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Home , Gregorio Allegri, Regina caeli

CORO CORO Hail, Music from Mother of the Redeemer the The Call of “This is state-of-the-art singing by “Sixteen, Sistine: a and conductor it’s a match made Allegri · Josquin who have done more in heaven.” than most to deepen our awareness, and the times Anerio · Victoria enjoyment, of music.” cor16088 classic fm cor16147

The Earth Resounds Palestrina: Volume 8 “The Gloria opens with “Yet another some truly delicate breathtaking singing, and the clear, example of restricted harmonies choral singing.” evoke a performance of the scotsman monumental majesty from The Sixteen.” cor16097 bbc music magazine cor16175

To find out more about The Sixteen, concert tours, and to buy CDs The Sixteen HARRY CHRISTOPHERS visit www.thesixteen.com cor16178 he power and wealth of the in the piece has evolved over the centuries into the version audiences know and love today. TRenaissance times centred on Rome. The papacy was Although born around the same time as Allegri, Anerio died relatively young, but he supreme, and naturally it attracted the greatest left us a wealth of splendid double-choir . His setting ofRegina caeli laetare and from all over Europe. This album concentrates on that call the Litaniae Beatissimae Virginis Mariae are brilliantly crafted and, at times, break with to Rome which was irresistible for the Flemish tradition with just a hint of the . I think many of you listening will also be surprised Josquin and the Spaniard Victoria. Here they sit alongside by the contrapuntal skills that Allegri displays in the Gloria of his Missa In lectulo meo – Felice Anerio and Gregorio Allegri who spent their lives a far cry from the simplicity of the . in Rome in the service of the Papal chapels. Borggreve Marco Photograph: This is quite simply glorious music; it is timeless and I have no doubt will enrich all our lives Collectively they span well over a hundred years of just as it did for people centuries ago. musical excellence but whereas the Italians, Anerio and Allegri, very much wrote under the influence of the ‘Prince of Music’ Palestrina, Josquin (many years their predecessor) and Victoria maintained a unique voice in sacred music. They both achieved brilliance through sometimes the most economical ways, be it the imitative duets at the start of Josquin’s Illibata Dei virgo or the stillness of Victoria’s O vos omnes where nothing really happens on the page, yet a searing intensity of emotion is created. The latter is one of the responsories for . Here we concentrate on the set for Holy Saturday; Christ has died and we reflect on his death and the sealing-up of his tomb.

Allegri’s Miserere is quite possibly the single most famous piece of sacred music ever written. However, mythology surrounds it and here we shed light on its complicated history. Sadly, nothing survives from Allegri's lifetime, and what we usually hear today is the result of scribal errors and fanciful interpretation. As a result of Ben Byram-Wigfield's Graffito by Josquin in extensive research on the work and by making use of the many sources, we show how Sistine Chapel, Rome. 2 3 1 De Lamentatione 3.34 The Call of Rome he call of Rome was heard by many diplomats. In the second half of the Tomás Luis de VICTORIA Tenebrae Responsories for Holy Saturday 1-6 2 Tin the early modern period: pilgrims 16th century there were new seminaries I. Recessit pastor noster 3.21 and clerics, artists and craftsmen, and colleges, as well as hospitals and a 3 II. O vos omnes 3.03 cooks and courtesans – and musicians. burgeoning lay confraternity movement. 4 III. Ecce quomodo moritur iustus 5.17 These last came for various reasons: in Singing and instrumental playing 5 IV. Astiterunt reges 2.06 the early Renaissance period a Rome- accompanied church services, processions, 6 V. Aestimatus sum 2.28 centred bureaucracy controlled church banquets, jousts and other entertainments. 7 VI. Sepulto Domino 3.58 appointments throughout Europe. Singers It is therefore not surprising that musicians – usually clerics – found that a period in flocked to Rome, from Northern Europe 8 JOSQUIN Desprez Pater noster /Ave Maria 6.07 the papal choir, or working for a cardinal, initially, but also from Spain, Germany and helped them obtain such appointments. other Italian states. 9 Felice ANERIO Litaniae Beatissimae Virginis Mariae 6.03 Beyond that, opportunities for employment bl in the expanding city were many. From Josquin Desprez, the best-known JOSQUIN Desprez Gaude virgo mater Christi 2.33 the time of its return from Avignon in the European composer of the early 16th early 15th century, the papacy sought to century, spent five years (1489-94) as a bm Gregorio ALLEGRI Gloria from Missa In lectulo meo 4.47 transform Rome into both the capital of a member of the papal choir which had princely state and the foremost pilgrimage been expanded in the 1470s by Sixtus bn JOSQUIN Desprez Illibata Dei virgo 6.56 centre in Western Christendom. Building IV, who also built the Sistine Chapel for bo Gregorio ALLEGRI Miserere – its evolution 11.34 programmes, aimed at renewing churches, papal liturgies. Like other singers, Josquin palaces and houses, attracted workmen and carved his name on the wall of the chapel’s bp Felice ANERIO Regina caeli laetare a8 2.32 artists; service industries expanded and choir-loft; these graffiti have recently the city was totally refashioned. Musicians come to light as a result of restoration. bq Tomás Luis de VICTORIA a8 8.24 were required by the papal court, by an Although having independent means, he increasing number of churches (including still coveted a church position in his native Total Running Time: 72.45 those of foreign nationalities), by cardinals Condé-sur-l’Escaut (now in Northern and aristocratic families, bankers and France) which his period in Rome helped

4 5 him obtain. Josquin had a strong sense of Josquin’s trademark duets and use of and singers of . Churches and member of the papal choir, its library holds his own worth, illustrated by his Marian imitation between the voices are very much oratories hosted the Tenebrae offices, an early version of his music for , Illibata Dei virgo which survives in to the fore in his later Marian motet, Gaude pared-down versions of Matins and Lauds revised for publication in 1585 just before he a papal chapel manuscript. The text of the virgo mater Christi which celebrates the which were dramatised by gradually returned to Spain. His settings of the Holy first part is an acrostic, where the initial joys experienced by Mary. Here the words extinguishing candles and lights, and ended Saturday responsories are among his most letter of each line spells out the name of Luther are well illustrated: “[Josquin] is with the singing of the Miserere () emotionally-charged music, particularly “Josquin Desprez”. The tenor part has a the master of the notes, which do as he wills; in total darkness. The lessons, taken from O vos omnes, one of his iconic works. recurring three-note motif, solemnised other composers must do as the notes will”. the Lamentations of Jeremiah, were sung as “la-mi-la” (A-E-A), standing for “Ma- Hear how the music matches the words to a special tone, heard at the opening of While in Rome, Victoria helped pioneer the ri-a”. There are 29 repetitions, with one “Christo ascendente” (Christ ascending) this programme. Each was followed by one polychoral style for two or more separate final note added to make a total of 88 in with rising scales, the lively syncopations of a series of responsories telling the story . This expanded the possibilities for the tenor part; this is also the result of at “ubi fructus ventris tui” (where the fruit of Christ’s Passion: those for Holy Saturday textural variety while ensuring that the adding up the number equivalents of the of your womb) and the joyous “Alleluia” describe the repose of his body in the tomb words were clearly heard. His eight-voice letters which make up “Desprez” (a=1, ending. Josquin’s six-voice setting of two while he harrowed Hell (Recessit pastor Salve Regina is a prime example of this b=2 etc., with i and j both=9 and u and v linked well-known prayers, Pater noster noster, Aestimatus sum, Sepulto Domino); early Roman style, favouring long phrases both=20). Josquin has thus embedded his and Ave Maria, is recognised as one of his they also highlight his role as the wronged for individual choirs and reserving the own name with that of the Virgin Mary finest achievements. He clearly thought and suffering Saviour (O vos omnes, Ecce double-choir tutti for particular effects. in a piece which celebrates her various highly of it himself, since he left money quomodo moritur iustus, Astiterunt reges). After four verses for single choir, our attributes. Although an early work, Illibata for the motet to be sung outside his house patience is rewarded when both choirs ring shows the composer’s mastery of musical during processions after his death. Based The Spanish composer Tomás Luis de out gloriously on “Eia ergo”. Here Victoria structure. The first part uses lengthy duets, on a canon between the two tenor parts, Victoria’s call to Rome was initially to exploits to the full his three soprano parts alternating between higher and lower pairs it has a rather sombre character with little study for the priesthood, but he became and an unusually wide three-octave choral of voices, with occasional tuttis; later, the dissonance and lots of hypnotic repetitions. heavily involved with two confraternities range. Even more effective is the final verse speed quickens and the texture becomes Holy Week was a period of particular for immigrant Spaniards, as well as with “O clemens…”, which contains some of his denser, with more frequent occurrences religious intensity in Rome, when pilgrims the newly-founded Oratorian congregation most sublime music. He clearly thought of the ostinato figure. After a lively triple- crowded the streets and confraternities of the charismatic Saint Philip Neri (with so too, since he repeats the final “O dulcis time section, the pace slows again for the organised processions which included whom he shared lodgings), and he ended up Virgo Maria” section, with its soaring high final “Ave Maria” peroration. floats, flagellants, groups of chanting friars staying for 20 years. Although he was not a notes and closely-packed descending scales.

6 7 Felice Anerio was born in Rome to a musical likely to have been sung indoors, by very beautiful tutti setting of the words “Jesu to follow the work’s development. With the family: his father played trombone in the professional singers in front of an image Christi” towards the end of the first section. help of Ben Byram-Wigfield, who has done a papal wind band while his younger brother of the Virgin. It shows tremendous skill special study of the piece, Harry Christophers Giovanni Francesco was also a successful in ensuring that a repetitive text, which The most renowned of all the pieces has put together a version which mirrors its composer (the two are often confused!). might have become tedious, is continually composed for the Sistine chapel was historical progress. Starting with the simple Felice trained as a choirboy with Palestrina energised through endlessly varied choral undoubtedly Allegri’s Miserere. For a century Allegri original, layers of ornamentation at St Peter’s Basilica and subsequently held textures and rhythms. There is a beautiful and a half it was the preferred setting for Holy are added to successive verses, taken from positions as choirmaster at a number of the moment at the start of the final section Week, achieving the status of star tourist a few surviving sources or imitating their city’s institutions. When Palestrina died in when the two soprano parts alone sing attraction by the mid-18th century. The style. Note the chromatic steps in the first 1594, Felice was appointed composer to “Regina angelorum”, before the full might basic composition was actually very simple: half of the solo verse which were a typical the papal choir in his place; this was due of the heavenly choirs brings the piece to a two choirs, one of four soloists, the other in feature of the late-18th-century version. to the intervention of his patron, the papal resounding close. five parts, sang alternate verses interspersed The performance ends with the well-known nephew Cardinal Pietro Aldobrandini, and with plainchant. The writing used simple high-C version, though not quite the familiar was not welcomed by the members, who Our fourth featured composer, Gregorio chordal textures with lightly ornamented one; this top note first appeared in the 20th- would have preferred a new singer – they Allegri, was also born in Rome. He served cadences; the whole pattern was repeated century King’s College, Cambridge version. already had a number of composers in their for 23 years in the papal choir, where he was six times. What excited those who heard it, ranks. Anerio’s double-choir Regina caeli particularly regarded for his contrapuntal though, were the abellimenti, the ornaments These four composers represent all that laetare shows how the polychoral idiom skills, carrying on the tradition which went which the singers increasingly added over was best about the music written for the had developed by the early 17th century: the back to Josquin. His double-choir Missa time, spinning out the music in an ever more papal choir and in early modern Rome text is now much more fragmented between In lectulo meo owes more to Anerio’s style elaborate filigree. None of this was formally more generally: a passionate commitment the choirs, with lots of quick-fire exchange. than to Victoria’s. Reworking a motet by written down – it was famously guarded as to the text, and to compositional and Slower sections based on plainchant the Liège-born Pierre Bonhomme (one of a papal secret – until after the Napoleonic improvisational skill. This music helped alternate throughout with bouncy “Alleluias” the last musicians from Northern Europe wars, but naturally everybody tried to get a attract pilgrims and tourists historically, and celebrating the joy of . to answer the call of Rome), Allegri breaks copy; the young Mozart notably transcribed continues to weave its magic on us today. up the Gloria text into short phrases which it from memory and others left attempts. This Noel O’Regan © 2019 were a staple item of processions bounce between the choirs like an extended performance provides a special opportunity but Anerio’s double-choir Litaniae tennis volley. There are some bouncy Beatissimae Virginis Mariae is more rhythms, particularly towards the end, and a Ben Byram-Wigfield’s essayAllegri’s Miserere: A Quest for the Holy Grail? is available to download free from www.ancientgroove.co.uk. 8 9 strong as ever. The work of the evolutionary the individual who created it. It is both Music, Mystery and Meaning psychologist Robin Dunbar and others personal and beyond the personal. For shows us that music, and especially singing, those who love it, it remains as a fixed n the late-medieval Europe that witnessed development, social interaction and is not “auditory cheesecake” as Steven point of reference in an unpredictable the genius of Josquin Desprez, aesthetic ritual practice. Singing as a primary form I Pinker would have it, a kind of sweet extra world. Music is a source of reconciliation, experience was a gateway to the numinous of communication pre-dates speech to life that has no evolutionary function. It exhilaration, and hope which never and transcendent. Continental Christianity and language itself, as Iain McGilchrist is rather a fundamental part of our make- fails … It is irreplaceable, undeserved, was characterised by the belief that there has shown: “… the control of voice and up as human beings. This was as much transcendental blessing.” was a sense of abundance in the generosity respiration needed for singing came into understood by Josquin in the 15th century of the heavens, which flowed out through being long before they would ever have been as it was a millennium earlier by the great Such a blessing helps us to find a greater the world in nature and the arts, allowing required by language … intonation, phrasing medieval music theorist Boethius, who optimism for the future. Through this people to be open to the divine. In today’s and rhythm develop first; syntax and was aware of music’s essential nature to the experience we approach, with meaning, the multi-faith and partly secularised context vocabulary come only later.” Therefore “our human experience: “Music is so naturally awesome mystery of our existence. the arts, and music in particular, still offer an love of music reflects the ancestral ability united with us that we cannot be free from it important way into finding a path that can of our mammalian brain to transmit and even if we so desired.” The sacred music in this programme is expand and enhance our experience of the receive basic emotional sounds.” This love of suffused with Catholic religious doctrine. world and help us to perceive the reality and music, which developed largely in the right This phenomenon is just as true today, Josquin’s pre-Reformation devotion is truth of something beyond individualistic hemisphere of the brain, was concerned whether we have religious belief or not. As complimented by Anerio’s and Victoria’s materialism. Through relationships we with communication, social cohesion and John Gray has written, “A godless world is post-Tridentine passionate intensity and may perceive a spark of divinity, or spirit, harmony and helped bond people together as mysterious as one suffused with divinity, Allegri’s sublime vision. Yet, in today’s post- and in art and music we might take that in community. In the age of modernity, and the difference between the two may secular west, the music reaches beyond experience one stage further and intuit a from the 16th to the 20th centuries, be less than you think.” The physical and the bounds of doctrinal and institutional deep knowledge of the spiritual life that language and the printed word dominated neurological experience of music, whether propositional belief and out to the world cannot be found by reasoned argument or society for generations. However, in the 21st composing, performing or listening, helps hungry for spiritual nourishment, because deductive thinking. century and an age of post-modernity and us to order our world. In the words of music that speaks deeply into the human post-secularism, even when commitments Anthony Storr: condition, promotes human flourishing There are good evolutionary reasons for to the life and doctrine of some religious “Music exalts life, enhances life, and and evokes spiritual meaning, appeals to this. Music, and in particular singing, institutions are waning, the search for gives it meaning. Great music outlives believers and non-believers alike. It relates to played an important part in early human spiritual encounter and relationship is as 10 11 the experience, encounter and relationality sacred words, or have a less definite sense 1 Plainsong De Lamentatione that transcend us and the world around us. of the divine or spirituality, we can all find Beauty can help us to intuit a truth beyond meaning in the numinous mystery of the De Lamentatione Jeremiae Prophetae. From the Lamentation of Jeremiah the Prophet. the confines of our materialist existence and music. No art form better conveys meaning HETH. Misericordiae Domini, HETH. It is thanks to the Lord’s mercy lead us to the source of all truth, which is and, in the words of George Steiner, “… quia non sumus consumpti; that we are not consumed, ultimately love, a truth that some call “God”. communicates to our senses and to our quia non defecerunt miserationes eius. for his mercies are never lacking. reflection what little we can grasp of the HETH. Novi diluculo, HETH. With each dawn Whether we listen to the glorious sounds of naked wonder of life.” multa est fides tua. I witness how great is your faithfulness. this sacred music in a secular or religious HETH. Pars mea Dominus, HETH. The Lord is my portion, space, whether we are confessional Jonathan Arnold © 2019 dixit anima mea; my soul has declared; believers, seeking religious meaning in the propterea exspectabo eum. therefore I will hope in him.

TETH. Bonus est Dominus sperantibus in eum, TETH. The Lord is good to those who wait for him, animae quaerenti illum. to the soul that seeks him. TETH. Bonum est praestolari cum silentio TETH. It is good to wait in silence salutare Dei. for the salvation of God. TETH. Bonum est viro cum portaverit iugum TETH. It is good for man to bear God’s yoke ab adolescentia sua. from his youth. soprano alto tenor bass JOD. Sedebit solitarius, et tacebit, JOD. Then will he sit in solitude and in silence Julie Cooper Ben Davies Ian Aitkenhead * Simon Berridge quia levavit super se. when the Lord fixes it upon him Grace Davidson * David Clegg * Jeremy Budd * Eamonn Dougan JOD. Ponet in pulvere os suum, JOD. To put his mouth to the dust, Sally Dunkley * Daniel Collins Mark Dobell Tim Jones si forte sit spes. in hopeful trust, Katy Hill David Gould Steven Harrold Rob Macdonald JOD. Dabit percutienti se maxillam, JOD. And to offer his cheek to the striker, Kirsty Hopkins Edward McMullan William Knight * Alexandra Kidgell Kim Porter George Pooley saturabitur opprobriis. and be overwhelmed with insults. Charlotte Mobbs Christopher Royall * Jerusalem, Jerusalem, Jerusalem, Jerusalem; Ruth Provost * Track bo only convertere ad Dominum Deum tuum. turn again to the Lord your God.

12 13 Tomás Luis de VICTORIA (1548-1611) 4 III. Ecce quomodo moritur iustus Tenebrae Responsories for Holy Saturday 1-6 Ecce quomodo moritur iustus, Behold how the just man meets his death, Soli: Alexandra Kidgell, Katy Hill soprano, Daniel Collins alto, et nemo percipit corde, and no one takes it to heart, Mark Dobell tenor, Ben Davies bass et viri iusti tolluntur, and just men are swept away, et nemo considerat. and no one has a care. A facie iniquitatis The just man has been removed 2 I. Recessit pastor noster sublatus est iustus, from the sight of iniquity, et erit in pace memoria eius. and his memory shall be in peace. Recessit pastor noster, fons aquae vivae, Our shepherd, the fount of the living water, ad cuius transitum sol obscuratus est. is gone, at whose passing the sun was darkened. Tamquam agnus coram tondente se obmutuit, Like a lamb before the shearer he was mute, Nam et ille captus est, For he himself is taken, et non aperuit os suum: and opened not his mouth: qui captivum tenebat primum hominem. who held captive the first man. de angustia, he has been taken away Hodie portas mortis et seras pariter Today our Saviour has burst the gates of death, et de iudicio sublatus est. from distress and from judgement. Salvator noster disrupit. broken their locks.

Destruxit quidem claustra inferni, Indeed he has destroyed hell’s prison, et subvertit potentias diaboli. and overthrown the might of the devil. 5 IV. Astiterunt reges Astiterunt reges terrae, The kings of the earth have risen up, 3 et principes convenerunt in unum and the princes have gathered together II. O vos omnes adversus Dominum, et adversus Christum eius. against the Lord, and against his Christ.

O vos omnes, qui transitis per viam, O all you that pass by the way, Quare fremuerunt gentes, Why are the nations in uproar, attendite, et videte attend and see, et populi meditati sunt inania? and the peoples cherishing vain thoughts? si est dolor similis sicut dolor meus. if there be any sorrow like my sorrow.

Attendite, universi populi, Look, all you peoples, et videte dolorem meum. and see my sorrow.

14 15 6 V. Aestimatus sum Panem nostrum quotidianum da nobis hodie, Give us this day our daily bread, et dimitte nobis debita nostra, and forgive us our trespasses, Aestimatus sum cum descendentibus in lacum; I am reckoned among those who go down to the pit; sicut et nos dimittimus debitoribus nostris. as we forgive those who trespass against us. factus sum sicut homo sine adiutorio, I have become like a man without help, Et ne nos inducas in tentationem: And lead us not into temptation, inter mortuos liber. a man free only among the dead. sed libera nos a malo. but deliver us from evil.

Posuerunt me in lacu inferiori, They have laid me in the lower pit Ave Maria, gratia plena, Dominus tecum: , full of grace, the Lord is with thee; in tenebrosis, et in umbra mortis. in darkness, and in the shadow of death. benedicta tu in mulieribus, blessed art thou among women, et benedictus fructus ventris tui Jesu. and blessed is the fruit of thy womb, . Sancta Maria, regina caeli, dulcis et pia, Holy Mary, , sweet and faithful, o mater Dei, ora pro nobis peccatoribus, O mother of God, pray for us sinners, 7 VI. Sepulto Domino ut cum electis te videamus. that among the chosen we may behold thee. Sepulto Domino, signatum est monumentum, Once the Lord was buried, they sealed up the tomb, volventes lapidem ad ostium monumenti, and rolled a stone before the entrance to the sepulchre, ponentes milites, qui custodirent illum. placing soldiers to guard it. 9 Felice ANERIO (1560-1614) Accedentes principes sacerdotum ad Pilatum, The chief priests went to Pilate Litaniae Beatissimae Virginis Mariae petierunt illum. and petitioned him. eleison. Lord, have mercy on us. Christe eleison. Christ, have mercy on us. Christe audi nos. Christ, hear us. Christe exaudi nos. Christ, graciously hear us. 8 JOSQUIN Desprez (c.1452-1521) Pater noster /Ave Maria Pater de caelis, Deus: miserere nobis. God the Father of Heaven, have mercy on us. Fili Redemptor mundi, Deus: miserere nobis. God the Son, Redeemer of the world, have mercy on us. Pater noster, qui es in caelis, Our Father, who art in heaven, Spiritus Sancte, Deus: miserere nobis. God the Holy Ghost, have mercy on us. sanctificetur nomen tuum. hallowed be thy name, Sancta Trinitas, unus Deus: miserere nobis. Holy Trinity, one God, have mercy on us. Adveniat regnum tuum. thy kingdom come, thy will be done Sancta Maria: ora pro nobis. Holy Mary, pray for us. Fiat voluntas tua sicut in caelo et in terra. on earth as it is in heaven. Sancta Dei Genitrix: ora pro nobis. Holy Mother of God, pray for us.

16 17 Sancta Virgo virginum: ora pro nobis. Holy Virgin of virgins, pray for us. bl JOSQUIN Desprez Gaude virgo mater Christi Mater Christi: ora pro nobis. Mother of Christ, pray for us. Mater purissima: ora pro nobis. Mother most pure, pray for us. Gaude, virgo mater Christi, Rejoice, virgin Mother of Christ Mater castissima: ora pro nobis. Mother most chaste, pray for us. quae per aurem concepisti, who conceived through your ear, Mater inviolata: ora pro nobis. Mother inviolate, pray for us. Gabriele nuntio. by the messenger, Gabriel. Mater misericordiae: ora pro nobis. Mother of mercy, pray for us. Gaude, quia Deo plena Rejoice, for full of God Mater Creatoris et Salvatoris: ora pro nobis. Mother of our Creator and Saviour, pray for us. Virgo prudentisima: ora pro nobis. Virgin most prudent, pray for us. peperisti sine poena, you gave birth without pain, Virgo potens: ora pro nobis. Virgin powerful, pray for us. cum pudoris lilio. retaining the lily of modesty. Virgo clemens: ora pro nobis. Virgin merciful, pray for us. Gaude, quia tui nati Rejoice, for your Son, Virgo fidelis: ora pro nobis. Virgin faithful, pray for us. quem dolebas mortem pati, whose death you mourned, Sedes Sapientiae: ora pro nobis. Seat of Wisdom, pray for us. fulget resurrectio. shines in his resurrection. Causa nostra laetitiae: ora pro nobis. Cause of our joy, pray for us. Rosa mystica: ora pro nobis. Mystical rose, pray for us. Gaude Christo ascendente, Rejoice, for as Christ ascends, Turris Davidica: ora pro nobis. Tower of David, pray for us. et in coelum te vidente, and sees you in heaven, Ianua Caeli: ora pro nobis. Gate of Heaven, pray for us. motu fertur proprio. he is borne up by his own power. Stella matutina: ora pro nobis. Morning star, pray for us. Gaude quae post ipsum scandis, Rejoice, you who ascend after him, Salus infirmorum: ora pro nobis. Health of the sick, pray for us. et est honor tibi grandis, for great honour awaits you Regina Angelorum: ora pro nobis. Queen of Angels, pray for us. in caeli palatio. in the courts of heaven. Regina Prophetarum: ora pro nobis. Queen of Prophets, pray for us. Regina Apostolorum: ora pro nobis. Queen of Apostles, pray for us. Ubi fructus ventris tui, There may the fruit of your womb Regina Martyrum: ora pro nobis. Queen of Martyrs, pray for us. nobis detur per te frui, through you be given to us to enjoy Regina Confessorum: ora pro nobis. Queen of Confessors, pray for us. in perenni gaudio. in everlasting happiness. Regina Virginum: ora pro nobis. Queen of Virgins, pray for us. Alleluia. Alleluia. Regina Sanctorum omnium: ora pro nobis. Queen of all Saints, pray for us. Intercede pro nobis Dominum. Intercede with the Lord for us.

18 19 bm Gregorio ALLEGRI (1582-1652) bn JOSQUIN Desprez Illibata Dei virgo Gloria from Missa In lectulo meo [bold letters at the start of each line of stanza 1 form the acrostic ‘IOSQVIN DES PREZ’] Illibata Dei virgo nutrix, Inviolate mother, nurse of God, Glory be to God on high, Olympi tu regis o genitrix, O you, mother of Olympus’s ruler, et in terra pax hominibus bonae voluntatis. and on earth peace to men of good will. Laudamus te, benedicimus te, We praise you, we bless you, Sola parens verbi puerpera, Who alone gave birth to the Word, adoramus te, glorificamus te. we adore you, we glorify you. Quae fuisti Evae reparatrix, Who made good the sin of Eve, Gratias agimus tibi We give you thanks Viri nephas tuta , And are the advocate for man in his wickedness propter magnam gloriam tuam. for your great glory. Illud clara luce dat scriptura. As the scriptures clearly tell us, Nata nati alma genitura, Nurturing daughter who would bear your own Son; Domine Deus, Rex caelestis, Lord God, heavenly King, Des ut laeta musarum factura Grant that this hymn, the happy work of muses, Deus Pater omnipotens. God the Father almighty. Prevaleat hymnus et sit Ave, May work its power and be an ‘Ave’ Domine Fili unigenite, Jesu Christe, Lord, only-begotten Son, Jesus Christ, Roborando sonos ut guttura, To give strength to sound, as our voices Domine Deus, , Filius Patris. Lord God, Lamb of God, Son of the Father. Efflagitent laude teque pura Make their earnest prayer of praise and cry ‘Ave’ Qui tollis peccata mundi, You take away the sins of the world, Zelotica arte clament Ave. To you with chaste and fervent art. miserere nobis. have mercy upon us. Ave virginum decus hominum Hail, crown of all human virginity Qui tollis peccata mundi, You take away the sins of the world, coelique porta. and gateway to heaven. suscipe deprecationem nostram. receive our prayer. Ave lilium, flos humilium, Hail, lily, flower of humility, Qui sedes ad dexteram Patris, You are seated at the right hand of the Father, virgo decora. beautiful virgin. miserere nobis. have mercy upon us. Vale ergo, tota pulchra ut luna, Hail, then, all beautiful as the moon, Quoniam tu solus , For you alone are Holy, electa ut sol clarissima gaude. and rejoice, chosen one, brilliant as the sun. tu solus Dominus, you alone are the Lord, Salve tu sola cum sola amica Hail to you alone, who alone bring loving comfort tu solus Altissimus, Jesu Christe, You alone are the Most High, Jesus Christ, Consola “la mi la” canentes in tua laude. to those who sing ‘la mi la’ in your praise. cum Sancto Spiritu with the Holy Spirit Ave Maria, mater virtutum, veniae vena. Hail Mary, mother of virtues, rich vein of pardon. in gloria Dei Patris. in the glory of God the Father. Ave Maria, gratia plena, Dominus tecum. Hail Mary, full of grace, the Lord is with you. Amen. Amen. Amen. Amen.

20 21 bo Auditui meo dabis gaudium et laetitiam: You will make me hear of joy and gladness Gregorio ALLEGRI Miserere – its evolution et exultabunt ossa humiliata. and the bones which were broken will rejoice. Solo quartet: Averte faciem tuam a peccatis meis: Turn your face away from my sins Grace Davidson, Kirsty Hopkins soprano, Kim Porter alto, Eamonn Dougan bass et omnes iniquitates meas dele. and do away with all my misdeeds.

Miserere mei, Deus: Have mercy upon me, O God, Cor mundum crea in me, Deus: Make me a clean heart, O God, secundum magnam misericordiam tuam. according to the greatness of your mercy. et spiritum rectum innova in visceribus meis. and renew an upright spirit within my heart. Et secundum multitudinem miserationum And according to the multitude of your mercies, Ne proiicias me a facie tua: Do not cast me away from your presence tuarum: dele iniquitatem meam. cancel out all with my sins. et spiritum sanctum tuum ne auferas a me. nor take your holy spirit from me. Amplius lava me ab iniquitate mea: Wash me more and more from my wickedness Redde mihi laetitiam salutaris tui: Give me again the joy of your salvation et a peccato meo munda me. and cleanse me of my sin. et spiritu principali confirma me. and strengthen me with the spirit that leads. Quoniam iniquitatem meam ego cognosco: For I acknowledge my faults, Docebo iniquos vias tuas: Then I will teach the wicked your ways, et peccatum meum contra me est semper. and my sin counts always against me. et impii ad te convertentur. and sinners will be converted to you. Tibi soli peccavi Against you alone have I sinned Libera me de sanguinibus, Deus, Deliver me from blood-guiltiness, O God, et malum coram te feci: and done what is evil in your sight: Deus salutis meae: the God of my salvation: ut iustificeris in sermonibus tuis, so that you are justified when you judge, et exaltabit lingua mea iustitiam tuam. and my tongue will exalt your righteousness. et vincas cum iudicaris. and clear when you pass sentence. Domine, labia mea aperies: Open my lips, Lord, Ecce enim in iniquitatibus conceptus sum: For look, I was conceived in wickedness, et os meum annuntiabit laudem tuam. and my mouth will declare your praise. et in peccatis concepit me mater mea. and in sin my mother carried me in the womb. Quoniam si voluisses sacrificium For if you had wanted sacrifices Ecce enim veritatem dilexisti: And see, you delight in the truth, dedissem utique: I would have offered them to you, incerta et occulta sapientiae tuae and have revealed to me the hidden mysteries holocaustis non delectaberis. but you take no pleasure in burnt-offerings. manifestasti mihi. of your wisdom. Sacrificium Deo spiritus contribulatus: The sacrifice God wants is a spirit that has been Asperges me hyssopo, You will sprinkle me with hyssop, cor contritum et humiliatum, tried: a contrite and humbled heart, O God, et mundabor: and I shall be clean: Deus, non despicies. you will never despise. lavabis me, you will wash me, Benigne fac, Domine, Show kindness to Sion et super nivem dealbabor. and I shall be made whiter than snow. in bona voluntate tua Sion: in your great goodwill ut aedificentur muri Jerusalem. and build up the walls of Jerusalem. 22 23 Tunc acceptabis sacrificium iustitiae, Then you will accept the rightful sacrifice, Harry Christophers stands among today’s great champions oblationes et holocausta: the burnt-offerings and oblations: of choral music. In partnership with The Sixteen, the ensemble tunc imponent super altare tuum vitulos. then will they offer young bullocks on your altar. he founded almost 40 years ago, he has set benchmark standards for the performance of everything from late medieval polyphony to important new works by contemporary composers. His international influence is supported by more bp Felice ANERIO Regina caeli laetare a8 than 150 recordings and has been enhanced by his work as Artistic Director of Boston’s Handel and Haydn Society and as

Regina caeli laetare, alleluia. Queen of Heaven, rejoice, alleluia. Borggreve Marco Photograph: guest conductor worldwide. Quia quem meruisti portare, alleluia. For he whom you were worthy to bear, alleluia. Resurrexit, sicut dixit, alleluia. He has risen, as he foretold, alleluia. The Sixteen’s soundworld, rich in tonal variety and expressive Ora pro nobis Deum, alleluia. Pray for us to God, alleluia. nuance, reflects Christophers’ determination to create a vibrant choral instrument from the blend of adult professional singers. Under his leadership The Sixteen has established its annual Choral Pilgrimage to cathedrals, churches and other UK venues, created the Sacred Music series for BBC bq Tomás Luis de VICTORIA Salve Regina a8 television, and developed an acclaimed period-instrument orchestra. Highlights of their recent work include an Artist Residency at Wigmore Hall, a large-scale tour of Salve Regina, mater misericordiae: Hail, Queen, Mother of mercy: Monteverdi’s Vespers of 1610, and the world premiere of James MacMillan’s Stabat vita, dulcedo et spes nostra, salve. our life, our sweetness and hope, hail. mater; their future projects, meanwhile, comprise a new series devoted to Purcell and an Ad te clamamus, exsules filii Evae. To you we cry, banished children of Eve. ongoing survey of Handel’s dramatic oratorios. Ad te suspiramus, gementes et flentes To you we send up our sighs, in hac lacrimarum valle. mourning and weeping in this vale of tears. Harry has served as Artistic Director of the Handel and Haydn Society since 2008. He Eia ergo, advocata nostra, Therefore, our advocate, was also appointed as Principal Guest Conductor of the City of Granada Orchestra in illos tuos misericordes oculos ad nos converte. turn your merciful eyes towards us, 2008 and has worked as guest conductor with, among others, the London Symphony Et Jesum, benedictum fructum ventris tui, and after our exile here Orchestra, the BBC Philharmonic, the San Francisco Symphony Orchestra and the nobis post hoc exsilium ostende. show us Jesus, the blessed fruit of your womb. Deutsches Kammerphilharmonie. Christophers’ extensive commitment to has O clemens, O pia, O kind, O merciful, embraced productions for English National Opera and Lisbon Opera and work with the O dulcis Virgo Maria. O sweet Virgin Mary. Granada, Buxton and Grange festivals.

24 25 He recently collaborated with BBC Radio 3 presenter Sara Mohr-Pietsch to produce the performance of choral music and attracted a large new audience, not least as ‘The a book published by Faber & Faber entitled A New Heaven: Choral Conversations in Voices of Classic FM’ and through BBC television’s Sacred Music series. celebration of the group’s 40th anniversary. The voices and period-instrument players of The Sixteen are at home in over five He was appointed a CBE in the Queen’s 2012 Birthday Honours for his services to centuries of music, a breadth reflected in their annual Choral Pilgrimage to Britain’s great music. He is an Honorary Fellow of Magdalen College, Oxford, as well as the Royal cathedrals and sacred spaces, regular appearances at the world’s leading concert halls, Welsh College of Music and Drama, and has Honorary Doctorates in Music from the and award-winning recordings for The Sixteen’s CORO and other labels. Universities of Leicester, Northumbria, Canterbury Christ Church and Kent. Recent highlights include the world premiere of James MacMillan’s , commissioned for The Sixteen by the Genesis Foundation, an ambitious ongoing series of Handel oratorios, and a debut tour of China.

Recording Producer: Mark Brown Recording Engineer: Mike Hatch (Floating Earth) Recorded at: Church of St Augustine, Kilburn, London, 12-13 November 2019 (Allegri Miserere (Evolution) recorded at Whether performing a simple Firedog Photograph: Church of St Alban the Martyr, Holborn, London, October 2012) medieval hymn or expressing the Latin Translations: Jeremy White complex musical and emotional Cover image: View of St Peter’s Basilica, Rome, © Shutterstock language of a contemporary Design: Andrew Giles: [email protected] choral composition, The Sixteen does so with qualities common 2020 The Sixteen Productions Ltd. to all great ensembles. Tonal © 2020 The Sixteen Productions Ltd. warmth, rhythmic precision Made in Great Britain and immaculate intonation are clearly essential to the mix. But it is the courage and For further information about recordings on CORO or live performances and tours by intensity with which The Sixteen makes music that speak above all to so many people. The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected] The Sixteen gave its first concert in 1979 under the direction of Founder and Conductor www.thesixteen.com Harry Christophers CBE. Their pioneering work since has made a profound impact on

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