CORO CORO Palestrina Volume 1

“The approach of Harry Christophers is distinctive and palestrina Giovanni revelatory, and he has surrounded the Mass by a well- chosen array of motets in praise of the Virgin Mary.” bbc music magazine cor16091 Claudio Monteverdi

Selva morale e spirituale Vol. II da P ierluigi “There is a feeling of easiness with Monteverdi’s harmonic and especially rhythmic vocabulary that lends a tripping lightness to the performances.” international record review cor16101 Handel - Saul “Sarah Connolly’s David is in a class of its own. Her wonderfully refined and sensitive singing, radiated with intense musicality and intelligence.” The daily Telegraph cor16103 The Italian Collection Special slipcase edition containing five of The Sixteen’s celebrated CDs. Includes Allegri Miserere and Scarlatti Iste Confessor as well as masterpieces by Handel, Palestrina, Lotti and Monteverdi. cor16099 Giovanni Pierluigi Giovanni da palestrina The Sixteen volume To find out more about The Sixteen, concert tours, and to buy CDs visit cor16105 www.thesixteen.com Harry Christophers 2 Giovanni Pierluigi da volume 21 wrote 104 Masses! But what we will do is present each volume based around a palestrina single Mass and theme relevant to that Mass, in this case the Nativity, alongside some of his settings of The Song of Songs. Palestrina published 29 such settings. He apologised for possessing “light and vain ideas” and indeed “blushed and Palestrina’s legacy and impact on grieved” at presenting these sensual motets. Remember that The Song of Songs sacred music worldwide is second comes from that part of the Old Testament which was often considered too to none. Composers through the orggreve sensual and erotic to be read. It was originally Hebrew love poetry, written down centuries have studied and learnt possibly 300 years or so before the birth of Christ, but these are texts which in from his gift for writing exquisite Renaissance times were used in praise of the Virgin Mary. polyphony. Small wonder then that he has been called not only “the I have always regarded Palestrina as the master craftsman whose music prince and father of music” but also B Marco Photograph: composers of all ages have attempted to emulate. He shapes his music in a “the saviour of church music”. At the beautifully sonorous way using a lot of suspensions but always coming back into final session of the Council of Trent, the line of the music. However it is this perfect craftsmanship that can sometimes there were many discussions about make Palestrina’s music sound all too perfect and occasionally academic. the use of polyphony and whether or We have attempted to achieve real ebb and flow in his music, not clipping not it should be banned. In 1607, the the ends of phrases but allowing the music to breathe, to convey the real composer Agostino Agazzari wrote meaning of the words and making our breaths part of the music as a whole. “music of the older kind is no longer There is a wealth of word painting in which to indulge, especially in his Song in use because of the confusion and Babel of the words”. He went on to say that of Songs motets. Our aim has been to be sensitive to this wonderful poetry and this music would have come very near to being banished from the holy church inject an energy and beauty into our performances that I hope goes some way by a sovereign pontiff had not Giovanni Palestrina found the remedy. to honour Palestrina as “the celebrated light of music”.

Over the next few years, we are undertaking a series honouring Palestrina’s great art. I hasten to add that we are not endeavouring to record every note Palestrina penned – that would be more than a lifetime’s work considering he

2 3 Giovanni Pierluigi da volume he small Italian town of Palestrina lies The musical activities of these and other (1525-1594) 21 T on the edge of the hills about 20 or so Roman religious institutions were initially palestrina miles east of Rome. It has a minor claim to dominated by Franco-Flemish and Spanish fame in our time as the home of the genius singers and composers; in the later part of composer Adrian Leverkühn in Thomas the 16th century, particularly when the 1 Hodie Christus natus est (Motet) 2.32 Mann’s famous novel, Doktor Faustus. Counter Reformation was in full flow after It is far better known, however, as the 2 Christe Redemptor omnium 8.27 the Councils of Trent (1545-63), they were birthplace (in 1525) of another composer, 3 supplanted by native Italians, Palestrina Magnificat Quinti Toni 11.38 Giovanni Pierluigi da Palestrina, during dominant among them. 4 Tui sunt caeli 2.53 his lifetime holder of the most prestigious 5 Reges Tharsis 2.36 musical posts in the Roman Catholic With the revised liturgical texts of Trent, Church, and by his death in 1594 regarded there was a great need to rewrite much Missa HODIE CHRISTUS NATUS EST as the greatest composer of the age. of the repertoire, in the latest styles, in a 6 Kyrie 3.19 more transparent and text-related fashion. 7 Gloria 4.53 Palestrina, (as he came to be known), a Although everyday fare remained music 8 Credo 6.49 young man of great talent, inevitably was written for four or five voices, or even to seek a career in Rome, where, by the six, composers started setting the many 9 Sanctus 3.46 beginning of the 16th century, the Church standard texts in double-choir format, a bl Benedictus 2.14 had attained great wealth and prestige, and style favouring intelligible projection of the bm Agnus Dei 2.31 political power. This enabled it, in addition words. Not only Palestrina himself, but also to its pastoral role, to become the major many younger composers, Romans such Song of Songs: nos. 1-3 patron of Architecture, Art and Music of as the Nanino and Anerio brothers, (and bn Osculetur me osculo oris sui 3.23 the time. There were great opportunities also the Spaniard Tomás Luis de Victoria), bo Trahe me post te 3.24 for composers and singers in providing seized these opportunities, composing bp Nigra sum sed formosa 3.40 and performing music for the rituals of a huge amount of music which poured the Church. The Sistine Chapel, built in in sumptuous volumes from the printing bq O magnum mysterium (Motet) 5.20 the late 15th century by Sixtus IV (1471- presses of Rome and Venice. 84), housed the Papal Choir, and the great Total running time 67.34 basilica of St Peter’s, begun in 1506, was Cristóbal de Morales, a Spaniard who had largely completed in Palestrina’s lifetime. sung for ten years in the Sistine Chapel, 4 5 published two books of Masses in 1544. composers needing a prior arrangement of the Papal fur and leather merchant, Lassus, who published the gargantuan He seems to have been the first to market in place; or an effusive dedication to some Giuliano Guerrazi, who had died at the early Magnum Opus Musicum (Munich, Nicolai and promote them personally, in both Italy potentate was offered in each new volume age of 36 in 1576. She brought with her the Henricus, 1604, dedicated to Maximilian I, and in Spain, a strategy followed later by in hope of support later. fur business. No doubt this was profitable, Elector of Bavaria), a compendium of 516 Victoria with his music. These composers’ for not only in 1582 did Palestrina buy of their father’s published and unpublished reputations were enhanced so much Palestrina was hardly justified in some land in his native town (presumably Motets and Antiphons for two to twelve by the widespread distribution of their complaining however. Perhaps he was for his retirement), but he was also able in voices, in six partbooks, ten years after music in print that they became the most not astute at marketing or at attracting 1586 to take on a partner. Palestrina seems his death. Yet a prodigious quantity of internationally famous Spanish composers sponsorship; or more likely he may have thus to have been financially secure for the Palestrina’s music has come down to us of the middle and late 16th century, and been too busy, for he was a businessman, rest of his life. mainly in 16th-, and also in early 17th- for years afterwards. Palestrina and other married with a family, and he was also very century prints. composers too saw the benefits of their active as composer and performer. But Clearly Palestrina was systematically methods, though success did not come he still found money for a large number publishing his music, genre by genre, the This CD displays a selection from Palestrina’s easily. Palestrina was to complain (in the of publications, 23 of them, not counting more practical (and saleable) first, but he settings of texts from the extensive Liturgy preface to his only published volume the numerous reprints, between 1554 died on February 2nd, 1594 leaving much for Advent and Christmas. Two of his of Lamentations of 1588), that he had and his death in 1594. The settings of The in manuscript. As with Orlandus Lassus, the Christmas motets, Hodie Christus natus est composed much, and published some, Song of Songs texts, book IV of his motets task of printing his remaining works now and O magnum mysterium were used by yet had to hold back so much more for published in 1583-84 were reprinted four fell to his family, in Palestrina’s case, to his him as models for Mass settings. Both the lack of funds [multa composui, edidique, times by 1594, and another seven times son, Iginio Pierluigi, who issued what he motets and their companion Masses are multo plura apud me sunt: a quibus edendis by 1613; and the other four volumes of could until his own death in 1610 - another unusual for opening with chords rather than retardor ea, quam dixi angustia]. motets were reprinted 15 times; six books seven books of Masses (the seventh was imitative points, which Palestrina generally of Masses, seven times. underwritten by the Pope, Clement VIII) uses elsewhere; and they are enlivened While the cost of printing music had fallen and some reprints belong to this period. by significant rhythmic contrasts between dramatically since the earliest known print Palestrina married for the second time in Thereafter nothing new appears. Much duple and triple time. Missa Hodie Christus of polyphonic music published in Venice, early 1581. After the death of Lucrezia Gori, double- and triple-choir (and some other natus est was one of the few double-choir 1501 (Ottaviano Petrucci’s Harmonice his first wife, in 1580, he had petitioned music including 20 or so Masses) still pieces to appear in print, but only after the Musices Odhecaton), and indeed since the Pope, Gregory XIII, for ordination to languished in Vatican and other Roman composer’s death, in 1601. The only other Morales’s time, there was still considerable the priesthood. By February 1581 he had manuscripts unpublished. Iginio probably extant copy of the Mass is in a 17th-century expenditure involved. Patronage of some changed his mind, at the end of March could not match the resources in patronage Vatican manuscript, probably copied from sort was essential and eagerly sought, marrying Virginia Dormoli, the widow or finances of Ferdinand and Roland de the print. The date of composition is not 6 7 known, though it must postdate the model Much music is transferred directly: Kyrie, Palestrina’s volume opens with the standard knew and used direct from his polyphony. motet (published in Venice in the Mottetorum for example, restates the opening chordal Vespers hymns for the Christmas season, Victoria also used the same Roman version, ... liber tertius in 1575). The title page of the passages from the motet, but here the Conditor alme siderum, (Advent) and Christe conveniently printed complete in his Hymni 1601 print reads: Io. Petraloysii Praenestini, music of the first refrain of Noe, noe comes Redemptor omnium, (Nativity). Palestrina of 1581, confirming what Palestrina uses; musici celeberrimi, Missae quatuor octonis after the repeated chordal passage in the includes too the Nativity hymn for Lauds, A and Christe Redemptor omnium conserva, vocibus concinende, Nunc primum in lucem lower choir. Palestrina ends Kyrie, Gloria, solis ortu(s) cardine, unusually for the Roman for All Saints, has exactly the same melody. editae. (“Of Giovanni Pierluigi [da] Palestrina, Credo and Sanctus with the quick triple- rite where polyphony for Vespers hymns Fortunately some contemporary chant most celebrated musician, Four Masses for time rhythms of the motet’s conclusion. only was the general practice. Palestrina Hymnaries are still extant too (such as one eight voices, Now for the first time brought to Prominent is the motet’s music with the sets the odd verses of Christe Redemptor dating ca.1550, from the Cappella Giulia); light”). The four are the only examples from falling fourths and fifths at laetantur omnium. He paraphrases and decorates and sometimes too we can refer to settings Palestrina’s total of 114 or so Masses where Archangeli, now in Kyrie II, and at vivos the chant in all the voices, often quoting by other composers, to ensure the correct he writes for antiphonal choirs. et mortuos in Credo, and at in nomine in phrases verbatim, combining these with chant melody is married to the polyphony. Benedictus. Similarly the phrase with the counterpoints of his own invention. Hodie Christus natus est is to be found in descending scalic figure at Et exultant is Typically he varies the sonority with a bright Another consideration for modern chant books as the Magnificat Antiphon at used at Qui tollis. Sanctus is unusual having v.3 (Memento salutis ...) for SSAT, returning performers and conductors of this hymn 2nd Vespers on Christmas Day. Palestrina a duple/triple time first Osanna, with a to SATB for the next verse, and increasing repertoire is the question of added flats however makes no obvious reference to second in triple time after Benedictus. to six voices, SSATTB for a rich and majestic and sharps in the polyphony and more chant in his motet. Appropriately for the Gloria tibi Domine ... saecula. controversially, in the chant. In Palestrina’s joyful words, the motet resounds with Palestrina published a set of hymns for the time, chant was normally written and bright major harmonies, with many root- church year (four, five and six voices) in In modern times, hymns have fallen out of printed without accidentals, other than position chords and a strong tonal outline 1589, simultaneously in Rome (choirbook) favour often because of the lack of correct flats (or naturals to prevent addition of flats) for the bass parts (leaps of fourth and fifth). and in Venice (partbooks). They were chants for the alternatim verses, when which were added inconsistently. However reprinted immediately in 1590 (Venice), composers have paraphrased versions there is some evidence that singers, in In the motet the ideas are scarcely in 1625 (Rome), with a basso continuo no longer in use in modern chant books the late 16th century and certainly after, developed, but Palestrina shows in his part, and in Antwerp in 1644. Polyphonic such as the Liber Usualis. The melody used may have added accidentals to cadences Missa Hodie Christus natus what can be hymns, alternatim with chant, such as here by Palestrina varies from the modern and elsewhere, rather in the manner that achieved with such simple material on a these, were basic repertoire for churches version now printed in the Antiphonale they were accustomed to when singing broader canvas. Contrasts between the large and small at the time, and there was Monasticum. However it is often (though polyphony. There are some sharps printed high and low choirs in sonority and rhythm a substantial demand for new settings with not always) possible for an editor or in 16th-century chant books, for example are used in a masterly fashion throughout. the reformed texts of Trent. performer to extract what a composer those added to some Psalm tones in 8 9 Villafranca’s Breve Instrucción de canto from the late 16th century. It is for The 29 motets on verses from The Song in no.2; but Palestrina demonstrates in llano, Seville, 15651; and after 1600 there Palestrina’s favourite voice configuration, of Songs, are, with his books of madrigals, these pieces what variety and intensity of was a trend of adding more accidentals SATTB, although he varies the sonority of somewhat anomalous in Palestrina’s feeling can be expressed with the simplest influenced by the changes in harmony the verses: v.6 is for SSAT, v.10 for ATBB, and output. They are non-liturgical, although of means. towards the modern major/minor system. v.12 for SSATTB. The last verse has a canon they could be, and were sung in services. cancrizans, where the notes sung by T1 are But much of their purpose was for use by The six voice motet O magnum mysterium, Where Palestrina in his polyphony quotes sung in reverse order by T2. the Common Man, in occasional private for the Nativity and Circumcision, the third phrase of the chant: and public devotions, for the practice of published in 1569 in the first book The two books of Offertory motets spiritual exercises encouraged by such of motets, is one of Palestrina’s finest published by Palestrina in the year before notables as St Philip Neri, and by various inspirations. It is in ABCB form, with the his death contain (as also the 29 Song of religious confraternities. They must have repeated B section in quick triple time Songs Motets of 1583-84), consistently sold extremely well, for there were eleven (collaudantes Dominum) followed by is this how singers would have sung the fine music, demonstrating Palestrina’s reprints up to 1613. extended Alleluias in duple time. The monophonic chant? That these accidentals remarkable ability to make each setting opening of the motet is particulary (notably the natural/sharp on the 5th sound so distinctly different. One reason The first three motets from the set are striking: slow-moving sustained semibreve note) are also written by Victoria, Navarro, for this is Palestrina’s talent for inventing recorded here by The Sixteen: Osculetur chords in S1, S2 and A2, are reinforced by G. Nanino, F. Anerio, and others in their memorable opening points of imitation me osculo oris sui, Trahe me post te and single semibreves in T (bars 1 & 3), and polyphony reinforces this suggestion. with a strong melodic and harmonic Nigra sum sed formosa. They are intimate, A1 with B (bar 2), before the harmonic character. Tui sunt caeli, the Offertory vocal chamber music, set in a simple pace accelerates at the words magnum Magnificat Quinti Toni motet for the Nativity and Circumcision, style, always for five voices, lacking any mysterium. With two soprano and two alto The Magnificat octo tonum, four-voice opens with such a theme, the falling fourth pretension to complexity or virtuosity. Not parts, the composer’s creative and varied settings for both odd and even verses, was and rising sixth giving it a memorable for Palestrina the obvious opportunities intermixing of voices and rhythms has a printed in Venice in 1591. These were the contour, emphasised by the little scalic ‘tail’ for display, such as a canonic setting for brilliant effect throughout.V ictoria also only Magnificats published by Palestrina added at the end. Reges Tharsis is for the no.2, (as Victoria or Guerrero did in their made a famous setting, though for four before he died in 1594, but another 19 Feast of the Epiphany (the manifestation versions); or the eye music (blackened voices and without the second part of the or 20 for four to eight voices remain in of Jesus to the Gentiles in the person of the notes) of Victoria’s opening to Nigra sum; text, but with a triple/duple-time closing various manuscripts copied for the use of Magi). Palestrina’s 68 Offertories are, with or the double-choir splendour of Lassus Alleluia; he famously composed a Quem the Vatican choirs. The Magnificat recorded those by Lassus, historically important, for in his Osculetur me. Indeed there are vidistis pastores too, for six voices, also with here is from a set of 16 for four to six voices, up until their publication, plainchant was occasional madrigalisms in the set, such triple time at collaudentes Dominum. It is copied only in a Cappella Giulia manuscript generally used at this point in the Mass. as the running quaver scales at curremus interesting that these words had a strong 10 11 attraction for these great composers, lo svolgere, oltre alla funzione ecclesiastica, formule per doppio coro, stile che favoriva opera a causa della mancanza di denaro resulting in very fine but rather different un importantissimo ruolo di mecenatismo una maggiore inteleggibilità del testo. Non [multa composui, edidique, multo plura music from both of them. per l’architettura, l’arte e la musica del solo Palestrina, ma anche molti giovani apudme sunt: a quibus edendis retardor ea, tempo. A compositori e cantanti la Chiesa compositori romani come i fratelli Nanino e quam dixi angustia]. 1 Information from Bruno Turner. offriva grandi opportunità di produrre ed Anerio o lo spagnolo Tomás Luis de Victoria © 2012 Martyn Imrie eseguire musica per i rituali ecclesiastici. (col nome italiano di Tommaso Luigi da Il costo della stampa era diminuito La Cappella Sistina, costruita nel tardo Vittoria), fecero propri i nuovi dettami, considerevolmente dai tempi della XV secolo da Sisto IV (1471-84), ospitava componendo una gran quantità di musica, pubblicazione del primo volume a cittadina di Palestrina si trova ai il Coro Papale, e la grande Basilica di S. che sgorgava in sontuosi volumi dalle conosciuto di musica polifonica, stampato Lmargini delle colline situate a una Pietro, iniziata nel 1506, fu completata in tipografie di Roma e Venezia. a Venezia nel 1501 (Harmonice Musices trentina di chilometri ad est di Roma. In gran parte nel corso della vita di Palestrina. Odhecaton di Ottaviano Petrucci) e dai tempi recenti può vantarsi d’aver ospitato Le attività musicali di queste, insieme ad Cristóbal de Morales, uno spagnolo che tempi di Morales, ma era pur sempre molto il geniale compositore Adrian Leverkühn altre instituzioni religiose romane, erano aveva cantato per dieci anni alla Cappella alto e qualche forma di mecenatismo era nel famoso romanzo Doktor Faustus inizialmente dominate da compositori Sistina, pubblicò due volumi di messe nel indispensabile e alacremente ricercata, di Thomas Mann; ma è certamente più e cantanti per lo più franco-fiamminghi 1544, in italiano e spagnolo, e li promosse costringendo i compositori a raggiungere nota per aver dato i natali nel 1525 ad e spagnoli, ma nel tardo XVI secolo, in e distribuì personalmente, creando un accordi preliminari o ad includere nei un altro compositore, Giovanni Pierluigi particolare quando, dopo il Concilio di precedente e una nuova strategia seguita nuovi volumi pubblicati enfatiche dediche da Palestrina, il quale detenne nel corso Trento (1545-63), la Controriforma era più tardi da Vittoria. La larga distribuzione a qualche potente nella speranza di della sua vita i più prestigiosi ruoli musicali in pieno svolgimento, questi vennero delle versioni stampate della musica di contributi successivi. della Chiesa Cattolica Romana, e che alla soppiantati da italiani, tra i quali Palestrina questi autori consentì loro di conseguire sua morte, nel 1594, era considerato il più ebbe un ruolo dominante. fama internazionale, rendendoli i più Palestrina in ogni caso non aveva grandi grande compositore dell’epoca. celebri tra i compositori spagnoli del XVI motivi per lamentarsi. Forse non era La revisione dei testi liturgici risultante secolo e oltre. Palestrina e altri compositori abbastanza astuto nella promozione del Palestrina, nome col quale divenne dal Concilio di Trento creò la necessità di compresero i vantaggi di questo metodo, suo lavoro o nella ricerca di mecenati, o conosciuto, era dotato di grande talento riscrivere gran parte del repertorio, nello seppure il successo non fu facile da più probabilmente era troppo impegnato, e, inevitabilmente, andò in cerca di stile corrente e in un modo più trasparente ottenere. Nella prefazione al suo unico essendo un uomo d’affari, sposato e con opportunità per la sua carriera a Roma e con maggior enfasi sul testo; benché volume pubblicato, le Lamentazioni famiglia, oltre ad essere molto attivo sia dove, all’inizio del XVI secolo, la Chiesa fosse rimasta nell’uso la scrittura per 4, 5 del 1588, Palestrina si rammarica come compositore che come esecutore. aveva acquisito grande ricchezza, prestigio o anche 6 voci, i compositori iniziarono a d’aver composto molto ma aver potuto Nonostante tutto Palestrina riuscì a e potere politico. Questo rendeva possibile strutturare i molti testi canonici secondo pubblicare solo una minima parte della sua finanziare un gran numero di pubblicazioni, 12 13 23 senza contare le numerose ristampe, tra Appare evidente che Palestrina stesse delle composizioni di Palestrina è arrivato musici celeberrimi, Missae quatuor octonis il 1554 e il 1594, anno della sua morte. Le pubblicando la sua musica in modo fino a noi, principalmente in edizioni del vocibus concinende, Nunc primum in lucem versioni dei testi del Cantico dei Cantici, sistematico, genere per genere, a XVI e inizio del XVII secolo. editae. (Di Pierluigi Palestrina, celeberrimo libro IV dei suoi mottetti pubblicato nel cominciare dalle composizioni più musicista, quattro messe per otto voci, qui 1583-84, furono ristampate quattro volte commerciabili, ma morì il 2 febbraio 1594, Questo CD presenta una selezione tratta per la prima volta portate alla luce). Queste prima del 1594 e sette prima del 1613; gli lasciando gran parte della sua opera in dalle versioni che Palestrina produsse sui quattro messe sono gli unici esempi, tra altri quattro volumi dei mottetti ebbero manoscritto. Come per Orlandus Lassus il testi delle vaste liturgie per l’Avvento e per le 114 scritte da Palestrina, nelle quali egli quindici ristampe, mentre i sei libri di compito di completare la pubblicazione Natale. Due dei suoi mottetti natalizi, Hodie compone per cori antifonali. Messe ne ebbero sette. delle opere ricadde sulla famiglia, nel caso Christus natus est e O magnum mysterium, di Palestrina se ne occupò il figlio Iginio furono da lui usati come modello per Hodie Christus natus est si trova in libri Palestrina si sposò una seconda volta Pierluigi, che pubblicò quanto potè fino la composizione di messe. Entrambi i di cantici come “Magnificat Antiphon”, all’inizio del 1581. Dopo la morte della alla sua morte nel 1610. Sette libri di messe mottetti e le messe da loro ispirate sono al vespro secondo del giorno di Natale. prima moglie, Lucrezia Gori, nel 1580, egli (il settimo sottoscritto da Papa Clemente inconsueti in quanto si aprono con accordi Palestrina tuttavia non fa chiaro riferimento aveva fatto richiesta a Papa Gregorio XIII VIII) ed alcune ristampe appartengono invece dei contrappunti imitativi che alla salmodia nel suo mottetto. In accordo di esssere ordinato sacerdote, ma per a questo periodo, dopo di che nulla di Palestrina solitamente usa altrove, e sono con il testo gioioso il mottetto risuona con febbraio 1581 aveva cambiato idea e alla nuovo compare. Svariati doppi e tripli vivacizzati dai significativi contrasti ritmici brillanti armonie in maggiore, con molti fine di marzo sposòV irginia Dormoli, la cori, insieme ad altra musica, incluse una tra tempo binario e ternario. Missa Hodie accordi sulla tonica e un marcato profilo vedova di Giuliano Guerrazzi, mercante ventina di messe, languivano al Vaticano, Christus natus est fu uno dei pochi brani tonale per le parti del basso (con intervalli papale di pelle e pellicce, morto nel 1576 e altri manoscritti romani restavano per doppio coro che venne pubblicato, di 4a e 5a). alla giovane età di trentasei anni. La nuova inediti. Iginio probabilmente non riuscì ma solo dopo la morte dell’autore, nel moglie ereditò l’attività di commercio ad ottenere risorse finanziarie e supporto 1601. L’unica altra copia esistente della Nel mottetto queste idee sono appena del marito. Senza dubbio questa doveva pari a Ferdinando e Orlando de Lassus, Messa è in un manoscritto del XVII secolo abbozzate, ma nella sua Missa Hodie generare un buon profitto, tanto che per il che dieci anni dopo la morte del padre ne al Vaticano, probabilmente copiato Christus natus Palestrina dimostra cosa si 1582 Palestrina non solo comprò dei terreni pubblicarono la gigantesca Magnum Opus dalla versione pubblicata. La data della può ottenere da tale semplice materiale nella sua città natale, probabilmente in Musicum (Monaco, Nicolai Henricus, 1604, composizione non è conosciuta, ma deve quando impiegato su una più larga scala, i vista di ritirarvisi in vecchiaia, ma nel 1586 dedicata a Massimiliano I, Principe Elettore essere successiva a quella del mottetto sul contrasti sonori e ritmici tra gli alti e i bassi fu anche in grado di formare una società. di Baviera), un compendio di 516 mottetti quale è modellata (pubblicata a Venezia nel coro vengono qui magistralmente Pare che a questo punto Palestrina si fosse e antifone, alcuni inediti, in versioni da nel Mottetorum ... liber tertius nel 1575). impiegati. Varie porzioni sono trasferite assicurato una confortevole situazione due a dodici voci, in volumi a sei parti. Il frontespizio della versione stampata direttamente: Kyrie, ad esempio, ristabilisce economica per il resto della sua vita. Ciononostante un numero prodigioso del 1601 riporta: Io. Petraloysii Praenestini, gli accordi d’apertura del mottetto, ma qui 14 15 la musica del primo ritornello di Noe, noe La collezione si apre con i consueti inni pubblicata nell’ Antiphonale Monasticum. indicati in modo inconsistente. In ogni giunge dopo la ripetizione del passaggio vespertini per il periodo natalizio, Conditor Editori ed esecutori possono spesso, anche caso esistono indicazioni che suggeriscono d’accordi nel coro dei bassi. Palestrina alme siderum (Avvento) e Christe Redemptor se non sempre, riuscire a comprendere ed che cantanti, nel XVI secolo e sicuramente chiude Kyrie, Gloria, Credo e Sanctus con il omnium (Natività). Palestrina include estrapolare direttamente dalla polifonia più tardi, possano aver aggiunto accidenti rapido tempo ternario della conclusione del poi l’inno per le lodi della natività A solis ciò che il compositore intendeva in alle cadenze e altrove, nella consuetudine mottetto. Le quarte e quinte discendenti ortu(s) cardine, nel quale inserisce versi da origine. Anche Vittoria utilizzò la stessa caratteristica dell’esecuzione polifonica. che compaiono nel mottetto a laetantur Christe Redemptor omnium; una scelta edizione romana, convenientemente Ci sono dei diesis nelle versioni stampate Angeli sono evidenti qui in Kyrie II, nel inconsueta per il rito Cattolico Romano pubblicata nella sua interezza nel suo di libri di canti del XVI secolo, ad esempio vivos et mortuos in Credo e a in nomine in che solitamente utilizzava solo la polifonia Hymni del 1518, a conferma della tecnica quelli aggiunti ad alcuni dei Salmi nelle Benedictus. Lo stesso vale per la figura a scala per gli inni vespertini. Palestrina parafrasa utilizzata da Palestrina. Christe Redemptor Breve Instrucción de canto llano di Villafranca, discendente a Et exultant che qui si ritrova ed abbellisce il canto in tutte le voci, omnium conserva, per Ognissanti, (Siviglia 1565 Nota1 ) mentre dopo il utilizzata a Qui tollis. Sanctus è inconsueto spesso citando letteralmente delle frasi, impiega esattamente la stessa melodia. 1600 ci fu una tendenza ad aggiungere in quanto contiene un’alternanza di tempo combinandole con contrappunti di sua Fortunatamente ancora sopravvivono più accidenti influenzati dalle variazioni binario e ternario al primo Osanna, e più invenzione. Ad esempio varia la sonorità con collezioni di inni dell’epoca, come armoniche del sistema tonale moderno avanti dopo Benedictus. un brillante verso 3 (Memento salutis...) per quelli del 1550 circa della Cappella (maggiore/minore). due soprani, contralto e tenore, tornando Giulia, e occasionalmente possiamo fare Nel 1589 Palestrina pubblicò contempo- poi a soprano, contralto, tenore e basso per riferimento a versioni di altri compositori, Laddove Palestrina cita la terza frase del raneamente a Roma (come libro corale) e a il verso successivo, ed aumentando a sei per accertarci che la corretta melodia del canto: Venezia (come collezione di parti) una serie voci, due soprani, contralto, due tenori e un canto venga accoppiata alla polifonia. di inni a 4, 5 e 6 voci per l’anno ecclesias- basso, per un ricco e maestoso Gloria tibi tico. Questi furono ristampati dopo breve Domine ... saecula. Un’altra considerazione per gli esecutori e a Venezia, nel 1590, e poi a Roma nel 1625 direttori d’orchestra che oggi si cimentano con una parte per basso continuo, e infine In tempi recenti gli inni hanno perso nel repertorio di inni è la questione c’è da chiedersi se i cantanti dell’epoca ad Anversa nel 1644. Inni polifonici in alter- popolarità, spesso per la mancanza di dell’aggiunta di diesis e bemolle nella avrebbero eseguito in questo modo natim di questo genere erano pratica con- canti adeguati ai versi in alternatim, dove polifonia e, ancor più controversa, nel la melodia. Che questi accidenti (in sueta del repertorio del tempo, in chiese compositori hanno parafrasato versioni canto. Ai tempi di Palestrina i canti particolare il naturale/diesis - bequadro/ d’ogni dimensione e importanza; di con- che sono cadute in disuso e scomparse venivano solitamente scritti e stampati diesis sulla quinta nota) siano anche seguenza la richiesta di nuove versioni che da moderni corali come il Liber Usualis. La senza accidenti, ad eccezione dei bemolle adottati da Vittoria, Navarro, G. Nanino, F. rispecchiassero i testi riformati dal Concilio melodia qui impiegata da Palestrina si (o naturali-bequadri per prevenire Anerio, e altri nella loro polifonia rinforza di Trento era grande. differenzia dalla sua versione moderna l’aggiunta di bemolle) che però erano questa convinzione. 16 17 Magnificat Quinti Toni versione distinta e originale. Una delle popolari, se si considera che ne vennero con la sezione B ripetuta in rapido tempo Il Magnificat octo tonum, una versione per 4 ragioni è l’abilità di Palestrina nel creare prodotte undici ristampe tra la loro prima ternario (Collaudantes Dominum) seguito da voci per versi pari e dispari, venne pubblicata memorabili spunti d’imitazione con un forte pubblicazione e il 1613. estesi Alleluia in tempo binario. L’apertura del a Venezia nel 1591. Questi furono gli unici carattere armonico e melodico. Tui sunt mottetto è particolarmente impressionante: I primi tre mottetti della serie sono qui Magnificat editi da Palestrina prima della sua caeli, il mottetto da Offertorio per la natività lenti e sostenuti accordi di semibrevi interpretati da The Sixteen: Osculetur me morte nel 1594, ma altri 19 o 20 in versioni e la circoncisione, si apre con un particolare per primo e secondo soprano e secondo osculo oris sui, Trahe me post te e Nigra da quattro ad otto voci sopravvivono in motivo, con la quarta discendente e la contralto sono rinforzati da singole note sum sed formosa. Si tratta di musica da manoscritti copiati ad uso dei Cori Vaticani. sesta ascendente che gli donano un profilo semibrevi per tenore (prima e terza battuta) e camera intima, presentata in uno stile Il Magnificat qui presentato appartiene ad memorabile, enfatizzato dalla piccola primo contralto con basso (seconda battuta) semplice, sempre per cinque voci, scevro una serie di 16 per 4-6 voci, da una versione coda in forma di scala aggiunta alla fine. prima che la cadenza dell’armonia accelleri d’ogni pretesa di complessità o virtuosismo. unica che proviene da un manoscritto Reges Tharsis è per l’Epifania. I sessantotto alle parole magnum misterium. Con due parti Palestrina qui si astiene dallo sfruttare le della Cappella Giulia del tardo XVI secolo. È offertori di Palestrina sono, con quelli di per soprano e due per contralto la miscela ovvie opportunità di esibizionismo, come per la combinazione di voci prediletta da Lassus, storicamente rilevanti in quanto fino di varietà e creatività vocale e ritmica del nel modo canonico per il secondo brano Palestrina: soprano, contralto, due tenori e alla loro pubblicazione una forma di canto compositore ha uno splendido effetto per (come invece fecero Vittoria o Guerrero nelle un basso, nonostante egli vari la sonorità piano o Gregoriano era generalmente usata l’intera durata del brano. Anche Vittoria creò loro versioni) o la musica ficta (con note dei versi, due soprani, contralto e tenore per in questo punto della messa. una nota versione, sebbene per quattro voci annerite per esprimere lamento e dolore) il verso 6, contralto tenore e due bassi per il e senza la seconda parte del testo, ma con un dell’apertura di Nigra sum di Vittoria, oppure I ventinove mottetti su versi dal Cantico dei Alleluia in chiusura con la combinazione di verso 10 e due soprani, contralto, due tenori lo splendore del doppio coro di Lassus nel Cantici sono, insieme alla sua collezione di e basso per il 12. L’ultimo verso ha un canon suo Osculetur me. Di fatto nella serie sono tempo binario e ternario. Altrettanto noto è madrigali, in qualche modo anomali nella cancrizans (o canon per recte et retro) nel presenti madrigalismi occasionali, quali il il Quem vidistis pastores che egli compose per produzione di Palestrina. Essi non sono quale le note cantate dal primo tenore sono movimento di crome di curremus nel brano sei voci, nuovamente con un tempo ternario liturgici, nonostante lo potrebbero essere e eseguite in ordine inverso dal secondo. secondo, ma Palestrina dimostra qui quale a Collaudentes Dominum. È interessante furono effettivamente cantati nel corso di varietà e intensità di sentimento può venire notare come queste parole esercitarono una I due volumi di mottetti dell’Offertorio che funzioni, la loro destinazione principale era espressa coi più semplici mezzi. forte attrazione su questi grandi compositori, Palestrina pubblicò l’anno precedente la l’uso personale di gente comune nel corso risultando in musica di grande finezza ma sua scomparsa contengono musica di una di attività di devozione pubbliche e private, Il mottetto a sei voci O magnum misterium, piuttosto distinta per entrambi. consistente raffinatezza, così come pure e la pratica di esercizi spirituali incoraggiati per la natività e circoncisione, pubblicato i 29 mottetti del Cantico dei Cantici datati da figure come San Filippo Neri e varie nel 1569 nella prima collezione di mottetti, 1 Informazione da Bruno Turner. 1583-84, che sottolineano l’ammirevole confraternite religiose. È lecito presumere è una delle ispirazioni più raffinate di © 2012 Martyn Imrie capacità di Palestrina nel rendere ogni che queste composizioni fossero molto Palestrina. Questo è nella forma di ABCB, Italian Translation © 2012 Roberto Battista 18 19 palestrina palestrina

Texts & Translations 4. Hic praesens testatur dies, 4. Thus the present day bears witness, Currens per anni circulum, rolling on through the cycle of the year, Quod solus a sede Patris That you alone, from the abode of the Father, 1 Hodie Christus natus est (Motet) Mundi salus adveneris. have come as the salvation of the world. Hodie Christus natus est: noe. Today was Christ born, noe. 5. Hunc caelum, terra, hunc mare, 5. Heaven, earth and sea, Hodie Salvator apparuit: noe. Today the Saviour appeared, noe. Hunc omne quod in eis est, and all that is in them Hodie in terra canunt Angeli, Today on earth the angels sing Auctorem adventus tui, praise him, the author of your coming, laetantur Archangeli: noe. and archangels rejoice, noe. Laudans exsultat cantico. exulting in song. Hodie exultant iusti, dicentes: Today the just exult saying: Gloria in excelsis Deo: noe. Glory be to God in the highest, noe. 6. Nos quoque qui sancto tuo, 6. We too who have been redeemed Redempti sanguine sumus, by your sacred blood, Ob diem natalis tui, celebrate the day of your birth 2 Christe Redemptor omnium Hymnum novum concinimus. with a new hymn. 1. Christe, redemptor omnium, 1. Christ, Redeemer of all, 7. Gloria tibi Domine, 7. Glory to you, O Lord, Ex Patre, Patris unice, From the Father, and the Father’s only son, Qui natus es de Virgine, you who were born of a virgin, Solus ante principium one, before the beginning, Cum Patre et Sancto Spiritu with the Father and the Holy Spirit, Natus inefabiliter. ineffably brought to birth. In sempiterna saecula. through endless ages. Amen. Amen. 2. Tu lumen, Tu splendor Patris, 2. You, the light, you the splendour of the Father, Tu spes perennis omnium, you, the perpetual hope of all, Intende quas fundunt preces Attend to the prayers which your servants Tui per orbem famuli. throughout the world pour forth. 3 Magnificat Quinti Toni 3. Memento salutis auctor, 3. Remember, author of salvation, Quod nostri quondam corporis how you once assumed the form of our body, Magnificat anima mea Dominum. My soul doth magnify the Lord. Ex illibata Virgine being born of the Et exultavit spiritus meus And my spirit hath rejoiced Nascendo formam sumpseris. unblemished Virgin. in Deo salutari meo. in God my Saviour.

20 21 palestrina palestrina

Quia respexit humilitatem ancillae suae: For He hath regarded the lowliness of His 4 Tui sunt caeli Ecce enim ex hoc handmaiden: for, behold, from henceforth beatam me dicent omnes generationes. all generations shall call me blessed. Tui sunt caeli et tua est terra: Thine are the heavens, and thine the earth, orbis terrarum the orb of lands; Quia fecit mihi magna, qui potens est: For He that is mighty hath done great things et plenitudinem eius tu fundasti: and the fullness thereof thou hast founded. et sanctum nomen eius. to me: and holy is His name. iustitia et iudicium Righteousness and justice Et misericordiae eius, a progenie in And His mercy is from generation praeparatio sedis tuae. are the basis of your throne. progenies: timentibus eum. unto generation, unto them that fear Him. Fecit potentiam in bracchio suo: He hath showed strength with His arm; 5 Reges Tharsis dispersit superbos, He hath scattered the proud mente cordis sui. in the imagination of their hearts. Reges Tharsis et insulae munera offerent: The kings of Tarsis and the island offer presents: reges Arabum et Saba dona adducent: the kings of Arabia and Saba bring gifts, Deposuit potentes de sede: He hath put down the mighty from their seat et adorabunt eum omnes reges terrae, and all the kings of the earth will worship him, et exaltavit humiles. and exalted the humble. omnes gentes servient ei. all the peoples will bow down before him. Esurientes implevit bonis: He hath filled the hungry with good things, et divites dimisit inanes. and the rich He hath sent empty away.

Suscepit Israel puerum suum: He hath received Israel, His servant, recordatus misericordiae suae. being mindful of His mercy. Missa HODIE CHRISTUS NATUS EST Sicut locutus est ad patres nostros: As He spoke to our forefathers, Abraham et semini eius in saecula. to Abraham and His seed for ever. 6 Kyrie Gloria Patri et Filio, Glory be to the Father, and to the Son, et Spiritui Sancto. and to the Holy Ghost. Kyrie eleison. Lord have mercy on us. Sicut erat in principio, et nunc, As it was in the beginning, is now Christe eleison. Christ have mercy on us. et semper, et in saecula saeculorum. and ever shall be, world without end. Kyrie eleison. Lord have mercy on us. Amen. Amen.

22 23 palestrina palestrina

7 Gloria 8 Credo Gloria in excelsis Deo. Glory be to God on high. Credo in unum Deum I believe in God Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. Patrem omnipotentem, the Father almighty, Laudamus te, benedicimus te, We praise Thee, we bless Thee, factorem caeli et terrae, Maker of heaven and earth, adoramus te, glorificamus te. we worship Thee, we glorify Thee. visibilium omnium et invisibilium. and of all things visible and invisible. Gratias agimus tibi We give thanks to Thee Et in unum Dominum, Iesum Christum, And in one Lord Jesus Christ, propter magnam gloriam tuam. for Thy great glory. Filium Dei unigenitum, the only begotten Son of God, Domine Deus, Rex caelestis, Lord God, heavenly King, et ex Patre natum ante omnia saecula. begotten of His Father before all worlds. Deus Pater omnipotens. God the Father almighty. Deum de Deo, lumen de lumine, God of God, Light of Light, Domine Fili unigenite, Iesu Christe. O Lord, the only-begotten Son, Jesus Christ. Deum verum de Deo vero, very God of very God, Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. genitum, non factum, begotten, not made, Qui tollis peccata mundi, Thou that takest away the sins of the world, consubstantialem Patri, being of one substance with the Father, miserere nobis. have mercy upon us. per quem omnia facta sunt. by Whom all things were made. Qui tollis peccata mundi, Thou that takest away the sins of the world, Qui, propter nos homines, Who for us men, suscipe deprecationem nostram. receive our prayer. et propter nostram salutem, and for our salvation, Qui sedes ad dexteram Patris, Thou that sittest at the right hand of the Father, descendit de caelis. came down from heaven. miserere nobis. have mercy upon us. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost Quoniam tu solus Sanctus, For Thou only art holy, ex Maria virgine, et homo factus est. of the Virgin Mary and was made man. tu solus Dominus, Thou only art the Lord, Crucifixus etiam pro nobis And was crucified also for us tu solus Altissimus Iesu Christe. Thou only art the most high, Jesus Christ. sub Pontio Pilato; under Pontius Pilate. Cum Sancto Spiritu With the Holy Spirit passus et sepultus est. He suffered and was buried. in gloria Dei Patris. Amen. in the glory of God the Father. Amen. Et resurrexit tertia die, And the third day He rose again secundum scripturas; according to the scriptures; et ascendit in caelum, and ascended into heaven, sedet ad dexteram Patris. and sitteth at the right hand of the Father. Et iterum venturus est cum gloria And He shall come again with glory

24 25 palestrina palestrina iudicare vivos et mortuos, to judge both the quick and the dead; bm Agnus Dei cuius regni non erit finis. Whose kingdom shall have no end. Et in Spiritum Sanctum And I believe in the Holy Ghost Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away Dominum et vivificantem, the Lord and giver of life, miserere nobis. the sins of the world: have mercy on us. qui ex Patre Filioque procedit; Who proceedeth from the Father and the Son; Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away qui cum Patre et Filio simul Who with the Father and the Son together dona nobis pacem. the sins of the world: grant us peace. adoratur et conglorificatur; is worshipped and glorified; qui locutus est per Prophetas. Who spake by the prophets. Et unam sanctam catholicam And I believe in one holy, Catholic et apostolicam ecclesiam. and Apostolic Church. Song of Songs • nos. 1 -3 Confiteor unum baptisma I acknowledge one Baptism in remissionem peccatorum. for the remission of sins. bn Osculetur me osculo oris sui Et expecto resurrectionem mortuorum And I look for the resurrection of the dead et vitam venturi saeculi. Amen. and the life of the world to come. Amen. Osculetur me osculo oris sui; Let him kiss me with the kiss of his mouth. quia meliora sunt ubera vino, For thy breasts are better than wine, fragrantia unguentis optimis. fragrant of the best ointments. 9 Sanctus Oleum effusum nomen tuum; Thy name is as oil poured out, ideo adolescentulae dilexerunt te. Therefore the young have loved thee. Sanctus, Sanctus, Sanctus Holy, Holy, Holy Dominus Deus Sabaoth. Lord God of hosts. Canticum Canticorum I, 1-2 Pleni sunt caeli et terra gloria tua. Heaven and earth are full of Thy glory. bo Osanna in excelsis. Hosanna in the highest. Trahe me post te Trahe me post te: Draw me along after thee: curremus in odorem unguentorum tuorum. we will run in the allure of thine ointments. bl Benedictus Introduxit me rex in cellaria sua. The king has brought me into his chambers. Exsultabimus et laetabimur in te, We will be glad and rejoice in thee, Benedictus qui venit Blessed is He that cometh memores uberum tuorum super vinum. remembering thy breasts more than wine. in nomine Domini. in the name of the Lord. Recti diligunt te. The righteous love thee. Osanna in excelsis. Hosanna in the highest. Canticum Canticorum I, 3 26 27 palestrina

Harry Christophers is known internationally as bp Nigra sum sed formosa founder and conductor of The Sixteen as well as a regular

guest conductor for many of the major symphony orchestras orggreve Nigra sum sed formosa, I am black but beautiful, and opera companies worldwide. He has directed The Sixteen filia Hierusalem, a daughter of Jerusalem, choir and orchestra throughout Europe, America and Asia sicut tabernacula Cedar, [black] as the tents of Kedar Pacific gaining a distinguished reputation for his work in sicut pelles Salomonis. and the curtains of Solomon. Renaissance, Baroque and 20th- and 21st -century music. In Nolite me considerare quod fusca sim, Do not think of me that I am dark, 2000 he instituted the Choral Pilgrimage, a national tour of quia decoloravit me sol. for the sun hath changed my colour. English cathedrals from York to Canterbury in music from B Marco Photograph: Filii matris meae pugnaverunt contra me; My mother’s sons have fought against me the pre-Reformation, as The Sixteen’s contribution to the posuerunt me custodem in vineis. and put me to mind the vineyards. millennium celebrations. The Pilgrimage in the UK is now central to The Sixteen’s annual artistic programme. Canticum Canticorum I, 4-5 In 2008 Harry Christophers was appointed Artistic Director bq O magnum mysterium (Motet) of Boston’s Handel and Haydn Society; he is also Principal Guest Conductor of the Granada Symphony Orchestra. As well as enjoying a very special partnership with the BBC O magnum mysterium O great mystery Philharmonic, with whom he won a Diapason d’Or, he is a regular guest conductor with et admirabile sacramentum, and wonderful sacrament, the Academy of St. Martin in the Fields. With The Sixteen he is an Associate Artist at The ut animalia viderent Dominum that the animals see the newborn Lord Bridgewater Hall in Manchester and features in the highly successful BBC television series, natum iacentem in praesepio. lying in the manger. Sacred Music, presented by Simon Russell Beale. Natum vidimus We have seen the newborn child Increasingly busy in opera, Harry has conducted numerous productions for Lisbon Opera et chorus angelorum collaudantes Dominum. and choirs of angels praising God. and English National Opera as well as conducting the UK premiere of Messager’s opera Alleluia. Alleluia! Fortunio for Grange Park Opera. He is a regular conductor at Buxton Opera where he Quem vidistis pastores? Whom have you seen, shepherds? initiated a very successful cycle of Handel’s operas and oratorios including Semele, Samson Dicite, annunciate nobis quis apparuit? Speak, tell us who has appeared? and Saul. Natum vidimus We have seen the newborn child et chorus angelorum collaudantes Dominum. and choirs of angels praising God. Harry Christophers is an Honorary Fellow of Magdalen College, Oxford, as well as the Alleluia. Alleluia! Royal Welsh College of Music and Drama and has been awarded the Honorary Degree of Doctor of Music from the University of Leicester. He was awarded a CBE in the 2012 Queen’s Birthday Honours.

28 29 Donors 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 This recording was made possible by the generous support of the following donors: early English polyphony, masterpieces of the Renaissance, Michael Barry Dr Jeremy Honeybun Peter Ryan Baroque and early Classical periods, and a diversity of Michael Joseph Beamer Clive Hope-Ross Tim & Damaris Sanderson 20th- and 21st-century music, all stems from the passions of conductor and founder, Harry Christophers. Siobhan Begley Rev Elisabeth Jordan Sue Sawyer Joost Van Berkel Michael Keays John Stone The Sixteen tours internationally giving regular performances at the major concert halls and Bart De Bruyne Zoe Kirkham Bill Sutton festivals. At home in the UK, The Sixteen are ‘The Voices of Classic FM’ as well as Associate Christopher De Sa Dr Stefan Larsson Sarah Taylor Artists of Bridgewater Hall, Manchester. The group also promotes the Choral Pilgrimage, an James Dickinson Sarah Mattacks George Turner annual tour of the UK’s finest cathedrals. Owen Dutton Brian Mckeever Lorna Watson The Sixteen’s period-instrument orchestra has taken part in acclaimed semi-staged Richard Gillin Peter S Naylor Jane Watts performances of Purcell’s Fairy Queen in Tel Aviv and London, a fully-staged production of Margaret Heanes Vicky Nguyen Joanne West Purcell’s King Arthur in Lisbon’s Belem Centre, and new productions of Monteverdi’s Il ritorno Ryan Hill Richard Rapple Kit Yeung d’Ulisse at Lisbon Opera House and The Coronation of Poppea at English National Opera. Over one hundred recordings reflect The Sixteen’s quality in a range of work spanning the music of five hundred years. In 2009 they won the coveted Classic FM Gramophone Artist of the Recording Producer: Mark Brown Year Award and the Baroque Vocal Award for Handel’s Coronation Anthems. The Sixteen also recording Engineer: Mike Hatch (Floating Earth) feature in the highly successful BBC television series, Sacred Music, presented by Simon Russell Recorded at: Church of St. Alban the Martyr, Holborn, London, February 2012 Beale. In 2011 the group launched a new training programme for young singers called Genesis Cover image: bell tower of St. Rosalia Church, Palestrina, Italy. Sixteen. Aimed at 18 to 23 year-olds, this is the UK’s first fully-funded choral programme for Photographer: Giorgio Borghesani young singers designed specifically to bridge the gap from student to professional practitioner. Design: Andrew Giles: [email protected] 2012 The Sixteen Productions Ltd. The Voices of soprano Julie Cooper, Grace Davidson, Sally Dunkley, Kirsty Hopkins, © 2012 The Sixteen Productions Ltd. Made in Great Britain Alexandra Kidgell, Charlotte Mobbs 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] alto Ian Aitkenhead, David Clegg, David Gould, Carolyn Trevor, Christopher Royall www.thesixteen.com tenor Simon Berridge, Jeremy Budd, Mark Dobell, Matthew Long Bass Ben Davies, Eamonn Dougan, Tim Jones, Rob Macdonald Also available as a studio master quality download at www.thesixteendigital.com