CORO CORO The Sixteen Edition Tomás Luis de Victoria Tomás Luis de Victoria Requiem 1605 The Call of the Beloved

“this is a simply “…this is a beautifully Hail, magnificent prepared and rewarding performance..” recording that deepens international our appreciation of one Mother of the record review of the greatest masters of the Renaissance..” gramophone corsacd16033 cor16007 Redeemer

Francisco Guerrero Philip & Mary Missa de la batalla escoutez A Marriage of England & Spain Tomás Luis de Victoria Janequin - La Guerre Music by Spanish octavi toni and English “…his is thus composers including sophisticated and Litaniae Beatae Mariae Tallis’s great Mass serene, with a stunningly Puer natus as it may beautiful eight-voice Missa Alma have been performed final . The by choirs from Sixteen luxuriate in his both countries on texture and phrase.” The Sixteen Day 1554. cor16067 the sunday times cor16037 Harry Christophers

To find out more about The Sixteen, concert tours, and to buy CDs visit www.thesixteen.com cor16088 am constantly amazed at the constantly ebb and flow. He knew how to write for voices, how to explore subtleties I quality of Tomás Luis de of chording and when to pick out a particular vocal part for total expression. Victoria’s music. Like Palestrina, Victoria is a master craftsman On this recording, we explore some of the sumptuous music Victoria wrote in but he is more than that - he honour of the Virgin Mary. Whilst his glorious Missa brings to his music qualities forms the central part of the disc, it is some of the Marian motets I find to be Photograph: Marco Borggreve Marco Photograph: which one simply does not find intensely beautiful and which, for me, define Victoria as the greatest composer of the in other composers of this era. Renaissance. Just listen to the unique way he opens his 6 part Congratulamini mihi; Perhaps the fact that he devoted it is a motet of rejoicing but the way he layers the chording with each part entering his life to the service of God sets low in their range, makes me think of distant chanting waiting to explode into joy him apart from everyone else or on the words “placui altissimo” (I have pleased the Highest). Sancta Maria is another perhaps, as one eminent critic gem; the simple 4 part texture belies the beseechingly plaintive manner he uses the so rightly wrote, it is simply that voices to shape the Marian text. He employs simple nuances on such words as “refove” he is “a towering genius whose (revive) and rhetorical gestures for “ora pro populo” (pray for the people). work hardly registers on the radar of normal musical life”. “Hail, Mother of the Redeemer” is a fitting tribute to a truly great composer who left to return to his beloved Spain “to spend my time in the contemplation Scholar, mystic, priest, singer, organist and composer - six persons all rolled of the Divine, as befits a priest”. into one. Although he began and ended his life in Spain, he spent most of his working years in Rome, soaking up the great tradition of polyphonic writing and immaculate counterpoint but always preserving his Iberian roots and bringing to his music a richness of texture and a perfect sense of line, allowing his music to

2 3 orn in 1548, Tomás Luis de Victoria Francisco Guerrero, whose music was Hail, Mother of the Redeemer Bwas fortunate to live at the height of familiar to Victoria, for he included Tomás Luis de Victoria (1548-1611) the Counter-Reformation, at a time of Guerrero’s Pastores loquebantur and Beata great vitality in the Roman Church. Music Dei genitrix in his own Roman 1585 print and musicians played a prominent role of motets. 1 in encouraging religious regeneration, a 5 7.32 so there were many opportunities for a Music printing (at least of polyphony) 2 Alma Redemptoris Mater a 5 5.50 musician of Victoria’s talent. He followed was still in its infancy when Morales was 3 Congratulamini mihi a 6 4.56 in the footsteps of that master, Cristóbal de young, yet his reputation was enhanced 4 Sancta Maria 4.16 Morales, (the first Spaniard to have a truly so much by the widespread distribution 5 Gaude Maria 1.56 international reputation), going to Rome of his music in print, that he became the around 1565, where he made himself most famous Spanish composer of the Missa Alma Redemptoris Mater a 8 famous with a flood of compositions, middle years of the 16th century, and 6 2.45 issued in sumptuous prints in Venice and later. His works were printed often and 7 Gloria 4.17 Rome from 1572 on. Unlike Morales, in a wide range of places, and Morales 8 6.59 however, Victoria did not become a singer himself was instrumental in developing 9 and Benedictus 3.55 in the Papal Chapel, but variously held the distribution pathways, particularly bl Agnus Dei 1.59 posts at the Collegium Germanicum, the to Spain, which were to be essential for Church of Santa Maria de Monserrato composers such as Victoria, Guerrero, bm Hymn: 5.27 and the Collegium Romanum, as organist, and others, later in the century. bn Magnificat octavi toni 8.45 singer and teacher; yet in broader outline, bo a 5 3.05 his career still mirrored that of Morales, The Venetian Ottaviano Petrucci was for they both returned to Spain for the the first to issue polyphony in print, bp Ne timeas Maria 3.12 rest of their lives (Morales in 1545 after 10 using movable type, with his Harmonice bq Litaniae Beatae Mariae a 8 7.22 years; Victoria in 1586) to take up posts Musices Odhecaton in 1501, a part-book Total running time 72.23 there. Morales died in 1553, so he will collection of secular songs by Franco- not have known Victoria; but Morales Flemish composers. It was 1516 before certainly taught and greatly influenced the first Roman print of sacred polyphony 4 5 appeared, Antico’s Liber Quindecim, a in 1545, he spent some time in sending single Hymn, six , a Salve accumulating from before Victoria left for choirbook volume of Masses, also by perusal copies to various cathedrals and for 6 voices, several new motets, and six Spain. After that, a book of Masses in 1600, Franco-Flemish masters: Josquin dez other institutions, with some success, reprinted from 1572. and the famous Officium Defunctorum Pres, Pierre de la Rue, Brumel, Mouton, as Toledo Cathedral purchased both of 1605, his tribute to his employer, the Pipelare and Roselli. Apparently it took volumes from him in 1545. In contrast subsequent volumes were Dowager Empress, and his own swan 3 years to prepare the woodblocks from more organised: 1581 (2 prints, sets of song. Both these were printed in Madrid. which the pages were pressed, which gives By the time of Victoria’s maiden publication Office Hymns; and of Magnificats and That however is not the whole story, for some indication of the expense involved (Venice, 1572), the financial risk must Marian ); 1583 (2 prints, one two volumes of Motets appeared in 1589, in these early days. Yet this was a most still have been high, for although he was of nine Masses, four new, including a printed in Milan and in Dillingen, and successful issue, and many copies made a prodigious talent, yet he was relatively Missa pro defunctis; and a comprehensive one in Venice in 1603; and a volume of their way to Spain (where it was generally unknown. However it seems likely that reprint of Motets, with a substantial Hymns, again in Venice. Did Victoria have known, erroneously, as ‘las quince misas Victoria’s 1572 volume was successful. For content of double choir pieces, and one a hand in any of these? Given that they de Josquin - the fifteen masses of Josquin’). one reason the subsequent publication: for 12 voices, Laetatus sum); 1585 (2 contain nothing new, it seems more likely Thomae Ludovici/De Victoria Abulensis/ prints: Holy Week music, Lamentations, that they were independent publications, By 1535, when Morales went to Rome, Collegii Germanici in Urbe/Romae Responsories, Hymns in the Spanish style; taking advantage of his fame, for there he was already a composer of note, and Musicae Moderatoris./Liber Primus./Qui and Motets for the Church year, mainly was no copyright protection in those far- he undoubtedly took manuscript copies missas, Psalmos, Magnificat,/Ad Virginem reprints, but including two by Francisco off times. of his works with him. Despite the Dei Matrem Salutiones..., Venice, 1576, is Guerrero and one by Soriano). ubiquity of the Liber Quindecim and the more of a hotch-potch, like a collection It is clear that fame and fortune for undoubted presence of other such books of what Victoria had managed to Then Victoria retired from his busy life composers during Victoria’s lifetime was in Spain, it is likely that the marketing of accumulate in the interim, and an ‘ad hoc’ in Rome, in 1586/87, taking up the post very dependent upon the publication of such prints was still a very risky venture, hastily assembled collection responding of chaplain to the Dowager Empress their music. No doubt this was a chicken- even by 1544 when Morales had his two to the demand created by the steady, or Maria, a sister of Philip II and the and-egg situation: which came first, fame Mass volumes printed in Rome at the perhaps runaway, success of the 1572 widow of Maximilian II, in Madrid. His or publication? Palestrina, perhaps the premises of Valerio Dorico. A number of book (of course containing some of publications thereafter were few, at least greatest composer of the time, with a both these volumes were sent by Morales Victoria’s greatest inspirations). The 1576 the ones under his own aegis. 1592 saw vast output, was printed and reprinted from Rome to a bookseller in Saragossa, contents are twenty-seven pieces, twenty- the issue, in Rome, of a book of Masses, through his life and long after his death, and when Morales returned to Spain one unpublished before: five Masses, a virtually all new compositions, probably as was Lassus. Yet Victoria’s compositions 6 7 were hardly reprinted at all after his death, were obviously very important to that Victoria based on his own versions Guerrero and Victoria are all related by possibly because he moved away from Victoria, since he composed two settings of the great Marian Antiphons: the musical borrowings. Rome to a relative backwater, Spain. each of Alma Redemptoris, Ave Regina and Missa Salve was published in 1592; the Regina caeli, for 5 and for 8 voices, and no Missa Ave Regina and the Missa Alma Missa Alma Redemptoris is a parody Almost certainly Victoria played a less than four of Salve Regina, two for 5 Redemptoris in that great collection of mainly on Victoria’s own 8-voice setting; major role in a successful promotion voices, and one each for 6 and 8. All these double and triple-choir music of 1600. however in the reduced-voice sections and distribution of his music in Italy, as were immensely popular in his lifetime, It is posterity’s loss that Victoria never such as Christe and Benedictus, it is the Morales had done all those years before reprinted many times, for they contain composed a Missa Regina caeli. long-limbed, lyrical lines of the 5-voice in Spain. Copies of prints issued during glorious music. The influence and direct Alma Redemptoris that Victoria borrows. Victoria’s Roman years surviving today quotation of the plainchants It is well known that composers of The influence and direct quotation of are overwhelmingly in Italian institutions, shape the vocal lines in all these settings. Victoria’s time and earlier commonly plainchant is obvious in the vocal lines of with insignificant numbers in Spain; The 5-voice Salve Regina perfomed here borrowed music from either their own the models and much of this aura is carried and when Victoria retired to Spain he was first published in 1576, and it is an or from another’s compositions, adding over into the Mass. However there is also became more of a priest, seeking a quiet alternatim setting, the stately polyphony to, varying, or reproducing exactly the much new material, and some unusual life of contemplation, composing and paraphrasing the chant in all the voices. whole polyphonic texture when writing touches, for the two “Osannas” are not, publishing next to nothing. Did Victoria Alma Redemptoris and Regina caeli a Mass. Palestrina devoted much of as one might generally expect, separate take some copies of his latest publication were first published in Victoria’s maiden his output of Masses to this procedure; fast triple-time sections (often the same with him when he retired to Madrid publication of 1572. Alma Redemptoris Lassus likewise, Morales, Guerrero music repeated) but brief and continuous, in 1586/87? For with the 1585 book reverentially praises the Virgin, slowing and Victoria too. What is less generally in duple time, with the second in the of motets, while eleven copies remain the polyphony in quasi-chordal textures known is that this also occurred with reduced voicing of the Benedictus. in Italy today, no fewer than eight are to emphasise the words “stella maris” and other pieces: Lassus and later Michael found in the Peninsula. Clearly Victoria’s “Virgo prius”. Regina caeli is more joyous Praetorius composed parody Magnificats, Victoria published in 1581 a complete set presence in Rome was necessary to than prayerful, with its running scales using madrigals as models, for example. of Office Hymns, including, of course, a maintain interest in his music. and extended Alleluias. Of the accompanying group of motets on setting of Ave maris stella. However, the Marian texts, the 4-voice Sancta Maria present version, for 4 voices, was not Settings of Marian texts inspired all the The Missa Alma Redemptoris, for two is of particular interest: Stephen Rice published until as late as 1600. The odd great Renaissance composers to write their 4-part choirs (there is also an optional has recently pointed out that a series of verses are polyphonic, quite varied in greatest music. The Marian Antiphons organ part), is one of the series of Masses settings of this text by Verdelot, Morales, their character, reducing to 3 voices for 8 9 “Virgo singularis”.... concluding with the to intervene, in 1601, to limit publication 2 Tenors. Palestrina commonly wrote ... present continuously in the history of final verse, not as is often the case, with to certain approved texts, as by that time for 2 Tenors, for example in his twenty- the Western art tradition since his death augmented voices, but with a change there were perhaps 80 different forms nine “Song of Songs” settings; however over 4 centuries ago.” (Clara Marvin). In from duple to triple time. Throughout, in circulation. Lassus and Palestrina left Victoria generally seems to favour a contrast, other Renaissance composers the plainchant stamps its character firmly several settings, often to ambitious music bright top register, as in this motet, and sank without trace, or at best remained on the music, and this is also so in the of the highest quality; some others, such notably in his most famous work, the shadowy figures, known only to a select 4-voice Magnificat octavi toni, published as Felice Anerio and Juan Gutierrez de 1605 Officium Defunctorum. few during that time. And Victoria’s star in 1576 in advance of the complete set Padilla, and Victoria, wrote only one. dimmed too, until Pedrell’s late 19th Victoria issued in 1581. In this even-verse Rarely performed, Victoria’s fine setting, Ne timeas Maria, for 4 voices, sets the word century Complete Works revitalized setting, the concluding verse is augmented for 8 voices, is of a selection of the verses of the Angel at the . Never interest. Today, though Victoria had a to 6 voices, with a canon between the 2nd and responses from the standard Roman short of imagination, even in these shorter, relatively small output compared to the Tenor and the 2nd Soprano, which quotes text of the of Loreto. The double sometimes brief, pieces, Victoria always vast compass of Palestrina, yet, ironically, the plainchant almost verbatim. choir form is ideally suited to such a manages to write interesting themes, it seems that a greater range of his music text, and Victoria makes full use of the combining and recombining them, is regularly sung. Only a small number of The Litany was a form of prayer in use antiphonal possibilities here. It concludes imitating from voice to voice. Every motet works by Palestrina spring immediately in the Christian worship from an early with a brief Agnus Dei. demonstrates a technical ease and facility to mind, but surely it is easy to more date. It underwent a major revival in the that is never dull or routine. Victoria than match and surpass this for Victoria? later part of the 16th century, when many Gaude Maria, for 5 voices, designated impresses us with that freshness and Perhaps harmony and harmonic rhythm composers made fine polyphonic settings “In Festo Sanctae Mariae ad Nives” or perfection of his music which continues in Victoria’s music is closer to the major/ of one or other of the variety of texts just “De Beata Virgine”, is notable for to ensure his popularity with listeners and minor tonal character of 18th, 19th and which had come into use over the years. its canon at the unison between the singers even 400 years after his death. 20th century music, still the mainstream By the end of the century there were so 2 top voices, rather in the manner of listening and playing experience today many settings that Georg Victorinus was Guerrero’s famous Ave Virgo sanctissima. On this 400th anniversary of Victoria’s of most musical people. Palestrina, with able to publish a Thesaurus Litaniarum Congratulamini mihi, a sonorous 6-voice death, it is perhaps worthwhile to comment all his perfection remains yet somewhat in 1596, containing a large number setting of a text designated both “In Festo on his place in the musical ‘hall of fame’. alien and intangible to us, Victoria of in various styles, from Nativitas B. M” or “In visitatione B. M”, Renowned in his own time, how is he perhaps seems more familiar. utilitarian, simple chordal to complex makes use of the brightness of 2 Sopranos regarded today? We may compare him to polyphonic. Clement VIII even had against the rich, deeper sonorities of Palestrina who: “... is the oldest composer © 2010 Martyn Imrie 10 11 Texts & Translations 3 Congratulamini mihi a 6 Congratulamini mihi omnes, Let us rejoice together, 1 qui diligitis Dominum, all who love the Lord, Salve Regina a 5 quia cum essem parvula, for though I am very little, Salve Regina, mater misericordia: Hail, Queen, mother of mercy: placui altissimo: I have pleased the Highest; vita dulcedo, spes nostra salve. our life, our sweetness and hope, hail. et de meis visceribus and from my womb Ad te clamamus, exsules, filii Evae. To thee we cry, the banished ones, children of Eve. genui Deum et hominem. I shall give birth to God and man. Ad te suspiramus To thee we send up our sighs, Alleluia. Alleluia. gementes et flentes in hac lacrimarum valle. mourning and weeping in this our vale of tears. Eia ergo, advocata nostra, illos tuos Thou, therefore our advocate, 4 Sancta Maria misericordes oculos ad nos converte. turn thine eyes of mercy towards us. Et Iesum, benedictum fructum ventris tui, And show us , blessed fruit of thy womb, Sancta Maria, succurre miseris, Holy Mary, succour the wretched, nobis post hoc exsilium ostende. after this our exile. iuva pusillanimes, refove flebiles: help the faint-hearted, revive the weeping, O clemens: O kind, ora pro populo, interveni pro clero, pray for the people, intercede for the clergy, O pia: O merciful, intercede pro devoto femineo sexu: and for the faithful feminine sex. O dulcis Virgo Maria. O sweet Mary, ever Virgin. sentiant omnes tuum iuvamen, May all feel your help, quicumque celebrant tuam commemorationem. whoever celebrates your holy Feast. 2 Alma Redemptoris Mater a 5 5 Gaude Maria Alma Redemptoris Mater, Gracious Mother of the Redeemer, quae pervia coeli porta manes you who remain the ever-open gate of Heaven, Gaude Maria Virgo, Rejoice, Virgin Mary, et stella maris: and star of the sea, cunctas haereses sola interemisti you alone have destroyed all heresies succurre cadenti surgere qui curat populo. succour thy people who falling, strive to rise again. in universo mundo. in the whole world. Tu quae genuisti natura mirante, You who gave birth, while Nature marvelled, Alleluia. Alleluia. tuum sanctum genitorem, to your Holy Creator, virgo prius ac posterius, virgin before and after, Gabrielis ab ore sumens illud who heard that from the mouth of Gabriel, Ave, peccatorum miserere. have mercy on sinners.

12 13 Missa Alma Redemptoris Mater a 8 8 Credo Credo in unum Deum I believe in God 6 Kyrie Patrem omnipotentem, the Father almighty, factorem caeli et terrae, Maker of heaven and earth, Kyrie eleison. Lord have mercy on us. visibilium omnium et invisibilium. and of all things visible and invisible. Christe eleison. Christ have mercy on us. Et in unum Dominum, Iesum Christum, And in one Lord Jesus Christ, Kyrie eleison. Lord have mercy on us. Filium Dei unigenitum, the only begotten Son of God, 7 et ex Patre natum ante omnia saecula. begotten of His Father before all worlds. Gloria Deum de Deo, lumen de lumine, God of God, Light of Light, . Glory be to God on high. Deum verum de Deo vero, very God of very God, Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. genitum, non factum, begotten, not made, Laudamus te, benedicimus te, We praise Thee, we bless Thee, consubstantialem Patri, being of one substance with the Father, adoramus te, glorificamus te. we worship Thee, we glorify Thee. per quem omnia facta sunt. by Whom all things were made. Gratias agimus tibi We give thanks to Thee Qui, propter nos homines, Who for us men, propter magnam gloriam tuam. for Thy great glory. et propter nostram salutem, and for our salvation, Domine Deus, Rex caelestis, Lord God, heavenly King, descendit de caelis. came down from heaven. Deus Pater omnipotens. God the Father almighty. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost Domine Fili unigenite, Iesu Christe. O Lord, the only-begotten Son, Jesus Christ. ex Maria virgine, et homo factus est. of the Virgin Mary and was made man. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Crucifixus etiam pro nobis And was crucified also for us Qui tollis peccata mundi, Thou that takest away the sins of the world, sub Pontio Pilato; under Pontius Pilate. miserere nobis. have mercy upon us. passus et sepultus est. He suffered and was buried. Qui tollis peccata mundi, Thou that takest away the sins of the world, Et resurrexit tertia die, And the third day He rose again suscipe deprecationem nostram. receive our prayer. secundum scripturas; according to the scriptures; Qui sedes ad dexteram Patris, Thou that sittest at the right hand et ascendit in caelum, and ascended into heaven, miserere nobis. of the Father, have mercy upon us. sedet ad dexteram Patris. and sitteth at the right hand of the Father. Quoniam tu solus Sanctus, For Thou only art holy, Et iterum venturus est cum gloria And He shall come again with glory tu solus Dominus, Thou only art the Lord, iudicare vivos et mortuos, to judge both the quick and the dead; tu solus Altissimus Iesu Christe. Thou only art the most high, Jesus Christ. cuius regni non erit finis. Whose kingdom shall have no end. Cum Sancto Spiritu With the Holy Spirit Et in Spiritum Sanctum And I believe in the Holy Ghost in gloria Dei Patris. Amen. in the glory of God the Father. Amen. , the Lord and giver of life, 14 15 qui ex Patre Filioque procedit; Who proceedeth from the Father and the Son; bm Hymn: Ave maris stella qui cum Patre et Filio simul Who with the Father and the Son together 1. Ave maris stella, 1. Hail, star of the sea, adoratur et conglorificatur; is worshipped and glorified; Dei Mater alma, bountiful Mother of God qui locutus est per Prophetas. Who spake by the prophets. Atque semper Virgo, and eternal Virgin, Et unam sanctam catholicam And I believe in one holy, Catholic Felix caeli porta. happy gateway to heaven. et apostolicam ecclesiam. and Apostolic Church. unum baptisma I acknowledge one Baptism 2. Sumens illud Ave 2. By that “Ave” in remissionem peccatorum. for the remission of sins. Gabrielis ore: from the mouth of Gabriel, Et expecto resurrectionem mortuorum And I look for the resurrection of the dead Funda nos in pace, establish us in peace, et vitam venturi saeculi. Amen. and the life of the world to come. Amen. Mutans Evae nomen. changing Eve’s name around. 3. Solve vincla reis, 3. Throw off the bonds, 9 Profer lumen caecis, bring light to the blind, Sanctus Mala nostra pelle, banish our ills, Sanctus, Sanctus, Sanctus Holy, Holy, Holy Bona cuncta posce. intercede for all good things. Dominus Deus Sabaoth. Lord God of hosts. 4. Monstra te esse matrem: 4. Show thyself a mother, Pleni sunt caeli et terra gloria tua. Heaven and earth are full of Thy glory. Sumat per te , let Him receive our prayers through thee, Osanna in excelsis. Hosanna in the highest. Qui pro nobis natus, He who was born for us Tulit esse tuus. and is called thy son. Benedictus 5. Virgo singularis, 5. O peerless Virgin, Benedictus qui venit Blessed is He that cometh Inter omnes mitis, gentle above all others, in nomine Domini. in the name of the Lord. Nos, culpis solutos, make us, freed from sin, Osanna in excelsis. Hosanna in the highest. Mites fac et castos. meek and pure. bl 6. Vitam praesta puram, 6. Through thy perfect life, Agnus Dei Iter para tutum: protect our way Agnus Dei, Lamb of God, Ut videntes Iesum, that, seeing Jesus, qui tollis peccata mundi: who takes away the sins of the world, Semper collaetemur. we may rejoice always. miserere nobis. have mercy on us. 7. Sit laus Deo Patri, 7. Praise to God the Father, Agnus Dei, Lamb of God, Summo Christo decus, glory to Christ on high, qui tollis peccata mundi: who takes away the sins of the world, Spiritui Sancto, and to the Holy Spirit, dona nobis pacem. grant us peace. Tribus honor unus. Amen. honour Three in One. 16 17 bn Magnificat octavi toni bo Regina caeli a 5 Magnificat anima mea Dominum: My soul doth magnify the Lord Regina caeli laetare, alleluia: , rejoice, alleluia: et exultavit spiritus meus and my spirit hath rejoiced quia quem meruisti portare, alleluia. for He whom you were chosen to bear, alleluia. in Deo salutari meo. in God my Saviour. Resurrexit, sicut dixit, alleluia. He has risen, as He said, alleluia. Quia respexit humilitatem ancillae suae: For He hath regarded the lowliness of His Ora pro nobis Deum, alleluia. Pray for us to God, alleluia. ecce enim ex hoc beatam me dicent omnes handmaiden: for, behold, from henceforth generationes. all generations shall call me blessed. bp Ne timeas Maria Quia fecit mihi magna, qui potens est: For He that is mighty hath done great things Ne timeas, Maria: Fear not, Mary, et sanctum nomen eius. to me: and holy is His name. invenisti enim gratiam apud Dominum: for thou hast found favour in the sight of the Lord: ecce concipies in utero, behold, thou shalt conceive in thy womb Et misericordiae eius, a progenie in And His mercy is from generation unto et paries filium, and give birth to a son, progenies: timentibus eum. generation, unto them that fear Him. et vocabitur altissimi filius. Who shall be called Son of the Highest. Fecit potentiam in brachio suo: He hath showed strength with His arm; dispersit superbos, He hath scattered the proud bq Litaniae Beatae Mariae a 8 mente cordis sui. in the imagination of their hearts. Kyrie eleison. Lord, have mercy on us. Deposuit potentes de sede: He hath put down the mighty from their Christe audi nos. Christ, hear us. et exaltavit humiles. seat and exalted the humble. Christe exaudi nos. Christ, graciously hear us. Esurientes implevit bonis: He hath filled the hungry with good things, Pater de caelis, Deus: miserere nobis. God the Father of Heaven, have mercy on us. et divites dimisit inanes. and the rich He hath sent empty away. Fili Redemptor mundi Deus: miserere nobis. God the Son, Redeemer of the world, have mercy on us. Suscepit Israel puerum suum: He hath received Israel, His servant, Spiritus Sancte Deus: miserere nobis. God the Holy Ghost, have mercy on us. recordatus misericordiae suae. being mindful of His mercy. Sancta Trinitas unus Deus: miserere nobis. Holy Trinity, one God, have mercy on us. Sancta Maria: ora pro nobis. Holy Mary, pray for us. Sicut locutus est ad patres nostros: As He spoke to our forefathers, Sancta Dei Genitrix: ora pro nobis. Holy Mother of God, pray for us. Abraham et semini eius in saecula. to Abraham and His seed for ever. Sancta Virgo virginum: ora pro nobis. Holy Virgin of virgins, pray for us. et Filio, Glory be to the Father, and to the Son, Mater Christi: ora pro nobis. Mother of Christ, pray for us. et Spiritui Sancto. and to the Holy Ghost. Mater divina gratiae: ora pro nobis. Mother of divine grace, pray for us. Sicut erat in principio, et nunc, As it was in the beginning, is now Mater purissima: ora pro nobis. Mother most pure, pray for us. et semper, saeculorum. Amen. and ever shall be, world without end. Amen. Mater castissima: ora pro nobis. Mother most chaste, pray for us.

18 19 Virgo veneranda: ora pro nobis. Virgin venerable, pray for us. is known internationally as Virgo praedicanda: ora pro nobis. Virgin renowned, pray for us. Harry Christophers founder and conductor of The Sixteen as well as a regular Causa nostra laetitiae: ora pro nobis. Cause of our joy, pray for us. guest conductor for many of the major symphony orchestras Stella matutina: ora pro nobis. Morning star, pray for us. and opera companies worldwide. He has directed The Sixteen Salus infirmorum: ora pro nobis. Health of the sick, pray for us. choir and orchestra throughout Europe, America and the Desiderium collium aeternorum: ora pro nobis. Longing for the Eternal Hills: pray for us. Far East gaining a distinguished reputation for his work in Paradisus voluptatis: ora pro nobis. Paradise of pleasure: pray for us Renaissance, Baroque and twentieth-century music. In 2000 Regina Angelorum: ora pro nobis. Queen of Angels, pray for us. he instituted the Choral Pilgrimage, a national tour of English Borggreve Marco Photograph: Regina Patriarcharum: ora pro nobis. Queen of Patriarchs, pray for us. cathedrals from York to Canterbury in music from the pre- Regina Apostolorum: ora pro nobis. Queen of Apostles, pray for us. Reformation, as The Sixteen’s contribution to the millennium Regina Martyrum: ora pro nobis. Queen of Martyrs, pray for us. celebrations. It raised awareness of this historic repertoire Regina Confessorum: ora pro nobis. Queen of Confessors, pray for us. so successfully that the Choral Pilgrimage in the UK is now Regina Virginum: ora pro nobis. Queen of Virgins, pray for us. central to The Sixteen's annual artistic programme. Regina Sanctorum omnium: ora pro nobis. Queen of all Saints, pray for us. Agnus Dei, qui tollis peccata mundi: Lamb of God, who taketh away the sins of In 2008 Harry Christophers was appointed Artistic Director of Boston’s Handel and Haydn parce nobis, Domine. the world, spare us, O Lord. Society; he is also Principal Guest Conductor of both the Granada Symphony Orchestra and Agnus Dei, qui tollis peccata mundi: Lamb of God, who taketh away the sins of the Orquesta de la Comunidad de Madrid. As well as enjoying a very special partnership with exaudi nos, Domine. the world, graciously hear us, O Lord. the BBC Philharmonic, with whom he won a Diapason d’Or, he is a regular guest conductor Agnus Dei, qui tollis peccata mundi: Lamb of God, who taketh away the sins of with the Academy of St Martin in the Fields and has also conducted the Hallé, the London miserere nobis. the world, have mercy on us. Symphony Orchestra and the San Francisco Symphony. Increasingly busy in opera, Harry Christophers has conducted Monteverdi’s Il ritorno d’Ulisse, Gluck’s Orfeo, Mozart’s Die Zauberflöte, Purcell’s King Arthur and Rameau’s Platée for Lisbon Opera. After an acclaimed English National Opera debut with The Coronation of Poppea he has since returned for Gluck’s Orfeo and Handel’s Ariodante, as well as conducting the UK premiere of Messager’s opera Fortunio for Grange Park Opera. He conducts regularly at • Buxton Opera. 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. 20 21 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 twentieth-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 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. www.thesixteen.com Over one hundred recordings reflect The Sixteen’s quality in a range of work spanning the music Photograph: Mark Harrison 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 Sixteen also feature in the highly successful BBC television series, Sacred Music, presented by Simon Russell Beale. Recording Producer: Mark Brown Recording Engineer: Mike Hatch (Floating Earth) Recorded at: All Hallows Church, Gospel Oak, London, in October 2010 Cover image: El Greco: Annunciation, 1567-1577 (detail). Oil on canvas. SOPRANO Julie Cooper, Grace Davidson, Sally Dunkley, 117 x 98 cm. Museo Thyssen-Bornemisza, Madrid, Spain Kirsty Hopkins, Alex Kidgell, Charlotte Mobbs Design: Andrew Giles: [email protected] 2011 The Voices of ALTO Ian Aitkenhead, David Clegg, William Missin, Christopher Royall The Sixteen Productions Ltd. © 2011 The Sixteen Productions Ltd. Made in Great Britain TENOR Simon Berridge, Jeremy Budd, Mark Dobell, Julian Stocker For further information about recordings on CORO or live performances and tours by The Sixteen, call: +44 (0) 20 7488 2629 or email: [email protected] Bass Ben Davies, Eamonn Dougan, Tim Jones, Stuart Young www.thesixteen.com

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