CORO The Sixteen Edition CORO The Sixteen Edition Other Sixteen Edition recordings available on CORO Weihnachts Oratorium Victoria Requiem 1605 J. S. Bach Christmas Oratorio J. S. Bach cor16017 NEW RECORDING corsacd16033 Russell, Wyn-Rogers, Priest, scholar and Padmore, George singer, this remarkable Spaniard epitomised the Cantatas "Superlative, emotion and fervour demonstrating all of Renaissance Europe. 34, 50, 147 The Sixteen's familiar Victoria's lavish Requiem virtues." of 1605 became his most bbc music magazine famous and revered work. GILLIAN FISHER

Esther Allegri Miserere DAVID JAMES G. F. Handel - 2 CDs cor16019 Palestrina: Missa Papae Marcelli, Stabat Mater IAN PARTRIDGE Lotti: Crucifixus Russell, Argenta, cor16014 MICHAEL GEORGE Chance, Randle, Padmore, George "Christophers draws brilliant performances from "...a new golden his singers, both technically age of Handel assured and vividly The Sixteen interpretation." impassioned." The Symphony of Harmony and Invention classical music the guardian THE VOICES OF (canada) HARRY CHRISTOPHERS To find out more about The Sixteen, concert tours, and to buy CDs, visit www.thesixteen.com cor16039 This disc was the direct result of a BBC Proms s Cantor of St. Thomas's School, and Cantata No.50 Nun is das Heil und die Kraft. appearance back in 1990. The controller of Radio 3, Leipzig's Director Musices Bach was This exceptionally powerful choral movement John Drummond, had asked me to perform some Ain charge of music both for the four is almost certainly a lone survivor from a principal churches and that required for lost cantata. Until fairly recently it had been of Bach’s cantatas in the Royal Albert Hall; he had any special occasion such as, for example, assumed that the piece dated from the later felt that, over the years, Proms programming had the annual election of the town council. Leipzig years, but it is probably unwise to neglected Bach and he wanted to address that. It was Between 1723 and 1729 he assembled three assign to it a particular period of composition an inspirational idea and John invited us back the complete annual cycles for the church year, even though, stylistically, it appears to be a following season for more of the same. Although a possibly four, while even a fifth may have work of maturity. Since its text is taken from very difficult venue for this type of music, performing been completed during the 1730s and 1740s. the appointed epistle for St. Michael's Day, Cantatas - Bach himself seldom used the it seems likely that Bach intended it for this in the Albert Hall was to prove a most rewarding term in the context of sacred works of this festival, one that on three other occasions experience, and it was even more of a delight to go kind preferring 'Concerto' or 'Stück' (piece) inspired music which contained pictorial into the rich acoustics of St Jude’s, Hampstead Garden - formed an integral part of the Lutheran imagery of an arresting kind. The epistle Suburb a week later to record the programme. liturgy in Leipzig; their texts were usually begins with the words, "There was war in related to the appointed Gospel and they heaven: Michael and his angels fought against It is the only occasion on disc when I needed a guest leader, so I turned to my good were sung after the Gospel reading before the dragon, and the dragon fought and his friend, Roy Goodman, who has since forsaken the violin for a burgeoning conducting the sermon. angels; and prevailed not, neither was their career. We were fortunate to capture his playing on disc and, quite frankly, one would be Although most of Bach's cantatas date place found any more in heaven. And the from the Leipzig years, mainly between 1723 great dragon was cast out, that old serpent, hard pushed to find in the recording catalogue a more exquisite rendering of the violin and 1729, a significant number belong to called the devil and Satan, which deceiveth obbligato in the soprano aria Bereite dir from Cantata 147. the period between 1708 and 1717 when the whole world; he was cast out into the he was employed at the Weimar court first earth, and his angel were cast out with him..." If you cast your eyes over the choir listing in this booklet, you will notice the names as Hoforganist then as Konzertmeister, too. This colourful story seems to have stirred of two singers who are now enjoying wonderful and richly deserved solo careers. Both Among the Weimar cantatas we find a rich Bach deeply in much the same way as it had Mark Padmore and Christopher Purves sang with The Sixteen for many years after variety of forms and techniques incorporating done Milton over half a century earlier. Here joining the group straight from university; The Sixteen has always been and indeed elements of motet, chorale, strophic aria and we have the only eight-part chorus in the continues to be a source of great and exciting talent. concerto. Their texts were mostly provided entire range of his cantatas. The ceremonial by the Weimar court poet and priest, orchestration consisting of three trumpets, Salomo Franck whose Pietistic inclinations timpani, three oboes, strings and continuo is emphasising subjectivity of thought, intimacy identical with that Bach used for the Sanctus of sentiment and preoccupation with death of the B minor Mass. The eight strand chorus as a longed for release from earthly suffering is presented in a fugue of vast and complex drew fervent musical responses from Bach. architectural splendour. The subject is 2 3 announced initially by the basses of the first colours of the choruses by introducing two and, perhaps the bass aria, too. In this form than the vocal part illustrates images of the group and taken up by the tenor, altos and transverse flutes with muted violins and viola he performed it on the Feast of the Visitation text. The soprano aria with violin obligato lastly the sopranos. As they complete the to accompany the alto voice. Bach's second of Mary the Virgin on July 2nd. The text for provides a lyrically expressive high point seven bar subject the four vocal strand of the biographer, Philipp Spitta, remarked of this the Weimar music was provided by Franck in the work. Here the vocal line suggests a second group enter together presenting the beautiful, transparently textured movement while an unidentified poet, perhaps Bach beguiling innocence and almost child-like initial scheme in inversion whilst all the time "in no part ...can the original bridal feeling himself may have been responsible for the simplicity while the violin, the contours of the movement gains momentum from the pass unnoticed. For its pure and ardent words of the remaining sections of the cantata. whose melody can be found in several other growing profusion of quaver and semi-quaver atmosphere, its magic charm of tone, its lovely The cantata begins with a radiant, of Bach's compositions provides an elaborate motives, culminating in a glittering D major melodies, it is indisputably fitted to rank at the elaborately constructed chorus introduced by accompaniment, predominantly in triplets. close. head of all Bach's works of this kind, and to trumpet fanfares with bassoon, followed by The first part of the cantata concludes with a be considered an unapproachable model". A strings whose divided violin parts are doubled verse of a hymn by Martin Jahn, Jesu, meinem Cantata No.34 O ewiges Feuer, o Ursprung bass recitative follows before a second chorus, by oboes. The vocal element, predominantly Seelen Vonne (1661). Bach's celebrated setting, der Liebe. Although this work belongs similarly scored to the opening one, with fugal, falls into two sections. In the first the inspired by and ingeniously derived from the to Bach's last phase of activity as a sacred brilliantly coloured instrumental figures brings four strands enter from the top downwards chorale melody requires no introduction. cantata composer all its music but that of the the cantata to a festive conclusion. (S-A-T-B), but in the second Bach reverses Part Two begins with a declamatory tenor two unaccompanied recitatives goes back to After Bach's death in 1750 the score of the scheme, starting with the bass strand and aria with a busy continuo accompaniment the mid 1720s when it served as a wedding this cantata passed into the hands first of working upwards. The chorus is masterly and whose initial supplicatory four-note statement cantata. In its later "parody" version, dating his eldest son, Wilhelm Friedemann, then a splendid example of Bach's consummate is taken up by the voice. Here the love of from 1740 or perhaps a little after, Bach into the possession of Anna Amalia (1739- skill in sensitive and affective deployment of Christ is expressed with considerable intensity performed it at Leipzig on Whitsunday. The 1807), Duchess of Saxe-Weimar and niece of vocal instrument resources to create a unified and economy of means. The alto recitative, unidentified librettist, perhaps Bach himself Frederick the Great. She had lively intellectual ensemble. whose vocal line is gently punctuated by was involved, made a skilful adaptation of the interests, above all in literature and music, and The tenor recitative which follows the two oboes da caccia, evokes the atmosphere original text to suit the Whitsuntide Festival. was a noted patron of poets and musicians. opening chorus is accompanied by the strings of Bach's Passion recitatives and contains The opening movement is lavishly scored and is a tenderly expressive piece of writing passages which engagingly colour the words for three trumpets, drums, a pair of oboes, Cantata No.147 Herz und Mund und Tat in striking contrast with the preceding of the text. The last of the arias, for bass with strings and continuo and begins with a und Leben is made up of music both from movement. This meditative, intimate quality trumpet and strings with doubling oboes in brilliant orchestral statement leading into the the Weimar and the Leipzig periods. In its is shared by the alto aria with its vacillating the violin parts is a supple and robust piece chorus O ewiges Feuer. This contrapuntal earlier form Bach intended it for performance rhythmic pattern and warmly coloured oboe proclaiming Christ's wonders. Bach ends the piece is richly coloured, vivid in word-painting in 1716 on the fourth Sunday in Advent; this d'amore accompaniment - an early appearance cantata with another verse of Jahn's hymn in and tautly constructed in da capo form with version lacked recitatives but included the of the instrument in Bach's music. The a setting identical with that which concludes instrumental interludes punctuating the opening chorus and the arias for alto, soprano second recitative of the cantata is for bass Part One. vocal sections. A brief but declamatory tenor and tenor. For the Leipzig performance in but unlike the first is accompanied by basso recitative follows, leading to the cantata's only 1723 Bach added recitatives, the elaborate continuo only. The piece has a marked arioso Nicholas Anderson aria. Here Bach contrasts the instrumental chorale which ends each half of the cantata element and Bach's continuo writing no less 4 5 JOHANN SEBASTIAN BACH (1685-1750) Soloists SOPRANO Gillian Fisher ALTO David James 1 Cantata No.50: Nun ist das Heil und die Kraft 3.49 TENOR Ian Partridge 2 Chorale Prelude: Vater unser im Himmelreich 1.24 BASS Michael George ORGAN Paul Nicholson Cantata No.34: O ewiges Feuer, o Ursprung der Liebe 3 Chorus - O ewiges Feuer, o Ursprung der Liebe 7.20 The Sixteen SOPRANO Fiona Clarke, Ruth Dean, Sally Dunkley, Patricia Forbes, Nicola Jenkin, Carys Lane 4 Recit (Tenor) - Herr, unsre Herzen 0.48 ALTO Robin Barda, Michael Lees, Philip Newton, Christopher Royall 5 Aria (Alto) - Wohl euch, ihr auserwählten Seelen 5.55 TENOR Peter Burrows, Philip Daggett, Duncan MacKenzie, Mark Padmore 6 Recit (Bass) - Erwählt sich Gott 0.32 BASS Simon Birchall, Roger Cleverdon, Christopher Purves, Laurence Whitehead 7 Chorus - Friede über Israel 2.08 8 Chorale Prelude: Allein Gott in der Höh' sei Ehr' 2.32 The Symphony of Harmony and Invention Cantata No.147: Herz und Mund und Tat und Leben VIOLIN Roy Goodman (Guest Leader), Theresa Caudle, Marc Ashley Cooper, James Ellis, Fiona Huggett, Stephen Jones, Jean Paterson, Pauline Smith 9 Chorus - Herz und Mund und Tat und Leben 4.20 bl Recit (Tenor) - Gebenedeiter Mund! 1.49 VIOLA Jane Compton, David Brooker bm Aria (Alto) - Schäme dic, o Seele, nicht 3.46 CELLO Jane Coe, Helen Verney bn Recit (Bass) - Verstockung kann Gewaltige verblenden 1.38 BASS Tim Lyons bo Aria (Soprano) - Bereite dir, Jesu, noch itzo die Bahn 5.25 THEORBO, LUTE Robin Jeffrey bp Chorale - Wohl mir, daß ich Jesum habe 2.38 ORGAN Paul Nicholson bq Aria (Tenor) - Hilf, Jesu, hilf 3.08 FLUTE Rachel Beckett, Utako Ikeda br Recit (Alto) - Der höchsten Allmacht Wunderhand 2.34 OBOE, OBOE DA CACCIA, bs Aria (Bass) - Ich will von Jesu Wundern singen 2.53 OBOE D'AMORE Sophia McKenna, Cherry Forbes, Matthew Dixon bt Chorale - Jesus bleibet meine Freude 2.47 BASSOON Sally Jackson, Julia Cunynghame TRUMPET Crispian Steele-Perkins, David Blackadder, Michael Harrison Total playing time 56.01 TIMPANI Janos Keszei 6 7 Herr, ziehe gnädig ein. Lord enter graciously. CANTATA No.50 Ein solch erwähltes Heiligtum For such a chosen holy shrine Hat selbst den größten Ruhm. Hath e’en the greatest fame. 1 Chorus Nun ist das Heil und die Kraft und das Reich Now is come salvation, and strength, and the und die Macht unsers Gottes seines Christus kingdom of our God, and the power of his Christ: 5 3. Aria (Alto) worden, weil der verworfen ist, der sie for the accuser of our brethren is cast down, Wohl euch, ihr auserwählten Seelen, Rejoice, all ye, the chosen spirits, verklagete Tag und Nacht vor Gott. which accused them before our God day and night. Die Gott zur Wohnung ausersehn. Whom God his dwelling did elect. Revelation 12:10 Wer kann ein größer Heil erwählen? Who can a greater bliss be wanting? Wer kann des Segens Menge zählen? Who can his blessings; number reckon? Und dieses ist vom Herrn geschehn. And this is by the lord fulfilled. CANTATA No.34

3 1. Chorus 6 4. Recitative (Bass) O ewiges Feuer, o Ursprung der Liebe, O fire everlasting, O fountain of loving, Erwählt sich Gott die heilgen Hütten, If God doth choose the holy shelters Entzünde die Herzen und weihe sie ein. Enkindle our hearts now and consecrate them. Die er mit Heil bewohnt, Where he with health doth dwell, Laß himmlische Flammen Let heavenly flames So muß er auch den Segen auf sie schütten, Then must he, too, his blessing pour upon them, durchdringen und wallen, now envelop and flood them, So wird der Sitz des Heiligtums belohnt. And thus the holy temples seat reward. Wir wünschen, o Höchster, We wish now, O Highest, Der Herr ruft über sein geweihtes Haus The Lord proclaims above his hallowed house dein Tempel zu sein, thy temple to be, Das Wort des Segens aus: His word of blessing now: Ach, laß dir die Seelen Ah, let thee our spirits im Glauben gefallen. in faith ever please thee. 7 5. Chorus 4 2. Recitative (Tenor) Friede über Israel. Peace be over Israel. Dankt den höchsten Wunderhänden, Thank the lofty hands of wonder, Herr, unsre Herzen halten dir Lord, these our hearts hold out to thee Dankt, Gott hat an euch gedacht. Thank, God hath you in his heart. Dein Wort der Wahrheit für: Thy word of truth to see: Ja, sein Segen wirkt mit Macht, Yea, his blessing works with might, Du willst bei Menschen gerne sein, Thou wouldst midst mankind gladly be, Friede über Israel, Peace be over Israel, Drum sei das Herze dein; Thus let my heart be thine; Friede über euch zu senden. Peace upon you all he sendeth.

8 9 Soll er dich die seine nennen should he name you as his own CANTATA No.147 Vor des Vaters Angesicht! in the presence of the Father! Part One Doch wer ihn auf dieser Erden Yet whoever on this earth Zu verleugnen sich nicht scheut, fears not to deny him, 9 1. Chorus Soll von ihm verleugnet werden, shall by him be denied, Wenn er kommt zur Herrlichkeit. when he comes to glory. Herz und Mund und Tat und Leben Heart and mind and deed and life Muß von Christo Zeugnis geben must bear witness, Ohne Furcht und Heuchelei, without fear or hypocrisy, bn Daß er Gott und Heiland sei. to Christ as God and Saviour. 4. Recitative (Bass) Verstockung kann Gewaltige verblenden, Obduracy may blind the powerful bl 2. Recitative (Tenor) Bis sie des Höchsten Arm vom Stuhle stößt; till unseated by the arm of the Almighty; Doch dieser Arm erhebt, yet this arm, Gebenedeiter Mund! Blessed voice! Obschon vor ihm der Erde Kreis erbebt, though the world tremble before it, Maria macht ihr Innerstes der Seelen Mary declares her inmost soul Hingegen die Elenden, exalts the wretched, Durch Dank und Rühmen kund; with thanks and praise; So er erlöst. whom he redeems. Sie fänget bei sich an, she recounts to herself 0 hochbeglückte Christen, O most blessed Christians, Des Heilands Wunder zu erzählen, the Saviour’s miracle, Auf, machet euch bereit, arise, make ready; Was er an ihr als seiner Magd getan. which he has realised through her, his handmaiden. Itzt ist die angenehme Zeit, now is the fortunate time, O menschliches Geschlecht, O humankind, Itzt ist der Tag des Heils: now is the day of salvation; Des Satans und der Sünden Knecht, slave to Satan and to sin, Der Heiland heißt the Saviour bids Du bist befreit you are delivered Euch Leib und Geist you array body and soul Durch Christi tröstendes Erscheinen by the solace of Christ’s presence Mit Glaubensgaben rüsten, with offerings of faith; Von dieser Last und Dienstbarkeit! from this burden, this yoke! Auf, ruft zu ihm in brünstigem Verlangen, arise, call to him in fervent longing, Jedoch dein Mund und dein verstockt Gemüte Yet your voice and your obdurate heart Um ihn im Glauben zu empfangen! that you may receive him in faith! Verschweigt, verleugnet solche Güte; disavow, deny such grace; Doch wisse, daß dich nach der Schrift yet know, the Scripture tells Ein allzuscharfes Urteil trifft! of exceeding judgement awaiting you! bo 5. Aria (Soprano) Bereite dir, Jesu, noch itzo die Bahn, Prepare your way even now, Jesus bm 3. Aria (Alto) Mein Heiland, erwähle appoint, my Saviour, Schäme dich, o Seele, nicht, Be not ashamed, O soul, Die gläubende Seele, the faithful soul Deinen Heiland zu bekennen, to acknowledge your Saviour, Und siehe mit Augen der Gnaden mich an! and look on me with eyes of mercy! 10 11 bp 6. Chorale Er wird bewegt, er hüpft und springet, He moves, he leaps and skips Indem Elisabeth das Wunderwerk ausspricht, as Elizabeth gives voice to the miracle, Wohl mir, daß ich Jesum habe, Happy am I that I have Jesus, Indem Mariae Mund der Lippen Opfer bringet. as Mary’s voice delivers her words’ offering. O wie feste halt ich ihn, oh how I shall cleave to him, Wenn ihr, o Gläubige, When you, believers, Daß er mir mein Herze labe, that he may restore my heart des Fleisches Schwachheit merkt, know the weakness of the flesh, Wenn ich krank und traurig bin. when I am ill and in sorrow. Wenn euer Herz in Liebe brennet, when your heart is aflame with love Jesum hab ich, der mich liebet I have Jesus, who loves me Und doch der Mund and yet your voice Und sich mir zu eigen gibet; and makes me his own; den Heiland nicht bekennet, acknowledges the Saviour not, Ach drum laß ich Jesum nicht, ah, I’ll thus not leave Jesus, Gott ist es, der euch kräftig stärkt, it is God who strengthens us; Wenn mir gleich mein Herze bricht. even if my heart should break. Er will in euch des Geistes Kraft erregen, he shall rouse in you the power of the spirit, Ja Dank und Preis auf eure Zunge legen. lay thanks and praise upon your tongue. Part Two bs 9. Aria (Bass) bq 7. Aria (Tenor) Help me, Jesus, help me, that I too may acknowledge Ich will von Jesu Wundern singen I will sing of the wonders of Jesus Hilf, Jesu, hilf, daß ich auch dich bekenne you in well-being and misfortune, in joy and Und ihm der Lippen Opfer bringen, and bring him my words’ offering; In Wohl und Weh, in Freud und Leid, suffering, that I may call you my Saviour Er wird nach seiner Liebe Bund he will impose his love Daß ich dich meinen Heiland nenne in faith and serenity, Das schwache Fleisch, den irdschen Mund on my weak flesh, my mortal voice, Im Glauben und Gelassenheit, that my heart will ever burn with your love. Durch heilges Feuer kräftig zwingen. by his holy fire Daß stets mein Herz von deiner Liebe brenne. Help me, Jesus, help me! Hilf, Jesu, hilf! bt 10. Chorale br 8. Recitative (Alto) Jesus bleibet meine Freude, Jesus remains my joy, Meines Herzens Trost und Saft, the solace and nurture of my heart; Der höchsten Allmacht Wunderhand The wondrous hand of the Almighty Jesus wehret allem Leide, Jesus forfends all suffering; Würkt im Verborgenen der Erden. is at work in the hidden mysteries of the earth. Er ist meines Lebens Kraft, he is the strength of my life, Johannes muß mit Geist erfüllet werden, John the Baptist must be filled with the spirit, Meiner Augen Lust und Sonne, the pleasure and sun of my eyes, Ihn zieht der Liebe Band the bond of love draws him Meiner Seele Schatz und Wonne; the prize and joy of my soul; Bereits in seiner Mutter Leibe, even in his mother’s womb, Darum laß ich Jesum nicht thus I’ll not let Jesus Daß er den Heiland kennt that he may know the Saviour, Aus dem Herzen und Gesicht. from my heart and sight. Ob er ihn gleich noch nicht though he may not yet Mit seinem Munde nennt, name him. Text adapted from Salomo Franck (1659-1725) Translation © Mari Prackauskas 12 13 The Sixteen The Sixteen HARRY CHRISTOPHERS

he Sixteen is recognised as one of the world’s Supporting The Sixteen greatest vocal ensembles. Its special reputation for Tperforming early English polyphony, masterpieces of the Renaissance and a diversity of 20th century music is drawn from the passions of conductor and founder, “As time goes by, I find Harry Christophers’ Harry Christophers. Over ninety recordings reflect The music making more and more captivating.” Sixteen’s quality in a range of work spanning the music BBC RADIO 3 of five hundred years, winning many awards including Grand Prix du Disque for Handel’s Messiah, numerous Over 30,000 people each year hear CORO is the lively and Schallplattenkritik, the coveted Gramophone Award our concerts and so have their lives for Early Music for the Eton Choirbook, and most successful record label of recently the prestigious Classical Brit Award 2005 for enriched by the music-making of The Sixteen, The Symphony ‘Renaissance’. Harry Christophers, The Sixteen of Harmony and Invention The Sixteen tours throughout Europe, Japan, Recording Producers: Mark Brown Australia and the Americas and has given regular Recording Engineer: Antony Howell and The Symphony of Harmony and and Harry Christophers. Recorded at St Jude's on the Hill, Hampstead, 990 Invention. Many thousands more performances at major concert halls and festivals worldwide, including the Barbican Centre, Queen Language Adviser: Franziska Roth enjoy our CD recordings and radio Cover image: V&A Images/ Formed in 2001, CORO is Elizabeth Hall, Sydney Opera House, and Vienna broadcasts. Victoria & Albert Museum re-mastering, re-packaging Musikverein; also the BBC Proms, and the festivals of Photograph of The Sixteen: Mark Harrison and re-issuing recordings Salzburg, Granada, Lucerne and Istanbul. The group Design: RBDA and Andrew Giles There are many ways to support The of The Sixteen that were promotes The Choral Pilgrimage in some of the UK's 2006 The Sixteen Productions Ltd. Sixteen. If you would like to help by finest cathedrals, bringing music back to the buildings © 2006 The Sixteen Productions Ltd. for a short time available for which it was written. The Sixteen also promotes contributing to its work, or would For further information about The Sixteen recordings on Collins Classics, the annual Handel in Oxford Festival, a weekend of on CORO or live performances and tours, like information about membership and making brand new concerts and events dedicated to the life of this great call +44 (0) 1865 793 999 schemes, patronage, specific projects recordings every year. composer. or email [email protected] or business sponsorship, please see The Sixteen is an Associate Artist of London’s South www.thesixteen.com www.thesixteen.com Bank Centre and also well known as the “The Voices of Classic FM”. The Sixteen’s own CD label CORO releases THE VOICES OF the group’s recordings. N 14