CORO The Sixteen Edition CORO Other Sixteen Edition recordings on CORO Teixeira -Te Deum Victoria - Requiem 1605 A multi-award winning recording of this Priest, scholar and singer, this remarkable exuberant piece. Spaniard epitomised the emotion "A real eye-opener that demands to be and fervour of heard." Renaissance Europe. the gramophone Victoria's lavish Requiem became "Continuously his most famous and exhilarating." the financial times revered work. cor16009 corsacd16033 Streams Iste Confessor A Golden Age The Sacred Music of Domenico Scarlatti, Renaissance sacred music from Portugal by including his Diego Dias Melgás of Tears celebrated setting of and João Laurenço Stabat Mater. Rebelo "Outstanding... "One of the best and Juan Gutiérrez de Padilla astonishing stylistic most interesting discs and expressive by The Sixteen in range." recent years, and the bbc music magazine sound is excellent." The Sixteen the gramophone The Voices of cor16003 cor16020 harry christophers To find out more about The Sixteen, concert tours, and to buy CDs, visit www.thesixteen.com cor16059 The title for this disc of music by Padilla reflects not only the content of the programme, the tears shed Streams of Tears for Christ on the cross both in sadness and in hope, Juan Gutiérrez de Padilla (c.1590 - 1664) but also that period in history known as the Siglo de Oro when the countries of the Iberian peninsular 1 Deus in adiutorium 2.09 were masters of the great ocean and in the process of 2 Mirabilia testimonia tua 8.18 discovering and developing new continents. Padilla 3 is symbolic of this age; a native of Spain himself, Stabat Mater 2.54 he emigrated to . This was a time when the 4 Transfige, dulcissime Domine 4.15 church had money as well as a great appreciation of 5 Lamentations 12.41 art in the service of the church. 6 Tristis est anima mea 3.12 For Padilla it must have been an unique, exciting yet daunting experience (for those of you have seen the iconic film The Mission, you will understand my 7 Versa est in luctum 3.10 adjectives). The new established in was to be home to Padilla and it was soon to become a musical establishment of some excellence, even rivalling Missa Ave Regina caelorum many in Europe. He had countless singers and instrumentalists at his disposal and 8 Kyrie 2.47 his music without doubt reflects the opulence and daring of the New World. 9 Gloria 3.57 Around the time we recorded this disc, we had the great fortune to do a short tour bl of Mexico; although we did not visit Puebla Cathedral we did experience performing Credo 5.55 in similar opulent seventeenth-century churches in and the Church of San bm Sanctus 1.24 Francisco Javier, which had been part of the Jesuit school at Tepotzotlan, Mexico bn City. The paintings and sculptures so brilliantly preserved were breathtaking; the Pater peccavi 4.46 abundance of gold gave added splendour to the glories of Padilla's music. soli: Julie Cooper, Ben Davies, Mark Dobell, Eamonn Dougan bo Salve Regina 7.16 bp Ave Regina caelorum 3.21 Total playing time 67.25 2 3 n 1519 the Spanish adventurer, century, the whole country had been Veracruz and Mexico City, was founded predecessors included Pedro Bermúdez Hernan Cortés, landed near the fully subjugated. With such rapid in 1531, unusually a completely new (1603 - ca.1606) and Gaspar Fernandez Isite of modern-day Veracruz on the progress and growth, church musicians foundation, rather than supplanting an (1606 - 1629), both of them composers. coast of the Gulf of Mexico, leading were needed, and must have found existing native settlement. It quickly an expedition from Cuba to explore employment in the rich new colony an established itself as the second city The new cathedral at Puebla was and secure the interior for Spain, as a attractive proposition. Among these of the new colony and by 1539 it had prelude to colonisation. With him were were Hernando Franco, born near a cathedral. The present cathedral, just a few hundred men, some horses, Alcántara, Spain, who emigrated to however, was begun in 1562, finally several dogs, and one cannon; in front Guatemala City in 1554, later becoming completed in the mid seventeenth of them pestilential swamps and forests, choirmaster (until his death in 1585) century, dedicated in 1649 by Bishop and a twenty-five million-strong native at Mexico City Cathedral; and Juan Palafox, (who was also notable for population. Yet less than three years Gutiérrez de Padilla himself, the donating to the city a public library of later, the Aztec capital of Tenochtitlan composer of the music recorded here. five thousand volumes in 1646). (soon to become Mexico City), and Padilla was born in Spain at Málaga, the Aztec nation, had fallen to him probably in 1590, and he was trained Padilla would have found a thriving and to Spain. Cortés was appointed at the cathedral there by Francisco musical culture in the churches, the governor of this Nueva España (New Vásquez; by 1613 he was maestro de repertoire featuring many of the major Spain) in 1522. Hard on his heels came capilla at the cathedral in Jérez de la European composers of note of the the settlers and the Church (the first Frontera and later, for about four years time (we find works by Palestrina, Franciscan monks arrived in 1524). A until 1620, he held the same post at Morales, Guerrero, Navarro, Victoria, frenzy of building followed, with many Cádiz. When he went to Mexico is not A. Lobo, Rogier, Ghersem, Vivanco new towns laid out in the Spanish style known precisely, but he had become a preserved in the Puebla Cathedral of a central plaza (zócalo) surrounded singer and assistant maestro at Puebla music library). Music in New Spain by a grid of streets, and of course a Cathedral by 1622, being promoted to was always modelled on that of multitude of churches were built to maestro de capilla in 1629, a post he Old Spain, and the cathedral music accommodate the innumerable new held until his death in 1664. The city tradition was fully established there converts from the native population. of Puebla (de los Angeles), a staging by the beginning of the seventeenth By the beginning of the seventeenth post on the road between the port of century. At the old cathedral, Padilla’s Puebla Cathedral

4 5 particularly impressive, its interior Perhaps such occasional, popular organ and bajón were used. For this decorated in gold, onyx and marble, pieces were not thought worthy of recording, organ, harp, theorbo and belying its dull grey outside, second in preservation. bajón are used to accompany and for magnificence only to that of Mexico doubling the voice parts. City eighty miles to the north. And it The source for the main bulk of Padilla's was completed by and thrived under surviving music is a large choirbook Notable in Padilla’s output are several Bishop Juan de Palafox y Mendoza, who preserved in Puebla Cathedral itself. pieces for high voices and baritone for arrived there in 1640. He was not only It was copied in 1663 by order of the Holy Week, and some highly expressive wealthy but had an interest in, and an Cathedral Chapter, who desired that motets for five and six voices, in a appreciation of, Art in the service of the all Padilla’s works be collected and confident, but conservative polyphonic Church. So it was during his episcopacy bound together, so great was the esteem style, carrying on that great tradition that much money was invested in the in which his music was held during of native Spanish polyphony of the choir and instrumental players, and his lifetime. Double-choir music (for sixteenth century. The new Italian style in music for them. The choir under eight voices) dominates his output - of does not seem to have attracted Padilla; Padilla in 1645 included 28 men and course, the layout of Spanish churches however, there is a rich harmonic 14 boys, some of the men also being at the time, with the choir bisecting language, replete with chromatic shifts, players of instruments such as the harp, the nave, enclosed on three sides and that links his music firmly to the the organ and the bajón - bringing with the singers sitting in two sets seventeenth century. An outstanding Puebla Cathedral to the position of of rows opposite each other, favoured and obvious feature is the energy and richest musical establishment in the cori spezzati and their antiphonal rhythmic drive he generates, notably in Spanish Empire outside Spain itself. possibilities, and the use of instruments. the double choir pieces: syncopations, Juan de Palafox y Mendoza During Padilla’s time, instrumental frequent off-beat entries, jumps Padilla’s surviving music comprises composition, to be performed at Matins participation, often lavish, would have from major to minor (sometimes Masses, Motets, Psalms, Hymns, a and Vespers on saints’ and major feast been routine, certainly at the more overlapping), all combine to keep his Passion, Holy Week music and two days. Many villancico texts (in Spanish, important Feasts, and some of the music very alive and often positively sets of Lamentations. He may also have of course) survive from the period, wind players would have been expected exciting, full of New World sunshine. written villancicos, for the church at often by the famous Sor Juana Inés de la to sing too at those services during In the Church year, there is a time for that time actively encouraged their Cruz, but the music is no longer extant. Advent and Lent, when generally only weeping and a time for rejoicing, and

6 7 Padilla shows in his music a subtle opening verses of Stabat Mater shows subjectivity, with a persistent thread one (for SSAB) is for Good Friday, and and acute sensitivity to the chosen his thorough masterly technical and permeating many of them, emphasising the magisterial Maundy Thursday set texts, joyful or sad. Lamenting, Padilla expressive grasp of the ‘old’ conservative direct experience and integration (for SSATTB) recorded here. Padilla demonstrates his versatility in his two polyphonic style. His creation of of the senses with the intellect in a reduces the scoring at Ghimel. Migravit sets of Lamentations, as well as in atmosphere is remarkable: twenty-five personal apprehension of God. With ...angustia, to two sopranos, alto and bass, briefer essays, motets such as his setting of the opening twenty-seven bars have the missionary influence of the otherwise he maintains a continuous of Stabat Mater or Versa est in luctum. either notated accidentals, or require Franciscans in New Spain, the writings flow of dense polyphony, producing a But often excitement and passion seem their addition. Weeping in sharps of St Bonaventura were no doubt rich and colourful sonority. ready to burst out at any moment, at and flats, the sequence of dissonant popularised there. So it is no surprise least in the double-choir music. suspensions and resolutions subtly to find Padilla composing an expressive Tristis est anima mea is an extra- creates the anguish of the Mother of motet to these words. Unusual in being liturgical motet (rather than a Deus in adiutorium with Gloria patri ... Jesus standing at the Cross. written for two sopranos, an alto and Responsory) for Passiontide. For two is one of the introductory versicles and a bass, this probably connects (as sopranos, alto and bass, and simple responsories for the various Offices, a Transfige, dulcissime Domine is a Bruno Turner has pointed out) with in style, it is fully scored throughout, brief but telling call to attention. The setting of a devotional text from St. some works of the previous century depending much for effect on its simple plainsong intonation is the one Bonaventura’s Oratio, of a type which preserved at Toledo Cathedral, for dramatic pauses. in common use throughout Spain and circulated widely in Books of Hours “three boys and their master” to sing. its colonies at the time. The lengthy in the late fifteenth century. These Transfige is harmonically simpler, more Versa est in luctum was a favourite text Psalm Mirabilia testimonia tua is for texts were, it seems, readily available, consonant than the anguished Stabat of Spanish composers, set for extra- the Office of None: it is unusual that in Spain at least, to the general clergy Mater, as befits a text which prays for liturgical use during the obsequies such ambitious polyphony should be and to the ordinary but literate person: the delightful ecstasy of piercing “..the of important dignitaries. There are written for one of the lesser Hours. It in Spanish libraries there are preserved essence and inmost parts of my soul, ... settings by Peñalosa, Alonso Lobo (for shares the music for the Doxology with a significant number of horae, not so that my soul may ever languish and Philip II), Victoria (for Philip II’s sister Deus in adiutorium. lavishly illustrated, costly exemplars melt ... and faint away ... and long to be Maria), Vivanco, and later in 1704, for the wealthy, but cheap and often dissolved and be with Thee.” by José de Torres y Martinez Bravo. A striking contrast with such crudely illustrated volumes. The Written in the ‘old’ polyphonic style of declamatory double-choir pieces, language of such devotional, penitential Padilla made two settings of verses his Spanish forebears, based on voice Padilla’s setting (for four voices) of the prayers is typically extravagant in its from the Lamentations of Jeremiah: leading, all the voices come together in

8 9 unison briefly, but tellingly, in simple continuously through Pleni, Osanna for performance remains unclear. up characteristic music for each chords at Parce mihi, Domine. and Benedictus with a minimum of phrase. Here, after the reverential, text repetition, broadening for a more Salve Regina and Ave Regina are two four-part polyphony of the opening, Five Masses by Padilla have come down conventially substantial concluding of the great Antiphons in the Church with the ostinato repetitions of Ave to us, neatly copied in the 1663 Puebla Osanna II in the usual fast triple time. liturgy and Padilla responds to the in the topmost voice, the excitement beauty of their texts with his most choirbook: four are for double-choir The Missa Ave Regina lacks Agnus Dei; and passion to come are suggested by inspired invention. Once again (Missa Ave Regina, Missa Joseph fili perhaps none was composed, for of the dotted rhythms at Ave Domina David, Missa Ego flos campi and a one is struck by the composer’s ear all Padilla’s Mass settings, only Missa angelorum; but the acceleration is held Missa sine nomine) and one, a Missa Ego flos campi has this section of the for sonority and variety of texture. in check for the moment by Padilla’s ferialis, is for four voices. The Missa Ave Ordinary. A feature of these Antiphons texts, Regina is a parody Mass, based upon especially of Salve Regina, is the masterly manipulation of harmonic Padilla’s motet of the same name, also Pater peccavi is a setting of the well- frequent occurrence of short phrases rhythm to suggest triple time at Salve for eight voices. The Mass opens with known Gospel parable of the Prodigal of supplication or exclamation, making radix, salve porta. The climax has the motet’s first motif, though Padilla Son. Padilla dramatises the story by them ideally suited to the double- to come, though, bursting out at the adds a new counterpoint. Likewise, giving the son’s words to soprano and choir style of writing. Notably at joyful rushing scales of Gaude, gaude Sanctus uses the opening passage, but bass in duet, the father’s to tenor and Ad te suspiramus..., Padilla exploits Virgo. Yet now Padilla introduces a slightly rearranged. Christe eleison bass, the full choirs repeating them, adventurous and colourful harmonic sobering touch of restraint (for there is imitates the section of the motet at Salve commenting on them. In the source procedures, the four voices sighing and still much to follow), by setting Super radix..., (with its feigned triple-time). the bass line of the duos for the son’s weeping in vocal lines replete with omnes speciosa to a lilting triple time Proper triple-time music (Super omnes words is only fully texted for the first accidentals, in what has the look of theme, giving the return of the scales speciosa) is re-used in the Mass at Et phrase; and the bass line for the father’s polyphony from the sixteenth century, and repeated notes of the duple time ex Patre and in Osanna II. Keen-eared speech is largely untexted. This may but whose sound world belongs firmly at Vale, o valde decora more impact. A listeners will note other similarities mean that the bass part in both sets to the seventeenth. brief respite for a reverential, pleading between Mass and motet from time of duos was only intended as a basso first statement for one choir of Et pro The text of Ave Regina caelorum, to time, however there is much music continuo requiring harmonic fleshing- nobis Christum exora leads to the which is free-composed, especially in out by instruments - however, the in rhyming, mainly octosyllabic climactic fully-scored ending. Gloria and Credo. Sanctus is unusually vocal lines are both distinctly vocal couplets, gives a ready framework for terse, but still rich in incident, running in character, so Padilla’s intention a composer, an opportunity to conjure © Copyright 2008 Martyn Imrie

10 11 Texts & Translations

1 Deus in adiutorium Faciem tuam illumina super servum tuum, Let Thy face shine upon Thy servant, et doce me iustificationes tuas. and teach me Thy statutes. Deus in adiutorium meum intende: O God, reach forth to my aid: Domine ad adiuvandum me festina. O Lord, hasten to help me. Exitus aquarum deduxerunt oculi mei, Streams of tears flow from mine eyes, Gloria Patri, et Filio, Glory be to the Father, and to the Son, quia non custodierunt legem tuam. because they do not keep Thy law. et Spiritui Sancto. and to the Holy Ghost. Iustus es, Domine, Thou art just, O Lord, Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now and et rectum iudicium tuum. and upright is Thy judgement. et in saecula saeculorum. Amen. ever shall be, world without end. Amen. Mandasti iustitiam testimonia tua In righteousness hast thou ordained Thy et veritatem nimis. testimonies, and in truth exceedingly. Tabescere me fecit zelus meus, My zeal consumeth me because my 2 Mirabilia testimonia tua quia obliti sunt verba tua inimici tua. enemies are unmindful of Thy words. Mirabilia testimonia tua, Wonderful are Thy testimonies, Ignitum eloquium tuum vehementer, Thoroughly fire-tried is Thy word ideo scrutata est anima mea. hence my soul studieth them. et servus tuus dilexit illud. and Thy servant taketh delight therein. Declaratio sermonum tuorum illuminat, et The doctrine of Thy word giveth light, Adolescentulus sum ego et contemptus: A youth I am and despised, intellectum dat parvulis. and maketh wise the simple. iustificationes tuas non sum oblitus. yet Thy judgements I do not forget. Os meum aperui, et attraxi spiritum, I open my mouth and draw breath, Iustitia tua in aeternum, Thy justice is justice eternally, quia mandata tuam desiderabam. for I long for Thy precepts. et lex tua veritas. and Thy law is truth. Aspice in me, et miserere mei, Turn thou to me and show me mercy, Tribulatio et angustia invenerunt me; Trouble and anguish have befallen me, secundum iudicium according to Thy word mandata tua meditatio mea est. yet are Thy precepts my delight. diligentium nomen tuum. to them that love thee. Aequitas testimonia tua in aeternum; Thy testimonies are forever just, Gressus meos dirige, Establish my steps intellectum da mihi, et vivam. give me to understanding that I may live. secundum eloquium tuum, in Thy promises, Gloria Patri, et Filio, Glory be to the Father, and to the Son, et non dominetur mei omnis iniustitia. let no unrighteousness rule over me. et Spiritui Sancto. and to the Holy Ghost. Redime me a calumniis hominum Deliver me from the oppression of men, Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now and ut custodiam mandatat tua. that I may keep Thy commandments. et in saecula saeculorum. Amen. ever shall be, world without end. Amen.

12 13 3 Stabat Mater 5 Lamentations for Maundy Thursday Stabat Mater dolorosa, The sorrowful Mother Incipit Lamentatio Ieremiae Here beginneth the Lamentation of Jeremiah iuxta crucem lacrimosa, stood by the Cross, tearful, Prophetae. the Prophet. dum pendebat Filius. while her Son hung there. Aleph Aleph Cuius animam, gementem, Through her sorrowful spirit, Quomodo sedet sola civitas How does the city sit alone contristantem et dolentem, afflicted with sadness and grief, plena populo: that was full of people. pertransivit gladius. has passed a sword. facta est quasi vidua She has become as a widow, domina gentium: she that was great among nations: Princeps provinciarum the princess among the provinces facta est sub tributo. has become tributary. 4 Transfige, dulcissime Domine Beth Beth Transfige, dulcissime Domine Iesu, Pierce, most sweet Lord Jesus, Plorans ploravit in nocte, She weeps weeping in the night, medullas et viscera animae meae the essence and inmost parts of my soul, et lacrimae eius in maxillis eius: and her tears lie on her cheeks: suavissimo ac saluberrimo with the most delightful and healthful non est qui consoletur eam there is none to comfort her, amoris tui vulnere, wound of Thy love, ex omnibus caris eius: even among all her own flesh. vera serenaque et with true, serene and omnes amici eius spreverunt eam, All her friends have scorned her apostolica sanctissima caritate, most holy apostolic loving kindness, et facti sunt ei inimici. and become her enemies. ut langueat et liquefiat anima mea so that my soul may ever languish and melt solo simper amore et desiderio tui: with love and desire only for Thee, Ghimel Gimel te concupiscat that it may yearn for Thee Migravit Iudas propter afflictionem Judah has departed because of great torment et deficiat in atria tua, and faint away for Thy dwelling and et multitudinem servitutis: and great slavery: cupiat dissolvi et esse tecum. long to be dissolved and to be with Thee. habitavit inter gentes, she has dwelt among the heathen nec invenit requiem: but has not found rest. omnes persecutores eius All her pursuers apprehenderunt eam inter angustias. seized her in her perplexity. Ierusalem, Jerusalem, convertere ad Dominum Deum tuum. return to the Lord thy God.

14 15 6 Tristis est anima mea 9 Gloria Tristis est anima mea, My soul is sorrowful Gloria in excelsis Deo. Glory be to God on high. usque ad mortem: even unto death; Et in terra pax And on earth peace sustinete hic et vigilate mecum. stay you here and watch with me. hominibus bonae voluntatis. to men of good will. Laudamus te, benedicimus te, We praise Thee, we bless Thee, Et cum processisset pusillum, And going a little further, adoramus te, glorificamus te. we worship Thee, we glorify Thee. procidit in faciem suam, he fell upon his face, Gratias agimus tibi We give thanks to Thee orans, et dicens: praying and saying: propter magnam gloriam tuam. for Thy great glory. Pater mi, si possibile est My Father, if it be possible, Domine Deus, Rex caelestis, Lord God, heavenly King, transeat a me calix iste. let this cup pass from me. Deus Pater omnipotens. God the Father almighty. Verum tamen non sicut ego volo. Nevertheless do not as I will. Domine Fili unigenite, Iesu Christe. O Lord, the only-begotten Son, Jesus Christ. Domine Deus, Agnus Dei, Lord God, Lamb of God, Filius Patris. Son of the Father. 7 Versa est in luctum Qui tollis peccata mundi, Thou that takest away the sins of the world, Versa est in luctum cithara mea, My harp is turned to mourning miserere nobis. have mercy upon us. et organum meum in vocem flentium. and my music into the voice of weeping. Qui tollis peccata mundi, Thou that takest away the sins of the world, Parce mihi, Domine, Spare me, Lord, suscipe deprecationem nostram. receive our prayer. nihil enim sunt dies mei. for my days are nothing. Qui sedes ad dexteram Patris, Thou that sittest at the right hand miserere nobis. of the Father, have mercy upon us. Quoniam tu solus Sanctus, For Thou only art holy, tu solus Dominus, Thou only art the Lord, Missa Ave Regina caelorum tu solus Altissimus Iesu Christe. Thou only art the most high, Jesus Christ. 8 Cum Sancto Spiritu With the Holy Spirit Kyrie in gloria Dei Patris. Amen. in the glory of God the Father. Amen. Kyrie eleison. Lord have mercy on us. Christe eleison. Christ have mercy on us. Kyrie eleison. Lord have mercy on us.

16 17 bl Credo Credo in unum Deum I believe in God Et iterum venturus est cum gloria And He shall come again with glory Patrem omnipotentem, the Father almighty, iudicare vivos et mortuos, to judge both the quick and the dead; factorem caeli et terrae, Maker of heaven and earth, cuius regni non erit finis. Whose kingdom shall have no end. visibilium omnium et invisibilium. and of all things visible and invisible. Et in Spiritum Sanctum And I believe in the Holy Ghost Et in unum Dominum, Iesum Christum, And in one Lord Jesus Christ, Dominum et vivificantem, the Lord and giver of life, Filium Dei unigenitum, the only begotten Son of God, qui ex Patre Filioque procedit; Who proceedeth from the Father and the Son; et ex Patre natum ante omnia saecula. begotten of his Father before all worlds. qui cum Patre et Filio simul Who with the Father and the Son together Deum de Deo, lumen de lumine, God of God, Light of Light, adoratur et conglorificatur; is worshipped and glorified; Deum verum de Deo vero, very God of very God, qui locutus est per Prophetas. Who spake by the prophets. genitum, non factum, begotten, not made, Et unam sanctam catholicam And I believe in one holy, Catholic and consubstantialem Patri, being of one substance with the Father, et apostolicam ecclesiam. Apostolic Church. per quem omnia facta sunt. by Whom all things were made. Confiteor unum baptisma I acknowledge one Baptism Qui, propter nos homines, Who for us men, in remissionem peccatorum. for the remission of sins. et propter nostram salutem, and for our salvation, Et expecto resurrectionem mortuorum And I look for the resurrection of the dead descendit de caelis. came down from heaven. et vitam venturi saeculi. Amen. and the life of the world to come. Amen. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost ex Maria virgine, of the Virgin Mary et homo factus est. and was made man. bm Crucifixus etiam pro nobis And was crucified also for us Sanctus sub Pontio Pilato; under Pontius Pilate. Sanctus, Sanctus, Sanctus Holy, Holy, Holy passus et sepultus est. He suffered and was buried. Dominus Deus Sabaoth. Lord God of hosts. Et resurrexit tertia die, And the third day He rose again Pleni sunt caeli et terra gloria tua. Heaven and earth are full of Thy glory. secundum scripturas; according to the scriptures; Hosanna in excelsis. Hosanna in the highest. et ascendit in caelum, and ascended into heaven, Benedictus qui venit in nomine Blessed is he that cometh in the name of sedet ad dexteram Patris. and sitteth at the right hand of the Father. Domini. Hosanna in excelsis. the Lord. Hosanna in the highest.

18 19 bn Pater peccavi bp Ave Regina caelorum Pater peccavi in caelum Father, I have sinned against heaven Ave Regina caelorum, Hail, Queen of Heaven! et coram te: and in thy sight: Ave Domina Angelorum: Hail, Mistress of the Angels. iam non sum dignus vocari filius tuus. I am no more worthy to be called thy son. Salve radix sancta Hail, sacred stem, Dixit autem Pater ad servos suos: But the father said to his servants: ex qua mundo lux est orta: from whom light for the world has arisen. cito proferte stolam primam I summon ye firstly to prepare a robe Gaude gloriosa Rejoice most glorious Virgin, et induite illum and place it upon him; super omnes speciosa: beautiful above all others. et date annulum in manum eius, and put a ring on his finger et calceamenta in pedes eius, and sandals on his feet; Vale, valde decora, Hail and farewell, most gracious one, et adducite vitulum saginatum et and bring hither the fatted calf and slay it et pro nobis semper Christum exora plead always with Christ for us. occidite, et manducemus et epulemur: that we may eat and feast thereof. quia hic filius meus mortuus erat et For this my son was dead and is alive again: revixit: perierat et inventus est. he was lost and is found. The Sixteen bo Salve Regina Soprano Emma Brain-Gabbott, Katy Butler, Amy Carson, Julie Cooper, Salve, Regina, mater misericordiae: Hail, Queen, mother of mercy: Grace Davidson, Sally Dunkley, Alison Hill, Charlotte Mobbs Vita dulcedo et spes nostra, salve. our life, our sweetness and hope, hail. Alto David Clegg, William Missin, Christopher Royall, Benjamin Turner Ad te clamamus, To thee we cry, exsules, filii Hevae. the banished ones, children of Eve. Tenor Simon Berridge, Mark Dobell, Nicolas Robertson, David Roy Ad te suspiramus, gementes et To thee we send up our sighs, mourning and Bass Ben Davies, Eamonn Dougan, Jimmy Holliday, Timothy Jones flentes in hac lacrymarum valle. weeping in this our vale of tears. Eia ergo, advocata nostra, illos tuos Thou, therefore our advocate, Harp Frances Kelly misericordes oculos ad nos converte. turn thine eyes of mercy towards us. Theorbo David Miller, Eligio Quinteiro Et Iesum, benedictum fructum ventris And show us Jesus, blessed fruit of thy womb, Organ Mark Williams tui, nobis post hoc exsilium ostende. after this our exile. O clemens: O pia: O dulcis Virgo Maria. O kind, O merciful, O sweet Mary, ever Virgin. Bajón Keith McGowan

20 21 he Sixteen is recognised as one of the world’s greatest vocal ensembles. Its special reputation for performing early English polyphony, masterpieces of the Renaissance and a diversity of twentieth- Tcentury music is drawn from the passions of conductor and founder, Harry Christophers. Over ninety recordings reflect The Sixteen’s quality in a range of work spanning the music of five hundred years, winning many awards including a Grand Prix du Disque for Handel’s Messiah, numerous Schallplattenkritik, the coveted Gramophone Award for Early Music for The Eton Choirbook and the prestigious Classical Brit Award for Renaissance. The Sixteen tours throughout Europe, Japan, Australia and the Americas and has given regular performances at major concert halls and festivals worldwide, including the Barbican Centre and Queen Elizabeth Hall in London, Sydney Opera House, and Vienna Musikverein; also at the BBC The Proms, and the festivals of Salzburg, Granada, Lucerne and Istanbul. The Sixteen Harry Christophers www.thesixteen.com group promotes The Choral Pilgrimage in some of the UK’s finest , bringing music back to the buildings for which it was written. The Sixteen are Associate Artists of London’s Southbank Centre and also well known as the ‘The Voices of Classic f M’. The Sixteen’s own CD label CORO now releases Recording Producer: Mark Brown For further information about recordings most of the group’s recordings. Recording Engineer: Mike Hatch (Floating Earth) on CORO or live performances and tours Recorded at St Paul's Church, Deptford, London, by The Sixteen, call +44 (0) 20 7488 2629 in November 2007 or email [email protected] Cover image: Shutterstock 2008 The Sixteen Productions Ltd. Editions: Image on p5: Sacred Destinations © 2008 The Sixteen Productions Ltd. Image on p6: Wikipedia All editions published by Mapa Mundi. Edited by Ivan Moody, Bruno Turner and Martyn Imrie. Photograph of The Sixteen: Mark Harrison The Voices of www.mapamundimusic.com Design: Andrew Giles – [email protected] -ADEIN'REAT"RITAIN

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