Palestrina · Vol.2 Palestrina Giovanni “An Effortlessly Radiant Recording.” BBC Radio 3, CD Review Cor16105

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CORO CORO Giovanni Pierluigi da Palestrina · Vol.2 palestrina Giovanni “An effortlessly radiant recording.” BBC Radio 3, CD Review cor16105

Giovanni Pierluigi da Palestrina · Vol.3 ierluigi da P ierluigi “The Sixteen’s Palestrina cycle may just be a classic in the making.” gramophone cor16106

Giovanni Pierluigi da Palestrina · Vol.4 “What superb advocates The Sixteen turn out to be, from the sensitively shaped Kyrie through the firm yet carefully rendered Gloria.” International Record Review cor16114

Giovanni Pierluigi da Palestrina · Vol.5 “Inspired and grippingly performed.” International Record Review cor16124 Giovanni Pierluigi Giovanni da palestrina The Sixteen volume To find out more about The Sixteen, concert tours, and to buy CDs visit cor16133 www.thesixteen.com Harry Christophers 6

Giovanni Pierluigi da volume concentrating on despair, loneliness and the need for repentance, but also some of palestrina 6 his settings of the Song of Songs. Palestrina published 29 such settings, which he dedicated to Pope Gregory XIII. In that dedication, he apologised, and indeed “blushed and grieved”, for having possessed light and vain ideas in the past (presumably Palestrina’s legacy and impact on sacred music referring to such music as his hugely popular madrigals on profane texts); and he worldwide is second to none. Composers through asserted that he had changed his purpose now by choosing “those poems which have the centuries have studied and learnt from his gift for been written of the praises of our Lord Jesus Christ and his Most Holy Mother the Virgin writing exquisite polyphony. Small wonder then that Mary”. Remember that the Song of Songs comes from that part of the Old Testament arco Borggreve arco he has been called not only ‘the prince and father of which was often considered too sensual and erotic to be read. It was originally Hebrew music’ but also ‘the saviour of church music’. At the love poetry, written down possibly 300 years or so before the birth of Christ, but these final session of the Council of Trent, there were many are texts which in Renaissance times were used in praise of the Virgin Mary. hotograph: M hotograph:

discussions about the use of polyphony and whether P or not it should be banned. In 1607, the composer I have always regarded Palestrina as the master craftsman, whose music composers Agostino Agazzari wrote “music of the older kind is of all ages have attempted to emulate. He shapes his music in a beautifully sonorous no longer in use because of the confusion and Babel way, using a lot of suspensions, but always coming back into the line of the music. of the words.” And he went on to say that this music However, it is this perfect craftsmanship that can sometimes make Palestrina’s music would have come very near to being banished from the holy church by a sovereign sound all too perfect and occasionally academic. We have attempted to achieve real pontiff had notG iovanni Palestrina found the remedy. The price of fame for Palestrina ebb and flow in his music, not clipping the ends of phrases but allowing the music to was that his legacy was to contain as many myths as facts. breathe, to convey the real meaning of the words and making our breaths part of the music as a whole. There is a wealth of word painting in which to indulge especially in Over the next few years, we are going to undertake a series honouring his great art, his Song of Songs motets. Our aim has been to be sensitive to this wonderful poetry recording much unfamiliar but stunning music from every part of his life, giving a and inject an energy and beauty to our performances that I hope goes some way to more accurate picture of his great achievements in music. I hasten to add that we are honour Palestrina as “the celebrated light of music”. not endeavouring to record every note Palestrina penned - that would be more than a lifetime’s work considering he wrote 104 Masses! But what we will do is present each volume based around a single Mass, in this case one of his two settings based around the famous L’homme armé tune, alongside not only some motets and Offertories

2 3 Giovanni Pierluigi da volume alestrina (1525-1594) is perhaps the the New World right up to our own palestrina (1525-1594) 6 Ponly Renaissance composer who time, still retaining a great power to has not needed revival in modern times. move us spiritually, even in concert By the end of his life his reputation and recording, when divorced from the 1 parce mihi, Domine 6.44 outshone all others, to some extent, context for which Palestrina originally it must be said, because he spent his wrote it. 2 peccantem me quotidie 3.57 life in Rome as a servant of the Roman 3 Si ambulavero in medio tribulationis 3.36 Catholic Church, at the centre of power, Palestrina’s musical legacy is prodigious 4 Tribulationes civitatum audivimus 6.17 providing music for the Pope himself – he wrote over 100 Masses and and the then most prestigious group of numerous motets, Magnificats,H ymns 5 Super flumina Babylonis 3.24 singers in the world, the Papal Choir. His and other pieces for all the main feasts SONG OF SONGS: nos. 16-18 musical language derives from Josquin in the church year, as well as for general 6 Surge amica mea 2.32 and his contemporaries through the use. He was fortunate in being able to 7 Dilectus meus mihi 2.47 music of Cristóbal de Morales (1500- have much of this music printed in 8 Surgam et circuibo civitatem 1.59 1553), and he refined and polished his own lifetime, and also to be the his technique to join words and music firstR enaissance composer to have a 9 De profundis clamavi 3.01 with a perfection of expression that complete edition of almost his whole was never surpassed, at least within output published in modern notation MISSA L’Homme Armé the restrictions of his chosen style. in our time. Today some pieces are quite bl Kyrie 3.11 After 1600 there were huge changes in familiar, yet much superb music still bm Gloria 5.36 musical fashions and forms, with the awaits a proper place in the repertoire, bn Credo 7.48 rise of secular music, instrumental and in church or in concert. bo Sanctus 3.52 opera. It is surprising that Palestrina’s bp Benedictus 2.51 music was not forgotten, swept away In 1554 Palestrina, at nearly 30 years bq agnus Dei I & II 5.31 in the flood of new harmonies and of age, published his first book of br Tribularer si nescirem 8.08 ideas. Yet it has continued to be used Masses. The opening item is the in churches throughout Europe and Missa Ecce sacerdos magnus; and the Total Running Time 71.23 4 5 frontispiece of the choirbook shows L’homme armé tune, a popular French the tune as a cantus firmus notated in quick triplets against the already-triple Palestrina kneeling, presenting a copy song of the early 15th century (thought mensuration canons. time of the other voices. In Osanna also to his dedicatee, Pope Julius III. Ten by some to be composed by Antoine the tenor is given the complete melody years earlier, Cristóbal de Morales had Busnois). This was the favourite melody In Palestrina’s Kyrie, the first part of the in its original form. published two books of Masses in used by composers in settings of the tune is prominent in each voice as an Rome: the frontispiece in his second Mass Ordinary through the 1400s and introduction to the tenor, which quotes Palestrina adds another soprano line book shows the same wood cut, but early 1500s and later. The tune is not the phrase in augmented values, in for the second Agnus Dei. Here he with depictions of Morales and his merely strikingly memorable, but it long pedal notes. Christe likewise has pretends to start the cantus firmus in dedicatee, Pope Paul III. Palestrina was is particularly suited to contrapuntal the second part of the tune, prefacing the bass, but this only lasts for four to use the same printer as Morales, writing, especially to the construction its true entry, again in long pedal notes notes. The main statement is again the Roman firm ofV alerio and Aloysio of complex canons. 30 or more in the tenor. The ‘problem’ with a long- in extreme long notes in the tenor, Dorico, for his first three books of Masses immediately spring to mind by note cantus firmus is that the greater surrounded by shapely free-composed Masses (at least for the first editions). composers of the time – anon., Busnois, the augmentation of note values, the counterpoints in the other five voices, Morales had been inspired by the Faugues, Pipelare, La Rue, Dufay, less recognisable the tune; and when making for a magnificent ending to an ground-breaking Liber Quindecim Ockeghem, Carver, Forestier, Basiron, that might also be sung stretched- ambitious and successful Mass on the Missarum of 1516, published by Antico Caron, Obrecht, de Orto, Peñalosa, Regis, out, backwards or upside-down, or L’homme armé tune. in Rome and containing Masses by Vaqueras, Tinctoris, Morales and, most recombined with itself in another voice, Josquin, Fevin, Pipelare, Mouton, La famously, by Josquin Despres. it becomes unrecognisable for listeners We do not know when Palestrina Rue, Brumel and Rosetti. Palestrina was and often tedious for a singer. In this composed his five-voice L’homme armé no doubt influenced by this collection Palestrina published his two settings in Mass however, Palestrina makes sure Mass. There are a handful of manuscript too, but more immediately by Morales 1570 and 1582, in his third and fourth that the other voices always allude to copies, but the only contemporary and his publishing activities, certainly Mass books. The second (unnamed the tune at the beginning of sections; one seems to have been copied from by the Spaniard’s music, which was in the source) paraphrases the tune, and the second Kyrie dispels any the 1570 book. It may be that this is an regularly sung in the Papal Chapel. quoting and reworking it equally in all doubt that this mass is anything other early work – by the end of the century, four voices throughout; whereas the than one on the famous tune, for here mensuration canons were certainly Among the 16 Masses published by first Mass is a much more extrovert Palestrina is inspired to write the tune regarded as very old-fashioned; also Morales in 1544 are two on the famous affair, for five and six voices, using in diminution in the tenor, in effect in pieces modelled on secular tunes

6 7 Palestrina published his two settings in 1570 and 1582, in his third and fourth Mass books. The second Palestrina published his two settings(unnamed in 1570 in andthe source)1582, in paraphrases his third and the fourth tune, Mass quoting books. and The reworking second it equally in all four voices thoughout; (unnamed in the source) paraphrases thewhereas tune, quotingthe first andMass reworking is a much it more equally extrovert in all fouraffair, voices for five thoughout; and six voices, using the tune as a cantus firmus whereas the first Mass is a much more extrovertnotated in affair, mensuration for five andcanons. six voices, using the tune as a cantus firmus notated in mensuration canons. In Palestrina’s Kyrie, the first part of the tune is prominent in each voice as an introduction to the Tenor, In Palestrina’s Kyrie, the first partwhich of the quotes tune is the prominent phrase in in augmented each voice values,as an introduction in long pedal to the notes. Tenor, Christe likewise has the second part of the which quotes the phrase in augmentedtune, values, prefacing in long itspedal true notes. entry, Christe again in likewise long pedal has notes the second in the Tenor. part of The the 'problem' with a long-note cantus firmus tune, prefacing its true entry, again in longis that pedal the notes greater in the the Tenor. augmentation The 'problem' of note with values, a long-note the less cantus recognisable firmus the tune; and when that might also be is that the greater the augmentation of sungnote values,stretched-out, the less recognisablebackwards orthe upside-down, tune; and when or that recombined might also withbe itself in another voice, it becomes sung stretched-out, backwards or upside-down,unrecognisable or recombinedfor listeners andwith often itself tedious in another for a singer.voice, Howeverit becomes in this Mass, Palestrina makes sure that the unrecognisable for listeners and often tediousother voices for a singer. always However allude to in the this tune Mass, at the Palestrina beginning makes of sections; sure that and the the second Kyrie dispels any doubt that other voices always allude to the tune atthis the mass beginning is anything of sections; other and than the one second on the Kyrie famous dispels tune, any for doubt here that Palestrina is inspired to write the tune in this mass is anything other than one ondiminution the famous in thetune, Tenor, for here in effect Palestrina in quick is inspiredtriplets against to write the the already-triple tune in time of the other voices. In Osanna diminution in the Tenor, in effect in quickalso triplets the Tenor against is given the already-triple the complete time melody of the in other its original voices. form.In Osanna also the Tenor is given the complete melodyPalestrina in its original adds form. another soprano line for the second Agnus Dei. Here he pretends to start the cantus firmus Palestrina adds another soprano linein the for Bass, the second but this Agnus only Dei lasts. Here for fourhe pretends notes. The to start main the statement cantus firmus again is in extreme long notes in the Tenor, in the Bass, but this only lasts for four surroundednotes. The mainby shapely statement free-composed again is in extreme counterpoints long notes in the in other the Tenor, five voices, making for a magnificent ending surrounded by shapely free-composed tocounterpoints an ambitious in and the othersuccessful five voices, mass on making the L'homme for a magnificent armé tune. ending to an ambitious and successful mass on the L'homme armé tune. were frowned upon. Yet if the date of the pain of sin, the pain of separation, of Babylonis recorded here, have two publication in 1583/84 and 1613. They We do not know when Palestrinapublication composed has any his significance, five-voice L'hommewe exile. This armé brings Mass. the most There imaginative are a handful of alto parts. The opening phrase of are simply Latin motets, neither too We do not know when Palestrina composed his five-voice L'hommeshould armé takeMass. note There that the are Missa a handful Papae ofmusic from Palestrina, with considerable De profundis clamavi demonstrates long nor too difficult, suitable for the manuscript copies, but the only contemporaryMarcelli, surely one Palestrina’s seems most to have famous been varietycopied in hisfrom treatment. the 1570 As with book. all great It may be so how the composer can set the mood sort of devotional gatherings, public or manuscript copies, but the only contemporarythat this one is an seems early to work have - been by the copied endwork, fromof regardedthe the century, 1570 as the book. mensuration epitome It may of his be canons socomposers, were certainlyhis style can regarded be defined as very old- associated with the meaning of the domestic, encouraged, for example, by mature style, was published in the broadly, but it is more difficult to words: the melody leaps down a fifth, St Philip Neri, who was active in Rome in that this is an early work - by the end offashioned; the century, also mensuration pieces modelled canons on weresecond secular certainly book tunes of M asses,regarded were as earlyfrowned as as very 1567. upon. old- define Yet ifprecisely the date (despite of publication generations has any then an octave upwards; also the the later part of the 16th century. They fashioned; also pieces modelled on secular tunes were frowned upon. YetO ld-fashionedif the date or of not, publication the music of has the anyof music students having had to write tenor entry is answered at the octave are non-liturgical, although they could significance, we should take note thirdthat book the ofMissa Masses Papae must have Marcellae been in ,compositional surely Palestrina's exercises inmost the ‘style famous of work, above by the soprano line. In contrast, be, and were, sung in services. significance, we should take note that the Missa Papae Marcellae, surelydemand, Palestrina's for the volume most was famous reprinted work, Palestrina’): in his greatest works, his Si ambulavero in medio tribulationis regarded as the epitome of his maturein 1599,style, in was partbooks, published five inyears the after second contrapuntal book of Masses,skill becomes as earlyso effortless, as 1567. Old- opens with a slow-moving theme rising Surge amica mea, Dilectus meus mihi regarded as the epitome of his mature style, was published in the second bookPalestrina’s of Masses, death. as H earlyere the as L’homme1567. Old- almost invisible, giving him total calmly stepwise up a fourth, suggestive and Surgam et circuibo civitatem, nos. fashioned or not, the music of the thirdarmé book Mass ofwas Masses ‘modernised’, must ‘simplified’, have been freedom in demand, to respond for the to everyvolume nuance was of reprinted of the certainty of the Lord’s support 16-18 of the set recorded here, are fashioned or not, the music of the third book of Masses must have been in demand,presumably for for the the volume large market was reprintedof the the text. The music becomes an intimate through all difficulties. typical. There is some text repetition in 1599, in partbooks, five years aftersmaller Palestrina's provincial churches,death. Here whose the L'hommeconversation armé between Mass the wasvoices. ‘modernised’, The in Dilectus meus mihi and Surgam et in 1599, in partbooks, five years after Palestrina's death. Here the L'homme armé Mass was ‘modernised’, ‘simplified’, presumably for the largesingers market were ofno thelonger smaller well trained provincial in rhythmic churches, structure whose of eachsingers of the were lines, no longer Palestrina’s 29 motets on texts from circuibo and Palestrina uses much ‘simplified’, presumably for the large market of the smaller provincial churches,the complexities whose singers of the mensural were systemno longer almost never exactly coincident, gives the Song of Songs are also in the the same music in both pieces at the well trained in the complexities of ofthe notation. mensural The cantus system firmus of and notation. all the Thelife to cantus the music, firmus propelling and itall onward. the triple-time, most refined style of the composer’s words: ‘quaesivi illum, et non inveni’. The well trained in the complexities of the mensural system of notation. The cantustriple-time, firmus (save and for allEt resurrexit, the triple-time, Et in maturity. They were written, it seems, rising scalic figuration on the word (save for Et resurrexit, Et in SpiritumSpiritum and and Osanna Osanna, ,in in φ 3/23/2 ) areare now now writtenThe Offertories, universally no fewer in than. One 68 wonders of if in a burst of Counter-Reformation ‘Surge’ was something of a cliché in C (save for Et resurrexit, Et in Spiritum and Osanna, in φ 3/2 ) are now writtenwritten universally universally in in . OOnene wonders wonders if ifthem, were published in two books in zeal, for a particular purpose; and they Renaissance polyphony; Palestrina Palestrina would have approved. Palestrina would haveC approved. 1593, the year before Palestrina’s death. immediately become the most popular uses it elsewhere in his music (e.g. Palestrina would have approved. The Motets and Offertories recorded here are all settings of well-knownA summation texts. of his Theylife’s work, speak they of despair, of his works, remaining so even in Surge illuminare), also here in a less The Motets and Offertories recorded here are all settings of well-knownThe motets texts. and They Offertories speak ofrecorded despair, are consistently fine. They are all for the years immediately after his death. extended version, at ‘Surgam’. loneliness, the fear of death, the needhere for are repentance, all settings of thewell-known pain of texts. sin, thefive pain voices, of separation, mostly with aof second exile. tenor, This brings Palestrina and his audience must have loneliness, the fear of death, the need for repentance, the pain of sin, the painThey of separation,speak of despair, of exile. loneliness, This thebrings Palestrina’s favourite combination, loved them and they were reprinted no Parce mihi, Domine has a bleak text the most imaginative music from fearPalestrina, of death, thewith need considerable for repentance, variety although in hissome, treatment. like Super As flumina with all great fewer than 11 times between their first taken from the Book of Job. Much of the most imaginative music from Palestrina, with considerable variety in his treatment. As with all great composers, his style can be defined8 broadly, but it is more difficult to define precisely (despite generations of 9 composers, his style can be defined broadly, but it is more difficult to define precisely (despite generations of music students having had to write compositional exercises in the “style of Palestrina”): in his greatest works, music students having had to write compositional exercises in the “style of Palestrina”): in his greatest works, his contrapuntal skill becomes so effortless, almost invisible, giving him total freedom to respond to every his contrapuntal skill becomes so effortless, almost invisible, giving him total freedom to respond to every silence before them. Note the Bass here has an extra full bar silence: as if echoing the other voices, it skilfully draws us on, overlapping and restoring the onward motion. Tribularer si nescirem is the longest motet on this CD. In responsory form and in two partes, it has an extensive closing section common to both (“you who called the woman of Canaan ...”). Palestrina constructs his motet around a cantus firmus, an ostinato refrain (“Have mercy on me, O God”). This is a simple six-bar chant-like theme sung by the second altos. In both partes the ostinato is repeated nine times, at the pitch of this recording starting on C, rising each repetition by one step up to G, then falling by step again to C. Use of such structural devices was widespread of course throughout the 15th and 16th centuries by many composers: Guerrero, Victoria and Morales immediately spring to mind with very similar treatments to Palestrina’s. A more complicated related example is provided Josquin’s Missa L’homme armé super voces musicales (printed in 1502) in which the cantus firmus is repeated on every note of the scale from C up to A... and an even more complex scheme, based on Josquin’s Mass, is used by the French Mathurin Forestier (fl.1500) in his L’homme armé Mass. Reading and analysing music on the page is often a rewarding part of the musical experience. But the harmony is coloured by added the madrigalian sense, more a complexitysubtle and ingenuityUse of insuch musical structural construction devices are was by themselvesmusical experience. no guarantee But of complexity musical worth:and the proof flats (perhaps suggesting humility), at accenting of certain words or sections widespread of course throughout ingenuity in musical construction are the opening repetitions of ‘Spare me, of text, which the listener may wellof onlythe music lies inthe the 15thsound and it makes.16th centuries Today Forestier’sby many Massby themselves remains unknown no guarantee except of tomusical specialists; while O Lord’, and later at the series of chords absorb subconsciously. As in PeccantemJosquin two Massescomposers: are acknowledged Guerrero, as greatestVictoria compositions and worth: of their the time.proof Palestrina’sof the music cantuslies in the firmus scheme that highlight ‘I am become burdensome me quotidie the rhythm stills at ‘Fear...’, Morales immediately spring to mind with sound it makes. Today Forestier’s Mass to myself’. again with two long-note inchords, his 5-voice Missavery L’homme similar armétreatments is by comparisonto Palestrina’s. simple remains (in line unknown with later except 16th centuryto specialists; preferences); but dramatised differently this timethe combination by ofA that more with complicated the various relatedcounterpoints example he inventswhile makeJosquin’s his Mass two one M ofasses his greatestare works to In contrast to the extended opening duo the half-bar silence before them. Note is Josquin’s Missa L’homme armé super acknowledged as some of the greatest of Parce mihi, in Peccantem me quotidie that the bass here has an extra full-barsing and to hear. voces musicales (printed in 1502) in compositions of their time. Palestrina’s all the voices enter in quick succession at silence: as if echoing the other voices, it which the cantus firmus is repeated on cantus firmus scheme in his five-voice short intervals, giving the music a sense skilfully draws us on, overlapping and every note of the scale from C up to A; Missa L’homme armé is by comparison of urgency: the numerous repetitions restoring the onward motion. Martyn Imrie. Marchand an2015 even more complex scheme, simple (in line with later 16th-century of ‘I sin daily’ and ‘have no remorse’ based on Josquin’s Mass, is used by the preferences); but the combination of emphasise the supplicant’s uneasy state Tribularer si nescirem is the longest Frenchman Mathurin Forestier (fl.1500) that with the various counterpoints of mind. He freezes momentarily at motet on this CD. In responsory© formCopyright 2015 in Vanderbeek his L’homme &armé Imrie Mass. Ltd he invents make his Mass one of his ‘Fear...’, set to two long-note chords; the and in two partes, it has an extensive greatest works to sing and to hear. rhythmic pulse recovers at ‘... of death closing section common to both (‘Thou Reading and analysing music on the disturbs me’, where Palestrina disturbs who calledst the woman of Canaan...’). page is often a rewarding part of the Martyn Imrie © 2015 the harmony, again by adding a flat. Palestrina constructs his motet around a cantus firmus, an ostinato refrain (‘Have fg• g f g Tribulationes civitatum audivimus is mercy on me, O God’). This is a simple f g g f g f d f 3 L'ome, l'ome, l'ome arme, l'omeGG arme, l'omeG GG arme doibt on doub-ter, doibtGGG on doubter. a Responsory at Matins for the Dead. six-bar chant-like theme sung by the Palestrina’s motet setting of this text second altos. In both partes the ostinato f f f f f f f f f • f opens with a subtle emphasis on the is repeated nine times, at the pitch of G G G G G G G G G G first word, ‘Tribulation’, which he spreads this recording starting on C, rising each On a fait par tout cri-er que chas-cun se viengne ar-mer d'un hau-bre-gon de fer. out over no fewer than four bars in repetition by one step up to G, then long notes. This is not word painting in falling by step again to C. fgfg• g g f g f g f S L'ome, l'ome, l'ome arme, l'omeGG arme, l'omeG GG arme doibt on doub-ter, 10 11 alestrina (1525-1594) è probabilmente continuato ad essere usata in chiese in brano d’apertura è il Missa Ecce sacerdos L’homme armé, un brano popolare Pl’unico compositore rinascimentale al tutta Europa e nel nuovo continente fino magnus e il frontespizio del corale francese dell’inizio del quindicesimo quale non è occorso un revival in tempi ai nostri giorni, mantenendo un grande ritrae Palestrina inginocchiato mentre secolo (attribuito da alcuni ad Antoine moderni. Già all’epoca della sua morte potere di commuoverci spiritualmente, porge una copia del libro a papa Giulio Busnois). Questa era la melodia prediletta egli godeva di una reputazione che anche in concerti e registrazioni, separata III, al quale l’opera era dedicata. Dieci dai compositori nella scrittura della offuscava ogni altra.V a detto che fino dal contesto per il quale Palestrina anni prima Cristóbal de Morales aveva Messa Ordinaria nel quattordicesimo e a un certo punto questo era dovuto al originariamente la scrisse. pubblicato a Roma due libri di messe, il quindicesimo secolo. Il motivo non è solo fatto che Palestrina visse a Roma come frontespizio del secondo presentava la sorprendentemente orecchiabile, ma servitore della chiesa cattolica romana, L’eredità musicale di Palestrina è stessa incisione, che però ritraeva Morales particolarmente adatto alla composizione nel cuore del potere, fornendo musica prodigiosa: egli scrisse più di cento messe e papa Paolo III come ricevente. Palestrina in contrappunto, specialmente per per il papa stesso e per quello che allora e numerosi mottetti, magnificat, inni e si avvalse dello stesso stampatore, la la costruzione di canoni complessi. era il più prestigioso gruppo vocale del altri brani per ogni festività e ricorrenze ditta di Valerio e Aloysio Dorico, per i suoi Saltano subito alla mente trenta o più mondo, il coro papale. Il suo linguaggio dell’anno ecclesiastico così come per primi tre libri di messe (perlomeno per la messe di compositori del periodo come musicale deriva da Josquin e i suoi uso generico. Palestrina ebbe la fortuna loro prima edizione). Morales era stato Busnois, Faugues, Pipelare, La Rue, Dufay, contemporanei, attraverso la musica di di vedere gran parte della sua musica ispirato dal rivoluzionario Liber Quindecim Ockeghem, Carver, Forestier, Basiron, Cristóbal de Morales (1500-1553), di cui pubblicata nel corso della sua vita, e Missarum del 1516, pubblicato da Antico Caron, Obrecht, de Orto, Peñalosa, Regis, Palestrina raffinò la tecnica unendo testi di essere anche il primo compositore a Roma e contenente messe di Josquin, Vaqueras, Tinctoris, Morales, anonimo e, e musica in una perfezione espressiva rinascimentale ad avere un’edizione Fevin, Pipelare, Mouton, La Rue, Brumel e meglio noto, Josquin Despres. che non fu mai più superata, per lo meno completa di quasi tutto il suo repertorio Rosetti. Anche Palestrina fu senza dubbio all’interno delle restrizioni dello stile da in notazione moderna ai giorni nostri. influenzato da queste composizioni, ma Palestrina pubblicò le sue due versioni lui scelto. Dopo il 1600 si verificarono Oggi alcuni brani sono ben noti, ma molti più direttamente ancora dalle edizioni di nel 1570 e nel 1582, nel terzo e quarto dei profondi cambiamenti di forme e altri di grande qualità ancora attendono Morales, e dalla musica dello spagnolo suoi libri di messe. Il secondo (senza titolo mode musicali, con l’espansione della di trovare un posto appropriato nel che veniva eseguita regolarmente nella nella fonte) fa una parafrasi del motivo, musica laica, strumentale e operistica. E’ repertorio, in chiesa o in concerto. cappella papale. citandolo e rielaborandolo in egual misura sorprendente che la musica di Palestrina nelle quattro voci in tutta la durata; la non sia stata dimenticata, spazzata via dal Nel 1554 Palestrina, quasi trentenne, Tra le 16 messe pubblicate da Morales nel prima messa è invece un’interpretazione diluvio di nuove idee ed armonie, anzi, ha pubblicò il suo primo libro di messe. Il 1544 ve ne sono due basate sul famoso molto più estroversa, per cinque e sei voci,

12 13 Palestrina published his two settings in 1570 and 1582, in his third and fourth Mass books. The second Palestrina published his two(unnamed settings in in 1570 the andsource) 1582, paraphrases in his third the and tune, fourth quoting Mass books.and reworking The second it equally in all four voices thoughout; (unnamed in the source) paraphraseswhereas the tune, the firstquoting Mass and is areworking much more it equallyextrovert in affair,all four for voices five and thoughout; six voices, using the tune as a cantus firmus whereas the first Mass is a much morenotated extrovert in mensuration affair, for fivecanons. and six voices, using the tune as a cantus firmus notated in mensuration canons. In Palestrina’s Kyrie, the first part of the tune is prominent in each voice as an introduction to the Tenor, In Palestrina’s Kyrie, the firstwhich part of quotes the tune the is phrase prominent in augmented in each voice values, as an in introductionlong pedal notes. to the ChristeTenor, likewise has the second part of the which quotes the phrase in augmentedtune, values, prefacing in long its true pedal entry, notes. again Christe in long likewise pedal notes has the in the second Tenor. part The of 'problem'the with a long-note cantus firmus tune, prefacing its true entry, again isin thatlong the pedal greater notes the in the augmentation Tenor. The 'problem'of note values, with a long-notethe less recognisable cantus firmus the tune; and when that might also be is that the greater the augmentationsung of note stretched-out, values, the lessbackwards recognisable or upside-down, the tune; and whenor recombined that might alsowith be itself in another voice, it becomes sung stretched-out, backwards orunrecognisable upside-down, foror listenersrecombined and oftenwith tediousitself in for another a singer. voice, However it becomes in this Mass, Palestrina makes sure that the unrecognisable for listeners and oftenother tedious voices for always a singer. allude However to the intune this at Mass, the beginning Palestrina of makes sections; sure andthat thethe second Kyrie dispels any doubt that other voices always allude to the tunethis at mass the beginning is anything of sections;other than and one the on second the famous Kyrie dispelstune, for any here doubt Palestrina that is inspired to write the tune in this mass is anything other than onediminution on the famous in the Tenor, tune, forin effecthere Palestrina in quick triplets is inspired against to thewrite already-triple the tune in time of the other voices. In Osanna diminution in the Tenor, in effect inalso quick the triplets Tenor againstis given the the already-triple complete melody time of in the its otheroriginal voices. form. In Osanna also the Tenor is given the complete melody in its original form. 14 Palestrina adds another soprano line for the second Agnus Dei. Here he pretends to start the cantus15 firmus Palestrina adds another sopranoin the line Bass, for the but second this only Agnus lasts Dei for. Here four henotes. pretends The mainto start statement the cantus again firmus is in extreme long notes in the Tenor, in the Bass, but this only lasts for foursurrounded notes. The by shapelymain statement free-composed again is counterpoints in extreme long in notesthe other in the five Tenor, voices, making for a magnificent ending che impiega il motivo come cantus firmus in effetti in rapide terzine contro il tempo motivi popolari erano mal viste. Eppure, parlano di disperazione, solitudine, della notato in canonisurrounded mensurali. by shapely free-composedgià ternarioto per an le counterpoints altreambitious voci. Nell’ andOsanna in successfulthe other five massse voices,la ondata the makingdi L'homme pubblicazione for aarmé magnificent significa tune. pauraending della morte, della necessità del to an ambitious and successfulanche almass tenore on è theassegnata L'homme la melodia armé tune. qualcosa, dovremmo notare che la Missa pentimento, del dolore per il peccato, Nel Kyrie di Palestrina la prima parte del completa nella sua formaWe do originale. not know when PalestrinaPapae Marcellae composed, sicuramente his five-voice il lavoro L'hommeper la separazione, armé Mass. per Therel’esilio. areTutto a handful of motivo è prominenteWe in dociascuna not know voce when Palestrina composed his five-voice L'hommepiù celebre armé di P Mass.alestrina There e considerata are a handfulquesto of produce la musica più fantasiosa come introduzione al tenore, che cita Palestrina aggiungemanuscript una secondacopies, parte but the only contemporarycome l’apice del one suo seemsstile maturo, to have fu beendi Pcopiedalestrina, fromcon notevole the 1570 varietà book. nel It may be so la frase con manuscriptvalori aumentati copies, e lunghe but theper only soprano contemporarythat nel this secondo is an one earlyAgnus seems workDei to. have- by beenthepubblicata end copied of the nelfrom century,secondo the 1570 libro mensuration book.di messe, It may canonssuo be trattamento. so were certainly Come con tuttiregarded i grandi as very old- note di pedale. Allo stesso modo Christe Qui egli finge di iniziare il cantus firmus probabilmente già nel 1567. Fuori moda compositori il suo stile può essere contiene la thatseconda this parteis an delearly motivo, work -col by basso, the endfashioned;ma ofquesto the century,dura also solamente pieces mensuration modelled canons oon meno, secular were la musica certainlytunes del were terzoregarded frowned libro dias veryupon.definito old- Yet a grandiif the linee, date ma ofdiviene publication difficile has any a prefazionefashioned; del suo vero also inizio, pieces anche modelledquattro note. on secularLa frase principaletunes were anche frowned upon.messe Yet deve if esserethe date stata of grandemente publication hasdefinirlo any più precisamente (nonostante questo in lunghe note di pedale del qui si presentasignificance, con note molto we lungheshould take noterichiesta, that consideratothe Missa che Papae il volume Marcellae fu generazioni, surely di Palestrina's studenti abbiano most dovuto famous work, tenore. Il “problema”significance, di un cantus we firmusshould takeper il tenore,note thatcircondate the Missada contrappunti Papae Marcellaeristampato, surely nelPalestrina's 1599, in collezionimost famous di scrivere work, esercizi di composizione nello a note lunghe è che più si incrementa di forma liberaregarded per le altreas the cinque epitome voci, of his maturepartiture, style, cinque was anni published dopo la inmorte the second“stile di book Palestrina”): of Masses, nei suoi as lavoriearly più as 1567. Old- il valore delleregarded note meno as theil motivo epitome è ofrisultando his mature in un style, magnifico was published finale per in the seconddi Palestrina. book of Qui Masses, la messa as dell’ earlyhomme as 1567. importanti Old- la sua abilità nel contrappunto riconoscibile, e qualora questo venga un’ambiziosafashioned e ben riuscita or messa not, thebasata music of thearmé third era book “modernizzata”, of Masses “semplificata”,must have been è spontanea, in demand, quasi for invisibile, the volume dandogli was reprinted fashioned or not, the music of the third book of Masses must have been in demand, for the volume was reprinted anche cantato in esteso, o retrogrado, o sul motivo dell’in homme1599, arméin partbooks,. five yearspresumibilmente after Palestrina's per il grande death. mercato Here theuna L'homme libertà totale armé nel rispondere Mass was ad ogni ‘modernised’, inverso, o ricombinato con se stesso in una delle più piccole chiese provinciali, i cui sfumatura del testo. La musica diventa in 1599, in partbooks, five years after Palestrina's death. Here the L'homme armé Mass was ‘modernised’, voce diversa, diviene irriconoscibile per gli Non sappiamo‘simplified’, quando presumablyPalestrina for the largecantori marketdell’epoca of non the erano smaller più preparati provincial un’intima churches, conversazione whose tra singers le voci. were La no longer ascoltatori e spesso‘simplified’, noioso per presumably l’esecutore. forcompose the large la sua market versione of a cinquethe smaller voci provincialalle churches,complessità whosedel sistema singers di notazione were nostruttura longer ritmica di ciascun rigo, quasi mai Ad ogni modo nella sua messa Palestrina della messawell L’homme trained armé. inNe the esistono complexities ofdel thecanone mensural mensurale. system Il cantus of firmus notation. e esattamente The cantus coincidente, firmus donaand allvita thealla triple-time, si assicura chewell che trainedle altre voci in thealludano complexities alcune copieof the manoscritte, mensural masystem l’unica of notation.tutti The i tempi cantus ternari firmus (eccetto and per Et all resurrexit the triple-time,, musica, spingendola in avanti. sempre al motivo all’inizio delle sezioni, e contemporanea(save pare for Etessere resurrexit, copiata Et in SpiritumEt in Spiritum and Osanna e Osanna,, in in φ 3/23/2 ) sonoare now written universally in . One wonders if C il secondo Kyrie(save dissipa for qualsiasiEt resurrexit, dubbio Etdall’edizione in Spiritum del and1570. Osanna Può darsi, in cheφ 3/2 ) are nowora written universalmente universally notati inin . C’èOne da wonders Gli offertori, if non meno di 68, furono che questa messa non possa essere altro si tratti di unPalestrina lavoro di gioventù:would haveper la approved.chiedersi se Palestrina avrebbe approvato.C pubblicati in due volumi nel 1593, l’anno Palestrina would have approved. che basata sul famoso motivo, poichè qui fine del secolo i canoniThe Motetsmensurali anderano Offertories recorded here are all settings of primawell-known della morte texts. di P alestrina.They speak Come of despair, Palestrina è ispirato Thea scrivere Motets il motivo and Offertoriessicuramente recorded considerati herefuori moda;are all allo settings of Iwell-known mottetti e offertori texts. presentati They speakqui sono of despair,una summa del lavoro della sua vita, nella parte del tenore in diminuzione, e stesso modoloneliness, composizioni the basatefear of su death, the needinterpretazioni for repentance, di testi benthe painnoti. ofEssi sin, questi the pain avevano of separation, una rifinitura of exile.di gran This brings loneliness, the fear of death, the need for repentance, the pain of sin, the pain of separation, of exile. This brings 14 the most imaginative music from Palestrina, with considerable variety in his treatment. As with15 all great the most imaginative music from Palestrina, with considerable variety in his treatment. As with all great composers, his style can be defined broadly, but it is more difficult to define precisely (despite generations of composers, his style can be defined broadly, but it is more difficult to define precisely (despite generations of music students having had to write compositional exercises in the “style of Palestrina”): in his greatest works, music students having had to write compositional exercises in the “style of Palestrina”): in his greatest works, his contrapuntal skill becomes so effortless, almost invisible, giving him total freedom to respond to every his contrapuntal skill becomes so effortless, almost invisible, giving him total freedom to respond to every spessore. Sono tutti per cinque voci, immediatamente seguenti la sua morte. musica (ad esempio Surge illuminare) Tribulationes civitatum audivimus generalmente con un secondo tenore, Palestrina e il suo pubblico devono anche qui in una versione meno è un responsorio mattutino per i la combinazione preferita da Palestrina, aver amato questi mottetti che furono estesa in corrispondenza di ‘Surgam’. morti. La versione per mottetto che nonostante alcuni, come Super flumina ristampati non meno di 11 volte tra la Parce mihi, Domine ha un testo Palestrina fa di questo testo apre con Babylonis presentata qui, abbiano due loro prima edizione del 1583/84 e il 1613. tristissimo tratto dal Libro di Giobbe. una sottile enfasi sulla prima parola parti per contralto. La frase di apertura di Questi sono semplicemente mottetti in Gran parte dell’armonia è colorata da ‘Tribolazione’, che egli estende su non De profundis clamavi dimostra come il latino, non troppo lunghi o difficili, adatti bemolle aggiunti (probabilmente a meno di quattro misure in note lunghe. compositore sia in grado di rappresentare alle congregazioni devozionali, pubbliche suggerire umiltà), in corrispondenza della Questo non è un dipingere con le lo stato d’animo associato al significato o domestiche, incoraggiate ad esempio ripetizione in apertura di ‘Risparmiami o parole nel senso del madrigale, ma più delle parole: la melodia balza giù di una da San Filippo Neri, che era attivo a Signore’ e più avanti della serie di accordi una sottile accentuazione di certe parole quinta, poi sale di un’ottava; e così l’entrata Roma nella tarda parte del sedicesimo che sottolineano la frase ‘Sono divenuto o sezoni del testo, che l’ascoltatore può del tenore ottiene risposta un’ottava più in secolo. Essi non sono liturgici, nonostante un peso per me stesso’. facilmente assorbire inconsciamente. alto dal motivo del soprano. In contrasto potrebbero esserlo, ed erano in effetti Come in Peccantem me quotidie il ritmo si Si ambulavero in medio tribulationis cantati durante funzioni. In contrasto con l’esteso duo d’apertura cristallizza in ‘Paura…’, di nuovo con due apre con un tema lento che si muove di Parce Mihi, in Peccantem me quotidie accordi a note lunghe, drammatizzato lentamente verso l’alto con un intervallo Surge amica mea, Dilectus meus mihi tutte le voci fanno ingresso in rapida differentemente questa volta dal silenzio di quarta, suggerendo la certezza e Surgam et circuibo civitatem, tracce successione a brevi intervalli, dando alla di mezza misura che li precede. Notate dell’aiuto del Signore nelle difficoltà. 16-18 di questa registrazione, sono musica un senso di urgenza: le numerose che il basso qui ha una intera misura di esemplari. C’è qualche ripetizione nel ripetizioni di ‘pecco quotidianamente’ silenzio in più: come se facesse eco alle Anche i 29 mottetti di Palestrina, basati testo in Dilectus meus mihi e Surgam e ‘non provo rimorso’ enfatizzano lo altre voci, ci trascina magistralmente su testi dal Cantico dei Cantici, sono et circuibo e Palestrina impiega stato d’animo turbato del supplicante. avanti, sovrapponendosi e ripristinando nel più raffinato stile della maturità del pressoché la stessa musica in entrambe Egli si blocca momentaneamente il movimento in progressione. compositore. Pare che furono scritti in alle parole: ‘quaesivi illum, et non a ‘Paura…’ posto su due accordi a un’esplosione di zelo contro-riformista, inveni’. La figura in scala ascendente note lunghe, la pulsazione ritmica Tribularer si nescirem è il più lungo per uno scopo specifico, e divennero nella parola ‘Surge’ era una sorta di riprende a ‘…della morte mi turba’ dove mottetto in questo CD. In forma di immediatamente i più popolari dei suoi cliché nella polifonia rinascimentale; Palestrina disturba l’armonia, di nuovo responsorio e in due partes, ha una lavori, rimanendo tali anche negli anni Palestrina la usa altrove nella sua aggiungendo un bemolle. sezione di chiusura estesa comune ad

16 17 entrambe (‘tu che chiamasti la donna Mathurin Forestier (attivo nel 1500) nella di Cana…’). Palestrina costruisce il suo sua messa L’homme armé. mottetto intorno ad un cantus firmus, un ritornello ostinato (‘abbi pietà di me, o Leggere e analizzare la musica sulla sua Dio’). Questo è un semplice motivo di sei partitura è spesso una parte di grande misure cantato dai secondi contralti. In soddisfazione dell’esperienza musicale. entrambe le partes l’ostinato è ripetuto Ma la complessità e l’ingegno nella Texts & Translations nove volte, iniziando da Do nella costruzione musicale non sono di per sé tonalità di questa registrazione, salendo una garanzia di valore musicale: la prova 1 Parce mihi, Domine ad ogni ripetizione di un grado, fino a risiede nel suono che la musica produce. Sol, quindi discendendo gradualmente Oggi la messa di Forestier rimane Parce mihi, Domine: Spare me, O Lord, di nuovo a Do. sconosciuta se non agli specialisti, mentre nihil enim sunt dies mei. for my days are nothing. le due messe di Josquin sono riconosciute Quid est homo, quia magnificas eum, What is man, that Thou magnifiest him: L’uso di questi espedienti strutturali come due tra le più grandi composizioni aut quid apponis erga eum cor tuum? or why settest Thou Thy heart toward him? chiaramente era comune a molti del loro tempo. Lo schema di cantus Visitas eum diluculo, Thou dost visit him early in the morning, et subito probas illum. and suddenly Thou provest him. compositori nel quindicesimo e firmus che Palestrina impiega nella sua Usquequo non parcis mihi, How long dost Thou not spare me, sedicesimo secolo: Guerrero, Victoria e Missa L’homme armé a cinque voci è nec dimittis me ut glutiam salivam meam? nor suffer me, that I swallow my spittle? Morales vengono subito in mente con semplice al confronto (in accordo con le Peccavi; quid faciam tibi, I have sinned; what shall I do to Thee, arrangiamenti molto simili a quelli di preferenze del tardo sedicesimo secolo); O custos hominum? O keeper of men? Palestrina. Un esempio simile ma più ma la combinazione del cantus firmus Quare posuisti me contrarium tibi, Why hast Thou set me contrary to Thee, complesso è quello fornito dalla Missa con i vari contrappunti che egli inventa fa et factus sum mihi metipsi gravis? and I am become burdensome to myself? L’homme armé super voces musicales di questa messa uno dei suoi più grandi Cur non tollis peccatum meum Why dost Thou not take away my sin, (pubblicata nel 1502) di Josquin, nella lavori da cantare ed ascoltare. et quare non aufers and why dost Thou not take away quale il cantus firmus è ripetuto su ogni iniquitatem meam? mine iniquity? nota della scala da Do a La e un ancor più Martyn Imrie © 2015 Ecce nunc in pulvere dormiam, Behold now I shall sleep in the dust, et si mane me quaesieris, and if Thou seek me in the morning, complesso schema, basato sulla messa Italian Translation non subsistam. I shall not be. di Josquin, è impiegato dal francese Roberto Battista © 2015

18 19 palestrina palestrina

2 Peccantem me quotidie 5 Super flumina Babylonis Peccantem me quotidie, I sin daily Super flumina Babylonis, By the waters of Babylon, et non me paenitentem. and have no remorse. illic sedimus, et flevimus, there we sat down and wept Timor mortis conturbat me: The fear of death disturbs me, dum recordaremur tui Sion. while we remembered thee, O Zion. quia in inferno nulla est redemptio, for there is no redemption in Hell. miserere mei Deus, et salva me. Have mercy on me, Lord, and save me.

3 Si ambulavero in medio tribulationis Song of Songs • nos. 16-18 Si ambulavero in medio tribulationis, If I walk in the midst of tribulation, vivificabis me, Domine: Thou wilt sustain me, Lord; et super iram inimicorum meorum and against the wrath of my enemies, 6 Surge amica mea extendes manum tuam, Thou liftest Thy hand, Surge, amica mea, Arise, my love, et salvum me fecit dextera tua. and I am saved by Thy right hand. speciosa mea, et veni; my beauteous one, and come; columba mea, in foraminibus petrae, my dove, in the clefts of the rock, 4 in cavernae maceriae, in the hollow of the cliff, Tribulationes civitatum audivimus ostende mihi faciem tuam, show me thy face; Tribulationes civitatum audivimus We have heard of the tribulations of the cities sonet vox tua in auribus meis; let thy voice sound in my ears: quas passae sunt, et defecimus. which they have suffered, and we have felt weak. vox enim tua dulcis, for sweet is thy voice Timor et hebetudo mentis cecidit super nos Fear, and dullness of mind, have fallen upon us et facies tua decora. and thy face is comely. et super liberos nostros. and on our children. Domine miserere. O Lord, have mercy. Peccavimus cum patribus nostris, We have sinned like our forefathers, iniuste egimus, we have acted unjustly iniquitatem fecimus. and carried out iniquitous acts. Domine miserere. O Lord, have mercy.

20 21 palestrina palestrina

7 Dilectus meus mihi 9 De profundis clamavi

Dilectus meus mihi, et ego illi, My beloved is mine, and I his, De profundis clamavi ad te Domine: Out of the depths I have cried unto Thee, O Lord. qui pascitur inter lilia: who feedeth among the lilies Domine exaudi orationem meam. Lord, hear my prayer. donec aspiret dies, et inclinentur umbrae. till the day break, and the shadows fall. De profundis clamavi ad te Domine. Out of the depths I have cried unto Thee, O Lord. Revertere similis esto dilecte mi capreae Return, my love, be like to a roe, hinnuloque cervorum or to a young hart super montes Bether. upon the mountains of Bether. In lectulo meo per noctes In my bed at night, quaesivi quem diligit anima mea, I sought him whom my soul doth love; Missa L’HOMME ARMÉ quaesivi illum, et non inveni. I sought him and I found him not. bl Kyrie 8 Surgam et circuibo civitatem Kyrie eleison. Lord, have mercy on us. Surgam et circuibo civitatem, I will arise and go about the city, Christe eleison. Christ, have mercy on us. per vicos et plateas through the streets and broad ways Kyrie eleison. Lord, have mercy on us. quaeram quem diligit anima mea: I will seek him whom my soul doth love; quaesivi illum, et non inveni. I sought him and I found him not. bm Gloria Gloria in excelsis Deo. Glory be to God on high. Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. Laudamus te, benedicimus te, We praise Thee, we bless Thee, adoramus te, glorificamus te. we worship Thee, we glorify Thee. Gratias agimus tibi We give thanks to Thee propter magnam gloriam tuam. for Thy great glory. Domine Deus, Rex caelestis, Lord God, heavenly King, Deus Pater omnipotens. God the Father almighty. 22 23 palestrina palestrina

Domine Fili unigenite, Iesu Christe. O Lord, the only-begotten Son, Jesus Christ. per quem omnia facta sunt. by Whom all things were made. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Qui, propter nos homines, Who for us men, Qui tollis peccata mundi, Thou that takest away the sins of the world, et propter nostram salutem, and for our salvation, miserere nobis. have mercy upon us. descendit de caelis. came down from heaven. Qui tollis peccata mundi, Thou that takest away the sins of the world, Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost suscipe deprecationem nostram. receive our prayer. ex Maria virgine, et homo factus est. of the Virgin Mary and was made man. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of the Father, Crucifixus etiam pro nobis And was crucified also for us miserere nobis. have mercy upon us. sub Pontio Pilato; under Pontius Pilate. Quoniam tu solus Sanctus, For Thou only art holy, passus et sepultus est. He suffered and was buried. tu solus Dominus, Thou only art the Lord, Et resurrexit tertia die, And the third day He rose again tu solus Altissimus Iesu Christe. Thou only art the most high, Jesus Christ. secundum scripturas; according to the scriptures; Cum Sancto Spiritu With the Holy Spirit et ascendit in caelum, and ascended into heaven, in gloria Dei Patris. Amen. in the glory of God the Father. Amen. sedet ad dexteram Patris. and sitteth at the right hand of the Father. Et iterum venturus est cum gloria And He shall come again with glory iudicare vivos et mortuos, to judge both the quick and the dead; bn Credo cuius regni non erit finis. whose kingdom shall have no end. Et in Spiritum Sanctum And I believe in the Holy Ghost, Credo in unum Deum I believe in God Dominum et vivificantem, the Lord and giver of life, Patrem omnipotentem, the Father almighty, qui ex Patre Filioque procedit; Who proceedeth from the Father and the Son; factorem caeli et terrae, Maker of heaven and earth, qui cum Patre et Filio simul Who with the Father and the Son together visibilium omnium et invisibilium. and of all things visible and invisible. adoratur et conglorificatur; is worshipped and glorified; Et in unum Dominum, Iesum Christum, And in one Lord, Jesus Christ, qui locutus est per Prophetas. Who spake by the prophets. Filium Dei unigenitum, the only begotten Son of God, Et unam sanctam catholicam And I believe in one holy, catholic et ex Patre natum ante omnia saecula. begotten of His Father before all worlds. et apostolicam ecclesiam. and apostolic Church. Deum de Deo, lumen de lumine, God of God, Light of Light, Confiteor unum baptisma I acknowledge one baptism Deum verum de Deo vero, very God of very God, in remissionem peccatorum. for the remission of sins. genitum, non factum, begotten, not made, Et expecto resurrectionem mortuorum And I look for the resurrection of the dead consubstantialem Patri, being of one substance with the Father, et vitam venturi saeculi. Amen. and the life of the world to come. Amen.

24 25 palestrina palestrina bo Sanctus br Tribularer si nescirem Sanctus, Sanctus, Sanctus Holy, Holy, Holy Tribularer si nescirem I would be downcast if I knew not Dominus Deus Sabaoth. Lord God of hosts. misericordias tuas, Domine. of Thy mercies, Lord. Pleni sunt caeli et terra gloria tua. Heaven and earth are full of Thy glory. Tu dixisti: Nolo mortem peccatoris, Thou saidst: I desire not the death of a sinner Osanna in excelsis. Hosanna in the highest. sed ut magis convertatur but that he should turn away from his wickedness et vivat. and live. Qui Cananeam et publicanum Thou who calledst the woman of Canaan vocasti ad paenitentiam. and the publican to repentance. bp Benedictus Secundum multitudinem dolorem meorum On account of the multitudinous sorrows in corde meo, in my heart, Benedictus qui venit Blessed is He that cometh consolationes tuae Thy consolations in nomine Domini. in the name of the Lord. laetificaverunt animam meam. fill my soul with joy. Osanna in excelsis. Hosanna in the highest. Qui Cananeam et publicanum Thou who calledst the woman of Canaan vocasti ad paenitentiam. and the publican to repentance. Miserere mei Deus. Have mercy on me, O God. bq Agnus Dei I & II

Agnus Dei, Lamb of God, qui tollis peccata mundi: who takes away the sins of the world, miserere nobis. have mercy on us. Agnus Dei, Lamb of God, qui tollis peccata mundi: who takes away the sins of the world, dona nobis pacem. grant us peace.

26 27 Harry Christophers is known internationally as After more than three decades of worldwide founder and conductor of The Sixteen as well as a performance and recording, The Sixteen is recognised regular guest conductor for many of the major symphony as one of the world’s greatest ensembles. Its special orchestras and opera companies worldwide. He has reputation for performing early English polyphony, directed The Sixteen choir and orchestra throughout Borggreve arco masterpieces of the Renaissance, baroque and Europe, America and Asia-Pacific, gaining a distinguished early classical periods, and a diversity of 20th- and reputation for his work in Renaissance, Baroque and 20th- 21st-century music, all stems from the passions of and 21st-century music. In 2000 he instituted The Choral conductor and founder, Harry Christophers. hotograph: M hotograph: Pilgrimage, a national tour of English cathedrals from York P to Canterbury in music from the pre-Reformation, as The The Sixteen tours internationally giving regular performances at the major concert halls Sixteen’s contribution to the millennium celebrations. The and festivals. At home in the UK, The Sixteen are ‘The Voices of Classic FM’ as well as Pilgrimage in the UK is now central to The Sixteen’s annual Associate Artists of The Bridgewater Hall, Manchester. The group also promotes The Choral artistic programme. Pilgrimage, an annual tour of the UK’s finest cathedrals.

Since 2008 Harry Christophers has been Artistic Director of Boston’s Handel and Haydn The Sixteen’s period-instrument orchestra has taken part in acclaimed semi-staged Society; he is also Principal Guest Conductor of the Granada Symphony Orchestra. performances of Purcell’s Fairy Queen in Tel Aviv and London, a fully-staged production of As well as enjoying a partnership with the BBC Philharmonic, with whom he won a Purcell’s King Arthur in Lisbon’s Belém Centre, and new productions of Monteverdi’s Il ritorno Diapason d’Or, he is a regular guest conductor with the Academy of St Martin-in-the- d’Ulisse at Lisbon Opera House and The Coronation of Poppea at English National Opera. Fields. With The Sixteen he is an Associate Artist at The Bridgewater Hall in Manchester and features in the highly successful BBC television series, Sacred Music, presented by Over 100 recordings reflect The Sixteen’s quality in a range of work spanning the music of Simon Russell Beale. 500 years. In 2009 the group won the coveted Classic FM Gramophone Artist of the Year Harry has conducted numerous productions for Lisbon Opera and English National Opera Award and the Baroque Vocal Award for Handel’s Coronation Anthems. The Sixteen also as well as conducting the UK premiere of Messager’s opera Fortunio for Grange Park features in the highly successful BBC television series, Sacred Music, presented by Simon Opera. He is a regular conductor at Buxton Opera where he initiated a very successful Russell Beale. cycle of Handel’s operas and oratorios including Semele, Samson, Saul and Jephtha. In 2011 the group launched a new training programme for young singers called Genesis Harry Christophers is an Honorary Fellow of Magdalen College, Oxford, as well as the Sixteen. Aimed at 18- to 23-year-olds, this is the UK’s first fully-funded choral programme Royal Welsh College of Music and Drama and has been awarded the Honorary Degree for young singers, designed specifically to bridge the gap from student to professional of Doctor of Music from the University of Leicester. He was awarded a CBE in the 2012 practitioner. Queen’s Birthday Honours.

28 29 soprano Julie Cooper, Grace Davidson, Sally Dunkley, Kirsty Hopkins, alexandra Kidgell, Charlotte Mobbs alto Ian Aitkenhead, Daniel Collins, Edward McMullan, Kim Porter tenor Simon Berridge, Jeremy Budd, Mark Dobell, Steven Harrold Bass Ben Davies, Eamonn Dougan, Robert Evans, Tim Jones

This recording was made possible by the generous support of Stephen Harker and a number of donors who wish to remain anonymous.

2015 The Sixteen Productions Ltd. the voi ces of © 2015 The Sixteen Productions Ltd. Made in Great Britain Recording Producer: mark Brown For further information about recordings on CORO or live performances and tours by The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected] Recording Engineer: m ike Hatch (Floating Earth) Recorded at: Church of St Alban the Martyr, Holborn, London, 13-15 January 2015 www.thesixteen.com Cover image: Steps in Palestrina, Italy. Photographer: Giuseppe Milo, Flickr.com Design: a ndrew Giles: [email protected] Also available as a studio master quality download at www.thesixteendigital.com