Live at Milton Court Handel Bach Scarlatti Gardiner Monteverdi Choir English Baroque Soloists 1 Domenico Scarlatti Stabat Mater a dieci voci 2 Johann Sebastian Bach Meine Herze schwimmt im Blut, BWV 199 Recitative: Meine Herze schwimmt im Blut Aria and Recitative: Stumme Seufzer, stille Klagen Recitative: Doch Gott muss mir genädig sein Aria: Tief gebückt und voller Reue Recitative: Auf diese Schmerzensreu Chorale: Ich, dein betrübtes Kind Recitative: Ich lege mich in diese Wunden Aria: Wie freudig ist mein Herz 3 George Frideric Handel Dixit Dominus, HWV 232 Dixit Dominus Domino meo Virgam virtutis tuae Tecum principium Juravit Dominus Tu es sacerdos Dominus a dextris tuis Judicabit in nationibus De torrente Gloria Patri

Monteverdi Choir English Baroque Soloists Recorded live at John Eliot Gardiner Milton Court, London Esther Brazil mezzo-soprano 25 September 2014

2 Introduction Scarlatti Stabat Mater Domenico Scarlatti certainly had pedigree. Having John Eliot Gardiner trained and then worked alongside his father, the Three musicians of immense future distinction turned distinguished composer Alessandro, he was eighteen in 1703 – Domenico Scarlatti, Johann appointed organist and composer to the royal chapel Sebastian Bach and the one we in England know in Naples before he had turned sixteen; at eighteen as George Frideric Handel. This trio, together with he had just returned to his post in Naples after four three others born slightly earlier – the Frenchman months in Florence and was busy composing his first Jean-Philippe Rameau and two other Germans (the two operas. But according to Alessandro, neither most celebrated in their day), Johann Mattheson Naples nor Rome was good enough for his son. Soon and Georg Philipp Telemann – formed what I have he was dispatched to Venice, still the epicentre of referred to as ‘The Class of ’85’1. These young men opera production as it had been for a hundred years: saw themselves primarily as craftsmen and versatile, ‘This son of mine’, he wrote, ‘is an eagle whose wings all-round musicians. They were also brilliant virtuoso are grown; he must not remain idle in the nest, and performers, with Bach, Handel and Scarlatti on the I must not hinder his flight’. But interfere he did with verge of being recognised as the leading keyboard the over-solicitous traits of a Sicilian patriarch, to the exponents of their day, even at this tender age. point at which Domenico finally resorted to the law Tonight’s programme is designed to celebrate and to secure his independence. To escape this paternal compare the contrasting responses of these three suffocation he resigned his positions in Rome, for- young composers to the theatrically imbued church sook opera, fleeing first to Lisbon in 1717 and then music of their day. What we might respond to as to Madrid in 1728. ‘dramatic’ in all three of their compositions has very The break, while brutal, was cathartic: free now little to do with the theatre. The drama is all in the to experiment in what he modestly called ‘an ingeni - mind – conjured up experimentally by musical ous jesting with art’, he set about creating that techniques both new and old, which in Bach’s case corpus of more than five hundred dazzling one- vivify biblical incident and dogma and in Handel’s movement keyboard sonatas that has held its place demonstrate the exercise of raw power bubbling in the repertory ever since. Standing well outside just below the surface of the psalm text. Even at the contemporary Baroque concepts of sequential this stage there are pointers to the divergent future and consecutive expansion, the sonatas were also preoccupations of these three ’85-ers: fantasy, Latin beyond the reach of parental criticism. passion tinged with mysticism (Scarlatti), love, fury, So, too, was his church music – or rather the loyalty and power (Handel), life, death, God and little of it that has come down to us. Was it in his eternity (Bach). Neapolitan childhood that Scarlatti first experienced the scenic pageantry of Holy Week dramas that 1. Music in the Castle of Heaven, Penguin, 2013 threatened to burgeon out of strict ecclesiastical 3 control? The Planctus Mariae (Mary’s mourning) word-painting, scene-setting (the vertical alignment formed a popular quasi-theatrical set-piece in of ‘Christ above in torment hangs/ she beneath Naples’ churches. Might this have lodged in his beholds the pangs/ of her dying glorious Son’ in the memory when he sat down to compose his Stabat fourth stanza) and rhetorical outrage (stanzas 5 and Mater for ten-part choir, soloists and continuo? 6). His music carries within it the intensity of a Bernini No amount of musicological sleuthing has so far sculpture or the extreme naturalism of a Caravaggio come up with a firm date, a venue or an occasion altar tableau, all works of art designed to exhort the for its coming into existence, yet it is by far the most listener or viewer to share in Mary’s grief: imposing and extended of his works in this genre and one of the most deeply affecting musical settings Fac me vere tecum flere Let me truly weep there has ever been of the Latin hymn by Jacopone crucifixo condolere to lament the Crucifixion da Todi (1230-1306). Finding it hard to imagine the donec ego vixero. as long as I shall live. Domenico of the harpsichord sonatas could have produced this astonishing work during his time in At a time when we risk becoming inured to the Lisbon or at the Spanish court, several scholars terrible suffering and loss of innocent lives by the plump instead for his Roman years when he worked frequency with which graphic images are blazoned first for the exiled Polish queen and then as maestro across our television screens, the challenge for the di cappella of the Basilica Giulia. To me, however, singer is not just to empathise with this harrowing although it sits perfectly well with the Counter- emotional outpouring but to address full-on the Reformation fervour of Baroque Roman art, there is horror of the most gut-wrenching sort and to project a detectable Iberian flavour to this work – partly to the searing passion of Scarlatti’s ten-part counter - be heard in harmonies that delve back into the siglo point with total conviction. de oro and the superb musical artists of that golden age – Morales, Vittoria, Guerrero and Alfonso Lobo – Bach Mein Herze schwimmt im Blut and partly in the dark brooding engagement Scarlatti If truth be told the texts of Bach’s two hundred or shows for the grieving of the Madonna, the moment so surviving cantatas seldom rise above poetic of death (quando corpus morietur…) and the be- doggerel, while the underlying theology is at times seeching, inflammatory music he is inspired to write. unappetising – mankind portrayed as wallowing in Just as Handel, crossing the Alps, was invigorated degradation and sinfulness, the world a hospital by the new sounds, sights and customs of Italy, so peopled by sick souls whose sins fester like suppu- Domenico Scarlatti, responded to the novel cultural rating boils and yellow excrement. What is one to milieu of the Iberian courts where he served, allowing make of a cantata such as this that opens with the exotic new elements to percolate into his musical words ‘My heart swims in blood, for sin’s brood turns language. In the course of his Stabat Mater me into a monster in God’s eyes... my sins are my Domenico latches on to every opportunity for graphic executioners, as Adam’s seed robs me of sleep and 4 I must hide from Him, He from whom even the angels outburst and a return to ‘silent sighing’ (‘A’ repeated). conceal their faces’? More self-immolation follows (accompagnato), What Bach gives us here is not so much a sermon culminating with the repentant cry of the publican as a portrayal of the complex psychological and in the parable: ‘God have mercy upon me!’. Next, emotional transformation of the conscience-struck without a break, comes an aria of deep humility individual. His overarching concern is to provide a and contrition (‘A’), the confession of guilt (‘B’) lucid presentation of the text, or rather of the ideas culminating in a plea for patience (tempo slowed to that lie behind it. This he offers to the listener from adagio) prior to a renewed expression of repentance several vantage points and in a highly individual style (‘A’ repeated). This is the turning-point (a two-bar of his own devising. Not for him the mechanical recitative). Now the singer makes a further act of patter of contemporary operatic recitative; instead, contrition, casting her sins into Christ’s wounds Bach develops a musical declamation flexible (chorale played by a solo viola). Henceforth this will enough to burgeon into arioso at moments of be her resting place (accompagnato) whence she heightened significance and always adjusted to the can sing an ode to joyful reconciliation (‘A’), blessing rise and fall of the verbal imagery. Each recitative acts (‘B’) and renewed joy (‘A’ repeated). as the springboard to the following aria and thus to Faced with a text for his first aria that postulates each change and expression of mood. He weaves the limitations of verbal expression (‘my mouth is such an amazingly vivid atmospheric web for each closed’), Bach shifts the expressive burden onto the aria that the words – even such over-the-top ones as instruments, so that the oboe expresses the turmoil those penned by the Darmstadt court librarian Georg of the sighing soul through its poignant cantilena as Christian Lehms – are not really needed to convey the eloquently as the voice, arguably still more so. The specific Affekt intended. You could almost remove emotional charge is then redoubled when the voice them and remain confident that the inflections and returns later to incorporate fresh material into the emotional contours would still be understood as a oboe ritornello, a technique known as Vokaleinbau. result of Bach’s persuasive music. Again, Bach may have been subverting conventional Lehms based his underlying theological message operatic practice where the singer is the primary on the parable of the Pharisee and the publican focus; the very fact that she is musically contextual - (Luke 18:9-14). A Christian consumed by self-horror ised might have provoked religious criticism of such and knowing that her sins have turned her ‘into a a secular convention. But if that was the case we monster in God’s eyes’ is racked by grief (Bach’s hear nothing about it, and it turns out that Bach was opening accompanied recitative). Agony turns her sufficiently proud of the work that after its Weimar dumb (‘A’ section of Bach’s first aria); tears testify premiere (12 August 1714) he revived it in Cöthen to her remorse (‘B’ section); a momentary flash of and later in Leipzig. Similarly you do not need to self-observation (extremely unusual ‘C’ section know that the second aria begins ‘Bent low and full interpo lation in secco recitative) leads to a rhetorical of remorse I lie’ when the melodic arch of the strings 5 of this spacious sarabande suggests prostration so and Handel is pitiless in the demands he makes of graphically and the stretching of its phrases across his musicians in the course of the eight movements: the barline conveys the gestures of supplication. he requires energy and breadth, phenomenal agility The success of this strategy depends a great deal, and precision, declamatory vigour and lyrical ex- of course, on the oratorical skill and empathy of the pressiveness. This gives the psalm setting its feelings individual singer – the ability to touch and literally of ebullience and breathless exhilaration, almost as ‘affect’ the listener, and not by vocal pyrotechnics though this young composer, newly arrived in the alone. This particular cantata, one of several out- land of virtuoso singers and players, was daring his standing works for solo singer that Bach composed hosts to greater and greater feats of virtuosity. The during his years at the Weimar Court (1708-17), work is masterful for all its bold, naive assumptions exhibits enough operatic know-how and sensibility that voices function like violins, and violins like the to suggest that he may have had a particular opera manuals of the organ, and it must have made a singer in mind, one of a kind unknown in Weimar material contribution to the astonishing success (where only falsettists were employed) – perhaps a Handel gained in Italy. diva such as Christine Pauline Kellner, who regularly Scholarly research has so far failed to establish trod the operatic stage in nearby Weissenfels as well beyond doubt what prompted this composition, nor as in Hamburg and Wolfenbüttel. where or when it was first performed. The use of a plainsong intonation – said to be for Easter – as a Handel Dixit Dominus cantus firmus in both the opening and final choruses For Handel, an adventurous traveller and a true suggests that the first performances may have been European, the three and a half years that he spent given in Rome on Easter Day in 1707, possibly at St in Italy in his early twenties had a decisive influence John Lateran or in Cardinal Ottoboni’s palace. Others on his creative development. Indeed, so it was also maintain that it was commissioned by Cardinal for many of his northern compatriots – one thinks Colonna for performance at Vespers (together with of Heinrich Schültz, the painter Albrecht Dürer, and other concerted psalm settings, antiphons and solo later Goethe. Each of these German-born artists motets) on the feast of the Madonna del Carmine, responded quite differently to this experience of Italy, which fell on 16 July. If there is any truth in this the but in every case it was her vitality and vivid colours, service must have been quite a marathon, lasting her landscape, art, music and architecture which ‘three whole howers at the least’, as Thomas Coryate made their mark. Colour is immediately striking in discovered exactly a hundred years earlier when he this Latin psalm setting, which was completed by attended Vespers at San Rocco in Venice. Handel’s Handel in Rome in April 1707. The score is laid out psalm setting opens with a spacious orchestra intro - for five solo voices, a five-part chorus and a string duction in G minor, with downward arpeggios in the orchestra also in five parts. In essence it is a grand first violins more characteristic of organ figuration concerto for all these forces, vocal and instrumental, than of string writing. The chorus enters weightily 6 to underline the gravity of the Lord’s utterance. The before he set foot in Italy. It must surely have made soloists break out of the tutti with the injunction ‘Sede a deep impression upon his Roman friends. Here a dextris meis’ (sit thou at my right hand). Here we was the ‘learned’ style of a northern composer, the can see at work the concerto grosso principle which ‘Saxon’ acknowledged for his superiority as an Handel was quick to learn from Corelli, then the organist, allied to a wonderfully opulent and natural leading exponent of instrumental music in Italy. Out musicality. The sixth movement (‘Dominus a dextris of this simple but effective exchange of solo and tutti, tuis’) is the most boldly experimental, revealing and still more from the insistent rhetorical repetitions Handel’s excited response to the rich possibilities of chorus and orchestra, Handel constructs a move- offered by virtuoso singing (and playing) in several ment of imposing grandeur. By reserving the big parts for building a choral drama. At the movement’s cantus firmus tune for the solemn pronounce ment culmination – it is in three distinct segments – he of the fate of the enemy, he compels us to sense the gives drastic, pictorial expression to the destruction full weight and wrath of the Old Testament God. alluded to in the text by staccato reiterations of the Two solo arias follow, one with continuo, the word ‘con-quas-sa-a-a-a-bit’. Whether conscious other with orchestral accompaniment. The first, for or not, this is a throwback to stile concitato invented mezzo-soprano, evokes the way the God of the a century before by Monteverdi for conveying excite- Old Testament works furtively behind enemy lines ment, anguish and martial vigour. Managing to sound through his secret agents. The second, for soprano, both naive and extravagant, it vividly conjures up the is a more florid and genial piece that reveals the Lord’s legions moving into battle with the enemy. influence of Alessandro Scarlatti, master of the solo Handel was quick to absorb the current (and past) cantata, in its elaboration and use of decorative styles and to identify with local idioms without ever coloratura. Blood and thunder return in the choral ceasing to sound exactly like himself. It is passages recitative ‘Juravit Dominus’, which breaks into an such as this, and similar ones in the contemporary allegro movement with the choral shouts of ‘Non! works – psalms, cantatas and above all in Agrippina, Non!’ before sinking to a soft close. Then the double the opera he wrote for Venice in 1709 – that reveal pattern of harsh, chromatic harmonies and swift- the colossal impact of Italian music upon him in his moving fugato is repeated with ever-increasing early twenties: not just the music of the composers power, before the music finally dies away in a he encountered at first hand (Corelli, Pasquini, the succession of bars marked piano, piano piano, Scarlattis), but that of more distant figures like più piano, pianiss., pianississ... Stradella, Legrenzi, Carissimi and even Monteverdi. For the almost unsettable sentence ‘Tu es The penultimate movement (‘De torrente’) is gentle sacerdos in aeternum secundum ordinem and soothing, Vivaldi-like in its use of grinding Melchisedech’ (Thou art a priest for ever after the harmony clashes, while the two soprano soloists order of Melchizedech) Handel displays his easy appear to hover effortlessly above the quietly mastery of counterpoint, a technique fully acquired chanting men’s choir. The final Gloria is a tour de 7 force, as large as anything in Bach’s B minor mass. ‘When he came first into Italy, [Handel]... also It begins as a loosely constructed fugue on three became known to Domenico Scarlatti, now [1760] subjects, one of which is the Easter plainsong theme living in Spain, and author of the celebrated lessons heard in the first movement. The final section, ‘Et in [i.e. sonatas]. As he was an exquisite player on the saecula’, is built on a single theme with repeated harpsichord, the Cardinal [Ottoboni] was resolved to notes and a conventional sequence, which eventually bring [Scarlatti] and Handel together for a trial of skill. stretches the compass of the outer voices to almost The issue of the trial on the harpsichord hath been two octaves: unrelenting, and not exactly vocal, but differently reported. It has been said that some gave utterly brilliant. Despite the glorious music he would the preference to Scarlatti. However, when they go on to compose in England it is baffling – and much came to the Organ there was not the least pretence to be regretted – that Handel never pursued this for doubting to which of them it belonged. Scarlatti particular vein: nothing subsequently measures up himself declared the superiority of his antagonist, and in terms of choral daring and sheer chutzpah. owned ingenuously, that till he had heard him upon this instrument, he had no conception of its powers. John Eliot Gardiner, 2014 So greatly was he struck with his peculiar method of playing, that he followed him all over Italy, and was never so happy as when he was with him… Though no two persons ever arrived at such perfection on their respective instruments, yet it is remarkable that there was a total difference in their manner. The characteristic excellence of Scarlatti seems to have consisted in a certain elegance and delicacy of ex- pression. Handel had an uncommon brilliancy and command of finger: but what distinguished him from all other players who possessed these same quali - ties, was that amazing fullness, force, and energy, which he joined with them. And this observation may be applied with as much justness to his compo - sitions, as to his playing.’

from John Mainwaring, Memoirs of the Life of the Late George Frederic Handel, 1760, pp.51-2.

8 Stabat Mater

Stabat Mater dolorosa At the cross her station keeping, juxta crucem lacrimosa, stood the mournful mother weeping, dum pendebat filius. close to Jesus to the last.

Cujus animam gementem, Through her heart, his sorrow sharing, contristatam et dolentem, all his bitter anguish bearing, pertransivit gladius. now at length the sword had passed.

O quam tristis et afflicta Oh, how sad and sore distressed fuit illa benedicta was that mother highly blest mater unigeniti! of the sole-begotten one!

Quae maerebat, et dolebat, Christ above in torment hangs, pia Mater, dum videbat she beneath beholds the pangs nati poenas inclyti. of her dying glorious son.

Quis est homo, qui non fleret, Is there one who would not weep, Christi matrem si videret whelmed in miseries so deep in tanto supplicio? Christ’s dear mother to behold?

Quis non posset contristari, Can the human heart refrain Christi matrem contemplari from partaking in her pain, dolentem cum filio? in that mother’s pain untold?

Pro peccatis suae gentis Bruised, derided, cursed, defiled, vidit Jesum in tormentis, she beheld her tender child, et flagellis subditum. all with bloody scourges rent.

Vidit suum dulcem natum For the sins of his own nation moriendo desolatum, saw him hang in desolation, dum emisit spiritum. till his spirit forth he sent.

9 Eja Mater, fons amoris, O thou mother, fount of love, me sentire vim doloris touch my spirit from above, fac ut tecum lugeam. make my heart with thine accord.

Fac ut ardeat cor meum Make me feel as thou hast felt, in amando Christum Deum, make my soul to glow and melt ut sibi complaceam. with the love of Christ our Lord.

Sancta Mater, istud agas, Holy mother, pierce me through, crucifixi fige plagas in my heart each wound renew cordi meo valide. of my saviour crucified.

Tui nati vulnerati, Let me share with thee his pain, tam dignati pro me pati, who for all my sins was slain, poenas mecum divide. who for me in torments died.

Fac me vere tecum flere, Let me mingle tears with thee, crucifixo condolere, mourning him who mourned for me, donec ego vixero. all the days that I may live.

Juxta crucem tecum stare, By the cross with thee to stay, et me tibi sociare there with thee to weep and pray, in planctu desidero. is all I ask of thee to give.

Virgo virginum praeclara, Virgin of all virgins best, mihi jam non sis amara: listen to my fond request: fac me tecum plangere. let me share thy grief divine.

Fac, ut portem Christi mortem Let me, to my latest breath, passionis fac consortem, in my body bear the death et plagas recolere. of that dying son of thine.

Fac me plagis vulnerari Wounded with his every wound, crucem nac inebriari, steep my soul till it hath swooned ob amorem Filii. in his very blood away. 10 Inflammatus et accensus Be to me, O Virgin, nigh, per te, Virgo, sim defensus lest in flames I burn and die in die judicii. in his awful judgment day.

Fac me cruce custodiri Christ, when thou shalt call me hence, morte Christi praemuniri be thy mother my defence, confoveri gratia. be thy cross my victory.

Quando corpus morietur, While my body here decays, fac, ut animae donetur may my soul thy goodness praise, paradisi gloria. safe in paradise with thee.

Amen Amen Mein Herze schwimmt im Blut

Recitative Mein Herze schwimmt im Blut, My heart is bathed in blood, weil mich der Sünden Brut for the multitude of my sins in Gottes heil’gen Augen has made in God’s holy eyes zum Ungeheuer macht. a monster of me. Und mein Gewissen fühlet Pein, And my conscience feels the pain, weil mir die Sünden nichts because my sins are naught als Höllenhenker sein. but hell’s own hangmen. Verhasste Lasternacht! O hated night of sin! Du, du allein You, you alone hast mich in solche Not gebracht; have caused me such distress; und du, du böser Adamssamen, and you, you wicked seed of Adam, raubst meiner Seele alle Ruh rob my soul of all its peace und schließest ihr den Himmel zu! and shut it off from heaven! Ach! unerhörter Schmerz! Ah! Unheard-of anguish! Mein ausgedorrtes Herz No comfort shall henceforth 11 will ferner mehr kein Trost befeuchten, moisten my withered heart, und ich muss mich vor dem verstecken, and I must hide myself before Him, vor dem die Engel selbst ihr Angesicht verdecken. before whom the very angels hide their faces.

Aria and Recitative Stumme Seufzer, stille Klagen, Silent sighs, quiet lamenting, ihr mögt meine Schmerzen sagen, you may speak of my agony, weil der Mund geschlossen ist. for my mouth is closed. Und ihr nassen Tränenquellen And you wet flood of tears könnt ein sichres Zeugnis stellen, can provide certain witness wie mein sündlich Herz gebüßt. of my sinful heart’s remorse. Mein Herz ist itzt ein Tränenbrunn, My heart is now a well of tears, die Augen heiße Quellen. my eyes are boiling springs. Ach Gott! wer wird dich doch zufriedenstellen? Ah God! Who can ever content Thee?

Recitative Doch Gott muss mir genädig sein, But God must be merciful to me, weil ich das Haupt mit Asche, for I bathe my head with ashes das Angesicht mit Tränen wasche, and my countenance with tears; mein Herz in Reu und Leid zerschlage I beat my heart in remorse and pain, und voller Wehmut sage: and full of sadness, say: Gott sei mir Sünder gnädig! God, have mercy on my sins! Ach ja! sein Herze bricht, Ah yes! His heart shall break und meine Seele spricht: and my soul shall say:

Aria Tief gebückt und voller Reue Deeply bowed and filled with remorse lieg ich, liebster Gott, vor dir. I lie, dearest God, before Thee. Ich bekenne meine Schuld, I acknowledge my guilt, aber habe doch Geduld, but have patience, habe doch Geduld mit mir! have patience I beg, with me!

Recitative Auf diese Schmerzensreu After this painful remorse fällt mir alsdenn dies Trostwort bei: come to me these words of comfort: 12 Chorale Ich, dein betrübtes Kind, I, Thy afflicted child, werf alle meine Sünd, cast all my sins, so viel ihr in mir stecken as many as there are in me und mich so heftig schrecken, and which terrify me so, in deine tiefen Wunden, into Thy deep wounds, da ich stets Heil gefunden. where I have always found salvation.

Recitative Ich lege mich in diese Wunden I lay myself down in these wounds, als in den rechten Felsenstein; as though upon a very crag; die sollen meine Ruhstatt sein. they shall be my resting place. In diese will ich mich im Glauben schwingen In them shall I soar in faith, und drauf vergnügt und fröhlich singen and then, content and happy, sing:

Aria Wie freudig ist mein Herz, How joyful is my heart, da Gott versöhnet ist for God is reconciled with me, und mir auf Reu und Leid and for my remorse and pain nicht mehr die Seligkeit no longer denies me His blessing noch auch sein Herz verschließt. nor indeed His heart. Dixit Dominus

Miriam Allan Dixit Dominus Domino meo: The Lord said unto my Lord: Esther Brazil sede a dextris meis sit thou on my right hand, Gareth Treseder donec ponam inimicos tuos until I make thine enemies scabellum pedum tuorum. thy footstool.

Esther Brazil Virgam virtutis tuae The Lord shall send the rod of thy power emittet Dominus ex Sion: out of Sion: be thou ruler, dominare in medio inimicorum tuorum. even in the midst of thine enemies.

13 Emma Walshe Tecum principium in die virtutis tuae In the day of thy power shall people offer thee in splendoribus sanctorum: free-will offerings with an holy worship: the dew ex utero ante luciferum genui te. of thy birth is of the womb of the morning.

Juravit Dominus, et non poenitebit eum: The Lord hath sworn, and will not repent: tu es sacerdos in aeternum thou art a priest for ever secundum ordinem Melchisedech. after the order of Melchizedech.

Laura Oldfield Dominus a dextris tuis The Lord upon thy right hand: Charlotte Ashley confregit in die irae suae reges. shall wound even kings in the day of his wrath. Peter Harris Judicabit in nationibus, He shall judge among the heathen, Gareth Treseder implebit ruinas, he shall fill the places with the dead bodies, Alex Ashworth conquassabit capita in terra multorum. and smite in sunder the heads over divers countries.

Emma Walshe De torrente in via bibet: He shall drink from the brook in the way: Esther Brazil propterea exaltabit caput. therefore shall he lift up his head.

Gloria Patri, et Filio, Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Ghost. Sicut erat in principio, As it was in the beginning, et nunc, et semper, and is now, and ever shall be, et in saecula saeculorum. world without end. Amen. Amen.

14 Monteverdi English Choir Baroque Soloists

Sopranos Violins Recorded live at the Guildhall Miriam Allan Kati Debretzeni School of Music & Drama’s Emily Armour Iona Davies Milton Court Concert Hall, Charlotte Ashley Rodolfo Richter on 25 September 2014. Esther Brazil Madeleine Easton With thanks to the Barbican Centre Zoe Brown Roy Mowatt and the Corporation of London Alison Hill Davina Clarke Angela Kazimierczuk Producer: Isabella De Sabata Gwendolen Martin Anne Schumann Recording engineer: Mike Hatch Eleanor Meynell Oliver Webber (Floating Earth Ltd) Laura Oldfield Håkan Wikström Recording assistants: Katie Thomas Henrietta Wayne Chris Kalkov, George Pierson Emma Walshe Hildburg Williams Publishers: James Toll Handel: Bärenreiter Altos Scarlatti: Universal Edition, Heather Cairncross Violas edited by Jürgen Jürgens Rory McCleery Fanny Paccoud Bach: Breitkopf & Härtel, Eleanor Minney Annette Isserlis edited by Carl Adolf Martienssen Richard Wyn Roberts Lisa Cochrane Kate Symonds Joy Aliye Cornish P 2014 The copyright in this Matthew Venner Malgorzata Ziemkiewicz sound recording is owned by María Ramirez Rodriguez Tenors Monteverdi Productions Ltd Ben Alden Cellos C 2014 Monteverdi Productions Ltd Andrew Busher Robin Michael Level 9 Peter Harris Catherine Rimer 25 Cabot Square Nicholas Keay Ruth Alford Canary Wharf Nicolas Robertson Kinga Gáborjáni London E14 4QA Gareth Treseder Basses www.solideogloria.co.uk Basses Valerie Botwright Alex Ashworth Cecelia Bruggemeyer Christopher Borrett Keyboards Robert Davies James Johnstone Rupert Reid Howard Moody David Shipley Lawrence Wallington Lute Evangelina Mascardi Oboe Michael Niesemann Bassoon Philip Turbett Soli Deo Gloria 15