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Home , Beatus vir, Dominus (title), Magnificat (Schütz), Vespers

CORO CORO Claudio Monteverdi Claudio Monteverdi Selva morale e spirituale Vol. I Selva morale e spirituale Vol. II “These are some of “There is a sense of deep the most spirited familiarity with the music of 1610 and individual in this recording, a feeling of performances of this easiness with Monteverdi’s repertory available.” harmonic and, especially, bbc music rhythmic vocabulary that magazine lends a tripping lightness to the performances...” cor16087 cor16101 international record review Claudio Monteverdi Selva morale e spirituale Vol. III Palestrina Volume 5 “As we might expect, “The energy The Sixteen The Sixteen bring to their Palestrina performances are is admirable.” lively and nicely tuned... gramophone the instrumental playing is sensitive and supportive.” bbc music magazine cor16109 cor16124

To find out more about The Sixteen, concert tours, and to buy CDs visit The Sixteen harry christophers www.thesixteen.com cor16126 onteverdi’s Vespers of 1610 is quite simply one of the with. The difference is sufficient to make you wince and is called a ‘comma’. The comma M greatest works of sacred music ever written and without needs to be hidden amongst keys that this music almost never visits, so you are left to doubt the most varied and inspired before Handel and Bach enjoy pure intervals whilst the ‘rogues’ get lost in the surrounding woodwork. Or in began composing their oratorios and passions. Where it was simpler terms, by tuning in this 17th-century meantone temperament we are therefore written, why it was written and who it was written for are actually encouraging a much enhanced resonance in both choir and orchestra, with all major immaterial – suffice it to say it was quite simply his calling card chords performed with pure thirds. for the big job, Choirmaster at the resplendent Basilica of St Photograph: Marco Borggreve Marco Photograph: There has been much scholarly debate about the pitch of Lauda Ierusalem and the Mark in Venice. Its variety alone makes it unique – thrilling . These are notated in the part books in a combination of “high” (chiavetti) psalm settings with virtuosic writing for both multi-part choir clefs which dictates a downward transposition of a fourth. For this recording I decided and instrumentalists to exotic and sensual settings of texts from to include both versions, one at high pitch and one at low, so that you the listener can the Song of Songs for solo voices. Every movement is full of luscious harmonies, drama determine your own preference. and an evocative musical language which is so beautifully constructed for all concerned. This recording was the culmination of weeks immersed in the joy that Monteverdi’s music Monteverdi’s music is virtuosic; he stretches every singer’s versatility to the limit, yet his brings us. Concert performances, a documentary for BBC2 on the Vespers with our great demands have an exhilarating effect. His dictum is simple: recitar cantando (speak through friend, the actor Simon Russell Beale, culminating in the recording sessions. I am so singing) and this allows us the most amazing licence. As a result, time relationships do not fortunate to have within The Sixteen’s ranks soloists, both vocal and instrumental, who become mechanical. They are intuitively felt, thus giving us the freedom to be expressive are alert to these wonderful texts, but above all bring this glorious music to life. and interpret the words, just as any great actor recites Shakespeare. A set of words, often repeated many times, can have different inflections, a different gesture each time. But it isn’t just the singers who are stretched; his writing for the solo strings, cornets and is both ceremonial and celestial, full of rhythmic vitality and, in true baroque fashion, the continuo section (in our case of organ, harp and chittarone) can luxuriate in Monteverdi’s harmonic language: the variety of textures and sonorities they achieve are quite extraordinary. This recording was made possible by the generous support of the following: Charles Bridge Mark Loveday For those of you who are interested in pitch and temperament, we used pitch 440’ with Sir Thomas Hughes-Hallett Garfield Weston Foundation a temperament of 5th comma meantone. This means when you tune a circle of thirds The Sixteen Ambassadors absolutely pure and beatless, the note you end with is not the same as the note you started 2 3 Claudio Monteverdi (1567-1643) CD CD 2 2 Total playing time 39.51 Magnificat (high) Magnificat (low) Vespers of 1610 1 Magnificat 0.42 bp Magnificat 0.39 2 Et exultavit 1.15 bq Et exultavit 1.14 Total playing time 66.15 Mark Dobell tenor Mark Dobell CD 1 Jeremy Budd Jeremy Budd 1 Deus in adiutorium 2.04 6 Laetatus sum 6.32 3 Quia respexit 1.13 br Quia respexit 1.15 meum intende 7 tenor Mark Dobell Duo Seraphim 5.48 4 Quia fecit mihi magna 1.06 bs Quia fecit mihi magna 1.06 tenor Mark Dobell bass Ben Davies bass Ben Davies 2 Dixit Dominus 7.08 Jeremy Budd Eamonn Dougan Eamonn Dougan soprano Davidson Ben Davies Charlotte Mobbs 5 Et misericordia 1.54 bt Et misericordia 1.49 8 Nisi Dominus 4.48 tenor Mark Dobell 6 Fecit potentiam 1.00 bu Fecit potentiam 0.58 Jeremy Budd 9 Audi coelum 7.55 7 Deposuit potentes 2.27 cl Deposuit potentes 2.24 3 Nigra sum 3.35 tenor Jeremy Budd tenor Mark Dobell Mark Dobell (echo) 8 Esurientes 1.22 cm Esurientes 1.21 bl 4 Laudate pueri 6.01 Lauda Ierusalem (high) 4.13 9 Suscepit Israel 1.18 cn Suscepit Israel 1.20 soprano Grace Davidson bm Sonata sopra Sancta Maria 6.15 soprano Grace Davidson soprano Grace Davidson Charlotte Mobbs bn Charlotte Mobbs Charlotte Mobbs tenor Mark Dobell 7.57 bl co Jeremy Budd soprano Grace Davidson Sicut locutus est 0.55 Sicut locutus est 0.55 bass Ben Davies Charlotte Mobbs bm 2.33 cp Gloria Patri 2.37 Eamonn Dougan bass Eamonn Dougan tenor Jeremy Budd tenor Jeremy Budd 5 Pulchra es 3.58 Mark Dobell (echo) Mark Dobell (echo) soprano Grace Davidson bn Sicut erat 2.07 cq Sicut erat 2.00 Charlotte Mobbs bo Lauda Ierusalem (low) 4.17

4 5 Claudio Monteverdi (1567-1643) Vespers of 1610 The sumptuous collection of music for the singing of which the of the church Vespers published by Claudio Monteverdi was ceremonially censed. These are the in 1610 is an essential item in any record main items that were set by Monteverdi collection. It was first recorded complete and published in his Missa...ac Vespera... under Sir Anthony Lewis in 1953 and has cum nonnullis sacris concentibus ( subsequently been recorded many times and Vespers, with some sacred concertos) and in many guises. (Venice, 1610). Venice was then the main centre of music publishing in . Vespers was the main evening service of the in Monteverdi’s day In a celebration of Vespers, between and it was the service which, together with the and the there was a Mass, prompted composers to produce short biblical reading, and following the their most elaborate sacred music. The Magnificat a prayer and . On musical items of Latin Vespers consisted most days in the church calendar all the of an introductory versicle and response texts of Vespers were sung to plainsong, – Deus in adiutorium meum intende – and the whole service would have Domine ad adiuvandum me festina (‘O appeared as an almost seamless stream God make speed to save us. O make of music. The choice of psalms depended haste to help us’, as it was (mis)translated on the position of the service within the for the Anglican service of ) – church calendar. For the feast of a female Harry Christophers inspecting original partbooks in Bologna, Italy. followed by five psalms, a hymn and a like the Blessed Virgin the five setting of the Magnificat during psalms were those that Monteverdi sets,

6 7 and each would have been preceded and substitutes for the repeated after Monteverdi’s time; like most publications though not in the ducal basilica of Santa followed by a plainsong antiphon, the text the psalm (which leaves the performer of church music, it was at one level a Barbara, for which a separate musical of which was related to the specific feast with one antiphon substitute too few, since resource book, from which choirmasters establishment was maintained. The choirs day. The hymn Ave maris stella was sung at there is none provided for the Magnificat); who had the resources to tackle the music for which he wrote church music would all feasts of the Blessed Virgin. On major another view holds that they are simply that it contained would have chosen as few have consisted entirely of men, with feast days various of the texts usually sung extra pieces to be performed between the or as many settings as they needed. castratos singing the upper parts; and for to plainsong would be treated to more psalms, perhaps allowing the Sonata to be most occasions there would have been elaborate musical settings, varying from played and sung after the last psalm, where Monteverdi joined the duke’s chapel one voice per part. As is apparent from simple harmonisations of the plainsong it is placed in the book, or perhaps before probably early in 1590, and though we are the 1610 Vespers settings, Monteverdi’s through to full-blown polyphony with or after the Magnificat. mainly aware of his secular music from singers were a group of highly trained organ, strings, cornets and sackbuts. the Mantuan period – madrigals, a ballet virtuosos, as we might expect of one of the The music that Monteverdi published and two operas – much of his daily work richest courts in Italy. In Monteverdi’s publication, each of his in 1610 was probably written at various must have involved singing, playing and polyphonic psalm settings is followed times during the years in which he served composing for the daily round of services The reasons why Monteverdi published by one of the pieces that he calls ‘sacred in the chapel of Vincenzo Gonzaga, duke that the duke would have attended. He was only one collection of church music at concertos’: that is, motets in which of Mantua in northern Italy. It gives the evidently a trusted figure in this respect, Mantua can be sought in his growing voices and instruments perform together, impression of unity since, as Monteverdi for as early as 1595 the duke took him on dissatisfaction with his employment whether just a solo voice and continuo or boasted at the head of the collection, a military expedition against the Turks as there after 1608. In addition to his work just chitarrone, as in the case of Nigra sum, these were Vespers ‘composed on cantus choirmaster in charge of a group of singers, as a church musician, he was expected or a full panoply of instruments with a firmi’: that is, all the strictly liturgical and in the camp, on the order of the duke, to supply secular music for the court; single vocal line, as in the splendid Sonata items – the psalms, hymn and Magnificat ‘on solemn [days] Vespers was sung with and from 1607 this included the new sopra Sancta Maria. Various arguments – incorporate within their textures an music by singers and an organ which he genre of opera. For a royal wedding in have been rehearsed as to the function of appropriate plainsong, whether a psalm had brought with him’. In December 1601 1608 he wrote and rehearsed not only an these pieces within Vespers, since they do or Magnificat tone, or a hymn melody. Monteverdi was appointed the duke’s opera – Arianna – but also a ballet and not appear as part of the official of Nevertheless, the collection may never choirmaster, in charge of both sacred incidental music for a play. While there the church. One view holds them to be have been performed as a whole in and secular music at the Mantuan court, is no doubt that Monteverdi relished his

8 9 work in these fields he felt that he was Vespers’ is, then, our way of reviewing and phrases that are used respectively to Verse by verse setting also characterises taken for granted and rewarded far less appreciating Monteverdi’s portfolio. chant each half of the psalm verse. In the other psalm settings, the hymn and than either the duke’s star women singers verse 1 Monteverdi presents the first half the Magnificat, and one of the pleasures of or visiting composers. By the time the Monteverdi’s portfolio opens with one of of the psalm tone, rhythmicised, for a listening to the Vespers is the sheer variety wedding festivities were over, in July 1608 the collection’s most magnificent pieces. single vocal part, as though sung by the and ingenuity that Monteverdi brings to he was ill with overwork and retired to After the ’s ‘Deus in adiutorium’, the priest, then immediately clothes it with this basically simple procedure. In Laudate his father’s house in Cremona. His father choir chants the response on a single chord counterpoint. The second part of the pueri, for example, the psalm tone is heard wrote to the duke asking that he should surrounded by music for strings, wind and tone, for sede a dextris, is then presented in every verse. In verses 4 and 5 it represents be released from the duke’s service or, at brass developed from the ‘Toccata’ – the chordally with a wonderful slide from G God by soaring above the tenor and bass least, his work confined to church music. call to attention that opened Monteverdi’s natural to G sharp in the harmony at meis. duets that accompany it; and in verse 7 it The request was refused. For Monteverdi opera Orfeo in 1607. The setting, therefore, Verse 2 is set in falsobordone, a technique can be heard peeping through as a faster then the choice was limited. He could not has Mantuan resonances; perhaps a that was often used at Vespers. line in the middle of a rich texture, perhaps look for employment in another royal diplomatic gesture in a volume that There is no plainsong here. Instead, the representing the poor man set among household without the duke’s permission; Monteverdi dedicated to the , for choir chants the text to an unmeasured princes. In Laetatus sum the bouncing bass but he might present himself as capable with papal acceptance who would dare to chord which then flowers into an imitative line with which the setting begins is only of holding a major church post. His argue against him as a church composer. texture for the final two syllables; the same one of three contrasting basses (heard first 1610 Vespers can be seen in this light as Between the phrases of the response, procedure, with a different chord and at verses 1, 2 and 4), all of which harmonise a portfolio of his work, with its contents and its concluding Gloria Patri, the imitative phrase for the cadence is used the psalm tone, which is sometimes present presented in the liturgical order of a instruments play a brief ritornello into for the second half verse. For verse 3 the (verses 1 and 4, for example), sometimes Vespers of the Blessed Virgin and it was which is woven the first plainsong phrase plainsong is placed first in the bass of the absent (verses 2 and 3). The second of certainly viewed as a recommendation of the psalm Dixit Dominus; this ritornello organ, with imitative phrases above it for the basses is actually one that was used by the audition panel that appointed then forms the basis of the concluding, two sopranos, and then given to the bass by improvising singers and players in the Monteverdi to the post of choirmaster triumphant Alleluia. Dixit Dominus is voice under the sopranos. The approaches 16th and 17th centuries – the so-called of San Marco, Venice, in 1613, following then an object lesson in ways of singing used for verses 2 and 3 are then alternated, Romanesca – and by using it to set verses his dismissal from Mantua in 1612. A psalms in the 17th century. Its underlying with increasingly complex textures, for the 2 and 6 Monteverdi may have intended to modern concert performance of ‘The plainsong is a psalm tone – two short remaining verses. flatter papal Rome as the new .

10 11 Nisi Dominus is a massive piece for two Both Lauda Ierusalem and the Magnificat phrases repeated and varied for rhetorical the Virgin and thus tends to confirm the five-part choirs in which the opening and are scored with a combination of ‘high’ effect and an impassioned setting of surge idea that Monteverdi was simply keen to closing sections are scored for the full clefs (chiavetti) – with (unusually) a amica mea that could have come straight include his finest work in the 1610 book. ten-part ensemble; between these choir 1 treble clef for the topmost line and a from the new form of opera. Pulchra es, It is a Trinitarian motet which may have sings a verse and choir 2 then repeats it to baritone clef for the lowest. This type of a man’s expression of love, begins as a been first performed in Mantua in 1605 build a large-scale structure. Again, after cleffing is thought to have been a signal lyrical duet for two sopranos (males in when Rubens’ painting of the Gonzaga its striking opening call to praise, Lauda to the performers to transpose their parts the 17th century), but again has a more family worshipping the Holy Ierusalem also uses dialogue between down the interval of a fourth (singers passionate continuation as the man begs was installed in the Jesuit church of the ensembles, though this time with trios of and instrumentalists of the time were his beloved to avert the eyes that make Santissima Trinità. Monteverdi’s motet voices around the plainsong in the tenor. adept at transposition). On this recording him flee. depicts first two and then three archangels both settings are performed at written calling across the vault of heaven; and As we approach the climax of Vespers pitch (CD1 track 10; CD 2 tracks 1-12) Audi coelum again expresses devotion because they are heavenly beings they we hear first the exquisite harmonisation and transposed down (CD 2 tracks 13-25), to the Virgin through the medium of an sing using the highly ornamented of the plainsong hymn Ave maris stella, for comparison. echo madrigal in which the last syllables that was the preserve of the most highly whose first and last verses present a of a line are transformed into a different trained 17th-century singers. Likewise, complex tapestry of voices, and then the The first two of the sacred concertos, Nigra word, reflected back by a heavenly the highly ornamented style of the Sonata Magnificat, every verse of which is treated sum and Pulchra es, employ texts from voice. Some of the imagery here may be sopra Sancta Maria was designed to show to an individual texture, sometimes simple, the Song of Songs. This biblical book is an unfamiliar. The prophet spoke of off the expertise of the string and wind as in verse 1, sometimes with a variety of anthology of love lyrics; it was interpreted the eastern gate of the temple as the one players in Vincenzo Gonzaga’s employ. instruments, including ornamental string allegorically in the church as representing through which God entered; this was The sonata is a set of variations on three and wind lines seemingly borrowed either Christ’s relationship with his church later interpreted as a reference to Mary, basic motifs, from which soprano voices from the opera Orfeo, as in verse 7 and or with the beloved representing the the door through which Christ entered emerge, as if by magic, singing a short the beginning of the Gloria Patri whose Virgin Mary. Monteverdi’s setting of Nigra the world. phrase of plainsong to the text ‘Holy Mary, spine tingling opening for solo tenor sum, for solo tenor, though it is a woman’s pray for us’. gives way to a single soprano line with an utterance, unleashes the full power of the Duo Seraphim is the one work in the echo accompaniment. new form of accompanied solo song, with collection that has no connection with ©2014 John Whenham

12 13 Claudio Monteverdi (1567-1643) CD 1

1 Vespers of 1610 Deus in adiutorium meum intende (70): 2 English text adapted and translated by Clifford Bartlett tenor: Mark Dobell versicle Deus in adiutorium meum intende. O God, make speed to save me. response Domine ad adiuvandum me festina. O Lord, make haste to help me. Gloria Patri, et Filio, Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Ghost. Sicut erat in principio, et nunc et semper, As it was in the beginning, now and for ever, et in saecula saeculorum. Amen. Alleluia. world without end. Amen. Alleluia.

2 Dixit Dominus (110) soprano: Grace Davidson, Charlotte Mobbs tenor: Mark Dobell, Jeremy Budd Dixit Dominus Domino meo: The Lord said unto my Lord: sede a dextris meis, donec ponam inimicos tuos, sit thou at my right hand, until I make thine enemies scabellum pedum tuorum. thy footstool. ritornello Virgam virtutis tuae emittet Dominus ex Sion: The Lord shall send the rod of thy strength out of dominare in medio inimicorum tuorum. Sion: rule thou in the midst of thine enemies. Tecum principium in die virtutis tuae; Thine is the foundation in the day of thy power;

14 15 in splendoribus sanctorum: in the beauties of holiness I have born thee 4 (113) ex utero ante luciferum genui te. from the womb before the morning star. Laudate pueri soprano: Grace Davidson, Charlotte Mobbs ritornello tenor: Mark Dobell, Jeremy Budd Iuravit Dominus et non penitebit eum; The Lord hath sworn and will not repent; bass: Ben Davies, Eamonn Dougan tu es sacerdos in aeternum thou art a priest for ever secundum ordinem Melchisedech. after the order of Melchisedech. Laudate pueri Dominum: Praise the Lord, ye children, Dominus a dextris tuis confregit The Lord at thy right hand has broken laudate nomen Domini. praise the name of the Lord. in die irae suae reges. kings in the day of his anger. Sit nomen Domini benedictum, Blessed be the name of the Lord, ritornello ex hoc nunc, et usque in saeculum. from this time forth for evermore. Iudicabit in nationibus, He will judge the nations, A solis ortu usque ad occasum, From sunrise to sunset, implebit ruinas: he will fill them with ruins: laudabile nomen Domini. the Lord’s name is worthy of praise. conquassabit capita in terra multorum. he will break the heads in the populous land. De torrente in via bibet: He shall drink of the torrent on the way; propterea exaltabit caput. therefore he shall lift up his head. Gloria Patri, et Filio, Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Ghost. Sicut erat in principio, et nunc et semper, As it was in the beginning, now and for ever, et in saecula saeculorum. Amen. world without end. Amen.

3 Nigra sum SONG OF SONGS 1: 4; 2: 10-12 tenor: Mark Dobell Nigra sum sed formosa filiae Ierusalem. I am a black but beautiful daughter of Jerusalem. Ideo dilexit me Rex, et introduxit me So the King loved me, and led me in cubiculum suum et dixit mihi: into his bedroom and said to me: Surge, amica mea, et veni. Arise, my love, and come away. lam hiems transiit, imber abiit et recessit, Now winter has passed, the rain has gone flores apparuerunt in terra nostra; and flowers have appeared in our land; tempus putationis advenit. the time of pruning has come. Mark Dobell and Miller – Nigra sum

16 17 Excelsus super omnes gentes Dominus, The Lord is high above all nations 6 (122) et super caelos gloria eius. and his glory above the heavens. Laetatus sum Quis sicut Dominus Deus noster, Who is like the Lord our God, Laetutus sum in his quae dicta sunt mihi: I was glad when they said unto me: qui in altis habitat et humilia who dwells on high and looks down on in domum Domini ibimus. we shall go into the house of the Lord. respicit in caelo et in terra, the humble things in heaven and earth, Stantes erant pedes nostri Our feet were standing suscitans a terra inopem raising the helpless from the earth in atriis tuis Ierusalem. within thy gates, O Jerusalem. et de stercore erigens pauperem, and lifting the poor man from the dungheap, Ierusalem, quae aedificatur ut civitas Jerusalem, which is built as a city ut collocet eum cum principibus, to place him alongside princes, cuius participatio eius in idipsum. that is compact together. cum principibus populi sui? with the princes of his people? Illuc enim ascederunt tribus, For thither ascended the tribes, Qui habitare facit sterilem in domo, He makes a home for the barren woman, tribus Domini, testimonium Israel the tribes of the Lord, to testify unto Israel, matrem filiorum laetantem. a joyful mother of children. ad confitendum nomini Domini. to give thanks to the name of the Lord. Gloria Patri et Filio Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Ghost. Sicut erat in principio, et nunc, et semper, As it was in the beginning, now and for ever, et in saecula saeculorum. Amen. world without end. Amen.

5 Pulchra es SONG OF SONGS 6: 3-4 soprano: Grace Davidson, Charlotte Mobbs

Pulchra es, amica mea, You are beautiful, my love, suavis et decora filia Ierusalem. a sweet and comely daughter of Jerusalem. Pulchra es, amica mea, You are beautiful, my love, suavis et decora sicut Ierusalem, sweet and comely as Jerusalem, terribilis sicut castrorum acies ordinata. terrible as the sharp lines of a military camp. Averte oculos tuos a me, Turn your eyes from me, quia ipsi me avolare fecerunt. because they have put me to flight.

Grace Davidson and Charlotte Mobbs – Pulchra es

18 19 Quia illic sederunt sedes in iudicio, For there sat the seats of judgement, 8 (127) sedes super domum David. the seats over the house of David. Nisi Dominus Rogate quae ad pacem sunt Ierusalem O pray for the peace of Jerusalem Nisi Dominus aedificaverit domum, Except the Lord build the house, et abundantia diligentibus te. and may prosperity attend those who love thee. in vanum laboraverunt qui aedificant eam. they have laboured in vain that build it. Fiat pax in virtute tua Peace be within thy strength, Nisi Dominus custodierit civitatem, Except the Lord keep the city, et abundantia in turribus tuis. and prosperity within thy towers. frustra vigilat qui custodit eam. the watchman waketh but in vain. Propter fratres meos et proximos meos For my brothers’ and my neighbours’ sake, Vanum est vobis ante lucem surgere: It is vain for you to rise before dawn: loquebar pacem de te. I will ask for peace for thee; surgite postquam sederitis, to rise when you have sat down, Propter domum Domini Dei nostri for the sake of the house of the Lord our God qui manducatis panem doloris. ye who eat the bread of sorrow. quaesivi bona tibi. I have sought for thee. Cum dederit dilectis suis somnum; When he has given sleep to those he loves, Gloria Patri et Filio Glory be to the Father and to the Son ecce hereditas Domini, filii: behold, children are an inheritance of the Lord, et Spiritui Sancto. and to the Holy Ghost. merces, fructus ventris. a reward, the fruit of the womb. Sicut erat in principio, et nunc, et semper, As it was in the beginning, now and for ever, Sicut sagittae in manu potentis: As arrows in the hand of the mighty, et in saecula saeculorum. Amen. world without end. Amen. ita filii excussorum. so are children of the vigorous. qui implevit Blessed is the man who has fulfilled desiderium suum ex ipsis: his longing by them: non confundetur he shall not be perplexed cum loquetur inimicis suis in porta. when he speaks to his enemies at the gate. 7 ISAIAH 6: 2-3; 1 JOHN 5: 7 Duo Seraphim Gloria Patri et Filio Glory be to the Father and to the Son tenor: Mark Dobell, Jeremy Budd, Ben Davies et Spiritui Sancto. and to the Holy Ghost. Sicut erat in principio, et nunc, et semper, As it was in the beginning, now and for ever, Duo Seraphim clamabant alter ad alterum: Two Seraphim were calling one to the other: et in saecula saeculorum. Amen. world without end. Amen. Sanctus, sanctus, sanctus Dominus Deus Sabaoth: Holy, holy, holy Lord God of Hosts: plena est omnis terra gloria eius. the whole earth is full of his glory. Tres sunt qui testimonium dant in coelo: There are three who give testimony in heaven: Pater, Verbum et Spiritus Sanctus; the Father, the Word and the Holy Spirit: 9 et hi tres unum sunt. and these three are one. Audi coelum tenor: Jeremy Budd, Mark Dobell

Audi coelum verba mea, Hear, O heaven, my words, plena desiderio full of desire et perfusa gaudio. and suffused with joy.

20 21 audio. i hear. amen. amen. Dic, quaeso, mihi: Quae est ista Tell me, I pray, who is she Benedicta es, Virgo Maria, Blessed art thou, Virgin Mary, quae consurgens ut aurora who, rising like the dawn, in saeculorum saecula. world without end. rutilat, ut benedicam? shines, that I may bless her? dicam. i shall tell you. Dic, nam ista pulchra ut luna, Tell, for she is beautiful as the moon, bl bo electa ut sol replet laetitia exquisite as the sun which fills with joy (and CD 2, track ) Lauda Ierusalem (147): 12-20 terras, coelos, maria. the earth, the heavens and the seas. Lauda Ierusalem, Dominum Praise the Lord, O Jerusalem: maria. mary. lauda Deum tuum, Sion. praise thy God, O Zion. Maria Virgo illa dulcis, Mary, that sweet virgin Quoniam confortavit seras portarum tuarum: For he hath strengthened the bars of your gates: praedicata de propheta Ezechiel foretold by the prophet Ezechiel, benedixit filiis tuis in te. he hath blessed thy children within thee. porta orientalis? gate of the orient, Qui posuit fines tuos pacem, He maketh peace in thy borders, talis. such is she! et adipe frumenti satiat te. and filleth thee with the finest of the wheat. Illa sacra et felix porta, That holy and happy gate Qui emittit eloquium suum terrae: He sendeth forth his commandment upon earth: per quam mors fuit expulsa, through which death was driven out, velociter currit sermo eius. his word runneth very swiftly. introducta autem vita. but life brought in. Qui dat nivem sicut lanam He giveth snow like wool: ita. even so! nebulam sicut cinerem spargit. he scattereth the cloud like ashes. Quae semper tutum est medium Who is always a sure mediator Mittit cristallum suum sicut bucellas He casteth forth his ice like morsels: inter homines et Deum, between man and God, ante faciem frigoris eius quis sustinebit? who will stand before his cold? pro culpis remedium. a remedy for our sins. Emittet verbum suum, et liquefaciet ea: He will send out his word and melt them: flabit spiritus eius, et fluent aquae. he will cause his wind to blow and the waters will flow. medium. a mediator. Qui annuntiat verbum suum Iacob He announces his word unto , (Choir) Omnes! All! iustitias et iudicia sua Israel. his statutes and judgements unto Israel. Omnes hanc ergo sequamur, So let us all follow her Non fecit taliter omni nationi He hath not dealt so with any nation: qua cum gratia mereamur by whose grace we gain et iudicia sua non manifestavit eis. and he has not shown his judgements to them. vitam aeternam. Consequamur. eternal life. Let us seek after her. Gloria Patri, et Filio, Glory be to the Father and to the Son sequamur. let us follow. et Spiritui Sancto. and to the Holy Ghost. Praestat nobis Deus Pater May God the Father grant us this, Sicut erat in principio, et nunc et semper, As it was in the beginning, now and for ever, hoc et Filius et Mater, and the Son and the Mother, et in saecula saeculorum. Amen. world without end. Amen. cuius nomen invocamus, on whose name we call, dulce miseris solamen. sweet solace for the unhappy.

22 23 bm ritornello Sonata sopra Sancta Maria Virgo singularis, Peerless virgin, Sancta Maria, ora pro nobis. Holy Mary, pray for us. inter omnes mitis, gentle above all others, nos culpis solutos when we are pardoned for our sins, mites fac et castos. make us gentle and pure. ritornello bn Ave maris stella Vitam praesta puram, Grant us a pure life, iter para tutum, prepare a safe journey, soprano: Grace Davidson, Charlotte Mobbs ut videntes Iesum so that seeing Jesus bass: Eamonn Dougan semper collaetemur. we may rejoice for ever. Ave maris stella, Hail, star of the sea, Sit laus Deo Patri, Praise be to God the Father, Dei mater alma, life-giving mother of God summo Christo decus, glory to Christ most high, atque semper virgo, and perpetual virgin, Spiritui Sancto, and to the Holy Spirit, felix coeli porta. happy gate of heaven. tribus honor unus. triple honour in one. Sumens illud ave Receiving that ‘Ave’ Amen. Amen. Gabrielis ore, from the mouth of Gabriel, funda nos in pace keep us in peace, mutans Evae nomen. reversing the name ‘Eva’. ritornello CD 2 Solve vincla reis, Loosen the chains from the guilty, profer lumen caecis, bring forth light to the blind, 1 bp mala nostra pelle, drive out our ills, Magnificat : 46-55 bona cunctis posce. ask for blessings for all. Magnificat anima mea Dominum. My soul doth magnify the Lord. ritornello Monstra te esse matrem: Show yourself to be a mother: sumat per te , may he receive through you our prayers 2 bq qui pro nobis natus, who, born for us, Et exultavit tulit esse tuus. deigned to be yours. tenor: Mark Dobell, Jeremy Budd Et exultavit spiritus meus in Deo salutari meo. And my spirit hath rejoiced in God my saviour.

24 25 3 br Quia respexit 8 cm Esurientes Quia respexit humilitatem ancillae suae, For he hath regarded the lowliness of his handmaiden, Esurientes implevit bonis, He hath filled the hungry with good things ecce enim ex hoc beatam for behold from henceforth et divites dimisit inanes. and the rich he hath sent empty away. me dicent omnes generationes. all generations shall call me blessed. 9 cn 4 bs Suscepit Israel Quia fecit mihi magna soprano: Grace Davidson, Charlotte Mobbs bass: Ben Davies, Eamonn Dougan Suscepit Israel puerum suum, He has helped his child Israel, Quia fecit mihi magna qui potens est For he that is mighty hath magnified me, recordatus misericordiae suae, mindful of his mercy, et sanctum nomen eius. and holy is his name. bl co 5 bt Sicut locutus est Et misericordia Sicut locutus est ad patres nostros, As he promised to our forefathers, Et misericordia eius a progenie in progenies And his mercy is on them that fear him Abraham et semini eius in secula. Abraham and his seed for ever. timentibus eum. throughout all generations.

bm cp 6 bu Gloria Patri Fecit potentiam tenor: Jeremy Budd, Mark Dobell Fecit potentiam in brachio suo; He hath shewed strength with his arm; he hath Gloria Patri, et Filio, Glory be to the Father and to the Son dispersit superbos mente cordis sui. scattered the proud in the imagination of their hearts. et Spiritui Sancto. and to the Holy Ghost.

7 cl Deposuit potentes bn cq Sicut erat Deposuit potentes de sede He hath put down the mighty from their seat Sicut erat in principio, et nunc, et semper As it was in the beginning is now and for ever, et exaltavit humiles. and hath exalted the humble and meek. et in saecula saeculorum. Amen. world without end. Amen.

bo Lauda Ierusalem (high) (for text see CD 1, track bl) 26 27 Harry Christophers is known internationally as founder and conductor of The Sixteen as well as a regular guest conductor for many of the major symphony orchestras and opera companies worldwide. He has directed The Sixteen choir and orchestra throughout Europe, America and Asia Pacific gaining a distinguished reputation for his work in Renaissance, Baroque and SOPRANO ALTO TENOR BASS 20th- and 21st-century music. In 2000 he instituted The Choral Julie Cooper Ian Aitkenhead Simon Berridge Ben Davies Pilgrimage, a national tour of English cathedrals from York to Borggreve Marco Photograph: Grace Davidson David Clegg Jeremy Budd Eamonn Dougan Canterbury in music from the pre-, as The Sixteen’s Sally Dunkley Rory McCleery Mark Dobell Charles Gibbs* contribution to the millennium celebrations. The Pilgrimage in Kirsty Hopkins Christopher Royall George Pooley Tim Jones the UK is now central to The Sixteen’s annual artistic programme. Alexandra Kidgell Tom Raskin Robert Macdonald Charlotte Mobbs Julian Stocker Stuart Young* In 2008 Harry Christophers was appointed Artistic Director of Boston’s Handel and *CD1 track bl CD2 tracks 5 bo bt Haydn Society; he is also Principal Guest Conductor of the Granada Symphony Orchestra. As well as enjoying a partnership with the BBC Philharmonic, with whom VIOLIN 1 RECORDER CORNET CHITTARONE he won a Diapason d’Or, he is a regular guest conductor with the of St Martin Sarah Sexton Rebecca Miles Jeremy West David Miller in the Fields. With The Sixteen he is an Associate Artist at The Bridgewater Hall in Ian Wilson Daniel Weitz Manchester and features in the highly successful BBC television series, Sacred Music, VIOLIN 2 HARP Helen Roberts presented by Simon Russell Beale. Huw Daniel DULCIAN Frances Kelly Sally Jackson Harry has conducted numerous productions for Lisbon Opera and English National VIOLA ORGAN Susan Addison Opera as well as conducting the UK premiere of Messager’s opera Fortunio for Grange Martin Kelly Alastair Ross Abigail Newman Park Opera. He is a regular conductor at Buxton Opera where he initiated a very successful Stefanie Heichelheim Stephen Saunders cycle of Handel’s operas and oratorios including Semele, Samson, Saul and Jephtha. CELLO Joseph Crouch 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 VIOLONE of Doctor of Music from the University of Leicester. He was awarded a CBE in the 2012 Jan Spencer Queen’s Birthday Honours.

28 29 After three decades of world-wide performance and recording, The Sixteen is recognised 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 20th- and 21st-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 The Bridgewater Hall, Manchester. The group also promotes The Choral Pilgrimage, an annual tour of the UK’s finest cathedrals. Photograph © MolinaVisuals

The Sixteen’s period-instrument orchestra has taken part in acclaimed semi-staged performances of Purcell’s The Fairy Queen in Tel Aviv and London, a fully-staged production of Purcell’s King Arthur in Lisbon’s Belem Centre, and new productions of Recording Producer: Mark Brown Monteverdi’s Il ritorno d’Ulisse at Lisbon Opera House and The Coronation of Poppea Recording Engineer: Mike Hatch (Floating Earth) Recorded at: St Augustine’s Church, Kilburn, London, 31 March – 3 April 2014 at English National Opera. Cover image: (tempera on panel – detail), Botticelli (1445-1510). Over 100 recordings reflect The Sixteen’s quality in a range of work spanning the music Uffizi Gallery, Florence, Italy. Bridgeman Images Photographs: page 6 © BBC; pages 14, 17, 19 by Arnaud Stephenson © BBC of 500 years. In 2009 they won the coveted Classic FM Gramophone Artist of the Year Design: Andrew Giles: [email protected] Award and the Baroque Vocal Award for Handel’s Coronation Anthems. The Sixteen also features in the highly successful BBC television series, Sacred Music, presented by 2014 The Sixteen Productions Ltd. the voi ces of Simon Russell Beale. © 2014 The Sixteen Productions Ltd. Made in Great Britain For further information about recordings on CORO or live performances and tours by In 2011 the group launched a new training programme for young singers called The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected] Genesis Sixteen. Aimed at 18 to 23 year-olds, this is the UK’s first fully-funded choral programme for young singers designed specifically to bridge the gap from student to professional practitioner. Also available as a studio master quality download at www.thesixteendigital.com 30 31