CORO hilliard live CORO hilliard live 3 The For more than three decades now The Hilliard Ensemble has been active in the realms of both early and contemporary music. As well as recording and performing music by composers such as Pérotin, Dufay, Josquin and Bach the ensemble has been involved in the creation of a large number of new works. James MacMillan, , Arvo Pärt, Steven Hartke and many other composers have written both large and small-scale pieces for them. The ensemble’s performances frequently include collaborations with other musicians such as the saxophonist , violinist ANTOINE , violist and orchestras including the New York Philharmonic, the BBC Symphony Orchestra and the Philadelphia Orchestra. BRUMEL ’s contribution was crucial to getting the Hilliard Live project under way. John has since left to take up a post in the Music Department of York University. His place in the group has been filled by Steven Harrold. www.hilliardensemble.demon.co.uk the hilliard ensemble To find out more about CORO and to buy CDs, visit www.thesixteen.com cor16052 The hilliard live series of recordings came about for various reasons. At the time self-published recordings were a fairly new and increasingly ANTOINE common phenomenon in popular music and we were keen to see if we could make the process work for us in the context of a series of BRUMEL public concerts. Perhaps the most important motive for this experiment was our desire to capture the atmosphere and excitement of concert performances of some of our favourite repertoire. Performance rather 1 Kyrie and Gloria 9:13 than recording is, after all, what music is about. There is the unavoidable (Missa Victimae paschali laudes) risk that all will not be perfect; audience noise or human frailty on our 2 Lauda: O divina virgo Anon. 2:28 part may detract from the polished perfection that can be achieved with 3 Ave, virgo gloriosa Antoine Brumel 10:27 a studio recording but such risks are part of our daily life of concert giving and lend to the event an added degree of excitement and, we 4 Lauda: Salve, salve, virgo pia Anon. 2:20 hope, engagement with the audience. 5 Mater Patris Antoine Brumel 3:23

We are happy to make this series of discs more widely available on CORO. 6 Credo Antoine Brumel 8:44 Gordon Jones 7 Nativitas unde gaudia Antoine Brumel 5:47 8 Lauda: Regina sovrana Anon. 2:47 The Hilliard Ensemble on CORO: 9 Sanctus and Benedictus Antoine Brumel 7:43 hilliard live 1 Pérotin and the Ars Antiqua bl Lauda: Oi me lasso Anon. 3:12 hilliard live 2 For Ockeghem bm O Crux, ave, spes unica Antoine Brumel 1:50 hilliard live 3 Antoine Brumel bn Agnus Dei Antoine Brumel 5:51 coming soon: hilliard live 4 Guillaume Dufay www.thesixteen.com Total playing time 64:27

2 3 Composing and, since he is not able to count upon des faicts et dicts héroiques du bon further thirty or so liturgical works of the sheer vocal extravagance of twelve Pantagruel (1552), by the Italian poet other kinds. The secular music comprises Brumel independent parts, arguably more. Teofilo Folengo in his Le Maccheronee, five and nine instrumental by the chronicler Eloy d’Amerval, by the pieces. or a composer, the experience of It is clear that Brumel was much admired theorists Gaffurio and Glareanus, and, editing music by another composer in his own time: The Mass on this recording survives F finally, by (who praised is always an exciting one. In a sense, in various sources, and was printed in “Agricolla, Verbonnet, Prioris, his and Josquin’s canonic skill in his Plaine it is 'virtual composing': one sees the Petrucci’s Misse Brumel of 1503. It is Josquin Desprez, Gaspar, Brunel, Compère and Easie Introduction to Practicall music appear under one’s fingertips with built upon the first phrase of the Easter Ne parlez plus de joyeux chantz ne ris, Musicke); and on his death Brumel in something of the same breathlessness sequence Victimae paschali laudes: Mais composez ung Ne recorderis, his turn was commemorated by an which accompanies the gradual one of Brumel’s characteristics, and one Pour lamenter nostre maistre et bon père.” extraordinary number of laments. materialization of one’s own work, which is typical of that 'architectural' Thus Guillaume Crétin, in his Déploration but there is an added element of His career took him from , approach, is the building up of works on the death of Ockeghem (read in unpredictability, and, with a composer near which city he was born in around from relatively short melodic fragments English translation by Bob Peck on as imaginative as Brumel, of excitement. 1460 (thus making him genuinely French or tags. This technique is seen at its COR16048: 'For Ockeghem'). Josquin, rather than Burgundian) and in whose height in the twelve-part Mass, in which Brumel’s music has an almost Brumel and Compère are also called cathedral he became a singer at about the composer could hardly depend upon architectural sense of space: as one sees upon to lament the passing of Ockeghem the age of twenty-three, to Geneva, conventional imitative counterpoint; during the course of transcription the in another Déploration, by Jean Molinet Laon, Paris, Chambéry, and the d’Este he uses the first seven notes of the cascades of melody materializing around (the one set to music by Josquin): the scaffolding of the long notes of the court at , where he spent the antiphon Et ecce terrae motus, in three , one has the feeling that “Acoutrez vous d’habits de deuil, years 1506-10. part canon in long notes over which the Josquin, Piersson, Brumel, Compere, gothic extravagances of the remaining he is moulding musical material in what Brumel’s output includes a series of Et plourez grosses larmes d’oeil” eight parts may unfold. In the Missa one might describe as a plastic way. He fifteen complete Masses (whose gems Victimae paschali the treatment is more is also a composer of astonishing range, It is no accident that Brumel appears include a Missa pro defunctis which conventional, but even so, it is significant as one might expect of the man who in both summonses, at the side of boasts the first-known polyphonic that he uses only this short motif as a wrote the twelve-part Missa Et ecce Josquin; he was in fact one of the setting of the sequence , and basis for generating his melodies: these terrae motus: at the opposite end of most talked-about composers of the the aforementioned Missa Et ecce are the bricks and mortar from which the scale are his tiny three-part , fifteenth and sixteenth centuries. He is terrae motus for twelve voices), four he constructs his edifices. which show just as much invention mentioned by Rabelais in the Quart livre independent Credo settings, and a 4 5 In the Kyrie, for example, three of the on certain notes or figures within a succession pure unadorned homophony, The Benedictus offers some respite, but voices enter, from the bass upwards, phrase, naturally emphasizes the rather frantic melodic roulades, imitative duets Osanna ut supra... with the first three notes of the cantus obsessive quality of much of his writing. and tremendously resourceful textural The triple Agnus Dei is constructed firmus, G-F-G, and then spin entirely The second Kyrie abandons the cantus variety. The only thing holding this rather like a . It opens with the independent melodies from this. (The firmus in favour of freely imitative four- compendium of Brumel’s various traditional imitation at the fifth and insistent alternation of G and F seems part writing. compositional techniques together until octave, and then the cantus firmus to have held something of a fascination the very end is the cantus firmus in the The Gloria opens with Brumel’s favourite enters. The second section contrasts for Brumel - the motets Nativitas unde first tenor part. The Sanctus appears alternation of G and F chords, and is in upper and lower paired voices and gaudia, Mater Patris and Ave, Ancilla to offer relative calm, but its stately predominantly long values, in contrast finishes with a triple time section for Trinitatis all open in this way). When pace is thrown to the winds with the with the much more active Kyrie. A real all four voices, and the third is an the cantus firmus itself enters, the other utmost subtlety: 'Pleni sunt caeli' is a change occurs, as one comes to expect extended, elaborate imititative trio, voices begin new phrases built around duet between the top two voices which in 15th century Mass settings, with the well displaying Brumel’s contrapuntal a minor third, an interval which has a becomes increasingly active and is then 'Qui tollis' section. The time changes resource, over the cantus firmus in the great melodic importance throughout passed on to the second tenor and to triple meter and a certain breathless bass. Brumel’s motets are as little-known the Mass. The Christe is a free melodic bass, so that by the time we land on the wildness characterizes the melodic as his Masses. In transcribing a selection fantasy (the minor third very prominent) word 'gloria', the full four-part scoring writing, recalling - to this composer’s of them for the Hilliard Ensemble, I had over the cantus firmus which is and the change of time, which produces ears - both Ockeghem and Obrecht. the sensation almost of learning the transposed up a fifth. Noticeable here an emphasis on the tripleness of the The final section, 'Cum Sancto Spiritu', craft of composition afresh, since each is the great distance at which Brumel word 'gloria', create an effect which is dispenses with the chant altogether. piece offered new revelations employing sometimes chooses to imitate melodies: not far short of electrifying. The Osanna a huge variety of techniques, and all the entire first phrase of the uppermost A stately pace characterizes the Credo which follows crowns this with a series within the bounds of liturgical propriety; voice is repeated verbatim by the bass (it is surprising just how leisurely Brumel of astonishing scalic passages (they are a lesson indeed for the contemporary at the entry of the cantus firmus, and allows himself to be, with so much text astonishing in that one wonders just how composer of sacred music. there is a further example between the to set, both in the Gloria and the Credo) climbing the octave and then cadencing two upper voices near the end of the until the duets at 'Et resurrexit' and 'Et can sound quite so exciting) exchanged Nativitas unde gaudia - Nativitas tua section. It is as though Brumel wished iterum', both constructed from imitative between the two upper voices - the is magnificent example of Brumel’s to establish very clearly the melody in fragments. From 'Et in Spiritum Sanctum' only composer who comes near such large-scale motet writing. It comes one’s mind before working further with until the end a kind of disciplined chaos a combination of facile musicality with from Motetti Libro Quarto, published it, and this, together with the insistence reigns, and we encounter in rapid sheer bloody-mindedness is Obrecht. by Petrucci in Venice in 1505. The 6 7 conventional imitative opening leading Ave, virgo gloriosa (also from the Petrucci in canon with the superius throughout, interpenetration of two national musical immediately into an extended, flowing print of 1505) is one of the most but in character is a lush, hymn-like languages”. Indeed, those two languages section for three voices. When the magnificent of Brumel’s motets. It has a piece, probably, according to Edward (the Italian and the Netherlandish) superius finally enters, it does so with breadth of utterance and a confidence Lerner, part of a series of pieces for use would have provided any musician the appropriate plainchant, in long in its stylistic range which make one at the Mass of the Holy Cross. The text with a considerable repertory of note values as a cantus firmus, leaving understand why the composer was so is an additional stanza for the famous techniques, but only a composer with the three lower parts to weave their revered by his contemporaries. The hymn by Venantius Fortunatus Vexilla the extraordinary imagination of Brumel virtuoso counterpoint underneath it. rich four-part passage at the beginning is regis. Brumel’s only other hymn setting, could have made such music of them. The same procedure is adopted in the followed by a lengthy and beautiful duet Gloria laus, is a far more contrapuntally second part, though the note values are between first tenor (altus) and bass before elaborate work: the suavity of O Crux, shorter and the superius participates in four-part writing returns at 'Finis lethi'. ave would seem to be specifically LAUDE ITALIANE a complex four-part Amen. Brumel reacts with magnificent melodic connected with its liturgical function. A lauda is a song of praise, part of a outbursts to the clues provided by such Characteristic of Brumel is the insistent With Mater Patris something extra- tradition of popular religious singing words as 'florida' or 'lucis', and ushers e-f motif in the top voice at the end; ordinary happens. The canonic entries whose origins date from the 13th in the more contemplative secunda less typical are a pair of parallel fifths which open it overlap in such a way that century. The monophonic laude which pars with simple, rapt homophony ('O between the top two voices! Barton for seven bars of modern transcription have been preserved are to be found Regina pietatis') which is succeeded Hudson, who first transcribed the piece, one hears nothing but alternating G in two collections: the Laudario of by a series of duets, reverting to four considers that it must nevertheless and F chords, creating a dark, lugubrious Cortona (Cortona, Biblioteca Comunale voices at 'clementer considera'. Triple- be by Brumel, adducing the canon as G minor counterpoint with only three e dell’Accademia Etrusca, Ms 91), time homophony characterizes the final evidence (Lerner considered that the voices which resolves into a crystalline containing 46 pieces, and that of Florence section, 'Dulcis Iesu Mater bonae', and alto voice was added by a local German clarity, using only a few decorated (Firenze, Ms. Magliabechiano, BR 18), Brumel finishes this masterpiece with composer). chords. I have suggested elsewhere that with 89. The Cortona book belonged the most elaborate Amen of all. this work (which was transcribed from In his edition, Hudson further remarks to the confraternity of the laudesi which the ) and others Another work which survives in the that “as in no other group of works, was associated with the Monastery of like it may have had a stylistic influence Segovia Songbook (with three voices) Brumel shows himself in his motets to St Francis in that town, and St Francis of on Iberian composers of the period - as well as in a manuscript in Annaberg have been an international composer, Assisi (1181-1226) stands at the origin this kind of writing is very common in (with four), is O Crux, ave, spes unica. It grappling with problems posed by a of the lauda tradition. His Canctico Escobar, for example. begins imitatively, and, indeed, the altus is period of rapid change and by the del Sole may be considered as the first

8 9 of the laude, even though we have no with fresh green'). It shares with both Texts and Translations music for it. Salve, salve and O divina virgo a suavity of melodic style combined with While the poetic style of the laude, 1 Kyrie (Missa Victimae paschali laudes) Antoine Brumel considerable metric subtlety (especially which are written in Old Tuscan, reflects in the ritornelli) and also a contrast Kyrie, eleison. Lord, have mercy. the influence of troubadour traditions, between refrain and verses in that the Christe, eleison. Christ, have mercy. both French and Italian, the music is latter move either into a different register Kyrie, eleison. Lord, have mercy. essentially simple. The laude began (O divina virgo, whose verse begins a in Umbria and Tuscany as processional whole octave higher than the last note Gloria (Missa Victimae paschali laudes) chants, and subsequently acquired a of the refrain) or actually change mode para-liturgical character (laymen would Gloria in excelsis Deo Glory to God in the highest (Regina sovrana and Salve, salve). Oi et in terra pax and on earth peace hold Vigilie alle Laude, and a number me lasso, whose text is attributed to hominibus bonae voluntatis. to men of good will. of them are dramatic scene), but given Jacopone da Todi - to whom authorship Laudamus te, benedicimus te, We praise you, we bless you, that they were intended to be sung by of the Stabat mater also used to be adoramus te, glorificamus te, we worship you, we glorify you, the people outside the bounds of the ascribed – is a powerful Crucifixion gratias agimus tibi we give you thanks church, the necessity for memorable propter magnam gloriam tuam. for your great glory. lament, musically extremely simple, melodies with repeating structures - Domine Deus, Rex caelestis, Lord God, heavenly King, insisting on the interval of the minor like the Cantigas de Santa Maria - is Deus Pater omnipotens. almighty God and Father. third and keeping essentially within the obvious. The genre later became a Domine Fili unigenite, Iesu Christe. Lord Jesus Christ, only Son of the Father, fifth D-A, with occasional forays down Domine Deus, Agnus Dei, Filius Patris, Lord God, Lamb of God, Son of the Father, polyphonic one, the centre of activity to C and up to B. qui tollis peccata mundi, you take away the sin of the world: in the 15th century moving away from miserere nobis; have mercy upon us; Umbria and Tuscany to Venice. The music of the laude, so simple on the qui tollis peccata mundi, you take away the sin of the world: page, and setting words of a sometimes suscipe deprecationem nostram. receive our prayer. The four laude recorded here come disarming directness, may be considered Qui sedes ad dexteram Patris, You are seated at the right hand of the from the Cortona collection. Regina as one of the great triumphs of popular miserere nobis. Father, have mercy upon us. sovrana is a hymn to the Mother of Christian art. Quoniam tu solus Sanctus, For you alone are Holy, God, full of the glittering imagery familiar tu solus Dominus, you alone are the Lord, from many Latin Marian chants ('stella tu solus Altissimus, Iesu Christe. you alone are the Most High, Jesus Christ, chiarita – bright star'; 'giardin ornato Cum Sancto Spiritu With the Holy Spirit de fresca verdura – garden adorned in gloria Dei Patris. Amen. in the glory of God the Father. Amen. 10 11 2 Lauda: O divina virgo Anon. Stella maris fulgida, gleaming star of the sea, sidus verae lucis, star of true light, O divina virgo, O divine Virgin, fructum vitae proferens offering the fruit of life, flore aulorita d’ogne aulore. perfumed flower with all the scents. et ad portum transferens and bearing to the port of safety 1. Tu se’ fior che sempre grane, You are the flower which always yields fruits, salutis, quos ducis. those whom you lead. molta gratia in te permane; much grace remains in you; Florens hortus, aegris gratus, Burgeoning garden, pleasing to the sick, tu portast’il vino e pane, you brought us the bread and the wine, puritatis fons signatus, marked out as the fount of purity, Cio e’l nostro redemptore. that is our redeemer. dans fluenta gratiae. giving forth flowing streams by your grace. Thronus veri Salomonis, Throne of the true Solomon, 2. Tu se’ via de veritade, You are the way of truth, quem praeclaris caeli donis whom the King of glory decked with the scala se’ d’umilitade; the measure of humility; ornavit Rex gloriae. most splendid gifts of heaven. de te prese humanitade Jesus, our redeemer, O regina pietatis O Queen of holiness Jesù nostro redemptore. gained human life through you. et totius sanctitatis and of all saintliness, 3. Ave, virgo incoronata, Hail, crowned virgin, flumen indeficiens. river that never runs dry, ave, Dei obumbrata, hail to you in the shadow of God, In te salva confidentes save those who trust in you, ke’m ciel se’ encoronata for in Heaven you are crowned salutari sitientes thirsting for salvation, madre d’ogne peccatore. mother of all sinners. potu nos reficiens. restoring us by your draught. Ad te flentes suspiramus, Weeping we sigh to you, 3 Ave, virgo gloriosa Antoine Brumel te gemente invocamus, with groaning we beseech you, Evae proles misera. merciful daughter of Eve. Ave, virgo gloriosa, Hail, glorious Virgin, Statum nostrae paupertatis Look upon the state of our poverty kindly, caeli iubar, mundi rosa, radiance of heaven, rose of the world, vultu tuae bonitatis clementer considera. with your countenance of goodness. caelibatus lilium. heavenly lily. Cella fragrans aromatum, Fragrant cell of perfumes, Ave gemma pretiosa, Hail, precious jewel, apotheca charismatum salutaris, treasurehouse of the gifts of salvation, Super salem speciosa, gleaming brighter than salt, tuam nobis fragrantiam pour your fragrance upon us, virginale gaudium. joy of all virgins. spirans infunde gratiam, breathing the grace Spes reorum es, Maria, You are the hope of those who stand trial, qua ditaris. by which you are enriched. redemptoris mater pia, Mary, holy Mother of our Redeemer, Dulcis Iesu mater bona, Good Mother of sweet Jesus, redemptorum gloria. glory of the redeemed. mundi salus et matrona salvation of the world Finis lenis lethi, vitae via, Gentle end of death, the road to life, supernorum civium, and matron of the heavenly cities, tibi triplex hierarchia to you the three-fold hierarchy pacem confer sempiternam grant us everlasting peace digna dant praeconia. give due praises. et ad lucem nos supernam and bring us to the heavenly light Virga Iesse florida, Flowering branch of Jesse, transfer post exilium. Amen. after this exile. Amen. 12 13 4 Lauda: Salve, salve, virgo pia Anon. 6 Credo Antoine Brumel Salve, salve virgo pia, Hail, hail, pious Virgin, Credo in unum Deum, We believe in one God, the Father, gema splendida, Maria. resplendent jewel, Maria. Patrem omnipotentem, factorem the Almighty, maker of heaven and earth, 1. Or cantiam cum gram dilecto Now we sing with great delight caeli et terrae, visibilium omnium et of all that is, seen and unseen. We believe de l’amor nostro perfecto, of our perfect beloved, invisibilium. Et in unum Dominum in one Lord, Jesus Christ, the only Son ke prechi pro nobis Cristo, that she may pray Christ for us, Iesum Christum, Filium Dei unigenitum, of God, eternally begotten of the Father, ke sia nostra lux et via. so that he be our light and life. et ex Patre natum ante omnia saecula. God from God, Light of Light, true God Deum de Deo, lumen de lumine, from true God, begotten, not made, of 2. Or cantiam con alegrança Now we sing with joy Deum verum de Deo vero, genitum, one Being with the Father. Through him de la bella nostra amança, of our beautiful lover non factum, consubstantialem Patri: all things were made. For us men and k’ell’è nostra consolança: for she is our consolation: per quem omnia facta sunt. for our salvation he came down from sempre benedicta sia. may she be blessed. Qui propter nos homines, et propter heaven: by the power of the Holy Spirit 3. A te, amor aven cantato: To you, beloved we have sung: nostram salutem descendit de caelis. he became incarnate from the Virgin bella col santo portato beautiful with your holy burden, Et incarnatus est de Spirito Sancto Mary, and was made man. For our sake facci star dal dextro lato, allow us to be on your right side, ex Maria Virgine, et homo factus he was crucified under Pontius Pilate; he possiam farte compagnia. that we may be your companions. est. Crucifixus etiam pro nobis sub suffered death and was buried. On the Pontio Pilato; passus et sepultus est, third day he rose again in accordance et resurrexit tertia die, secundum with the Scriptures; he ascended into 5 Mater Patris Antoine Brumel Scripturas, et ascendit in caelum, heaven and is seated on the right hand Mater Patris et filia, Mother of your Father, and daughter, sedet ad dexteram Patris. Et iterum of the Father. He will come again in glory mulierum laetitia delight of women, venturus est cum gloria, iudicare vivos to judge the living and the dead, and his stella maris eximia, wondrous star of the sea, et mortuos, cuius regni non erit finis. kingdom will have no end. We believe in audi nostra suspiria. hear our sighing. Et in Spiritum Sanctum, Dominum the Holy Spirit, the Lord, the giver of life, Regina poli curiae, Queen of the seat of the pole, et vivificantem; qui ex Patre Filioque who proceeds from the Father and the mater misericordiae, Mother of mercy, procedit. Qui cum Patre et Filio Son. With the Father and the Son he is in hac valle miseriae in this valley of woe, simul adoratur et conglorificatur: qui worshipped and glorified. He has spoken Maria, propter filium Mary, for the sake of your Son locutus est per prophetas. Et unam, through the Prophets. We believe in confer nobis remedium; bring us healing; sanctam, catholicam et apostolicam one holy catholic and apostolic Church. bone Iesu, Fili Dei, Good Jesu, Son of God, Ecclesiam. Confiteor unum baptisma in We acknowledge one baptism for the nostras preces exaudi; hear our prayers, remissionem peccatorum. Et exspecto forgiveness of sins. We look for the et precibus nostris and by our prayers resurrectionem mortuorum,et vitam resurrection of the dead, and the life of dona nobis remedium. Amen. grant us healing. Amen. venturi saeculi. Amen. the world to come. Amen. 14 15 7 Nativitas unde gaudia Antoine Brumel 2. Giardin ornato de fresca verdura, You garden adorned with fresh verdure, fosti serrato de forte clausura; you were locked in strict seclusion; Nativitas unde gaudia Your birth, from whence our joys spring, Tuo fructo nato non pose natura The fruit you brought forth was not placed nobis hodie confert annua. today brings round our annual celebration. ma grande sperança.. there by nature but by Faith. Haec resonet camoenis aula Let this hall of the muses resound to your 3. Bel gillio d’orto, cristallo splendente, O beautiful lily of the garden, you shining crystal, in laude tua Virgo Maria. Amen. praise, O Virgin Mary. Amen. l’om ch’era morto facesti vivente: humanity was dead and you brought it back Nativitas tua, Dei Genitrix Virgo, Your birth, Virgin Mother of God, se’ gran conforto a l’om penitente, to life: you are a great consolation for the gaudium annuntiavit universo mundo: announced joy to the whole world: e dalli fermança. penitents, and bring strength to them. ex te enim ortus est Sol iustitiae, from you was born the Sun of righteousness, Christus Deus noster: Christ our God: qui solvens maledictionem, who broke the curse 9 Sanctus and Bendictus Antoine Brumel dedit benedictionem: and gave us blessing: et confundens mortem, and confounding death, Sanctus, Sanctus, Sanctus Holy, Holy, Holy donavit nobis vitam sempiternam. he gave us life everlasting. Dominus Deus Sabaoth. Lord, God of Sabaoth, Cernere divinum lumen Rejoice, O faithful people, PIeni sunt caeli et terra gloria tua. heaven and earth are full of your glory. gaudete fideles. to behold the divine light. Hosanna in excelsis. Hosanna in the highest. Sicut spina rosam, As the thorn bears the rose, Benedictus qui venit in nomine Blessed is he who comes in the name genuit Iudaea Mariam. so Judea bore Mary. Domini. of the Lord. Virgo Dei Genetrix virga est, The Virgin Mother of God is the branch, Hosanna in excelsis. Hosanna in the highest. flos filius ejus. the flower is her Son. bl Lauda: Oi me lasso Anon. 8 Lauda: Regina sovrana Anon. Oi me lasso, e freddo lo mio core, Ah me! alas, cold heart of mine, Regina sovrana de gram pietade, O Queen, sovereign of great mercy, ke non sospiri tanto per amore why don’t you sigh for love so much en te dolçe madre, agiam reposança. in you, sweet mother, we find repose. ke tu morisse? that you may die? 1. Stella chiarita col grande splendore, O star shining with great brilliance, you pulled 1. Morire dovaresti, falso sconoscente You should die, O false and ungrateful villain, gente smarrita traheste d’errore: out of error the people who were lost: villano, cieco, pigro e negligente, blind, lazy and negligent, Reggi la vita sí ch’a tutte l’ore govern our life so that at all times ké per amor non vivi fervente since you are not living inflamed with love reserviam leança. we may keep our faith. sí che languise. and then not languishing.

16 17 2. Perire potaresti sí non se’ defeso You could perish, if you are not defended The Hilliard Ensemble dal grande amor Jesù da cui se’ ateso: by the great love, Jesus, who awaits you: vôlte abbracciare He wants to embrace you David James e sta en croce desteso, and he is stretched out on the cross, Rogers Covey-Crump tenor s’a lui venisse. if you came to him. John Potter tenor 3. Transmortisci, cuore, e va gridando; Faint, you heart, and go around crying; Gordon Jones baritone e pure amore, amore amore amando, and yet Love, Love loving Love, ke’ no l’ai puramente since you did not love with purity, amato va’ dolorando, Love is in labour e parturisce. and is giving birth Recorded by BBC Radio 3 at a concert given in Saint Alban’s Church, Brooke Street, London on 6th June 1997 Producer: Lindsay Kemp bm O Crux, ave, spes unica Antoine Brumel Recording: Susan Thomas O Crux, ave, spes unica, Hail, O Cross, our only hope, New re-mastering: Raphaël Mouterde (Floating Earth) hoc passionis tempore, in this time of suffering Editor: Susan Thomas auge piis iustitiam increase justice for the pious Post-production: Chris Ekers and Dave Hunt reisque dona veniam and grant pardon to those who stand trial. Design: Andrew Giles Cover image: 'The Franklin's Tale' 1930 by Eric Gill, bn Agnus Dei with thanks to the Goldmark Gallery, Uppingham Antoine Brumel www.goldmarkart.com Agnus Dei, qui tollis peccata mundi: Lamb of God, you take away the sins of the miserere nobis. world: have mercy on us. For further information about recordings on CORO Agnus Dei, qui tollis peccata mundi: Lamb of God, you take away the sins of the call +44 (0)20 7488 2629 miserere nobis. world: have mercy on us. or email coro@ thesixteen.org.uk Agnus Dei, qui tollis peccata mundi: Lamb of God, you take away the sins of the www.thesixteen.com dona nobis pacem. world: grant us peace. 2007 Productions Ltd. © 2007 The Sixteen Productions Ltd. -ADEIN'REAT"RITAIN

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