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Home , Advance Democracy, A Boy was Born, A Ceremony of Carols, English Opera Group, Gloriana, Hymn to St Cecilia

CORO The Sixteen Edition CORO The Sixteen Edition Other Sixteen Edition recordings available on Coro Fen and Meadow Blest Cecilia Britten Choral Works III Britten Choral Works I cor16006 Britten Choral Works II cor16034 Hymn to the Virgin A Ceremony of Carols A Shepherd's Carol The Sycamore Tree Sweet was the Song Festival Te Deum in D C HORAL D ANCES FROM 'G LORIANA '

Ikon of Light Barber Agnus Dei F IVE F LOWER S ONGS John Tavener cor16015 An American Collection cor16031 S ACRED AND P ROFANE The Lamb Samuel Barber Two Hymns to the Leonard Bernstein Mother of God Aaron Copland Today the Virgin Irving Fine Ian Partridge The Tyger Steve Reich The Sixteen Page 1 Eonia Del Tredici THE VOICES OF HARRY CHRISTOPHERS To find out more about The Sixteen, concerts, tours, and to buy CDs, visit www.thesixteen.com cor16038 In December 1977, as a member of the of Fen and Meadow Lady Barnard was composed in 1943 for a Westminster Abbey, I sang at Britten’s memorial friend, Richard Wood, who was in a prison camp in Germany, for him and his fellow service; at that time, I was also a member of English prisoners to perform there. The score was Music Theatre, successor to English Group ritten's opera celebrated sent out page by page by microfilm letter. and the brainchild of conductor Queen Elizabeth II's coronation The Wedding Anthem, Amo Ergo Sum, and producer but with the blessing Bby depicting scenes from the life composed for the marriage of Marion Stein and support of Britten. Unfortunately, I never had of . The affection she inspired to the Earl of Harewood in 1949 (in St among her subjects is captured in the simple Mark's, North Audley Street in London), is an the privilege of meeting Benjamin Britten but I felt radiance of the masque they present during exuberant setting of Ronald Duncan's high- I knew him through his music and working closely her royal progress to Norwich. The Spirit flown text (shades of Lucretia), and includes with not only Steuart and Colin but also . of the Masque, a solo , introduces the arias for the and tenor soloists, and It had taken England many centuries to produce dancers. First comes Time, his youthful a duet whose phrases answer each other in buoyancy chorally depicted by cross-rhythm mirror imitation and reach a climactic unison such a distinctive musical personality. Indeed there and canonic propulsion in Britten's brightly on the words 'Amo Ergo Sum'. would be many that would agree with me that he was the first of such stature since affirmative C major. Time's spouse, Concord, How the conventions of the English . dances to entirely concordant (but beautifully partsong are accepted yet revalued in Britten's Having sung most of the works on this disc as a boy chorister and as a rather unpredictable) harmonies, and together they Five Flower Songs (1950) is typified in the first, dance From springs of bounty, a lilting canon where mellifluous harmonies avoid cliché, indifferent tenor, I found it most refreshing to look over these scores from a between women and men. Girls present often because of the persistence of the opening conductor’s viewpoint. I am always astounded how years of misguided interpretation flowers to an airy rustic dance duet and with a shape, 'Fair daffodils'. Herrick's 'four sweet lead to the composer’s intentions being flagrantly ignored and then termed more stolid animation the men bring the fruits months', one to each part, enter in quasi-fugal “tradition” but I didn’t really expect it in performances of more recent composers’ of land and sea. These tokens are offered to succession, later intensified by closer overlaps. George Crabbe, whose inspired works. And so it was doubly refreshing to attempt to be faithful to Britten’s requests. the queen in the Final Dance of Homage; again unclouded C major and canonic unanimity Britten's opera, is set here without softening His music is never easy but it is always challenging for performers, be they singers are warmly expressive, while the flattening his dour realism, so 'the contracted Flora or instrumentalists. However, and take note all budding composers, he never sets inflexions at 'Norwich city you are leaving' add of our town' have angular lines. They are impossible tasks! a delicate tinge of regret. relieved by a few touches of warmer harmony, , to an embarrassingly but no textures as simple as those which, aided earnest text by Randall Swingler, reflects by a gentle flexibility of metre, characterize Britten's commitment to left-wing causes in The Evening Primrose. Instrumental style the 1930s; it was composed at the time of the returns for the jaunty accompaniments against Munich crisis in Autumn 1938. which the Ballad of Green Broom is projected, The splendid Ballad of Little Musgrave and and for its sonorous climax. 3 Sacred and Profane, composed in CHORAL DANCES FROM 'GLORIANA' the winter of 1974-5, was Britten's solo tenor: Ian Partridge THE SIXTEEN last work for unaccompanied 1 The Masque begins 0.53 SOPRANO Fiona Clarke, Libby Crabtree†, Sophie Daneman*, Ruth Dean, Sally Dunkley, voices. It was written for the Wilbye 2 First Dance: Time 1.43 Micaela Haslam†, Nicola Jenkin*, Nicola-Jane Kemp*, Carys Lane, Rebecca Outram† Consort, a madrigal group which 3 Second Dance: Concord 2.39 Peter Pears had founded, and 4 Third Dance: Time and Concord 1.48 Deborah Miles-Johnson†, Philip Newton, Christopher Royall, the settings are characteristically 5 Fourth Dance: Country Girls 1.14 Nigel Short†, Helen Templeton*, Caroline Trevor* madrigalian in their five-part 6 Fifth Dance: Rustics and Fishermen 1.19 TENOR Peter Burrows*, Philip Daggett, Duncan MacKenzie*, writing. The texts are medieval 7 Sixth Dance: Final Dance of Homage 2.16 † † English lyrics and a typical Neil MacKenzie , Nicolas Robertson, Matthew Vine mixture of the devotional and the 8 Advance Democracy 3.15 Simon Birchall, Michael Bundy*, Roger Cleverdon*, Robert Evans†, † † rumbustiously secular. The sacred 9 Timothy Jones, Francis Steele , Jeremy White lyrics all have a simple dignity, and The Ballad of Little Musgrave and Lady Barnard 8.28 * Choral Dances and Five Flower Songs only the two passion settings a tragic † not in Choral Dances or Five Flower Songs intensity worthy of Bach. The bl A Wedding Anthem 8.59 second one, Ye that pasen by, takes solos: Ruth Dean, Neil MacKenzie PIANO Stephen Westrop ORGAN Margaret Phillips up the refrain of the preceding Carol FIVE FLOWER SONGS HARP Helen Tunstall − an apparently innocent piece bm which however is marked 'with To Daffodils 1.50 bn parody!' like Mahler at his most The Succession of the Four Sweet Months 2.06 bo The Ballad of Little Musgrave and Lady Barnard ironic. The secular lyrics range from Marsh Flowers 1.56 a joyful invocation of spring (Lenten bp The Evening Primrose 2.44 TENOR Simon Berridge, Andrew Carwood, Nicolas Robertson, Matthew Vine bq is come) to a chilling little song about Ballad of Green Broom 1.53 Matthew Brook, Michael Bundy, Robert Evans, Timothy Jones madness (I mon waxe wod) and the SACRED AND PROFANE final grim catalogue of the ills of old BASS Simon Birchall, Charles Gibbs, Francis Steele, Jeremy White br St Godric's Hymn 1.34 age, A Death, to which Britten, who bs was facing his own fast-approaching I mon waxe wod 0.38 bt Lenten is come 2.43 Sacred and Profane death, first reacts with horror, then bu with gallows humour. The long night 1.19 SOPRANO Fiona Clarke, Libby Crabtree, Ruth Dean, Sally Dunkley, Rosemary Hattrell, cl Yif ic of luve can 2.38 Lucinda Houghton cm Adapted from notes by Carol 1.36 ALTO Sarah Connolly, Philip Newton, Christopher Royall, Nigel Short Peter Evans and David Matthews. cn Ye that pasen by 2.18 co A death 3.03 TENOR Simon Berridge, Andrew Carwood, Nicolas Robertson, Matthew Vine Total playing time 60.10 BASS Simon Birchall, Robert Evans, Timothy Jones, Jeremy White 4 5 Queenly woman In earthen dishes Choral Dances from 'Gloriana' Knew such favour Their deep-sea fishes; From Heav'n above Yearly fleeces, 1 3 The Masque begins Second Dance: Concord As she whose presence Woven blankets; The masque begins. Concord, Concord is here Is our pleasance New cream and junkets, Our days to bless Gloriana And rustic trinkets Melt earth to sea, sea flow to air; And this our land to endue Hath all our love! On wicker flaskets, And air fly into fire! With plenty, peace and happiness. Their country largess, The elements, at Gloriana's chair, Concord, Concord and Time, The best they know. 5 Mingle in tuneful choir. Each needeth each; Fourth Dance: The ripest fruit hangs where Led by Time and Concord, And now we summon from this leafy bower Country Girls let all unite in homage to Gloriana, The demi-god that must appear! Not one, but only two can reach. Sweet flag and cuckoo flower, our hope of peace, our flower of grace. 'Tis Time! 'tis Time! 'tis Time! Now Time with Concord dances Cowslip and columbine, This island doth rejoice: Kingcups and sops in wine, 7 Sixth Dance: 2 First Dance: Time And woods and waves and waters Flower deluce and calaminth, Make echo to our voice. Harebell and hyacinth, Final Dance of Homage Yes, he is Time, Myrtle and bay with rosemary between, Lusty and blithe! Norfolk's own garlands for her Queen. These tokens of our love receiving, Time is at his apogee! 4 Third Dance: O take them, Princess great and dear, Although you thought to see Behold a troop of rustic swains, From Norwich city you are leaving, A bearded ancient with a scythe. Time and Concord Bringing from the waves and pastures That you afar may feel us near. No reaper he From springs of bounty the fruits of their toil. That cries "Take heed!" Through this county Time's at his apogee! Streams abundant 6 Young and strong, in his prime: Of thanks shall flow! Fifth Dance: 8 Behold the sower of the seed! Where life was scanty Rustics and Fishermen ADVANCE DEMOCRACY Fruits of plenty Time could not sow unless he had Swell resplendent From fen and meadow Across the darkened city a spouse to bless his work, and gave it life; From earth below! In rushy baskets The frosty searchlights creep Concord, his loving wife! No Greek nor Roman They bring ensamples Alert for the first marauder Of all they grow. To steal upon our sleep.

6 7 We see the sudden headlines Is there no strength to save us? "But I have a bower at Bucklesfordberry, 'Tis nothing but a shepherd's boy Float on the muttering tide No power we can trust Full daintily it is dight, A-driving his sheep to the fold." We hear them warn and threaten Before our lives and liberties If thou'lt wend thither, thou Little Musgrave, By this, Lord Barnard came to his door And wonder what they hide. Are powder'd into dust. Thou's lig in my arms all night." And lighted a stone upon; And he's pull'd out three silver keys, There are whispers across tables, Time to arise Democracy With that beheard a little tiny page, And open'd the doors each one. Talks in a shutter'd room. Time to rise up and cry By his lady's coach as he ran. He lifted up the coverlet, The price on which they bargain That what our fathers fought for Says, "Although I am my lady's foot-page, He lifted up the sheet: Will be a people's doom. We'll not allow to die. Yet I am Lord Barnard's man!" "Arise, arise, thou Little Musgrave, Then he's cast off his hose and cast off his shoon, And put thy clothes on; There's a roar of war in the factories Time to resolve divisions, Set down his feet and ran, And idle hands on the street Time to renew our pride, It shall ne'er be said in my country And where the bridges were broken down I've killed a naked man. And Europe held in nightmare Time to decide He bent he bow and swam. By the thud of marching feet. Time to burst our house of glass. I have two swords in one scabbard, "Awake! awake! thou Lord Barnard, They are both sharp and clear; Now sinks the sun of surety, Rise as a single being As thou art a man of life! Take you the best, and I the worst, The shadows growing tall In one resolve arrayed: Little Musgrave is at Bucklesfordberry We'll end the matter here." Of the big bosses plotting Life shall be for the people Along with thine own wedded wife". The first stroke Little Musgrave struck Their biggest coup of all. That's by the people made. He called up his merry men all: He hurt Lord Barnard sore; "Come saddle me my steed; Randall Swingler The next stroke that Lord Barnard struck, This night must I to Bucklesfordberry, he struck. F'r I never had greater need". Little Musgrave ne'er struck more. But some they whistled, and some they sang, "Woe worth you, my merry men all, 9 THE BALLAD OF LITTLE MUSGRAVE AND LADY BARNARD And some they thus could say, You were ne'er born for my good! Whenever Lord Barnard's horn it blew: Why did you not offer to stay my hand As it fell on one holyday, The one of them was clad in green "Away, Musgrave away!" When you saw me wax so wood? As many be in the year, Another was clad in pall, "Methinks I hear the threstlecock, For I've slain also the fairest ladye When young men and maids together did go And then came in my Lord Barnard's wife, Methinks I hear the jay; That ever did woman's deed. Their matins and to hear, The fairest amongst them all, Methinks I hear Lord Barnard's horn, A grave," Lord Barnard cried, Little Musgrave came to the church door – Quoth she, "I've loved thee, Little Musgrave, Away Musgrave! Away!" "To put these lovers in! The priest was at private mass – Full long and many a day". "Lie still, lie still, thou little Musgrave, But lay my lady on the upper hand, But he had more mind of the fair women "So have I lov'd you, my fair ladye, And huggle me from the cold; For she comes of the nobler kin". Than he had of Our Lady's grace. Yet never a word durst I say". Anon. 8 9 bl A WEDDING ANTHEM Until the hasting day bo Marsh Flowers Has run Now let us sing gaily Though their years may be brief But to evensong; Here the strong mallow strikes her slimy root, Ave Maria! yet through Him And, having prayed together, we Here the dull nightshade hangs her deadly fruit: And may the Holy Virgin These two are not two Will go with you along. Who was the Mother of Love has made them one On hills of dust the henbane's faded green, Grant that these two children Amo Ergo Sum! We have short time to stay as you, And pencil'd flower of sickly scent is seen, May live together happily And by its mystery We have as short a Spring! Here on its wiry stem, in rigid bloom, For Faith releases Gaiety Each is no less but more As quick a growth to meet decay, Grows the salt lavender that lacks perfume. As Marriage does true Chastity! Amo Ergo Sum! As you, or any thing. At the wall's base the fiery nettle springs Ave Maria! For to love is to be We die With fruit globose and fierce with poison'd stings; And in loving Him, I love Thee As your hours do, and dry In ev'ry chink delights the fern to grow, See how the scarlet sun Amo Ergo Sum! Away With glossy leaf and tawny bloom below; Overthrows the heavy night Like to the Summer's rain; The few dull flowers that o'er the place are spread And where black shadows hung Per vitam Domini Or as the pearls of morning's dew, Partake the nature of their fenny bed. There reveals a rose, a rose so pure and white, Spes nobis cantavit, Ne'er to be found again. These, with our seaweeds rolling up and down, Thus did Jesus bring Per fidem Domini Robert Herrick Form the contracted Flora of our town. To the blind world of man Lux diem novavit, George Crabbe That faith which is their sight Per mortem Domini And Love that is their light. Mors mortem fugavit, bn The Succession of the Amen! bp As mountain streams Four Sweet Months The Evening Primrose Ronald Duncan find one another Till they are both merged First, April, she with mellow showers When once the sun sinks in the west, there - in a broad, peaceful river Opens the way for early flowers; And dewdrops pearl the evening's breast; As it flows to the sea Five Flower Songs Then after her comes smiling May, Almost as pale as moonbeams are, and in it bm To Daffodils In a more rich and sweet array: The evening primrose opes anew are lost forever, Next enters June and brings us more Its delicate blossoms to the dew So those who love Fair daffodils, we weep to see Gems than those two that went before: And, hermit-like, shunning the light, seek one another You haste away so soon: Then (lastly,) July comes and she Wastes its fair bloom upon the night; But when they are joined As yet the early-rising Sun More wealth brings in than all those three; Who, blindfold to its fond caresses here - to Christ's Love, oh so tender Has not attained his noon. April! May! June! July! Knows not the beauty he possesses. Stay, stay Robert Herrick Thus it blooms on while night is by; 10 11 When day looks out with open eye, He sharpened his Knives and for once he Sainte Marye, Christes bur St Mary, Christ’s bower, 'Bashed at the gaze it cannot shun, contrives Maidenes clenhad, moderes flur, Virgin among maidens, flower of motherhood, It faints and withers and is gone. To cut a great bundle of Broom, Dilie min sinne, rix in min mod, Blot out my sin, reign in my heart (and) John Clare green Broom, Bring me to winne with the self God. Bring me to bliss with that selfsame God. When Johnny pass'd under a lady's fine room, fine room, bq Ballad of Green Broom She call'd to her maid: "Go fetch me," she said, bs II: I mon waxe wod "Go fetch me the boy that sells Broom, There was an old man liv'd out in the wood, green Broom, Foweles in the frith, Birds in the wood, And his trade was a-cutting of Broom, Go fetch me the boy!" The fisses in the flod, The fish in the river, green Broom, When Johnny came in to the Lady's fine house, And I mon waxe wod; And I must go mad; He had but one son without thought And stood in the Lady's fine room, fine room, Mulch sorw I walke with Much sorrow I live with without good "Young Johnny" she said, "Will you give up For beste of bon and blod. For the best creatures alive. Who lay in his bed till t'was noon, bright noon; your Trade The old man awoke one morning and spoke And marry a lady in bloom, full bloom?" He swore he would fire the room, that room, Johnny gave his consent, and to the church they bt III: Lenten is come If his John would not rise and open his eyes, both went, Lenten is come with love to toune, Spring has come with love among us, And away to the wood to cut Broom, And he wedded the Lady in bloom, With blosmen and with briddes roune, With flowers and with the song of birds, green Broom. full bloom, That all this blisse bringeth. That brings all this happiness. So Johnny arose and slipp'd on his clothes At market and fair, all folks do declare, Dayeseyes in this dales, Daisies in these valleys, And away to the wood to cut Broom, There's none like the Boy that sold Broom, Notes swete of nightegales, The sweet notes of nightingales, green Broom. green Broom. Uch fowl song singeth. Each bird sings a song. Anon. The threstelcok him threteth oo. The thrush wrangles all the time. Away is huere winter wo Gone is their winter woe Sacred and Profane When woderofe springeth. When the woodruff springs. br This fowles singeth ferly fele, These birds sing, wonderfully merry, I: St Godric's Hymn And wliteth on huere wynne wele, And warble in their abounding joy, That all the wode ringeth. So that all the wood rings. Sainte Marye Virgine, St Mary the Virgin, Mother of Jesus Christ of Moder Jesu Christes Nazarene, Nazareth, receive, defend and The rose raileth hire rode, The rose puts on her rosy face Onfo, schild, help thin Godric, Help thy Godric (and,) having received (him,) The leves on the lighte wode The leaves in the bright wood, Onfang, bring heylich with thee in Godes Riche. Bring (him) on high with thee in God’s Kingdom. Waxen all with wille. All grow with pleasure. 12 13 The mone mandeth hire ble, The moon sends out her radiance, cl V: Yif ic of luve can The lilye is lossom to se, The lily is lovely to see. The fennel and the fille. The fennel and the wild thyme. Whanne ic se on Rode When I see on the cross, Wowes this wilde drakes, These wild drakes make love. Jesu, my lemman, Jesu, my lover, Miles murgeth huere makes, Animals cheer their mates, And besiden him stonden And beside him stand Ase strem that striketh stille. Like a stream that flows softly. Marye and Johan, Mary and John, Mody meneth, so doth mo; The passionate man complains, as do more: And his rig iswongen, And his back scourged, Ichot ich am on of tho I know that I am one of those And his side istungen, And his side pierced, For love that likes ille. That is unhappy for love. For the luve of man: For the love of man, Well ou ic to wepen, Well ought I to weep The mone mandeth hire light, The moon sends out her light, And sinnes for to leten, And sins to abandon, So doth the semly sonne bright, So does the fair, bright sun, Yif ic of luve can, If I know of love, When briddes singeth breme. When birds sing gloriously. Yif ic of luve can, If I know of love, Deawes donketh the dounes, Dews wet the downs, Yif ic of luve can. If I know of love. Deores with huere derne rounes Animals with their secret cries Domes for to deme. For telling their tales. Wormes woweth under cloude, Worms make love under ground, cm VI: Carol Wimmen waxeth wounder proude, Women grow exceedingly proud, So well it wol hem seme. So well it will suit them. Maiden in the mor lay, A maiden lay on the moor, Yef me shall wonte wille of on, If I don’t have what I want of one, In the mor lay; Lay on the moor, This wunne wele I wole forgon, All this happiness I will abandon, Sevenight fulle, A full week, And wiht in wode be fleme. And quickly in the woods be a fugitive. Sevenight fulle, A full week, Maiden in the mor lay; A maiden lay on the moor; In the mor lay, Lay on the moor bu IV: The long night Sevenightes fulle and a day. A full week and a day.

Mirie it is, while summer ilast, Pleasant it is while summer lasts, Welle was hire mete. Good was her food. With fugheles song. With the birds’ song. What was hire mete? What was her food ? Oc nu necheth windes blast But now the blast of the wind draws nigh The primerole and the – The primrose and the – And weder strong And severe weather. The primerole and the – The primrose and the – Ey! ey! what this night is long! Alas ! how long this night is, Welle was hire mete. Good was her food. And ich, with well michel wrong, And I, with very great wrong, What was hire mete? What was her food ? Soregh and murne and fast. Sorrow and mourn and fast. The primerole and the violet. The primrose and the violet. 14 15 Welle was hire dring. Good was her drink. co What was hire dring? What was her drink? VIII: A death The chelde water of the – The cold water of the – Wanne mine eyhnen misten, When my eyes get misty, The chelde water of the – The cold water of the – And mine heren sissen, And my ears are full of hissing, Welle was hire dring. Good was her drink. And my nose coldet, And my nose gets cold, What was hire dring? What was her drink? And my tunge foldet, And my tongue folds, The chelde water of the welle-spring. The cold water of the well-spring And my rude slaket, And my face goes slack, Welle was hire bowr. Good was her bower. And mine lippes blaken, And my lips blacken, What was hire bowr? What was her bower? And my muth grennet, And my mouth grins, The rede rose and the – The red rose and the – And my spotel rennet, And my spittle runs, The rede rose and the – The red rose and the – And mine her riset, And my hair rises, Welle was hire bowr. Good was her bower. And mine herte griset, And my heart trembles, What was hire bowr? What was her bower? And mine honden bivien, And my hands shake, The rede rose and the lilye flour. The red rose and the lily flower. And mine fet stivien - And my feet stiffen - All to late! all to late! All too late! all too late ! Wanne the bere is ate gate. When the bier is at the gate. cn VII: Ye that pasen by Thanne I schel flutte, Then I shall pass, Ye that pasen by the weiye, You that pass by the way, From bedde to flore, From bed to floor, Abidet a little stounde. Stay a little while. From flore to here, From floor to shroud, Beholdet, all my felawes, Behold, all my fellows From here to bere, From shroud to bier, Yef any me lik is founde. If any like me is found. From bere to putte, From bier to grave. To the Tre with nailes thre To the Tree with three nails. And the putt fordut. And the grave will be closed up. Wol fast I hange bounde; Most fast I hang bound; Thanne lyd mine hus uppe mine nose. Then rests my house upon my nose. With a spere all thoru my side With a spear all through my side. Of al this world ne give I it a pese! For the whole world I care not one jot. To mine herte is mad a wounde. To my heart is made a wound.

16 17 The Sixteen The Sixteen HARRY CHRISTOPHERS

fter nearly three decades of world-wide Supporting The Sixteen performance and recording, The Sixteen is Arecognised as one of the world’s greatest vocal “As time goes by, I find Harry Christophers’ ensembles. Its special reputation for performing early music making more and more captivating.” English polyphony, masterpieces of the Renaissance and a diversity of is drawn BBC RADIO 3 from the passions of conductor and founder, Harry Recording Producers: Mark Brown, Christophers. Over ninety recordings, many prize- Arthur Johnson (Choral Dances from 'Gloriana' Over 30,000 people each year hear and Five Flower Songs) winning, reflect The Sixteen’s quality in a range of Recording Engineer: Mike Hatch (Floating Earth) our concerts and so have their lives CORO is the lively and work spanning the music of six hundred years. Recorded at: enriched by the music-making of successful record label of The Sixteen has toured throughout Europe, Japan, Snape Maltings Concert Hall, January 99, Harry Christophers, The Sixteen The Sixteen, The Symphony Australia and the Americas and has given regular St Michael's Church, Highgate, September 992. performances at major concert halls and festivals Pronunciation Adviser: Alison Wray and The Symphony of Harmony and of Harmony and Invention Cover image: Jeremy Young worldwide, including the Barbican Centre, Sydney Design: RBDA & Andrew Giles Invention. Many thousands more and Harry Christophers. Opera House, and Vienna Musikverein; also the enjoy our CD recordings and radio BBC Proms, and the festivals of Salzburg, Granada, 2006 The Sixteen Productions Ltd. broadcasts. Formed in 2001, CORO is Lucerne and Istanbul. The vigour and passion of its © 2006 The Sixteen Productions Ltd. performance win new fans wherever it performs. re-mastering, re-packaging For further information about The Sixteen At home in the UK, the group promotes A Choral There are many ways to support The and re-issuing recordings recordings on CORO and live performances Pilgrimage, a tour of our finest cathedrals bringing and tours, call +44 (0) 1865 793 999 Sixteen. If you would like to help by of The Sixteen that were music back to the buildings for which it was written. or email [email protected] contributing to its work, or would for a short time available The choir is enhanced by the existence of its like information about membership on Collins Classics, own period instrument orchestra, The Symphony www.thesixteen.com schemes, patronage, specific projects and making brand new of Harmony and Invention, and through it Harry Christophers brings fresh insights to music including THE VOICES OF or business sponsorship, please see recordings every year. that of Purcell, Monteverdi, JS Bach and Handel. 2004 www.thesixteen.com witnessed the launch of the group's annual Handel in Oxford Festival, a weekend of concerts and events dedicated to the life of this great composer. N 18