CORO Giovanni Pierluigi da Palestrina · Vol.1 CORO

“The approach of Harry Christophers is distinctive and palestrina Giovanni revelatory, and he has surrounded the by a well- chosen array of motets in praise of the Virgin Mary.” BBC Music Magazine cor16091

Giovanni Pierluigi da Palestrina · Vol.2 ierluigi da P ierluigi “An effortlessly radiant recording.” BBC Radio 3, CD Review cor16105 The Earth Resounds “The disc opens with the most rousing account I have heard of his well-known ten-voice Easter motet, Aurora lucis rutilat, which almost had me out of my chair with excitement...This is a thrilling disc.”

International Record Review cor16097

Scarlatti: Iste Confessor “Outstanding...astonishing stylistic and expressive range.” BBC Music Magazine cor16003 Giovanni Pierluigi Giovanni da palestrina The Sixteen volume To find out more about The Sixteen, concert tours, and to buy CDs visit cor16106 www.thesixteen.com Harry Christophers 3 Giovanni Pierluigi da volume wrote 104 masses! But what we will do is present each volume based around palestrina 3 a single mass and theme relevant to that mass, in this case Easter, 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 sensual and erotic to be read. It was originally Hebrew love poetry, written centuries have studied and learnt down possibly 300 years or so before the birth of Christ, but these are texts from his gift for writing exquisite which in 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 Borggreve 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 final session of the Council of Trent, into the line of the music. However it is this perfect craftsmanship that can there were many discussions about sometimes make Palestrina’s music sound all too perfect and occasionally the use of polyphony and whether or academic. We have attempted to achieve real ebb and flow in his music, not not it should be banned. In 1607, the clipping the ends of phrases but allowing the music to breathe, to convey the composer Agostino Agazzari wrote real 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 of in use because of the confusion and Babel of the words.” And he went on to say Songs motets. Our aim has been to be sensitive to this wonderful poetry and that this music would have come very near to being banished from the holy inject an energy and beauty to our performances that I hope goes some way to church by a sovereign pontiff had not Giovanni Palestrina found the remedy. honour Palestrina as “the celebrated light of music”.

Over the next few years, we are going to undertake a series honouring his 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 t is perhaps surprising that Ottorino vocal lines matching the spaciousness palestrina (1525-1594) 3 IRespighi did not compose a symphonic of the buildings they were sung in. poem celebrating the churches of However, by the 1530s, Henry VIII’s , to accompany the Trittico marital and political problems and his 1 Botticelliano and the pieces depicting bitter dispute with the , resulted in Stabat Mater a8 8.30 Rome’s fountains, pines, and festivals. the end of monastic life in England and 2 Ad caenam agni providi (Hymn) 7.39 For there are as many as nine hundred Wales and the destruction of numerous Song of Songs: nos. 4-6 churches in Rome today, commonly of churches, abbeys and priories: the hopes ancient foundation, repaired and rebuilt, and dreams of many musicians, born 3 Vineam meam non custodivi 3.12 expanded and improved through the and yet to be born, were to lie in ruins, 4 Si ignoras te, O pulchra inter mulieres 3.44 centuries. Symbolic of the continuing as did the buildings, the lead torn from 5 Pulchrae sunt genae tuae 3.47 richness and power of the Roman Church, their roofs and sold, ivy festooned over 6 Regina caeli a8 3.54 several of them are among the greatest their walls, their riches dipersed, the architectural and artistic masterpieces of power of the Church dissipated. Three Offertories for the the Renaissance. Easter period In contrast, Giovanni Pierluigi da 7 Improperium exspectavit cor meum 3.47 Everywhere throughout Europe in late Palestrina (1525-1594) was blessed 8 Confitebor tibi Domine 2.15 mediaeval times, churches and other to live at a time of revitalisation and ecclesiastical buildings had sprung up, regrowth in the Roman . 9 Terra tremuit 2.13 erected as symbols of Christianity, to His life coincides with the rise of a Missa Regina caeli the glory of God, arousing the people cultured middle-class eager for spiritual bl Kyrie 4.53 to greater devotion. Early in the 16th and artistic enlightenment; with rapid bm Gloria 5.13 century in England, with the accession technological advances in the printing of bn Credo 9.11 of a new king, young and ambitious, music; with the mid-century reaffirmation church music gained new optimism. and centralisation of Catholic dogma bo Sanctus 3.05 Composers such as Fayrfax, Ludford, under the Counter Reformation and the bp Benedictus 2.20 Taverner and Aston, continuing the Council of Trent and the consequent bq Agnus Dei I, II & iii 6.39 glories of the Eton Choirbook, produced increase in opportunity for musicians in Total running time 70.30 magnificent works, with long, arched the Church. The ambitious building and 4 5 refurbishment program begun by Pope In 1555 Palestrina, despite being married, 500th anniversary of the completion of intrusion, detrimental to the traditional Sixtus IV in the late 15th century with was appointed to the Papal Choir. It sang Michelangelo’s awe-inspiring frescoes Gregorian melodies and detracting from the restoration and decoration of what in the magnificent surroundings of the of scenes from the Old Testament in the the solemnity and prayerfulness of the was to be known as the , Sistine Chapel, now decorated by the Sistine Chapel, the Vatican stands accused Liturgy. So it was one of the decisions the home of the Papal Choir, and the inspired frescoes of Michelangelo, who of allowing the destruction of religious of the Council of Trent (1545-1563) that construction of the greatest church in had laboured at them from 1508 to 1512. and spiritual meaning there in pursuit of they be cut down in number, to four Christendom, St Peter’s Basilica, provided However, Pope Julius, who had appointed Mammon. One wonders what Palestrina only, retaining those for Easter, Victimae inspiring surroundings for Palestrina him, died and Palestrina was ejected from would have thought of the thousands Paschali; for Pentecost, Veni Sancte and his contemporaries in their work the choir by the succeeding Pope for who pay their pennies every day to be Spiritus; for Corpus Christi, Lauda Sion; and worship. St John Lateran, the official being married. He then took up the post of hurried through a chapel where his music and as part of the Missa pro defunctis, ecclesiastical seat of the Pope as the maestro at St John Lateran until 1561 when once resounded in praise of God? Dies irae. Today’s Liber Usualis however Bishop of Rome, was also extensively he left for a similar position at St Maria includes five Sequences, as Stabat Mater restored around this time. Maggiore, where he remained for some Stabat Mater was reinstated in 1727. In Palestrina’s years. In 1565 Palestrina was appointed The early origins of monophonic later years, therefore, the Stabat Mater After an early sojourn as organist, later Papal Composer, with responsibility for Sequences are obscure, but it does text, and music for it, was restricted to choirmaster, in the church of St Agapito provision of music to be sung by the seem that they were composed initially extra-liturgical use, although composers in the town of Palestrina from 1544 until Papal Choir in the Sistine Chapel, thus as extensions (tropes) to melismas in of note continued making polyphonic 1550, Palestrina was appointed maestro of renewing his close relationship with that parts of the Mass Ordinary. Later they settings. The words are thought to be the Cappella Giulia by Pope Julius II. The magnificent building. became separate free compositions, by the Franciscan Jacopone da Todi Cappella Giulia sang in St Peter’s, except the texts generally set on the principle (c.1228-1306) and the Stabat Mater for certain occasions when their role was It seems improbable that Palestrina could of one syllable per note, and often was widely circulated, often amongst taken over by the Papal Choir. Palestrina not have been inspired by the great rhyming stanzas were employed. similar texts, in Books of Hours. Davy, served there from 1551 until 1554, then buildings he worshipped and worked in Their use was widespread throughout Browne, Cornysh and Fayfax (from from 1571 until his death. Construction of every day of his life. St Peter’s, St Maria Catholic Christendom by the 12th or the Eton Choirbook), Josquin Desprez, St Peter’s was begun in 1506, continuing Maggiore, St John Lateran and the 13th centuries. By the 16th century Weerbecke, Escobar, Peñalosa, Lassus, during Palestrina’s employment there. Sistine Chapel, with their awe inspiring there may have been as many as 4,000 Palestrina, Giovanni Nanino, Felice It was not in fact completed and grandeur and beauty, all continue to or more in circulation. By Palestrina’s Anerio (although his 12-voice setting consecrated until 1626 when the gigantic attract thousands of pilgrims (and time, however, the Church had begun may be by Palestrina) and Padilla, to dome was finally finished. indeed tourists) today. This year, on the to regard them as somewhat of an mention but a few, wrote music for 6 7 some or all the verses. Indeed these Verses 9-10 the words: O quam tristis et afflicta; Nati the first five notes of the Hymn chant words have inspired 600 or more musical (Eia Mater…complaceam): poenas inclyti; Dum emisit spiritum; Sancta which Palestrina uses is the same as the settings up to our own time. here the narrator cannot stand back Mater istud agas; Donec ego vixero; Fac opening notes of Regina caeli. any longer; he is overcome and seeks ut portem Christi mortem; and Paradisi The eight-voice Stabat Mater by Palestrina resolution by a fervent appeal to the gloria. His use of momentary silence to Vineam meam non custodivi, Si ignoras is masterly in its eloquent depiction Holy Mother to share in her suffering. heighten the impact of several of these te, O pulchra inter mulieres and Pulchrae of this unremittingly harrowing text. is masterly. The music proceeds in stately sunt genae tuae

Composed, it is thought, around 1590 Verses 11-20 duple time for the prima pars, but shifts It is likely that Palestrina’s 29 motets on during the Papacy of Gregory XIV, it was (Sancta Mater…paradisi gloria): into triple when the mood becomes more texts from The Song of Songs, dedicated sung exclusively by the Papal Choir, at the now there are ever more subjective subjective at Eia Mater… complaceam… to Pope Gregory XIII, were the most Offertory in St Peter’s during HolyW eek, and extravagant appeals to be totally The extended and more formal prayer to popular of his works in his lifetime and in at a temporary break in the progress of immersed in the pain, to feel the the Holy Mother in duple time concluding the years immediately after his death, for the Mass. Like Allegri’s Miserere, it was wounds and the anguish of both the piece is scored by Palestrina with they were reprinted no less than 11 times jealously guarded by the Choir: the Mother and Son, only to be finally more variety in voice combinations between their first publication in 1583/84, only contemporary source is a Vatican redeemed in the eternal peace of between the full-choir sections. and 1613. All of them are for five voices, manuscript dating from c.1590; the other Paradise. usually with a second tenor, (although nine extant sources are much later, either The Hymn Ad caenam agni providi is some have a second soprano instead). 18th or 19th century, all Italian in origin. Palestrina’s setting is for eight voices in for use on Sundays during the Easter They are not motets for the Liturgy, nor two choirs, although for most of the time period. For four voices, written in the some type of semi-erotic madrigal – they The text, in 20 verses, with three lines each, only four voices are singing. His musical standard style of the period, alternating are simply Latin motets suitable for the falls naturally into three main sections: technique subsumes itself here to the chant with polyphony, Palestrina quotes sort of devotional gatherings, public or syllabic rhyming text and verse structure. and paraphrases the chant in each of domestic, encouraged, for example, by Verses 1-8 The essentially homophonic character of the voices, combining them in elegant St Philip Neri, who had been working in (Stabat Mater…emisit spiritum): the music and the antiphonal exchanges imitative textures, paying appropriate Rome since 1564, reviving and promoting an objective description, perhaps between the two choirs permit total attention to the text and its natural various sorts of spiritual exercises amongst from some distance away, of the scene clarity of the text. This allows Palestrina accentuation. The final polyphonic verse the laiety. That these motets were so at the foot of the Cross; and of Mary to point up important psychological is given more impact by the addition of a successful (aside from their high musical weeping for her crucified son; and of moments, erecting structural pillars with fifth voice, a tenor, a procedure common quality) was thanks in no small part to the her thoughts. use of the full double-choir sonority, at in Hymn settings of the time. Interestingly great improvements in printing during the 8 9 16th century, which had reduced prices to choirs (SATB + SATB), extant only in a Written in his mature style, they are Missa Regina caeli a level accessible to the general man-in- Capella Giulia manuscript. This is a consistently fine, despite their limited The Masses of Palestrina demonstrate the-street. collection of antiphons, motets and canvas. Confitebor tibi Domine is for clearly why he was regarded by his litanies, mainly by Palestrina, but also Passion Sunday, Terra tremuit for peers as the foremost composer of his The four Marian Antiphons – Salve Regina, by his contemporaries, Crivelli, Zoilo, Resurrection Sunday. They are both time, and they remain the basis of his Alma Redemptoris Mater, Ave Regina Giovanelli, Lassus, Victoria, F. Anerio and for five voices with a second tenor, modern reputation. 46 were printed caelorum and Regina caeli – were much G. M. Nanino. The manuscript was copied Palestrina’s favourite combination; in seven books by the end of 1594, the used in services throughout the Church by various scribes and gathered together Improperium exspectavit cor meum (for year of his death, and another 33 by Year during the Renaissance, certainly late in the 16th century. Palm Sunday) however is coloured with 1601. No less than 104, possibly more, in in chant and in polyphonic settings too a second soprano rather than a tenor, total have survived into modern times when sufficient singers were available and Typically for Palestrina when writing for despite the bleak text. in these prints but also in the many the rank of a Feast required it. Composers eight or more voices, the Prima pars has mainly Roman manuscripts now in the were actively encouraged, especially long sections for each of the two choirs In these compositions, Palestrina’s Biblioteca Apostolica Vaticana. They after the Council of Trent in the 1560s, to on their own; and the Secunda pars only artistry is at its greatest: consistently must have been popular and widely compose polyphony for these important becomes true double-choir music in the inventive with his themes, each entirely used: copies of the various prints have texts, generally paraphrasing their chants. later bars. In these respects Palestrina’s individual. For example, Terra tremuit survived in many Italian libraries, as well Many musicians made more than one multi-choir music is generally conceived begins with a memorable imitative as in Germany, Spain, Portugal and other setting of each, with a variety of vocal rather differently from that of his phrase outlined by a falling, then a parts of Europe. combinations to suit different occasions. contemporaries, the Anerios, or Victoria, rising fifth, followed by a rising minor Often too these were used by the same for example, where full eight-voiced sixth. But Palestrina always ensures There are examples of Masses in all the or other composers as source material textures, antiphonal between the choirs that the melodic lines continue by standard techniques of the 16th century: for parody Masses; however Palestrina’s or not, are the norm. returning within the interval of the leap. parody, paraphrase, free-composition, three Regina caeli settings (two for eight Coupling this with a great sensitivity to canon, and even old-fashioned cantus voices and one for four) only relate to his Confitebor tibi Domine, Terra tremuit and the natural accentuation and meaning firmus (the two on the famous L’homme two Regina caeli Masses in that they all Improperium exspectavit cor meum of the text, Palestrina’s lines always have armé tune, for example). Seven of the paraphrase the well-known Easter chant. The 68 Offertories, published in two elegance and poise, from the lowest Masses paraphrase Hymn melodies and books in 1593, are significant in voice to the highest, making them a seven more the major Marian Antiphons. Palestrina’s setting of Regina caeli Palestrina’s life’s work, deserving more pleasure to experience as a singer or as Regina caeli is used twice – one four- recorded here is one of two for two attention from performers and listeners. a listener, in religious service or concert. voice Mass was published in Book One of 10 11 1554; the other in five, (recorded here), in difficulties (in maximis difficultatibus ...) of the magnificent churches of Rome perfunctus laboribus honesto in Book 11 of 1600. but still he has not neglected the study of where he spent his life and was inspired otio conquierescem, animumque music. At 63 years of age, was Palestrina to write much of his music. ad divinam, ... , contemplationem Missa Regina caeli is written for five voices feeling his age? No longer content, was traducerem ....” with a second tenor. Melodic references he now thinking of retirement, or at least 1 “Volui, ut defessus, commentandi to the chant are obvious everywhere: for an easier position, in some provincial finem iam facerem, et aliquando © 2012 Martyn Imrie example, Kyrie opens with an imitative town, for his declining years? He had point quoting the familiar opening few already bought a plot of land in his native notes, as do Credo and Sanctus; Christe town, Palestrina, in 1582, and indeed quotes the melody at Quia quem meruisti. in 1593, now nearly 70 years of age, he uò apparire sorprendente che Ottorino devozione nel popolo. All’inizio del XVI And so Palestrina continues, mingling sought to become maestro di capella PRespighi non abbia composto un secolo in Inghilterra, con l’ascesa al trono parts of the chant with his own extensions in the Cathedral of San Agapito there. poema sinfonico a celebrazione delle di un nuovo re, giovane e ambizioso, to it and his free-composed counterpoints. Palestrina may well have shared the chiese di Roma, assieme al Trittico la musica sacra acquistò un nuovo Not unusually for Palestrina, there are two sentiments of Victoria, who had retired Botticelliano e le composizioni ritraenti ottimismo. Compositori come Fayrfax, Osannas in contrasting rhythms. The third to Spain to a less demanding, quieter le fontane, i pini e le feste di Roma, ancor Ludford, Taverner e Aston produssero Agnus Dei is for six voices: Palestrina adds position (not yet 40 years of age) in più se si pensa che Roma conta più di lavori magnifici nella tradizione dell’Eton another alto part, as the dux in canon 1587. Thus Victoria in the preface to his novecento chiese, comunemente di Choirbook, con lunghe, arcuate linee with the second tenor, the theme based Missarum libri duo printed in Rome in antica fondazione, riparate e ricostruite, vocali che volevano eguagliare l’ampiezza on the chant at Resurrexit... 1583: “I have wished in my weariness that ingrandite e migliorate nel corso dei degli edifici nei quali venivano cantate. now I might make an end and take rest from secoli. Diverse di queste sono annoverate Tuttavia i problemi coniugali e politici In 1588 Palestrina published a set of my long labours in honourable retirement, tra i più grandi capolavori artistici e di Enrico VIII, e la sua amara diatriba col Lamentations for four voices, dedicated and give over my soul to contemplation of architettonici del Rinascimento, simbolo Papa, portarono, intorno al 1530, alla to the Pope, Sixtus V. In the dedicatory the Divine1...”. However Victoria was to go del perdurare del potere e della ricchezza fine della vita monastica in Inghilterra e preface Palestrina seems in an elegiac or on composing and publishing until 1605, della Chiesa Cattolica Romana. nel Galles, e alla distruzione di numerose discontented state of mind. He complains apparently content with his lot. Palestrina chiese, abbazie e priorati; le speranze e i that he has composed much music, and was not to be so lucky, for he died in Nel tardo Medioevo sorsero in tutta sogni di molti musicisti, nati o ancor da published some, yet he has had to hold Rome in February, 1594. He lies buried in l’Europa chiese ed altri edifici ecclesiastici, nascere, caddero in rovina, come accadde back so much more for lack of money. He a crypt in the great Basilica of St Peter’s eretti a simbolo del Cristianesimo, per la agli edifici, col piombo strappato dai tetti notes too being beset by the greatest of with other members of his family, in one gloria di Dio, volti a risvegliare maggior e venduto, con i muri ricoperti d’edera, 12 13 le loro ricchezze disperse, il potere della come Vescovo di Roma, fu restaurata in maestro a San Giovanni Laterano, dove che oggi devono pagare per essere Chiesa dissipato. quegli anni. rimase fino al 1561 per poi passare ad affrettatamente condotte nella cappella occupare un ruolo simile in Santa Maria dove la sua musica risuonava per la gloria Al contrario, Giovanni Pierluigi da Dopo un periodo iniziale come organista, Maggiore, dove rimase per alcuni anni. Nel di Dio. Palestrina (1525-1594) ebbe la fortuna e poi maestro di coro, nella chiesa di 1565 Palestrina fu nominato compositore di vivere in un tempo di rivitalizzazione Sant’Agapito nella città di Palestrina, dal papale, con la responsabilità di comporre Stabat Mater e crescita della Chiesa Cattolica Romana. 1544 al 1550, Palestrina fu impiegato come musica da essere cantata dal coro papale Le origini delle sequenze monofoniche La sua vita coincise con l’ascesa di maestro della Cappella Giulia da Papa nella Cappella Sistina, rinnovando così il sono oscure, ma pare che esse venissero una classe media colta e desiderosa Giulio II. La Cappella Giulia cantava in San suo sodalizio con quel magnifico edificio. inizialmente composte come estensioni d’illuminazione spirituale e artistica, Pietro, ad eccezione di alcune occasioni (tropi) a melismi in parti della messa con il rapido sviluppo di tecnologie di nelle quali il suo posto veniva preso I grandiosi edifici nei quali Palestrina ordinaria. Più tardi queste divennero stampa della musica, e con la riconferma dal coro papale. Palestrina vi rimase dal lavorava e pregava ogni giorno della composizioni autonome, con testi e centralizzazione del dogma cattolico 1551 al 1554, e poi dal 1571 fino alla sua sua vita non possono non averlo ispirato. generalmente sviluppati intorno al nel contesto della Controriforma e del morte. La costruzione di San Pietro ebbe San Pietro, , San principio di una sillaba per nota, con il Concilio di Trento a metà del secolo, con inizio nel 1506, e continuò nel corso della Giovanni Laterano, la Cappella Sistina frequente impiego di strofe in rima. L’uso il conseguente aumento di opportunità permanenza di Palestrina. Non fu di fatto continuano tuttora ad attrarre migliaia di di queste era diffuso nel mondo cristiano per compositori di musica sacra. terminata e consacrata fino al 1626, col pellegrini e turisti con la loro maestosa e nel XII e XIII secolo, e per il XVI è probabile L’ambizioso programma di costruzione completamento della gigantesca cupola. impressionante bellezza. Proprio quando, che ne circolassero quattromila o più. Ai e restauro iniziato da Papa Sisto IV quest’anno, si celebra il cinquecentesimo tempi di Palestrina però la Chiesa aveva nel tardo XV secolo col risanamento e la Nel 1555 Palestrina, nonostante fosse anniversario del completamento degli cominciato a considerarle quasi come decorazione di quella che divenne ben sposato, fu assunto al coro papale. Qui splendidi affreschi di Michelangelo che un’intrusione, a danno delle tradizionali nota come la Cappella Sistina, sede del cantò nel magnifico ambiente della rappresentano le scene del Vecchio melodie gregoriane, e contrarie alla coro papale, e la costruzione della più Cappella Sistina, appena decorata dagli Testamento sulle pareti della Cappella solennità e devozione di preghiera della grande chiesa della cristianità, la basilica ispirati affreschi di Michelangelo, che vi Sistina, il Vaticano è accusato di aver liturgia. Fu dunque una delle decisioni di San Pietro, fornirono a Palestrina e aveva lavorato intensamente dal 1508 al permesso la distruzione di valori spirituali del Concilio di Trento (1545-1563) che ai suoi contemporanei un ambiente di 1512. Tuttavia, alla morte di Papa Giulio e religiosi per il perseguimento del venissero ridotte solamente a quattro, grande ispirazione per il loro lavoro e che l’aveva assunto, il nuovo papa espulse benessere materiale e per ingordigia. C’è conservando quelle per la Pasqua, la pratica religiosa. Anche San Giovanni Palestrina dal coro perché era sposato. da chiedersi cosa penserebbe Palestrina Victimae Paschali, per la Pentecoste, Veni Laterano, la sede ufficiale del Papa A questo punto egli accettò il posto di se potesse vedere le migliaia di visitatori Sancte Spiritus, per il Corpus Christi, 14 15 Lauda Sion, e come parte della Missa crede, intorno al 1590, durante il papato di cerca sollievo con un fervente appello poenas inclyti; Dum emisit spiritum; Sancta Pro Defunctis, Dies irae. Attualmente il Gregorio XIV, era cantato esclusivamente alla Santa Madre perché gli sia Mater istud agas; Donec ego vixero; Fac ut Liber Usualis include cinque sequenze, in dal coro papale, all’offertorio in San concesso di partecipare al suo dolore. portem Christi mortem; e Paradisi gloria. quanto lo Stabat Mater fu reintrodotto nel Pietro durante la settimana santa, in E’ magistrale il suo uso di momentanei 1727. Quindi negli ultimi anni dell’attività una variazione temporanea al consueto Versi 11-20 silenzi per incrementare l’impatto di di Palestrina il testo e la musica per lo formato della messa. Come il Miserere (Sancta Mater…paradisi gloria): diverse di queste frasi. La musica procede Stabat Mater erano limitati ad un uso extra di Allegri era gelosamente custodito dal sempre più amplificate e personali in un maestoso tempo raddoppiato liturgico, nonostante compositori degni coro e la sola fonte contemporanea è un le suppliche di essere immersi per la prima pars, ma poi cambia in di nota continuassero a crearne versioni manoscritto del Vaticano risalente circa completamente nel dolore, per triplo quando l’atmosfera diviene più polifoniche. Si pensa che le parole siano al 1590; le altre nove copie esistenti sono provare in prima persona le ferite soggettiva in Eia Mater… complaceam… opera del francescano Jacopone da Todi molto più tarde, del XVIII o XIX secolo, e l’angoscia di madre e figlio, e per Palestrina impiega una maggior varietà di (1228-1306 circa) e che lo Stabat Mater tutte italiane in origine. essere infine redenti nella pace combinazioni vocali tra le sezioni del coro abbia avuto un’ampia circolazione, spesso eterna del Paradiso. nel suo insieme per la lunga e più formale insieme a testi simili, nei breviari (Liturgia Il testo, in venti versi di tre linee ciascuno, preghiera alla Santa Madre, in tempo Horarum). Davy, Browne, Cornysh e Fayfax viene cadenzato con naturalezza in tre L’orchestrazione di Palestrina è per raddoppiato, che conclude il pezzo. (dall’Eton Choirbook), Josquin Desprez, sezioni principali: otto voci in due cori, nonostante per Weerbecke, Escobar, Peñalosa, Lassus, gran parte del tempo cantino solo L’inno Ad caenam agni providi è destinato Palestrina, Giovanni Nanino, Versi 1-8 quattro voci per volta. La sua tecnica all’uso domenicale nel periodo di Pasqua. (nonostante la sua versione per dodici voci (Stabat Mater…emisit spiritum): compositiva si sottomette qui alla Questo è composto nello stile consueto potrebbe essere di Palestrina) e Padilla una descrizione oggettiva, sillabazione delle rime e alla struttura del periodo, per quattro voci, alternando sono solo alcuni di quelli che composero probabilmente da una certa distanza, dei versi. Il carattere essenzialmente canto e polifonia; Palestrina cita e musica per alcuni se non tutti i versi. della scena ai piedi della croce, di omofonico della musica e gli scambi parafrasa il canto in ciascuna delle voci, Infatti quel testo ha ispirato seicento o più Maria che piange il figlio crocifisso, e antifonali tra i due cori consentono una combinandole in eleganti trame imitative, versioni musicali fino ai giorni nostri. dei suoi pensieri. totale intelligibilità del testo. Questo prestando l’appropriata attenzione al permette a Palestrina di sottolineare testo ed alle sue naturali accentuazioni. Lo Stabat Mater a otto voci di Palestrina Versi 9-10 momenti psicologicamente importanti, Un maggior impatto è dato al verso è magistrale nella sua eloquente (Eia Mater…complaceam): costruendo sostegni strutturali tramite polifonico finale con l’aggiunta di una raffigurazione di questo testo qui il narratore non si può più l’uso della piena sonorità del doppio coro quinta voce, un tenore, una procedura implacabilmente straziante. Composto, si trattenere: sopraffatto dall’emozione alle parole: O quam tristis et afflicta; Nati consueta nell’arrangiamento degli inni 16 17 di quel periodo. E’ interessante notare musicale) fu in gran parte dovuto al sue due messe Regina caeli, in quanto tutte Confitebor tibi Domine, Terra tremuit e come le prime cinque note che Palestrina notevole miglioramento dei processi di parafrasano il noto canto pasquale. Improperium exspectavit cor meum impiega nel canto dell’inno siano le stesse stampa nel corso del XVI secolo, che risultò I 68 offertori pubblicati in due volumi dell’apertura di Regina caeli. in una riduzione dei prezzi che li rese alla La versione del Regina caeli di Palestrina nel 1593 sono significativi dell’opera di portata del pubblico generale. presentata qui è una delle due per Palestrina, e meritano maggior attenzione Vineam meam non custodivi, Si ignoras doppio coro (soprano, alto, tenore e sia del pubblico che degli esecutori. te, O pulchra inter mulieres e Pulchrae Le quattro Antifone Mariane – Salve Regina, basso + soprano, alto, tenore e basso) Anche se si basano su testi brevissimi, sunt genae tuae Alma Redemptoris Mater, Ave Regina che compare esclusivamente in un sono stati musicati nello stile più raffinato Considerato che furono ristampati non caelorum e Regina caeli – venivano usate manoscritto della Cappella Giulia. Si tratta tipico della maturità del compositore. meno di undici volte dal momento della di frequente nelle funzioni nel corso di una collezione di antifone, mottetti e Confitebor tibi Domine è per la domenica loro prima pubblicazione nel 1583-84 al dell’anno liturgico nel Rinascimento, litanie, principalmente opere di Palestrina, della Passione mentre Terra tremuit per la 1613, è probabile che i ventinove mottetti sicuramente in cantici ma anche in ma anche di suoi contemporanei come domenica della Resurrezione. Entrambi di Palestrina su testi dal Cantico dei Cantici, arrangiamenti polifonici qualora il Crivelli, Zoilo, Giovanelli, Lassus, Victoria, per cinque voci, con un secondo tenore, dedicati a Papa Gregorio XIII, fossero i suoi numero necessario di cantori fosse F. Anerio e G. M. Nanino. Il manoscritto fu la combinazione prediletta da Palestrina; lavori più popolari nel corso della sua vita disponibile e l’importanza della ricorrenza copiato da diversi scrivani e assemblato Improperium exspectavit cor meum (per la e negli anni immediatamente successivi lo giustificasse. I compositori erano nel tardo XVI secolo. domenica delle Palme) però è colorato da alla sua morte. Questi sono per cinque attivamente incoraggiati, specialmente un secondo soprano piuttosto che da un voci, solitamente con un secondo tenore, dopo il Concilio di Trento, a comporre Com’è tipico di Palestrina quando scrive tenore, a dispetto del testo freddo e triste. (nonostante alcuni abbiano invece un lavori polifonici su questi testi importanti, per otto o più voci, la Prima pars ha delle secondo soprano). Non si tratta di mottetti generalmente parafrasandone i canti. lunghe sezioni individuali per ciascuno In queste composizioni la destrezza liturgici e nemmeno di un certo tipo di Molti musicisti produssero diversi dei due cori, e la Secunda pars diviene artistica di Palestrina è al suo apice: madrigali semi erotici, ma semplicemente arrangiamenti di ciascuno, con una effettivamente un vero doppio coro solo coerentemente inventivo nei motivi, mottetti latini adatti a congregazioni varietà di combinazioni vocali adatte a nella battute finali. In questo senso la conferisce a ciascuno una completa devozionali del tipo incoraggiato da San diverse occasioni. Queste spesso venivano musica per cori multipli di Palestrina è individualità. Per esempio, Terra tremuit Filippo Neri, il quale fu attivo a Roma dal utilizzate dagli stessi o altri compositori concepita in modo piuttosto differente inizia con una memorabile frase imitativa 1564, promuovendo e ridando vita a vari anche come base per parodie di messe; da quella dei suoi contemporanei, Anerio delineata da una quinta prima discendente tipi di esercizi spirituali nella comunità ciononostante le tre versioni del Regina o Victoria ad esempio, nella quale le e poi ascendente, seguita da una sesta laica. Il grande successo di questi mottetti caeli di Palestrina (due per otto voci e una armonie per otto voci, antifonali tra i cori minore ascendente, ma Palestrina si (a parte la loro intrinseca alta qualità per quattro) si riferiscono unicamente alla e non, sono la norma. accerta sempre che le linee melodiche 18 19 si svolgano all’interno dell’ampiezza Esistono esempi di messe in tutte canone col secondo tenore, il tema del ancora quarantenne, con un impiego dell’intervallo. Combinando con grande le tecniche consuete del XVI secolo: canto a Resurrexit… meno impegnativo e più tranquillo. Nelle sensibilità tutto ciò con gli accenti naturali parodia, parafrase, composizione libera, parole di Victoria dalla prefazione al suo e il significato del testo, le linee melodiche canone, e pure il superato cantus firmus Nel 1588 Palestrina pubblicò una serie di Missarum Libri Duo stampato a Roma nel di Palestrina sono sempre eleganti ed (le due nel famoso pezzo L’homme Lamentazioni per quattro voci, dedicate 1583: “ho desiderato, nella mia stanchezza, equilibrate, dalla voce più bassa a quella armé per esempio). Sette delle messe al Papa Sesto V. Nella dedica di prefazione di poter mettere fine al mio lungo lavoro, più acuta, un piacere da provare sia per parafrasano melodie degli Inni ed altre Palestrina appare d’umore scontento o riposandomene in onorevole ritiro, e chi esegue che per chi ascolta, sia in un sette le maggiori Antifone Mariane. malinconico. Si lamenta d’aver composto dedicare la mia anima alla contemplazione contesto religioso che in concerto. Regina caeli è usata due volte, in una molta musica, d’averne pubblicata del Divino1...”. Ciononostante Victoria messa a quattro voci pubblicata nel una parte, e tuttavia di averne dovuta continuò a comporre e pubblicare fino al Missa Regina caeli Libro I del 1554, l’altra a cinque voci tenere da parte ancor più per carenza di 1605, apparentemente soddisfatto della Le messe di Palestrina dimostrano (quella presentata qui) nel Libro XI denaro. Egli nota pure di essere afflitto sua scelta. Palestrina non ebbe la stessa chiaramente perché egli fosse del 1600. dalle più grandi difficoltà (in maximus fortuna, poiché morì a Roma nel febbraio considerato dai suoi contemporanei difficultatibus…) eppure di non aver del 1594. Giace sepolto in una cripta nella come il principale compositore dell’epoca, Missa Regina Caeli è composta per cinque mai trascurato lo studio della musica. Basilica di San Pietro con altri membri e ancor’oggi rimangono alla base della voci con un secondo tenore. Riferimenti Che Palestrina, a 63 anni, sentisse il della sua famiglia, in una delle magnifiche sua reputazione. 46 furono pubblicate melodici al canto sono evidenti altrove: peso dell’età? Non più soddisfatto, egli chiese romane dove spese la sua vita e fu in sette corali per la fine del 1594, anno per esempio, Kyrie si apre con un punto considerava la possibilità di ritirarsi, o ispirato a scrivere gran parte della sua della sua morte, ed altre 33 per il 1601. imitativo che cita le familiari note perlomeno di assumere per gli anni del suo musica. Non meno di 104 in totale, e forse più, d’apertura, così come fanno Credo e declino una posizione meno impegnativa, sono giunte ai tempi moderni in queste Sanctus; Christe cita la melodia a Quia magari in qualche città di provincia. 1 “Volui, ut defessus, commentandi edizioni ma anche nei molti manoscritti, quem meruisti. E Palestrina continua, Già nel 1582 egli aveva acquistato un finem iam facerem, et aliquando principalmente romani, ora conservati unendo parti del canto con le sue appezzamento di terreno nella sua perfunctus laboribus honesto in otio nella Biblioteca Apostolica Vaticana. proprie estensioni e suoi contrappunti nativa Palestrina, e invero nel 1593, a conquierescem, animumque ad divinam, Si presume che fossero ampiamente a composizione libera. Ci sono pure due quasi settant’anni, cercò di divenirvi ... , contemplationem traducerem ....” utilizzati: copie delle varie edizioni Osanna in ritmi contrastanti, cosa non maestro di cappella, nella cattedrale di sono sopravvissute nelle biblioteche inconsueta per Palestrina. Il terzo Agnus San Agapito. Può darsi che Palestrina © 2012 Martyn Imrie italiane, così come in Germania, Spagna, Dei è per sei voci: Palestrina aggiunge condividesse la posizione di Victoria, che Italian Translation Portogallo e altre parti d’Europa. un’altra parte per alto, come il dux nel nel 1587 si era ritirato in Spagna, non © 2012 Roberto Battista 20 21 palestrina

5. Quis est homo, qui non fleret, 5. who is the man who would not weep Christi Matrem si videret. to see the Mother of Christ In tanto supplicio? in such torment? 6. Quis non posset contristari, 6. who could not feel compassion Piam Matrem contemplari on beholding the Mother of Christ Dolentem cum Filio? suffering with her son. 7. Pro peccatis suae gentis 7. For the sins of his people Vidit Iesum in tormentis, she saw Jesus in torment Texts & Translations Et flagellis subditum. and subjected to the scourge. 8. Vidit suum dulcem natum 8. She saw her own sweet offspring Morientem, desolatum, dying, forsaken, 1 Stabat Mater a8 Dum emisit spiritum. while he gave up the ghost. 1. Stabat Mater dolorosa, 1. The grieving mother 9. Eia Mater, fons amoris, 9. o Mother, font of love, Iuxta crucem lacrymosa, stood by the Cross weeping Me sentire vim doloris make me feel the strength of your sorrow Dum pendebat Filius. while her son was hanging there. Fac, ut tecum lugeam. that I may grieve with you. 2. Cuius animam gementem, 2. Her weeping soul, 10. Fac, ut ardeat cor meum 10. grant that my heart may burn Contristatem et dolentem contrite and grieving, In amando Christum Deum, in the love of Christ the Lord Pertransivit gladius. was pierced by a sword. Ut sibi complaceam. so that I might please him. 3. O quam tristis et afflicta 3. o how sad and distressed 11. Sancta Mater, istud agas, 11. Holy Mother, do this for me: Fuit illa benedicta was that blessed Crucifixe fige plagas let the pain of the Crucified Mater Unigeniti! Mother of the Only-begotten! Cordi meo valide. be imprinted on my heart. 4. Quae maerebat et dolebat, 4. She who mourned and grieved, 12. Tui nati vulnerati, 12. of your wounded son, Et tremebat, cum videbat and shivered, while she watched Tam dignati pro me pati, worthy to be slain for me, Nati poenas inclyti. the torment of her glorious child. Mecum poenas divide. share with me the torment.

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13. Fac me tecum vere flere, 13. Make me truly weep with thee 2 Ad caenam agni providi (Hymn) Crucifixo condolere, and grieve with the Crucified, Donec ego vixero. as long as I live. 1. Ad caenam agni providi, 1. at the feast made ready by the Lamb, et stolis albis candidi, let us resplendent in white robes 14. Iuxta Crucem tecum stare, 14. That I may stand with thee by the Cross, post transitum maris rubri Christo after our crossing of the Red Sea, Et me tibi sociare sharing willingly with thee in mourning, canamus principi. Sing to Christ our head, In planctu desidero. this I desire. 2. Cuius corpus sanctissimum 2. whose most sacred body 15. Virgo virginum praeclara, 15. virgin of all virgins, most noble, in ara crucis torridum, was parched on the altar of the Cross; Mihi iam non sis amara, be not bitter with me, cruore eius roseo, it is by tasting his roseate blood Fac me tecum plangere. let me lament with thee. gustando vivimus Deo. That we live to God. 16. Fac, ut portem Christi mortem, 16. Make it that I may bear the death of Christ, 3. Protecti paschae vesperae 3. Protected on the Passover evening Passionis fac consortem, share his Passion ad devastante angelo, From the destroying angel, Et plagas recolere. and endure his wounds. erepti de durissimo Snatched from the harshest 17. Fac me plagis vulnerari, 17. let me be wounded with his wounds, Pharaonis imperio. rule of Pharaoh. Cruce hac inebriare, let me be inebriated by the Cross 4. Iam pascha nostrum Christus est, 4. now is Christ our Passover, Ob amorem Filii. because of love for your son. qui immoletus agnus est, He who is the sacrificed lamb. 18. Inflammatus et accensus 18. inflamed and set afire, sinceritatis azyma, His flesh unleavened in its integrity, Per te, Virgo, sim defensus through thee, Virgin, may I be defended by you caro eius oblatus est. was made an offering. In die iudicii. on the Day of Judgement. 5. O vere digna hostia, 5. o truly worthy sacrifice 19. Fac me cruce custodire, 19. let me be guarded by the Cross, per quam fracta sunt tartara, Through which Hell has been crushed, Morte Christi praemuniri, armed by Christ’s death, redempta plebs captivta, The captive people redeemed, Confoveri gratia. strengthened by grace. reddita vite premia. and the rewards of life restored. 20. Quando corpus morietur, 20. when my body dies, 6. Consurgit Christus tumulo, 6. Christ rises from the tomb, Fac, ut animae donetur grant that to my soul is given victor redit de barathro, The victor returns from the abyss, Paradisi gloria. the glory of Paradise. tyrannum trudens vinculo Driving the tyrant with a thong, et reserans paradisum. and unlocking Paradise. 24 25 palestrina palestrina

7. Quaesumus auctor omnium, 7. we beseech you, creator of all, 4 Si ignoras te, O pulchra inter mulieres in hoc paschali gaudio, in this our Easter rejoicing, ab omni mortis impetu, To defend your people Si ignoras te, O pulchra inter mulieres: If thou know not, O fair one among women, tuum defende populum. From every attack of death. egredere, et abi post vestigia gregum, follow the steps of thy flocks et pasce haedos tuos and feed thy kids 8. glory to you, O Lord, 8. Gloria tibi Domine, iuxta tabernacula pastorum. next the shepherds’ tents. who has risen from the dead, qui surrexisti a mortuis, Equitatui meo in curribus Pharaonis To my horsemen in Pharaoh’s chariots with the Father and the Holy Spirit, cum Patre et Sancto Spiritu, assimilavi te, amica mea. I have compared thee, my love. in sempiterna saecula. Amen. Through eternity. Amen. Canticum Canticorum I, 7-8 5 Pulchrae sunt genae tuae

Pulchrae sunt genae tuae, sicut turturis: Thy cheeks are beautiful as doves, Song of Songs nos. 4-6 collum tuum sicut monilia. thy neck like jewels. • Murenulas aureas faciemus tibi, We will make thee chains of gold, vermiculatas argento. inlaid with silver. 3 Vineam meam non custodivi Dum esset rex in accubitu suo, While the king was at his rest, nardus mea dedit odorem suavitatis. my spikenard gave forth sweet perfume. Vineam meam non custodivi. Mine own vineyard have I not kept well. Indica mihi, quem diligit anima mea, Show me, thou my soul doth love, Canticum Canticorum I, 9-11 ubi pascas, where dost thou feed [thy flock], ubi cubes in meridie, where rest ye in midday, ne vagari incipiam lest I stray 6 post greges sodalium tuorum. after the flocks of thy companions. Regina caeli a8 Canticum Canticorum I, (5)-6 Regina caeli laetare, alleluia. Queen of Heaven, rejoice, alleluia. Quia quem meruisti portare, alleluia. For he whom you were chosen to bear, alleluia. Resurrexit, sicut dixit, alleluia. He has risen, as he said, alleluia. Ora pro nobis Deum, alleluia. Pray for us to God, alleluia.

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Three Offertories for the Easter period Missa REGINA CAELI

7 Improperium exspectavit cor meum bl Kyrie Improperium exspectavit cor meum, My heart hath expected reproach; Kyrie eleison. Lord have mercy on us. et miseriam: and I am full of misery: Christe eleison. Christ have mercy on us. et sustinui qui simul mecum contristaretur, and I looked for one to be sad with me, Kyrie eleison. Lord have mercy on us. et non fuit: but there was none; consolantem me quaesivi, and I sought for a comforter, et non inveni: but I found none. bm Gloria et dederunt in escam meam fel, They gave me gall for my meat; et in siti mea potaverunt me aceto. and in my thirst they gave me vinegar to drink. Gloria in excelsis Deo. Glory be to God on high. Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. 8 Confitebor tibi Domine Laudamus te, benedicimus te, We praise Thee, we bless Thee, adoramus te, glorificamus te. we worship Thee, we glorify Thee. Confitebor tibi Domine in toto corde meo: I will acknowledge thee, O Lord, wholeheartedly: Gratias agimus tibi We give thanks to Thee retribue servo tuo, reward thy servant, propter magnam gloriam tuam. for Thy great glory. ut vivam et custodiam mandata tua: that I may live and keep thy commandments: Domine Deus, Rex caelestis, Lord God, heavenly King, vivifica me enliven me Deus Pater omnipotens. God the Father almighty. secundum verbum tuum, Domine. according to thy Word, O Lord. Domine Fili unigenite, Iesu Christe. O Lord, the only-begotten Son, Jesus Christ. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, Thou that takest away the sins of the world, 9 Terra tremuit miserere nobis. have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the world, Terra tremuit, et quievit, The earth trembled and was still suscipe deprecationem nostram. receive our prayer. dum resurgeret in iudicio Deus. Alleluia. when God arose in judgement. Alleluia Qui sedes ad dexteram Patris, Thou that sittest at the right hand of the Father, miserere nobis. have mercy upon us.

28 29 palestrina palestrina

Quoniam tu solus Sanctus, For Thou only art holy, passus et sepultus est. He suffered and was buried. tu solus Dominus, Thou only art the Lord, Et resurrexit tertia die, And the third day He rose again tu solus Altissimus Iesu Christe. Thou only art the most high, Jesus Christ. secundum scripturas; according to the scriptures; Cum Sancto Spiritu With the Holy Spirit et ascendit in caelum, and ascended into heaven, in gloria Dei Patris. Amen in the glory of God the Father. Amen. 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 iudicare vivos et mortuos, to judge both the quick and the dead; bn Credo cuius regni non erit finis. Whose kingdom shall have no end. Et in Spiritum Sanctum And I believe in the Holy Ghost Credo in unum Deum I believe in God Dominum et vivificantem, the Lord and giver of life, Patrem omnipotentem, the Father almighty, qui ex Patre Filioque procedit; Who proceedeth from the Father and the Son; factorem caeli et terrae, Maker of heaven and earth, qui cum Patre et Filio simul Who with the Father and the Son together visibilium omnium et invisibilium. and of all things visible and invisible. adoratur et conglorificatur; is worshipped and glorified; Et in unum Dominum, Iesum Christum, And in one Lord Jesus Christ, qui locutus est per Prophetas. Who spake by the prophets. Filium Dei unigenitum, the only begotten Son of God, Et unam sanctam catholicam And I believe in one holy, Catholic et ex Patre natum ante omnia saecula. begotten of His Father before all worlds. et apostolicam ecclesiam. and Apostolic Church. Deum de Deo, lumen de lumine, God of God, Light of Light, Confiteor unum baptisma I acknowledge one Baptism Deum verum de Deo vero, very God of very God, in remissionem peccatorum. for the remission of sins. genitum, non factum, begotten, not made, Et expecto resurrectionem mortuorum And I look for the resurrection of the dead consubstantialem Patri, being of one substance with the Father, et vitam venturi saeculi. Amen. and the life of the world to come. Amen. per quem omnia facta sunt. by Whom all things were made. Qui, propter nos homines, Who for us men, et propter nostram salutem, and for our salvation, bo Sanctus descendit de caelis. came down from heaven. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost Sanctus, Sanctus, Sanctus Holy, Holy, Holy ex Maria virgine, et homo factus est. of the Virgin Mary and was made man. Dominus Deus Sabaoth. Lord God of hosts. Crucifixus etiam pro nobis And was crucified also for us Pleni sunt caeli et terra gloria tua. Heaven and earth are full of Thy glory. sub Pontio Pilato; under Pontius Pilate. Osanna in excelsis. Hosanna in the highest.

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Harry Christophers is known internationally as bp founder and conductor of The Sixteen as well as a regular Benedictus guest conductor for many of the major symphony orchestras Benedictus qui venit Blessed is He that cometh and opera companies worldwide. He has directed The in nomine Domini. in the name of the Lord. Sixteen choir and orchestra throughout Europe, America Osanna in excelsis. Hosanna in the highest. and Asia Pacific gaining a distinguished reputation for his work in Renaissance, Baroque and 20th- and 21st-century music. In 2000 he instituted the Choral Pilgrimage, a national bq Agnus Dei I, II & III tour of English cathedrals from York to Canterbury in music Borggreve Marco Photograph: from the pre-Reformation, as The Sixteen’s contribution to Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world, the millennium celebrations. The Pilgrimage in the UK is now miserere nobis. have mercy on us. central to The Sixteen’s annual artistic programme. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world, In 2008 Harry Christophers was appointed Artistic Director of Boston’s Handel and Haydn miserere nobis. have mercy on us. Society; he is also Principal Guest Conductor of the Granada Symphony Orchestra. As well Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world, as enjoying a very special partnership with the BBC Philharmonic, with whom he won dona nobis pacem. grant us peace. a Diapason d’Or, he is a regular guest conductor with the Academy of St Martin in the Fields. With The Sixteen he is an Associate Artist at The Bridgewater Hall in Manchester and features in the highly successful BBC television series, Sacred Music, presented by Simon Russell Beale. 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 for Grange Park Opera. He is a regular conductor at Buxton Opera where he • initiated a very successful cycle of Handel’s operas and oratorios including Semele, Samson and Saul. Harry Christophers is an Honorary Fellow of Magdalen College, Oxford, as well as the 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.

32 33 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 20th- and 21st-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 The 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. Photograph: Mark Harrison Over one hundred recordings reflect The Sixteen’s quality in a range of work spanning the www.thesixteen.com music 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 Recording Producer: Mark Brown Sixteen also features in the highly successful BBC television series, Sacred Music, presented recording Engineer: Mike Hatch (Floating Earth) by Simon Russell Beale. In 2011 the group launched a new training programme for young Recorded at: Church of St. Alban the Martyr, Holborn, London, October 2012 singers called Genesis Sixteen. Aimed at 18 to 23 year-olds, this is the UK’s first fully-funded Cover image: Chapel near Palestrina, . Photographer: Giacomo Tutino choral programme for young singers designed specifically to bridge the gap from student Design: a ndrew Giles: [email protected] to professional practitioner. 2013 The Sixteen Productions Ltd. the voi ces of © 2013 The Sixteen Productions Ltd. soprano Julie Cooper, Grace Davidson, Sally Dunkley, Kirsty Hopkins, Made in Great Britain For further information about recordings on CORO or live performances and tours by alexandra Kidgell, Charlotte Mobbs The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected] alto Ian Aitkenhead, David Clegg, Kim Porter, Christopher Royall www.thesixteen.com tenor Simon Berridge, Jeremy Budd, Mark Dobell, William Knight Bass Ben Davies, Eamonn Dougan, Tim Jones, Rob Macdonald Also available as a studio master quality download at www.thesixteendigital.com