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short phrases of the text into a coherent whole. The double choir motet Ecce vicit Leo is justly The Sarum Consort Peter Philipsʼs celebration of Beata Agnes, Virgin and famous for its dramatic, trumpet-like initial phrases, the Martyr, takes its text from the Magnificat Antiphon at smoothly contrasting ʻDignus est Agnusʼ, the lively The Sarum Consort was founded in 1992, making its concert début at the 1993 Salisbury Festival when painter Jane Vespers. Its passionate text gives him every opportunity interplay between the two choirs (ʻaccipere virtutem....ʼ), PHILIPS Mackay, Andrew Mackay’s sister, exhibited work inspired by Britten’s music, and a concert was given to illustrate the for the word-painting at which he excels, from the and the resonant final alleluia. artist’s inspiration. The Consort’s recordings have enjoyed critical acclaim, the first Peter Philips disc being described dramatic opening (ʻBlessed Agnes, in the midst of the In the short motet Ne timeas, Maria Mary is as ʻmagicalʼ on BBC Radio 3’s Record Review and in BBC Music Magazine being given the maximum five stars for flames, prayed with extended handsʼ) through the encouraged not to be afraid by the soft entry of the Cantiones Sacrae Quinis performance. The choir celebrated its tenth anniversary by making its London début in St Johnʼs, Smith Square in threats of the sacrilegious tyrant and the vileness of the voices, one by one. The other notable point here is that flesh to the extraordinary yearning of her final rhetorical Philips avoids the obvious when word-painting ʻAltissimi October 2002 with Rachmaninovʼs Vespers and Philip Mooreʼs Canticle of Light, commissioned for the occasion. The et Octonibus Vocibus flourish (ʻI come to you whom I have loved, whom I have Filiusʼ; rather than progressively rising, the phrases Church Times reviewer Roderic Dunnett, for whom the Consort ʻproved itself an easy match for almost any London sought, whom I have always longed forʼ). descend from the highest point, perhaps suggesting the choirʼ, noted that the conductor ʻmarshalled and balanced his well-prepared Sarum forces with sensitivity, shrewdness, Elegerunt apostoli is another example of the format relationship of father and son. and a glorious feel for the danceʼ. (Antwerp 1612 and 1613) particularly favoured by Philips, where the piece falls The short celebratory Gaude Maria virgo is naturally into sections because of a quotation in the text; delightfully dedicated In Festo S. Mariae ad Nives – for here, after an introduction vividly setting the scene the Feast of Our Lady of the Snow. The text is an The Sarum Consort • Andrew Mackay (ʻWhile the Jews stoned him...ʼ), Stephenʼs words are antiphon to Psalm 95, to which Philips adds a quoted, beginning with simple homophony (ʻDomine characteristically fine alleluia. Jesu, accipe spiritum meumʼ) and expanding into a Virgo prudentissima is to be regarded as the meditative alleluia reminiscent of that in Philipsʼs secunda pars of the preceding motet; however, this celebrated motet O Crux splendidior. more extended work uses a different text, a Magnificat Media vita is a familiar and powerful Lenten text antiphon based on the Song of Songs 6:10. Philips which is in fact part of an antiphon from the service of responds to the rapture in the words with an extended Compline. The piece gains a meditative colour from the melismatic passage which is as near to openly relatively low SATTB voices, and begins gently, but soon emotional as this composer allows. builds to a climax at the words ʻSancte Deus, sancte In Cum jucunditate the Birthday of Our Lady is fortisʼ. celebrated with the tripla rhythms characteristic of The eight-part Ave Regina caelorum shows off Philips expressing great joy, and is full of lively running Philipsʼs extraordinarily felicitous writing for two choirs. figures on the word ʻcelebremusʼ. The absence of an As in Ave Jesu Christe, he weaves one choirʼs leads into alleluia or a noë is the major clue that it is not one of the the texture of the other with a subtlety which is far Christmas motets that it so closely resembles. removed from the simple dialogue of the Italian Salve Regina and Eia ergo are the prima and polychoral style. h secunda pars of a Marian antiphon. This well-known text The text Ave gratia plena is composed specifically to gives the composer a wealth of opportunities to show off celebrate St Anne, mother of Mary. The words are an a wide palette of expression; ʻTe suspiramusʼ is set with Photo: Debbie Rigg early equivalent of those quaint nineteenth-century a Monteverdian hiatus, whilst the final ʻO clemens: O pia: hymns dashed off by headmaster priests celebrating O dulcis Virgo Mariaʼ draws forth some of the tenderest obscure festivals. As usual, Philips crafts a wonderful phrases that Philips ever wrote. motet from the relatively quotidian material, and includes some particularly felicitous writing for the two sopranos. Andrew Mackay
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Peter Philips (1560/61–1628) Peter Philips (1560/61–1628) Psalms, as earlier Renaissance composers so often did. to be meditative he generally abandons his usual Philips was an Englishman, but his music is steeped polyphony in favour of slow-moving chordal writing, and Cantiones Sacrae Quinis et Octonibus Vocibus (Antwerp 1612 and 1613) Cantiones Sacrae Quinis et Octonibus Vocibus (Antwerp 1612 and 1613) in the continental style of the late Renaissance. He uses this is the case at the start of this motet. This section is Although Peter Philips enjoyed great fame in his lifetime, England for a quite different reason – to escape a a wide range of textures, colours and styles, from old- unexpectedly followed by a triple-time ʻParce Domineʼ – 1 Christus resurgens 1-3, 5, 7 3:45 and had more compositions published than any prosecution for ʻadultery and fornicationʼ. fashioned polyphony to simple chordal writing, from pure the rhythm here being used for extra expressivity rather 2 Disciplinam et sapientiam 1-3, 5, 7, 9 2:27 Englishman except William Byrd, we know frustratingly One cannot help wondering whether they hit it off, academic canons to light-hearted, almost madrigalian than to express joy – which includes a remarkable echo 3 Loquebantur variis linguis 1-3, 5, 7 2:51 little about his life. The bare facts can be quickly sketched: these two most renowned English keyboard players of word-painting. These techniques are not used merely to effect between the two top parts. The fine last section 4 Ne reminiscaris, Domine 1-3, 5, 7, 9 2:52 probably born in London in 1560 or 1561, he sang as a their day. Peter Philips appears tall and thin with a pointed show off the composerʼs skill, but rather to illustrate and includes a typically plangent cadence with the treble comment on the text, which he invariably chooses with parts rising and falling in thirds on ʻsanguine tuoʼ. 5 Gabriel Angelus apparuit 1-3, 5, 7, 9 3:07 boy at St Paulʼs Cathedral and later may have been a beard in the only portrait we have, and our best guess care and responds to with fervour. Whilst space does not Gabriel Angelus apparuit contains one of Philipsʼ 6 Viæ Sion lugent 1-3, 5, 7, 9 3:13 pupil of Byrd. His earliest known composition is a from the few facts we know about his life must be that like keyboard pavan dated 1580. Two years later his Roman Byrd he was a serious, even austere figure; John Bull, the permit a detailed discussion of each of the motets, it is favourite devices; it is of the format ABCBD where D is 7 Ave Jesu Christe 1-8 3:53 Catholic faith caused him to flee England and he found colourful virtuoso, must have been a very different person. hoped that the comments that follow will provide some the final alleluia section; in other words, he repeats 8 Pater noster 1, 3, 5, 7-9 3:40 refuge in the English College in Rome. Under the Friends or not, they died in the same year, 1628, having indication of the range and subtlety of his art. section B ʻet multi in nativitate eius gaudebuntʼ in such a 9 Beata Agnes 1-3, 5, 7, 9 4:09 patronage of Cardinal Farnese, Philips seems to have greatly enhanced the reputation of English music abroad. The joyful Easter anthem Christus resurgens is way that the second time it goes straight into the 0 1-3, 5, 7, 9 Elegerunt Apostoli 3:21 flourished; he acted as college organist, and was In modern times Philipsʼs reputation, like that of other subtitled In festo Resurrectionis Domini and takes its alleluias, producing an effect of energy and momentum. 1, 3, 5, 7-9 ! Media vita 3:40 influenced by Anerio and Palestrlna. In 1585 he entered Tudor composers including William Byrd, has benefited text from an Easter Saturday Responsory. Philips Viæ Sion lugent, another text which is well known in 1-8 @ Ave Regina caelorum 3:38 the service of a prominent English nobleman, Lord from the pioneering work of R. R. Terry at Westminster characteristically word-paints resurgens and et both Latin and English (The ways of Zion do mourn), 1-3, 5, 7, 9 # Ave gratia plena 3:00 Thomas Paget, who was another Catholic refugee, and Cathedral. He rescued this lovely music from oblivion by resurrexit with rising notes; and mortuus est semel is employs a canon between the upper two voices ad $ Ecce vicit Leo 1-8 3:50 for five years they travelled in Europe. After Pagetʼs death editing some of the motets for Novello in the 1930s. His given to the three lower parts, all of whom have supertonum – that is, with the top line imitating the % Ne timeas, Maria 1-3, 5, 7, 9 1:53 Philips settled in Antwerp, got married, and ʻmainteyned invaluable work was continued by various editors descending phrases. A lively alleluia concludes the second two and a half bars later and a tone higher. This ^ Gaude Maria virgo 1-3, 5, 7 3:07 himself by teaching of children of the virginals, being very including Nicholas Steinitz, whose 1961–2 editions of the piece. device produces a feeling of constantly rising pitch and & Virgo prudentissima 1-3, 5, 7 3:34 cunning thereonʼ. In 1593 he travelled to Amsterdam to eight-part motets Ave Jesu Christe and Ecce vicit Leo Disciplinam et sapientiam has perhaps a rather emotional intensity, and enables Philips to paint the * Cum jucunditate 1-3, 5, 7 3:11 visit a famous organist and composer there – undoubtedly were used for this disc. These two outstanding motets heavy and monastic sounding beginning (“The Lord has desperation in the text to great effect. ( Salve Regina 1-3, 5, 7, 9 2:51 Sweelinck, who complimented Philips by writing a set of joined the cathedral repertoire in the last century and taught them knowledge and wisdom”), but it is Ave Jesu Christe, the first of the eight part works immediately leavened by a lively alleluia, and gradually featured on this disc, is one of only a few of Philipsʼs ) Eia ergo 1-3, 5, 7, 9 3:07 variations on his 1580 pavan. On his return Philips have already appeared on disc, but several of these received a shocking reminder of his refugee status: he motets are here recorded for the first time. the piece turns into one of Philipsʼs most bubbly and motets which are already in the repertoire. Justly was arrested, accused of complicity in a plot to Peter Philips was a prolific composer of motets and extrovert motets. The final triple-time alleluia is given admired, it matches one choir against the other in added interest by the cantus firmus-like second soprano polyphony of great subtlety, each initial lead emerging The Sarum Consort assassinate Elizabeth I, taken to The Hague and thrown madrigals and there is a substantial corpus of keyboard into prison. After an anxious wait for evidence to arrive and other instrumental works as well. He published his line, around which the other four parts weave joyful from the sound of the other choir to magical effect. Sopranos: Olivia Robinson 1, Clare Reeder 2 from London, during which he composed a Pavan and collection of 69 five-part motets in 1612, and thirty eight- polyphony. Philips uses the full eight parts only sparingly where the Altos: Deborah Mackay 3, Alison Bullock 4 Galliard Dolorosa, Philips was found to be innocent and part motets in 1613; he also wrote a large number of Loquebantur variis linguis describes the moment text invites extra colour, for example for ʻfons pietatisʼ, 5 6 Tenors: Adrian Kelly , Colin Howard released. He was back in Antwerp in time for Christmas. motets for other combinations of voices and continuo. The when the Apostles spoke in tongues to the multitude. A for ʻte rogamusʼ, and in the wonderful final cadence. 7 8 Basses: Richard Brett , Aidan Oliver In 1596 Philips published his first book of madrigals, Cantiones Sacrae Quinis Vocibus of 1612 and 1613 was comparison with Thomas Tallisʼs setting of the same text Philipsʼs setting of the Pater noster contrasts with and his fame began to spread more widely. The next year Philipsʼs first major publication of sacred music. It was is instructive; while the Tallis is almost breathless with the majority of his five-part motets, which are scored for Organ: Nigel Gardner 9 he was appointed by the Archduke Albert to be one of the dedicated to the Virgin Mary, for the ʻconfirmation and awe at the miracle, the Philips is much more SSATB with two equal top parts, with its single rather low Chamber organ by William Drake (1983) three organists at the vice-regal chapel in Brussels, a post amplification of the Catholic, Apostolic and Roman faith, understated, to the extent that the lively and syncopated soprano part and its extra baritone voice. By comparison Stopped diapason 8ʼ • Chimney Flute 4ʼ • Principal 2ʼ that he held until his death in 1628. During these years and the extirpation and confusion of Heresy and Hereticsʼ. alleluia comes as a surprise when it suddenly breaks out with the others, the motet lacks drama; but this is Philipsʼs colleagues at the royal chapel included some This seriousness of intent is underlined by Philipsʼs choice in the second soprano part. perhaps an inevitable consequence of setting this text, Andrew Mackay illustrious musicians, none more so than the English of texts: he shows a marked preference for setting words The text Ne reminiscaris, Domine is familiar in and what it lacks in excitement it makes up for in composer John Bull, whose ability at the virginals was from liturgical sources such as antiphons and responds English because of Henry Purcellʼs celebrated setting richness of tone and the effortless smoothness of the legendary. He arrived in Antwerp in 1613, having fled and hardly ever chooses freely from, for example, the Remember not, Lord, our offences. When Philips wishes contrapuntal movement, as Philips skilfully weaves the
8.572832 2 3 8.572832 4 8.572832 572832bk Philips EU_572382bk Philips EU 07/10/2011 09:58 Page 2
Peter Philips (1560/61–1628) Peter Philips (1560/61–1628) Psalms, as earlier Renaissance composers so often did. to be meditative he generally abandons his usual Philips was an Englishman, but his music is steeped polyphony in favour of slow-moving chordal writing, and Cantiones Sacrae Quinis et Octonibus Vocibus (Antwerp 1612 and 1613) Cantiones Sacrae Quinis et Octonibus Vocibus (Antwerp 1612 and 1613) in the continental style of the late Renaissance. He uses this is the case at the start of this motet. This section is Although Peter Philips enjoyed great fame in his lifetime, England for a quite different reason – to escape a a wide range of textures, colours and styles, from old- unexpectedly followed by a triple-time ʻParce Domineʼ – 1 Christus resurgens 1-3, 5, 7 3:45 and had more compositions published than any prosecution for ʻadultery and fornicationʼ. fashioned polyphony to simple chordal writing, from pure the rhythm here being used for extra expressivity rather 2 Disciplinam et sapientiam 1-3, 5, 7, 9 2:27 Englishman except William Byrd, we know frustratingly One cannot help wondering whether they hit it off, academic canons to light-hearted, almost madrigalian than to express joy – which includes a remarkable echo 3 Loquebantur variis linguis 1-3, 5, 7 2:51 little about his life. The bare facts can be quickly sketched: these two most renowned English keyboard players of word-painting. These techniques are not used merely to effect between the two top parts. The fine last section 4 Ne reminiscaris, Domine 1-3, 5, 7, 9 2:52 probably born in London in 1560 or 1561, he sang as a their day. Peter Philips appears tall and thin with a pointed show off the composerʼs skill, but rather to illustrate and includes a typically plangent cadence with the treble comment on the text, which he invariably chooses with parts rising and falling in thirds on ʻsanguine tuoʼ. 5 Gabriel Angelus apparuit 1-3, 5, 7, 9 3:07 boy at St Paulʼs Cathedral and later may have been a beard in the only portrait we have, and our best guess care and responds to with fervour. Whilst space does not Gabriel Angelus apparuit contains one of Philipsʼ 6 Viæ Sion lugent 1-3, 5, 7, 9 3:13 pupil of Byrd. His earliest known composition is a from the few facts we know about his life must be that like keyboard pavan dated 1580. Two years later his Roman Byrd he was a serious, even austere figure; John Bull, the permit a detailed discussion of each of the motets, it is favourite devices; it is of the format ABCBD where D is 7 Ave Jesu Christe 1-8 3:53 Catholic faith caused him to flee England and he found colourful virtuoso, must have been a very different person. hoped that the comments that follow will provide some the final alleluia section; in other words, he repeats 8 Pater noster 1, 3, 5, 7-9 3:40 refuge in the English College in Rome. Under the Friends or not, they died in the same year, 1628, having indication of the range and subtlety of his art. section B ʻet multi in nativitate eius gaudebuntʼ in such a 9 Beata Agnes 1-3, 5, 7, 9 4:09 patronage of Cardinal Farnese, Philips seems to have greatly enhanced the reputation of English music abroad. The joyful Easter anthem Christus resurgens is way that the second time it goes straight into the 0 1-3, 5, 7, 9 Elegerunt Apostoli 3:21 flourished; he acted as college organist, and was In modern times Philipsʼs reputation, like that of other subtitled In festo Resurrectionis Domini and takes its alleluias, producing an effect of energy and momentum. 1, 3, 5, 7-9 ! Media vita 3:40 influenced by Anerio and Palestrlna. In 1585 he entered Tudor composers including William Byrd, has benefited text from an Easter Saturday Responsory. Philips Viæ Sion lugent, another text which is well known in 1-8 @ Ave Regina caelorum 3:38 the service of a prominent English nobleman, Lord from the pioneering work of R. R. Terry at Westminster characteristically word-paints resurgens and et both Latin and English (The ways of Zion do mourn), 1-3, 5, 7, 9 # Ave gratia plena 3:00 Thomas Paget, who was another Catholic refugee, and Cathedral. He rescued this lovely music from oblivion by resurrexit with rising notes; and mortuus est semel is employs a canon between the upper two voices ad $ Ecce vicit Leo 1-8 3:50 for five years they travelled in Europe. After Pagetʼs death editing some of the motets for Novello in the 1930s. His given to the three lower parts, all of whom have supertonum – that is, with the top line imitating the % Ne timeas, Maria 1-3, 5, 7, 9 1:53 Philips settled in Antwerp, got married, and ʻmainteyned invaluable work was continued by various editors descending phrases. A lively alleluia concludes the second two and a half bars later and a tone higher. This ^ Gaude Maria virgo 1-3, 5, 7 3:07 himself by teaching of children of the virginals, being very including Nicholas Steinitz, whose 1961–2 editions of the piece. device produces a feeling of constantly rising pitch and & Virgo prudentissima 1-3, 5, 7 3:34 cunning thereonʼ. In 1593 he travelled to Amsterdam to eight-part motets Ave Jesu Christe and Ecce vicit Leo Disciplinam et sapientiam has perhaps a rather emotional intensity, and enables Philips to paint the * Cum jucunditate 1-3, 5, 7 3:11 visit a famous organist and composer there – undoubtedly were used for this disc. These two outstanding motets heavy and monastic sounding beginning (“The Lord has desperation in the text to great effect. ( Salve Regina 1-3, 5, 7, 9 2:51 Sweelinck, who complimented Philips by writing a set of joined the cathedral repertoire in the last century and taught them knowledge and wisdom”), but it is Ave Jesu Christe, the first of the eight part works immediately leavened by a lively alleluia, and gradually featured on this disc, is one of only a few of Philipsʼs ) Eia ergo 1-3, 5, 7, 9 3:07 variations on his 1580 pavan. On his return Philips have already appeared on disc, but several of these received a shocking reminder of his refugee status: he motets are here recorded for the first time. the piece turns into one of Philipsʼs most bubbly and motets which are already in the repertoire. Justly was arrested, accused of complicity in a plot to Peter Philips was a prolific composer of motets and extrovert motets. The final triple-time alleluia is given admired, it matches one choir against the other in added interest by the cantus firmus-like second soprano polyphony of great subtlety, each initial lead emerging The Sarum Consort assassinate Elizabeth I, taken to The Hague and thrown madrigals and there is a substantial corpus of keyboard into prison. After an anxious wait for evidence to arrive and other instrumental works as well. He published his line, around which the other four parts weave joyful from the sound of the other choir to magical effect. Sopranos: Olivia Robinson 1, Clare Reeder 2 from London, during which he composed a Pavan and collection of 69 five-part motets in 1612, and thirty eight- polyphony. Philips uses the full eight parts only sparingly where the Altos: Deborah Mackay 3, Alison Bullock 4 Galliard Dolorosa, Philips was found to be innocent and part motets in 1613; he also wrote a large number of Loquebantur variis linguis describes the moment text invites extra colour, for example for ʻfons pietatisʼ, 5 6 Tenors: Adrian Kelly , Colin Howard released. He was back in Antwerp in time for Christmas. motets for other combinations of voices and continuo. The when the Apostles spoke in tongues to the multitude. A for ʻte rogamusʼ, and in the wonderful final cadence. 7 8 Basses: Richard Brett , Aidan Oliver In 1596 Philips published his first book of madrigals, Cantiones Sacrae Quinis Vocibus of 1612 and 1613 was comparison with Thomas Tallisʼs setting of the same text Philipsʼs setting of the Pater noster contrasts with and his fame began to spread more widely. The next year Philipsʼs first major publication of sacred music. It was is instructive; while the Tallis is almost breathless with the majority of his five-part motets, which are scored for Organ: Nigel Gardner 9 he was appointed by the Archduke Albert to be one of the dedicated to the Virgin Mary, for the ʻconfirmation and awe at the miracle, the Philips is much more SSATB with two equal top parts, with its single rather low Chamber organ by William Drake (1983) three organists at the vice-regal chapel in Brussels, a post amplification of the Catholic, Apostolic and Roman faith, understated, to the extent that the lively and syncopated soprano part and its extra baritone voice. By comparison Stopped diapason 8ʼ • Chimney Flute 4ʼ • Principal 2ʼ that he held until his death in 1628. During these years and the extirpation and confusion of Heresy and Hereticsʼ. alleluia comes as a surprise when it suddenly breaks out with the others, the motet lacks drama; but this is Philipsʼs colleagues at the royal chapel included some This seriousness of intent is underlined by Philipsʼs choice in the second soprano part. perhaps an inevitable consequence of setting this text, Andrew Mackay illustrious musicians, none more so than the English of texts: he shows a marked preference for setting words The text Ne reminiscaris, Domine is familiar in and what it lacks in excitement it makes up for in composer John Bull, whose ability at the virginals was from liturgical sources such as antiphons and responds English because of Henry Purcellʼs celebrated setting richness of tone and the effortless smoothness of the legendary. He arrived in Antwerp in 1613, having fled and hardly ever chooses freely from, for example, the Remember not, Lord, our offences. When Philips wishes contrapuntal movement, as Philips skilfully weaves the
8.572832 2 3 8.572832 4 8.572832 572832bk Philips EU_572382bk Philips EU 07/10/2011 09:58 Page 2
Peter Philips (1560/61–1628) Peter Philips (1560/61–1628) Psalms, as earlier Renaissance composers so often did. to be meditative he generally abandons his usual Philips was an Englishman, but his music is steeped polyphony in favour of slow-moving chordal writing, and Cantiones Sacrae Quinis et Octonibus Vocibus (Antwerp 1612 and 1613) Cantiones Sacrae Quinis et Octonibus Vocibus (Antwerp 1612 and 1613) in the continental style of the late Renaissance. He uses this is the case at the start of this motet. This section is Although Peter Philips enjoyed great fame in his lifetime, England for a quite different reason – to escape a a wide range of textures, colours and styles, from old- unexpectedly followed by a triple-time ʻParce Domineʼ – 1 Christus resurgens 1-3, 5, 7 3:45 and had more compositions published than any prosecution for ʻadultery and fornicationʼ. fashioned polyphony to simple chordal writing, from pure the rhythm here being used for extra expressivity rather 2 Disciplinam et sapientiam 1-3, 5, 7, 9 2:27 Englishman except William Byrd, we know frustratingly One cannot help wondering whether they hit it off, academic canons to light-hearted, almost madrigalian than to express joy – which includes a remarkable echo 3 Loquebantur variis linguis 1-3, 5, 7 2:51 little about his life. The bare facts can be quickly sketched: these two most renowned English keyboard players of word-painting. These techniques are not used merely to effect between the two top parts. The fine last section 4 Ne reminiscaris, Domine 1-3, 5, 7, 9 2:52 probably born in London in 1560 or 1561, he sang as a their day. Peter Philips appears tall and thin with a pointed show off the composerʼs skill, but rather to illustrate and includes a typically plangent cadence with the treble comment on the text, which he invariably chooses with parts rising and falling in thirds on ʻsanguine tuoʼ. 5 Gabriel Angelus apparuit 1-3, 5, 7, 9 3:07 boy at St Paulʼs Cathedral and later may have been a beard in the only portrait we have, and our best guess care and responds to with fervour. Whilst space does not Gabriel Angelus apparuit contains one of Philipsʼ 6 Viæ Sion lugent 1-3, 5, 7, 9 3:13 pupil of Byrd. His earliest known composition is a from the few facts we know about his life must be that like keyboard pavan dated 1580. Two years later his Roman Byrd he was a serious, even austere figure; John Bull, the permit a detailed discussion of each of the motets, it is favourite devices; it is of the format ABCBD where D is 7 Ave Jesu Christe 1-8 3:53 Catholic faith caused him to flee England and he found colourful virtuoso, must have been a very different person. hoped that the comments that follow will provide some the final alleluia section; in other words, he repeats 8 Pater noster 1, 3, 5, 7-9 3:40 refuge in the English College in Rome. Under the Friends or not, they died in the same year, 1628, having indication of the range and subtlety of his art. section B ʻet multi in nativitate eius gaudebuntʼ in such a 9 Beata Agnes 1-3, 5, 7, 9 4:09 patronage of Cardinal Farnese, Philips seems to have greatly enhanced the reputation of English music abroad. The joyful Easter anthem Christus resurgens is way that the second time it goes straight into the 0 1-3, 5, 7, 9 Elegerunt Apostoli 3:21 flourished; he acted as college organist, and was In modern times Philipsʼs reputation, like that of other subtitled In festo Resurrectionis Domini and takes its alleluias, producing an effect of energy and momentum. 1, 3, 5, 7-9 ! Media vita 3:40 influenced by Anerio and Palestrlna. In 1585 he entered Tudor composers including William Byrd, has benefited text from an Easter Saturday Responsory. Philips Viæ Sion lugent, another text which is well known in 1-8 @ Ave Regina caelorum 3:38 the service of a prominent English nobleman, Lord from the pioneering work of R. R. Terry at Westminster characteristically word-paints resurgens and et both Latin and English (The ways of Zion do mourn), 1-3, 5, 7, 9 # Ave gratia plena 3:00 Thomas Paget, who was another Catholic refugee, and Cathedral. He rescued this lovely music from oblivion by resurrexit with rising notes; and mortuus est semel is employs a canon between the upper two voices ad $ Ecce vicit Leo 1-8 3:50 for five years they travelled in Europe. After Pagetʼs death editing some of the motets for Novello in the 1930s. His given to the three lower parts, all of whom have supertonum – that is, with the top line imitating the % Ne timeas, Maria 1-3, 5, 7, 9 1:53 Philips settled in Antwerp, got married, and ʻmainteyned invaluable work was continued by various editors descending phrases. A lively alleluia concludes the second two and a half bars later and a tone higher. This ^ Gaude Maria virgo 1-3, 5, 7 3:07 himself by teaching of children of the virginals, being very including Nicholas Steinitz, whose 1961–2 editions of the piece. device produces a feeling of constantly rising pitch and & Virgo prudentissima 1-3, 5, 7 3:34 cunning thereonʼ. In 1593 he travelled to Amsterdam to eight-part motets Ave Jesu Christe and Ecce vicit Leo Disciplinam et sapientiam has perhaps a rather emotional intensity, and enables Philips to paint the * Cum jucunditate 1-3, 5, 7 3:11 visit a famous organist and composer there – undoubtedly were used for this disc. These two outstanding motets heavy and monastic sounding beginning (“The Lord has desperation in the text to great effect. ( Salve Regina 1-3, 5, 7, 9 2:51 Sweelinck, who complimented Philips by writing a set of joined the cathedral repertoire in the last century and taught them knowledge and wisdom”), but it is Ave Jesu Christe, the first of the eight part works immediately leavened by a lively alleluia, and gradually featured on this disc, is one of only a few of Philipsʼs ) Eia ergo 1-3, 5, 7, 9 3:07 variations on his 1580 pavan. On his return Philips have already appeared on disc, but several of these received a shocking reminder of his refugee status: he motets are here recorded for the first time. the piece turns into one of Philipsʼs most bubbly and motets which are already in the repertoire. Justly was arrested, accused of complicity in a plot to Peter Philips was a prolific composer of motets and extrovert motets. The final triple-time alleluia is given admired, it matches one choir against the other in added interest by the cantus firmus-like second soprano polyphony of great subtlety, each initial lead emerging The Sarum Consort assassinate Elizabeth I, taken to The Hague and thrown madrigals and there is a substantial corpus of keyboard into prison. After an anxious wait for evidence to arrive and other instrumental works as well. He published his line, around which the other four parts weave joyful from the sound of the other choir to magical effect. Sopranos: Olivia Robinson 1, Clare Reeder 2 from London, during which he composed a Pavan and collection of 69 five-part motets in 1612, and thirty eight- polyphony. Philips uses the full eight parts only sparingly where the Altos: Deborah Mackay 3, Alison Bullock 4 Galliard Dolorosa, Philips was found to be innocent and part motets in 1613; he also wrote a large number of Loquebantur variis linguis describes the moment text invites extra colour, for example for ʻfons pietatisʼ, 5 6 Tenors: Adrian Kelly , Colin Howard released. He was back in Antwerp in time for Christmas. motets for other combinations of voices and continuo. The when the Apostles spoke in tongues to the multitude. A for ʻte rogamusʼ, and in the wonderful final cadence. 7 8 Basses: Richard Brett , Aidan Oliver In 1596 Philips published his first book of madrigals, Cantiones Sacrae Quinis Vocibus of 1612 and 1613 was comparison with Thomas Tallisʼs setting of the same text Philipsʼs setting of the Pater noster contrasts with and his fame began to spread more widely. The next year Philipsʼs first major publication of sacred music. It was is instructive; while the Tallis is almost breathless with the majority of his five-part motets, which are scored for Organ: Nigel Gardner 9 he was appointed by the Archduke Albert to be one of the dedicated to the Virgin Mary, for the ʻconfirmation and awe at the miracle, the Philips is much more SSATB with two equal top parts, with its single rather low Chamber organ by William Drake (1983) three organists at the vice-regal chapel in Brussels, a post amplification of the Catholic, Apostolic and Roman faith, understated, to the extent that the lively and syncopated soprano part and its extra baritone voice. By comparison Stopped diapason 8ʼ • Chimney Flute 4ʼ • Principal 2ʼ that he held until his death in 1628. During these years and the extirpation and confusion of Heresy and Hereticsʼ. alleluia comes as a surprise when it suddenly breaks out with the others, the motet lacks drama; but this is Philipsʼs colleagues at the royal chapel included some This seriousness of intent is underlined by Philipsʼs choice in the second soprano part. perhaps an inevitable consequence of setting this text, Andrew Mackay illustrious musicians, none more so than the English of texts: he shows a marked preference for setting words The text Ne reminiscaris, Domine is familiar in and what it lacks in excitement it makes up for in composer John Bull, whose ability at the virginals was from liturgical sources such as antiphons and responds English because of Henry Purcellʼs celebrated setting richness of tone and the effortless smoothness of the legendary. He arrived in Antwerp in 1613, having fled and hardly ever chooses freely from, for example, the Remember not, Lord, our offences. When Philips wishes contrapuntal movement, as Philips skilfully weaves the
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short phrases of the text into a coherent whole. The double choir motet Ecce vicit Leo is justly The Sarum Consort Peter Philipsʼs celebration of Beata Agnes, Virgin and famous for its dramatic, trumpet-like initial phrases, the Martyr, takes its text from the Magnificat Antiphon at smoothly contrasting ʻDignus est Agnusʼ, the lively The Sarum Consort was founded in 1992, making its concert début at the 1993 Salisbury Festival when painter Jane Vespers. Its passionate text gives him every opportunity interplay between the two choirs (ʻaccipere virtutem....ʼ), PHILIPS Mackay, Andrew Mackay’s sister, exhibited work inspired by Britten’s music, and a concert was given to illustrate the for the word-painting at which he excels, from the and the resonant final alleluia. artist’s inspiration. The Consort’s recordings have enjoyed critical acclaim, the first Peter Philips disc being described dramatic opening (ʻBlessed Agnes, in the midst of the In the short motet Ne timeas, Maria Mary is as ʻmagicalʼ on BBC Radio 3’s Record Review and in BBC Music Magazine being given the maximum five stars for flames, prayed with extended handsʼ) through the encouraged not to be afraid by the soft entry of the Cantiones Sacrae Quinis performance. The choir celebrated its tenth anniversary by making its London début in St Johnʼs, Smith Square in threats of the sacrilegious tyrant and the vileness of the voices, one by one. The other notable point here is that flesh to the extraordinary yearning of her final rhetorical Philips avoids the obvious when word-painting ʻAltissimi October 2002 with Rachmaninovʼs Vespers and Philip Mooreʼs Canticle of Light, commissioned for the occasion. The et Octonibus Vocibus flourish (ʻI come to you whom I have loved, whom I have Filiusʼ; rather than progressively rising, the phrases Church Times reviewer Roderic Dunnett, for whom the Consort ʻproved itself an easy match for almost any London sought, whom I have always longed forʼ). descend from the highest point, perhaps suggesting the choirʼ, noted that the conductor ʻmarshalled and balanced his well-prepared Sarum forces with sensitivity, shrewdness, Elegerunt apostoli is another example of the format relationship of father and son. and a glorious feel for the danceʼ. (Antwerp 1612 and 1613) particularly favoured by Philips, where the piece falls The short celebratory Gaude Maria virgo is naturally into sections because of a quotation in the text; delightfully dedicated In Festo S. Mariae ad Nives – for here, after an introduction vividly setting the scene the Feast of Our Lady of the Snow. The text is an The Sarum Consort • Andrew Mackay (ʻWhile the Jews stoned him...ʼ), Stephenʼs words are antiphon to Psalm 95, to which Philips adds a quoted, beginning with simple homophony (ʻDomine characteristically fine alleluia. Jesu, accipe spiritum meumʼ) and expanding into a Virgo prudentissima is to be regarded as the meditative alleluia reminiscent of that in Philipsʼs secunda pars of the preceding motet; however, this celebrated motet O Crux splendidior. more extended work uses a different text, a Magnificat Media vita is a familiar and powerful Lenten text antiphon based on the Song of Songs 6:10. Philips which is in fact part of an antiphon from the service of responds to the rapture in the words with an extended Compline. The piece gains a meditative colour from the melismatic passage which is as near to openly relatively low SATTB voices, and begins gently, but soon emotional as this composer allows. builds to a climax at the words ʻSancte Deus, sancte In Cum jucunditate the Birthday of Our Lady is fortisʼ. celebrated with the tripla rhythms characteristic of The eight-part Ave Regina caelorum shows off Philips expressing great joy, and is full of lively running Philipsʼs extraordinarily felicitous writing for two choirs. figures on the word ʻcelebremusʼ. The absence of an As in Ave Jesu Christe, he weaves one choirʼs leads into alleluia or a noë is the major clue that it is not one of the the texture of the other with a subtlety which is far Christmas motets that it so closely resembles. removed from the simple dialogue of the Italian Salve Regina and Eia ergo are the prima and polychoral style. h secunda pars of a Marian antiphon. This well-known text The text Ave gratia plena is composed specifically to gives the composer a wealth of opportunities to show off celebrate St Anne, mother of Mary. The words are an a wide palette of expression; ʻTe suspiramusʼ is set with Photo: Debbie Rigg early equivalent of those quaint nineteenth-century a Monteverdian hiatus, whilst the final ʻO clemens: O pia: hymns dashed off by headmaster priests celebrating O dulcis Virgo Mariaʼ draws forth some of the tenderest obscure festivals. As usual, Philips crafts a wonderful phrases that Philips ever wrote. motet from the relatively quotidian material, and includes some particularly felicitous writing for the two sopranos. Andrew Mackay
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short phrases of the text into a coherent whole. The double choir motet Ecce vicit Leo is justly The Sarum Consort Peter Philipsʼs celebration of Beata Agnes, Virgin and famous for its dramatic, trumpet-like initial phrases, the Martyr, takes its text from the Magnificat Antiphon at smoothly contrasting ʻDignus est Agnusʼ, the lively The Sarum Consort was founded in 1992, making its concert début at the 1993 Salisbury Festival when painter Jane Vespers. Its passionate text gives him every opportunity interplay between the two choirs (ʻaccipere virtutem....ʼ), PHILIPS Mackay, Andrew Mackay’s sister, exhibited work inspired by Britten’s music, and a concert was given to illustrate the for the word-painting at which he excels, from the and the resonant final alleluia. artist’s inspiration. The Consort’s recordings have enjoyed critical acclaim, the first Peter Philips disc being described dramatic opening (ʻBlessed Agnes, in the midst of the In the short motet Ne timeas, Maria Mary is as ʻmagicalʼ on BBC Radio 3’s Record Review and in BBC Music Magazine being given the maximum five stars for flames, prayed with extended handsʼ) through the encouraged not to be afraid by the soft entry of the Cantiones Sacrae Quinis performance. The choir celebrated its tenth anniversary by making its London début in St Johnʼs, Smith Square in threats of the sacrilegious tyrant and the vileness of the voices, one by one. The other notable point here is that flesh to the extraordinary yearning of her final rhetorical Philips avoids the obvious when word-painting ʻAltissimi October 2002 with Rachmaninovʼs Vespers and Philip Mooreʼs Canticle of Light, commissioned for the occasion. The et Octonibus Vocibus flourish (ʻI come to you whom I have loved, whom I have Filiusʼ; rather than progressively rising, the phrases Church Times reviewer Roderic Dunnett, for whom the Consort ʻproved itself an easy match for almost any London sought, whom I have always longed forʼ). descend from the highest point, perhaps suggesting the choirʼ, noted that the conductor ʻmarshalled and balanced his well-prepared Sarum forces with sensitivity, shrewdness, Elegerunt apostoli is another example of the format relationship of father and son. and a glorious feel for the danceʼ. (Antwerp 1612 and 1613) particularly favoured by Philips, where the piece falls The short celebratory Gaude Maria virgo is naturally into sections because of a quotation in the text; delightfully dedicated In Festo S. Mariae ad Nives – for here, after an introduction vividly setting the scene the Feast of Our Lady of the Snow. The text is an The Sarum Consort • Andrew Mackay (ʻWhile the Jews stoned him...ʼ), Stephenʼs words are antiphon to Psalm 95, to which Philips adds a quoted, beginning with simple homophony (ʻDomine characteristically fine alleluia. Jesu, accipe spiritum meumʼ) and expanding into a Virgo prudentissima is to be regarded as the meditative alleluia reminiscent of that in Philipsʼs secunda pars of the preceding motet; however, this celebrated motet O Crux splendidior. more extended work uses a different text, a Magnificat Media vita is a familiar and powerful Lenten text antiphon based on the Song of Songs 6:10. Philips which is in fact part of an antiphon from the service of responds to the rapture in the words with an extended Compline. The piece gains a meditative colour from the melismatic passage which is as near to openly relatively low SATTB voices, and begins gently, but soon emotional as this composer allows. builds to a climax at the words ʻSancte Deus, sancte In Cum jucunditate the Birthday of Our Lady is fortisʼ. celebrated with the tripla rhythms characteristic of The eight-part Ave Regina caelorum shows off Philips expressing great joy, and is full of lively running Philipsʼs extraordinarily felicitous writing for two choirs. figures on the word ʻcelebremusʼ. The absence of an As in Ave Jesu Christe, he weaves one choirʼs leads into alleluia or a noë is the major clue that it is not one of the the texture of the other with a subtlety which is far Christmas motets that it so closely resembles. removed from the simple dialogue of the Italian Salve Regina and Eia ergo are the prima and polychoral style. h secunda pars of a Marian antiphon. This well-known text The text Ave gratia plena is composed specifically to gives the composer a wealth of opportunities to show off celebrate St Anne, mother of Mary. The words are an a wide palette of expression; ʻTe suspiramusʼ is set with Photo: Debbie Rigg early equivalent of those quaint nineteenth-century a Monteverdian hiatus, whilst the final ʻO clemens: O pia: hymns dashed off by headmaster priests celebrating O dulcis Virgo Mariaʼ draws forth some of the tenderest obscure festivals. As usual, Philips crafts a wonderful phrases that Philips ever wrote. motet from the relatively quotidian material, and includes some particularly felicitous writing for the two sopranos. Andrew Mackay
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CMYK NAXOS NAXOS Peter Philips was the most famous English composer of his time, and only Byrd, a generation older, had more compositions published. Much of Philips’s life was spent on the Continent, where he wrote music of intricate, text-conscious colour, both deeply expressive and architecturally powerful. His motets and anthems, whether celebratory, meditative or dramatic, embrace the widest range of feeling and texture. The much- DDD PHILIPS: PHILIPS: admired Sarum Consort’s disc All the Queen’s Men (8.572582) was praised for its ‘energy and aplomb’. (American Record Guide) 8.572832 Peter Playing Time PHILIPS 65:08 Cantiones Sacrae Cantiones Sacrae (1560/61–1628) Cantiones Sacrae Quinis et Octonibus Vocibus (Antwerp 1612 & 1613)
1 Christus resurgens 3:45 ! Media vita 3:40 2 Disciplinam et sapientiam 2:27 @ Ave Regina caelorum 3:38 3 Loquebantur variis linguis 2:51 # Ave gratia plena 3:00 4 Ne reminiscaris, Domine 2:52 $ Ecce vicit Leo 3:50 Gabriel Angelus apparuit 3:07 Ne timeas, Maria 1:53 5 % www.naxos.com Made in Germany Booklet notes in English ൿ Viæ Sion lugent 3:13 Gaude Maria virgo 3:07
6 ^ &
7 Ave Jesu Christe 3:53 & Virgo prudentissima 3:34 Ꭿ Pater noster 3:40 Cum jucunditate 3:11
8 * 2011 Naxos Rights International Ltd. 9 Beata Agnes 4:09 ( Salve Regina 2:51 0 Elegerunt Apostoli 3:21 ) Eia ergo 3:07
The Sarum Consort • Andrew Mackay 8.572832 Recorded at Wardour Chapel, Tisbury, Wiltshire, UK, from 28th to 30th August, 2000 8.572832 Producers: Alison Aarsten and Aidan Oliver • Engineer and Editor: Andrew Post (Vif Records) Please see page 2 of the booklet for a detailed track and artist list • Booklet notes: Andrew Mackay Sung texts and English translations are accessible at www.naxos.com/libretti/572832.htm Cover Picture: Interior of Antwerp Cathedral, c.1650 by Pieter the Younger Neeffs (1620-c.1675) (Giraudon / Bridgeman Art Library )