Music from THE ETON CHOIRBOOK LAMBE • STRATFORD • DAVY BROWNE • KELLYK • WYLKYNSON TONUS PEREGRINUS Music from the Eton Choirbook Out of the 25 composers The original index lists more represented in the Eton than 60 antiphons – all votive The Eton Choirbook – a giant the Roses’, and the religious reforms and counter-reforms Choirbook, several had strong antiphons designed for daily manuscript from Eton College of Henry VIII and his children. That turbulence devastated links with Eton College itself: extraliturgical use and fulfilling Chapel – is one of the greatest many libraries (including the Chapel Royal library) and Walter Lambe and, quite Mary’s prophecy that “From surviving glories of pre- makes the surviving 126 of the original 224 leaves in Eton possibly, John Browne were henceforth all generations shall Reformation England. There is a College Manuscript 178 all the more precious, for it is just there in the late 1460s as boys. call me blessed”; one of the proverb contemporary with the one of a few representatives of several generations of John Browne, composer of the best known – and justifiably so Eton Choirbook which might English music in a period of rapid and impressive astounding six-part setting of – is Walter Lambe’s setting of have been directly inspired by development. Eton’s chapel library itself had survived a Stabat mater dolorosa 5 may have gone on to New Nesciens mater 1 in which the composer weaves some the spectacular sounds locked forced removal in 1465 to Edward IV’s St George’s College, Oxford, while Richard Davy was at Magdalen of the loveliest polyphony around the plainchant tenor up in its colourful pages: “Galli cantant, Italiae capriant, Chapel – a stone’s throw away in Windsor – during a College, Oxford in the 1490s. We can imagine these (sung by itself on track 3). The Magnificat is Mary’s song Germani ululant, Anglici jubilant” (roughly translated as temporary fall from royal favour. It was under the rule of composers and their fellow-singers grouped around the of praise and joy in response to her cousin Elizabeth’s “The French sing, the Italians quaver, the Germans wail, Henry VII, who had claimed the monarchy for the Tudors huge choirbook on a lectern – seven or so men, and in own prophetic salutation: “Blessed art thou among and the English make a joyful noise!”). English musicians in 1485 at the Battle of Bosworth, that the repertoire of the front, ten boys who with eyesight still undimmed could women, and blessed is the Fruit of thy womb”; and at had loved successions of joyful-sounding thirds (C+E, Eton Choirbook particularly flourished, and the Choirbook read from the top of the very large pages. The size of the some point no fewer than 24 versions of the Magnificat D+F) for generations before the Eton Choirbook, as can be itself was put together around 1500 – described in a 1531 pages meant they had to be parchment and, in order to be were added to the Choirbook, including a virtuosic setting heard in the first complete setting of the Passion (Naxos inventory as “a grete ledger of prick song secundo folio legible in the uncertain candlelight, the music was solidly by Hugh Kellyk 6 – of which this is believed to be the first 8.555861). By experimenting with full triads (C+E+G) John tum cuncta”. Putting together a Choirbook was no small inscribed on staves 2cm high. Each voice-part is written recording; and last but certainly not least, the ebullient Dunstaple – the first truly great English composer – was feat: as Magnus Williamson notes in his introduction to out by itself (without barlines) on one part of the open four-part setting by William Stratford 2 which we sing able to take this jubilation to a new level, such that in 1475 the recently-published DIAMM facsimile, not only would it double-page spread: unlike a modern score there is no here in alternating (and finally combined) choirs of upper the musicologist Tinctoris could claim that music had been have cost somewhere in the region of an entire annual vertical alignment between the parts and there is little to and lower voices. Stratford’s polyphony appears to transformed during his own lifetime into a “new art” (Naxos salary (of, say, a senior chaplain), but would also have show the existence of the tactus – or beat – apart from the contain two quirky but audible examples of rhythmic word- 8.557341). This “joyful noise” remained a quintessentially “required the skins of 112 average-sized calves”! groupings of the noteheads. The noteheads used painting: one lost beat between the words “the rich” and English characteristic through the extremes of Tallis’s practically throughout are in “black-full” notation (i.e. filled- “He hath sent empty away”, and one extra beat at the forty-part motet Spem in alium (Naxos 8.557770) and However magnificent, the music in semibreves and minims) which survived later in words “his seed for ever”. Gibbons’s ravishing Hymnes and Songs of the Church of the Eton Choirbook is just the England than on the Continent, rather than the more (Naxos 8.557681) to English composers of the 20th tip of a titanic schedule of familiar “black-void” notation (which is more-or-less what Almost the final addition to the century and today. But it is in the Eton Choirbook itself that devotions and supplications we still use today). Red ink, too, provided a way of Choirbook is a Passion setting – some unsurpassed heights of musical ecstasy were which took place in the College conveying further instructions to the performers: red text the first by a named composer, reached, mirroring the lofty perpendicular style of the Chapel. Each day some seven is used in sections for reduced numbers of voices, while Richard Davy. The opening architecture of the 15th and early 16th centuries. masses were said or sung, and red noteheads introduce the notion of binary pages of his St Matthew in addition there were the various ‘imperfection’ into a mensural world of rhythmic Passion 4 have been lost, so Founded along with King’s observances which had sprung proportions grounded on the Trinitarian foundation of the the story begins here with Jesus College, Cambridge in the early up over the centuries around the person of Mary, the virgin mediaeval theorists – three against two: triplets and standing in front of Pilate. 1440s by Henry VI, Eton mother of Jesus (later to be silenced at the strokes of pen hemiolas, as musicians call them today. Davy’s polyphony sets the College was to be a haven of and sword of Protestant Reformers); feastdays, of which spoken parts of the narrative, with the rest of the text education, devotion, and charity there were many, required yet more celebration, with a intoned by a single voice), and is notable for its intense in the middle of political particular emphasis on the events of Passiontide and Holy and fast-changing response to the text – for instance, the turbulence – the final stages of Week. The College’s statutes of 1443/4 made provision for, way the names of Barrabas and of Jesus are contrasted. the Hundred Years’ War with among others, 16 choristers and 4 clerks, who were to have A main index was compiled after all these pieces had France, the so-called ‘Wars of good voices and be skilled in reading, song, and polyphony. been added; the only two pieces not listed in this index are by Robert Wylkynson and were presumably added consistency and harmonic direction (i.e. when “beauty” Note on the recording technique between 1500 to 1515 during his time in charge as should triumph over “necessity”), and years of rehearsal Informator choristarum at Eton. The final page of the with the ensemble trying out different possibilities for each The main pair of microphones on this recording are important area with non-harmonic distortion makes a manuscript contains what John Milsom has described as part’s vocal line. The result, we can be sure, is never indeed unorthodox, and this will be the first commercial recording more difficult for the brain to process, and its “most bizarre” item, Wylkynson’s Jesus autem going to be one hundred per cent the same as 500 years release that has used them. They are an attempt to therefore more tiring to listen to. The result of removing transiens / Credo in Deum 7 – a canonic setting, for 13 ago, but we can be equally positive that these “wrong provide the listener with a new approach to the idea of the distortion is in many ways unremarkable. Lines (as in voices, of the Apostles’ Creed (as shown on the cover of notes” (as some critics might term them) are on the right high resolution sound. “High resolution” in audio is this beautiful polyphony) should be easier to follow, this album). The names of the twelve apostles are track, as once-pallid polyphony bursts into resonant generally taken to mean extending frequency range, and individual voices should be clearer and easier to place, inscribed above successive phrases of the Creed in the combinations of tones that match the vivid blues, golds, providing the widest dynamic possibilities across that and the timbre of each voice should be more easily manuscript, and the opening chant “But Jesus passing and greens of the Choirbook itself. And on that note, we range. This would seem like a good idea; however, distinguishable. This microphone development is a work- through them” can be heard passing from one voice to are delighted that our performances have been recorded producing microphones that operate well across such an in-progress, but I believe it may prove the beginning of an another. Although unique in structure and musically using a revolutionary new technique (outlined by Geoff extended range without making certain trade-offs is important new direction to be pursued much further. idiosyncratic, Jesus autem transiens does demonstrate Miles overleaf) which, to our ears, captures the live sound impossible. One side effect of extended frequency in Having said all of this, I hope that if I’ve done my job several obvious aspects of the Eton style: the harmony is of TONUS PEREGRINUS as never before. many microphones is an increase in a form of distortion properly most listeners will just enjoy the music! based on simple triads, in either root position or first inversion, decorated with numerous passing-notes and Antony Pitts Geoff Miles (recording engineer) only briefly disturbed by a couple of accented dissonances; the melodic line is characterized by syncopation and irregularity in both rhythm and phrasing, With many thanks to the Vicar, Fr Christopher Smith, while its range of 13 notes is very wide for a single voice. Verger, Greg Rupprecht, and the staff and congregation The overall compass of 22 or 23 notes of many of the of St Alban the Martyr, Holborn, London, and to the Digital other works in the Eton Choirbook is likewise remarkable. Image Archive of Medieval Music (DIAMM) – images of the Eton Choirbook © 2003 the Provost and Fellows of This recording is perhaps the Eton College and provided by www.diamm.ac.uk; images jewel in the crown of our Naxos of TONUS PEREGRINUS and of the facsimile by Ian series of “milestones of Western Dingle © 2011 Music” – the first music in four parts (Naxos 8.557340), the first As this disc is so much about transmission from one opera (Naxos 8.557337), the generation to another, and – on a narrative level – about first complete polyphonic mass “Elephant Ears” the joys and trials of parenthood, it is dedicated to our and Passion settings (Naxos designed by Geoff Miles children: Thomas (1993), Anna (1997), Raphael (1999), 8.555861), the first sounds of Sophia (2001), William (2002), Daniel (2003), Edward the Renaissance (Naxos 8.557341), and the first English called “intermodulation”. This is a non-harmonic distortion (2004), Eleanor (2004), Jessica (2005), Benjamin (2006), hymnbook (Naxos 8.557681). In this interpretation of which is perceptible as a “glassy”, “metallic” or “hard” William (2006), Toby (2006), Luke (2007), Hugo (2007), music from the Eton Choirbook we have attempted to quality, most obvious when recording high sound levels. Arran (2007), Harry (2008), James (2008), Sophie (2009), bring these black and red dots on the page to life, and to Unlike most modern microphones, these experimental Grace and Archie (2010), ... recover some of their vibrant harmonic colour. Our main microphones are designed to provide enhanced dynamic tool for this restoration is the considered addition of resolution within the region that our own ears are most momentary sharps and flats, over and above those sensitive. Research into the neurology of hearing scattered throughout the manuscript. Here we draw on suggests that the way in which harmonics interact within three resources: the writings of contemporary theorists on this region provides crucial information to the brain about musica ficta and other practices, an editor’s ear for pitch, timbre, dynamics and timing. Clouding this TONUS PEREGRINUS Rebecca Hickey Rebecca Hickey started singing in her local church choir at the age of five which fostered an enduring passion for sacred Photo: Ian Dingle choral music. As well as being a long-standing member of TONUS PEREGRINUS, she is a member of the early music vocal ensemble Stile Antico and also sings with other ensembles such as The Sixteen and The Cardinall’s Musick.

Lisa Beckley Lisa Beckley studied Chemistry at Keble College, Oxford, and had the opportunity for a highly varied musical life there. Since then she has specialized in early music, and has sung all over the world and on disc with most of Britain’s leading consorts including The Sixteen, The King’s Consort, The Cardinall’s Musick, Oxford Camerata, AAM, and The Tallis Scholars.

Kathryn Knight Kathryn Knight read Music at Worcester College, Oxford, where she held a Music Scholarship. She now pursues a busy and varied musical career: she is Publishing Director at Faber Music, and sings with various leading choirs and ensembles, and as a solo recitalist. She guest-presents for BBC TV Proms and features regularly as a voice-over artist for BBC Radio 3.

Alexander L’Estrange Alexander L’Estrange is a composer and arranger with an international reputation, writing for the world’s leading vocal ensembles, and is best known for his African-inspired choral work Zimbe!. Formerly an Oxford chorister and choral TONUS PEREGRINUS was founded by the composer Antony Pitts in 1990, during his studies with Edward Higginbottom at scholar, he has sung with TONUS PEREGRINUS for over fifteen years. New College, Oxford, and today is an established ensemble in Britain and abroad with a significant discography. At the core of TONUS PEREGRINUS are a dozen singers who combine their diverse expertise to interpret a repertoire ranging from the Richard Eteson end of the Dark Ages to scores where the ink is still wet; together they have achieved major successes in both new music and Richard Eteson sang the solo verse of Once in Royal David’s City as Head Chorister at King’s College, Cambridge, early music, including a Cannes Classical Award for the ensemble’s chart-topping début release of Arvo Pärt’s Passio, and opening the world-famous carol service to a radio and TV audience of millions. Since then he has also sung with The Naxos Book of Carols – circulated to millions of homes in Britain and available as a printed carol-book from Faber Music Polyphony, Magnificat, Collegium Musicum 90, Opus Anglicanum, The Cambridge Scholars, Close Encounters, and (www.naxoscarols.com). TONUS PEREGRINUS was honoured to perform at the memorials for Alexander Litvinenko. was a member of The Swingle Singers (2000-2010).

Antony Pitts Benedict Hymas Antony Pitts sang as a treble in the Chapel Royal, Hampton Court Palace; he was an Academic Scholar and later an Benedict Hymas’ work as a tenor is broad and varied, including the Evangelist roles in J.S. Bach’s Passions, haute- Honorary Senior Scholar at New College, Oxford where he founded TONUS PEREGRINUS. In 2004 their radical contre repertoire, recital performances (particularly English song), and consort singing. He has sung with TONUS interpretation of Arvo Pärt’s Passio (Naxos 8.555860) won a Cannes Classical Award. He has been both a Senior PEREGRINUS since 2008. Producer at BBC Radio 3 and a Senior Lecturer at the Royal Academy of Music; he is currently a patron of the London Festival of Contemporary Church Music and an honorary Fellow of the Faculty of Church Music. His compositions have Matthew Long been given their premières in Wigmore Hall and Westminster Cathedral in London, the Concertgebouw in Amsterdam, Matthew Long studied music at the University of York and sang as a choral scholar at York Minster. Since moving to and the Philharmonie Kammermusiksaal in Berlin, and published by Faber Music – notably the 40-part motet XL and London in 2006 he has maintained a busy schedule of concerts and recordings, travelling worldwide with some of Britain’s The Naxos Book of Carols – and released on Naxos, Hyperion, Harmonia Mundi, Signum, and Unknown Public. most highly regarded ensembles. He is also a member of The Sixteen and of the solo voice ensemble, I Fagiolini.

Joanna Forbes L’Estrange Alexander Hickey Formerly soprano/MD of The Swingle Singers, Joanna Forbes L’Estrange is a specialist ensemble singer, performing Alexander Hickey was Head Chorister at Hereford Cathedral, then a tenor choral scholar at Christ Church, Oxford, and recording with Tenebrae, Synergy and, for the past two decades, TONUS PEREGRINUS. Her discography where he read Jurisprudence. He makes time in his busy and successful career as a commercial barrister at 4 Pump comprises over forty choral CDs, around seventy film soundtracks and numerous backing vocals for world-class artists. Court Chambers in the Temple to pursue his love of singing with TONUS PEREGRINUS and other professional choirs in London. 1 Walter Lambe: Nesciens mater Francis Brett 3 Plainchant: Nesciens mater Francis Brett has sung professionally since graduating from King’s College Cambridge and the Royal College of Music (1997). He has enjoyed singing with TONUS PEREGRINUS as well as the Royal Opera House and English National Nesciens mater virgo virum peperit sine dolore Not knowing a man, the virgin mother without pain gave Opera, and small ensembles including The Sixteen and Exaudi. As a soloist he has worked with Andrew Litton, Trevor Salvatorem saeculorum, ipsum regem angelorum sola birth to the Saviour of the ages; to the very King of angels Pinnock, Richard Hickox, Vladimir Jurowski, and Edward Gardner. virgo lactabat ubere de caelo pleno. the virgin alone gave milk from her heaven-filled breasts.

Alex Knight 2 William, Monk of Stratford: Magnificat Alex Knight was a choral scholar at King’s College, Cambridge and studied singing at the Royal Academy of Music 6 Hugh Kellyk: Magnificat under David Lowe. He now sings when not working as a headhunter and raising twins with his wife Kathryn, and has worked with a number of groups including TONUS PEREGRINUS, Collegium Musicum 90 and Close Encounters. Magnificat anima mea Dominum. My soul doth magnify the Lord, Et exsultavit spiritus meus in Deo salutari meo, And my spirit rejoiceth in God my Saviour. Nick Flower Quia respexit humilitatem ancille sue, ecce enim ex hoc For He hath regarded the lowliness of His handmaiden: Nick Flower runs the production, website, and data management departments at Hyperion Records. Out of hours he beatam me dicent omnes generationes. for, behold, from henceforth all generations shall builds Lego with his three sons, and has been sighted singing with TONUS PEREGRINUS, Oxford Camerata, and the Quia fecit mihi magna qui potens est, call me blessed. Borough Green Occasional Choir. et sanctum nomen eius. For He that is mighty hath magnified me, Et misericordia eius a progenie in progenies and holy is His Name. Stephen Rice timentibus eum. And His mercy is on them that fear Him throughout all Stephen Rice is a performer and academic, and director of The Brabant Ensemble. Fecit potentiam in brachio suo, dispersit superbos generations. mente cordis sui. He hath shewed strength with His arm; He hath Deposuit potentes de sede, et exaltavit humiles. scattered the proud in the imagination of their hearts. Esurientes implevit bonis, et divites dimisit inanes. He hath put down the mighty from their seat, and hath Facsimile of the Eton Choirbook Suscepit Israel puerum suum, recordatus misericordie sue. exalted the humble and meek. Sicut locutus est ad patres nostros, Abraham et semini He hath filled the hungry with good things; and the eius in secula. rich He hath sent empty away. Gloria Patri et Filio et Spiritui Sancto. He remembering His mercy hath holpen His servant Israel, Sicut erat in principio et nunc et semper: As He promised to our fathers, Abraham, and to his seed et in secula seculorum. Amen. for ever. Glory be to the Father, and to the Son, and to the Holy Ghost; As it was in the beginning, and is now, and ever shall be, world without end. Amen.

4 Richard Davy: St Matthew Passion, the Trial before Pilate and the Crucifixion (Matthew 27:11-56)

Passio Domini nostri Jesu Christi secundum The Passion of our Lord Jesus Christ according to Mattheum Matthew ...Jesus autem stetit ante praesidem: et interrogavit eum ...Jesus stood before the governor: and the governor asked praeses dicens: Tu es rex Judaeorum? Dicit ei Jesus: Tu Him, saying, Art thou the King of the Jews? And Jesus said dicis. Et cum accusaretur a principibus sacerdotum et unto him, Thou sayest. And when He was accused by the Photos: Ian Dingle senioribus nihil respondit. Tunc dicit illi Pilatus: Non audis chief priests and elders, He answered nothing. Then said quanta adversum te dicant testimonia? Et non respondit Pilate unto Him, Hearest thou not how many things they Et sedentes servabant eum et inposuerunt super caput mingled with gall: and when He had tasted [thereof], He ei ad ullum verbum ita ut miraretur praeses vehementer. witness against thee? And He answered him to never a eius causam ipsius scriptam: Hic est Jesus rex would not drink. And they crucified Him, and parted His Per diem autem sollemnem consueverat praeses word; insomuch that the governor marvelled greatly. Now at Judaeorum. Tunc crucifixi sunt cum eo duo latrones unus garments, casting lots: that it might be fulfilled which was dimittere populo unum vinctum quem voluissent habebat [that] feast the governor was wont to release unto the a dextris et unus a sinistris. Praetereuntes autem spoken by the prophet, They parted My garments among autem tunc vinctum insignem qui dicebatur Barabbas [qui people a prisoner, whom they would. And they had then a blasphemabant eum moventes capita sua et dicentes: them, and upon My vesture did they cast lots. And sitting propter homicidium missus fuerat in carcerem]. notable prisoner, called Barabbas [who, for murder was Vah, qui destruit templum et in triduo reaedificas illud down they watched Him there; And set up over His head Congregatis ergo illis dixit Pilatus: Quem vultis dimittam cast in prison (Luke 23: 19)]. Therefore when they were salva te ipsum si Filius Dei es descende [nunc] de cruce. His accusation written, THIS IS JESUS THE KING OF THE vobis, Barabbam an Jesum qui dicitur Christus? Sciebat gathered together, Pilate said unto them, Whom will ye that Similiter et principes sacerdotum illudentes ei cum scribis JEWS. Then were there two thieves crucified with Him, one enim quod per invidiam tradidissent eum. Sedente autem I release unto you? Barabbas, or Jesus which is called et senioribus dicebant: Alios salvos fecit se ipsum non on the right hand, and another on the left. And they that illo pro tribunali misit ad illum uxor eius dicens nihil tibi et Christ? For he knew that for envy they had delivered Him. potest salvum facere si rex Israhel est descendat nunc de passed by reviled Him, wagging their heads, And saying, iusto illi multa enim passa sum hodie per visum propter When he was set down on the judgment seat, his wife sent cruce et credemus ei confidet in Deo liberet [nunc] eum si Thou that destroyest the temple, and buildest [it] in three eum. Principes autem sacerdotum et seniores unto him, saying, Have thou nothing to do with that just vult dixit enim quia Filius Dei sum. Id ipsum autem et days, save Thyself. If Thou be the Son of God, come down persuaserunt populis ut peterent Barabbam Jesum vero man: for I have suffered many things this day in a dream latrones qui crucifixi erant cum eo inproperabant ei. A from the cross. Likewise also the chief priests mocking perderent. Respondens autem praeses ait illis: Quem because of Him. But the chief priests and elders persuaded sexta autem hora tenebrae factae sunt super universam [Him], with the scribes and elders, said, He saved others; vultis vobis de duobus dimitti? At illi dixerunt: Barabbam. the multitude that they should ask Barabbas, and destroy terram usque ad horam nonam et circa horam nonam Himself He cannot save. If He be the King of Israel, let Him Dicit illis Pilatus: Quid igitur faciam de Jesu qui dicitur Jesus. The governor answered and said unto them, clamavit Jesus voce magna dicens: Eloy, Eloy, lema now come down from the cross, and we will believe Him. Christus? Dicunt omnes crucifigatur ait illis praeses: Quid Whether of the twain will ye that I release unto you? They sabacthani? Hoc est: Deus meus, Deus meus, ut quid He trusted in God; let Him deliver Him now, if He will have enim mali fecit? At illi magis clamabant dicentes: said, Barabbas. Pilate saith unto them, What shall I do then dereliquisti me? Quidam illic stantes et audientes Him: for He said, I am the Son of God. The thieves also, Crucifigatur. Videns autem Pilatus quia nihil proficeret with Jesus which is called Christ? [They] all say unto him, dicebant Heliam vocavit iste. Et continuo currens unus ex which were crucified with Him, cast the same in His teeth. sed magis tumultus fieret accepta aqua lavit manus Let Him be crucified. And the governor said, Why, what evil eis acceptam spongiam implevit aceto et inposuit Now from the sixth hour there was darkness over all the coram populo dicens: Innocens ego sum a sanguine iusti hath He done? But they cried out the more, saying, Let Him harundini et dabat ei bibere. Ceteri vero dicebant: Sine land unto the ninth hour. And about the ninth hour Jesus huius. Vos videritis. Et respondens universus populus be crucified. When Pilate saw that he could prevail nothing, videamus an veniat Helias liberare eum. Jesus autem cried with a loud voice, saying, Eli, Eli, lama sabachthani? dixit: Sanguis eius super nos et super filios nostros. Tunc but [that] rather a tumult was made, he took water, and iterum clamans voce magna emisit spiritum. Et ecce that is to say, My God, My God, why hast Thou forsaken dimisit illis Barabbam Jesum autem flagellatum tradidit washed [his] hands before the multitude, saying, I am velum templi scissum est in duas partes a summo usque Me? Some of them that stood there, when they heard [that], eis ut crucifigeretur. Tunc milites praesidis suscipientes innocent of the blood of this just person: see ye [to it]. Then deorsum et terra mota est et petrae scissae sunt et said, This [man] calleth for Elias. And straightway one of Jesum in praetorio congregaverunt ad eum universam answered all the people, and said, His blood [be] on us, monumenta aperta sunt et multa corpora sanctorum qui them ran, and took a spunge, and filled [it] with vinegar, and cohortem et exuentes eum clamydem coccineam and on our children. Then released he Barabbas unto dormierant surrexerunt et exeuntes de monumentis post put [it] on a reed, and gave Him to drink. The rest said, Let circumdederunt ei et plectentes coronam de spinis them: and when he had scourged Jesus, he delivered [Him] resurrectionem ejus venerunt in sanctam civitatem et be, let us see whether Elias will come to save Him. Jesus, posuerunt super caput eius et arundinem in dextera ejus to be crucified.Then the soldiers of the governor took Jesus apparuerunt multis. Centurio autem et qui cum eo erant when He had cried again with a loud voice, yielded up the et genu flexo ante eum illudebant ei dicentes: Ave rex into the common hall, and gathered unto Him the whole custodientes Jesum viso terraemotu et his qui fiebant ghost. And, behold, the veil of the temple was rent in twain Judaeorum. Et expuentes in eum acceperunt arundinem band [of soldiers]. And they stripped Him, and put on Him a timuerunt valde dicentes: Vere Dei Filius erat iste. Erant from the top to the bottom; and the earth did quake, and the et percutiebant caput ejus et postquam illuserunt ei scarlet robe. And when they had platted a crown of thorns, autem ibi mulieres multae a longe quae secutae erant rocks rent; And the graves were opened; and many bodies exuerunt eum clamide et induerunt eum vestimentis ejus they put [it] upon His head, and a reed in His right hand: Jesum a Galilaea ministrantes ei inter quas erat Maria of the saints which slept arose, And came out of the graves et duxerunt eum ut crucifigerent exeuntes autem and they bowed the knee before Him, and mocked Him, Magdalene et Maria Iacobi et Ioseph mater et mater after His resurrection, and went into the holy city, and invenerunt hominem cyreneum nomine Simonem hunc saying, Hail, King of the Jews! And they spit upon Him, and filiorum Zebedaei... appeared unto many. Now when the centurion, and they angariaverunt ut tolleret crucem ejus et venerunt in locum took the reed, and smote Him on the head. And after that that were with him, watching Jesus, saw the earthquake, qui dicitur Golgotha quod est calvariae locus et dederunt they had mocked Him, they took the robe off from Him, and and those things that were done, they feared greatly, ei vinum bibere cum felle mixtum et cum gustasset noluit put His own raiment on Him, and led Him away to crucify saying, Truly this was the Son of God. And many women bibere. Postquam autem crucifixerunt eum diviserunt [Him]. And as they came out, they found a man of Cyrene, were there beholding afar off, which followed Jesus from vestimenta eius sortem mittentes, ut adimpleretur quod Simon by name: him they compelled to bear His cross. And Galilee, ministering unto Him: Among which was Mary dictum est per prophetam dicentem diviserunt sibi when they were come unto a place called Golgotha, that is Magdalene, and Mary the mother of James and Joses, and vestimenta mea: et super vestem meam miserunt sortem. to say, a place of a skull, They gave Him vinegar to drink the mother of Zebedee’s children... 5 John Browne: Stabat mater O quam gravis illa poena O how deep was the pain Tibi virgo poene plena you felt, virgin so full of pain, Stabat mater dolorosa The sorrowful mother stood Commemorans preamoena remembering former joys Iuxta crucem lacrimosa weeping at the foot of the Cross am versa in mestitiami. now turned to utter sadness! Dum pendebat filius. as her Son hung upon it. Color erat non inventus No colour was to be found Cuius animam gementem Her groaning heart, In te mater dum dementus [detentus] in you, mother, while in torment Contristantem et dolentem sorrowing alongside and grieving, Stabat natus sic contentus stood your Son, content to be so treated Pertransivit gladius. was pierced by a sword. ad debellandum Sathanam. in order for Satan to be defeated.

O quam tristis et afflicta O how sad and afflicted Per hec nata preamata By all this, highly-favoured lady, Fuit illa benedicta was that blessed Natum tuum qui peccata may your Son, who cancels Mater unigeniti. mother of the Only-Begotten! Delet cuncta perpetrata all the sin which we have committed, Deprecare dulciflue be entreated with sweet prayers, Que merebat et dolebat How she grieved and suffered Dum videbat et gerebat as she watched and pondered Ut nostra tergens ingrata That, wiping away our uncleanness, Poenas nati incliti. the agony of her glorious Son! in nobis plantet firme grata in us He might plant His grace Per quem dando prelibata and His promises might be fulfilled Prestet eterna requie. in everlasting peace. Quis est homo qui non fleret Who is the man who would not weep Amen. Amen. Matrem Christi si videret to see the mother of Christ In tanto supplicio. in such great torment? 7 Robert Wylkynson: Jesus autem transiens / Credo in Deum Quis non potest contristari Who could not sorrow with her Piam matrem contemplari thinking on this pure mother Jesus autem transiens But Jesus passing through the midst of them... Dolentem cum filio. sorrowing together with her Son? [Petrus] Credo in Deum Patrem omnipotentem, [Peter] I believe in God the Father Almighty, Maker of Creatorem caeli et terrae. heaven and earth: Eia mater fons amoris O mother, what a fount of love! [Andreas] Et in Iesum Christum, Filium eius unicum, [Andrew] And in Jesus Christ His only Son our Lord, Me sentire vim doloris that I might feel the power of that sorrow, Dominum nostrum, [James] Who was conceived by the Holy Ghost, Born of Fac ut tecum lugeam. would that I might mourn with you! [Jacobus] Qui conceptus est de Spiritu Sancto, natus ex the Virgin Mary, Maria Virgine, [John] Suffered under Pontius Pilate, Was crucified, Fac ut ardeat cor meum Would that my heart might burn [Johannes] passus sub Pontio Pilato, crucifixus, mortuus, dead, and buried; In amando Christum Deum with love for Christ my God, et sepultus, [Thomas] He descended into hell [Hades]; the third day Ut sibi complaceam. that I might please Him! [Thomas] descendit ad inferna, tertia die resurrexit a He rose again from the dead; mortuis, [James the less] He ascended into heaven, And sitteth on Stabat mater rubens rosa The mother stood, a reddening rose, [Jacobus minor] ascendit ad caelos, sedet ad dexteram the right hand of God the Father Almighty; Iuxta crucem lacrimosa weeping at the foot of the Cross Dei Patris omnipotentis, [Philip] From thence He shall come to judge the quick Videns fere criminosa as she saw treated as a criminal [Philippus] inde venturus est iudicare vivos et mortuos. and the dead. Nullum reum crimine. Him who had done no crime. [Bartolomaeus] Credo in Spiritum Sanctum, [Bartholomew] I believe in the Holy Ghost; [Matthaeus] sanctam Ecclesiam catholicam, sanctorum [Matthew] The Holy Catholic Church; The communion of Et dum stetit generosa And as she stood overwhelmed, communionem, saints; Iuxta crucem lacrimosa weeping at the foot of the Cross, [Simon] remissionem peccatorum, [Simon] The forgiveness of sins; Plebs tunc canit clamorosa: the crowd roared cacophonously [Judas Thaddeus] carnis resurrectionem, [Judas Thaddeus] The resurrection of the body; Crucifige crucifige. “Crucify him, crucify!” [Matthias] et vitam aeternam. [Matthias] And the life everlasting. Amen. Amen. All photos: Ian Dingle The Eton Choirbook is a giant 500 year-old manuscript from Eton College Chapel, and one of the greatest surviving glories of pre-Reformation England. This recording features the earliest polyphonic 1 Walter Lambe: Nesciens mater a 5 6:05 Passion by a named composer, two heartrending motets for five and six voices, two thrilling settings of JFL RH KK ALE RE BH ML AH FB NF the Magnificat, and an extraordinary canon in 13 parts, Jesus autem transiens. The ensemble TONUS PEREGRINUS has been widely acclaimed, not least for its “richly sung and very well recorded” 2 William, Monk of Stratford: Magnificat a 4 14:44 programme of Orlando Gibbons, L’Estrange, and Pitts. (The Penguin Guide on 8.557681) JFL RH LB KK ALE / RE BH ML AH AK FB NF SR 3 Plainchant: Nesciens mater 0:47 Music from JFL RH LB KK ALE 4 Richard Davy: St Matthew Passion [27:11-56] a 4 21:21 THE ETON CHOIRBOOK Jesus’ words: FB • Evangelist: BH Pilate: RH ALE RE NF • Pilate’s wife: JFL KK AH NF 1 Walter Lambe: Nesciens mater a 5 6:05 Turba: JFL RH LB KK ALE RE ML AH AK FB NF 2 William, Monk of Stratford: Magnificat a 4 14:44 5 John Browne: Stabat mater a 6 16:14 3 Plainchant: Nesciens mater 0:47 JFL RH LB KK ALE RE BH ML AP AH AK FB NF 4 Richard Davy: St Matthew Passion [27:11-56] a 4 21:21 6 Hugh Kellyk: Magnificat a 5 13:53 5 JFL RH KK ALE RE BH ML AH FB NF John Browne: Stabat mater a 6 16:14 7 Robert Wylkynson: Jesus autem transiens / 6 Hugh Kellyk: Magnificat a 5 (First recording) 13:53 Credo in Deum canon a 13 5:57 7 Robert Wylkynson: Jesus autem transiens / NF AK BH ML AP SR AH RE FB ML BH AK NF Credo in Deum canon a 13 5:57 TONUS PEREGRINUS TONUS PEREGRINUS Joanna Forbes L’Estrange, Soprano • Rebecca Hickey, Soprano • Lisa Beckley, Soprano Joanna Forbes L’Estrange • Rebecca Hickey • Lisa Beckley • Kathryn Knight Kathryn Knight, Alto • Alexander L’Estrange, Alto • Richard Eteson, Tenor Alexander L’Estrange • Richard Eteson • Benedict Hymas • Matthew Long Benedict Hymas, Tenor • Matthew Long, Tenor • Alexander Hickey, Tenor Alexander Hickey • Alex Knight • Francis Brett • Nick Flower • with Stephen Rice Alex Knight, Baritone • Francis Brett, Bass • Nick Flower, Bass • with Stephen Rice, Bass Antony Pitts, Director Antony Pitts, Tenor and Director A detailed track and artist list can be found on the back page of the booklet. TONUS PEREGRINUS performing editions from the Eton Choirbook are published by 1equalmusic The Latin sung texts and English translations are included in the booklet, and are available from lulu.com and may also be accessed at www.naxos.com/libretti/572840.htm Cover image: Eton / Eton College Library / MS 178 / 126v and other images of the Eton Choirbook Recorded in St Alban the Martyr, Holborn, London, UK, from 11th-14th July, 2011 are reproduced by permission of the Provost and Fellows of Eton College and provided by www.diamm.ac.uk Producer: Jeremy Summerly • Engineer: Geoff Miles • Editor: Antony Pitts Post-Production: Geoff Miles and Antony Pitts, with additional help from Nick Flower, Daniel Halford and Deborah Spanton • Booklet notes by Antony Pitts and Geoff Miles • Cover image reproduced by permission of the Provost and Fellows of Eton College and provided by DIAMM