131booklet2 17/7/08 09:18 Page 1

ALSO AVAILABLE ON signumclassics

Lassus - Lamentationes Jeremiæ Prophetæ Collegium Regale Directed by Stephen Cleobury SIGCD076

“Collegium Regale’s meticulously disciplined singing ensures that these subtleties make their fullest impact” Daily Telegraph

“These performances are impeccable, the timbre of the voices and the sheer depth of the sound perfectly complimenting the mournful nature of Lassus’s Lamentations” International Record Review

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 131booklet2 17/7/08 09:18 Page 3

VOX IN RAMA Despite increasing research, particularly in recent larger court that played an active role in the years, into the life and works of Giaches de Wert vibrant musical scene of northern Italy; here he Giaches de Wert (1535-96) (1535-96, pronounced Geeack de Vehut), much of came into contact with the chief musicians of the his music is still largely unknown to many. The day and, more importantly, had to compose Flemish-born composer was one of the multitude regularly for his patron, Duke Guglielmo Gonzaga, Il Secondo libro de motetti (1581) of foreigners who almost entirely dominated the who was responsible for maintaining Mantua’s 1. O crux ave spes unica [3.35] Italian musical scene in the mid- to late-sixteenth strong musical tradition. century. Due to his significance in Italy, especially 2. Providebam Dominum (Acts 2:25-28) [6.58] in the north where he worked for most of his life, At Mantua Wert’s prolific madrigal composition 3. Hoc es praeceptum meum (John 15: 12-15) [8.01] as well as in his homeland, his music had a continued, and he produced a further eight books 4. Benedicta sit sancta Trinitas (Introit for Trinity Sunday) [1.57] marked influence not only on his contemporaries before his death in 1596. Undoubtedly these were 5. Hora est iam nos (Romans 13:11-14) [8.31] but also on future generations, particularly his most influential output, striking an individual 6. Hoc enim sentite in vobis (Philippians 2:5-11) [7.15] through his famous understudy, Monteverdi. stylistic path of gravitas whilst his contemporaries tended to write in the fashionable lighter style. It 7. Gaudete in Domino (Philippians 4:4) [1.42] As with many musicians during the sixteenth- was through this genre that he heavily influenced 8. Obsecro vos fratres (Romans 12:1-2) [7.47] century, Wert’s origins are vague at best. Born in Monteverdi, who worked under him at Mantua 9. Jerusalem, Jerusalem (Luke 13:34-35) [5.14] 1535, he was brought over as a boy to Naples, but from 1589-96, and thus created his most 10. Angelus Domini astitit (Acts 12:7) [3.51] by whom and in what context is still unknown. One significant legacy. As maestro di capella, however, 11. Amen, amen dico vobis (John 16:20-21) [5.58] intriguing possibility is that Ferrante Gonzaga he was also expected to fulfil a liturgical role, even brought Wert to Italy at roughly the same time as if secular music played a greater part in daily life 12. Domine, tu es qui fecisti (Acts 4:24-26) [5.25] he did Lassus and Rore, both of whom were as at this particular court. Aside from the two 13. Vox in Rama (Matthew 2:18 from Jeremiah 31:15) [4.42] significant to the development of the madrigal as masses and the handful of other liturgical works Wert. By 1551 the young musician had established which survive, Wert produced three books of Total Timings [71.16] contact with Novellara, a small court in northern motets, relatively modest for a composer during Italy that formed the basis for his crucial early thatde motetti time, the a cinquefirst two voci for five voices and the third musical training; whilst there he released his first one for six. It is the second book, Il Secondo libro Collegium Regale four books of madrigals, which already demonstrated , first published in 1581, Stephen Cleobury director his distinct use of rhythm. In 1565 he was which appears on this disc, written when his skill appointed as maestro di cappella in Mantua, a far as a madrigalist had reached its height; over the www.signumrecords.com - 3 - 131booklet2 17/7/08 09:18 Page 5

amen dico vobis.

course of thirteen motets Wert displays his enhanced by the harmonic stability of the imitative examples can be found in both halves of Amen, drives through the texture. In Providebam Dominum, proficiency in writing sacred music, whilst further motifs themselves, which in extreme examples can On the other hand, the second Wert relies on a more typical technique to forging a truly individual stylistic path. contain just two or three pitches; in the very opening half of Hoc enim sentite in vobis uses this virtuosic represent joy and rejoicing: the passage “Therefore of Hora est iam nos (representing the reference to style to provide contrast with the preceding text: did my heart rejoice, and my tongue was glad” sentite in vobis Conventionally, the stylistic qualities of liturgical sleep), Wert uses five consecutive repetitions of God, having humbled himself, “hath highly exalted moves into a spirited triple time rather than music were more restrained than those of secular the same pitch, and the opening of Hoc enim him”, painted by the sudden introduction of rapidly employing the fast virtuosic passages mentioned counterparts, which were themselves inspired by is similarly static. The shorter motets rising scales which sets the tone for the rest of the above, although these do make an appearance at the Benedictain Domino, sit sancta Trinitas often sensuous secular poetry. There were exceptions in the collection, such as O crux ave spes unica, piece. The subtle and sustained quality of much of end of the piece for “thou shalt make me full of joy”, of course, typically with settings of particularly and the vibrant Gaudete the surrounding music only heightens the effect in a section almost entirely lifted out of several of penitential liturgical texts (such as those during each contain more direct points of that these virtuosic passages have on the motets his madrigals, and again unconventionally placed Holy Week), but on the whole Wert’s motets are interest and are a welcome contrast to the extended as a whole. within the sacred genre. more restrained, both harmonically and texturally, structures of the longer pieces in the set. than his often exotic madrigals. Many of the motets This use of word-painting is another technique Amidst the varied proficiency displayed throughout in Il secondo libro are fairly extensive; this is because Yet, despite the stylistic simplicity of many of the which was extremely common to madrigal writing these motets, however, the highlight of the set is Wert commonly takes a small section of text, treats motets, the music is nonetheless influenced by and, whilst naturally more understated in his undoubtedly Vox in Rama. The text of this motet, it to one or two points of imitation, and extends more exuberant aspects of his madrigals. By the time motets, examples can be found in almost every taken from the Book of Jeremiah and quoted in St this over a large passage of music. When a new Wert was writing these motets, in the years preceding piece. The restrained opening to Hora est iam nos Matthew’s Gospel, concerns the desolation of a point of imitation is introduced with the next section 1581, he had entered his full maturity as a mentioned above is, immediately afterwards, mother over the loss of her children. Given its of text, it is done so subtly and gradually in one or madrigalist, and parallel techniques are abundant. contrasted with a rising scale to represent surgere particularly evocative nature, it is perhaps two of the voices, whilst the others continue with One stylistic trait almost unique to madrigals, and (“to awake” out of sleep). In the second half of this unsurprising that Wert employs many techniques the preceding material. The result of this approach, absent from most sacred music during this period, piece, ambulemus (“let us walk”) is painted with typically reserved for his more sensuous madrigals, in the longer motets at least, is a sustained was the use of fast-moving virtuosic passages, constant ascending and descending scales which from extreme tessitura and wide leaps to extended overarching structure, only really broken by the which can be found in various places in these are shared between all the voices in what is probably chromatic movement. The stark opening motif, division of the pieces into two parts; in some of the motets. Gaudete in Domino, one of the shorter motets one of the most extended settings of one section of consisting of a low tessitura in each voice followed est praeceptum meum fecisti bestvobis, examples, such as Obsecro vos fratres, Hoc in the set, represents the command “Rejoice in the text in the entire set. Descending scales are used by a rising octave leap, sets the tone for the music and Amen, amen dico Lord” not solely with its lively mood, but particularly in turn towards the beginning of Domine, tu es qui to follow. Word-painting is also more frequently the effect is a perpetual sense of drive and through the rapid passage which ends the piece. to paint the word mare (“sea”), whilst the employed, from the alternating thirds representing direction whilst at the same time providing few Indeed, the word “joy” is almost always portrayed energetic setting of Surge velociter (“Arise quickly”) the ululatus (“weeping”), to the lamenting motifs structural points to hold on to as a listener. This is by this virtuosic style throughout the set, and at the end of Angelus Domini astitit immediately so reminiscent of those used in his madrigals set

- 4 - - 5 - 131booklet2 17/7/08 09:18 Page 7

to the humanist texts of Petrarch. This is most TEXTS I foresaw the Lord always before my face: evident in the twin-motifs used for Rachel plorans because he is at my right hand, that I may not be (“Rachel weeping”), which Wert weaves in and out Biblical texts taken from Douay-Rheims translation. moved. For this my heart hath been glad, seamlessly to create wrenching chromatic shifts. and any tongue hath rejoiced: moreover my Perhaps the most impressive aspect of this motet, Giaches de Wert, Il Secondo libro de motetti flesh also shall rest in hope. Because thou wilt however, is the way in which the tension gradually (1581) not leave my soul in hell, nor suffer thy Holy accumulates through a series of increasing One to see corruption. Thou hast made known 1 climaxes, culminating only at the very end of the O crux ave spes unica to me the ways of life: thou shalt make me full piece. It is a fitting end to a set in which Wert of joy with thy countenance. successfully adapts his foremost stylistic qualities, O crux ave spes única, employed so effectively in his madrigals, to the Hoc passiónis témpore, 3 Hoc es praeceptum meum (John 15: 12-15) sacred genre. Auge piis iustítiam, Reísque dona véniam. Hoc est præcéptum meum, ut diligátis ínvicem, © 2008 Peter Lindsay Hail, O Cross, the only hope sicut diléxi vos. in this time of suffering. Maiórem hac dilectiónem nemo habet, quam ut Extend justice to the dutiful; ánimam suam ponat quis pro amícis suis. Vos To the guilty give pardon. amíci mei estis, si fecéritis quae ego præcípio vobis. Iam non dicam vos servos: quia servus nescit quid (translation by J.D. Billett) fáciat dóminus eius. Vos autem dixi amícos: quia ómnia quæcúmque audívi a Patre meo, nota feci 2 Providebam Dominum (Acts 2:25-28) vobis. This is my commandment, that you love one Providébam Dóminum in conspéctu meo semper: another, as I have loved you. quóniam a dextris est mihi, ne commóvear: Greater love than this no man hath, than that propter hoc lætátum est cor meum, et exsultávit he lay down his life for his friends. You are my lingua mea, ínsuper et caro mea requiéscet in spe. friends, if you do the things that I command Quóniam non derelínques ánimam meam in inférno, you. I will not now call you servants: for the nec dabis sanctum tuum vidére corruptiónem. servant knoweth not what his lord doth. But I Notas mihi fecísti vias vitæ: replébis me iucunditáte have called you friends: because all things cum fácie tua. - 6 - - 7 - 131booklet2 17/7/08 09:18 Page 9

whatsoever I have heard of my Father, I have Now is the hour for us to rise from sleep. For now 9 Jerusalem, Jerusalem (Luke 13:34-35) made known to you. our salvation is nearer than when we believed. The night is passed, and the day is at hand. Jerúsalem, Jerúsalem, quæ occídis prophétas, et 4 Benedicta sit sancta Trinitas (Introit for Let us therefore cast off the works of darkness,as a man. He humbled himself, becoming lápidas eos qui mittúntur ad te, quóties vólui Trinity Sunday) and put on the armour of light. Let us walk obedient unto death, even to the death of the congregáre fílios tuos quemádmodum avis nidum honestly, as in the day: not in rioting and cross. For which cause God also hath exalted suum sub pennis, et noluísti? Ecce relinquétur Benedícta sit sancta Trínitas, atque indivísa drunkenness, not in chambering and impurities,him, and hath given him a name which is above vobis domus vestra desérta. Dico autem vobis, Únitas: confitébimur ei, quia fecit nobíscum not in contention and envy: But put ye on theall names: That in the name of Jesus every knee quia non vidébitis me donec véniat cum dicétis: misericórdiam suam. Benedicámus Patrem et Lord Jesus Christ. should bow, of those that are in heaven, on Benedíctus qui venit in nómine Dómini. Fílium, cum Sancto Spíritu. Amen. earth, and under the earth: And that every Jerusalem, Jerusalem, that killest the prophets, 6 7 Blessed be the Holy Trinity, and the undivided Hoc enim sentite in vobis (Philippians 2:5-11) tongue should confessGaudete that in Domino the Lord (Philippians Jesus 4:4) and stonest them that are sent to thee, how Unity: we shall praise Him, for he has shown Christ is in the glory of God the Father. often would I have gathered thy children as the his mercy unto us. V. Let us bless the Father Hoc enim sentíte in vobis, quod et in Christo Jesu: Gaudéte in Dómino semper: íterum dico gaudéte. bird doth her brood under her wings, and thou and the Son, with the Holy Ghost. Amen. qui cum in forma Dei esset, non rapínam Rejoice in the Lord always; again, I say, rejoice. wouldest not? Behold your house shall be left to arbitrátus est esse se æquálem Deo: sed you desolate. And I say to you, that you shall not 8 (translated by J.D. Billett) semetípsum exinanívit, formam servi accípiens, in Obsecro vos fratres (Romans 12:1-2) see me till the time come, when you shall say: similitúdinem hóminum factus, et hábitu invéntus Blessed is he that cometh in the name of the Lord. 5 Hora est iam nos (Romans 13:11-14) ut homo. Humiliávit semetípsum factus obédiens Óbsecro vos fratres per misericórdiam Dei, ut usque ad mortem, mortem autem crucis. Propter exhibeátis córpora vestra hóstiam vivéntem, sanctam, 0 Angelus Domini astitit (Acts 12:7) Hora est iam nos de somno súrgere. Nunc enim quod et Deus exaltávit illum, et donávit illi nomen, Deo placéntem, rationábile obséquium vestrum. própior est nostra salus, quam cum credídimus. quod est super omne nomen: ut in nómine Jesu Nolíte conformári huic saeculo, sed reformámini in Ángelus Dómini ástitit, et lumen refúlsit in Nox præcéssit, dies autem appropinquávit. omne genu flectátur cœléstium, terréstrium et novitáte sensus vestri: ut probétis quæ sit habitáculo cárceris: percussóque látere Petri, Abiiciámus ergo ópera tenebrárum, et induámur infernórum, et omnis lingua confiteátur, quia volúntas Dei bona, et beneplácens, et perfécta. excitávit eum, dicens: Surge velóciter. Quia cecidérunt arma lucis. Dóminus Jesus Christus in glória est Dei Patris. I beseech you, brethren, by the mercy of God, caténæ de mánibus tuis. Sicut in die honéste ambulémus: non in Let this mind be in you, which was also in Christ that you present your bodies a living sacrifice, An angel of the Lord stood by him: and a light comessatiónibus, et ebrietátibus, non in cubílibus, Jesus: Who being in the form of God, thought it holy, pleasing unto God, your reasonable shined in the prison cell: and striking Peter on et impudicítiis, non in contentióne, et æmulatióne not robbery to be equal with God: But emptied service. Be not conformed to this world; but be the side, he raised him up, saying: Arise quickly, sed induímini Dóminum Jesum Christum. himself, taking the form of a servant, being reformed in the newness of your mind, that you for the chains have fallen from your hands. made in the likeness of men, and in habit found may prove what is the good, and the well- pleasing, and the perfect will of God. - 8 - - 9 - 131booklet2 17/7/08 09:18 Page 11

q Amen, amen dico vobis (John 16:20-21) Gentiles rage, and the people meditate vain things? The kings of the earth stood up, and the BIOGRAPHIES Amen, amen dico vobis: quia plorábitis, et flébitis princes assembled together against the Lord vos, mundus autem gaudébit: vos autem and his Christ. Stephen Cleobury contristabímini, Sed tristítia vestra vertétur in gáudium. Múlier cum parit tristítiam habet, quia e Vox in Rama (Matthew 2:18 from Jeremiah As a conductor and organist, Stephen Cleobury venit hora eius; cum autem péperit púerum, iam 31:15) enjoys a reputation as a highly versatile performer. non méminit pressúræ propter gáudium. In his roles as Director of Music at King’s College, Amen, amen I say to you, that you shall lament Vox in Rama audíta est plorátus, et ululátus Cambridge and Conductor Laureate of the BBC and weep, but the world shall rejoice; and you multus: Rachel plorans fílios suos, et nóluit Singers, he is associated with two of the world’s consolári, quia non sunt. shall be made sorrowful, but your sorrow shall most famous choirs. At King’s he is responsible for A voice in Rama was heard, lamentation and be turned into joy. A woman, when she is in the recruitment and training of the choristers and great mourning; Rachel bewailing her children, labour, hath sorrow, because her hour is come; choral scholars: he instituted the now 25 year-old and would not be comforted, because they are not. but when she hath brought forth the child, she tradition of commissioning a new carol for the remembereth no more the anguish, because of joy. Performance editions typeset by Peter Lindsay & David Allsopp. annual Festival of Nine Lessons and Carols and Editions: © American Institute of Musicology, originally published founded the festival Easter at King’s. In 2007 he w Domine, tu es qui fecisti (Acts 4:24-26) in CMM 24-13. Used with permission of the American Institute of initiated the Concerts at King’s series, opening Musicology, Inc., Middleton, Wisc. USA. this by conducting an Elgar programme with Dómine, tu es qui fecísti cœlum et terram, mare et the Philharmonia. He has premiered many works ómnia quæ in eis sunt: with the BBC Singers, notably Giles Swayne Havoc qui Spíritu Sancto per os patris nostri David púeri Nazarene and Harrison Birtwistle Ring Dance of the tui dixísti: Quare fremuérunt gentes, et pópuli in the Royal Albert Hall at the Proms, meditáti sunt inánia? Astitérunt reges terræ, et English Heart and Edward Cowie Gaia, all with the Endymion príncipes convenérunt in unum advérsus Dóminum, Ensemble. He premiered Errollyn Wallen Our et advérsus Christum eius. in Portsmouth with the BBC Concert Lord, thou art he that didst make heaven and Orchestra and Singers as part of the Nelson earth, the sea, and all things that are in them. bicentennial celebrations. Who, by the Holy Ghost, by the mouth of our father David, thy servant, hast said: Why did the

- 10 - - 11 - 131booklet2 17/7/08 09:18 Page 13

The King’s Choir tours widely, having lately visited century gradually introduced undergraduates into the USA, Brazil, Italy, Korea, Singapore, Finland the choir. Today the 14 members of the alto, tenor and the Baltic states, and appeared at the and bass sections are choral scholars, undergraduates Lufthansa Early Music Festival, the Newbury studying a variety of subjects in the College itself. Festival, the York Early Music Festival, the Beethovenfest in Bonn, and the Ambronay Festival As part of King’s College Choir, the choral scholars in France. Recent concerts with the BBC Singers sing in the chapel’s daily worship services, which have been at the Spitalfields Festival and at the remain the choir’s raison d’être, as well as Tampere Festival in Finland. As a concert organist maintaining a busy concert, recording and touring he gave the first performance of Judith Bingham’s schedule. As Collegium Regale (Latin for “King’s Organ Concerto in Minneapolis-St Paul in June College”), the choral scholars perform independently 2008, and has recorded a DVD on the King’s organ of the choir, singing a repertoire that encompasses released by Priory in the autumn of 2008. During 15th Century sacred music, jazz, folksongs and pop. the 150th anniversary of Elgar’s birth, Stephen “Coll Reg” provides entertainment at dinners, conducted a number of the composer’s large-scale conferences, and Cambridge charity events. They works,Light ofincluding Life, The MusicThe Dream Makers of Gerontius, The also give frequent concerts, especially at Easter and The Apostles. when they split into two groups to tour the North and South of England. Collegium Regale Collegium Regale’s recent international tours have When Henry VI founded “The King’s College of Our included United States, Hong Kong and Italy. Each Lady and St. Nicholas” in 1441, he mandated that spring, the choral scholars split into two groups of his college’s choir should include 16 “poor and seven to tour the North and South of England. needy” boy choristers and six “singing men”, who, like the boys, sang in daily services, as well as www.collegiumregale.co.uk playing the organ. For most of its existence, the choir at King’s drew its singing men (“lay clerks”) from the Cambridge community, granting lifetime appointments. Reforms at the end of the nineteenth

- 12 - - 13 - 131booklet2 17/7/08 09:18 Page 15

ALSO on Alto Tenor Bass David Allsopp Gerald Beatty Mark Begbie Simon Ponsford Edmund Hastings Jesse Billett signumclassics Charles Richardson Jonathan Kanagasooriam Peter Lindsay Patrick Stobbs James Neville Rupert Reid Benjamin Williamson John Robb Ashley Riches Joel Robinson John Taylor Andrew Tipple

Becoming a Choral Scholar or Chorister at King’s College

The Director of Music at King’s College, Mr Stephen Cleobury, is always pleased to hear from prospective choristers, choral scholars and organ scholars. Further information can be obtained from his PA, Ms C. Georgiou on +44 (0)1223 331224, or by writing to her at King’s College, Cambridge, CB2 1ST, United Kingdom.

Gesualdo: Tenebrae Responsories All the Ends of the Earth Music for the Virgin Mary The King’s Singers Caius College Choir, Cambridge Concerto Delle Donne SIGCD048 SIGCD070 SIGCD073

“The teamwork of the ensemble is stunningly This recording celebrates the vibrant relationship “The singers’ delectably pure, sweet sound, Special thanks to Christine Georgiou, Margaret Hebden, Richard Lloyd Morgan P 2008 The copyright in this recording is owned by Signum Records Ltd. good, the tuning impeccable, and the dynamic that has developed in recent years between rhythmic liveliness and stylish ornamentation and Ian Thompson for their assistance in making this disc possible. C 2008 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. range enormous.” John Milsom - Early Music contemporary sacred British choral music and the perfectly capture the spirit of some beautiful and Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact music of the medieval era, allowing several inventive music, ideally suited to its very specific Recorded at St Cyriac’s Church, Swaffham Prior, Norfolk, UK, Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. contemporary works to be heard alongside the purpose.” Elizabeth Roche - Daily Telegraph June 25 - 26 & July 2, 2007 Licences for public performances or broadcasting may be obtained from Phonographic type of music that inspired their creation. Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording Producer & editor - Simon Kiln or otherwise, without prior permission from Signum Records Ltd. Engineers - Mike Hatch & Simon Kiln Photo of Stephen Cleobury - Gerald Place SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Cover Image - © Stockdisc Middx UB6 7JD, UK +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com www.collegiumregale.co.uk Design and Artwork - Woven Design www.wovendesign.co.uk www.signumrecords.com Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 14 - - 15 -