CORO The Sixteen Edition CORO The Sixteen Edition

Victoria Heinrich Schütz The Mystery of the Cross Musikalische Exequien Dietrich Victoria: “The sombre colours the most outstanding of Schütz's moving Buxtehude composer of the funeral music are Renaissance finely brought out in this collection.” “Music Christophers was the guardian born to conduct.” bbc radio 3, Membra cd review cor16021 cor16036 Handel J. S. Bach Jesu Messiah 3 CDs (Special Edition) 34, 50, 147 Carolyn Sampson “…a pleasure to listen Catherine Wyn-Rogers to when played and Nostri Mark Padmore sung as well as this.” Christopher Purves the independent “…this inspiriting new performance becomes a first choice.” The Sixteen h a r r y christophers the sunday times cor16062 cor16039

To find out more about The Sixteen, concert tours, and to buy CDs visit www.thesixteen.com cor16082 or some people, the cyclic title Fof these cantatas by Buxtehude might conjure up a rather morbid Jane Coe (1953–2007) picture. However, this meditation on Jane Coe was principal cellist the Passion, in which each of the of The Sixteen for twenty years seven cantatas contemplates parts of and we are fortunate enough Christ’s body on the cross (feet, knees, Borggreve Marco Photograph: to have recorded many CDs hands, side, breast, heart and head), is full of beauty, hope and invention. on which you can hear Jane’s exquisite playing. This disc, It is very much a chamber work and which she loved dearly, is requires a certain intimacy between performers. In the year 2000 I was very fortunate to have five members dedicated to her memory. who were just about to embark on exciting solo careers. They possessed that all-too-rare quality of not only being able to deliver solo arias with great style and aplomb, but they could also perform the choruses with great sensitivity, violin 1 David Woodcock being able to blend instinctively with each other. The Sixteen violin 2 Walter Reiter However, none of this could be done without the awareness and inventiveness cello Jane Coe of the instrumentalists who shadow every nuance remarkably. From the resonant chamber organ Paul Nicholson sonority of the quintet of , which only appears in one , Ad Cor, theorbo Elizabeth Kenny symbolising our love for Christ as well as Christ’s love for mankind, to the • soprano 1 Carolyn Sampson treble Richard Campbell delicate subtlety of the two violins and the totally inventive spontaneity of the continuo, we were able to convey Buxtehude’s work in an intimate yet overtly soprano 2 Libby Crabtree treble viol Susanna Pell spiritual and prayerful manner. counter-tenor bass viol Imogen Seth-Smith tenor James Gilchrist bass viol Reiko Ichise bass Simon Birchall great bass viol Richard Boothby

2 3 cm Membra Jesu Nostri Dietrich Buxtehude (c.1637-1707) Salve latus – soprano 1 1.16 cn Ecce tibi appropinquo – alto, tenor, bass 1.16 A cycle of seven cantatas, as a meditation on the body of Our Lord Christ co Hora mortis – soprano 2 1.14 cp Surge, amica mea – chorus 1.57 Cantata i: Ad pedes (To the feet) 1 Sonata 0.49 Cantata v: Ad pectus (To the breast) 2 Ecce super montes – chorus 1.10 cq Sonata 0.44 3 Salve mundi salutare – chorus 0.45 cr Sicut modo geniti – alto, tenor, bass 2.36 4 Clavos pedum – soprano 1 1.23 cs Salve, salus mea – alto 1.31 5 Dulcis Jesu – bass 1.26 ct Pectus mihi confer mundum – tenor 1.30 6 Ecce super montes – chorus 1.16 cu Ave, verum templum - bass 1.29 dl Sicut modo geniti – alto, tenor, bass 2.42 Cantata ii: Ad genua (To the knees) 7 Sonata 0.58 Cantata vi: Ad cor (To the heart) 8 Ad ubera portabimini – chorus 1.39 dm Sonata 1.56 9 Salve Jesu – tenor 1.06 dn Vulnerasti cor meum – soprano 1 & 2, bass 2.04 bl Quid sum tibi responsurus – alto 1.07 do Summi regis cor – soprano 1 0.45 bm Ut te quaeram – soprano 1 & 2, bass 1.06 dp Per medullam – soprano 2 0.46 bn Ad ubera portabimini – chorus 1.45 dq Viva cordis voce clamo - bass 1.17 dr Vulnerasti cor meum - soprano 1 & 2, bass 2.11 Cantata iii: Ad manus (To the hands) bo Sonata 0.51 Cantata vii: Ad faciem (To the face) bp Quid sunt plagae – chorus 1.55 ds Sonata 0.42 bq Salve Jesu – soprano 1 1.38 dt Illustra faciem tuam – chorus 1.30 br Manus sanctae – soprano 2 1.37 du Salve, caput cruentatum – alto, tenor, bass 1.38 bs In cruore tuo lotum – alto, tenor, bass 1.38 el Dum me mori est necesse – alto 1.38 bt Quid sunt plagae – chorus 2.05 em Cum me jubes emigrare – chorus 1.18 en Amen 1.44 Cantata iv: Ad latus (To the side) bu Sonata 0.28 Total running time 61.23 cl Surge, amica mea – chorus 1.53 4 5 Membra Jesu Nostri Dietrich Buxtehude elements are set in the German vernacular. romantic, view that North German musicians Such was the growing sense, as the century were sealed in a prodigious cultural vacuum onsidering Dietrich Buxtehude’s sacred to that of a parochial loft-bound organist progressed, of the German language as the – yet more fuel for Bachian hagiography. Cmusic as a spring in the foothills of Mount whose achievements can be viewed principally prime means for setting music. ‘Membra’, Buxtehude’s easy assimilation of Italian Bach is inevitable given Bach’s peerless stature: as refining Bach’s notion of stylus phantasticus though, was clearly a unique assignment for musical style reveals that pre-Bach North inadvertently, an Olympian reputation invites (the free-wheeling, virtuosic toccata style) Buxtehude. Gustav Düben, whose collection Germany was in fact well acclimatised to avalanches to smother the achievements of and chorale paraphrases or preludes. Such has so miraculously survived, is the sole both southern musical languages and dialects. distinguished forebears. Such a dramatic claim a notion was encouraged in the nineteenth dedicatee as the autograph tablature reveals: To support this (Düben’s collection aside), is not too wide of the mark if one peruses the century by both Johannes Brahms’ and ‘to a foremost man…most noble and honoured Italian musicians were regularly employed Düben Collection in Uppsala, Sweden, a Phillip Spitta’s admiration for ‘Buxtehude the friend, Director of Music to his Most Serene in courts and ecclesiastical posts throughout resource containing reams of seventeenth organist’; the only modern monograph, by Majesty, the King of Sweden’. Düben was the country, and many Germans, other century North German masterpieces, Kerala Snyder, entitled ‘Organist in Lübeck’, also well-placed in his kapellmeister role in than the famous Schütz and Rosenmüller, including a range of fine proto-cantatas by hardly reflects a sophisticated command of a Stockholm to seek out music and musicians, studied in Italy. All this, before one ventures Buxtehude and forgotten contemporaries. mesmerising range of past, current and even both from the trade-routes of the Hanseatic to observe the Mediterranean breeze on Buxtehude, however, was not entirely buried prescient vocal genres. ports as well as from his regular travels south. the ruddy complexion of Buxtehude’s in the wake of Bach’s ascendancy. His death His collection contains one thousand three scores. As Geoffrey Webber points out, the in 1707 brought eulogies and epithets such Amongst Buxtehude’s 130-odd surviving hundred sacred works in which Buxtehude is influence of the Italian strophic aria style on as ‘world-renowned, incomparable musician sacred works, there exists the fullest prominent with over a hundred such pieces. Buxtehude can be specifically traced in the and composer’ (Johann Caspar Ulich). We compass of concerto-motets, chorale settings It is even conceivable that Düben may have detailed melodic figures of Giovanni Bicilli’s can safely say, also, that the discriminating and varied strophic arias, as well as vocal commissioned some of Buxtehude’s cantatas. ‘Gloriosum diem colimus’, unashamedly young Bach did not disappear to Lübeck in concertos employing all the textural and super-imposed on ‘Surge amica mea’, the 1705 – incurring the wrath of his Arnstadt tonal developments of the late seventeenth Düben was particularly attracted to Latin fourth cantata in ‘Membra’. employers in the process – to hear century. To acknowledge Buxtehude as the texts, no doubt forged by a special interest in Buxtehude’s music for anything other than outstanding German composer between Italian music and his knowledge of both the ‘Membra Jesu nostri patientis sanctissima’ guaranteed and supreme nourishment for his Schütz and Bach, one need look no further Monteverdi and Carissimi – Venetian and (Most Holy Members of our Suffering Jesus) own artistic formation. Whilst Bach clearly than his cycle of seven cantatas, Membra Roman respectively – generations of vocal is a Passion-meditation, contemplating seven understood and admired Buxtehude for his Jesu Nostri (BuxWV75). This work, dating music. Buxtehude, on the other hand, was no different parts of Jesus Christ’s body on the breadth of experience and vision, more recent from 1680, is a sui generis example in the cosmopolitan. He stayed in Lübeck for over cross: feet, knees, hands, side, breast, heart commentators have – as scholar Christoph composer’s cantata oeuvre since all his other thirty years, rarely travelled and never visited and head. The majority of the Latin text Wolff reminds us – streamlined his influence extended pieces combining concerto and aria Italy, thus promulgating the erroneous, if is drawn from a popular medieval poem, 6 7 ‘Salve mundi salutare’ which Buxtehude may where musical diversity reigned supreme, from C minor via related keys, returning to heart’ confirms Buxtehude as a master of acute have compiled himself through an edition Buxtehude made no conscious choice of the dark smouldering intensity of the opening dramatic timing in the patient manipulation entitled Domini Bernhardi Oratio rhythmica how indigenous or ‘foreign’ his musical key for the final cantata. Within this, the of a descending minor sixth motif. This is published in Hamburg in 1633. Despite invention would be for any one cantata. Here, emotional charge comes in most concentrated the only work where the cyclical return of significant internal contrast, Buxtehude’s the composer plays more on an instilled doses in the framing concertos. Ad manus (To the opening concerto is altered, now with the basic scheme is built on framing vocal Teutonic ideal of rhetorical delivery rather the hands) opens with a deeply interrogative viols in tremolo–‘Membra’ reaching its long- concertos, setting free prose from the Vulgate than self-conscious fashion-mongering. Such rhetoric (‘What are these wounds in thine anticipated, devotional peak. (the Latin ), with several strophic arias a sensual interpretation of Christ’s suffering hands?’), instilled at the outset from the for a single solo voice, occasionally joined attracts graphic imagery but Buxtehude is rhythmic character of the instrumental motifs The mysticism of the texts which so riveted by one or two others. Each work opens decidedly balanced in his textual illustrations, to the gradually more insistent vocal tutti. Buxtehude comes in the poetry set to with an instrumental sonata, setting the arcanely termed ‘hypotyposis’ in Burmeister’s The plangent and mature dissonance upon arias, relatively cool, gentle and objective scene with Buxtehude’s customary emotional Musical Poetics (1606), never resorting to which Buxtehude develops this quasi-erotic creations, though no less fascinating for their penetration and clarity. The idiosyncratic excessive short-term thrills at the expense harmonic character foreshadows Scarlatti, economical and varied treatments. Strophes power of this work is partly created by of the broad rhetorical principles in Pergolesi, Lotti and others who brought are often shared around the voices with the consistent attention given to intensify which evocative ‘figures’ are pragmatically extended sensuality to the bitter-sweet world different solo sopranos expected to provide the mystical poetry, launched by the more positioned for maximum effect. Buxtehude’s of Christ’s crucifixion. In the concerto of Ad timbral variety. Instrumental ritornelli decorative biblical content. This runs counter unity of conception is an admirable antidote pedes (To the feet) Buxtehude builds the five- provide a timely caesura between each to the concept of the extended vocal concerto, to any excessive emotional roller-coasting. part texture with supreme nobility whilst the strophe of the aria. In Ad latus (To the side), a as it had been developed up to 1680 and also The question of whether these self-contained only major-keyed work, Ad genua (To the contemplation on healing as much as sorrow, as described by Johann Mattheson in the works were performed at a single sitting is not knees), conveys a pointillist image of Isaiah’s the ritornelli is set elegantly in triple-time later eighteenth century form, of juxtaposing easy to know, though Düben’s sets of parts ‘dandled upon her knees’ with the trio-sonata whilst Ad pectus (To the breast) demonstrates aria and recitative – where the aria interprets were written on different paper and formats, strings ‘in tremula’. Ad cor (To the heart) a fixed harmonic pattern for each aria. The the immutable truth of the bible, as catalyst. perhaps suggesting that the individual boasts a quintet of viols for this, the spiritual final work, Ad faciem (To the face) brings Such is the case with Bach. ‘themes’ of the works were designed to serve life-giving apex of the body; as Buxtehude the work to an elaborate conclusion with a discrete liturgical specification rather than, wrote on the title-page of his score, ‘sung an Amen of delectation and unassuming Buxtehude draws heavily on emotional per se, a unified concert performance. with the most humble devotion of the whole gracefulness. Such is Buxtehude’s genius for conceits traceable back to the multi-sectional heart’. This concerto is preceded by a restless, creating the ultimate in spiritual impact, and declamatory works of early baroque Italy, In terms of compositional conception, unity antiquated canzona before a luminous and without a note of gratuitous indulgence. as well as the later, extended sectional works is a serious consideration. Buxtehude presents, worldly three-part contrapuntal chorus on of Cesti and Carissimi. However, in a century in the seven works, an affecting tonal circuit Song of Solomon’s ‘thou hast wounded my © Jonathan Freeman-Attwood 8 9 Texts & Translations 7 – bn Cantata ii Ad genua (To the knees)

1 6 Ad ubera portabimini, They will bear Thee on their breast – Cantata i Ad pedes (To the feet) et super genua blandicentur vobis. and do Thee honour on bended knee.

Ecce super montes pedes Lo, upon the mountains come the feet Salve Jesu, rex sanctorum, Hail, O Jesus, King of Saints, evangelizantis of one bringing good tidings Spes Votiva peccatorum. earnest hope of sinful men. et annunciantis pacem. and speaking a message of peace. Crucis ligno tanquam reus As now Thou hangest on the Cross Pendens homo, veres Deus, Like Man condemned, yet Very God, Salve mundi salutare Hail, O Saviour of the world Caducis nutans genibus. Thy Knees bent in death’s weariness. Salve, salve Jesu care. Hail, beloved Jesu, Hail. Cruci tuae me aptare I would truly take up Thy cross, Quid sum tibi responsurus; What answer shall I make Thee here; Vellem vere, tu scis quare; Surely Thou knowest why; Actu vilis, corde durus? I, base in deed and hard of heart? Da mihi tui copiam. Give me then Thy mighty help. Quid rependam amatori How repay my dearest Love, Qui elegit pro me mori Who chose to suffer death for me Clavos pedum, plagas duras With what ardour I embrace Ne dupla morte morerer? And how escape a double death? Et tam graves impressuras Those nails which pierce Thy blessed Feet. Circumplector cum affectu The heavy blows, the fearful stripes Ut te quaeram mente pura Be this, dear Lord, my chiefest care, Tuo pavens in aspectu As mindful of Thy wounds I gaze Sit haec mea prima cura To seek Thee with a perfect heart Tuorum memor vulnerum. With trembling here upon Thy face. Non est labor nec gravabor For would I but embrace Thee here Sed sanabor et mundabor It were no Toil, nor burden yet, Dulcis Jesu, pie Deus Sweet Jesus, Holy God, Cum te complexus fuero. For then should I be cleansed and healed. Ad te clamo, licet reus To Thee I cry, although a sinner yet; Praebe mihi te benignum Show forth Thy mercy, Lord to me Ne repellas me indignum And cast me not, e’en so unworthy De tuis sanctis pedibus. Away from Thy most sacred Feet.

10 11 bo – bt Cantata iii Ad manus (To the hands) bu – cp Cantata iv Ad latus (To the side)

Quid sunt plagae istae in medio What are these wounds in the middle of Surge, amica mea, speciosa mea; Arise, my love, my fair one, and come away; manuum tuarum? Thy hands? et veni columba mea in foraminibus my dove among the rocky clefts petrae, in caverna maceriae. and stony caves. Salve Jesu pastor bone, Hail, Jesu the Good Shepherd Thou, Fatigatus in agone Now wearied by Thine agony Salve, latus salvatoris, Hail, my dearest Saviour's Side, Qui per lignum es distractus As thou were tortured on Thy Cross in quo latet mel dulcoris, Wherein the sweetest honey lies, Et ad lignum es compactus By nails upon cruel wood in quo patet vis amoris Wherein the might of love is seen Expansis sanctis manibus. Thy sacred Hands were outstretched for me. Ex quo scatet fons cruoris And whence doth gush a fount of blood Qui corda lavat sordida. To cleanse the soiled heart of man. Manus sanctae, vos amplector Blessed Hands, I now embrace you Et gemendo condelector Weeping, I rejoice in You Ecce tibi appropinquo Lo, now approach I near to Thee Grates ago plagis tantis And offer thanksgiving for the blows Parce, Jesu, si delinquo. O spare me, Jesu, should I fail Thee. Clavis duris, guttis sanctis The cruel nails, the sacred Blood, Verecunda quidem fronte Let me come with holy fear, Dans lacrimas cum oculis. My kisses mingling with my tears. Ad te tamen veni sponte Gladly to fall down before Thee Scrutari tua vulnera. To behold Thy sacred wounds. In cruore tuo lotum Washed in the fountain of Thy Blood Me commendo tibi totum. I place me wholly in Thy trust. Hora mortis meus flatus May my spirit, Jesu, enter Tuae sanctae manus istae Now may those blessed Hands of Thine Intret, Jesu, tuum latus, At the hour of Death Thy Side, Me defendant, Jesu Christe Protect me, Jesu Christ, and guard Hinc expirans in te vadat, And being thence exhaled go with Thee, Extremis in periculis. In my last hour of need. Ne hunc leo trux invadat That the fierce lion may not invade me Sed apud te permaneat. But I may ever stay with Thee.

12 13 cq – dl Cantata v Ad pectus (To the breast) dm – dr Cantata vi Ad cor (To the heart)

Sicut modo geniti infantes rationabiles, You must be born again as newborn children, Vulnerasti cor meum, Thou hast smitten my heart, et sine dolo concupiscite, but with knowledge, seek your milk without guile soror mea, sponsa. my sister my bride. ut in eo crescatis in salutem. that therein you may grow in health. Si tamen gustastis, And having once tasted thereof, Summi regis cor, aveto. Hail, Heart of the King Most High. quoniam dulcis est Dominus. you will see how sweet is the Lord. Te saluto corde laeto. With a Joyful heart I greet Thee. Te complecti me delectat Ever to embrace Thee may I delight Salve, salus mea, Deus, Hail, my Saviour and my God, Et hoc meum cor affectat And only this my heart's desire Jesu dulcis, amor meus. Sweet Jesus, Lover of my life. Ut ad te loquar animes. Thou make me worthy to address Thee. Salve, pectus reverendum, Hail to Thee, most noble Breast, Cum tremore contingendum Thou dwelling-place of Love Divine Per medullam cordis mei, To my poor heart's very core, Amoris domicilium. Whither trembling we draw near. Peccatoris atque rei, Guilty sinner though I be, Tuus amor transferatur May Thy Love be thoroughly borne Pectus mihi confer mundum; Bestow on me a perfect heart; Quo cor tuum rapiatur That thus Thy heart, with Love's wound bleeding, Ardens, pium, gemebundum, Ardent, contrite, dutiful Languens amoris vulnere. May be swiftly drawn to mine. Voluntatem abnegatam And make me hence deny my will Tibi semper conformatam, And ever to Thine own conform, Viva cordis voce clamo, I cry with loud voice from my heart, Juncta virtutum copia. Granting me succour of Thy might. Dulce cor, te namque amo. For so I love Thee, Sweetest Heart. Ad cor meum inclinare O draw Thou near to my poor heart Ave, verum templum Dei. Hail, Thou temple true of God. Ut se possit applicare That to Thyself I may apply me Precor miserere mei, Have mercy on me here, I pray, Devoto tibi pectore. With wholly dedicated breast. Tu totius arca boni, Thou resting-place of every good, Fac electis me apponi, And grant a place among the chosen, Vas dives Deus omnium. O precious treasure, God of all.

14 15 ds – en Cantata vii Ad faciem (To the face) Harry Christophers is known internationally as founder and conductor of The Sixteen as well as a regular Illustra faciem tuam super servum tuum; Make Thy Face to shine upon Thy servant; guest conductor for many of the major symphony orchestras salvum me fac in misericordia tua. O save me in Thy Mercy. and opera companies worldwide. He has directed The Sixteen choir and orchestra throughout Europe, America and the Far East gaining a distinguished reputation for his work in Salve, caput cruentatum Hail, O Head all stained with blood Renaissance, Baroque and twentieth-century music. In 2000 Totum spinis coronatum, With those cruel thorns crowned, he instituted the Choral Pilgrimage, a national tour of English Borggreve Marco Photograph: Conquassatum, vulneratum, Cruelly beaten, sorely wounded cathedrals from York to Canterbury in music from the pre- Arundine verberatum, Harshly smitten with the rod, Reformation, as The Sixteen’s contribution to the millennium Facie sputis illita. Thy dear Face abused by spitting. celebrations. It raised awareness of this historic repertoire so successfully that the Choral Pilgrimage in the UK is now Dum me mori est necesse, When that hour that I must die shall come, central to The Sixteen's annual artistic programme. Noli mihi tunc deesse O Saviour do not fail me In 2008 Harry Christophers was appointed Artistic Director of Boston’s Handel and Haydn In tremenda mortis hora But in death's dread misery Society; he is also Principal Guest Conductor of both the Granada Symphony Orchestra and Veni, Jesu, absque mora Come, Lord Jesu, come right swiftly, the Orquesta de la Comunidad de Madrid. As well as enjoying a very special partnership with Tuere me et libera! Protect me then and set me free! the BBC Philharmonic, with whom he won a Diapason d’Or, he is a regular guest conductor with the Academy of St Martin in the Fields and has also conducted the Hallé, the London Cum me jubes emigrare And when Thou bid'st my soul to flee Symphony Orchestra and the San Francisco Symphony. Jesu care, tunc appare. O sweetest Jesu, then stand by me. Increasingly busy in opera, Harry Christophers has conducted Monteverdi’s Il ritorno d’Ulisse, O amator amplectende; In that hour in love embrace me; Gluck’s Orfeo, Mozart’s Die Zauberflöte, Purcell’s King Arthur and Rameau’s Platée for Lisbon Temet ipsum tunc ostende Show Thy blessed Face to me Opera. After an acclaimed English National Opera debut with The Coronation of Poppea In cruce salutifera. Upon Thy sweet and saving Cross. he has since returned for Gluck’s Orfeo and Handel’s Ariodante, as well as conducting the Amen Amen UK premiere of Messager’s opera Fortunio for Grange Park Opera. He conducts regularly at Buxton Opera. Harry Christophers is an Honorary Fellow of Magdalen College, Oxford as well as the Royal Welsh College of Music and Drama and has been awarded the Honorary Degree of Doctor of Music from the University of Leicester. 16 17 After three decades of world-wide performance and recording, The Sixteen is recognized as one of the world’s greatest ensembles. Its special reputation for performing early English polyphony, masterpieces of the Renaissance, Baroque and early Classical periods, and a diversity of twentieth-century music, all stems from the passions of conductor and founder, Harry Christophers. The Sixteen tours internationally giving regular performances at the major concert halls and festivals. At home in the UK, The Sixteen are "The Voices of Classic FM" as well as Associate Artists of Southbank Centre, London. The group also promotes the Choral Pilgrimage, an annual tour of the UK’s finest cathedrals. The Sixteen’s period-instrument orchestra has taken part in acclaimed semi-staged performances of Purcell’s Fairy Queen in Tel Aviv and London, a fully-staged production of The Purcell’s King Arthur in Lisbon’s Belem Centre, and new productions of Monteverdi’s Il ritorno Sixteen d’Ulisse at Lisbon Opera House and The Coronation of Poppea at English National Opera. Harry Christophers www.thesixteen.com Over one hundred recordings reflect The Sixteen’s quality in a range of work spanning the music Photograph: Mark Harrison of five hundred years. In 2009 they won the coveted Classic FM Gramophone Artist of the Year Award and the Baroque Vocal Award for Handel’s Coronation Anthems. The Sixteen also feature in the highly successful BBC television series, Sacred Music, presented by Simon Russell Beale. Recording Producer: Mark Brown Recording Engineer: Philip Hobbs For further information about recordings on CORO or live performances and tours by Post Production: Ben Turner at Finesplice The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected] Recorded at: St Jude's Church, Hampstead Garden Suburb, 7 - 9 February 2000 Cover image: Christ on the Cross, before 1650 (oil on canvas) by Philippe de Champaigne, (1602-74) Louvre, Paris, France/ 2010 The Sixteen Productions Ltd. The Voices of Giraudon/ The Bridgeman Art Library Nationality / © 2010 The Sixteen Productions Ltd. copyright status: French / out of copyright Made in Great Britain www.thesixteen.com Design: Andrew Giles - [email protected]

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