ALSO ON SIGNUMCLASSICS

6G;A/:;A :/;3William Byrd and the Gunpowder Plot Tenebrae The King’s Singers with Concordia SIGCD085 AOQ`SR;caWQPg SIGCD061 On 5 November 1605 Guy Fawkes was caught preparing to Few can argue with Tenebrae’s international stature as one of @=03@BE67B3 detonate 36 barrels of gunpowder under the House of Lords, the most competent, versatile, exciting and passionate vocal unveiling an act of attempted treason that shocked the whole ensembles in the world today. of Europe. What led a group of young Catholic men to risk their lives for their faith? 400 years later The King’s Singers Allegri’s haunting Miserere is the central point in a journey and Concordia illuminate the dangers of hearing Mass in through music of longing and entreaty, hope and faith. secret, of conspiracy and downfall, and of Protestant relief These works spanning the centuries are chosen from the and celebration, through a project of music and prose. heart of Tenebrae’s concert repertoire, featuring works by Tavener, Holst, Rachmaninov, Lotti, Ireland, Harris, Britten The music, structured around Byrd’s perfect 4-part Mass, and Kodály. contains motets by Catholic composers, balanced with Protestant anthems celebrating the downfall of the plot, and “I really think we’re in a choral golden age at the moment ... a commission from the British composer, Francis Pott. It’s beautifully sung, a wonderful disc” BBC Music Magazine “this is a serious project, which, like the plotters themselves, has been skilfully executed. Strongly recommended” RW`SQbSRPg International Record Review 5OP`WSZ1`]cQV Available through record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 its services enhanced by elaborate Latin-texted music. HYMNS, PSALMS AND LAMENTATIONS HYMNS, PSALMS AND At Trinity, there were plans for a substantial choir of SACRED MUSIC BY ROBERT WHITE LAMENTATIONS 12 boys and 18 men to sing the daily Mass and Offices, and though these were never entirely realised, the ritual Maxima musarum nostrarum gloria White music that White composed suggests that the standard Tu peris aeternum sed tua musa manet. of singing was nevertheless highly proficient. Robert White (d.1574) White, thou glorious leader of our art has died But thy muse lives on in eternity. The accession to the throne of Mary’s Protestant half- Christe qui lux es et dies (I) [03.58] sister Elizabeth in 1558 ushered in another period of This tribute by Robert Dow, copyist of one of the most religious change, and presented composers working in the Ad te levavi oculos meos [06.36] important manuscript sources for Robert White’s music, church with the challenge of once again having to adapt Exaudiat te, Dominus [09.23] was written a few years after the untimely death of the to rapidly changing musical requirements. With the Act of composer, who perished, together with his family, in a Uniformity and the subsequent publication of a new Prayer  Miserere mei, Deus [15.37] virulent outbreak of the plague in the Westminster area Book, services were appointed to be said in English. There  Christe qui lux es et dies (IV) [06.01] in 1574. The whole of his life as a musician had taken were, however, certain exemptions from this instruction, place against the background of Tudor religious and notably at the Chapel Royal – the monarch’s own musical  Domine quis habitabit (III) [06.49] ideological conflict and change, for he was born in the establishment – and at the universities of Oxford and early 1530s, shortly before Henry VIII embarked on the Cambridge, presumably on the basis that these were  Manus tuae fecerunt me [07.39] policies that would lead to a break with the church in places where Latin would have been understood, and this  Lamentations (a6) [17.14] Rome, and unleash a wave of destruction on English offers a possible explanation for the fact that so much religious institutions and their fabric. of the finest music of the 1560s and 70s was inspired Total timings [73.19] by Latin texts. The queen herself was known to have White came from a family with musical connections: his held moderate or relatively conservative beliefs, and her grandfather had been responsible for presenting to the appreciation of music was such that inconvenient facts London church of St Andrew’s, Holborn, an organ which were sometimes quietly passed over, with William Byrd was later moved to Westminster Abbey and described as (a member of her Chapel Royal from 1572 onwards) GALLICANTUS an ‘excellent instrument’. He is first documented as a lay able to remain in royal service despite his committed DAVID ALLSOPP & MARK CHAMBERS COUNTERTENOR clerk in the choir of Trinity College, Cambridge, in 1555. recusancy, for example. Whether the intended purpose RICHARD BUTLER & CHRISTOPHER WATSON TENOR A few years later he became master of the choristers of the Latin sacred music of White and his contemporary GABRIEL CROUCH & NIGEL SHORT BARITONE there, and in 1560 obtained his BMus at Cambridge, by Robert Parsons was for Catholic services or for domestic WILLIAM GAUNT & JIMMY HOLLIDAY BASS which time he was described as having studied music for devotions, it surely represents the most interesting and 10 years. If, as seems likely, these were formative years significant musical thought to come from the generation GABRIEL CROUCH DIRECTOR for him, they took place during the reign of Mary Tudor immediately senior to Byrd. Not only is there a perceptible www.signumrecords.com (1553-8), when the full Catholic rite was restored and move towards expressive word setting, but also towards - 3 - creating more succinct imitative phrases and textures, cantus firmus. Perhaps one or more of these settings emulating the votive antiphon pattern where substantial been attracted to these melancholy texts not only for features that were already established in much of the may date from his years in Cambridge, but it is ‘verses’ for three or four voices lead into ones for the full their potential to elicit an expressive musical response continental music that was beginning to find its way interesting to see that the text was still being issued ensemble, or alternatively by using a continuous texture but also, if they had Catholic sympathies, for the into England from the busy printing presses of Antwerp, with royal authority as late as 1564, suggesting that throughout the piece, either with imitative writing (Ad metaphorical significance they took on in their own times, Venice and other European cities. this prayer for peaceful rest continued to be valued in te levavi oculos meos and Domine, quis habitabit III ) when the sufferings of ‘Jerusalem’ were associated with Elizabethan times for private devotion even if not official or imitative mixed with chordal (Miserere mei, Deus). those of ‘Rome’, the Catholic church. The particular By 1562 White had moved from Cambridge to nearby Ely liturgy. In White’s first setting, the voices move in simple The latter naturally afforded the closest relationship selection of verses that White chose (Lamentations I, Cathedral, succeeding Christopher Tye (whose daughter block chords, a pattern closely mirrored by Byrd in his between text and music, and may be seen used to vv.8-13) does not appear to tally with any of the Holy he married) as master of the choristers, and four own early setting. A greater degree of compositional great expressive effect in the 5-part Lamentations. It is Week lessons as appointed, but he made two settings of years later he went on to a better paid post at Chester sophistication characterises setting no.IV, where the tempting to wonder whether Miserere mei, Deus, another it, respectively for five and six voices. While they share Cathedral. Further promotion came in 1569, when he plainchant cantus firmus is surrounded by succinct text specified for Holy Week, was intended to be sung the same Phrygian mode (which is characterised by two was appointed master of the choristers at Westminster imitative phrases weaving their way through the other alongside these Lamentations. Like them, it sometimes plangent-sounding semitones, immediately above the Abbey, and so arrived at the centre of London music- voices. Nowhere is White’s art better displayed than in makes use of block chords where one voice leads the key-note and the 5th), in other respects they present making. Although most of the years of White’s maturity this exquisite miniature whose final verse opens up from others, which makes the words more clearly audible; very different musical approaches. The five-part is the took place during the reign of Elizabeth I, only a single absolute simplicity into gently flowing quaver patterns. in a text of this length and complexity that must have more forward-looking of the two, making use of bold piece of securely attributed and originally English- been important. The variety of sonority and vocal scoring harmonic shifts in its pursuit of expression. The six- texted sacred vocal music has survived. That may be Like many continental musicians from the generation that a five or six-part ensemble afforded was another part, in contrast, has trios and quartets that stand out explained in part by the vagaries of manuscript loss, but of Josquin onwards, English composers of the early element that White clearly valued, displaying a particular against the full six-voice sonority. As was the convention, nevertheless it may be appropriate to speculate a little Elizabethan period such as White, William Mundy and fondness for pairs of equal-range voices which naturally the Hebrew letters that preface each verse provided about the composer’s own religious convictions. There Robert Parsons often looked to the psalms for Latin leant themselves to the exchange of musical phrases and a context for the composer to show his skill in writing is surely some significance in the fact that at his death motet texts; the resulting works might have been sung imitation at the same pitch. Domine, quis habitabit is abstract music, their contrapuntal decoration perhaps White was owed a substantial sum of money by Edward either in domestic circumstances or as anthems in scored for three such pairs of voices, while both Exaudiat comparable to that practised by medieval scribes Paston, Norfolk gentleman, leading Catholic and patron establishments where Latin texts were permitted. Of the te and Manus tuae include sections scored in this way, illuminating initial capitals. The sombre verses of the of music. Whatever else, there is proof in his output that 12 psalm motets by White that have survived, the five with one or more voice-parts divided to achieve it. These Lamentations conclude with the traditional exhortation Latin-texted polyphony continued to be cultivated in the included on this recording display an interesting variety ‘gimell’ sections contain some of the most memorable ‘Jerusalem, Jerusalem, convertere ad Dominum Deum earlier part of the reign, when the climate of opinion was of musical techniques. Especially when compared to music, and in Exaudiat te lead into a particularly exciting tuum’. less intolerant than it was to become in the 1580s as the formalised framework of plainchant-based hymns and extended Amen. Non ita mœsta sonant plangentis verba prophetæ those who held on to their Catholic beliefs came to be or responds, a portion of psalm verses presented the Quam sonat authoris musica mœsta mei. regarded with increasing suspicion. composer with altogether different challenges: a new White was one of a number of English composers to freedom of expression, coupled with a need to bring set texts from the Lamentations, which formed part of Not even the words of the gloomy prophet In each of the four settings he made of the Lenten about convincing musical continuity. White responded in the Holy Week liturgies of the Catholic church. What sound so sad as the sad music of my composer. Compline hymn Christe qui lux es et dies, White followed several ways, either by dividing the text and the music their intended destination was in Elizabethan England as Robert Dow wrote of the Lamentations a5. the established pattern of alternating plainchant verses into distinct sections, with marked contrasts of scoring is not known, but the composers – Parsley, Byrd, Tallis with polyphonic ones that incorporate the chant as a between them (as in Exaudiat te and Manus tuae), and by and Alfonso Ferrabosco as well as White – may have Sally Dunkley, 2009

- 4 - - 5 - Christe qui lux es et dies - I and IV Ad te levavi oculos meos (Psalm 122)

Christe qui lux es et dies, Christ, who art the light and day, Ad te levavi oculos meos: Unto thee lift I up mine eyes: Noctis tenebras detegis, Thou drivest away the darkness of night, qui habitas in caelis. O thou that dwellest in the heavens. Lucisque lumen crederis, Thou art called the light of light, Lumen beatum praedicans. For thou proclaimest the blessed light. Ecce sicut oculi servorum, Behold, as the eyes of servants in manibus dominorum suorum, look unto the hand of their masters, Precamur Sancte Domine, We beseech thee, Holy Lord, sicut oculi ancillae in manibus dominae suae: and as the eyes of a maiden unto the hand of her mistress: Defende nos in hac nocte, Protect us this night. ita oculi nostri ad Dominum Deum nostrum, so our eyes wait upon the Lord our God, Sit nobis in te requies, Let us take our rest in thee; donec misereatur nostri. until that he have mercy upon us. Quietam noctem tribue. Grant us a peaceful night. Miserere nostri Domine, miserere nostri: Have mercy upon us, O Lord, have mercy upon us: Ne gravis somnus irruat, Let our sleep be free from care; quia multum repleti sumus despectione. for we are exceedingly filled with contempt. Nec hostis nos surripiat, Let not the enemy snatch us away, Nec caro illi consentiens, Nor flesh conspire within him, Quia multum repleta est anima nostra: Our soul is exceedingly filled with the scorning of those that Nos tibi reos statuat. And make us guilty in thy sight. opprobrium abundantibus, et despectio superbis. are at ease: and with the contempt of the proud. Amen. Amen. Oculi somnum capiant, Though our eyes be filled with sleep, Cor ad te semper vigilet, Keep our hearts forever awake to thee. Dextera tua protegat May thy right hand protect Famulos qui te diligunt. Thy willing servants. Exaudiat te, Dominus (Psalm 19)

Defensor noster aspice, Thou who art our shield, behold; Exaudiat te, Dominus in die tribulationis: The Lord hear thee in the day of trouble: Insidiantes reprime, Restrain them that lie in wait. protegat te nomen Dei Iacob. the name of the God of Jacob defend thee. Guberna tuos famulos, And guide thy servants whom Mittat tibi auxilium de sancto: Send thee help from the sanctuary: Quos sanguine mercatus est. Thou hast ransomed with thy blood. et de Sion tueatur te. and strengthen thee out of Zion.

Memento nostri Domine Remember us, O Lord, Memor sit omnis sacrificii tui: Remember all thy offerings: In gravi isto corpore, Who bear the burden of this mortal form; et holocaustum tuum pingue fiat. and accept thy burnt sacrifice. Qui es defensor animae, Thou who art the defender of the soul, Adesto nobis Domine. Be near us, O Lord. Tribuat tibi secundum cor tuum: Grant thee according to thine own heart: et omne consilium tuum confirmet. and fulfil all thy counsel. Deo Patri sit gloria, Glory be to God the Father, Eiusque soli Filio, And to his only Son, Laetabimur in salutari tuo, We will rejoice in thy salvation, Cum Spiritu Paraclito, With the Spirit, the Comforter, et in nomine Dei nostri magnificabimur: and in the name of our God we shall be exalted: Et nunc et in perpetuum. Amen. Both now and evermore. Amen. impleat Dominus omnes petitiones tuas. the Lord fulfil all thy petitions.

- 6 - - 7 - Nunc cognovi quoniam salvum fecit Dominus Christum suum: Now know I that the Lord saveth his anointed: Ecce enim veritatem dilexisti: Behold, thou desirest truth in the inward parts: Exaudiat illum de caelo sancto suo He will hear him from his holy heaven incerta et occulta sapientiae tuae manifestasti mihi. and shalt make me to understand wisdom secretly. in potentatibus salus dexterae eius. with the saving strength of his right hand. Asperges me, Domine, hyssopo, et mundabor: Purge me with hyssop, and I shall be clean: Hi in curribus, et hi in equis: Some trust in chariots, and some in horses: lavabis me, et super nivem dealbabor. wash me, and I shall be whiter than snow. nos autem in nomine Domini Dei nostri invocabimus. but we will remember the name of the Lord our God. Auditui meo dabis gaudium et laetitiam: Make me to hear joy and gladness: Ipsi obligati sunt et ceciderunt: They are brought down and have fallen: et exsultabunt ossa humiliata. that the bones which thou hast broken may rejoice. nos autem surreximus et erecti sumus. but we are risen, and stand upright. Averte faciem tuam a peccatis meis: Hide thy face from my sins: Domine, salvum fac regem: O Lord, save the king: et omnes iniquitates meas dele. and blot out all mine iniquities. et exaudi nos in die, qua invocaverimus te. and hear us on the day when we call upon thee. Amen. Amen. Cor mundum crea in me, Deus: Create in me a clean heart, O God: et spiritum rectum innova in visceribus meis. and renew a right spirit within me.

Ne proiicias me a facie tua: Cast me not away from thy presence: Miserere mei, Deus (Psalm 50) et spiritum sanctum tuum ne auferas a me. and take not thy holy spirit from me.

Miserere mei, Deus: Have mercy on me, O God: Redde mihi laetitiam salutaris tui: Restore unto me the joy of thy salvation: secundum magnam misericordiam tuam. according to thy great mercy. et spiritu principali confirma me. and uphold me with thy free spirit.

Et secundum multitudinem miserationum tuarum: And according to the multitude of thy tender mercies: Docebo iniquos vias tuas: Then will I teach transgressors thy ways: dele iniquitatem meam. blot out my iniquity. et impii ad te convertentur. and sinners shall be converted unto thee.

Amplius lava me ab iniquitate mea: Wash me thoroughly from mine iniquity: Libera me de sanguinibus, Deliver me from bloodguiltiness, et a peccato meo munda me. and cleanse me from my sin. Deus, Deus salutis meae: O God, thou God of my salvation: et exsultabit lingua mea iustitiam tuam. and my tongue shall sing aloud of thy righteousness. Quoniam iniquitatem meam ego cognosco: For I acknowledge my transgressions: et peccatum meum contra me est semper. and my sin is ever before me. Domine, labia mea aperies: O Lord, open thou my lips: et os meum annuntiabit laudem tuam. and my mouth shall shew forth thy praise. Tibi soli peccavi, Against thee only have I sinned, et malum coram te feci: and done this evil in thy sight: Quoniam si voluisses sacrificium, dedissem utique: For thou desirest not sacrifice; else would I give it: ut iustificeris in sermonibus tuis, that thou mightest be justified when thou speakest, holocaustis non delectaberis. thou delightest not in burnt offering. et vincas cum iudicaris. and be clear when thou judgest. Sacrificium Deo spiritus contribulatus: The sacrifices of God are a broken spirit: Ecce enim in inquitatibus conceptus sum: Behold, I was shapen in iniquity: cor contritum, et humiliatum, Deus, a broken and contrite heart, O God, et in peccatis concepit me mater mea. and in sin did my mother conceive me. non despicies. thou wilt not despise.

- 8 - - 9 - Benigne fac, Domine, in bona voluntate tua Sion: O be favourable and gracious unto Sion: Manus tuae fecerunt me (Psalm 118, verses 73 - 80) ut aedificentur muri Ierusalem. build thou the walls of Jerusalem. Manus tuae fecerunt me et plasmaverunt me: Thy hands have made me and fashioned me: Tunc acceptabis sacrificium iustitiae, Then shalt thou be pleased with the sacrifices of da mihi intellectum et discam mandata tua. give me understanding, that I may learn thy commandments. oblationes, et holocausta: righteousness, with the burnt offerings and oblations: tunc imponent super altare tuum vitulos. then shall they offer young bullocks upon thine altar. Qui timent te videbunt me et laetabuntur: They that fear thee will be glad when they see me: Amen. Amen. quia in verba tua supersperavi. because I have hoped in thy word. Cognovi Domine quia aequitas iudicia tua: I know, O Lord, that thy judgments are right: et veritate humiliasti me. and that thou in faithfulness hast afflicted me. Domine, quis habitabit III (Psalm 14) Fiat misericordia tua ut consoletur me: Let, I pray thee, thy merciful kindness be for my comfort: Domine, quis habitabit in tabernaculo tuo? Lord, who shall dwell in thy tabernacle? secundum eloquium tuum servo tuo. according to thy word unto thy servant. aut quis requiescet in monte sancto tuo? or who shall rest in thy holy hill? Veniant mihi miserationes tuae et vivam: Let thy tender mercies come unto me, that I may live: Qui ingreditur sine macula: He that walketh without blemish: quia lex tua meditatio mea est. for thy law is my delight. et operatur justitiam. and worketh justice. Confundantur superbi quia iniuste iniquitatem Let the proud be ashamed; for they dealt perversely with me Qui loquitur veritatem in corde suo: He that speaketh truth in his heart: fecerunt in me: ego autem exercebor in mandatis tuis. without a cause: but I will meditate in thy precepts. qui non egit dolum in lingua sua, who hath not used deceit in his tongue, Convertantur mihi timentes te: Let those that fear thee turn unto me: nec fecit proximo suo malum, nor hath done evil to his neighbour, et qui noverunt testimonia tua. and those that have known thy testimonies. et opprobrium non accepit adversus proximos suos. and hath not taken up a reproach against his neighbours. Fiat cor meum inmaculatum in iustificationibus tuis: Let my heart be sound in thy statutes: Ad nihilum deductus est in conspectu ejus malignus: In his sight the malignant is brought to nothing: ut non confundar. that I be not ashamed. timentes autem Dominum glorificat. but he glorifieth them that fear the Lord. Amen. Amen. Qui jurat proximo suo, et non decipit: He that sweareth to his neighbour, and deceiveth not: qui pecuniam suam non dedit ad usuram, he that hath not put out his money to usury, et munera super innocentem non accepit. nor taken bribes against the innocent.

Qui facit hæc non movebitur in æternum. He that doth these things shall not be moved for ever. Amen. Amen.

- 10 - - 11 - Lamentations (a6)

Heth. Peccatum peccavit Jerusalem, propterea Heth. Jerusalem hath grievously sinned, therefore hath instabilis facta est; omnes qui glorificabant eam she been made to have no abode; all that honoured her spreverunt illam, quia viderunt ignominiam ejus: hath despised her, because they have seen her shame: ipsa autem gemens conversa est retrorsum. and she herself hath sighed and turneth backward.

Teth. Sordes ejus in pedibus ejus, nec recordata Teth. Her defilement is on her feet, neither hath she been est finis sui; deposita est vehementer, non habens mindful of her end; she hath been violently cast down, consolatorem. Vide, Domine, afflictionem meam, having no comforter. Behold my affliction, O Lord, for my quoniam erectus est inimicus. enemy is lifted up.

Jod. Manum suam misit hostis ad omnia Jod. The adversary hath spread out his hand upon all desiderabilia ejus, quia vidit gentes ingressas her pleasant things, for she hath seen that the heathen sanctuarium suum, de quibus præceperas entered into her sanctuary, whom thou didst command ne intrarent in ecclesiam tuam. that they should not enter into thy congregation.

Caph. Omnis populus ejus gemens, et quærens panem; Caph. All her people sigh, they seek bread; dederunt pretiosa quæque pro cibo ad refocillandam they have given their pleasant things for meat to relieve animam. Vide, Domine, et considera quoniam the soul. See, O Lord, and consider; facta sum vilis! for I am become vile.

Lamed. O vos omnes qui transitis per viam, attendite, Lamed. O all ye that pass by in the way, hearken, et videte si est dolor sicut dolor meus, and see if there be any sorrow that is like unto my sorrow. quoniam vindemiavit me, ut locutus est Dominus, For he hath plucked me like a grape, as the Lord uttered in die iræ furoris sui. in the day of his fierce anger.

Mem. De excelso misit ignem in ossibus meis, Mem. From on high he hath sent fire into my bones, et erudivit me: expandit rete pedibus meis, and hath chastised me: he hath spread a net for my feet, convertit me retrorsum; posuit me desolationem, and turned me back; he hath made me desolate, tota die mœrore confectam. and all the day I am consumed with sorrow. Ierusalem, Ierusalem, convertere ad Dominum tuum. Jerusalem, Jerusalem, return unto the Lord thy God.

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- 12 - - 13 - David Allsopp and Mark Chambers countertenor Richard Butler and Christopher Watson tenor Gabriel Crouch and Nigel Short baritone William Gaunt and Jimmy Holliday bass Gabriel Crouch director

ounded in 2008, the early music ensemble day. The group is bound by a shared love of ‘Gallicantus’ sprang from the ranks of the communicating text, and is committed to creating Recorded at All Hallows, Gospel Oak, London on 7-9 August 2008  2009 The copyright in this recording is owned by Signum Records Ltd. F © 2009 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. professional choir ‘Tenebrae’, when five of the performances which draw out unifying themes Producer - Adrian Peacock Engineer and Editor - Andrew Mellor choir’s regulars, each with a wealth of experience within apparently diverse repertoire. To this end Editions - Lamentations (a6) by Sally Dunkley (unpublished) Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action in the world of consort singing, decided to form a they are as meticulous about providing contextual all other works by David Mateer (EECM, Stainer & Bell) by law. Licenses for public performances or broadcasting may be obtained from Phonographic separate group dedicated to renaissance music. Gallicantus photographs - Susan Porter-Thomas Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval explanations and insights for their audiences system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording Literally meaning ‘Rooster Song’, ‘Gallicantus’ as they are about crafting interpretations of the Cover Image - Shutterstock or otherwise, without prior permission from Signum Records Ltd. was a word used in monastic antiquity for the music they love. Hymns, Psalms & Lamentations Design - Andrew Giles SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, office held just before the dawn, at cockcrow, and (Sacred Music by Robert White) is the group’s www.signumrecords.com www.gallicantus.com Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] it evokes the renewal of life offered by the coming first CD release.

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