SALVE, SALVE, SALVE In the mid sixteenth century there occurred the hands of such composers the opposite something of a craze for the music of Josquin is true: the results are dynamic and compelling. Josquin’s Spanish legacy Desprez in Spain. Large quantities of his music These composers, like Josquin, exploited the were copied into cathedral music books and opportunities for expressive impact and (ironic published in instrumental anthologies which though it might seem) musical variety which 1 Jubilate Deo omnis terra Cristóbal de Morales (c. 1500–1553) [5.30] helped to spread its popularity widely. All resourceful use of ostinato could produce; three of the greatest Spanish composers of the moreover, they sought not merely to emulate 2 Gaudeamus omnes in Domino Chant [1.19] age – Morales, Guerrero, and Victoria – were but also to outdo their eminent predecessor in Missa Gaudeamus Tomás Luis de Victoria (c. 1548–1611) directly inspired by aspects of Josquin’s music. their inventive handling of the technique. 3 I. Kyrie [3.58] An important thread among these influences 4 II. Gloria [7.00] was Iberian composers’ enduring fascination In 1538 Pope Paul III brokered a ten-year truce 5 III. Credo [11.19] with a potent rhetorical-musical technique (which didn’t last) between the two most employed by Josquin in a number of works, powerful rulers in Europe: Charles V (King of 6 Salve regina Tomás Luis de Victoria [10.01] namely ostinato: the periodic repetition Spain and Holy Roman Emperor) and Francis Missa Gaudeamus Tomás Luis de Victoria throughout a piece of a motto in one voice I (King of France). These rulers and the 7 IV. Sanctus [5.53] part, serving both to bind the work together and pope – accompanied by their household chapel 8 V. Agnus [4.55] to anchor it to a central musical and textural musicians – met on 14 July at Aigues-Mortes in theme. The technique can be compared to Southern France, and there survives a musical 9 Ave virgo sanctissima Francisco Guerrero (1527/8–1599) [4.05] that used by preachers of the period, who wove memento of that occasion: the six-voice motet 0 Salve regina Chant [2.40] their sermons around a single key sentence of Jubilate Deo omnis terra 1 by one of the scripture to which they constantly returned. papal singers, the Spaniard Cristóbal de q Salve regina Josquin Desprez (c. 1450–1521) [8.08] The present recording explores this aspect of Morales. Five of the six voices sing a specially w Surge propera, amica mea Francisco Guerrero [6.14] Josquin’s Spanish legacy as manifest in the composed text saluting the three participants motets of Morales, Guerrero, and Victoria, and (‘Carolus’, ‘Franciscus’, and ‘Paulus’) and Total timings: [71.02] in Victoria’s great six-voice Missa Gaudeamus. praising them for bringing peace, but the It might be thought that the ostinato sixth voice is given different text and musical technique would produce works which are material: throughout the motet, this voice CONTRAPUNCTUS repetitious, static, or mechanical in effect. repeats a six-note ostinato phrase, singing OWEN REES DIRECTOR As the music presented here demonstrates, in the single word ‘gaudeamus’ (‘let us rejoice’). www.signumrecords.com - 3 - This motto is a fragment of plainchant: it forms Vivat Franciscus!’ to the end), bunching the links between his Mass and Josquin’s, beyond it: the imposing cadential gesture which ends the opening intonation of the Introit chant at ostinato statements more closely together the ‘gaudeamus’ motto itself. As had Josquin, the first part of Morales’s motet is retained Mass on many feast days, such as Gaudeamus and presenting them at double their previous Victoria shines the spotlight on the ‘gaudeamus’ by Victoria for all three statements of the omnes in Domino 2 for All Saints’ Day, of speed rhythmically, so that they infuse the theme in his final Agnus Dei by assigning motto in his first Kyrie. But for the closing bars which we include the opening antiphon section music with energetic urgency. the ostinato statements of it to a top voice of that Kyrie section and of the two longest on this recording. Thanks to its frequent and as well as to a tenor. And as had Josquin, movements Victoria ostentatiously ‘reveals’ his festive liturgical use, this chant motto would The rhetorical power of this ostinato motive, and Victoria saturates this concluding section of motto theme, drawing back the curtain and have been familiar to – indeed, instantly the prestige which Morales’s motet acquired his Mass with overlapping entries of the motto: presenting it triumphantly in the topmost voices recognisable by – all those present at the through the prominent political and festive he arranges the superius and tenor ostinato – reaching to their peak notes – to mark the meeting between Charles, Francis, and Pope context of its composition and first performance, statements in canon, so that the motto is words ‘in gloria Dei Patris’ (‘in the glory of God Paul, and by employing it in his motet Morales were exploited several decades later by another (for the first time in his Mass) continually the Father’) in the Gloria and ‘et vitam venturi thus evoked an atmosphere of joyful high Spanish composer, Tomás Luis de Victoria, who present, and he dramatises the first canonic sæculi’ (‘and the life of the world to come’) in festivity. But in choosing this motto Morales wrote a ‘parody’ Mass – the Missa Gaudeamus entry of the tenor by bringing in all three lower the Credo. Through such gestures, Victoria was also surely referring to Josquin, whose 3–5, 7, 8 – based on the material voice parts simultaneously as the tenor begins reveals himself to be a masterful orator in the Missa Gaudeamus likewise treats the opening from Morales’s work, and incorporating the its ‘gaudeamus’. He also calls attention to tradition of Josquin. six-note intonation of the chant as an ostinato; ‘gaudeamus’ ostinato theme. Victoria included the motto here by giving it not the Agnus Dei indeed, Morales kept the rhythm which Josquin the Missa Gaudeamus in a grand manuscript text but its original ‘gaudeamus’. The same Victoria bound his Mass together not only uses for the motto in his Agnus Dei, making choirbook presented to Toledo Cathedral, and occurs in Victoria’s Kyrie, so that listeners and through the ostinato but through ubiquitous the link to Josquin explicit. Although the also published it – in a significantly different singers are alerted to the motto as his Mass quotation of the opening ‘Jubilate Deo’ motive associative reverberations of Morales’s device version: the one recorded here – in his first begins. Admittedly, for much of the Mass of Morales’s motet, and he also selected one were greater for a sixteenth-century audience book of Masses, printed in Venice in 1576. the ostinato motive is relatively hidden: it is extended block of music from that motet – the than for us, nevertheless – even to a modern The work represents an early-career act of assigned almost entirely to the Altus parts in beginning of the second part, ‘O felix ætas, listener – the repetition of this motive and homage to Victoria’s most famous Spanish the middle of the texture, and these voices O felix Paule’ – to quote more or less intact in its accompanying celebratory word in the predecessor, Morales, but it also invited the use the motto to sing whatever text the other two places in the Mass. This is the telling motet lends it an accumulative impact as the well informed purchaser of Victoria’s book to voices are declaiming at that point. As a result, moment in Morales’s work where the singers, ‘essential theme’ of the work; Morales even recall the celebrated previous composer of a the motto’s presence can often be sensed only having invited all to rejoice in the meeting of uses the device to produce an acceleration Missa Gaudeamus, Josquin, and therefore to indirectly, such as in the influence which it Paul, Charles, and Francis and the achievement for the motet’s thrilling final climax (from the view Victoria as successor to both Morales and has on the surrounding harmony or by re-using of peace, sing directly to these three: ‘O acclamations ‘Vivat Paulus! Vivat Carolus! Josquin. Victoria, indeed, fashioned explicit the material which Morales weaves around vos felices principes’ (’O you happy princes’).

- 4 - - 5 - Morales here wrote a passage of majestic form in the topmost voice, and its opening four- pitch-levels for the motto; because Victoria later sixteenth century. Josquin’s other most simplicity, taking as his model a passage from note motive (setting the first word, ‘Salve’) gives the ostinato to one of his two highest famous ostinato motet was (and is) his setting a Marian motet by Josquin (Inviolata, integra, appears as an ostinato in the second voice from voices, in this section of the piece every other of the psalm Miserere mei Deus, in which these et casta es Maria). Victoria in turn deployed the top, alternating between two pitch-levels. statement stands out boldly at the top of the opening three words of the text are repeated this music for the most solemn part of his It hence serves – as the ‘gaudeamus’ motto texture as had not been the case in Josquin’s periodically throughout to a simple motive. Mass text, ‘Et incarnatus est de Spiritu Sancto’ does in Morales’s Jubilate Deo and Victoria’s Salve. But in borrowing Josquin’s idea Victoria (This motive, or variants of it, was then quoted (‘and became incarnate by the Holy Spirit’) in Missa Gaudeamus – as a powerful unifying goes much further than had his forerunner, by numerous sixteenth-century composers the Credo, and then transformed it into the element. But rather than simply ensuring unity giving us his own tour de force of prodigious when setting the words ‘miserere mei’; an joyful ‘Hosanna’ which follows the Benedictus. through the device, Josquin tellingly manipulates contrapuntal skill. Firstly, he adds a second echo of this practice can be detected at the Thus Victoria is – as more generally in his its relationships to the free voices, so that it ostinato motive, ‘mater misericordiæ’, sung by final ‘miserere nobis’ in the Gloria of Victoria’s decision to write a Missa Gaudeamus – looking sometimes functions as a subtle background an inner part; secondly, he constantly varies Missa Gaudeamus.) However, rather than back to Josquin via Morales. force steering the harmony or leading the the overlap between this and the ‘Salve’ motto, merely alternating between two pitch-levels music to cadence points, while at other moments to show the various ways in which the two can for the ostinato as in Salve regina, Josquin here The notable and long-lived popularity of the it is spotlighted for expressive effect, as for work together; and thirdly, he not only transposes moves each statement one step higher or lower ostinato technique among Spanish composers example at the beginning of the final part of the ‘Salve’ motto between two pitches (as had than its predecessor, changing the direction of the Golden Age may itself be traced to the the motet, ‘Et Jesum benedictum’. Victoria’s Josquin) but transposes the ‘mater misericordiæ’ of this process in each of the three sections influence of Josquin, and most importantly six-voice Salve regina 6, published in his motto between three pitch-levels, so that we of the long motet. Guerrero’s setting of the perhaps to Josquin’s five-voice setting of the début collection of 1572, shows yet again the end up with an extraordinary jigsaw involving Song of Songs text Surge propera, amica mea Marian antiphon Salve regina q. The fame force of Josquin’s legacy among Spanish a myriad of relationships between the two. w echoes this practice: Guerrero chose as of this work in sixteenth-century Spain is composers, and exemplifies more generally the While all of this is going on, the listener is his ostinato motto ‘Veni, sponsa Christi’, exemplified by its being given pride of place in desire of Renaissance musicians to demonstrate aware not of the contrapuntal showing off, but ‘Come, bride of Christ’, and in so doing he a book of music for the Marian ‘Salve’ their musical lineage through emulation of the of beautifully shaped and powerfully emotive Christianises the old-testament text sung services at Seville Cathedral compiled in 1550, works and techniques of renowned masters, polyphonic writing. by the other voices: the ‘beloved’ (from the preceding settings by such composers as and indeed their aspirations to surpass them. Song of Songs) is here ‘the bride of Christ’, Morales and Guerrero. Josquin’s motet is a Victoria takes his cue from Josquin in using The influence of Josquin’s ostinato techniques which in this context refers to Mary. In the tour de force of skilful imitative counterpoint, the ‘Salve’ motive as an ostinato, and in the is likewise seen in the music of Francisco first part of the motet, the motive descends a while also incorporating the famous ‘Salve second part of the setting (beginning with Guerrero, an older Spanish contemporary step at each statement, while in the second it regina’ chant 0 in two distinct ways: the the words ‘Ad te suspiramus’) he retains and acquaintance of Victoria, and the best rises again, promoting the gradual crescendo whole chant melody is presented in decorated Josquin’s technique of alternating between two known composer in the Iberian world in the as we move from the cooing of the turtle

- 6 - - 7 - dove (‘vox turturis’) to the striking end-climax that lies at the heart of Josquin’s and Victoria’s Texts and Translations to the piece, with ‘Christi’ ringing out at the Salve regina settings – and declaim it multiple top of the final sonority. The perfumed and times at successively higher pitch-levels, until 1 Jubilate Deo omnis terra sensual imagery of Song of Songs texts they reach the top of their range at the peak frequently drew musical responses of particular of this ‘wave’ of motto statements. The final Jubilate Deo omnis terra, cantate omnes, Rejoice in the Lord, all you lands, sing everyone, rejoice power and colour from Renaissance composers, paragraph of the piece mirrors this process, jubilate et psallite, quoniam suadente Paulo, and play the psaltery, because persuaded by Paul, and this work is no exception: for example, the motto for ‘nitens, olens velut rosa’ (‘beautiful Carolus et Franciscus, principes terræ, Charles and Francis, princes of the earth, the muscular soaring lines which Guerrero and perfumed as the rose’) being sung thrice convenerunt in unum, et pax de cælo descendit. have united, and peace has descended from Heaven. employs to set the concluding invitation for by each superius part at progressively O felix ætas, O felix Paule, O vos felices principes, O happy age, O happy Paul, O you happy princes, the beloved to arise (‘surge’) joyfully break lower pitch-levels to steer this extraordinary qui christiano populo pacem tradidistis. who have delivered peace to the Christian people. the bonds of ‘normal’ melodic behaviour in work to its tranquil close. Vivat Paulus! Vivat Carolus! Vivat Franciscus! Long live Paul! Long live Charles! Long live Francis! the polyphonic styles of the period. Vivant simul, et pacem nobis donent in aeternum! Long may they live together, and may they give us Owen Rees © 2019 peace forever! Guerrero’s best known motet, Ave virgo sanctissima 9, which is likewise in praise Ostinato: Gaudeamus Ostinato: Let us rejoice. of Mary, provides another demonstration of the rhetorical effectiveness of repetition and 2 Gaudeamus omnes in Domino varied repetition of motto themes in the hands of the greatest Renaissance composers. The Gaudeamus omnes in Domino, diem festum Let us all rejoice in the Lord, celebrating the feast day core compositional device here is canon rather celebrantes sub honore sanctorum omnium, in honour of all the saints, than ostinato, but the canon is unusual in de quorum solemnitate gaudent angeli, on which festival the angels rejoice the degree to which it is clearly audible to the et collaudant Filium Dei. and praise the Son of God. listener and the way in which the construction of the canonic voices governs the rhetorical 3 Missa Gaudeamus: Kyrie shaping of the work. The two superius voices echo one another in canon at a close Kyrie eleison. Lord, have mercy. time-interval, and the principal climax of the Christe eleison. Christ, have mercy. work comes where they turn to the famous Kyrie eleison. Lord, have mercy. ‘Salve’ motive – the same four-note theme

- 8 - - 9 - 4 Missa Gaudeamus: Gloria Virgine: et homo factus est. Crucifixus etiam pro and was made man. He was crucified also for nobis: sub Pontio Pilato passus et sepultus est. us: he suffered death under Pontius Pilate and Gloria in excelsis Deo, et in terra pax hominibus Glory to God on high, and on earth peace to men Et resurrexit tertia die, secundum scripturas. Et was buried. And on the third day he rose again, bonæ voluntatis. Laudamus te. Benedicimus te. of good will. We praise you. We bless you. We ascendit in cælum: sedet ad dexteram Patris. in accordance with the scriptures. And ascended Adoramus te. Glorificamus te. Gratias agimus adore you. We glorify you. We give thanks to you Et iterum venturus est cum gloria, judicare into heaven: he is seated at the right hand of tibi proper magnam gloriam tuam. Domine Deus, for your great glory. Lord God, heavenly King, God vivos et mortuos: cuius regni non erit finis. Et in the Father. And he will come again with glory, to Rex cælestis, Deus Pater omnipotens. Domine almighty Father. Lord Jesus Christ, only-begotten Spiritum Sanctum Dominum, et vivificantem: qui judge the living and the dead: and his kingdom Fili unigenite Jesu Christe. Domine Deus, Agnus Son. Lord God, Lamb of God, Son of the Father. You ex Patre Filioque procedit. Qui cum Patre et Filio will have no end. And [I believe] in the Holy Spirit, Dei, Filius Patris. Qui tollis peccata mundi, who take away the sins of the world, have mercy simul adoratur, et conglorificatur: qui locutus the Lord, and giver of life: who proceeds from miserere nobis. Qui tollis peccata mundi, suscipe on us. You who take away the sins of the world, est per prophetas. Et unam sanctam catholicam the Father and the Son; who with the Father and deprecationem nostram. Qui sedes ad dexteram receive our prayer. You who are seated at the right et apostolicam ecclesiam. Confiteor unum the Son is worshipped and glorified; who spoke Patris, miserere nobis. Quoniam tu solus sanctus. hand of the Father, have mercy on us. For you baptisma in remissionem peccatorum. Et expecto through the prophets. And in one holy catholic Tu solus Dominus. Tu solus altissimus, Jesu alone are the holy one. You alone are the Lord. You resurrectionem mortuorum, et vitam venturi and apostolic church. I acknowledge one baptism Christe, cum Sancto Spiritu, in gloria Dei Patris. alone are the most high, Jesus Christ, with the sæculi. Amen. for the remission of sins. And I look for the Amen. Holy Spirit, in the glory of God the Father. Amen. resurrection of the dead, and the life of the world to come. Amen.

5 Missa Gaudeamus: Credo 6, 0 & q Salve regina

Credo in unum Deum, Patrem omnipotentem, I believe in one God, the Father almighty, maker Salve regina misericordiæ, vita, dulcedo, Hail queen of mercy, our life, our sweetness, factorem cæli et terræ, visibilium omnium, of heaven and earth, of all things visible and et spes nostra salve. and our hope, hail. et invisibilium. Et in unum Dominum Jesum invisible. And in one Lord Jesus Christ, the only- Ad te clamamus exsules filii Evæ. To you we cry, banished children of Eve. Christum, Filium Dei unigenitum, et ex Patre begotten Son of God, and begotten of the Father Ad te suspiramus, gementes et flentes To you we sigh, mourning and weeping natum ante omnia sæcula. Deum de Deo, lumen before all ages. God from God, light from light, in hac lacrymarum valle. in this valley of tears. de lumine, Deum verum de Deo vero. Genitum, true God from true God. Begotten, not made, of Eia, ergo, advocata nostra, illos tuos misericordes Turn then, our advocate, your merciful non factum, consubstantialem Patri: per quem one substance with the Father: through whom all oculos ad nos converte; eyes toward us; omnia facta sunt. Qui propter nos homines et things were made. Who for us men and for our Et Jesum, benedictum fructum ventris tui, nobis and after this exile show us Jesus, the blessed propter nostram salutem descendit de cælis. salvation came down from heaven. And became post hoc exsilium ostende. fruit of your womb. Et incarnatus est de Spiritu Sancto ex Maria incarnate by the Holy Spirit of the Virgin Mary, O clemens, O pia, O dulcis [virgo] Maria. O clement, O kind, O sweet [virgin] Mary.

- 10 - - 11 - 7 Missa Gaudeamus: Sanctus w Surge propera, amica mea

Sanctus, Sanctus, Sanctus Holy, Holy, Holy Surge propera, amica mea, columba mea, Arise, make haste, my love, my dove, my fair one, Dominus Deus Sabaoth. Lord God of hosts. formosa mea, et veni. Iam enim hiems transiit; and come. For now winter has passed; the rain is Pleni sunt cæli et terra gloria tua. Heaven and earth are full of your glory. imber abiit et recessit. Flores apparuerunt in gone and departed. Flowers appear in the land. Hosanna in excelsis. Hosanna in the highest. terra. Tempus putationis advenit. Vox turturis The time for pruning has come. The voice of the Benedictus qui venit in nomine Domini. Hosanna Blessed is he who comes in the name of the Lord. audita est in terra nostra; ficus protulit grossos turtle dove is heard in our land; the fig tree bears in excelsis. Hosanna in the highest. suos; vineae florentes dederunt odorem suum. its fruits; the flowering vines give their scent. Surge, amica mea, speciosa mea, et veni. Arise, my love, my beauty, and come. 8 Missa Gaudeamus: Agnus Dei Ostinato: Veni, sponsa Christi. Ostinato: Come, bride of Christ. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, miserere nobis. have mercy upon us. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona nobis pacem. grant us peace.

9 Ave Virgo sanctissima

Ave Virgo sanctissima, Hail, most holy Virgin, Dei Mater piissima, most blessed Mother of God, maris stella clarissima. brightest star of the sea. Salve semper gloriosa, Hail, ever glorious, margarita pretiosa, precious pearl, sicut lilium formosa, lovely as the lily, nitens olens velut rosa. beautiful and perfumed as the rose.

- 12 - - 13 - CONTRAPUNCTUS Coupling powerful interpretations with path- Two of the group’s discs – Libera nos: The Cry OWEN REES DIRECTOR breaking scholarship, Contrapunctus presents of the Oppressed and In the Midst of Life – music by the best known composers as well as have been shortlisted for the Gramophone Soprano Tenor unfamiliar masterpieces. The group’s repertoire Early Music Award. The 2019 recording of music Esther Brazil Guy Cutting (tracks 1, 6, 10, 11) is drawn from England, the Low Countries, by John Taverner, including his Missa Gloria Amy Carson (tracks 3–5, 7, 8) Gareth Treseder (tracks 2–5, 7–9, 12) Spain, Portugal and Germany, particularly in tibi trinitas was a joint project with the Choir Amy Haworth Ashley Turnell the sixteenth and seventeenth centuries. The of The Queen’s College, Oxford: on Radio 3’s Elspeth Piggott (tracks 6, 9, 12) scholarly facet of the group’s work – including Record Review Andrew McGregor highlighted Roya Stuart-Rees Bass the discovery of long-lost music and the ‘gloriously uplifting sound of the combined Greg Skidmore reconstructions of original performing contexts forces’ and the ‘beautifully moulded’ counterpoint. Alto Giles Underwood – allows audiences to experience the first Rory McCleery performances of many works in modern times. www.contrapunctus.org.uk Matthew Venner Since its foundation in 2010, the group has appeared in many of the world’s leading music festivals – the Utrecht Early Music Festival, the AMUZ Festival in Antwerp, the Festival van Vlaanderen in Mechelen, the Eboræ Musica Festival and Setúbal Festival in Portugal, the concert series at De Bijloke in Ghent and at the Fundación Juan March in Madrid, and in Martin Randall Travel festivals in Spain and the UK – and has performed alongside the Orchestra of the Age of Enlightenment. Contrapunctus is Vocal Consort in Residence at the University of Oxford.

- 14 - - 15 - OWEN REES His published work as a scholar includes studies and editions of the principal Spanish composers Owen Rees is both an acclaimed choral of the ‘Golden Age’ (Morales, Guerrero, and director and an internationally recognised Victoria), the Portuguese Renaissance masters scholar of Renaissance music, particularly Cardoso, Lobo, and Magalhães, and the great from Spain, Portugal, and England. His Tudor composers Tallis and Byrd. He has scholarship consistently informs his performances recently published a book about the Victoria in exciting and revelatory ways. He has Requiem for Cambridge University Press. brought to the concert hall and recording studio substantial repertories of magnificent Renaissance and Baroque music, including many previously unknown or little-known works, and he has played a leading role in revealing the glories of Portuguese Renaissance polyphony to an international audience. His interpretations have been acclaimed as ‘revelatory and even visionary’ (BBC Music Magazine) and as ‘rare examples of scholarship and musicianship combining to result in performances that are both impressive and immediately attractive to the listener’ (Gramophone).

In addition to his work as director of Contrapunctus, which he founded in 2010, internationally as a leader of workshops on the he directs the Choir of The Queen’s College, performance of Renaissance polyphony. His Oxford. His academic posts are as Professor numerous CD recordings encompass a wide in Music at the University of Oxford and Fellow variety of choral repertory from the Renaissance of The Queen’s College. He has conducted to contemporary music, and his work has three at festivals worldwide, and is in demand times been nominated for a Gramophone Award.

- 16 - - 17 - This recording was made possible through funding by the John Fell Oxford University Press (OUP) Research Fund, which we gratefully acknowledge.

Recorded in the Church of St Michael and All Angels, Oxford, UK from 13th – 15th March 2019.

Producer and Editor – Adrian Peacock Recording Engineer – David Hinitt Editor and Mastering – Will Brown

Cover Image: repeating patterns on door in Seville Cathedral – © Shutterstock Design and Artwork – Woven Design www.wovendesign.co.uk

P 2020 The copyright in this sound recording is owned by Signum Records Ltd © 2020 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

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 by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middlesex, UB6 7LQ, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com

- 18 - - 19 - ALSO AVAILABLE on signumclassics

In the Midst of Life Taverner: Missa Gloria tibi trinitas Music from the Baldwin Partbooks I Contrapunctus, Choir of The Queen’s College, Oxford Contrapunctus, Owen Rees director Owen Rees director SIGCD408 SIGCD570

“Contrapunctus are special. Their first disc, Libera nos: The Cry “Rees sculpts the musical lines in low and high relief; delicately of the Oppressed, was seriously, startlingly good: the intimacy etched passages – exquisitely sung by the solo voices of of The Cardinall’s Musick, the rich, glowing tone of The Sixteen Contrapunctus – give way to the sonorous, often seraphic, sound and the textual drama of Stile Antico. Their second disc proves of the full ensemble…The female voices of Queen’s College choir that this was no one-off...Choral blend is mossy-soft and balance sound aptly boyish, reflecting the original all-male performing immaculate...setting the bar in this repertoire.” resources, and their timbre is generally radiant.” Gramophone, Editor’s Choice BBC Music Magazine

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN Customer SignumClassics MAGENTA YELLOW Catalogue No.SIGCD608 BLACK Job Title: Salve Salve Salve SIGNUM CLASSICS

SIGCD608 SALVE, SALVE, SALVE

Josquin’s Spanish legacy

1 Jubilate Deo omnis terra Cristóbal de Morales (c. 1500–1553) [5.30] 2 Gaudeamus omnes in Domino Chant [1.19]

Missa Gaudeamus Tomás Luis de Victoria (c. 1548–1611) SALVE, SALVE contrapunctus 3 I. Kyrie [3.58] 4 II. Gloria [7.00] 5 III. Credo [11.19] 6 Salve regina Tomás Luis de Victoria [10.01] Missa Gaudeamus Tomás Luis de Victoria 7 IV. Sanctus [5.53] 8 V. Agnus [4.55] 9 Ave virgo sanctissima Francisco Guerrero (1527/8–1599) [4.05] 0 Salve regina Chant [2.40] q Salve regina Josquin Desprez (c. 1450–1521) [8.08] w Surge propera, amica mea Francisco Guerrero [6.14] SALVE, SALVE contrapunctus Total timings: [71.02]

CONTRAPUNCTUS OWEN REES DIRECTOR

LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middlesex UB6 7LQ, United Kingdom. P 2020 Signum Records DDD SIGCD608 SIGCD608 © 2020 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 06082 7 SIGNUM CLASSICS