

16 17 8 Josquin O Virgo prudentissima Audi, Virgo puerpera, Hear, child-bearing Virgin tu sola Mater integra; and only chaste Mother; Tenor: Tenor: audi precantes, quaesumus, hear, Mary, we beseech you Beata Mater et innupta Virgo, O blessed Mother and unwedded Virgin, tuos Maria famulos. the prayers of your servants. gloriosa Regina mundi, O glorious Queen of the world, Beata Mater et innupta virgo, O blessed Mother and unwedded Virgin, intercede pro nobis ad Dominum. intercede for us with the Lord. Repelle mentis tenebras, Disperse the darkness of our minds, Alleluia. Alleluia. disrumpe cordis glaciem; break the ice within our hearts; gloriosa Regina mundi, O glorious Queen of the world, O Virgo prudentissima, O wisest of Virgins, nos sub tuum praesidium confugimus. for refuge to your protection we fly. quam caelo missus Gabriel, whom heaven-sent Gabriel, intercede pro nobis ad Dominum. intercede for us with the Lord. superni Regis nuntius, as messenger of the most high King, Alleluia. Alleluia. plenam testatur gratia: declares to be full of grace:

Te sponsam Factor omnium, You the Maker of all calls to be his bride, 9 te matrem Dei Filius, you the Son of God to be his mother, Lassus Magnificat octavi toni super Aurora lucis rutilat te vocat habitaculum you the Blessed Spirit See track 6 for texts suum Beatus Spiritus. to be his dwelling place. Tu Stella Maris diceris; You are called the Star of the Sea; semper nos inter scopulos, ever amid the craggy rocks Josquin Praeter rerum seriem, Huc me sydereo and O Virgo prudentissima edited by inter obscures turbines and the dark whirlwinds Ross W. Duffin (Oxford University Press). portum salutis indicas. you point to the haven of salvation. Brumel Gloria and Sanctus from Mass Et ecce terraemotus edited by Sally Dunkley (Manuscript). Per te de tetro carcere Through you from their dread prison Lassus Aurora lucis rutilat and Magnificat octavi toni super Aurora lucis rutilat edited by antiqui patres exeunt; our ancient fathers gain release; Clive Wearing (Mapa Mundi). per te nobis astriferae through you for us are thrown open Timor et tremor edited by Martyn Imrie (Mapa Mundi). panduntur aulae limina. the gates of heaven’s starry courts. Magnificat secundi toni super Praeter rerum seriem edited by Bruno Turner (Mapa Mundi).

Translations by Jeremy White & Martyn Imrie

18 19 Harry Christophers Eamonn Dougan Harry Christophers is known internationally as founder Eamonn Dougan read music at New College, Oxford, before and conductor of The Sixteen as well as a regular guest continuing his vocal and conducting studies at the Guildhall School conductor for many of the major symphony orchestras and of Music and Drama. He now pursues a busy schedule working as opera companies worldwide. He has directed The Sixteen both singer and conductor. choir and orchestra throughout Europe, America and the In 2006 Eamonn was appointed the first Assistant Conductor of the

Photograph: Marco Borggreve Marco Photograph: Far East gaining a distinguished reputation for his work in Renaissance, Baroque and 20th-century music. In 2000 he world renowned vocal ensemble The Sixteen and is now The Sixteen’s instituted the Choral Pilgrimage, a national tour of English Associate Conductor. He has directed the ensemble to considerable cathedrals from York to Canterbury in music from the pre- acclaim in concerts across England and Europe with performances Reformation, as The Sixteen’s contribution to the millennium in France, Spain, Antwerp and on The Sixteen’s annual Choral celebrations. The Pilgrimage in the UK is now central to The Pilgrimage; he made his debut at the Concertgebouw, Amsterdam, Sixteen’s annual artistic programme. in a celebration of James MacMillan’s 50th birthday. Eamonn is Principal Guest Conductor of The National Youth Choir of Great Britain and In 2008 Harry Christophers was appointed Artistic Director of Boston’s Handel and Haydn Chorus Director of Britten Sinfonia Voices. He is a regular Guest Conductor with Wroclaw Society; he is also Principal Guest Conductor of the Granada Symphony Orchestra. As well Philharmonic Choir, Poland, the Coro de la Comunidad, Madrid and the St. Endellion Festival as enjoying a very special partnership with the BBC Philharmonic, with whom he won a Orchestra & Chorus. He is increasingly in demand as a guest conductor and choral coach Diapason d’Or, he is a regular guest conductor with the Academy of St. Martin in the Fields. and has assisted various conductors including Martyn Brabbins, Ryan Wigglesworth, Adam With The Sixteen he is an Associate Artist at The Bridgewater Hall in Manchester and Fischer and Sir Mark Elder. features in the highly successful BBC television series, Sacred Music, presented by Simon Russell Beale. In September 2008 he was appointed a Visiting Professor to the Guildhall School of Music and Drama, London where he teaches ensemble singing and directs the Guildhall Consort. Increasingly busy in opera, Harry has conducted numerous productions for Lisbon Opera and English National Opera as well as conducting the UK premiere of Messager’s opera Fortunio His solo recordings include Bach’s St John Passion and St Matthew Passion, Handel’s Messiah for Grange Park Opera. He is a regular conductor at Buxton Opera where he initiated a very and Brahms’ Requiem in its two-piano version as well as motets by Giovanni Grillo and the successful cycle of Handel’s operas and oratorios including Semele, Samson and Saul. premiere recording of Arvo Pärt’s Von Angesicht zu Angesicht. Harry Christophers is an Honorary Fellow of Magdalen College, Oxford, as well as the Royal He has appeared on disc and the concert platform throughout the world with many of Britain’s Welsh College of Music and Drama and has been awarded the Honorary Degree of Doctor of leading ensembles and is a member of The Sixteen and I Fagiolini. Music from the University of Leicester.

20 21 After three decades of world-wide 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 early Classical periods, and a diversity of twentieth-century music, all stems from the passions of conductor and founder, Harry Christophers. The Sixteen tours internationally giving regular performances at the major concert halls and festivals. At home in the UK, The Sixteen are ‘The Voices of Classic FM’ as well as Associate Artists of Bridgewater Hall, Manchester. The group also promotes the Choral 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 Belem Centre, and new productions of Monteverdi’s Il ritorno d’Ulisse at Lisbon Opera House and The Coronation of Poppea at English National Opera. www.thesixteen.com Over one hundred recordings reflect The Sixteen’s quality in a range of work spanning the music Photograph: Mark Harrison of five hundred years. In 2009 they won the coveted Classic FM Gramophone Artist of the Year Award and the Baroque Vocal Award for Handel’s Coronation Anthems. The Sixteen also feature Also available as a studio master quality download at www.thesixteendigital.com in the highly successful BBC television series, Sacred Music, presented by Simon Russell Beale. Recording Producer: Mark Brown In 2011 the group launched a new training programme for young singers called Genesis Sixteen. Recording Engineer: Mike Hatch (Floating Earth) Aimed at 18 to 23 year-olds, this is the UK’s first fully-funded choral programme for young Recorded at: St Augustine’s Church, Kilburn, London, October 2011 singers designed specifically to bridge the gap from student to professional practitioner. Cover image: Detail from Tower of Babel, 1563 (oil on panel) by Bruegel, Pieter the Elder (c.1525-69). Kunsthistorisches Museum, Vienna, Austria/The Bridgeman Art Library soprano Julie Cooper, Grace Davidson, Sally Dunkley, Design: Andrew Giles: [email protected] Kirsty Hopkins, Alexandra Kidgell, Charlotte Mobbs 2012 The Sixteen Productions Ltd. The Voices of alto Ian Aitkenhead, David Clegg, William Missin, Christopher Royall © 2012 The Sixteen Productions Ltd. Made in Great Britain tenor Simon Berridge, Jeremy Budd, Matthew Long, Tom Raskin For further information about recordings on CORO or live performances and tours by The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected] bass Christopher Adams, Ben Davies, Eamonn Dougan, Robert Evans, Jimmy Holliday, Tim Jones, Rob Macdonald www.thesixteen.com