irected b d y PH Linn Records AT IL CKD 348 IC IP IF C Label of the Year N A G V A E “Linn is the very model of a modern record company, M ≈ ensuring that the highest standards are maintained ≈ from the studio right through the company’s very impressive digital store.” JAMES JOLLY, EDITOR-IN-CHIEF, GRAMOPHONE R Philippe ogier

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Now you can explore Linn music on-line with even greater ease by using our innovative download facility. Linn albums and tracks are available to download at studio master and CD quality – the quality you desire to achieve the best possible sound. MP3 downloads are also available. ≈ ≈ linnrecords.com is a multi-format music delivery system that delivers music on vinyl, CD H I S and download. Register online today at www.linnrecords.com to keep up to date about our S latest releases and to fi nd out more about our artists. T M LINN RECORDS, GLASGOW ROAD, WATERFOOT, GLASGOW G76 0EQ UK E t: +44 (0)141 303 5027/9 f: +44 (0)141 303 5007 e: [email protected] A N JE R S O TY C S ND SAGBUTS A R Philippe ogier (c. 1561~1596) ...... 5.53 1 : Domine Dominus noster directed by PHILIP CAVE Missa Domine Dominus noster ≈ HIS MAJESTYS SAGBUTS AND CORNETS ≈ ...... 2.01 2 Kyrie eleison R ...... 5.16 3 Gloria in excelsis Philippe ogier ...... 8.35 4 Credo in unum Deum ...... 1.41 5 Sanctus ...... 2.28 6 Agnus Dei ...... 3.12 7 Regina Caeli ...... 3.42 8 Laudate Dominum

Giovanni Pierluigi da Palestrina (1525/6~1594) ...... 6.44 9 Motet: Domine in virtute tua R Philippe ogier Missa Domine in virtute tua th th ...... 3.25 Recorded at Henry Wood Hall, London from the 13 -15 of June 2009 10 Kyrie eleison ...... 4.37 Produced and engineered by Philip Hobbs 11 Gloria in excelsis Post-production by Julia Thomas, Finesplice, UK ...... 8.35 12 Credo in unum Deum Design by John Haxby ...... 2.05 13 Sanctus Cover image: ...... 1.37 14 Agnus Dei The Judgement, detail from the Table of the Seven Deadly Sins and the Four Last Things, ...... 6.29 c.1480 (oil on panel) by Hieronymus Bosch, (c.1450-1516) 15 Videntes stellam magi Prado, Madrid, Spain / Giraudon / The Bridgeman Art Library ...... 6.51 16 Verbum caro factum est page 2 page 3 (c.1561-1596) antiphonal techniques, and instrumental accompaniment. Although it has traditionally been regarded as an essentially Italianate style, there Philippe Rogier was one of many musicians brought from to serve is ample evidence of a vibrant Spanish tradition of polychoral writing. in the Royal Chapel of King Philip II in Madrid. Rogier began his career in Rogier’s celebrated contemporaries Francisco Guerrero and Tomás Luis Spain as a chorister in 1572, was later ordained priest, appointed vice- de Victoria, and later generations including Sebastián de Vivanco and chapelmaster in 1584, and finally mademaestro de capilla in 1586. Sadly, this Juan Bautista Comes, all wrote significant quantities of polychoral music. was all too brief an appointment: Rogier died in February of 1596, at the Furthermore, the participation of instrumentalists in Spanish liturgical age of only 35. music was well established by the late 16th century, and many cathedrals During his short career Rogier composed over 250 works, including mass vied with each other for the best singers and players. settings, , and villançicos (Spanish-texted religious works Monastic foundations tended to be more conservative in this regard, and with secular origins). Only about a fifth of Rogier’s compositions has it is less clear what role instrumentalists and polyphonic music played survived: many of his works were lost in the fire at the royal palace in in the day-to-day liturgical life of Philip II’s grand structure at El Escorial. Madrid in 1734; and 243 compositions listed in the library of King João IV The combined monastery, basilica, library, royal palace, seminary and of Portugal were destroyed in the Lisbon earthquake of 1755. Fortunately, mausoleum took over twenty-one years to build and was consecrated Rogier had published a collection of motets in 1595 and assembled several on the Feast of St. Lawrence, 10 August 1586. The King spent lavishly on mass settings ready for printing at the time of his death; these, and his all aspects of El Escorial, including the installation of three large organs other extant works, reveal an extraordinarily talented and versatile young and provision of splendid choir books, yet the founding statutes forbade . For someone who died at such an early age, and about whose instrumental participation and polyphonic music, and no professional life very little is known, we are left to speculate how Rogier managed to musicians were employed there during Philip II’s reign. There are, however, achieve a comprehensive grasp of two very different musical styles: one accounts of grand liturgies referring to the joint participation of several characterised by the flowing of his Flemish predecessors, musical bodies: for example, the two musical components of the royal and the other demonstrating familiarity with the polychoral idiom popular chapel, the and the capilla española, were joined by choirs from in Italy at this time. the cathedrals of Ávila and Toledo for major ceremonies. There are also references to the use of cornetas y bajones y sacabuches (, Polychoral Music in the Spanish Golden Age and ) on the Feast of Corpus Christi in 1588. To celebrate the The new compositional styles emanating from Italy during the latter patronal festival of St. Lawrence, the monks were joined by the singers part of the 16th century represented a dramatic shift from the idioms of and instrumentalists of the royal chapel and ‘the sound of instruments the , with an increased emphasis on polychoral scoring, and the organs filled the church’. In 1586, Rogier’s contemporary, Francisco page 4 page 5 Guerrero, chapelmaster at Seville Cathedral, wrote guidelines about conceived style. The work opens with a single voice from Choir I intoning ornamentation for his players. Such evidence suggests that this was a what first sounds like a plainsong incipit, but which becomes part of a well-established practice, which the performers on this recording have polyphonic, freely imitative section (‘Regina Caeli laetare, alleluia’). The followed, especially in the repeated refrains of the responsories, which second choir begins the next phrase (‘Quia quem meruisti’) until its provide opportunities for some splendidly festal flourishes. alleluia, where Rogier alternates then expands the setting, culminating with all eight voices singing together. This leads to an exuberant treatment Rogier’s Polychoral Music of ‘Resurrexit sicut dixit, alleluia’ where Rogier chooses rhythmical, fanfare- As demonstrated in ’s previous recording of the Missa Ego sum like figures, alternating rapidly between the two choirs. ‘Ora pro nobis’ qui sum, Rogier was clearly at ease writing works in the rich, contrapuntal follows in a more reflective style, before triple-metre alleluias lead the Renaissance style of his native Flemish predecessors, such as Jacobus music to a sonorous close. Rogier’s setting of Psalm 150, Laudate Dominum, Clemens and . What is newly revealed by the works is similar in many ways to Regina Caeli: the psalm setting opens in a rather recorded here is not only Rogier’s mastery of the more transparent style retrospective, imitative style, then there is an almost irresistible response of the Roman School, typified by the music of Palestrina, but also of the to the text as the Psalmist’s , , drums and cymbals make their forward-looking, writing typical of Venetian such as appearance in short antiphonal phrases framed by full, eight-part writing. Andrea and . Contemporaneous documents refer to several polychoral pieces by Rogier: for example, the court music copyist, The Missa Domine Dominus noster exists in two versions: the twelve-part Isaac Bertout, made copies of a twelve-part Magnificat by Rogier, complete setting recorded here, and one for eight voices, both preserved in the library with instrumental parts para los menestrilles (for the minstrels), in 1591. Rogier at El Escorial. It was clearly a popular work as copies are found in Valencia; was certainly familiar with the works of the elder Gabrieli, for amongst the a reduction for five voices is held in the cathedral library at Valladolid; and items bequeathed in his will to his student Géry de Ghersem were doze a continuo part exists in the cathedral library at Palma. Its style is distinctly libros de motetes y madrigales italianos de (twelve books of motets Baroque, with vigorous rhythms, antiphonal contrasts and shifting duple and Italian by Andrea Gabrieli). and triple metres. The firstKyrie opens in a rather serious mood, but this is soon dispelled by the more jaunty Christe eleison and second Kyrie. As is the That Rogier was attracted by the new musical ideas emanating from Italy case in several of Rogier’s masses, the Gloria and Credo receive expansive is further demonstrated by his setting of the Eastertide Marian settings – both have especially luxurious final Amens. Rogier’s ability to Regina Caeli. This motet for double choir perfectly sums up Rogier’s keep the music ‘spinning’ is nowhere more evident than in these longer- synthesis of the estilo antiguo – the ‘old’ imitative style of the Renaissance texted movements, which are almost symphonic in their conception. The – and the nuevo estile – the emerging Baroque ideas of contrasting groups, Gloria and Credo certainly possess a narrative character, and Rogier makes shorter phrases, more rhythmical writing, and a more vertical, harmonically particularly effective use of contrast, both in scoring and texture, to propel page 6 page 7 the dramatic exposition of the text. The Sanctus and Agnus Dei are more the same principle of sequential repetition that plays such a significant concise: Rogier does not set the Benedictus, and provides only two clauses role in his Flemish masses, yet in this motet he does so with the addition of of the Agnus, but both movements have a stately quality that present strikingly harmonic juxtapositions which accentuate the antiphonal effects. Rogier’s mastery of the Italian, polychoral style. This substantial and forward-looking work adds considerably to the corpus of Rogier’s music, and to our appreciation of his status as a composer. It is tempting to view the Missa Domine Dominus noster as a parody mass, based on Rogier’s recently discovered twelve-voice motet Domine The responsories Verbum caro factum est and Videntes stellam magi, Dominus noster. This substantial three-choir work is not included in composed for Christmas Day and Epiphany respectively, are both scored Rogier’s collected works (in Corpus Mensurabilis Musicae 61, edited by Lavern for twelve voices. They follow a similar pattern, making much of antiphonal Wagner) and exists only in a handwritten score with perfunctory textual effects between the three choirs, and contrasted with thrilling tutti passages. underlay (Valladolid Cathedral MS 70/331). Although the motet lacks In both pieces, a is specified as continuo instrument for the first choir, clear melodic evidence to prove itself as the model for Rogier’s mass, and some parts are untexted in the original, suggesting instrumental the polychoral writing is very similar. Following substantial editorial work, participation. The construction of the three magnificent organs in the the motet is receiving its first recording here since its discovery in the Basilica at El Escorial was completed in 1590, and perhaps these grand Cathedral Archive at Valladolid. triple-choir pieces may have featured all three instruments. Both works share a similar layout: Choir 1 begins with a rather gentle statement in slow ‘Dominus’ can be construed with the double meaning of a temporal or notes, then Choirs 2 and 3 enter with more lively material. Thereafter, short spiritual Lord, and Rogier’s motet Domine Dominus noster, which sets phrases are exchanged in rhythmical, chordal blocks – a technique that was verses from Psalm 8, may serve the dual function of addressing both to continue to develop in 17th century Spanish music. God and the king. From the outset, Domine Dominus noster occupies the three choirs in busy alternation – a skilful effect that acoustically Rogier’s Missa Domine in virtute tua is clearly a parody mass, based encompasses ‘universo mundo’. Rogier’s word-painting continues with upon the eight-part motet Domine in virtute tua by Giovanni Pierluigi devices such as rising triadic figures for ‘elevata est’ and battle-like cries da Palestrina. Although Palestrina’s reputation rests very considerably for ‘ut destruas’. Changes in and out of duple and triple metre maintain on his flowing contrapuntal style, many of his large-scale works are more the rhythmic interest, and Rogier builds to a dramatic final tutti for the vertically conceived, using alternating antiphonal choirs. Domine in words ‘Et constituisti eum super manuum tuarum’. Rogier, a master virtute tua is a substantial work in two partes, setting the first seven verses of the seamless, complex polyphonic style of his Flemish predecessors, is of Psalm 21 and featuring frequent changes of texture and scoring. By here creating something very different, demonstrating a keen awareness of contrast, Rogier’s mass contains a considerable amount of solid eight-part spatial drama, and an intriguing use of modern musical language. He uses writing. The material borrowed from Palestrina is limited, consisting of the

page 8 page 9 opening of both halves of the motet. The melody of the opening Kyrie is used quite extensively throughout the mass as a head motif beginning Missa Domine Dominus noster each movement; the opening of the second half of the motet is heard in 2 : Kyrie Eleison Kyrie, eleison. Lord, have mercy on us. the Credo at ‘et incarnatus est’. Christe, eleison. Christ, have mercy on us. The performances on this recording present a variety of scorings, which Kyrie, eleison. Lord, have mercy on us serve to emphasise the scope of Rogier’s compositional styles. The Missa Domine in virtute tua is accompanied by dulcian and organ, and its model, 3 : Gloria in Excelsis Gloria in excelsis Deo. Glory to God in the highest. Palestrina’s motet, is performed a cappella. The twelve-part Missa Domine Dominus noster and other polychoral motets feature a wide range of Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. instrumental timbres, including brass, harp, , organ and dulcian. Laudamus te. Benedicimus te. We praise Thee. We bless Thee. Adoramus te. Glorificamus te. We adore Thee. We glorify Thee. © Philip Cave, 2010 Gratias agimus tibi propter magnam We give Thee thanks for Thy great glory. gloriam tuam. Text & Translations Domine Deus, Rex caelestis, O Lord God, heavenly King, 1 : Motet: Domine Dominus noster Deus Pater omnipotens. God the Father almighty. Domine Dominus noster quam admirabile est nomen tuum in universa terra Domine Fili unigenite, Jesu Christe. O Lord Jesus Christ, the only-begotten Son. quoniam elevata est magnificentia tua super caelos. Ex ore infantium et lactantium Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. perfecisti laudem propter inimicos tuos ut destruas inimicum et ultorem. Quoniam videbo caelos tuos; opera digitorum tuorum lunam et stellas quae tu fundasti. Quid Qui tollis peccata mundi, Who takest away the sins of the world, est homo quod memor es eius aut filius hominis quoniam visitas eum? Minuisti miserere nobis. have mercy on us. eum paulo minus ab angelis gloria et honore coronasti eum. Et constituisti eum Qui tollis peccata mundi, Who takest away the sins of the world, super opera manuum tuarum. suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris, Who sittest at the right hand of the Father, O Lord our Governor, how excellent is thy Name in all the world; thou that hast set thy glory above miserere nobis. have mercy on us. the heavens! Out of the mouth of very babes and sucklings hast thou ordained strength, because of thine enemies, that thou mightest still the enemy and the avenger. For I will consider thy heavens, Quoniam tu solus Sanctus. For Thou alone art holy. even the works of thy fingers, the moon and the stars, which thou hast ordained. What is man, that Tu solus Dominus. Thou alone art God. thou art mindful of him? and the son of man, that thou visitest him? Thou madest him lower than Tu solus altissimus, Jesu Christe. Thou alone, O Jesus Christ, art most high. the angels, to crown him with glory and worship. Thou makest him to have dominion of the works of Cum Sancto Spiritu in gloria Dei Patris. Together with the Holy Ghost, thy hands. (Psalm 8: 1-6a) Amen. in the glory of God, the Father. Amen. page 10 page 11 Et in Spiritum Sanctum, And in the Holy Ghost, 4 : Credo in unum Deum Dominum et vivificantem: the Lord and Giver of life: Credo in unum Deum. I believe in one God. qui ex Patre Filio simul. who procedeth from the Father and the Son. Patrem omnipotentem, The Father almighty, Qui cum Patre et Filio simul Who together with the Father and the Son Factorem caeli et terrae, Maker of heaven and earth, adoratur et glorificatur: is no less adored and glorified: visibilium omnium et invisibilium. and of all things visible and invisible. qui locutus est per Prophetas. who spoke by the prophets. Et in unum Dominum Jesum Christum, And in one Lord, Jesus Christ, Et unam sanctam Catholicam et And in one holy, Catholic and Filium Dei unigenitum. the only begotten Son of God. Apostolicam Ecclesiam. Apostolic Church. Et ex Patre natum ante omnia saecula. Born of the Father before all ages. Confiteor unum baptisma in I confess one baptism for the Deum de Deo, lumen de lumine, God of God, light of light, remissionem peccatorum. remission of sins. Deum verum de Deo vero. true God of true God. Et exspecto resurrectionem mortuorum. And I look for the resurrection of the dead. Genitum, non factum, Begotten, not made, Et vitam venturi saeculi. Amen. And the life of the world to come. Amen. consubstantialem Patri: of one being with the Father: by whom all things were made. per quem omnia facta sunt. 5 : Sanctus Qui propter nos homines et propter Who for us men and for our salvation came Sanctus, Sanctus, Sanctus Dominus, Holy, Holy, Holy Lord, nostram salutem descendit de caelis. down from heaven. Deus Sabaoth. God of hosts! Et incarnatus est de Spiritu Sancto And was made flesh by the Holy Ghost, Pleni sunt caeli et terra gloria tua. Heaven and earth are filled with Thy glory. ex Maria Virgine: of the Virgin Mary: Hosanna in excelsis. Hosanna in the highest. Et homo factus est. and was made man. He was also crucified for us: 6 : Agnus Dei Crucifixus etiam pro nobis: Agnus Dei, qui tollis peccata mundi: Lamb of God, who takest away the sins of the suffered under Pontius Pilate, sub Pontio Pilato passus, miserere nobis. world: have mercy on us. and was buried. et sepultus est. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takest away the sins of the Et resurrexit tertia die, And on the third day He rose again, dona nobis pacem. world: grant us peace. secundum Scripturas. according to the scriptures. Et ascendit in caelum: And ascended into Heaven: 7 : Regina Caeli sedet ad dexteram Patris. He sitteth at the right hand of the Father. Regina Caeli laetare, alleluia, Queen of Heaven, rejoice, alleluia, Et iterum venturus est cum gloria And he shall come again with glory Quia quem meruisti portare, alleluia, For he whom you did merit to bear, alleluia, judicare vivos et mortuos: to judge the living and the dead: Resurrexit sicut dixit, alleluia. Has risen, as he said, alleluia. cuius regni non erit finis. And of his kingdom there shall be no end. Ora pro nobis Deum, alleluia. Pray to God for us, alleluia. (Marian Antiphon for Eastertide) page 12 page 13 felicity, and make him glad with the joy of thy countenance. And why? because the King putteth 8 : Laudate Dominum his trust in the Lord; and in the mercy of the Most Highest he shall not miscarry. Laudate Dominum in sanctis eius. O praise God in his holiness. (Psalm 21 (vv.1-7)) Laudate eum in firmamento virtutis eius. Praise him in the firmament of his power. Laudate eum in virtutibus eius. Praise him in his noble acts. Laudate eum secundum multitudinem Praise him according to his excellent greatness. R magnitudinis eius. Praise him in the sound of the . Philippe ogier Laudate eum in sono tubae. Praise him upon the lute and harp. Missa Domine in virtute tua : as ‘Missa Domine Dominus noster’ Laudate eum in psalterio et cithara. Praise him in the cymbals and dances. Tracks 10 to 14 Laudate eum in tympano et choro. Praise him upon the strings and pipe. Laudate eum in cordis et organo. Praise him upon the well-tuned cymbals. 15 : Videntes stellam magi Laudate eum in cymbalis Praise him upon the loud cymbals. Videntes stellam magi gavisi sunt gaudio magno et intrantes domum invenerunt benesonantibus. Let every thing that hath breath praise the Lord. puerum cum Maria matre eius et procidentes adoraverunt eum. Et apertis thesauris Laudate eum in cymbalis iubilationis. (Psalm 150) suis obtulerunt ei munera aurum thus et myrrham. Stella quam viderant magi in Oriente antecedebat eos usque dum veniens staret supra ubi erat puer. Et intrantes domum… Giovanni Pierluigi da Palestrina (1525/6~1594) When the wise men saw the star, they rejoiced with exceeding great joy. And when they were come into the house, they found the young Child with Mary his Mother, and fell down and worshipped 9 : Motet: Domine in virtute tua him; and when they had opened their treasures, they presented unto him gifts; gold, and Domine in virtute tua laetabitur rex et super salutare tuum exultabit vehementer. frankincense, and myrrh. The star which the wise men had seen in the East, went before them, till Desiderium cordis eius tribuisti ei et voluntate labiorum eius non fraudasti eum. it came and stood over where the young Child was. And when they were come into the house… Quoniam praevenisti eum in benedictionibus dulcedinis posuisti in capite eius (Responsary for Matins for the Feast of the Epiphany) coronam de lapide pretiosa. Vitam petiit a te et tribuisti ei longitudinem dierum in saeculum et in saeculum saeculi. Magna est gloria eius in salutari tuo gloriam et magnum decorem impones super eum. Quoniam dabis eum benedictionem in 16 : Verbum caro factum est saeculum saeculi. Laetificabis eum in gaudio cum vultu tuo. Quoniam rex sperat in Verbum caro factum est et habitavit in nobis; et vidimus gloriam eius gloriam quasi Domino et in misericordia Altissimi non commovebitur. unigeniti a Patre plenum gratiae et veritatis. Omnia per ipsum facta sunt et sine ipso factum est nihil. Et vidimus… Gloria Patri et Filio et Spiritui Sancto. Et vidimus…. The King shall rejoice in thy strength, O Lord; exceeding glad shall he be of thy salvation. Thou hast given him his heart’s desire, and hast not denied him the request of his lips. For thou shalt The Word was made flesh and dwelt among us; and we beheld his glory as of the only begotten Son of prevent him with the blessings of goodness, and shalt set a crown of pure gold upon his head. He the Father, full of grace and truth. All things were made through him and without him was not anything asked life of thee; and thou gavest him a long life, even for ever and ever. His honour is great in thy made. And we saw… Glory be to the Father, and to the Son, and to the Holy Ghost. And we saw… salvation; glory and great worship shalt thou lay upon him. For thou shalt give him everlasting (Responsary for Christmas Day) page 14 page 15 In association with Linn Records, Magnificat has undertaken many recording projects of music from ‘The Golden Age’. The first of these Directed by Philip Cave comprises motets by Gesualdo, Guerrero, Josquin, Rebelo and Victoria Soprano: Anna Crookes, Sally Dunkley, together with Allegri’s Miserere and Palestrina’s Stabat mater (Linn CKD 052). Carys Lane, Helen Neeves A highly acclaimed recording of Victoria’s Officium Defunctorum of 1605 (Linn : Dan Collins, David Gould, Kim Porter, CKD 060), named a 1997 Critics’ Choice by Gramophone Magazine and Clare Wilkinson, Richard Wyn-Roberts chosen by The Rough Guide as one of its ‘100 Essential Classical CDs’, was Tenor: William Balkwill, Simon Beston, followed by a disc of music by the neglected Spanish master, Philippe Jeremy Budd, Kevin Kyle Rogier, including the Missa Ego sum qui sum (Linn CKD 109). Bass: Chris Adams, Ben Davies, Magnificat’s recording of ’ forty-part motetSpem in alium Eamonn Dougan (solo intonations), Cheyney Kent (Linn CKD 233) was hailed as “quite the best recording” by Gramophone Magazine. The disc was recently selected as the BBC Radio 3 recommended His Majestys Sagbutts and Cornetts performance of Tallis’ Lamentations of Jeremiah, and it includes the four-part Cornetts & Mute Cornetts: Jeremy West, Jamie Savan Mass and a selection of Latin motets. The ensemble has also recorded a Sackbuts: Emily White, Susan Addison, Wim Becu CD of Palestrina’s twenty-nine motets from the Song of Songs (Linn CKD 174). Harp: Joy Smith Lute: David Miller His Majestys Sagbutts and Cornetts Dulcian: Keith McGowan His Majestys Sagbutts and Cornetts is a group of virtuoso wind players Organ: Silas Standage who specialise in playing Renaissance and in historically appropriate styles on original instruments. The noble sound of cornetts Magnificat and sackbuts was among the most versatile instrumental colours available th th Magnificat was formed in 1991 by its conductor, Philip Cave, to explore the to composers of the 16 and 17 centuries. It was heard in many musical rich diversity of choral music from the last five centuries. The ensemble contexts: in consort or in alternation with voices in the extravagant liturgy specialises in the restoration and performance of neglected choral of the great Italian and Spanish churches – above all the Basilica of St. masterpieces of the 16th and 17th centuries. Magnificat ranges in size from Mark’s in Venice; in aristocratic entertainments such as the intermedii of four to forty voices and performs a wide range of music, both a cappella and northern Italy or the masques of Jacobean England; and in the ceremonial with ensembles of period instruments. and devotional music for the courts and free cities of Lutheran Germany. page 16 page 17 Philip Cave A chorister from the age of seven, Philip Cave studied music at Oxford University with Simon Preston and David Wulstan and was a founding member of the Tallis Scholars with whom he gave over 400 performances. In 1991, Philip founded the vocal ensemble Magnificat, which specialises in the restoration and performance of neglected masterworks of the Renaissance and Baroque periods. The ensemble has toured and performed in England, Spain, Greece and the USA, and has made a dozen recordings, which have attracted much critical acclaim. Philip was a joint recipient (with Sally Dunkley) of the American Musicological Society’s Greenberg Award for work on Philippe Rogier’s music; he was awarded the Byrne Award from the London Handel Society, and is an Honorary Fellow of London’s Academy of St. Cecilia. Now based in the USA, Philip is Executive Director of Chorworks (www.chorworks.com), a non-profit organization that provides singers and conductors with opportunities to study and perform choral masterpieces with special emphasis on works from the 16th and 17th centuries.

ACKNOWLEDGEMENTS Magnificat gratefully acknowledges access to manuscripts in the Archives of the Monastery of El Escorial and the Cathedral Archives at Segovia and Valladolid; assistance from Clara Mateo Sabadell and Carmen Valentin; and support from Grinnell College, Iowa. Editions of the works on this recording have been prepared by Sally Dunkley and Philip Cave.

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