Dario Castello (fl. 1st half 17th century) Ignazio Dona (c.1570–1638) Venice 1629 1. Sonata terza [b] [5:41] 11. Maria Virgo [a]* [4:04]

Claudio Monteverdi (1567–1643) Alessandro Grandi 2. Exulta, filia Sion [a] [5:19] 12. Salva me, salutaris Hosa [a]* [3:43]

The Gonzaga Band Biagio Marini (1594–1663) Benedeo Rè (fl. 1607–1629) 3. Canzon prima, 13. Lilia convallium [a]* [3:40] Faye Newton soprano (tracks 2, 4, 6, 8, 10–13 & 16) per quaro violini, ò corne [e] [3:12] Jamie Savan director, cornes (treble, mute, tenor) (tracks 1, 3, 5, 10–13 & 15–17) Marno Pesen Helen Roberts corne (tracks 1, 3, 11, 16 & 17) Heinrich Schütz (1585–1672) 14. Corrente dea La Priula [f]* [2:13] Oliver Webber violin (tracks 3, 4, 6, 9, 12–13, 15 & 17) 4. Paratum cor meum [g] [4:22] Theresa Caudle violin, corne (tracks 3, 4, 6, 9, 11–13 & 17) Biagio Marini Steven Devine organ, harpsichord (all tracks) Biagio Marini 15. Sonata senza cadenza [e] [3:04] 5. Sonata per l’organo, violino, ò corneo [e] [3:47] Heinrich Schütz 16. Exultavit cor meum [g] [5:20] Alessandro Grandi (1586–1630) 6. Regina caeli [d] [3:04] Dario Castello 17. Sonata decima sema, Marno Pesen (c.1600–c.1648) in ecco [b] [7:15] 7. Corrente dea La Granda [f]* [2:00]

Orazio Tardi (1602–1677) Total playing me [68:27] 8. Plaudite, cantate [h]* [4:32] About The Gonzaga Band: Biagio Marini * world premiere recording ‘Faye Newton sings delightfully, and the players – 9. Capriccio, che due violini, especially Savan on the cornett are impossible to fault’ sonano quaro par [e] [4:15] Gramophone Giovanni Carrone (fl. 1629) ‘Savan and company have an instinctive feel for this repertoire, their 10. Congratulamini mihi [c]* [2:48] persuasive performances delivered with terrific flair and panache’ BBC Radio 3 CD Review 1629: A Year in the Musical Life of Venice composers within a richer and broader context. To that end, we have made new edions of Once again I cast my anchor in Venice, where several pieces which are performed here for the in the days of my youth I studied under the first me in nearly four centuries. All the music great Gabrieli [...] Staying in Venice with old was published (or submied for publicaon) in friends, I found the manner of musical Venice in 1629. Some of the composers lived composion somewhat changed. They have parally abandoned the old church modes and worked in Venice; others worked in while seeking to charm modern ears with provincial cies within its musical orbit. new llaons. Among the composers represented on this Heinrich Schütz, from the preface to Symphoniae Sacrae (Venice, 1629) recording, it was perhaps the music of Alessandro Grandi, Monteverdi’s erstwhile By the me of his second visit to Venice in deputy at St Mark’s, that was to have the 1628–29, Heinrich Schütz was well-established greatest resonance for Schütz. Grandi was a as Hoapellmeister of the Saxon court in specialist in the small scale, wring solo-voice Dresden – one of the most presgious musical motets with ritornelli for two violins, creang establishments north of the Alps. Having a fusion of vocal monody and instrumental studied in Venice some two decades earlier trio sonata textures that was to define the (1609–1612), the lavish polychoral style he new Venean style. Grandi had le Venice Sources had learned from Giovanni Gabrieli was for Bergamo in 1627, but maintained es with e. Biagio Marini: Sonate, symphonie, canzoni rapidly becoming outmoded among progressive the city, publishing his third and final book a. Lor enzo Calvi: Quarta raccolta de sacri … con altre curiose & moderne invenoni. Italian composers, and he was keen to study of concertato motets there in 1629. Regina can … de diversi eccellenssimi autori Opera Oava (Venice: Gardano/Magni, the latest musical developments at first hand. caeli (track 6) is typical of the pieces in this (Venice: Vincen, 1629). 1629). [Title page dedicaon July 1626.] collecon, with its close imitaon between The most famous musician in Venice at this instruments and voice, and increasingly b. Dario Castello: Sonate concertate in sl f. Marno Pesen: Il secondo libro delle me was of course Claudio Monteverdi, elaborate ornamentaon. moderno (Venice: Gardano/Magni, 1629). corren alla francese (Venice: Vincen, 1630). maestro di cappella at St Mark’s Basilica since [Title page dedicaon 15 September 1627.] [Title page dedicaon 1 December 1629.] 1613. But he was not the only aracon; as Fortuitously, 1629 also saw the publicaon of Jerome Roche has pointed out, Schütz’s two landmark collecons of small-scale c. Giov anni Carrone: Il primo libro delli g. Henrici Sagiarii [Heinrich Schütz]: intenon was ‘to observe a musical world’, instrumental music: Dario Castello’s second mote a una, due, tre, et quaro voci Symphoniae sacrae one which was ‘peopled by many lesser though volume of Sonate concertate in sl moderno, (Venice: Vincen, 1629). (Venice: Gardano/Magni, 1629). by no means insignificant lights.’ And so, in and Biagio Marini’s seminal Op. 8 collecon of essence, the aim of our project is to explore curiose & moderne invenoni. What lile we d. Alessandr o Grandi: Mote a una, et due h. Hor ao [Orazio] Tardi: Celes fiori musicali … this musical world, to rediscover the music know of Castello’s biography is gleaned through voci con sinfonie di due violini … libro terzo a voce sola (Venice: Vincen, 1629). of some of its lesser-known inhabitants, and the tle pages of his publicaons, where he (Venice: Vincen, 1629). to understand the music of its more familiar claims to be a musician at St Mark’s and head of a company of wind players. His skill as an cornes suggests a familiarity with Gabrieli’s in four parts’ is an example of such innovaon or without instruments. On a smaller scale, his instrumentalist is borne out in the virtuosic sonata for three violins ‘or other similar in violin technique. instrucons for the performance of Maria Virgo demands of his wring, which exceed those instruments’ (1615), while his Sonata per l’organo (track 11) demonstrate similar flexibility: it can of most other composers of his generaon. In (track 5) is most unusual for its me in being a Claudio Monteverdi is one of a number of be sung by two, three or four voices, which may the preface to his first book of sonatas (1621) fully-realised duo for organ and obbligato ‘diverse and most excellent’ composers also be substuted by instruments ad libitum. he advises his readers ‘not to lose heart in instrument; the laer also clearly demonstrates represented in Lorenzo Calvi’s 1629 anthology, We perform this piece with a single voice and playing [these pieces] more than once, because through its Phrygian-inflected opening that the Quarta raccolta de sacri can, the unique three cornes, including a tenor corne on they will then be pracsed and in me will old church modes were not yet enrely source for Exulta, filia Sion (track 2), a solo- the lowest part. be easy’, and, moreover, ‘I could not have abandoned. If the aforemenoned pieces look voice motet which draws on some of the made them easier while sll observing the to the musical past for inspiraon, perhaps it most progressive composional devices of Another lile-known composer is Giovanni sle moderno.’ In other words, it seems that is the Sonata senza cadenza (track 15) that the day. Dance-influenced triple-me ariosi Carrone, whose only extant composions are for Castello such virtuosity was the very most embodies the spirit of ‘curious and and organ ritornelli provide a structural contained in his Primo libro delli mote. essence of the modern style. Most of his modern invenon’ through novel composional framework, punctuated by short secons of Congratulamini mihi (track 10) is a duet for pieces are wrien for flexible instrumentaon; procedures that wily prepare and then evade declamatory recitave which give way to two sopranos to be sung in honour of a female Sonata terza (track 1) simply specifies two every opportunity to make a perfect cadence. extended virtuosic passagework such that saint, whose name is le blank in the printed soprani (violins, cornes and recorders would each line of text is treated in a contrasng source, to be supplied according to the occasion fit into this category). Sonata decima sema The early-seventeenth century witnessed manner. Other pieces in this collecon include of performance. We have chosen St Marina, (track 17), on the other hand, is scored something of a struggle for supremacy between Grandi’s Salva me, salutaris Hosa (track 12), who was especially venerated in Venice (where explicitly for pairs of cornes and violins in the corne and violin, which were oen seen and Benedeo Rè’s Lilia convallium (track 13), her relics were housed in a church bearing her ecco (perhaps recalling similar echo effects as interchangeable in the instrumental repertoire both of which are wrien for two soprano name unl it was destroyed during the in Monteverdi’s Orfeo and Vespers), and (as evidenced by the familiar rubric violino, voices with violins, in which the corne Napoleonic era). The second soprano part is demonstrates an idiomac understanding of ò corneo). Unl the 1620s the cornests, substutes for the second voice in our here played on the mute corne. each instrument’s character and technical lauded for their ability to imitate the human arrangement. One of the lesser-known capabilies in its soloisc wring. voice, perhaps held the upper hand; but composers on this recording, Rè was maestro Orazio Tardi was a monk in the Camaldolese Marini’s Op. 8 contains several highly innovave di cappella of Pavia Cathedral, where Calvi order and in 1629 he became organist at the Details of Marini’s life are rather more richly features for violin which the wind players simply himself was a bass singer. Another important church of San Michele in Isola, on what is now documented. He was a virtuoso violinist who couldn’t follow. These include scordatura tuning, but lesser-known composer represented in the cemetery island of Venice (then a monasc worked at St Mark’s in the early years of mulple-stopping, and an extended range which the anthology is Ignazio Dona, who moved selement belonging to the neighbouring Monteverdi’s tenure, and at the me of begins to take the violinist beyond the comfort from Novara to Lodi cathedral in 1629 (he island of Murano). Tardi was a prolific preparaon of Op. 8 was in the employ of the zone of first posion. The notaon of double- would eventually become maestro di cappella composer: his Celes fiori musicali is designated Count Palane of Neuburg. Already well-known and triple-stopping required the development of Milan cathedral in 1631). He had previously as Op. 8 on its tle page – an impressive as a composer of instrumental and secular of special techniques for music prinng, which published several volumes of sacred music achievement at the young age of twenty-seven. vocal music, his Op. 8 represents the may perhaps explain the delay of three years in Venice, including Salmi boscarecci (1623) Plaudite, cantate (track 8) is the first composion culminaon of a decade of experimentaon between the date printed on its dedicaon which are characterised by a high degree of in this collecon of sacred concertos for solo with emerging instrumental genres. His page (1626) and that of its eventual publicaon flexibility in performance pracce: they can voice, with a choice of plucked basso connuo Canzon prima (track 3) for four violins or in 1629. The Capriccio (track 9) for ‘two violins be performed by one or mulple choirs, with (chitarrone, harp, lute, spinet and other instruments) given as alternaves to the when I first visited these parts this whole art has since the payment records at St Mark’s contain known as the principale. The sound quality organ – hence our pairing of voice with changed much […] that music which is useful to no further reference to the corne unl 1640 of the Italian organ is unmistakable: rich and harpsichord in this instance. royal banquets, comedies, ballets, and similar (when two new players are listed – one a full bodied in the bass, yet transparent in presentaons has now become markedly beer former violinist, the other a singer – both texture and with a clarity of arculaon that Schütz’s ability to assimilate the panoply of and more plenful.’ Perhaps he had in mind seemingly having retrained to fill the perfectly complements other contemporary influences to which he had been exposed the dance music of Marno Pesen, a blind vacancies). instruments, especially cornes and violins in and bring his collecon of Symphoniae Sacrae musician (and former pupil of Giovanni Basta the treble register. Moreover, it was a common to publicaon within just nine months of his Grillo) who made his living playing chamber Schütz le Venice just in me. In addion to pracce for small groups of instrumentalists arrival in Venice was quite extraordinary. In music for the Venean nobility. Pesen’s the fruits of his studies – his own collecon and/or singers to perform in the cantoria (organ later life, he modestly recounted how ‘in the second book of Corren for harpsichord of Symphoniae Sacrae – he took with him one lo), creang a parcularly close spaal and year 1629, when I had arrived in Italy for the includes descripve tles for each of its pieces, of the most celebrated violinists of Venice, sonic relaonship between the organ and the second me, I composed […] a lile Lan including some that seem to be named aer Francesco Castelli, several volumes of printed other ensemble members. work of one, two, or three vocal parts, together musicians of St Mark’s. We include La Granda music, and some musical instruments for the with two violins, or similar instruments.’ Of (track 7) (Grandi) and La Priula (track 14) Dresden court. The laer included new violins The Italian church organ is of course the very the new style of composion they embody, (Giovanni Priuli, a contemporary of Schütz acquired during a visit to Lombardy (and we opposite of portable and so unl recently the he wrote, ‘according to the keen-minded during his student years under Gabrieli). Both can only speculate that he might have had only way to capture this remarkable sound on Herr Cl. Monteverdi […] music has now pieces are in binary form with spezzata (lit. dealings with the Ama family in Cremona), record was to work on locaon with a suitably reached its final perfecon.’ The first two ‘broken’) variaons on the repeat of each secon. together with three corne and four restored instrument. For this project, however, pieces in this collecon, Paratum cor meum corneni from Venice, the receipt for which we have adopted a twenty-first-century (track 4) and Exultavit cor meum (track 16) Our programme thus offers a series of snapshots sll survives in the city archives in Dresden. soluon: an electronic instrument playing are wrien explicitly for soprano voice with from an extraordinary year in the life of this high-quality samples of an original Venean two violins and organ, which Denis Arnold most musical of cies. This is a celebraon of Instruments used on this recording organ. The instrument sampled for this describes as the ‘very basis of the Venean the high-water mark of Venean music, prior purpose is in the church of St Maria d’Alieto, 1620s style’. Nevertheless, following Schütz’s to the plague which reached Venice in 1630, Performing pitch: a'=466Hz; in Izola, on the Adriac coast of Slovenia. It suggeson of ‘violins, or similar instruments’, with devastang consequences. By some Temperament: ¼ comma mean tone. was made by the Venean organ builder, and inspired by the text exaltatum est cornu esmates, Venice lost nearly one third of its Pietro Nachini (1694–1769) and is very much meum (lit. ‘my horn is exalted’), we take the populaon between 1630 and 1631. The Organ in the tradion of Venean organ building opportunity to perform Exultavit cor meum Venean publishing trade was decimated: Whereas many recordings of early music stretching back to Vincenzo Colombi in the with two cornes – and moreover precede it whereas for 1629 we have the luxury of some make use of small, portable connuo organs sixteenth century. with a short organ intonaon (on the eleventh fiy extant collecons of printed music, this with stopped, wooden pipes, such an mode) by Giovanni Gabrieli. drops to around thirty in 1630 (as the plague instrument would have been quite unfamiliar Its specificaons can be found on the website hits), and then we have nothing at all from to musicians in early-seventeenth-century of Sonus Paradisi (www.sonusparadisi.cz), who Schütz’s interests were by no means confined the Venean presses in 1631. There were of Italy. The primary connuo instrument made the samples and kindly granted us to sacred music. Within days of his arrival in course many musicians among the casuales, intended for sacred repertoire was the church permission to use them on this recording. Each Venice in November 1628, he wrote to his including Alessandro Grandi in Bergamo, and organ, which in Italy was characterised by its individual pipe of the Izola organ was sampled patron, ‘I already perceive that since the me perhaps most of the corne virtuosi of Venice, fundamental rank of open, metal pipes, in three-channel audio (rather than the usual stereo), such that we were able to recreate an have tuned our instruments to accord as Texts & Translaons ‘aural image’ of the original spaal disposion closely as possible with historical fingering Translaons by Maeo Dalle Frae of the organ pipes via the virtual pipe organ paerns; the result is a more flexible and soware Hauptwerk, routed through three variegated sound which helps us get a lile Claudio Monteverdi (1567–1643) carefully posioned Genelec speakers (kindly closer to the ‘vocal’ quality to which we aspire. 2. Exulta, filia Sion loaned to us by Royal Birmingham Conservatoire). The wooden midi keyboard for our electronic Violins Exulta, filia Sion! Rejoice, o daughter of Sion! organ was made by Luca Pane, and the Oliver Webber plays a violin by George Stoppani, Lauda, filia Hierusalem! Praise, o daughter of Jerusalem! organ case by Jeffrey Newton. Although a copy of the 1629 instrument by Girolamo Ama Ecce Rex tuus Sanctus, Here is your Holy King, unconvenonal, we hope by these means to in the Rutson Collecon of the Royal Academy ecce mundi Salvator venit. here comes the Saviour of the world. have taken one step closer to the sound-world of Music, kindly loaned for this recording by the Omnes gentes plaudite manibus, May all people applaud of seventeenth-century Venice. maker. We were thrilled to have the opportunity iubilate Deo in voce exultaonis, and proclaim to God with joy and exultaon, to work with this beauful instrument, of the laetentur caeli in voce exultaonis, may the heavens delight with exultaon Harpsichord type that Schütz himself might have sought out exultet terra in voce exultaonis, and may the earth rejoice with exultaon, Steven Devine plays a harpsichord by Colin for the Dresden court. quia consolatus est Dominus populum suum, because the Lord has consoled his people, Booth, based on an original instrument by redemit Hierusalem, alleluia! He has redeemed Jerusalem, alleluia! the Venean maker Domenico da Pesaro Theresa Caudle plays a violin by Paul Denley, (now in the musical instrument museum of aer an original aributed to Giovanni Paolo Heinrich Schütz (1585–1672) Leipzig, dated 1533). Pesaro was one of the Maggini – the leading exponent of the Brescian 4. Paratum cor meum leading harpsichord makers of the sixteenth school of violin making in the early-seventeenth century; Zarlino is known to have played on century. Both Maggini and Girolamo Ama Paratum cor meum Deus, My heart is ready, O God, one of his instruments. were among those who perished during the cantabo et psallam in gloria mea. I will sing, I will sing psalms with my glory. plague of 1630-31. Exurge gloria mea, exurge psalterium, Wake up my glory, wake up harp, Cornes exurge cithara, exurgam diluculo. wake up lyre, I will wake up at dawn. Jamie Savan plays a treble corne by John © 2018 Jamie Savan Confitebor Tibi in populis Domine, I will praise You among the people, O Lord, McCann, mute corne by Serge Delmas (track For a version of these notes with footnote psallam Tibi in naonibus. and I will sing psalms to You among the naons. 10), and tenor corne by Christopher Monk references, please see www.resonusclassics.com. (track 11). Alessandro Grandi (1586–1630) Edions 6. Regina caeli Performing edions for tracks 2, 4, 7, 8, 10, 11, 12, Helen Roberts plays a treble corne by Paolo 13, 14 & 16 were prepared by Jamie Savan. Fanciullacci. Theresa Caudle plays a treble Regina caeli, laetare, alleluia. Queen of Heaven, rejoice, alleluia. Edions for tracks 1 and 17 by Andrea Bornstein, corne by Roland Wilson (track 11). He, whom you did merit to bear, alleluia. Ut Orpheus Edions (www.utorpheus.com). Quia quem meruis portare, alleluia. Has risen, as He said, alleluia. Edions for tracks 3, 5, 9 & 15 by Marn Lubenow, Resurrexit, sicut dixit, alleluia. Drawing on the latest research into original Pray for us to God, alleluia. Musiche Varie (www.musichevarie.de). Ora pro nobis Deum, alleluia. Venean/Bassano cornes in the collecon Edion for track 6 by Brian Clark, Prima la Musica of the Accademia Filarmonica, Verona, we (www.primalamusica.com). Orazio Tardi (1602–1677) 8. Plaudite, cantate

Plaudite, cantate cymbalis, Applaud and sing with cymbals, laudate citharis, psallite organis, alleluia! praise with lyres, sing psalms with the organ, alleluia! Cantate et auditam facite vocem laudis Eius. Sing and make your voices heard praising Him. Venite et narrabo vobis qui mes Deum, Come and I will tell you who fear God, quanta fecit Dominus animae meae. how many great things the Lord has done for my soul. Sperate in Eo, gentes, et collaudate Eum, populi. Have faith in Him, naons, and praise Him, all people.

Giovanni Carrone (fl. 1629) 10. Congratulamini mihi

Congratulamini mihi omnes amici mei Rejoice with me, all my friends, et gaudete quia natalis est hodie Beatae Marinae. and be glad, because today is the birthday of et nos invitat integritas amor, Saint Marina, ut cantemus suaviter de eius virginitate, and a love of purity invites us ut Ipsa pro nobis intercedat ad Dominum to sing sweetly of her virginity, Iesum Christum. so that She may pray for us to the Lord Jesus Christ.

Ignazio Dona (c.1570–1638) 11. Maria Virgo

Maria Virgo assumpta est ad aethereum The Virgin Mary has been taken into the chamber thalamum, on high, in quo Rex Regum stellato sedet solio. where the King of Kings sits on a throne amid the stars. Gaudent angeli dicentes quae est Ista, The angels rejoice, saying that She is the one, quae ascendit sicut aurora consurgens. who has risen into the sky like the morning sun. Mirantur archangeli canentes: The archangels sing with wonder: “Ave graa plena, Maria Mater Dei!” “Hail Mary, full of grace, Mother of God!” Gaudeamus omnes quia, Let us all rejoice because cum Christo, regnabit in aeternum, She will reign for eternity with Christ, Ipsa intercedat pro nobis, alleluia! and may She pray for us, alleluia! Alessandro Grandi Heinrich Schütz 12. Salva me, salutaris Hosa 16. Exultavit cor meum

Salva me, salutaris Hosa, Save me, O saving Sacrifice, Exultavit cor meum in Domino, My heart exulted in the Lord, admirandum Sacramentum, O Holy Sacrament, exaltatum est cornu meum in Deo meo. my courage is strengthened by my God. quae sub speciebus panis, that within the image of bread, Dilatatum est os meum super inimicos meos, My voice is louder than my enemies, verum Deum sustentas. holds the true God. quia laetata sum in salutari tuo. for I rejoice in your salvaon. Redemptor Iesu mi, salvum, Jesus Redeemer, save me, Non est sanctus ut est Dominus, None is as holy as the Lord, me fac Te deprecantem. I beseech You. neque enim est alius extra Te, for there is no other than You, Audi praeces supplicans, Hear the prayers of those who beseech You, et non est fors sicut Deus noster. and none is as strong as our God. sume vota Te precans. accept the hopes of those who pray to You. Vere Deus et Homo, o Iesu, True God and Man, O Jesus, mea Lux, mea Spes, Dulcedo mea. my Light, my Hope, my Sweetness, Ob immensum amorem, with immense love, quo prosequeris nos, you offer Yourself to us. Te manducandum praebes. Sweet Food, Salvaon of my soul, The Gonzaga Band corne and keyboards, and expanding on Dulcis Esca, Salus animae meae, stay in my heart while I suffer. occasion according to the parcular esto prius in me corde dolentem. The Gonzaga Band was formed by cornest requirements of each programme, The Jamie Savan in 1997, with a mission to Gonzaga Band is thus able to perform in Benedeo Rè (fl. 1607–1629) explore the inmate relaonship between a variety of combinaons, ranging from a 13. Lilia convallium vocal and instrumental performance trio to a full period-instrument orchestra pracce in the Early Modern period. The and vocal consort. The Gonzaga Band is Lilia convallium, vernantes rosae, Lilies of the valley, roses in bloom, ensemble takes its name from the ducal renowned for its innovave programming, aeterni flores nascuntur bi, eternal flowers blossom for You, family of Mantua: the Gonzagas were underpinned by cung-edge research, o pulcherrima Maria. O sweetest Mary. powerful and influenal patrons of the which connually shines new light on Exultet caelum, laetatur terra, Heavens rejoice, and earth be glad, arts in the late Renaissance, who employed the repertoire and its interpretaon. The o Mater dei gloriosa. O glorious Mother of God. Claudio Monteverdi as their maestro della Gonzaga Band has previously released Tu Rosa sine spina, You, thornless Rose, musica at the turn of the seventeenth two albums on the Chandos label to Tu Virgo sine macula, You, immaculate Virgin, century. Monteverdi wrote some of his internaonal crical acclaim: Sacred Tu Imperatrix et Regina, You, Empress and Queen, most innovave music for the Gonzagas: Garland (2009) and Chamber Tu Flos campi, You, Wildflower, Glory of Heaven, his third, fourth and fih books of Vespers (2011). Tu Gloria Paradisi, You, only begoen Mother of God, madrigals, the operas Orfeo and Arianna, Tu Mater Dei unigeni, for whom the Church sings, and of course the Vespers of 1610. For more informaon please visit de quo triumphans et laeta canit Ecclesia. triumphant and happy. www.gonzagaband.com. Performing most oen as a chamber ensemble with a core of soprano voice, Faye Newton enjoys a diverse repertoire Helen Roberts first encountered the corne spanning some six centuries and embracing during postgraduate research in musicology many aspects of the solo voice, from medieval at Birmingham University. Aer inial studies song recitals (with duo Trobairitz), to inmate with Jamie Savan, Helen went on to study at lute song recitals, consort singing, and the Schola Cantorum, Basel under Bruce Baroque opera roles. She has collaborated Dickey, graduang in 2008 with a final with leading period orchestras and choirs concert programme exploring three centuries including: the Amsterdam Baroque Orchestra, of corneo performance pracce. Helen is the Taverner Consort, the Monteverdi String managing editor of Septenary Edions, Band, Caecilia-Concert, the Feinstein Ensemble an innovave online publishing house and the New London Consort (with whom supporng and promong the work of she performed at the BBC Proms and in researchers and editors in the field of acclaimed opera producons by Jonathan historical performance. Alongside a busy Miller). Whilst her musical life is varied, freelance schedule and wide-ranging Faye has a parcular affecon for the research interests, Helen is a member of virtuosic and expressive music of His Majestys Sagbus & Cornes, and Monteverdi and his contemporaries. tours, records and performs regularly with the ensemble throughout the UK, Jamie Savan is a member and occasional Europe and the USA. arsc director of His Majestys Sagbus & Cornes, as well as the founder-director of Oliver Webber has been immersed in the the Gonzaga Band. He is also acve as a solo world of historical performance for twenty- recitalist, and as an orchestral principal with five years, with a parcular interest in the English Baroque Soloists under Sir John the early-seventeenth century. He is the Eliot Gardiner. He has performed with many director of the Monteverdi String Band, other of the world’s leading period- known for their elaborate and informed instrument ensembles, including Concerto producons of the music of Monteverdi Palano, Amsterdam Baroque Orchestra, and his contemporaries, and performs and Bach Collegium Japan to name but a with many of the finest ensembles in few, and enjoys exploring the many facets the field, including guest leading for of his instrument, ranging from Renaissance Monteverdi producons by Andrew Parro improvisaon techniques to new music for and Sir John Eliot Gardiner. He teaches at corne and live electronics. Jamie is lucky the Guildhall School and lectures enough to combine his performing career internaonally; he has also made a with teaching and research as a Senior Lecturer parcular study of Italian literature and in Music at the Royal Birmingham Conservatoire. poetry of the period, and gives specialist

More titles from Resonus Classics vocal coaching at the Royal College Rameau (Resonus) which both received of Music. five-star reviews from BBC Music Magazine, Et in Arcadia ego: Italian Cantatas and Sonatas while Steven’s latest recording of Bach’s Concentus VII Theresa Caudle is well known in the early Italian Concerto was voted Classic FM’s RES10142 music world both as a baroque violinist ‘Connoisseur’s choice’. 2018 sees Steven and cornest, becoming leader of The release Volume 3 of Rameau and record ‘Period-instrument group Concentus VII brings London Corne and Sackbut Ensemble Book 1 of Bach’s Well-Tempered Clavier. vivacious colour to these melodramatic scenes’ whilst sll a teenager in the 1970s. She was Classical Ear a principal member of The Parley of Instruments for twenty-five years and plays with many leading period-instrument ensembles including The London Handel Orchestra, The Sixteen and The Monteverdi Songs of Love, War and Melancholy: String Band. Theresa directs her own Operatic Fantasias by Gallay ensemble, Canzona, leads The Hanover Anneke Scott (natural horn), Steven Devine (piano), Band and regularly directs concerts both Lucy Crowe (soprano) for professional and amateur ensembles. RES10153 Teaching is an important part of Theresa’s Acknowledgements: work; she is a popular tutor on several With thanks to Professor Judith Champ ‘[Anneke Scott’s] playing, and that of Steven Devine, courses and is Arsc Director of the and the Rector of St Mary’s College, has a natural musicality [...] they both apply an easy summer school, Baroque Week. New Osco, Rev. Canon Dr David Oakley. flexibility to the flow of the music.’ Early Music Review Steven Devine enjoys a busy career as a The Gonzaga Band gratefully acknowledges music director and keyboard player working financial support from the ADM Faculty with some of the finest musicians. He is Research Investment Scheme, Birmingham © 2018 Resonus Limited the co-principal keyboard player with the City University. è 2018 Resonus Limited Orchestra of the Age of Enlightenment Recorded in St Mary’s College Chapel, New Oscott, Sutton Coldfield, 12–14 February 2018 and also the principal keyboard player Producer & engineer: Adrian Hunter Executive producer: Adam Binks for The Gonzaga Band, Apollo and Pan, Recorded at 24-bit/96kHz resolution The Classical Opera Company and performs We would addionally like to thank Cover design: David Hughes (www.davidhughesdesign.co.uk) regularly with many other groups Maeo Dalle Frae for his advice on Venean internaonally. He has six solo recordings pronunciaon of ecclesiascal Lan, Professor RESONUS LIMITED – UK to his credit, including Bach’s Goldberg Ronald Woodley for his useful comments [email protected] Variaons (Chandos), hailed by Gramophone on an early dra of the booklet essay, and www.resonusclassics.com as ‘among the best’, and Volumes 1 & 2 of Dr Simon Hall and Robin Bigwood for advice on the complete harpsichord works of the technical setup of the Hauptwerk organ. RES10218