CORO CORO Francisco Guerrero Tomás Luis de Victoria Missa de la batalla escoutez Requiem 1605 “…his is thus “...this is a simply Flight sophisticated and magnificent serene, with a performance.” stunningly beautiful international eight-voice final record review . The of Sixteen luxuriate in his texture and phrase.” cor16067 the sunday times corsacd16033 Angels Philip & Mary Streams of Tears A Marriage of England and Music by Juan Gutiérrez de Padilla Francisco Music by Spanish “The and English composers reconciles both styles to Guerrero including Tallis’s perfection… building great Mass Puer natus into a positively as it may have been incandescent work.” Alonso performed by choirs gramophone from both countries on Lobo Christmas Day 1554. cor16037 cor1059

To find out more about The Sixteen, concert tours, and to buy CDs visit The Sixteen the voi ces of harry christophers www.thesixteen.com cor16128 Flight of Angels Music from the Golden Age in Spain

Francisco Guerrero (1532-1597) Alonso Lobo (c.1555-1617) n 16th-century Europe, Spain was still Lobo was a choirboy at Cathedral where Guerrero was maestro de capilla The Sixteen I very much the most powerful country. It and, as a young man, he was clearly a studious pupil who then became a worthy HARRY CHRISTOPHERS was arguably also the most influential; truly disciple. To say he was obsessed with musical form would detract from the beauty imperial with the acquisition of vast new lands of his works, yet his eight-part setting of Ave Maria is a technical tour de force, but in the Americas, a plethora of universities and one which in no way impedes its rich sonority and sheer beauty. However, there is a a wealth of great art and music. Two of the most single work that, in my opinion, makes Lobo deserving of a lasting reputation, and

influential composers of the , who Borggreve Marco Photograph: that is Versa est in luctum. Is there a more poignant setting of this funeral spent their life in Spain and for many years in than that of Lobo? It was written for the obsequies of Philip II in 1598; it is not only the service of Seville Cathedral, one of the most contemplative but also daring with one of the most heartfelt dissonances I know in splendid ecclesiastical establishments, were . Francisco Guerrero and Alonso Lobo, master and disciple. Both were prolific and here on Both Guerrero and Lobo’s works were performed for nearly two centuries after their this recording we give you an overview of their deaths in cathedrals throughout Spain, and the New World, such was their music, which is undoubtedly imbued with the popularity. Let us ensure today that they can achieve the same renown. religious fervour of Philip II’s Spain.

There can be few composers who can boast a pilgrimage to the Holy Land; Guerrero made his in 1588 and published a book about his incredible journey. That was one of his very few forays out of Spain. He was reputed to have been a person of gentleness and charm and in possession of a beautiful high tenor voice, and it is that singing quality that comes across in his works – every line is a joy to sing. Robert This recording was made possible by the generous support of the following: Stevenson wrote that the moods he captured included ecstasy, gaiety, melancholy, longing, submission and repose, many of which are captured in Agnus Dei I and II Dunard Fund · The John Coates Charitable Trust · The Monument Trust from his Missa Congratulamini mihi. One could also add grandeur and solemnity, Graham Croucher · Alyson Elliman · Stephen Harker as in the hymn Vexilla Regis.

2 3 Francisco Guerrero (1528 -1599) Francisco Guerrero and Alonso Lobo Alonso Lobo (1555-1617) rancisco Guerrero was born in composer of the early 16th century, Seville in 1528. He learnt his art as who had spent 10 years as a singer in Fa chorister in the Cathedral, aided by his the Papal Choir in Rome. Guerrero 1 Guerrero Duo Seraphim a12 4.08 elder brother, Pedro, also a fine musician. was exceptionally gifted, (as Pacheco We know many details of his life and tells us in his Book of True Portraits2): 2 4.36 Lobo (from Missa Maria Magdalene) work, for he was the most distinguished he possessed a fine high tenor voice 3 Lobo Libera me 8.05 musician of his time living in Spain; and he was also proficient on several and he had a lifelong association with instruments: , organ, and 4 4.44 Guerrero Gloria (from Missa Surge propera) the Cathedral, eventually becoming . A prodigious talent, he was 5 Guerrero Laudate Dominum a8 3.27 maestro de capilla there for nearly appointed at the early age of 18 as maestro 30 years until his death. He lived a in Jaén Cathedral. Shortly thereafter he 6 7.20 Guerrero Maria Magdalene colourful and adventurous life, even returned to Seville Cathedral where 7 Guerrero (from Missa de la batalla escoutez) 7.25 ending up briefly in 1591 in a debtor’s he was initially assistant to the aged prison, overwhelmed by the expenses of Pedro Fernandez, eventually succeeding 8 Guerrero Vexilla Regis 7.45 publishing his music and of his travails him as maestro, at last, in 1574. After 9 Lobo Ave Regina caelorum 3.18 on a pilgrimage to the Holy Land. In negotiating a year’s absence from his his own book, El viaje de Hierusalem1, duties for another journey to the Holy bl Lobo Ave Maria a8 3.34 he describes his adventures on this Land at the beginning of 1599, before he bm Lobo Versa est in luctum 4.27 journey, among them being captured by could leave, he succumbed to the plague pirates (twice) and having to pay them which visited Seville that summer. bn Guerrero Agnus Dei I & II (from Missa Congratulamini mihi) 5.00 for his freedom; also we learn that he was a pupil of the esteemed Cristóbal Seville had finally been liberated from Total playing time 63.52 de Morales, the most famous Spanish the Moors in 1248 by the Christian

4 5 armies under Ferdinand III of Castille. impressed not only by the sea of masts Lamentations and an early Missa Cathedral and Alcázar still dominate Almost immediately a site was cleared in the busy port but by the Alcázar L’Homme armé, survive in manuscripts. the skyline even today reflecting the for a church (to be the largest in and the Cathedral, both dominating The extant published collections city’s great historical significance. Christendom) by demolition of the city’s the skyline of the city from afar. In span the years 1555 to 1597 and were Charles V, the Holy Roman Emperor, mosque. However, the minaret (built particular the Giralda, the old minaret, printed internationally, in Seville, Paris, used Toledo as his Spanish capital, 1184-1198) was retained as the tower would have been visible from a long Louvain, Venice and Rome. No wonder but in 1561 his son, Phillip II, chose of the new building. The Cathedral was way off, at 320 feet high. Inside, soldiers that he was regarded as the greatest Madrid instead, leading to an inevitable largely erected between 1403 and 1506 were able to ride to the top mounted Spanish composer of the century by economic decline. However, the city (although the central lantern collapsed on horses, for the stairs were built as his contemporaries throughout the remains as the seat of the Catholic and was re-erected in 1511-1519; and the a series of broad and gently-sloping Hispanic domains, Europe and the Church in Spain today. Capilla Real on the east side was rebuilt ramps. The Cathedral has probably New World. in 1551-1575). At the time of Guerrero’s the greatest space and height of all the was built between birth, Seville had the grandest cathedral Gothic churches. At 454 feet long and The city of Toledo shares a similar 1226 and 1534, and while not as large in Christendom and rivalled Toledo 295 feet wide, with a span of 53 feet history to that of Seville. It too was as that of Seville, it still rivals it in as the most important ecclesiastical and a height of 121 feet, it surely was conquered by the Moors, in 711, and its splendour and the richness of its establishment in the Spanish kingdoms. the most grandiose building project of later regained by Alfonso VI in 1085. contents. Amongst its unique features By then it was also growing as a rich and medieval times. Shortly thereafter it was recognised is a shrine preserving a mark in a stone thriving commercial centre, for in 1503 by the Vatican as the seat of the where the Virgin Mary had supposedly it had been granted a monopoly by royal Guerrero’s output as a composer was Spanish Church. The old city is built placed her foot. The 23rd of January is decree on all the trade with the New substantial: he published two books of on a very ancient defensive site in an the Feast of Ildephonse, patron saint World: everything that came or went Masses, Psalms, Hymns and Canticles acute bend of the River Tagus and is and onetime Archbishop of Toledo to and from the Americas had to pass for Vespers, more than 100 , a fascinating glimpse into the past (d.667). He established the Feast of through its harbour. two Requiems, two Passions, and with its mix of churches, synagogues, the Expectation of the Blessed Virgin a collection of religious villancicos converted mosques, convents and Mary, commemorating the miraculous A traveller coming to Seville in in Castilian. More religious and other old buildings all jammed together appearance to him (in 666!) of the Guerrero’s lifetime would have been secular pieces, among them Passions, on a prominent rocky outcrop. The , who then presented

6 7 him with a rich chasuble from the then position (and salary) at Seville, for by his sojourn in Seville with Guerrero. of Isaiah 6:2-3 and the First Epistle ‘Treasury of Heaven’. This legend he declined to take up the post. Exemplars travelled widely, copies of John 5:7. This three-choir motet is immortalised in the fine motet even reaching the New World, not seems ideally suited for performance Quam pulchri sunt by Alonso Lobo, Lobo himself was born in 1555 in unexpectedly, as Seville dominated in the vastness of a Gothic cathedral, which refers to Mary’s footprint. The Osuna, a town some fifty miles east overseas trade at the time. Guerrero with or without instruments; and frontispiece of Lobo’s 1602 book of of Seville. In 1591 he was appointed however was more productive, Guerrero is masterly in the way he Masses and Motets (which contains at Seville Cathedral as assistant to the publishing no less than 18 settings of employs sonority and contrast to this music) depicts Mary presenting now ageing Francisco Guerrero. There the Mass Ordinary. bring the text to life for us. From the the chasuble to Ildephonse. In addition, Lobo no doubt learned much from the extended opening duo the music a short 3-ex-1 canonic motet is printed older man, and revered him, for of Alonso Lobo’s Missa Maria Magdalene builds impressively through the first in the window above the main picture, his six settings of the Mass Ordinary is a parody mass on Guerrero’s fine antiphonal three-choir declamation with the text: “O Ildefonse, accipe published in Madrid in 1602, all but motet of the same name, first published of “”, to the glorious outburst vestem hanc”. one of them are parodies on motets by in 1570. The Motet uses six voices of the full 12 voices at “Plena est...”. Guerrero: Beata Dei Genitrix, Maria and the Mass has the same voicing, Trinitarian symbolism defines the Alonso Lobo was the most Magdalene, Prudentes virgines, Petre keeping the bright sound of the two structure: three choirs, separately and distinguished musician (apart from ego pro te rogavi and Simile est regnum soprano lines. Lobo’s Kyrie opens with in conjunction; three statements of Morales) to become choirmaster caelorum. The sixth is modelled on Guerrero’s theme, but slightly modified much of the text, e.g. of “Sanctus”, or of at Toledo. Other choirmasters who Palestrina’s O Rex gloriae. Lobo moved and rearranged between the parts. Lobo “Plena est ... gloria eius”; three voices worked at Toledo included Andrés to Toledo to be maestro de capilla from maintains the spacious grandeur of the singing at “Tres sunt qui...”. The third de Torrentes, Cristóbal de Morales, 1593 until 1604; then he returned to original, even where the melodies are and final repeat of “Plena ... gloria Bartolome de Quebedo, Gines de Seville, this time as maestro, dying not directly those by Guerrero. eius” with a simple “Amen” provides a Boluda and Bernardino de Ribera. there in 1617. striking and satisfying conclusion. Guerrero, while still a singer at Seville, Among Guerrero’s finest creations, was offered the choirmastership at Lobo’s 1602 print of six Masses and Duo Seraphim seems to be his single Apart from the 1602 publication, Toledo in 1554; but it seems that this seven Motets is no doubt a product of essay for 12 voices. First published some music by Alonso Lobo still offer only served to enhance Guerrero’s his Toledo years, most likely stimulated in 1589, the text is a centonization survives today in manuscript, mostly

8 9 at Toledo, Seville, Segovia and Lerma. Guerrero’s Masses are all for four Laudate Dominum is a setting of also famously set by other composers, This includes Gospel Motets, Marian and five voices, except for the Missa the words of Psalms 148 and 150 for among them Victoria, Crecquillon, , Psalms, liturgical Hymns, a Surge propera from the second double choir. Guerrero only wrote Palestrina (all as Congratulamini mihi) and Holy Week music. Some book, published in 1582 in Rome, a few pieces for eight voices, for this and . Guerrero’s pieces now exist in collections without which is for six. The volume itself style was largely taken up by younger setting is masterly in its broad sweep their texts for it was a frequent practice at and the Mass are dedicated to the composers working in Rome, such as and in the subtlety of its response to Seville, Toledo and other establishments Virgin Mary. The model for this Victoria, and those of the Italian school, the text. Serene and sonorous, the to substitute instruments for singers in work has not been identified, but the Anerio brothers for example. This passage at the words “Iesum quem certain contexts. presumably it was a motet, probably Psalm setting was published in 1597, quaeritis Nazarenum crucifixum: not by Guerrero himself, for he would and it is in the most up-to-date style surrexit,…” is surely one of the most In an 18th-century Toledo manuscript a surely have ensured the publication of the time, enthusiastically adopted beautiful passages in his music. The six set of polyphonic movements attributed of such fine music. The wordier here by Guerrero. It depends for voices, equally committed, intertwine to Lobo survives. These include a movements – Gloria and Credo – are its effect on rhythmic vitality and sensuously throughout, rejoicing Responsory for the Absolution at the often a challenge for a composer. contrast in sonority between the full- together in the exuberant Alleluias catafalque after Requiem Mass, Libera It could be a temptation to rush and single-choir passages, as befits the which close each of the two parts. me Domine, de morte aeterna. As through in a perfunctory fashion celebratory text. the manuscript does not include the with much syllabic, chordal writing. Clément Janequin, born in France in alternatim plainchant, nor indicate Guerrero however relies on pervasive Guerrero wrote a number of outstanding 1485, was famous in his lifetime for his the necessary repeats, a reconstruction imitation, short melodic ideas, closely motets on Marian texts, so much so numerous chansons (he wrote nearly has been made by Bruno Turner, spaced, resulting in conciseness, yet that he was revered in his time as “El 300 of them, the texts often bawdy). using appropriate chant from maintaining momentum and variety cantor de Maria”. The motet Maria Many of them were extremely popular, contemporaneous books of the Toledo of texture and sonority. This music Magdalene is equally inspired although such as Le Chant des Oyseaux, Les Cris de Use. The presence of this music in such has a spacious grandeur, the lines are of course it celebrates the role of the Paris, Le Caquet des Femmes, La Chasse, a late manuscript indicates its continued always grateful to sing, and to hear, other Marys in the Gospel narrative. and most famous of all, the riotously use at Toledo Cathedral for many years perhaps due to Guerrero’s easy, natural Various versions of this well-known graphic La Guerre, which spawned after the composer’s death. control of the underlying harmony. Paschal text, referring to John 20, were a genre of clichéd imitations for a

10 11 century and more after the composer’s most famous work, Ave Virgo excellence, Lobo’s musical imagination empty. Guerrero changes, appropriately, death in 1558. sanctissima. Both are scored for SSATB; is so vivid and transcendental that the the voicing, doubling the treble part both have a canon between the two music flows, seemingly without artifice, for his Mass, rather than the bass part Guerrero selects only some of the sopranos, at the unison; the layout of the richly sonorous and serene, in this, one as in the source motet (although he music from La Guerre for his Missa de voices at the beginning is remarkably of his loveliest creations. reinstates the second bass for the six- la batalla escoutez, (which dates from similar, both pieces beginning with the voice Agnus Dei II). The motif of a 1582). Unlike Victoria in his setting, tenor and/or bass; the entries of both Versa est in luctum, for six voices, rising fourth is prominent throughout Guerrero generally avoids the repeated sets of canonic voices are exactly after remains Lobo’s most famous piece, at the Mass both as an initial leap and or short note patterns, preferring two and a half and four and a half bars; least in modern times. Philip II was within the texture. In Agnus I this motif the longer, more lyrical themes. the melodic intervals of the themes are unduly favoured by pieces written in is emphasised: a long-note, four note However in the Credo, at “Et iterum…” initially identical except that in Ave homage to him during his lifetime; even ostinato cantus firmus, written across and at “Et unam sanctam catholicam...”, Regina the upward leaps of a fourth in death (he died in 1598) he continued the main pulse and repeated five times, Guerrero allows the secular atmosphere and fifth of Ave Virgo are inverted. And to be thus honoured, and Lobo’s elegy is sung by the second sopranos to the of the chanson to dominate the yet Lobo makes something completely remains the most inspired. It is marked words “Agnus Dei”. Guerrero likes full polyphonic texture. his own out of this music, for these “for the obsequies of Philip II, Catholic textures; generally, in his music, all the similarities are only the starting point King of Spain”. voices are equally committed. There The seven motets included by Alonso for his own vivid musical imagination. is no question of dull harmonic parts Lobo in his 1602 print are generally He was clearly not a slavish imitator. The third item in his Liber Primus for the lower voices, a feature which designated “Moteta ex devotione inter Missarum, printed in Paris in 1566, became all too common later in the missarum decantanda”, i.e. they were for Ave Maria is the only motet in the set Guerrero’s Missa Congratulamini 17th century. extra-liturgical performance during the for eight voices, for double choir. Again mihi is based on a five-voice motet by celebration of Mass. there is a canon, but this time the voices Thomas Crecquillon, a Franco-Flemish Spain at the end of the 16th century had of the higher choir are the resolutions composer and member of the chapel the greatest and most powerful empire In Ave Regina caelorum, Lobo again at the fourth or fifth of the melodic of the Emperor Charles V. The subject in the world, its domains extending shows his indebtedness to Guerrero. lines of the lower. While contrapuntal of the motet is the well-known story from the Philippines in the east to the There is obvious imitation of Guerrero’s wizardry is no guarantee of musical of Mary Magdalene finding the tomb Americas in the west. The great riches

12 13 flowing into the country from abroad association with Seville, and Lobo, while were reflected in the magnificent greatly influenced by and indebted to Texts and Translations buildings of the time – cathedrals, Guerrero’s music, had the talent to forge churches, royal palaces – and in the his own distinctive musical personality. 1 Guerrero Duo Seraphim a12 flowering of the Arts – literature, painting, music throughout the country. Martyn Imrie, March 2014. Duo Seraphim clamabant alter ad alterum: The two Seraphim cried one to the other: Sanctus, Sanctus, Sanctus, Holy, holy, holy, Spanish composers, by the end of the © Copyright 2014 Vanderbeek & Imrie Ltd Dominus Deus Sabaoth: Lord God of Hosts: century, had attained a prominent and Plena est omnis terra gloria eius. All the earth is full of His glory. justified eminence in Europe and the Tres sunt qui testimonium dant in caelo: There are three who give testimony in heaven: New World. Largely this was due to Pater, Verbum, et Spiritus Sanctus: the Father, the Son and the Holy Ghost: 1 the wide dissemination of their works Francisco Guerrero: “El Viaje de et hi tres unum sunt. and these three are one. in lavishly printed volumes, a process Hierusalem, crónica de un viaje por el Sanctus, Sanctus, Sanctus, Holy, holy, holy, begun by Morales by the middle of the autor a Tierra Santa entre el verano de Dominus Deus Sabaoth: Lord God of Hosts: century. From 1555 on, with his first 1588 y la primavera de 1589”, Valencia, Plena est omnis terra gloria eius. All the earth is full of His glory. publication in Seville, to the last in 1597 1590, reprinted Seville, 1592, Alcalá , et Filio, Glory to the Father, and to the Son, from Venice, Guerrero continued to 1605; and elsewhere 1620, 1645, 1668, et Spiritui Sancto. and to the Holy Ghost. send forth his music, and his fame, into etc. up to 1785. Plena est omnis terra gloria eius. All the earth is full of His glory. the outside world. By the end of the Amen. Amen. century it had become commonplace, 2 Francisco Pacheco, (1571-1664), and necessary, for composers to have Sevillian artist and Inquisitor: “Libro published their music: Alonso Lobo’s de descripcion de verdaderos retratos 2 Lobo Kyrie (from Missa Maria Magdalene) high reputation was certainly a result de illustres y memorables varones ... en of his 1602 Madrid publication, as well Sevilla, 1599”. In ms. It consists of a Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. as his association with both Seville and series of portraits by Pacheco himself of Kyrie eleison. Lord, have mercy upon us. Toledo Cathedrals. Both men were his chosen subjects, and commentaries inextricably linked through their on their lives and achievements.

14 15 3 Lobo Libera me 4 Guerrero Gloria (from Missa Surge propera) Libera me, Domine, de morte aeterna, Deliver me, O Lord, from eternal death Glory to God in the highest, in die illa tremenda. on that day of terror. Et in terra pax And on earth peace Quando caeli movendi sunt et terra. When the earth and the heavens shall be shaken. hominibus bonae voluntatis. to people of good will. Dum veneris When Thou shalt come Laudamus te, We praise You, iudicare saeculum per ignem. to judge the world through fire. Benedicimus te, We bless You, Adoramus te, We adore You, Tremens factus sum ego et timeo, Trembling and frightened am I, Glorificamus te, We glorify You, dum discussio venerit, till the trial shall be at hand Gratias agimus tibi We give You thanks atque ventura ira. and the wrath to come. propter magnam gloriam tuam, for Your great glory, Quando caeli movendi sunt et terra. When the earth and the heavens shall be shaken. Domine Deus, Rex caelestis, Lord God, heavenly King, Dies illa, dies irae, calamitatis et miseriae, That day of anger, disaster and misery, Deus Pater omnipotens. O God, almighty Father, dies magna et amara valde. that day of great and exceeding bitterness. Domine Fili Unigenite, Iesu Christe, Lord Christ, Only-begotten Son, Dum veneris When Thou shalt come Domine Deus, Agnus Dei, Filius Patris, Lord God, Lamb of God, Son of the Father, iudicare saeculum per ignem. to judge the world through fire. Qui tollis peccata mundi, You take away the sins of the world, Requiem aeternam dona eis Domine: Give unto them , O Lord: miserere nobis. have mercy on us. et lux perpetua luceat eis. and let perpetual light shine upon them. Qui tollis peccata mundi, You take away the sins of the world, suscipe deprecationem nostram, receive our prayer. Deliver me, O Lord, from eternal death Libera me, Domine, de morte aeterna, Qui sedes ad dexteram Patris, You are seated at the right hand of the Father, on that day of terror. in die illa tremenda. miserere nobis. have mercy on us. When the earth and the heavens shall be shaken. Quando caeli movendi sunt et terra. Quoniam tu solus Sanctus. For You alone are the Holy One. When Thou shalt come Dum veneris Tu solus Dominus. You alone are the Lord. to judge the world through fire. iudicare saeculum per ignem. Tu solus Altissimus, Iesu Christe. You alone are the Most High, Jesus Christ. Kyrie eleison. Lord, have mercy upon us. Cum Sancto Spiritu With the Holy Spirit, Christe eleison. Christ, have mercy upon us. in gloria Dei Patris. in the glory of God the Father. Kyrie eleison. Lord, have mercy upon us. Amen. Amen.

16 17 5 Guerrero Laudate Dominum a8 6 Guerrero Maria Magdalene 1. Laudate Dominum de caelis; 1. Praise the Lord in His sanctuary: Maria Magdalene et altera Maria Mary Magdalene and the other Mary laudate eum praise Him emerunt aromata had bought spices in excelsis. in the firmament of His power. ut venientes ungerent Iesum. that they might come and anoint Jesus. Et valde mane una Sabbatorum And very early on the first day of the week 2. Laudate Dominum in sanctis eius; 2. Praise the Lord from the heavens: veniunt ad monumentum, they came unto the sepulchre, laudate eum praise Him orto iam sole. Alleluia. at the rising of the sun. Alleluia. in firmamento virtutis eius. in the heights. Et introeuntes in monumentum, And they entered into the sepulchre, 3. Laudate eum in virtutibus eius; 3. Praise Him for His mighty acts: viderunt iuvenem sedentem in dextris, and saw a young man sitting on the right side, laudate eum praise Him coopertum stola candida, clothed in a long white garment; secundum multitudinem magnitudinis eius. according to his excellent greatness. et obstupuerunt. and they were affrighted. Qui dicit illis: And he said unto them: 4. Laudate eum 4. Praise Him Iesum quem quaeritis Nazarenum Ye seek Jesus of Nazareth, in sono tubae; with the sound of the : crucifixum: crucified: laudate eum praise Him surrexit, non est hic, he is risen; he is not here: in psalterio et cithara. with the psaltery and harp. ecce locus ubi posuerunt eum. Alleluia. behold the place where they laid him. Alleluia. 5. Laudate eum 5. Praise Him in tympano et choro; with the timbrel and dance: 7 laudate eum praise Him Guerrero Credo (from Missa de la batalla escoutez) in chordis et organo. with stringed instruments and organ. Credo in unum Deum I believe in God Patrem omnipotentem, the Father almighty, 6. Laudate eum 6. Praise Him factorem caeli et terrae, maker of heaven and earth, in cymbalis benesonantibus; upon the resounding cymbals: visibilium omnium et invisibilium. and of all things visible and invisible. laudate eum praise Him Et in unum Dominum, Iesum Christum, And in one Lord Jesus Christ, in cymbalis iubilationis. upon the high-sounding cymbals. Filium Dei unigenitum, the only begotten Son of God, 7. Omnis spiritus laudet Dominum. 7. Let everything that hath breath praise the Lord. et ex Patre natum ante omnia saecula. begotten of His Father before all worlds.

18 19 Deum de Deo, lumen de lumine, God of God, Light of Light, et apostolicam ecclesiam. and apostolic Church. Deum verum de Deo vero, very God of very God, unum baptisma I acknowledge one baptism genitum, non factum, begotten, not made, in remissionem peccatorum. for the remission of sins. consubstantialem Patri, being of one substance with the Father, Et expecto resurrectionem mortuorum And I look for the resurrection of the dead per quem omnia facta sunt. by Whom all things were made. et vitam venturi saeculi. and the life of the world to come. Qui, propter nos homines, Who for us men, Amen. Amen. et propter nostram salutem, and for our salvation, descendit de caelis. came down from heaven. 8 Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost Guerrero Vexilla Regis of the Virgin Mary, and was made man. ex Maria virgine, et homo factus est. Vexilla Regis prodeunt: The banners of the King advance: And was crucified also for us Crucifixus etiam pro nobis Fulget Crucis mysterium: the mystery of the Cross shines forth; under Pontius Pilate. sub Pontio Pilato; Quo carne carnis conditor, He, the creator of all flesh, He suffered and was buried. passus et sepultus est. Suspensus est patibulo. flesh Himself, was hanged. Et resurrexit tertia die, And the third day He rose again secundum scripturas; according to the scriptures; Quo vulneratus insuper, He whose side was wounded et ascendit in caelum, and ascended into heaven, Mucrone diro lanceae by the cruel point of the spear, sedet ad dexteram Patris. and sitteth at the right hand of the Father. Ut nos lavaret crimine, that He might wash away our sins, Et iterum venturus est cum gloria And He shall come again with glory Manavit unda sanguine. gave forth water and blood. iudicare vivos et mortuos, to judge both the quick and the dead; Impleta sunt quae concinit It is fulfilled cuius regni non erit finis. Whose kingdom shall have no end. David fideli carmine, in David’s true song Et in Spiritum Sanctum And I believe in the Holy Ghost, Dicens: in nationibus that prophesied, saying: among the nations Dominum et vivificantem, the Lord and giver of life, Regnavit a ligno Deus. God has reigned from a tree. qui ex Patre Filioque procedit; Who proceedeth from the Father and the Son; qui cum Patre et Filio simul Who with the Father and the Son together Arbor decora et fulgida, O tree of light and beauty, adoratur et conglorificatur; is worshipped and glorified; Ornata Regis purpura, adorned with royal purple, qui locutus est per Prophetas. Who spake by the prophets. Electa digno stipite, chosen from stock worthy Et unam sanctam catholicam And I believe in one holy catholic Tam sancta membra tangere. to touch the sacred limbs.

20 21 Beata cuius brachiis The blessed tree, upon whose branches bl Lobo Ave Maria a8 Saecli pependit pretium, hung the ransom of the world, Statera facta corporis, was made the balance for His body, Ave Maria, gratia plena: , full of grace, Praedamque tulit tartari. and bore away the spoils of hell. Dominus tecum: the Lord is with thee. benedicta tu in mulieribus, Blessed art thou amongst women O Crux ave, spes unica, Hail, O Cross, our only hope. et benedictus fructus ventris tui Iesus. and blessed the fruit of thy womb, Jesus. Hoc Passionis tempore: In this Passiontide Sancta Maria, Mater Dei, Holy Mary, Mother of God, Auge piis iustitiam, increase justice to the pious, ora pro nobis peccatoribus pray for us sinners Reisque dona veniam. grant forgiveness to sinners. nunc et in hora mortis nostrae. Amen. now and at the hour of our death. Amen. Te summa Deus Trinitas, God, most high Trinity, Collaudet omnis spiritus: may every soul praise You: Quos per Crucis mysterium, for ever reign over those You save bm Lobo Versa est in luctum salvas rege per saecula. through the mystery of the Cross. (For the obsequies of Philip II, Catholic King of Spain, who died in 1598) Amen. Amen. Versa est in luctum cithara mea My harp is turned to mourning et organum meum in vocem flentium. and my music into the voice of those that weep. Parce mihi, Domine, nihil enim sunt dies mei. Spare me, Lord, for my days are nothing. 9 Lobo Ave Regina caelorum Ave Regina caelorum, Hail, Queen of Heaven. Ave Domina Angelorum. Hail, Mistress of the Angels. bn Guerrero Agnus Dei I & II (from Missa Congratulamini mihi) Salve, radix sancta, Hail, sacred stem, ex qua mundo lux est orta. from whom light for the world has arisen. Agnus Dei, Lamb of God, Gaude gloriosa, Rejoice, most glorious Virgin, qui tollis peccata mundi: who takes away the sins of the world, super omnes speciosa. beautiful above all others. miserere nobis. have mercy on us. Vale, valde decora, Hail and farewell, most gracious one, Agnus Dei, Lamb of God, et pro nobis semper Christum exora. plead always with Christ for us. qui tollis peccata mundi: who takes away the sins of the world, dona nobis pacem. grant us peace.

22 23 Harry Christophers is known internationally as founder and conductor of The Sixteen as well as being a regular guest conductor for many of the major symphony orchestras and opera companies worldwide. He has directed The Sixteen choir and orchestra throughout Europe, America and Asia-Pacific, gaining a distinguished reputation for his work in Renaissance, Baroque and SOPRANO ALTO TENOR BASS 20th- and 21st-century music. In 2000 he instituted The Choral Pilgrimage, a national tour of English cathedrals from York to Borggreve Marco Photograph: Julie Cooper Ian Aitkenhead Simon Berridge Ben Davies Canterbury in music from the pre-Reformation, as The Sixteen’s Sally Dunkley David Clegg Jeremy Budd Eamonn Dougan contribution to the millennium celebrations. The Pilgrimage in Kirsty Hopkins Daniel Collins Mark Dobell Tim Jones the UK is now central to The Sixteen’s annual artistic programme. Alexandra Kidgell Kim Porter George Pooley Rob Macdonald Charlotte Mobbs Since 2008 Harry Christophers has been Artistic Director of Boston’s Handel and Emilia Morton Haydn Society; he is also Principal Guest Conductor of the Granada Symphony Orchestra. As well as enjoying a partnership with the BBC Philharmonic, with whom he won a Diapason d’Or, he is a regular guest conductor with the Academy of St Martin- in-the-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, Credo from Missa de la batalla escoutez: presented by Simon Russell Beale.

SOPRANO ALTO TENOR BASS Harry has conducted numerous productions for Lisbon Opera and English National Opera as well as conducting the UK premiere of Messager’s opera Fortunio for Grange Julie Cooper Ian Aitkenhead Simon Berridge Ben Davies Grace Davidson David Clegg Mark Dobell Eamonn Dougan Park Opera. He is a regular conductor at Buxton Opera where he initiated a very successful Sally Dunkley William Missin David Roy Jimmy Holliday cycle of Handel’s operas and oratorios including Semele, Samson, Saul and Jephtha. Carys Lane Christopher Royall Julian Stocker Stuart Young Harry Christophers is an Honorary Fellow of Magdalen College, Oxford, as well as the Charlotte Mobbs Royal Welsh College of Music and Drama and has been awarded the Honorary Degree Elin Manahan Thomas of Doctor of Music from the University of Leicester. He was awarded a CBE in the 2012 Queen’s Birthday Honours.

24 25 After three decades of worldwide performance and recording, The Sixteen is recognised as one of the world’s greatest ensembles. Its special reputation for performing early English polyphony, masterpieces of the Renaissance, Baroque and early Classical periods, and a diversity of 20th- and 21st-century music, all stems from the passions of conductor and founder, Harry Christophers.

The Sixteen tours internationally giving regular performances at the major concert halls and festivals. At home in the UK, The Sixteen are ‘The Voices of Classic FM’ as well as Associate Artists of The Bridgewater Hall, Manchester. The group also promotes The Choral Pilgrimage, an annual tour of the UK’s finest cathedrals. Photograph © MolinaVisuals

The Sixteen’s period-instrument orchestra has taken part in acclaimed semi-staged performances of Purcell’s The Fairy Queen in Tel Aviv and London, a fully-staged production of Purcell’s King Arthur in Lisbon’s Belém Centre, and new productions of Recording Producer: Mark Brown Monteverdi’s Il ritorno d’Ulisse at Lisbon Opera House and The Coronation of Poppea Recording Engineer: Mike Hatch (Floating Earth) Recorded at: St Augustine’s Church, Kilburn, London, 17-20 November 2014 at English National Opera. (Credo from Missa de la batalla escoutez recorded at Over 100 recordings reflect The Sixteen’s quality in a range of work spanning the music All Hallows’ Church, Gospel Oak, London, March 2008) of 500 years. In 2009 the group won the coveted Classic FM Gramophone Artist of the Cover image: , El Greco, 1541-1614, Bridgeman Images Year Award and the Baroque Vocal Award for Handel’s Coronation Anthems. The Sixteen Design: Andrew Giles: [email protected] also features in the highly successful BBC television series, Sacred Music, presented by 2015 The Sixteen Productions Ltd. the voi ces of Simon Russell Beale. © 2015 The Sixteen Productions Ltd. Made in Great Britain For further information about recordings on CORO or live performances and tours by In 2011 the group launched a new training programme for young singers, called The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected] Genesis Sixteen. Aimed at 18 to 23 year-olds, this is the UK’s first fully-funded choral programme for young singers designed specifically to bridge the gap from student to professional practitioner. Also available as a studio master quality download at www.thesixteendigital.com 26 27