ANTONY PITTS Missa Unitatis Clemens non Papa | Mouton Verdi | Poulenc | Ešenvalds | Muhly

Nederlands Kamerkoor Cappella Pratensis Nationaal Vrouwen Jeugdkoor James McVinnie | Wilma ten Wolde Stratton Bull | Stephen Layton

1 ANTONY PITTS Missa Unitatis Clemens non Papa | Mouton Verdi | Poulenc | Ešenvalds | Muhly

Nederlands Kamerkoor Cappella Pratensis Nationaal Vrouwen Jeugdkoor James McVinnie | Wilma ten Wolde Stratton Bull | Stephen Layton ANTONY PITTS (b. 1969) NICO MUHLY Missa Unitatis* Spiral Mass**** [1] Kyrie 6:46 [10] Sanctus 3:07 [2] Gloria 6:29 [11] Agnus Dei 3:54

FRANCIS POULENC (1899-1963) GIUSEPPE VERDI (1813-1901) [3] Ave verum** 2:25 [12] Laudi alla vergine Maria** 5:41

JEAN MOUTON (before 1459-1522) ANTONY PITTS [4] Nesciens mater*** 3:48 Missa Unitatis* [13] Sanctus 4:34 TRADITIONAL DALARNA [5] Den signade dag** 2:12 ĒRIKS EŠENVALDS (b. 1977) [14] Spring, the Sweet Spring** 3:23 NICO MUHLY (b. 1981) Spiral Mass**** JACOBUS CLEMENS NON PAPA (1510/15-1555/56) [6] Kyrie 3:05 [15] Ego flos campi*** 2:48 [7] Gloria 4:15 ANTONY PITTS TRADITIONAL DALARNA (arrangement S. Rosenberg) Missa Unitatis* [8] Hemlig stod jag** 4:15 [16] Agnus Dei 3:02

ANTONY PITTS total time 64:06 Missa Unitatis* * Cappella Pratensis/Nederlands Kamerkoor | Stephen Layton, conductor [9] Credo 4:14 ** Nationaal Vrouwen Jeugdkoor | Wilma ten Wolde, conductor *** Cappella Pratensis | Stratton Bull, conductor **** Nederlands Kamerkoor | James McVinnie, organ | Stephen Layton, conductor 4 5 Cappella Pratensis Introduction Stratton Bull, Andrew Hallock | superius This program around the Missa Unitatis represents a meeting of many different Lior Leibovici, Pieter De Moor | altus musical travellers. Shortly after making its home in the southern Dutch city of Peter de Laurentiis, Arnout Lems | tenor ’s-Hertogenbosch in 2006, Cappella Pratensis renewed its acquaintance with Lieven Deroo, Pieter Stas | bassus an organisation that has been travelling through some 700 years of history, the Confraternity of the Illustrious Lady. To celebrate the Year of Religious Nederlands Kamerkoor Heritage in 2008, the Confraternity commissioned a work by the British Annet Lans, Mónica Monteiro, Maria Valdmaa | soprano composer Antony Pitts, thereby continuing the tradition of works of religious Sofia Gvirts, Kaspar Kröner, Chantal Nysingh | alto art made for the organisation, including an altarpiece decorated by one of its Stefan Berghammer, Alberto ter Doest, William Knight | tenor most celebrated members, Jheronimus Bosch. In a reflection of the ecumenical Kees Jan de Koning, Gilad Nezer, Jasper Schweppe | bass make-up of the Confraternity (since the seventeenth century it has been evenly divided between Catholics and Protestants), Pitts composed a ‘mass Nationaal Vrouwen Jeugdkoor of unity’, in fact two separate compositions that can be performed in sync. Veronika Akhmetchina, Indra van de Bilt, Margot Bongenaar, Femke Bruggeman, Noor The two separate works were given their premieres by, respectively, the choir Eddes, Kaylie Fopma, Julia Frieling, Romy Gansevoort, Hanneke Hommes, Michal de Jong, of ’s-Hertogenbosch Cathedral and Cappella Pratensis. Marjolijn Katerberg, Florine Marinelli, Leonie Masselink, Eva Oosterveld, Mieke Overvliet, Berbele Putter, Josja de Ridder, Noëmi Schermann, Irene Spoelman, Inge Stok, Karen The commemoration, in 2016, of 500 years since the death of Jheronimus Bosch Stok, Vera Tolk, Lauren Wessel, Britte Wijtmans, Bernet Wilms, Hilde van Zandbergen was the ideal opportunity to premiere the double-choir version of the Missa Unitatis. The Nederlands Kamerkoor graciously accepted the invitation to join forces with Cappella Pratensis, and the celebrated British musician Stephen Layton brought his wealth of choral experience as conductor. In the series of concerts that followed, in April 2016, a crucial component was the participation of amateur chamber choirs. In this way, each concert was also a meeting between the professional and amateur choral worlds. For the present recording,

6 7 the performances of the Nationaal Vrouwen Jeugdkoor represent this aspect that ‘they all may be one; as You, Father, are in Me, and I in You, that they of the project. The resulting program is a musical crossroads where fellow also may be one in Us: that the world may believe that You have sent Me.’ travellers share their stories with each other and with you, the listener, creating (John 17:21) a moment of unity in diversity – before moving on to new voyages. The Missa Unitatis is the first new mass setting to have been commissioned by Stratton Bull the Illustre Lieve Vrouwe Broederschap (Confraternity of the Illustrious Lady, founded in ‘s-Hertogenbosch in 1318) in almost 500 years, and was written for and premièred separately by two choirs – Cappella Pratensis and the Schola Cantorum of Sint-Janskathedraal, ‘s-Hertogenbosch – each different in size MISSA UNITATIS (8 voices, c. 50 voices), in range (one a 4th higher than the other), and in Recorded here for the first time with two choirs simultaneously, Nederlands function (one a liturgical, the other a concert ensemble). Inspired by the Kamerkoor and Cappella Pratensis, the Missa Unitatis is all about finding – Confraternity’s uniquely balanced membership – precisely as many Protestants and striving to find – mutual understanding. By hearing the five sections of the as Roman Catholics – and by the ingenuities of Ockeghem’s Missa Prolationum Mass interleaved with the diverse separate contributions of each ensemble, and Missa Cuiusvis toni, this ‘Mass of Unity’ is designed to be performed by as well as the Nationaal Vrouwen Jeugdkoor, the theme of potential underlying two choirs separately and/or together: the conceit is that there exists an unity is underlined, and in this recording given a new and unique interpretation. invisible source – an original manuscript – of which the two versions are Choral music has the potential to be a taste of heaven, or at least the radically different editions, thus playing with the tension between intention longing for heaven: partly because it involves our most intimate faculties of and interpretation, original and modern notation. On a technical level, communication, and partly because it allows humans to live and act in harmony the familiar Mediaeval/Renaissance proportion of 4:3 is invoked on many in a very literal way (even if only for a few fleeting moments). There is a journey levels, while the melodic cell or head-motif of E, F, G, B-flat, F, C permeates towards a Spirit-led unity through the five ‘movements’ of this Mass setting – the texture from start to finish. Although different in speed and pitch at various from alternating perspectives in the Kyrie and opposing rhetoric in the Gloria, points, these two versions can be sung together in a number of ways – to be via simultaneous declaration in the Credo, and intense re-exploration in the discovered by the performers. The conductor Stephen Layton collaborated Sanctus and Benedictus, to the final heartfelt agreement of the Agnus Dei. with the composer to arrive at the version on this disc. A new edition of this The vision is one of fulfilment of the prayer of Jesus after the Last Supper, version is available from www.lulu.com/1equalmusic.

8 9 Kyrie Credo To begin, the Kyrie’s ninefold structure (Kyrie-Kyrie-Kyrie, Christe-Christe-Christe, The central Credo (the composer’s wife’s favourite of all his pieces) is upbeat and Kyrie-Kyrie-Kyrie) is filled with a selection from the many possibilities outlined in full of energy, with harmonic echoes of a 12-bar blues – deliberately very different the single-choir versions of the Missa Unitatis. Each of the three groups of three from what many people associate with the weekly proclamation of the Nicene sections begins with a kind of plainchant – a version of the six-note head-motif – (or Constantinopolitan) Creed, easily dulled by familiarity. The music is such that after which the two worlds of Choir I and Choir II alternate in polyphony. In the the whole text can, in theory, be intoned on one note; in this double-choir version third section Choir II sings the music that Choir I sang in the second section, one part from Choir II leads three parts from Choir I, who are then echoed by but slower and lower (by the interval of a fourth) and with an extra melody line the remaining one part from Choir I leading three parts from Choir II. On the on top; for ‘Christe eleison’ this process is more-or-less reversed in the fifth and text of the Creed there is then, almost complete unity (to be exact: in the score sixth sections; and then in the ninth section – the final ‘Kyrie eleison’ – the two the ‘filioque’ clause, a point of division in the Church between East and West a Choirs both sing the same music together, but notated differently (one with thousand years ago, is set in such a way that it can be omitted or retained triplets, the other with dotted notes). as necessary).

Gloria Sanctus This process of searching for unity moves a step closer in the Gloria, where the The Sanctus and Benedictus move into a richer and more intricate exploration relaxed triplets of Choir II and the lively dotted notes of Choir I seem to be of the Mass’s musical themes and ideas: first a peroration of two intervals from speaking at each other, then coming together at both appearances of ‘Jesu the head-motif – the semitone and the perfect fourth – for the words ‘Holy, Holy, Christe’ in the text, the one ‘foundation’ of the Church (1 Corinthians 3:11) – Holy’; then block chords in groups of three for ‘Heaven and earth are full of Your the first time slowing down into a call-and-answer section, the second time in glory’; a sinewy ‘Hosanna’ followed by answering calls of ‘in excelsis’ between the exact and happy unison after many back-and-forward phrases of polyphony. two Choirs; in the Benedictus the melodic ideas are developed further, starting The ‘Amen’ is relatively long (as in a number of mediaeval polyphonic Glorias) simply but getting increasingly harmonically dense before exploding into and each overlapping part from one Choir adds an intense new colour to the ‘Hosanna’ in up to a dozen independent parts at once. harmony of the other Choir.

10 11 Agnus Dei Ego flos campi Finally, the two Choirs come to complete musical unity in the seven-part setting Between October and December 1550 the composer Jacobus Clemens of the Agnus Dei, where the tune that was first heard fully in the Sanctus is sung (nickname ‘Non Papa’) was a guest of the Confraternity in ’s-Hertogenbosch. over the top of slow-moving harmonies from the Gloria. The three sections are The Confraternity’s account books show that Clemens composed a motet for his separated by silence, and each time the lowest bass part begins with the first half hosts ‘in honour of our dear lady’. Although the account books do not mention of the head-motif (a third higher each time) before overflowing on the final page the name of this work, it is all but certain that it was the seven-voice Ego flos into descending fourths – the second half of the head-motif – and ending on a campi, as this work includes a triple-repetition in clearly declaimed homophony of resonant yet not fully resolved chord. Real unity, for the Church and for all the Confraternity’s motto ‘Sicut lilium inter spinas’ (‘Like a lily among the thorns’, of Creation, is still to come. a quote from the Old Testament Song of Songs). The seven-voice texture may be interpreted symbolically, a sounding representation of the ‘Seven Joys of Mary’. Antony Pitts Stratton Bull

Nesciens mater The motet Nesciens mater by Jean Mouton is one of this French composer’s Spiral Mass many works included in the brilliant collection of choirbooks still held by the Spiral Mass (2014) is an attempt to set the text of the Latin Mass using a Confraternity of the Illustrious Lady in ’s-Hertogenbosch. His music will certainly completely different harmonic structure from my Bright Mass with Canons (2005), have rung familiar in the ears of the sworn brothers of the Confraternity, and is, in a sense, a love-letter to Stravinsky’s own Mass (1948). Both the rhythms and no doubt this piece will have enjoyed special status because of its and the notes obey circular, rather than linear, rules. This is immediately clear monumental form and rich sound. The work consists of four canons sung from the organ’s first entry, and amplified, slowly, by the choir’s first phrases in simultaneously, thus generating eight voices out of the four notated parts. the Kyrie. The Gloria obsesses over multiple tempi: little mathematical formulae The result is a complex, sparkling texture that shines with the joy of the from the organ that antagonise the lyricism from the voices. Here, Stravinsky’s Virgin Mary, here depicted as a young mother. influence is most evident in the little symmetries in the texts ‘Domine Deus, Rex cœlestis, Deus Pater omnipotens. Domine Fili unigenite...’. After a brief pause on the text ‘miserere nobis’, the anxious spiral-shaped patterns begin

12 13 again, and usher in a fast, Stravinskian conclusion and Amen. The Sanctus is and arranger of Swedish folk music, arranged the song Hemlig stod jag based ecstatic, nervous, and tries to saturate pitches and rhythms fully: the heavens old recordings of Swedish and Estonian folk singers. A special, non-classical style are choked with radiance and bright harmonies. The Benedictus is calm, of singing is used for Hemlig stod jag: the melody line is mainly sung on the and the voices give way to the organ for most of the complicated rhythmic consonants while the vowels are kept very short. The combination of this and work. The Agnus Dei uses a semi-chorus of three voices, singing after the certain subtle melodic ornaments result in unique effects. fashion of early music, against the main body of the choir — here, the love-letter is to Byrd’s four-part mass, particularly the Agnus Dei. The organ offers a drone, Laudi alla vergine Maria and pastorally random interjections. Giuseppe Verdi’s Laudi alla vergine Maria forms part of the cycle Quattro pezzi sacri. Written towards the end of the composer’s life in the late 1880s, this work Nico Muhly is a setting for four women’s voices of a short prayer taken from Canto XXXIII of Dante’s Paradiso.

Ave verum Spring, the sweet Spring Francis Poulenc wrote his setting of the well-known Eucharistic hymn Ave verum Spring, the sweet Spring is a hymn of praise to springtime. The work was in 1952. This work for three voices is effective and clear, starting with imitative composed by the Latvian composer Ēriks Ešenvalds as a gift to the Nationaal entries in the Renaissance style but then moving into homophonic declamation Vrouwen Jeugdkoor on the choir’s fifteenth birthday. with more modern harmonies. The result has a direct emotional appeal. Wilma ten Wolde Hemlig stod jag and Den signade dag The two Swedish songs, Hemlig stod jag and Den signade dag, originate from Dalarna, a province in the central part of Sweden. Traditionally, the melodies of such songs were passed on by word of mouth, but they were also notated in a 1697 Swedish hymn book. The Nationaal Vrouwen Jeugdkoor performs Den signade dag as a unison song, as it was still performed in Dalarna at the beginning of the twentieth century. Susanne Rosenberg, a well-known performer

14 15 Cappella Pratensis | Stratton Bull – Artistic Director leading ensembles in Europe and North America, including Tafelmusik Toronto, The vocal ensemble Cappella Pratensis – literally ‘Cappella des prés’ – champions Hesperion XX, Cantus Cölln and Capilla Flamenca, and has sung in Cappella the music of Josquin Deprez and the polyphonists of the fifteenth and sixteenth Pratensis since 1988, shortly after its founding. Artistic director since 2004, centuries, while also venturing into new music inspired by the polyphonic Stratton Bull has developed a special interest in the performance of fifteenth- tradition. The group combines historically informed performance practice with and sixteenth-century polyphony from original notation. He has given frequent inventive programmes and original interpretations based on scholarly research workshops and masterclasses on this approach to performance practice. Through and artistic insight. As in Josquin’s time, Cappella Pratensis performs from his work with the Alamire Foundation (International Centre for the Study of mensural notation presented in a partbook or choirbook, the latter placed on a Music in the Low Countries, University of Leuven), he collaborates closely with large central music stand. This approach, together with attention to such factors musicologists on projects related to the music sung by Cappella Pratensis, as the chant origins of the polyphonic repertoire, the modal system on which it including the digitization of late medieval music sources. is based, the influence of solmisation, and the linguistic basis, creates an intense engagement with the music. Nederlands Kamerkoor (Netherlands Chamber Choir) For some eighty years the Nederlands Kamerkoor has enjoyed a place at the Besides regular appearances at concert venues in the Netherlands and Belgium, top of the international choral world. Since the very beginning the choir has Cappella Pratensis has performed at leading international festivals and concert been known for being adventurous and innovative. It owes this reputation to series throughout Europe, North America, and Japan. The group has been commissions of works by both well-known composers and young talent, and a ensemble-in-residence at Harvard University, the Fondation Royaumont (France), continuous search for new formats and exciting collaborations. This results in and Boston University, giving courses, presenting concerts and working with concerts that appeal to all the senses. The choir has been praised by critics in distinguished musicians. The ensemble’s CD recordings have met with critical and outside the Netherlands: ‘treacherous harmonies’, according to The Times acclaim and distinctions from the press, including the Diapason d’Or and the (London, 2017) and de Volkskrant (Amsterdam, 2016): ‘a leading top ensemble.’ Prix Choc. Education and participation is a vital part of the choir’s mission. The Netherlands Stratton Bull has thousands of amateur choirs and numerous youth choirs. The Nederlands After completing studies in language and literature, Stratton Bull studied Kamerkoor provides coaching and workshops, and ‘adopts’ choirs as supporting voice at the Royal Conservatory in his native Toronto and subsequently at acts for their own concerts. the Royal Conservatoire in The Hague. As a singer he has performed with

16 17 Since September 2015 Peter Dijkstra has been chief-conductor of the Nederlands Europe 2017 programme and traveled to Kecskemét, Hungary to be part of the Kamerkoor. He is one of the most in demand choral conductors world-wide and Choir Conducting masterclasses at the Kodály Institute. is known for his sparkling performances. Amongst his predecessors with the Nederlands Kamerkoor were such renowned conductors as Uwe Gronostay, Antony Pitts Tõnu Kaljuste, Stephen Layton, Risto Joost, and founder Felix de Nobel. ‘My first impulse on hearing this disc was to commend it unreservedly to each and every man, woman, and child on the planet’ Fanfare magazine on Seven Letters Nationaal Vrouwen Jeugdkoor (Netherlands Female Youth Choir) and other Sacred Music The members of the Nationaal Vrouwen Jeugdkoor range between sixteen and twenty-nine years of age and live throughout their home country. One of several composers in his family and recipient of the Cannes Classical The Artistic Director is Wilma ten Wolde, assisted by vocal coach Irene Verburg. Award, Prix Italia, and Radio Academy BT Award, Antony Pitts was a Chapel The Nationaal Vrouwen Jeugdkoor regularly performs in major concert series Royal treble, Academic and Honorary Senior Scholar at New College, Oxford, in The Netherlands, and has joined forces with such well-known orchestras as Senior Lecturer at the Royal Academy of Music, Senior Producer at BBC Radio the Radio Philharmonic Orchestra and the Berlin Philharmonic Orchestra. The 3, and is Founder-Director of British ensemble TONUS PEREGRINUS and Artistic Nationaal Vrouwen Jeugdkoor has released many CDs, including Hjärtans Director of Australia’s leading vocal consort, The Song Company. He has been Fröjd with the renowned Swedish choral conductor Eric Ericson, and the world commissioned by Cheltenham Music Festival, The Clerks, King’s College London, premiere of the St Luke Passion by James MacMillan with conductor Markus London Festival of Contemporary Church Music, Choir of New College Oxford, Stenz. The Dutch newspaper Het Parool praised the choir’s performance of Oxford Camerata, Oxford Festival of Contemporary Music, Rundfunkchor Berlin, the challenging role of Christ in this piece: ‘…those flawless and non-vibrato The Swingle Singers, and Westminster Cathedral Choir. His music has been young voices cut straight through your soul.’ For the past ten years the choir premiered at London’s Westminster Cathedral and Wigmore Hall, Amsterdam’s has performed for the national memorial for war victims in the Netherlands. Concertgebouw, Berlin’s Philharmonie Kammermusiksaal, and Sydney Opera The Nationaal Vrouwen Jeugdkoor also performs outside the Netherlands on a House, and at memorials for Alexander Litvinenko. Antony Pitts’s compositions regular basis: they joined the diplomatic mission in Ankara to celebrate 400 years are published by 1equalmusic and Faber Music – notably The Naxos Book of of diplomatic alliances between The Netherlands and Turkey in 2012, and were Carols and the 40-part motet XL. His radiophonic works have been broadcast invited to the European Youth Choir Festival in Basel in May of 2016. In 2017 they on the BBC and across the EBU, and recordings of his music can be heard on joined the Aarhus Pigekor in Denmark in concert as part of the Cultural Capital of Challenge Records, Delphian, Hyperion, Harmonia Mundi, Naxos, Novum,

18 19 Signum, and Unknown Public; a remix of his oratorio Jerusalem-Yerushalayim Stephen Layton’s eclectic discography encompasses a vast range of repertoire, is forthcoming. His Missa Unitatis for the Illustre Lieve Vrouwe Broederschap composers, and genres. His recordings have met with wide critical acclaim, (Confraternity of the Illustrious Lady) was the first mass commissioned by the including such honours as the Diapason d’Or for best choral disc of the year, foundation for almost 500 years. numerous Grammy nominations, the prestigious Echo Klassik award in Germany, and the Gramophone award. His recordings have also gone to number one in the Stephen Layton UK Specialist Classical Charts and the Classical Billboard Chart in the USA. ‘...Layton’s performances inspire the soul as they break the heart with their intense beauty...’ American Record Guide Wilma ten Wolde Wilma ten Wolde studied choir conducting, church music, and musicology. Stephen Layton was raised in , where his father was a church organist. He After finishing her studies she specialised in vocal education for children and was a chorister at Winchester Cathedral, and subsequently won scholarships to youth. In 1987 she started her first choir school, Viva la Musica. In 2000 Wilma Eton College and then King’s College, Cambridge as an under ten Wolde became artistic manager and conductor of the Netherlands Children’s . Choir and Nationaal Vrouwen Jeugdkoor.

Founder and Director of the vocal ensemble Polyphony, Layton is also Music Ten Wolde has been a professor in solfege and ensemble-singing at the Royal Director of the and in 2006 was made a Fellow and Director of Conservatory of The Hague. She teaches masterclasses in Sweden, Denmark, Music at Trinity College, Cambridge. Layton guest-conducts widely and has Spain, France, Germany, and Hungary and works together with Danish professor worked with leading orchestras and choirs, including the Hallé Orchestra, Inge Marstal on the development of musical hearing in children. She has Philadelphia Orchestra, London Philharmonic Orchestra, BBC Singers, Estonian prepared over sixty different productions with the Netherlands Children and Philharmonic Chamber Choir, Latvian Radio and State Choirs, English Chamber Youth Choirs for such orchestras as the Royal Concertgebouw Orchestra, Orchestra, Scottish Chamber Orchestra, and the Melbourne Symphony Orchestra. the Dutch Radio Philharmonic Orchestra, the Arnhem Philharmonic Orchestra, He also collaborates regularly with the Orchestra of the Age of Enlightenment, the Rotterdam Philharmonic Orchestra, and the Berlin Philharmonic Orchestra, Academy of Ancient Music and Britten Sinfonia. working with conductors including Riccardo Chailly, Jaap van Zweden, Iván Fischer, Mariss Jansons, Sir Simon Rattle, Bernard Haitink, Andrea Marco, Nikolaus Harnoncourt, Vladimir Jurovsky, and Markus Stenz.

20 21 [1] Kyrie James McVinnie Kyrie eleison. Lord, have mercy upon us. Organist James McVinnie has collaborated with some of the world’s leading Christe eleison. Christ, have mercy upon us. composers, producers, and performers of classical, contemporary, popular, Kyrie eleison. Lord, have mercy upon us. and experimental music. Nico Muhly, Tom Jenkinson/Squarepusher, Martin Creed (winner of the 2001 Turner Prize), Richard Reed Parry (Arcade Fire), David Lang [2] Gloria (winner of the 2008 Pulitzer Prize in music), and Bryce Dessner (The National) Gloria in excelsis Deo, Glory be to God on high, have written works for him. Recent highlights include a solo recital at the Walt et in terra pax hominibus and on earth peace bone voluntatis. goodwill towards men. Disney Concert Hall, Los Angeles and a subsequent concerto debut with the Laudamus te. Benedicimus te. We praise You. We bless You, Los Angeles Philharmonic under Esa Pekka Salonen in that orchestra’s Reykjavík Adoramus te. Glorificamus te. We worship You. We glorify You. Festival. He also gave the first performance of ‘Music in 12 Parts’ by Philip Glass Gratias agimus tibi, We give thanks to You performed by any other group than the composer’s own Ensemble, at London’s propter magnam gloriam tuam. for Your great glory. Barbican Centre. His recent collaboration with Tom Jenkinson (Squarepusher) Domine Deus, rex celestis, Lord God, heavenly king, was presented at the Concertgebouw Amsterdam by the Holland Festival 2017. Deus Pater omnipotens. God the Father Almighty. Future projects include commissioning a project with the CRASH ensemble, Domine, Fili Unigenite Jesu Christe, Lord, the only-begotten Son, Jesus Christ, Domine Deus, Agnus Dei, Lord God, Lamb of God, a new concerto by Nico Muhly with the LA Philharmonic in their 2017/18 season Filius Patris. Son of the Father. as well as a return to Glyndebourne in 2018 to perform on stage concertos in Barrie Kosky’s groundbreaking production of Handel’s ‘Saul’. Qui tollis peccata mundi, You who take away the sins of the world, miserere nobis; have mercy on us; qui tollis peccata mundi, You who take away the sins of the world, suscipe deprecationem nostram; receive our prayer; qui sedes ad dexteram Patris, You who sit at the right hand of the Father miserere nobis. have mercy on us. Quoniam tu solus sanctus For You alone are holy, tu solus Dominus You alone are the Lord, tu solus Altissimus You alone are the most high, Jesu Christe Jesus Christ

22 23 cum Sancto Spiritu with the Holy Spirit [6] Kyrie see [1] in gloria Dei Patris. in the glory of God the Father. Amen. Amen. [7] Gloria see [2]

[3] Ave verum [8] Hemlig stod jag Ave verum corpus Christi, Hail, true body of Christ, Hemlig stod jag en morgon Hidden I stood one morning natum ex Maria Virgine, born of the Virgin Mary, uppå en lönnlig stad in a secluded town, vere passum immolatum who having truly suffered, med mycken gråt och vånden with great cry and worry in cruce pro homine. was sacrificed on the cross for mankind. hörde jag huru bad I heard a command being made döden om en unger man by death to a young man. [4] Nesciens mater den honom hade gripit It had got hold of him Nesciens mater virgo virum peperit sine dolore Without knowing a man, the virgin mother och bundit med starkt band. and tied him down with a strong rope. salvatorem seculorum, ipsum regem angelo- bore without pain the saviour of the ages, the rum. Sola virgo lactabat ubere de celo pleno. very king of angels. She alone as a virgin gave Dyr tid, krig, också örlig, Hard times, war, and struggle milk, her breasts filled from heaven. nu höres i all land are now seen in every land: [5] Den signade dag nu handlas otillbörlig men performing deplorable deeds, Den signade dag, som vi nu här se The blessed day that we now see med mord, rov eld och brand murdering, plundering, and burning av himmelen till oss nedkomma, descending on us from Heaven, både till vatten och land. at sea as well as on land. han bliver oss säll, han låte sig te he is our bliss, he shows himself to us För synden Gud det sänder Because of our sins God punishes us oss allom till glädje och fromma. to our great joy and piety. genom sin starka hand. with the strength of his firm hand. Ja, Herren den högste oss alla i dag Yes, the Lord, the Highest One will tend to us För synder och sorger bevare! today and protect us from sins and grief! [9] Credo Credo in unum Deum, I believe in one God, Men såsom en fågel mot himmelens höjd Like a bird ascending to the sky Patrem omnipotentem, the Father Almighty, sig lyfter på lediga vingar, freely rising higher and higher on its wings factorem celi et terre, maker of heaven and earth, han lovar sin Gud, är glad och förnöjd, loudly praising its God with joy visibilium omnium, et invisibilium. of all things visible and invisible. när han över jorden sig svingar, while soaring above the earth, Et in unum Dominum Jesum Christum And in one Lord, Jesus Christ, så lyfter sig själen i hjärtelig fröjd that is how our souls will joyfully ascend Filium Dei unigenitum the only-begotten Son of God till himlen med lovsång och böner. with songs of praise and prayers to Heaven. et ex Patre natum ante omnia secula; eternally begotten of the Father;

24 25 Deum de Deo, lumen de lumine, God of God, light of light, et apostolicam ecclesiam. and apostolic Church. Deum verum de Deo vero, true God of true God Confiteor unum baptisma I acknowledge one baptism genitum, non factum; begotten, not made; in remissionem peccatorum. for the remission of sins. consubstantialem Patri: being of one substance with the Father: Et exspecto resurrectionem mortuorum, And I look for the resurrection of the dead per quem omnia facta sunt. through whom all things were made. et vitam venturi seculi. and the life of the world to come. Qui propter nos homines, Who for us men Amen. Amen. et propter nostram salutem, and for our salvation descendit de celis came down from heaven. [10] Sanctus et incarnatus est de Spiritu Sancto And was incarnate by the Holy Spirit Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, ex Maria virgine: from the Virgin Mary: Dominus Deus Sabaoth. Lord God of Hosts. et homo factus est. and was made man. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Your glory. Crucifixus etiam pro nobis, He was crucified also for us Hosanna in excelsis. Hosanna in the highest. sub Pontio Pilato, under Pontius Pilate, passus et sepultus est: He suffered and was buried: Benedictus qui venit in nomine Domini. Blessed is He who comes in the Name of the Et resurrexit tertia die And the third day He rose again Hosanna in excelsis. Lord. Hosanna in the highest. secundum scripturas, according to the Scriptures, et ascendit in celum, and ascended to heaven, [11] Agnus Dei sedet ad dexteram Patris, and sits at the right hand of the Father, Agnus Dei, qui tollis peccata mundi: Lamb of God, You who take away the sins of et iterum venturus est cum gloria, and He shall come again in glory, miserere nobis. the world: have mercy upon us. judicare vivos et mortuos: to judge both the living and the dead: Agnus Dei, qui tollis peccata mundi: Lamb of God, You who take away the sins of cujus regni non erit finis. whose kingdom shall have no end. miserere nobis. the world: have mercy upon us. Et in Spiritum Sanctum And in the Holy Spirit, Agnus Dei, qui tollis peccata mundi: Lamb of God, You who take the sins of the Dominum et vivificantem, the Lord and Giver of life, dona nobis pacem. world: grant us Your peace. qui ex Patre [Filioque] procedit. who proceeds from the Father [and the Son]. Qui cum Patre Filioque Who with the Father and the Son [12] Laudi alla vergine Maria simul adoratur et conglorificatur; together is worshipped and glorified, Vergine madre, figlia del tuo figlio, Virgin mother, daughter of your son, qui locutus est per prophetas. who spoke through the prophets. umile ed alta più che creatura, more humble and exalted than all other Et in unam, sanctam, catholicam, And in one holy, catholic termine fisso d’eterno consiglio, creatures, sure destination of the eternal plan,

26 27 Tu se’ colei che l’umana natura You are the one who gave such nobility [14] Spring, the Sweet Spring nobilitasti sì, che ‘l suo fattore to human nature, that its creator Spring, the sweet spring, is the year’s pleasant king, non disdegnò di farsi sua fattura. did not disdain to make himself its creature. Then blooms each thing, then maids dance in a ring, Cold doth not sting, the pretty birds do sing: Nel ventre tuo si raccese l’amore Within your womb love was rekindled, Cuckoo, jug-jug, pu-we, to-witta-woo! per lo cui caldo nell’eterna pace through whose heat in the eternal peace così è germinato questo fiore. this flower was germinated. The palm and may make country houses gay, Lambs frisk and play, the shepherds pipe all day, Qui se’ a noi meridïana face For us you are a noonday torch And we hear aye birds tune this merry lay: di caritate, e giuso, intra i mortali, of charity, and here below among mortals Cuckoo, jug-jug, pu-we, to-witta-woo! se’ di speranza fontana vivace. you are the living fountain of hope. The fields breathe sweet, the daisies kiss our feet, Donna, se’ tanto grande e tanto vali, Lady, you are so great and so worthy, Young lovers meet, old wives a-sunning sit, che qual vuol grazia ed a te non ricorre, that he who longs for grace and runs not to you, In every street these tunes our ears do greet: sua disïanza vuol volar senz’ali. his longing would be like flying without wings. Cuckoo, jug-jug, pu-we, to witta-woo!

La tua benignità non pur soccorre Your loving kindness not only gives help [15] Ego flos campi a chi dimanda, ma molte fïate to whoever asks for it, but often Ego flos campi et lilium convallium. Sicut lilium I am the flower of the field and the lily of the valley. liberamente al domandar precorre. freely gives even before the asking. inter spinas, sic amica mea inter filias. Fons hor- Like a lily among the thorns, so is my beloved among torum et puteus aquarum viventium qui fluunt the young girls. A fount in the gardens and a spring In te misericordia, in te pietate, In you is mercy, in you is pity, impetu de Libano. of living water, flowing strongly from Lebanon. in te magnificenza, in te s’aduna in you is magnificence, in you is united quantunque in creatura è di bontate. whatever goodness is in any creature. [16] Agnus Dei see [11] [Ave!] [Hail!]

[13] Sanctus see [10]

28 29 This production has been made possible through the generous support of: Bosch500, Fonds voor de Podiumkunsten, Dioraphte, Provincie Noord-Brabant, Gemeente ‘s-Hertogenbosch, Gemeente Utrecht, Mr. Paul de Gruyter Stichting and the Illustre Lieve Vrouwe Broederschap (Confraternity of the Illustrious Lady). Executive Producer: Anne de Jong Recording dates and locations: Tracks 1, 2, 4, 6, 7, 9, 10, 11, 13, 15 & 16: 6-8 May 2016, Sint Catharinakathedraal, Utrecht, The Netherlands Tracks 3 & 12: 22 April 2016, Pieterskerk, Utrecht, The Netherlands Track 8: 5 Juni 2015, Westvestkerk, Schiedam, The Netherlands Tracks 5 & 14 : 12 February 2011, Westvestkerk, Schiedam, The Netherlands

Organ: Maarschalkerweerdorgel, 1903 (Sint Catharinakathedraal, Utrecht) Audio engineers: Felicia Bockstael, Steven Maes A&R Challenge Records International: Anne de Jong Liner notes: Stratton Bull, Nico Muhly, Antony Pitts, Wilma ten Wolde Mr. Paul de Gruyter Stichting Translations: Stratton Bull, Åsa Olsson, Peter de Laurentiis Booklet editing: Geeske Coebergh, Boudewijn Hagemans, Stratton Bull Cover photo of Antony Pitts: Malcolm Crowthers Product coordination: Boudewijn Hagemans Graphic design: Natasja Wallenburg & Juan Carlos Villarroel, newartsint.com Cappella Pratensis Business Manager: Ankie Til Special thanks to: Project coordinator: Geeske Coebergh Marcel Ploegmakers, Marc Versteeg, Stichting Babel/Brabants VolKoren, Max Radio 4, Karel Noordzij, Ferdinand Sassen, Jo Timmermans, Sint challengerecords.com / cappellapratensis.nl Catharinakathedraal, Wouter van Belle, Stichting Vrienden Cappella Pratensis. nederlandskamerkoor.nl / nationalekoren.nl

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