ARTIST NOTE des Bois. Josquin’s own death inspired some JEAN RICHAFORT REQUIEM sublime works by Benedictus Appenzeller, Nicolas TRIBUTES TO JOSQUIN DESPREZ It is a great pleasure for us to present this Gombert, Jacquet of Mantua, Hieronymus Vinders recording of music written to honour one of the and Jean Richafort, whose Requiem in Memoriam great composers of the Renaissance, Josquin Josquin Desprez forms the backbone of this Desprez. Josquin’s sacred and secular works recording. We are delighted to be presenting 1 Musae Jovis á 4 Benedictus Appenzeller (c.1480-c.1558) [5.47] have long been a part of our repertoire, thanks these tributes alongside two of Josquin’s 2 Musae Jovis á 6 Nicolas Gombert (c.1495-c.1560) [5.31] largely to the fact that he scored so many works own works in new editions prepared by Dr for 5 or 6 voices, which suits our line-up. David Skinner. 3 Salve regina Josquin Desprez (c.1450-1521) [4.37] 4 Dum vastos Adriae fluctus Jacquet of Mantua (1483-1559) [7.52] Josquin’s influence on choral music in the years The King’s Singers would like to thank David after his death was huge. Throughout the 16th Skinner for his scholarship, and for his 5 O mors inevitabilis Hieronymus Vinders (fl.1510-1550) [2.51] century composers were still using material enlightened approach to the performance of Requiem in Memoriam Josquin Desprez Jean Richafort (c.1480-c1550) from his motets as the basis for masses, this wonderful music. Thanks also must go to (Missa pro defunctis) magnificats, and other motets. He forged a new Adrian Hunter for his skilled combination of the 6 Introitus [5.15] means of expression, and a new musical roles of producer and engineer. As ever we are 7 Kyrie [3.37] vocabulary so rich in potential that hundreds indebted to everyone at Signum, and especially 8 Graduale [5.11] of other composers were able to build on the to Steve and Matt. Last but not least our thanks 9 Offertorium [6.39] style and use it to their own ends. Where today go to Claire and Rebecca at Music Productions. 0 Sanctus & Benedictus [3.15] accusations of plagiarism would be bandied q Agnus Dei [2.33] about, in the Renaissance composers openly The King’s Singers w Communio [2.44] borrowed from each other’s works as a tribute to their fellow musicians. e Nymphes, nappés Josquin Desprez [2.26]

Total timings: [58.22] There was also a tradition of composing musical tributes after the death of a significant composer. Josquin penned a tribute to Johannes THE KING’S SINGERS Ockeghem, entitled La déploration sur la mort d’Ockeghem setting Jean Molinet’s poem Nymphes www.signumrecords.com - 3 - PROGRAMME NOTE deliberation and with manifold corrections; tributes to the Master created after his death death in around 1550. The seven movements neither did he release a song to the public unless by his pupils and colleagues, who, themselves, of the Missa pro defunctis are all set for six Few composers of any period have enjoyed the he had kept it to himself for some years’. owed much of their skill and fame to voices, providing a dense, dark texture widespread admiration and unanimous praise of The Lutheran humanist, Johannes Manlius Josquin’s teachings. The centrepiece here is the throughout apart from isolated verse passages. successive generations as Josquin Desprez. He reported an anecdote concerning Josquin’s own Missa pro defunctis by the Flemish composer It stands as one of the most substantial is considered to be the greatest creator and choir rehearsals: he was said to have walked Jean Richafort, who certainly knew Josquin and settings of the Requiem to survive from the 16th innovator of musical composition during the among the singers during a performance of may also have been taught by him. It was century, and, arguably, was not matched in Renaissance, and for some half a millennium one of his works, and if something dissatisfied published in 1532 (eleven years after Josquin’s scale or success until Victoria’s famous his music has stood the test of time. Music him, the composer would say ‘Be silent; I will death) and is the most extensive memorial to setting published in 1605. The cantus firmus printing came about during Josquin’s lifetime, change that’. Martin Luther himself greatly survive. Two of Josquin’s own compositional ‘Circumdederunt me’ in canon at the fifth is and it is highly significant that Petrucci placed admired Josquin, and, after singing the chanson devices are employed in the Mass: the largely present throughout, but the movements the composer at the opening of each of the Nymphes, nappés, proclaimed the now-famous ‘Circumdederunt me’ plainsong melody, in are grouped in different modes. The Introit and first four motet anthologies, dating from 1502 quote that ‘Josquin is the master of the canon, as it similarly appears in Josquin’s Kyrie are in F, with a single flat in the signature, to 1505. It was also in 1502 when Petrucci’s notes, which must do as he wishes while other Nymphes, nappés, as well as the tune and text while in the Graduale the flat is removed (though Misse Josquin was published, marking the composers must follow what the notes dictate.’ of ‘C’est douleur non pareille’ from another still in F), which, along with the Offertory, first collection ever to be devoted to a single chanson Faulte d’argente. introduces the melody ‘C’est douleur non pareille’ composer. Josquin was truly at the pinnacle of Such was Josquin’s popularity that after his (it is sorrow without equal). The Sanctus, Agnus his profession, famous throughout Europe, and death in 1521 other composers sought to Richafort is thought to have been born in Dei and Communion continue with B naturals, served as a model of exquisite beauty and emulate his style; compositions were often Hainaut in around 1480, and was employed but the polyphony starts on A while the compositional prowess for generations to come. found to be reattributed to Josquin as they would at the collegiate church of St Rombout, cantus firmus remains in F. These changes in then become more respected and marketable. Mechelen, by 1507. In the following decade he modality, within a constant use of the canonic Relatively little is known of Josquin before his In 1540 the German editor and composer became associated with the French royal court, cantus firmus, aptly demonstrates Richafort’s death in 1521, and, indeed, most reports date George Forster famously recalled hearing ‘... a and enjoyed the patronage of Ann of Brittany, skills as one of the finest composers of the from decades later. They do, however, point to certain eminent man saying that, now that queen to Louis XII, and was later a singer in ‘Post-Josquin’ generation, while the proliferation the fact that he must have been a perfectionist. Josquin is dead, he is putting out more works the chapel of François I. By 1528 he is listed of borrowed material from Josquin and elsewhere Commenting in 1547, more than two decades than when he was alive!’ as a basse-contre at Ardenburg near Bruges, makes this work a most fitting tribute to the after the composer’s death, the Swiss theorist, and in 1543 he took up the post of zancmeester master composer of early polyphony. poet and humanist Heinrich Glarean tells us This recording, however, does not focus on the and Chaplain at St Gilles in Bruges where that Josquin ‘... published his works after much works of Josquin the Master, but on those he seems to have been associated until his

- 4 - - 5 - A portrait of Josquin once hung in St Gudule, Mantua (or Jacques Colebault, 1483-1559). tempestuous Adriatic Sea, the waters unsettled Praeter rerum seriem, Stabat mater, Inviolata Brussels (thought to have been lost in the 16th Jacquet was in later life active in Italy, and and churning as he recalls the virtues of his integra et casta es, Salve regina (which is century), and said to have included an epitaph enjoyed the patronage of Ercole Cardinal Gonzaga deceased master; here the polyphony is dense included on this CD) and Miserere mei Deus. The to the composer entitled O Mors inevitabilis. (1505–63), Bishop of Mantua and papal legate and offers a haunting feeling of the ebb and work ends in triple time, ‘the rustling reeds The relatively little-known Hieronymus Vinders, to Charles V. The composer was in Mantua flow of rough waters. In the second part, repeating everything’ as if assessing Jacquet’s who spent some time in Ghent in 1525-6, set intermittently between 1527 and 1559, and Jacquet sings, as if to the sea, ‘artful verses musical discourse, and the waters then ‘nod the text within a dense texture of seven there is some circumstantial evidence to with a antique sound’. It begins ‘Let us recount, approval’ and become still, as so beautifully voices, two of which paraphrase the Missa pro suggest that he might have been the ‘Master ye Muses, Josquin’s ancient loves’. Here Jacquet expressed in the final cadence. defunctis introit chant ‘Requiem aeternam’. Jacquet’ who was employed at Magdalen pays homage by embedding sections of five of Other tributes include settings of the poem College, Oxford, as Informator choristarum Josquin’s most popular works into the polyphony: © 2012, David Skinner Musae Jovis by Gerard Avidius of Nijmegen, who (Instructor of the Choristers, though a position was a pupil of Josquin. This was modestly set regularly occupied by composers) at various for four voices by Benedictus Appenzeller times in the 1530s. Certainly Jacquet’s famous 1 & 2 Musae Jovis (c.1480-c.1558), while a more extensive gesture Aspice Domine is one of only two foreign for six voices was set by Nicolas Gombert works preserved in the so-called Peterhouse Cantus firmus (track 2) (c.1495-c.1560), also said to have been a pupil Partbooks, thought to have been compiled from Circumdederunt me gemitus mortis The sorrows of death and the pains of hell of Josquin. Stephen Rice notes that Gombert the repertory of Magdalen College as it stood Dolores inferni circumdederunt me. have compassed me round about. rarely used cantus firmi in his compositions and in the early 1540s. Little is known of his its use here highlights the unmistakable tribute later movements, but Jacquet died in Mantua Musae Jovis ter maximi Muses, offspring of to Josquin. Here the ‘Circumdederunt me’ is on 2 October 1559. Proles, canora plangite, thrice-almighty Jove, Wail in laments, set in long sustained notes, within lusciously Comas cypressus comprimat: Let the cypress pull together its strands: crafted counterpoint, which again is in reference Dum vastos never made it into the composer’s Josquinus ille occidit, Josquin has passed away, to Josquin’s canonic use of the same melody collected works, published in the 1970s and Templorum decus The ornament of temples, in Nymphes, nappés. ‘80s, though it appears in a set of partbooks Et vestrum decus. And your pride. published in Venice in 1554 by the Scotto Press Perhaps the most extraordinary tribute, and (Motetti del Laberinto, a cinque voci libro quarto) Saevera mors et improba, Harsh and wicked death, one that is rarely performed today, is Dum and has been especially prepared for this Quae templa dulcibus sonis privat, Who deprives the church and vastos Adriae fluctus by the French composer, recording. In the first part of this tribute motet et aulas principum, the princely palaces of their sweet sounds, and yet another pupil of Josquin, Jacquet of Jacquet places himself at the edge of a Malum tibi quod imprecer I wish evil upon you

- 6 - - 7 - Tollenti bonos, taking away the good, 4 Dum vastos Adriae fluctus Parcenti malis. And sparing the evil. Dum vastos Adriae fluctus, While Iacchus wondered at the Adriatic’s vast waves, Apollo sed neccem tibi Yet Apollo threatens you rabiemque furentis gurgitis, and the rage of the furious whirlpool, Minatur, heus mors pessima with destruction, o most terrible death atque imis stagna agitatas vadis, and the waters churned up from the deep sea-bed, Musas hortatur addere encourages the Muses to Scyllamque et rapidas Syrtes miratur and Scylla, and the quicksands of Syrtes, Et laurum comis put laurel and gold Iacchus monstraque non ullus cognita temporibus, and monsters unknown in any age, Et aurum comis. in their hair. candida pampinea redimitus tempora fronde, with a vine-frond girt about his fair temples, haec cecinit prisco carmina docta sono: sang these artful verses with an antique sound: Josquinus inquit optimo “Josquin, so dear to Jove Et maximo gratus Jovi, Supreme and Almighty Iosquini antiquos, Musae, memoremus amores, Let us recount, ye Muses, Josquin’s ancient loves, Triumphat inter caelites now triumphs among heaven-dwellers quorum iussa facit magna whose bidding the ruler of great Olympus did, Et dulce carmen concinit, and strikes up sweet music, regnator Olympi aeternam outwith the eternal course Templorum decus, the ornament of temples prater seriem et moderamina rerum, and governance of the world, Musarum decus. and pride of the Muses”. dum stabat mater miserans as the Mother stood pitying and, natumque decoris inviolata remaining inviolate, bewailed with 3 Salve Regina manens lacrimis plorabat seemly tears her Son, iniquo iudicio extinctum. slain by an unjust judgement. Salve, Regina, Mater misericordiæ, Hail, holy Queen, Mother of Mercy, Salve, o sanctissima, salve regina, Hail, O Most Holy One, Hail Queen; vita, dulcedo, et spes nostra salve. our life, our sweetness and our hope. et tu, summe Deus, miserere, and Thou, highest God, have pity, Ad te clamamus exsules filii Evae, To thee do we cry, poor banished children of Eve; quotannis cui vitulo to whom every year I shall heap up the altars Ad te suspiramus, gementes et flentes to thee do we send up our sighs, et certis cumulabo altaria donis. with a calf and regular gifts. in hac lacrymarum valle. Eja, ergo, mourning and weeping in this valley of tears. Advocata nostra, illos tuos Turn then, most gracious advocate, Dixerat. Argutae referebant He finished. The rustling reeds misericordes oculos ad nos converte; thine eyes of mercy toward us; omnia cannae, repeated everything, Et Jesum, benedictum fructum ventris tui, And after this our exile, show unto us Mincius et liquidis annuit and the river Mincio nodded approval nobis post hoc exsilium ostende. the blessed fruit of thy womb, Jesus. amnis aquis. with his clear waters. O clemens, O pia, O dulcis Virgo Maria. O clement, O loving, O sweet Virgin Mary.

- 8 - - 9 - 5 O mors inevitabilis 7 Kyrie Kyrie eleison. Lord have mercy upon us. O mors inevitabilis, mors amara, mors crudelis, O inescapable death, bitter death, cruel death, Christe eleison. Christ have mercy upon us. Josquin des Prez dum necasti, when you killed Josquin Desprez Kyrie eleison. Lord have mercy upon us. illum nobis abstulisti you stole from us he who, qui suam per harmoniam illustravit ecclesiam. through his music, adorned the church. 8 Graduale Propterea tu musice, dic: Therefore, music, proclaim thus: Si ambulem in medio umbrae mortis, If I walk in the midst of the shadow of death non timebo mala, quoniam tu mecum es, Domine, I will fear no evil, for thou art with me, Lord. Requiem aeternam dona ei, Domine, Give him eternal rest, Lord, virga tua et baculus ipsa me consolata sunt. Thy rod and staff comfort me. et lux perpetua luceat ei. and let perpetual light shine on him. 9 Offertorium Requiescat in pace. Amen. May he rest in peace. Amen. Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of Glory, libera animas omnium fidelium defunctorum save the souls of all the faithful departed 6 - w Requiem de manu inferni, et de profundo lacu: from the grip of Hell and from the depths of the pit:

Cantus Firmus Libera eas de ore leonis ne absorbeat eas Tartarus Save them from the mouth of the lion lest hell Circumdederunt me gemitus mortis, The sorrows of death and the pains of hell ne cadant in obscura tenebrarum loca: swallow them up and they fall into outer darkness: dolores inferni circumdederunt me. have compassed me round about. sed signifer sanctus Michael repraesentet, but let holy Michael, leader of the host of heaven, C’est douleur non pareille. This is sorrow beyond compare eas in lucem sanctam, quam olim Abrahae bring them to thy holy light, as thou didst promise promisisti et semini ejus. of old to Abraham and his seed. 6 Introitus Requiem aeternam dona eis, Domine, O Lord, grant them eternal rest: Hostias et preces tibi Domine offerimus: To thee, O Lord, we make our offerings et lux perpetua luceat eis. and let perpetual light shine upon them. tu suscipe pro animabus illis, of prayer and praise: accept them on behalf of quarum hodie memoriam agimus; those souls whom we remember today; Te decet hymnus Deus in Sion, Thou, O Lord, art praised in Sion and unto yee fac eas, Domine, de morte transire ad vitam. grant O Lord that they may pass from death to et tibi reddetur votum in Jerusalem: shall the vow be performed in Jerusalem: eternal life. exaudi orationem meam, ad te omnis caro veniet. hear my prayer, unto yee shall all flesh come.

- 10 - - 11 - 0 e Nymphes, nappés Sanctus, Sanctus, Sanctus Holy, Holy, Holy Dominus Deus Sabaoth. Lord God of hosts. Nimphes nappés, néridriades, driades, Draped nymphs, nereids and dryads Pleni sunt caeli et terra gloria tua. Heaven and earth are full of thy glory. Venez plorer ma désolation. Come and mourn my desolation. Hosanna in excelsis. Hosanna in the highest. Car je languis en telle affliction, For I languish in such affliction Que mes espris sont plus mort que malades. That my spirit is more dead than ailing. Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord. Hosanna in excelsis. Hosanna in the highest. q The king’s singers Agnus Dei, qui tollis peccata mundi: Lamb of God, who takest away the sins of the dona eis requiem. world: give them rest. David Hurley Countertenor With a discography of over 150 recordings, The Agnus Dei, qui tollis peccata mundi: Lamb of God, who takest away the sins of the Timothy Wayne-Wright Countertenor King’s Singers have garnered both awards and ® dona eis requiem. world: give them rest. Paul Phoenix Tenor significant critical acclaim, including a Grammy Agnus Dei, qui tollis peccata mundi: Lamb of God, who takest away the sins of the Christopher Bruerton Baritone in 2009 for their studio album Simple Gifts dona eis requiem sempiternam. world: give them eternal rest. Christopher Gabbitas Baritone on Signum. Always deeply committed to new Jonathan Howard Bass choral music, they have commissioned over 200 w works from prominent contemporary composers, Lux eterna luceat eis, Domine: Let light perpetual shine upon them, O Lord: One of the world’s most celebrated ensembles, including Richard Rodney Bennett, Berio, Maxwell Cum Sanctis tuis in aeternum, quia pius es. with thy saints for eternity, for thou art holy. The King’s Singers have a packed schedule of Davies, Ligeti, Lukaszewski, Penderecki, Rutter, concerts, recordings, media and education work Takemitsu and Tavener. Their album High Flight Requiem aeternam dona eis Domine: Grant them eternal rest, O Lord: that spans the globe. They champion the work includes works commissioned by The King’s et lux perpetua luceat eis. and let light perpetual shine upon them: of both young and established composers and, Singers from Eric Whitacre and Bob Chilcott. It Cum sanctis tuis in aeternum, quia pius es with thy saints for eternity, for thou art holy. whether singing Tomkins or Takemitsu, Bach or was recorded in the USA with the renowned Bublé, are instantly recognisable for their Concordia College Choir and released in Autumn spot-on intonation, impeccable vocal blend, 2011 on Signum. Other recent Signum releases flawless articulation of the text and incisive include Swimming Over London, which combines timing. They are also consummate entertainers: some of the group’s favourite numbers with a class act with a delightfully British wit. new songs and arrangements; a world premiere

- 12 - - 13 - numerous workshops and masterclasses, and by periods. He directs the Choir of Sidney Sussex publishing prodigious quantities of sheet music: College, with whom he has toured and made at present, they have over two million items in highly acclaimed recordings. David is frequently circulation through their publisher, Hal Leonard. invited to lead workshops and coach choirs Their arrangements are sung the world over by throughout Europe and the USA. Upcoming school and college choirs, and by ensembles both projects include an exciting collaboration with amateur and professional. Eric Whitacre, performances of Victoria’s Requiem and new performance editions for Visit www.kingssingers.com for the latest publication with Novello. news, blog entries, video blogs, Tweets and YouTube updates. Recorded at St. George’s Church, Chesterton, Cambridge, 10-12 September 2012 Engineered and Produced - Adrian Hunter

DAVID SKINNER Translation of ‘Dum vastos Adriae fluctus’ by Leofranc Holford-Strevens

Cover Image - Shutterstock David Skinner is a renowned scholar and director. Design and Artwork - Woven Design He was co-founder of The Cardinall’s Musick in www.wovendesign.co.uk 1989, and has also worked with The Tallis P 2013 The copyright in this recording is owned by Signum Records Ltd. © 2013 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. © Ben Ealovega Scholars, The Sixteen, the Hilliard Ensemble Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact and The King’s Singers. Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. recording of Pachelbel’s Music for Vespers with live audience of 80,000 and is available on DVD. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, Charivari Agréable; and a DVD of Christmas Following their televised performance at the Alamire was founded in 2005 as an extension or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or repertoire released for December 2011. 2008 BBC Proms in the Royal Albert Hall, London to his research and performance activities. David otherwise, without prior permission from Signum Records Ltd. (also available on DVD – awarded a Midem is an engaging director and presenter; alongside SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] The King’s Singers have an extraordinary history International Classical Award in January 2010), work for BBC radio he is currently music advisor of television appearances. A favourite of The they have appeared on BBC breakfast television for an upcoming series on BBC TV. David is www.signumrecords.com Mormon Tabernacle Choir, they performed with and performed frequently on Songs of Praise. Fellow, Tutor, and Osborn Director of Music at them for the Winter Olympics and appeared in Sidney Sussex College, University of Cambridge their 2008 Christmas concert, which was In addition to their sell-out concerts worldwide, where he teaches historical and practical broadcast on PBS across the US to a combined The King’s Singers share their artistry through topics from the medieval and renaissance

- 14 - - 15 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD326 BLACK Job Title: Requiem

SIGNUM CLASSICS SIGCD326 JEAN RICHAFORT REQUIEM RICHAFORT TRIBUTES TO JOSQUIN DESPREZ

1 Musae Jovis á 4 Benedictus Appenzeller (c.1480-c.1558) [5.47]

2 Musae Jovis á 6 Nicolas Gombert (c.1495-c.1560) [5.31] 3 Salve regina Josquin Desprez (c.1450-1521) [4.37] 4 Dum vastos Adriae fluctus Jacquet of Mantua (1483-1559) [7.52] 5 O mors inevitabilis Hieronymus Vinders (fl.1510-1550) [2.51] SINGERS KING’S THE REQUIEM Requiem in Memoriam Josquin Desprez Jean Richafort (c.1480-c1550) (Missa pro defunctis) 6 Introitus [5.15] 7 Kyrie [3.37] 8 Graduale [5.11]

REQUIEM THE KING’S SINGERS 9 Offertorium [6.39] 0 Sanctus & Benedictus [3.15] q Agnus Dei [2.33] w Communio [2.44] e Nymphes, nappés Josquin Desprez [2.26]

Total timings: [58.22]

THE KING’S SINGERS

RICHAFORT LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth Road, SIGCD326

CLASSICS Perivale, Middx UB6 7JD, United Kingdom. P 2013 Signum Records DDD SIGCD326 © 2013 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 03262 6 SIGNUM