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Home , Johannes Eccard, Richard Dering, Thomas Tallis, William Byrd

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Song of the Nativity cor16146 A “’s consummate technical ability has long been legendary, but it’s their ability to Christmas conceal it which is truly special. It puts the music front and centre, in this beautifully realised Christmas sequence.” music magazine

Christus Natus Est cor16027 “A sublime Gloria by Sheppard ... and, finest of all, Byrd’s Lullaby in a masterly performance.” gramophone

To find out more about The Sixteen, concert tours, and to buy CDs visit The Sixteen www.thesixteen.com cor16167 hristmas is that most laudibus) is one of the earliest examples of a Christmas song and was clearly C important season of the one of the most popular tunes for this festive season. Listen to the way Eccard, year when love and hope prevail. Handl and Lassus all put their own individual stamp on it. When programming Above all, it is a time for families, this compilation, I was astounded by the variety of sound worlds. Tallis’s Videte and we hope that this collection miraculum and Sheppard’s Reges Tharsis represent that distinctive English sonority: of Renaissance will bring lengthy responds where the traces around the plainsong the spirit of Christmas into your delivered in long note values underpinning the whole texture like a perfectly Photograph: Marco Borggreve Marco Photograph: home. There is no better age for weaved tapestry; the madrigalian feel of Byrd’s ebullient This day Christ was born glorious sacred music than the and Dering’s Quem vidistis, pastores? compared to the spiritual fervour created by Renaissance. Europe abounded in Victoria and Guerrero’s settings. And then there is the poignancy of Kirbye’s Vox outstanding composers: Byrd and in Rama, depicting the tragic and chilling side of Holy Innocents, set against the Tallis from , Guerrero sheer pageantry and celebration at the appearance of the Three Kings in Lassus’ and Victoria from Spain and a double- setting of Omnes de Saba venient’. plethora of Flemish composers such as Sweelinck and Lassus. All It only remains for us to wish you all a very happy Christmas where peace, love these composers and the others and goodwill may prosper. represented on this album show a wealth of glorious polyphony and inventiveness.

We take you right through the Christmas season, from Advent to the birth of Christ, Holy Innocents and the Three Kings. Threaded through the album is the recurrent theme of Resonet in laudibus; its original 14th-century tune (Resonemus

2 3 1 14th Century Resonemus laudibus 1.25 bm Jacob Handl Resonet in laudibus 1.18 (1550-91) 2 J. P. Sweelinck Hodie Christus natus est 2.53 (1562-1621) bn Tomás Luis de Victoria Quem vidistis, pastores? 4.43 (1548-1611) 3 Jacob Handl Omnes de Saba venient 1.30 (1550-91) bo Resonet in laudibus 3.41 (1532-94) 4 Johannes Eccard Resonet in laudibus 1.46 (1553-1611) bp This day Christ was born 2.32 (1543-1623) 5 Plainsong Veni, veni Emmanuel 4.01 bq Reges Tharsis 5.18 6 George Kirbye Vox in Rama 4.32 (c.1515-58) (c.1565-1634) br Francisco Guerrero Pastores loquebantur 5.31 7 Orlande de Lassus Videntes stellam Magi 2.49 (1528-99) (1532-94) bs O beatum et sacrosanctum diem 2.20 8 Videte miraculum 9.18 (1561-1628) (c.1505-85) bt Plainsong Crudelis Herodes 4.01 9 Richard Dering Quem vidistis, pastores? 2.10 (c.1580-1630) bu Orlande de Lassus Omnes de Saba venient 2.48 (1532-94) bl William Byrd O magnum mysterium/Beata Virgo 5.39 (1543-1623) Total Running Time: 67.11 Renaissance Christmas draws from a In today’s tumult of passing Twitter to discuss serious matters of doctrinal Church composers would need look A golden age of sacred music. Most of storms and online moral crusades, it and Church reform. They convened three no further for appropriate models of its harmonious contents were created in is hard to imagine the explosive force times between 1545 and 1563. A series of the expression of sacred words than the Europe at a time of discordant upheaval, of ’s . The sessions held late in the process considered vast resource of and a world-historical epoch marked by scholarly Augustinian monk, little known the Mass and its ‘true and proper’ other devotional melodies. Veni, veni religious reform and reaction, power before he sent his Ninety-five Theses representation of Christ’s sacrifice on the Emmanuel, one of a series of politics and internecine strife, radical to Cardinal Albert of Brandenburg in cross. The consequent decree included a sung at Vespers during Advent, evokes revisionism and resilient conservatism. 1517, attacked what he saw as the abuse section devoted to ‘Things to be observed the timeless certainty of ancient ritual. The great feast of Christmas served of selling indulgences, dispensations and avoided in celebrating Mass’; it also Its folk-like melody, sung here in a to remind warring Catholics and for good works or other acts of merit directed bishops to ‘keep out of their version preserved in a French missal, Protestants of the eternal Christian intended to shorten the amount of time churches the kind of music in which a captures the expectation shared by those message. Composers on both sides of the spent by the faithful Christian soul in base and suggestive element is introduced awaiting the birth of ‘God’s dear son’. It 16th century’s religious divide graced the Purgatory. His radical ideas challenged into the organ playing or singing’. An is known to date at least from the time season with intimations of the polyphony the authority of the papacy, not least by early draft asked whether polyphony, of Charlemagne, who was crowned of paradise, directing the best of human questioning why the Pope, richer than which ‘appealed more to the ear than Holy Roman Emperor by Pope Leo creativity to celebrate God’s promise to Crassus, needed to raise money from the spirit’, should be excluded from the III on Christmas Day 800. Crudelis mankind of salvation through his son. the poor to pay for the new St Peter’s , a question soon revised to Herodes articulates another chapter in The nativity story, told across the winter Basilica in . The Roman Catholic consider the quality of devotional music the Christmas story, where Herod’s fear seasons from Christmas to Candlemas, Church responded to the genuine threat and the imperative that it should clearly for his earthly throne is countered by the brought spiritual light to the harsh of by convening a council, communicate sacred texts. There was Magi’s tributes to the king of heaven. material realities of a dark world. Choral at first ‘in German lands’, later in the city no mention of polyphony in the decree’s music’s part in its reiteration was in many of Trent in present-day Italy. final version; messages about the need Resonemus laudibus, written down ways inestimable yet fundamental to the for simplicity, purity and clarity, however, in the 14th century, stands among the shared experience of Christmas ritual The Council of Trent brought together spread from Trent to reach musicians earliest surviving examples of an ancient and contemplation. Catholic bishops, theologians and others working throughout the Catholic world. Christmas song. Its melody was popular

6 7 above all in , where it was sung seasonal were shared between church, and in the air throughout his long Handl’s setting, with its emphatic opening to one of two texts: ‘Resonet in laudibus’ separate distributed around the service at the Duke of Bavaria’s and fleeting scale figures, portrays the and ‘Joseph, lieber Joseph mein’. The church. The Slovenian-born Handl, court. Lassus’ Resonet in laudibus headlong rush of gift-bearers from lilting ‘Resonet’ tune ideally suited the whose German family name means belongs to a trio of Christmas motets the biblical kingdom of Sheba, widely medieval cradle-rocking tradition, ‘little rooster’, was a master of polychoral for five voices published in Munich in associated by modern scholars with practised at first by nuns in the Rhineland composition who attracted criticism 1569. The composition strikes a fine southern Arabia. Lassus combines two and later introduced to the services of during his lifetime for his counterpoint’s balance between textual clarity, helped choirs of four voices each for his setting Vespers and at Christmas in complexity. His Resonet is distinguished at first by the prominent projection of of the same. The result, published in Germany and the Netherlands. by the restraint of its chordal harmony the popular Christmas melody, and a Nuremberg in 1590, moves from a state and the contrasting contrapuntal shrewd blend of syllabic declamation of tranquillity to one of ecstasy, inviting Johannes Eccard, who became exuberance invested in its rapid-fire and contrapuntal virtuosity, heard later mind and heart to cultivate unconditional Kapellmeister to the Elector of Brandenburg setting of the word ‘Eia’. in the work. Lassus displays comparable joy at Christ’s incarnation. in the early 1600s, employed Lutheran creative individuality in his setting of as foundation stones for much Eccard’s teacher Orlande de Lassus was Videntes stellam Magi, the Jan Pieterszoon Sweelinck attracted a of his sacred polyphony. His Resonet in born in the Franco-Flemish province for . The , which loyal following for the improvisations he laudibus setting for five voices opens of Hainaut, home to many outstanding dates from the composer’s early years in performed twice daily during his long with a -like harmonisation of the names in . Young Munich, takes wing with a fanfare-like tenure as organist at Amsterdam’s Oude pre-Reformation tune; its texture is soon Orlande was enlisted as a boy chorister figure propelled by its rapid repetition Kerk. His spontaneous brilliance at the lightened with dancing scale figures and to serve a member of the Gonzaga family across five voice parts. Lassus varies his keyboard flowed into many of his written brief contrapuntal exchanges between and received much of his training as a composition’s rhythmic drive and vocal compositions. Sweelinck’s Cantiones the lower voice parts. Jacob Handl’s composer in Italy. His formative years scoring to underline the excitement and sacrae, published by Pierre Phalèse in Resonet in laudibus echoes the Lutheran coincided with the debates of the Catholic reverence conveyed by the words. Antwerp in 1619 and dedicated to the Wechselgesang tradition, a contribution to Counter-Reformation, current during composer’s Catholic friend Cornelis the drama of services for Christmas night his brief time as Maestro di Cappella at San Omnes de Saba venient draws its text Plemp, presents a collection of in which sections of popular carols and Giovanni in Laterano, Rome’s cathedral from the verse for Epiphany. motets in a predominantly jubilant

8 9 style. Hodie Christus natus est stands to Catholicism while trimming his Reges Tharsis are constructed around born. Its intricate imitative counterpoint among the anthology’s finest treasures. professional sails to the realities of their respective plainchant melodies, and noble seem to echo the Fully alive in its jubilant response to the religious reform and counter-reform. delivered in notes of equal value by the entire company of heaven singing. news of Jesus’ birth, the piece builds to second-lowest voice part. deliver a spellbinding closing sequence Tallis’s Candlemas respond Videte Peter Philips was a boy chorister at St of acclamations. miraculum, probably written for either In 1573 Tallis and his former pupil Paul’s Cathedral and may have studied Henry VIII or Mary Tudor’s Chapel William Byrd, both members of the with Byrd. For his Catholic faith he fled England’s road to religious reform Royal, is distinguished by its sonorous , petitioned Elizabeth England in 1582 and found refuge at the took many turns, some sharp, others scoring for six voices, bright flashes of I for a source of additional income. English College in Rome. His fervent . The matter of Henry VIII’s harmonic colour and arching melodic The Queen granted them an exclusive motet O beatum et sacrosanctum diem, divorce from Catherine of Aragon led lines suggestive of life everlasting. Its licence to print and publish music, published in 1612, probably dates from to a break with papal obedience but not high-lying upper parts, wide vocal which they soon employed to produce his years in service to Archduke Albert, with many of the old Catholic rites and range and consonant harmonies recall their anthology Cantiones sacrae. Byrd’s regent of the , at his observances. The evangelical religious the style of an earlier age of Latin setting of the responsory for Christmas court in . Overseas influence and political settlement that emerged church music in England, largely Day Matins, O magnum mysterium, was touched the music of George Kirbye, during the early years of Edward VI’s impervious to continental influence. published together with the liturgically known chiefly today for his English reign introduced a new Protestant spirit Tallis’s younger contemporary John related motet Beata Virgo in his Gradualia on Italian models. He also to the nation’s Church until the process Sheppard wrote most of his surviving of 1607. There is no artifice here, no made significant contributions to The of reform was reversed following the works for Mary Tudor’s chapel. Reges self-serving demonstration of technical Whole Book of Psalmes published in coronation of the Catholic Mary Tudor Tharsis, based on a line from the Latin display; rather, Byrd directs the listener London in 1592. Vox in Rama, for six in 1555. Thomas Tallis served the royal Psalm 71, was created for to contemplate the ineffable mystery of voices, reveals the quality and refined household as a musician to Henry VIII performance at Matins during Epiphany. Jesus’ birth with music stripped of all craftsmanship of the Suffolk composer’s and the monarchies of his three children, Sheppard’s composition is striking in excess. The composer’s joyful response work. Recent research has shown how Edward, Mary and Elizabeth. He appears its passing dissonances and irresistible to the nativity courses through his carol Kirbye shaped his sublime motet for the to have held a lifelong allegiance rhythmic energy. Videte miraculum and for Christmas Day, This day Christ was fourth day of Christmas, the feast of the

10 11 Holy Innocents, after an earlier setting of sacred compositions gave strength to Translations by Jeremy White the text by the Flemish musician Jacobus the Catholic Counter-Reformation, Texts & Translations Clemens non Papa. Herod’s execution infuses his Quem vidistis, pastores? of all male infants born in or near with spiritual fervour in its first part and 1 14th Century Resonemus laudibus Jerusalem, which Kirbye recalls in the a feeling of awe in its second. The motet, Resonemus laudibus Let us make the church resound chilling words of St Matthew’s gospel, the antiphon for Lauds at Christmas Day, cum iucunditatibus with the merry praises fulfilled the Old Testament prophesy was published in 1585 around the time of ecclesiam fidelibus: of the faithful: of Jeremiah and its vision of Rachel its composer’s return to his native Spain Apparuit quem genuit Maria. He whom Mary bore has appeared. ‘weeping for her children, refusing to be after two decades in Rome. Victoria’s Deus fecit hominem God made man comforted, because they are no more’. older contemporary Francisco Guerrero, ad suam imaginem in his own image a native of Seville and chapel master of et similitudinem: and likeness: The story of the shepherds, like that of the city’s cathedral, wrote some of the Apparuit quem genuit Maria. He whom Mary bore has appeared. the Magi and of Herod’s infamy, inspired finest sacred music of the 16th century’s Deus fecit omnia, God made all things, composers across the sectarian divide. second half. Pastores loquebantur caelum, terram, maria, the heavens, the earth, the seas, The graduate Richard Dering stands as a worthy companion piece cunctaque nascentia: and all that has been brought to birth: appears to have been raised a Protestant to Victoria’s Quem vidistis in the latter’s Apparuit quem genuit Maria. He whom Mary bore has appeared. and probably converted to Catholicism 1585 book of motets, hallmarked Ergo nostra concio Therefore let our company soon after arriving in Rome in the early by contrapuntal ingenuity and great in chordis et organo bless the Lord 1610s. His setting of Quem vidistis, sensitivity to the text’s combination of benedicat Domino: with strings and organ: pastores?, published in Antwerp in 1618, urgent narrative, considered reflection Apparuit quem genuit Maria. He whom Mary bore has appeared. underlines the shepherds’ dramatic and unbridled delight. account of Christ’s birth with antiphonal Et Deo qui venias And let us give thanks donat et leticias to the same God, exchanges between high and low voices nos eidem gracias: who gives us pardon and joys: and a near-breathless succession of Apparuit quem genuit Maria. He whom Mary bore has appeared. . Tomás Luis de Victoria, whose © Andrew Stewart, 2018

12 13 2 J. P. SWEELINCK (1562-1621) Hodie Christus natus est 4 Johannes ECCARD (1553-1611) Resonet in laudibus Hodie Christus natus est. Today Christ is born. Resonet in laudibus Let Sion resound Noe, Noe, Noe. Nowell, Nowell, Nowell. cum iucundis plausibus with the joyful acclaim Hodie Salvator apparuit. Today the Saviour has appeared. Sion cum fidelibus: of the faithful: . Alleluia. Apparuit quem genuit Maria. He whom Mary bore has appeared. Hodie in terra canunt angeli, Today the angels sing on earth, laetantur archangeli. the archangels rejoice. Sunt impleta quae praedixit Gabriel’s prophecies Noe, Noe, Noe. Nowell, Nowell, Nowell. Gabriel: eia. have been fulfilled: O joy! Hodie exultant iusti dicentes: Today the righteous are glad and say: Virgo Deum genuit, A Virgin has given birth to God, , alleluia. Glory to God in the highest, alleluia. quem divina voluit as divine mercy Noe, Noe, Noe. Nowell, Nowell, Nowell. clementia. willed it to be. Magnificat Antiphon at 2nd Vespers for Christmas Day Hodie apparuit Today he has appeared in Israel: in Israel: ex Maria virgine a King is born est natus Rex. of the Virgin Mary. 3 Jacob HANDL (1550-91) Omnes de Saba venient Magnum nomen Domini Great is the Lord’s name Omnes de Saba venient, All they from Sheba shall come, Emmanuel, Emmanuel, aurum et thus deferentes bringing gold and frankincense quod annunciatum est which all the world has heard proclaimed et laudem Domino annuntiantes. and proclaiming the praise of the Lord. per Gabriel. by Gabriel. Alleluia. Alleluia. Words: 14th century, German

Short Responsory for the Epiphany [Isaiah 60:6]

14 15 5 Plainsong Veni, veni Emmanuel Veni, Clavis Davidica, O come, Thou Key of David, come, regna reclude caelica: and open wide our heavenly home: Veni, veni, Emmanuel, O come, O come, Emmanuel, fac iter tutum superum, make safe the way that leads on high, captivum solve Israel, and ransom captive Israel, et claude vias inferum. that we no more have cause to sigh. qui gemit in exsilio, that mourns in lonely exile here, Gaude! Gaude! etc. Rejoice! Rejoice! etc. privatus Dei Filio. until the Son of God appear. Gaude! Gaude! Emmanuel, Rejoice! Rejoice! Veni, veni, O Oriens, O come, Thou Dayspring from on high, nascetur pro te Israel! Emmanuel shall come to thee, O Israel. solare nos adveniens: and cheer us by thy drawing nigh: noctis depelle nebulas, disperse the gloomy clouds of night Veni, O Sapientia, O come, Thou Wisdom, from on high, dirasque mortis tenebras. and death’s dark shadow put to flight. quae hic disponis omnia: and order all things far and nigh: Gaude! Gaude! etc. Rejoice! Rejoice! etc. veni, viam prudentiae to us the path of knowledge show, ut doceas et gloriae. and teach us in her ways to go. Veni, veni, Rex Gentium, O come, Desire of nations, bind Gaude! Gaude! etc. Rejoice! Rejoice! etc. veni, Redemptor omnium, in one the hearts of all mankind: ut salvas tuos famulos bid every strife and quarrel cease Veni, veni, Adonai, O come, O come, Thou Lord of might, peccati sibi conscios. and fill the world with heaven’s peace. qui populo in Sinai who to thy tribes on Sinai’s height Gaude! Gaude! etc. Rejoice! Rejoice! etc. legem dedisti vertice in ancient times did give the law, in maiestate gloriae. in cloud, and majesty, and awe. From a French Missal, paraphrase of the Advent ‘O’ Antiphons Gaude! Gaude! etc. Rejoice! Rejoice! etc.

Veni, O Jesse Virgula, O come, Thou Rod of Jesse’s stem, ex hostis tuos ungula, from every foe deliver them de spectu tuos tartari that trust Thy mighty power to save, educ et antro barathri. and give them victory o’er the grave. Gaude! Gaude! etc. Rejoice! Rejoice! etc.

16 17 6 George KIRBYE (c.1565-1634) Vox in Rama 8 Thomas TALLIS (c.1505-85) Videte miraculum Vox in Rama audita est, A voice is heard in Rama, Videte miraculum matris Domini: Behold the miracle of the mother of the Lord: ploratus et ululatus, weeping and wailing, concepit virgo virilis ignara consortii, a virgin has conceived though she knew no husband, Rachel plorans filios suos: Rachel lamenting her sons: stans onerata nobili onere Maria: Mary, heavy with her noble burden: noluit consolari, she will not be consoled, et matrem se laetam cognoscit and with joy she knows herself a mother, quia non sunt. for they are no more. quae se nescit uxorem. who knows she is no wife.

Antiphon at Communion for the Feast of the Holy Innocents Haec speciosum forma She, beautiful in form [Matthew 2:18, citing Jeremiah 31:15] prae filiis hominum beyond all the children of men, castis concepit visceribus, has conceived in her virgin womb, et benedicta in aeternum and, for ever blessed, Deum nobis protulit et hominem. has borne for us him who is both God and man. 7 Orlande de LASSUS (1532-94) Videntes stellam Magi et Filio Glory be to the Father, and to the Son, Videntes stellam Seeing the star, et Spiritui Sancto. and to the Holy Spirit. Magi gavisi sunt gaudio magno: the Magi rejoiced with great gladness: Responsory at 1st Vespers, Feast of the Purification (Candlemas) et intrantes domum and entering the dwelling invenerunt puerum they came upon the boy cum Maria matre eius, with Mary, his mother, et procidentes and, prostrating themselves, adoraverunt eum. they worshipped him. Et apertis thesauris suis And, opening their treasures, obtulerunt ei munera, they offered him gifts, aurum, thus et myrrham. gold, frankincense and myrrh.

Magnificat Antiphon for 2nd day within the of the Epiphany [Matthew 2:10-11]

18 19 9 Richard DERING (c.1580-1630) Quem vidistis, pastores? bm Jacob HANDL (1550-91) Resonet in laudibus Quem vidistis, pastores? Who have you seen, shepherds? Resonet in laudibus Let Sion resound Dicite: et annuntiate nobis Speak: and tell us cum iucundis plausibus with the joyful acclaim in terris quis apparuit? who has appeared on earth? Sion cum fidelibus: of the faithful: Apparuit quem genuit Maria. He whom Mary bore has appeared. Natum vidimus, We have seen the new-born child et choros angelorum, and a chorus of angels Sunt impleta quae praedixit Gabriel’s prophecies collaudantes Dominum. praising the Lord. Gabriel: eia. have been fulfilled: O joy! Alleluia. Alleluia. Virgo Deum genuit, A Virgin has given birth to God, Antiphon at Lauds for Christmas Day quod divina voluit as divine mercy clementia. willed it to be.

Hodie apparuit Today he has appeared bl in Israel, in Israel: William BYRD (1543-1623) O magnum mysterium / Beata Virgo ex Maria virgine a King is born est natus Rex. of the Virgin Mary. O magnum mysterium O great mystery et admirabile sacramentum, and wonderful sacrament, Words: 14th century, German ut animalia viderent Dominum natum that the animals should see the newborn Lord iacentem in praesepio. lying in a manger.

Beata Virgo, O blessed Virgin, cuius viscera meruerunt portare whose womb was worthy to bear Dominum Christum. Christ our Lord.

Ave Maria gratia plena, , full of grace, Dominus tecum. the Lord is with you. Responsory at 2nd Nocturn of Matins for Christmas Day

20 21 bn Tomás Luis de VICTORIA (1548-1611) Quem vidistis, pastores? bo Orlande de LASSUS (1532-94) Resonet in laudibus Quem vidistis, pastores? Who have you seen, shepherds? Resonet in laudibus, Let Sion resound Dicite: annuntiate nobis Speak: tell us cum iucundis plausibus with the joyful acclaim quis apparuit? who has appeared on earth. Sion cum fidelibus: of the faithful: Apparuit quem genuit Maria. He whom Mary bore has appeared. Natum vidimus, We have seen the new-born child et choros angelorum, and a chorus of angels Sunt impleta quae praedixit Gabriel’s prophecies collaudantes Dominum. praising the Lord. Gabriel: eia. have been fulfilled: O joy! Alleluia. Alleluia. Virgo Deum genuit A Virgin has given birth to God, quod divina voluit as divine mercy Dicite quidnam vidistis Speak, what have you seen? clementia. willed it to be. et annuntiate nobis Tell us Christi nativitatem. of the birth of Christ. Hodie apparuit Today he has appeared in Israel, in Israel: Natum vidimus etc. We have seen the new-born child etc. per Mariam virginem a King is born Responsory at 1st Nocturn of Matins for Christmas Day est natus Rex. through the Virgin Mary. Magnum nomen Domini Great is the Lord’s name Emmanuel, Emmanuel, quod annuntiatum est which all the world has heard proclaimed per Gabriel. by Gabriel. Eia, eia! Oh joy, joy!

Words: 14th century, German

22 23 bp William BYRD (1543-1623) This day Christ was born br Francisco GUERRERO (1528-99) Pastores loquebantur This day Christ was born, this day our Saviour did appear. Pastores loquebantur ad invicem: The shepherds said one to another, This day the angels sing in earth. The archangels are glad. Transeamus usque Bethlem, Let us now go even unto Bethlehem, This day the just rejoice, saying: Glory be to God on high. Alleluia. et videamus hoc verbum, quod factum est, and see this thing which is come to pass, quod fecit Dominus et ostendit nobis. which the Lord hath made known unto us. Et venerunt festinantes And they came with haste, et invenerunt Mariam et Joseph and found Mary, and Joseph, et infantem positum in praesepio. and the babe lying in a manger. bq John SHEPPARD (c.1515-58) Reges Tharsis Alleluia. Alleluia.

Reges Tharsis et insulae The kings of Tharsis and of the isles Videntes autem And when they had seen it, munera offerent: shall give presents: cognoverunt de verbo they made known abroad reges Arabum et Saba the kings of Arabia and Sheba quod dictum erat illis the saying which was told them dona Domino Deo adducent, will bring gifts to the Lord God, de puero hoc. concerning this child. et adorabunt eum omnes reges, and all kings will adore him, Et omnes qui audierunt, And all they that heard it omnes gentes servient ei. all nations will serve him. mirati sunt et de his wondered at those things Gloria Patri et Filio Glory be to the Father, and to the Son, quae dicta erant a pastoribus ad ipsos. which were told them by the shepherds. et Spiritui Sancto. and to the Holy Spirit. Maria autem conservabat omnia verba haec, But Mary kept all these things, conferens in corde suo. and pondered them in her heart. Responsory/ for the Epiphany Alleluia. Alleluia. [cf Ps 71: 10-11] from the Gospel for the Dawn Mass of Christmas Day [Luke 2:15-19]

24 25 bs Peter PHILIPS (1561-1628) O beatum et sacrosanctum diem bt Plainsong Crudelis Herodes O beatum et sacrosanctum diem, O blessed and most holy day Crudelis Herodes, Deum Most cruel Herod, whence does spring in qua Dominus noster de Virgine Maria on which our Lord deigned to be born Regem venire quid times? thy fear, lest Christ should come as king? pro nobis nasci dignatus est. of the Virgin Mary for our sake. Non eripit mortalia, He seizes not on realms below, Gaudeat itaque universus orbis, Therefore let the whole world rejoice, qui regna dat caelestia. who realms celestial does bestow. et cantemus illi in sono tubae, and let us sing to him with the sound of the , cithara, psalterio et organo. with strings, the and the organ. Ibant Magi, quam viderant, The sages followed the bright Congratulemur Let us rejoice stellam sequentes praeviam; preceding star they had in sight; cum multitudine angelorum exercitus, with the numerous hosts of angels lumen requirunt lumine: by light to find our light they sought: semper suas laudes cantantibus. who ceaselessly sing his praise. Deum fatentur munere. they God confess, by gifts they brought. Noe. Nowell. Lavacra puri gurgitis The heavenly Lamb, though spotless, took caelestis Agnus attigit: the baptism of a crystal brook; Antiphon for Christmas Day peccata, quae non detulit, by washing us he cleansed the blot nos abluendo sustulit. of sin, which he contracted not.

Novum genus potentiae: A novel kind of power he shows, aquae rubescunt hydriae, ruddy the pitchers water grows, vinumque iussa fundere, which bid by him to send forth wine, mutavit unda originem. the water changed its origin.

Jesu, tibi sit gloria To thee be glory, Christ, who hast qui apparuisti gentibus, thy beams upon the Gentiles cast; cum Patre, et almo Spiritu, the like unto the Father be, in sempiterna saecula. and Holy Ghost eternally. Amen Amen.

Hymn at 2nd Vespers of the Epiphany words by Caelius Sedulius (5th century)

26 27 bu Orlande de LASSUS (1532-94) Omnes de Saba venient Harry Christophers stands among today’s great champions of choral music. In partnership with The Sixteen, the ensemble Omnes de Saba venient All they from Sheba shall come, he founded almost 40 years ago, he has set benchmark aurum et thus deferentes bringing gold and frankincense standards for the performance of everything from late et laudem Domino annuntiantes. and proclaiming the praise of the Lord. medieval polyphony to important new works by contemporary Alleluia. Alleluia. composers. His international influence is supported by more Reges Tharsis et insulae The kings of Tharsis and of the isles than 150 recordings and has been enhanced by his work as Artistic Director of Boston’s Handel and Haydn Society and as

munera offerunt: shall offer presents: Borggreve Marco Photograph: reges Arabum et Saba The kings of Arabia and Sheba guest conductor worldwide. dona adducent. will bring gifts. Alleluia. Alleluia. The Sixteen’s soundworld, rich in tonal variety and expressive nuance, reflects Christophers’ determination to create a vibrant Short Responsory for the Epiphany choral instrument from the blend of adult professional singers. [Isaiah 60:6] Under his leadership The Sixteen has established its annual Choral Pilgrimage to cathedrals, churches and other UK venues, created the Sacred Music series for BBC television, and Recording Producer: Mark Brown developed an acclaimed period-instrument orchestra. Highlights of their recent work Recording Engineer: Mike Hatch (Floating Earth) include an Artist Residency at Wigmore Hall, a large-scale tour of Monteverdi’s Vespers Recorded at: Church of St Augustine’s, Kilburn, London, 20-23 November 2017 of 1610, and the world premiere of James MacMillan’s Stabat mater; their future projects, Cover image: The Adoration of the Magi (oil on panel), Jan Gossaert, (c.1472-c.1533) meanwhile, comprise a new series devoted to Purcell and an ongoing survey of Handel’s Museo Lazaro Galdiano, Madrid, Spain / Bridgeman Images dramatic oratorios. Design: Andrew Giles: [email protected]

2018 The Sixteen Productions Ltd. Harry has served as Artistic Director of the Handel and Haydn Society since 2008. He © 2018 The Sixteen Productions Ltd. was also appointed as Principal Guest Conductor of the City of Granada Orchestra in Made in Great Britain 2008 and has worked as guest conductor with, among others, the London Symphony 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] Orchestra, the BBC Philharmonic, the San Francisco Symphony Orchestra and the Deutsches Kammerphilharmonie. Christophers’ extensive commitment to opera has Many CORO recordings are also available as studio master quality downloads at embraced productions for English National Opera and Lisbon Opera and work with the www.thesixteen.com Granada, Buxton and Grange Park festivals.

28 29 He was appointed a CBE in the Queen’s 2012 Birthday Honours for his services to music. He is an Honorary Fellow of Magdalen College, Oxford, as well as the Royal Welsh College of Music and Drama, and has Honorary Doctorates in Music from the Universities of Leicester, Christ Church and Northumbria.

SOPRANO ALTO Whether performing a simple medieval hymn or Julie Cooper Ian Aitkenhead expressing the complex musical and emotional language of a contemporary choral composition, Sally Dunkley Daniel Collins The Sixteen does so with qualities common to all Kirsty Hopkins Edward McMullan great ensembles. Tonal warmth, rhythmic precision Alexandra Kidgell Kim Porter and immaculate intonation are clearly essential to the mix. But it is the courage and Charlotte Mobbs intensity with which The Sixteen makes music that speak above all to so many people. Emilia Morton

The Sixteen gave its first concert in 1979 under the direction of Founder and Conductor Harry Christophers CBE. Their pioneering work since has made a profound impact on TENOR BASS the performance of choral music and attracted a large new audience, not least as ‘The Simon Berridge Ben Davies Voices of Classic FM’ and through BBC television’s Sacred Music series. Jeremy Budd Eamonn Dougan # Mark Dobell Tim Jones The voices and period-instrument players of The Sixteen are at home in over five George Pooley Rob Macdonald centuries of music, a breadth reflected in their annual Choral Pilgrimage to Britain’s great Angus McPhee * cathedrals and sacred spaces, regular appearances at the world’s leading concert halls, and award-winning recordings for The Sixteen’s CORO and other labels. * Tracks: 1 - 4, 7 - bl, bn Recent highlights include the world premiere of James MacMillan’s Stabat mater, # Tracks: 5, 6, bm, bo - bu commissioned for The Sixteen by the Genesis Foundation, an ambitious ongoing series of Handel oratorios, and a debut tour of China.

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