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

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Palestrina · Vol.2 Palestrina Giovanni “An Effortlessly Radiant Recording.” BBC Radio 3, CD Review Cor16105 CORO CORO Giovanni Pierluigi da Palestrina · Vol.2 PALESTRINA Giovanni Giovanni “An effortlessly radiant recording.” BBC RADIO 3, CD REVIEW cor16105 Giovanni Pierluigi da Palestrina · Vol.3 p “The Sixteen’s Palestrina cycle may just be a classic in the ierluigi da 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 M 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: 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 not Giovanni 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, Hymns 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 ideas. Yet it has continued to be used Masses. The opening item is the br Tribularer si nescirem 8.08 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.
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