Thursday, April 4, 2019, 8pm First Congregational Church, Berkeley The Tallis Scholars
Peter Phillips, director Soprano Alto Tenor Bass Amy Haworth Caroline Trevor Steven Harrold Rob Macdonald Emma Walshe David Gould Simon Wall Simon Whiteley Charlotte Ashley Emily Atkinson
Music Inspired by the Sistine Chapel
Giovani Pierluigi da Palestrina Missa Assumpta est Maria (Kyrie) (1525 –1594)
Cristóbal de Morales (1500 –1553) Regina caeli Palestrina Missa Ecce ego Johannes (Gloria) Costanzo Festa (1495 –1545) Quam pulchra es
Elzea Genet Carpentras (? –1548) Lamentations (bars 1 to 240 and 320 to the end)
Palestrina Missa Papae Marcelli (Credo) INTERMISSION Gregorio Allegri (c. 1582–1652) Miserere Palestrina Missa Confitebor tibi domine (Sanctus & Benedictus)
Alexander Campkin (b. 1984) Miserere mei Josquin des Prez (c. 1450 –1521) Inter natos mulierum Palestrina Missa Brevis (Agnus Dei)
Cal Performances’ 2018 –19 season is sponsored by Wells Fargo.
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PROGRAM NOTES
he Sistine Chapel, the heart of the Vati - e patronage of the Papacy was keenly can in Rome, is well-known for having sought by Renaissance musicians. For a time, Tbequeathed a treasure-trove of visual art Spanish composers had an advantage due to a to posterity. With one notable exception, it is succession of Spanish Popes who held them in rather less known for the musical treasures it high esteem. Cristóbal de Morales was one has nurtured for many centuries. In many cases such beneficiary, spending a considerable por - this is due to the jealous guarding of the music tion of his life in the employ of the Capella by a series of Popes, who would not allow cer - Sistina. Regina caeli , a setting of the ancient tain pieces to pass beyond the walls of the hymn to Mary, could well have been first per - chapel. Such is the case, famously, of Gregorio formed there. Allegri’s Miserere , which acquired such a mys - A contemporary of Morales, Costanzo Festa tique through the Sistine Chapel’s monopoly was one of the first Italian polyphonic com - that tracing its journey has become one of the posers to achieve high renown. His sacred most intriguing musical problems of our time. music would be a great influence on Palestrina, Tonight’s program allows us a privileged and his madrigals helped birth a new secular glimpse into the heyday of the Vatican of the tradition. Quam pulchra es , a passage from the high Renaissance. e power and prestige of the Song of Songs set for high voices, displays Festa’s Papacy was at its apex, and before long the gi for easy, flowing polyphony. Council of Trent would spur liturgists and artists Like many others at the time, the composer to the heights of the Counter-Reformation . In Carpentras spent considerable energy securing this spirit, the continuity in this program is patronage for his artistic activity. Having been provided by that most prolific of polyphonists, master of the papal chapel in 1514 for Pope Giovanni Pierluigi da Palestrina. Rather than Leo X, he made a swi exit aer Leo was re - choose just one setting of the Ordinary of the placed by the rather less musical Adrian VI, Mass, Peter Phillips has chosen individual only to return aer a new Pope was elected a movements from five different masses, forming year later. Intriguingly—and foreshadowing the a composite that shows the remarkable breadth later corruption of Allegri’s music—he returned and consistency of Palestrina’s style. to the Sistine Chapel to find his music still being Many of the masses are in the so-called missa performed, but in “bastardized versions,” “so parodia or “parody mass” form, meaning their corrupted…that I scarcely recognized them.” music is based on a pre-existing work, usually a He resolved to republish the works—dedicat - motet. Hence the Missa Assumpta est Maria, ing the collection to the new Pope, Clement which draws its material from a six-voice motet VII—which include many settings of the for the Assumption of the Blessed Virgin Mary. Lamen tations of Jeremiah . It is no surprise that e Credo comes from the famous Missa Papae these were hugely popular at the time; passages Marcelli , supposedly written to prove that of sonorous homophony vie in beauty with the sacred music could be both beautiful and intel - austere Hebrew letters, which, following con - ligible, aer officials at the Council of Trent vention, are set to long, flowing melisma: “ritu - considered banning complex polyphony. Cer - alized weeping in music.” tainly the prevalence of syllabic declamation in Of course, no piece of music in the history of this movement suggests a particular concern the Sistine Chapel is more famous than Allegri’s that the words be understood. e mighty Miserere . e Papacy wanted it that way—a se - Sanctus is from a mass based on the double- cret composition of such beauty that it could choir Confitebor Tibi , whilst the Agnus Dei is not be allowed beyond the walls of the Vatican, from the Missa Brevis (a mass that, despite its it magnified their power and status. However, name, is not a great deal shorter than any of the just as Carpentras’ music had been tweaked be - others!). Instead, in the second statement of this yond his recognition, Allegri’s was to suffer the freely composed movement, Palestrina adds a manipulations of every age that followed, leav - further voice to enrich the polyphony. ing the version we have today, which would be
Opposite: Photo by Eric Richmond 18 PROGRAM NOTES
all but unrecognizable to the composer. A large sung by the off-stage solo group. As these part of this is due to the process of ornamenta - sections alternate, the piece gradually builds tion with which the highly trained Papal singers in intensity with suspension aer suspen - would embellish their parts, leading to the now- sion. e harmony is intensified as the first soprano soars to a high C, hitting the climax obligatory high C. Regardless of its authentic - on the words “Libera me de sanguinibus” ity, this tortuous musical journey has le us (“Deliver me from blood guiltless”). with one of the most beautiful choral pieces of all time. Many a famous composer would leave their About his Miserere Mei, composer A lexander mark—quite literally in this case—in the Sistine Campkin writes: Chapel. e scrawl “JOSQUINJ” on the wall testifies to the composer Josquin’s membership I will always remember hearing Allegri’s of the papal chapel, where he likely composed Miserere for the first time. I was struck by the beauty of the music and the emotions many works. Josquin’s considerable fame dur - that it conveyed. is was a recording of ing and aer his lifetime has led to the misat - the Allegri by the Tallis Scholars, a record - tribution of many of his compositions. e ing that has remained close to my heart ever authorship of the motet Inter natos mulierum since. I was therefore thrilled to be com - is considered doubtful by scholars. All of its missioned by this choir to write a new set - sources are posthumous and the style perhaps ting of the same text. represents a slightly later composer, perhaps e new piece reflects my emotional re - another musician associated with the Vatican. sponse to Allegri’s strikingly moving work. Nevertheless, its rich, full texture is distinctly Like the Allegri, it is scored for double choir. satisfying. Two musical elements are contrasted: that —James M. Potter, 2016 of the main choir and a more lyrical section
ABOUT THE ARTISTS
The Tallis Scholars were founded in 1973 ular concert in St Paul’s Cathedral, London, by their director, Peter Phillips. Through their including a performance of Thomas Tallis’ recordings and concert performances, they 40-part motet Spem in alium and the world pre - have established themselves as the leading ex - mieres of works written specially for the en - ponents of Renaissance sacred music through - semble by Gabriel Jackson and Eric Whit acre. out the world. Peter Phillips has worked with A recording of John Taverner’s Missa Gloria tibi the ensemble to create, through good tuning Trinitas was released on the exact anniversary and blend, the purity and clarity of sound of the group’s first concert in 1973 and enjoyed he feels best serve the Renaissance repertoire, six weeks at the top of the UK Specialist Clas - allowing every detail of the musical lines to sical Album Chart. On September 21, 2015, the be heard. It is the resulting beauty of sound Tallis Scholars gave their 2,000th concert, at St for which the Tallis Scholars have become so John’s Smith Square in London. widely renowned. Highlights in the 2018 –19 season include per - The Tallis Scholars perform in both sacred formances in Salzburg, Bremen, and Utrecht; and secular venues, usually giving around 70 a special concert at Miller eatre (NY), includ - concerts each year across the globe. In 2013, the ing the world premiere of a new Nico Muhly group celebrated its 40th anniversary with a piece; and tours of Japan and Brazil, in addition world tour, performing 99 events in 80 venues to their usual touring schedule around the USA, in 16 countries and travelling sufficient air- Europe, and the UK. miles to circumnavigate the globe four times. Recordings by the Tallis Scholars have The group kicked off the year with a spectac - earned many awards throughout the world. In
18b PLAYBILL ABOUT THE ARTISTS
1987, their recording of Josquin’s Missa La sol appeared in more than 2,200 concerts and made fa re mi and Missa Pange lingua received over 60 discs, encouraging interest in polyphony Gramo phone magazine’s Record of the Year all over the world. As a result of this commit - award, the first recording of early music ever to ment, Phillips and the Tallis Scholars have done win this coveted honor. In 1989, the French more than any other group to establish the sa - magazine Diapason gave the group two of cred vocal music of the Renaissance as one of its Diapason d’Or de l’Année awards for the the great repertoires of Western classical music. recordings of a mass and motets by Lassus and Peter Phillips also conducts other specialist for Josquin’s two masses based on the chanson ensembles. He is currently working with the “L’homme armé.” Their recording of Palestrina’s BBC Singers, the Netherlands Chamber Choir, Missa Assumpta est Maria and Missa Sicut lil - the Estonian Philharmonic Chamber Choir, ium was awarded Gram o phone ’s Early Music and the Choeur de Chambre de Namur. He is Award in 1991; they received the 1994 Early patron of the choirs of Merton College (Ox ford), Music Award for their recording of music by Sansara (London), El Leon de Oro (Spain), and Cipriano de Rore, and the same distinction of the festivals of Portsmouth and Clion; he again in 2005 for their disc of music by John also hosts the annual Tallis Scholars Summer Browne. The group was nominated for Gram - Course in Avila (Spain). In 2014, he launched my Awards in 2001, 2009, and 2010. In Novem - the London International A Cappella Choir ber 2012, their re cording of Josquin’s Missa de Competition in St John’s Smith Square, attract - beata virgine and Missa Ave maris stella received ing choirs from all over the world. a Diapason d’Or de l’Année, and in their 40th In addition to conducting, Phillips is well- anniversary year they were welcomed into the known as a writer. For 33 years, he contributed Gramophone Hall of Fame by public vote. In a a regular music column (as well as one, more departure for the group, in spring 2015, the briefly, on cricket) to e Spectator . In 1995, he Tallis Scholars released a disc of music by Arvo became the owner and publisher of the Musical Pärt called Tin tin nabuli that has received great Times , the oldest continuously published music praise. e latest recording of Josquin masses, journal in the world. His first book, English Missa Gaudeamus and Missa L’ami Baudichon , Sacred Music 1549–1649 , was published by was released last November. is is the seventh Gimell in 1991, while his second, What We of nine planned albums in the Tallis Scholars’ Really Do , appeared in 2013. Last year, BBC project to record all of Josquin’s masses before Radio 3 aired his view of Renaissance poly - the composer’s 500th Anniversary in 2021. phony, in a series of six hour-long programs. In 2005, Phillips was made a Chevalier de Peter Phillips has dedicated his career to the l’Ordre des Arts et des Lettres by the French research and performance of Renaissance Minister of Culture, a decoration intended to polyphony, and to the perfecting of choral honor individuals who have contributed to sound. Having won a scholarship to Oxford in the understanding of French culture in the 1972, he gained experience in conducting small world. In 2008, he began an association with vocal ensembles, already experimenting with Merton College, Oxford, where he helped to the rarer parts of the repertoire. He founded the found the chapel choir, and where he is a Tallis Scholars in 1973, with whom he has now Bodley Fellow.
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TEXTS AND TRANSLATIONS
Giovani Pierluigi da Palestrina Missa Assumpta est Maria (Kyrie) Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, have mercy.
Cristóbal de Morales Regina caeli Regina caeli laetare, alleluia, Queen of heaven, rejoice, alleluia, Quia quem meruisti portare, alleluia, For he whom thou wast worthy to bear, alleluia, Resurrexit sicut dixit, alleluia. Hath risen as he said, alleluia. Ora pro nobis Deum, alleluia. Pray for us to God, alleluia.
Palestrina Missa Ecce ego Johannes (Gloria) Gloria in excelsis Deo, et in terra pax Glory be to God on high, and in earth peace, hominibus bonae voluntatis. Laudamus te; goodwill towards men. We praise thee; benedicimus te; adoramus te; glorificamus te. we bless thee; we worship thee; we glorify Gratias agimus tibi propter magnam gloriam thee. We give thanks to thee for thy great tuam, Domine Deus, Rex caelestis, Deus Pater glory, O Lord God, heavenly king, God the omnipotens. Father almighty.
Domine Fili unigenite, Jesu Christe; O Lord the only-begotten Son, Jesus Christ; Domine Deus, Agnus Dei, Filius Patris, O Lord God, Lamb of God, Son of the Father, qui tollis peccata mundi, miserere nobis; qui that takest away the sins of the world, have tollis peccata mundi, suscipe deprecationem mercy upon us; thou that takest away the sins nostram; qui sedes ad dexteram Patris, of the world, receive our prayer; thou that miserere nobis. sittest at the right hand of God the Father, have mercy upon us.
Quoniam tu solus Sanctus; tu solus Dominus; For thou only art Holy; thou only art the Lord; tu solus altissimus, Jesu Christe, cum Sancto thou only, O Christ, with the Holy Ghost, Spiritu, in gloria Dei Patris. Amen. art Most High in the glory of God the Father. Amen.
Costanzo Festa Quam pulchra es Quam pulchra es et quam decora How beautiful and fair you are Quam pulchra es, amica mea, columba mea How beautiful, my soul, my dove Formosa mea, Veni dilecta mea My beauty, come my joy Vox enim tua dulcis, et facies decora nimis. Your truly sweet voice, and exceeding fair visage.
Opposite: Peter Phillips. Photo by Albert Roosenburg. 1 TEXTS AND TRANSLATIONS
Elzea Genet Carpentras Lamentations (bars 1 to 240 and 320 to the end) Incipit lamentatio Ieremiae prophetae. Here begins the Lamentation of the prophet Jeremiah. Aleph. Quomodo sedet sola civitas plena Aleph. How desolate the city lies that was populo: facta est quasi vidua domina once thronged with people. e one-time gentium: princeps provinciarum facta queen of nations has become as a widow. est sub tributo. Once a ruler of provinces, she is now subject to others. Beth. Plorans ploravit in nocte, et lacrimae Beth. By night she weeps in sorrow and tears eius in maxillis eius: non est qui consoletur run down her cheeks. Of all who love her, eam ex omnibus caris eius: omnes amici there’s none to console her. All her friends eius spreverunt eam, et facti sunt inimici. have spurned her and have become her foes. Ierusalem, Ierusalem, convertere ad Jerusalem, Jerusalem, return to the Lord Dominum Deum tuum. your God.
Palestrina Missa Papae Marcelli (Credo) Credo in unum Deum, Patrem omnipoten - I believe in one God, the Father almighty, tem, factorem caeli et terrae, visibilium om - Maker of heaven and earth, and of all things nium et invisibilium. Et in unum Dominum visible and invisible. And in one Lord, Jesus Jesum Christum, Filium Dei unigenitum, et Christ, the only-begotten Son of God, begot - ex Patre natum ante omnia saecula. Deum de ten of his Father before all worlds. God of Deo; Lumen de Lumine; Deum verum de Deo God; Light of Light; very God of very God; vero; genitum, non factum; consubstantialem begotten, not made: being of one substance Patri; per quem omnia facta sunt. with the Father; by whom all things were made.
Qui propter nos homines, et propter nostram Who for us men, and for our salvation, came salutem descendit de caelis, et incarnatus est down from heaven, and was incarnate by the de Spiritu Sancto, ex Maria Virgine, et homo Holy Ghost of the Virgin Mary, and was made factus est. Crucifixus etiam pro nobis sub man. And was crucified also for us under Pontio Pilato; passus et sepultus est. Pontius Pilate; he suffered death and was buried.
Et resurrexit tertia die secundum Scripturas; And the third day he rose again according to et ascendit in caelum, sedet ad dexteram the Scriptures; and ascended into heaven, and Patris; et iterum venturus est cum gloria is seated at the right hand of the Father; and judicare vivos et mortuos; cuius regni non he shall come again with glory to judge both erit finis. the quick and the dead; whose kingdom shall have no end.
PLAYBILL TEXTS AND TRANSLATIONS
Et in Spiritum Sanctum, Dominum et And I believe in the Holy Ghost, the Lord, vivificantem, qui ex Patre Filioque procedit; and giver of life, who proceeds from the qui cum Patre et Filio simul adoratur et Father and the Son; who with the Father and conglorificatur; qui locutus est per prophetas; the Son is worshipped and glorified, who spoke by the prophets. Et unam sanctam catholicam et apostolicam And I believe in one holy, catholic and Ecclesiam. Confiteor unum baptisma in apostolic Church. I acknowledge one baptism remissionem peccatorum. Et exspecto for the remission of sins. And I look for the resurrectionem mortuorum, et vitam venturi resurrection of the dead, and the life of the saeculi. Amen. world to come. Amen.
Gregorio Allegri Miserere Miserere mei Deus, Have mercy upon me, O God, secundum magnam misericordiam tuam. according to your great mercy Et secundum multitudinem and according to the abundance miserationum tuarum dele in iquitatem of your compassion blot out my transgressions. meam. Amplius lava me ab iniquitate mea Wash me thoroughly from my iniquity et a peccato meo munda me. and cleanse me from my sin. Quoniam iniquitatem meam ego cognosco For I acknowledge my offence et peccatum meum contra me est semper. and my sin is ever before me.
Tibi soli peccavi Against you only have I sinned, et malum coram te feci, and done what is evil in your sight ut justificeris in sermonibus tuis that you may be justified in your sentence et vincas cum judicaris. and vindicated when you judge. Ecce enim in iniquitatibus conceptus sum Behold, in guilt was I conceived et in peccatis concepit me mater mea. and in sin did my mother conceive me. Ecce enim veritatem dilexisti: Behold, your delight in sincerity of heart incerta et occulta sapientiae tuae and in my inmost being manifestasti mihi. you teach me wisdom. Asperges me hyssopo et mundabor; Cleanse me with hyssop and I shall be purified; lavabis me et super nivem dealbabor. wash me and I shall be whiter than snow.
Auditui meo dabis gaudium et laetitiam Let me hear the sounds of joy and gladness; et exsultabunt ossa humiliata. the bones which you have crushed shall rejoice. Averte faciem tuam a peccatis meis Avert your face from my sins, et omnes iniquitates meas dele. and blot out all my iniquity. Cor mundum crea in me, Deus, Create in me a clean heart, O God, et spiritum rectum innova in visceribus meis. And renew in me a righteous spirit. Ne projicias me a facie tua, Cast me not out from your presence, et spiritum sanctum tuum ne auferas a me. and take not your Holy Spirit from me.
TEXTS AND TRANSLATIONS
Redde mihi laetitiam salutaris tui Give me the joy of your salvation et spiritu principali confirma me. and sustain in me a willing spirit. Docebo iniquos vias tuas I shall teach transgressors your ways, et impii ad te convertentur. and sinners shall return to you. Libera me de sanguinibus, Deliver me from blood-guiltiness, Deus, Deus salutis meae, O God, God of my salvation, et exsultabit lingua mea justitiam tuam. and my tongue shall exalt your justice. Domine labia mea aperies, O Lord, open my lips, et os meum annuntiabit laudem tuam. and my mouth shall proclaim your praise.
Quoniam si voluisses sacrificium For you are not pleased with sacrifices, dedissem utique; holocaustis non delectaberis. else would I give them to you; neither do you delight in burnt offerings. Sacrificium Deo spiritus contribulatus: e sacrifice of God is a contrite heart: cor contritum et humiliatum, a broken and contrite heart, Deus, non despicies. O God, you will not despise. Benigne fac, Domine, Be favourable and gracious, in bona voluntate tua Sion, unto Sion, O Lord, ut aedificentur muri Jerusalem. build again the walls of Jerusalem. Tunc acceptabis sacrificium iustitiae, en you shall be pleased with the sacrifice of righteousness oblationes, et holocausta: oblations and burnt offerings; tunc imponent super altare tuum vitulos. they shall offer young bulls upon your altar.
Palestrina Missa Confitebor tibi domine (Sanctus & Benedictus) Sanctus, Sanctus, Sanctus Dominus Deus Holy, Holy, Holy, Lord God of hosts. Sabaoth. Pleni sunt caeli et terra gloria tua. Heaven and earth are full of thy glory. Hosanna in excelsis. Glory be to thee, O Lord most high.
Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Osanna in excelsis. Hosanna in the highest.
PLAYBILL TEXTS AND TRANSLATIONS
Alexander Campkin Miserere mei Miserere mei, Deus, Have mercy upon me, O God, secundum magnam misericordiam tuam: according to thy loving kindness:
Et secundum multitudinem miserationum According unto the multitude of thy tuarum, tender mercies, dele iniquitatem meam. blot out my transgressions.
Amplius lava me ab iniquitate mea, Wash me thoroughly from mine iniquity, Et a peccato meo munda me. and cleanse me from my sin.
Quoniam iniquitatem meam ego cognosco, For l acknowledge my transgressions, Et peccatum meum contra me est semper and my sin is ever before me.
Tibi soli peccavi, Against thee, thee only, have l sinned, Et malum coram te feci; and done this evil in thy sight; Ut justificeris in sermonibus tuis, that thou mightest be justified when thou speakest, Et vincas cum judicaris. and be clear when thou judgest.
Libera me de sanguinibus, Deus, Deliver me from blood guiltiness, O God, Deus salutis meae, thou God of my salvation; Et exultabit lingua mea justitiam tuam. and my tongue shall sing aloud of thy righteousness.
Josquin des Prez Inter natos mulierum Inter natos mulierum non surrexit maior Among them that are born of women there Ioanne Baptista hath not risen a greater than John the Baptist, Qui viam Domino praeparavit in heremo. who prepared the way of the Lord in the Alleluia. wilderness. Alleluia. Fuit homo missus a Deo cui nomen erat ere was a man sent from God, whose name Ioannes. Alleluia. was John. Alleluia.
Palestrina Missa Brevis (Agnus Dei) Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takes away the sins miserere nobis of the world, have mercy on us. Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takes away the sins miserere nobis. of the world, have mercy on us. Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takes away the sins dona nobis pacem. of the world, grant us thy peace.
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