Invisible Cities Choral & Electronic Music by Marco Galvani

SANSARA Marco Galvani (b.1994) Tom Herring arsc director 1. ALEPH [3:02]

2. Lamentaons I [4:48] 3. Ubi caritas [4:45] 4. Lamentaons II [5:58]

5. BETH [3:14]

6. Ave sancssima Maria [3:44] 7. [5:04] 8. Alma [3:21]

9. GHIMEL [4:26]

10. Super flumina Babylonis [4:51] 11. O sacrum convivium [6:16]

12. DALETH [5:10]

About SANSARA: Total playing me [54:47] ‘SANSARA slips easily into the elite ranks of exceponal performers...breathtaking’ Choir & Organ

‘[...] perfect intonaon and a clean, pure sound...choral singing with real depth’ The Observer Invisible Cies imagined – are a recurring theme in the novel and something we wanted to draw on as we Invisible Cies is a sequence of sacred choral contemplated the album anew. works and electronic refracons composed by Marco Galvani. The album was inially The recording sessions in October 2020 were conceived as a collecon of Marco’s choral the first me the choir had sung together in music, selected to showcase his disnct person in several months and a mely voice and consolidate our relaonship reminder of the power of a cappella choral with him as one of our Associate Composers. music. Our aim was to invest the music with In March 2020, everything changed, and a sense of longing and passion – giving voice we had to postpone our original recording to feeling in a me of social isolaon. sessions. There runs an invisible thread that binds Suddenly, we were spread all over the UK, one living being to another for a moment, not knowing when we would be able to then unravels, then is stretched again meet, let alone sing together. We began to between moving points as it draws new and reflect on how best to reimagine the project rapid paerns so that at every second the to address the extraordinary circumstances unhappy city contains a happy city unaware of the pandemic and its paralysing effect of its own existence.* on society the world over. During this me, certain passages of text from the repertoire began to take on fresh significance. In The sequence is built around Marco’s seng parcular, the famous line from the of the Lamentaons. Originally commissioned Lamentaons of Jeremiah: ‘Quomodo sedet by Jeremy Summerly for The Queen’s College sola civitas plena populo’ / ‘How lonely lies Chapel Choir in 2013, they exemplify his the city that was full of people’. unique brand of polyphony mixed with passages of stasis and rich chordal textures. As cies around the world fell silent, we were We first performed the set at the 2016 reminded of Italo Calvino’s novel Invisible Passionde at Merton fesval in Oxford and Cies, with its fantascal places and have wanted to record it ever since. meditaons on humanity – vividly described Throughout, Marco explores modal harmony by Marco Polo to the ageing Emperor Kublai with each tonal centre derived from the Khan. Connecons between people – real or chant passages that open the two parts. This Calvino-like structural device es the or another,’ Marco answers, ‘but by the line destrucon of Jerusalem and the plight of The inferno of the living is not something whole set together, underpinning the surface of the arch that they form.’ those in exile. Super flumina Babylonis is that will be; if there is one, it is what is textures with a subtle yet steady harmonic Kublai Kahn remains silent, reflecng. Then a lament for the lost city, with its remarkable already here, the inferno where we live trajectory. he adds: ‘Why do you speak to me of the line ‘Quomodo cantabimus cancum Domini every day, that we form by being together. stones? It is only the arch that maers to in terra aliena?’ / ‘How do we sing the Lord’s There are two ways to escape suffering it. Drawing on famous sengs by composers me.’ Polo answers: ‘Without stones there song in a strange land?’, strikingly set here The first is easy for many: accept the such as Thomas Tallis and Alonso Lobo, Marco is no arch.’ * by Marco. Jerusalem has become an inferno and become such a part of it that gives considerable space to the Hebrew invisible city, exisng only in the memory you can no longer see it. The second is leers that punctuate the verses. Each one One of the core quesons posed by this of its capve and homeless populaon. As risky and demands constant vigilance and is disnct in texture and colour, and yet they album is how sacred texts can speak to us with the Lamentaons, this text resonates apprehension: seek and learn to recognize all reside in the same dimension – a meless today, parcularly beyond performance in today – parcularly for refugees fleeing war who and what, in the midst of the inferno, space above and beyond the plane of the religious contexts and Chrisan spaces. The and persecuon around the world, but also are not inferno, then make them endure, more descripve passages. These passages middle secon of the sequence features in the global context of the pandemic. The give them space.* form the basis for the four electronic tracks sengs of three Marian texts, each with closing verses speak of the importance of on the album which frame the choral pieces, a strong sense of devoon to the queen collecve memory – the imagined worlds At me of wring in March 2021, we remain drawing threads between them and and gate of heaven. It is this idea of a of the mind’s eye. in a liminal phase – caught between two providing space for reflecon. celesal portal that gives this triptych its worlds, the past and future simultaneously structural role in the wider context of the The final choral work in the sequence is illusory and unreal. This album is our aempt Between the two parts of the Lamentaons sequence, forming the central phase with Marco’s seng of O sacrum convivium. This to capture something of this moment, is Ubi caritas, with its upliing message of two connected but independent worlds text is also about memory and imaginaon, recorded in the midst of this stretched charity and love. Marco’s seng stems from before and aer. inspired by the ‘sacred banquet’ of Holy out ‘in between’. We invite you to listen the plainsong chant which is presented in a Communion where the memory of Christ’s to the sequence in full and for it to be the series of variaons punctuated by more Travelling, you realize that differences are Passion is renewed, ‘the mind is filled with soundtrack to personal reflecon – as declamatory passages. With its reserved lost: each city takes to resembling all cies, grace, and a pledge of future glory to us is Marco Polo observes in Invisible Cies, sense of opmism, this piece represents places exchange their form, order, distances, given.’ Marco’s approach to the text is ‘it is not the voice that commands the the importance of community and hope a shapeless dust cloud invades the parcularly striking for its slow and steady story; it is the ear.’ in mes of fear and uncertainty. connents. Your atlas preserves the increase in tempo and energy. Beginning differences intact: that assortment of with calm stasis, the music changes gear © 2021 Tom Herring with each new line of text unl the Marco Polo describes a bridge, stone by qualies which are like the leers in a name.* rapturous ‘Alleluia’ bursts through in stone. ‘But which is the stone that supports cascading melodies in all voice parts before * Calvino, I. (1997) Invisible Cies. Trans. the bridge?’ Kublai Khan asks. gradually dissipang back to sllness. William Weaver (Vintage, London): p74, ‘The bridge is not supported by one stone In the Lamentaons, we hear of the p125, pp133–4, p148 Texts and Translaons

2. Lamentaons I

Incipit Lamentao Jeremiae prophetae. Here beginneth the Lamentaons of the Prophet Jeremiah. ALEPH. ALEPH. Quomodo sedet sola civitas plena populo! Facta est quasi vidua domina genum; How lonely lies the city that was full of people! princeps provinciarum facta est sub tributo. How like a widow has she become, she that was great among the naons! BETH. She that was a princess among the cies has become a vassal. Plorans ploravit in nocte, et lacrimæ ejus in maxillis ejus: BETH. non est qui consoletur eam, ex omnibus caris ejus; She weeps bierly in the night, tears on her omnes amici ejus spreverunt eam, et fac cheeks; sunt ei inimici. among all her lovers she has none to comfort her; all her friends have dealt treacherously with her, they have become her enemies.

3. Ubi caritas Ubi caritas et amor, Deus ibi est. Where charity and love are, God is there. Congregavit nos in unum Chris amor. Christ’s love has gathered us into one. Exultemus, et in ipso iucundemur. Let us rejoice and be pleased in Him. Timeamus, et amemus Deum vivum. Let us fear, and let us love the living God. Et ex corde diligamus nos sincero. And may we love each other with a sincere heart.

Amen. Amen.

Offertorium on Maundy Thursday 4. Lamentaons II

De Lamentaone Jeremiae prophetae. The Lamentaons of the Prophet Jeremiah.

GHIMEL. GHIMEL.

Migravit Judas propter affliconem, et Judah has gone into exile because of multudinem servitus; afflicon and hard servitude; she dwells now habitavit inter gentes, nec invenit requiem: among the naons, but finds no resng place; omnes persecutores ejus apprehenderunt her pursuers have all overtaken her in the eam inter angusas. midst of her distress.

DALETH. DALETH.

Viæ Sion lugent, eo quod non sint qui The roads to Zion mourn, for none come to veniant ad solemnitatem, omnes portæ the appointed feasts; all her gates are ejus destructæ, sacerdotes ejus gementes; desolate, her priests groan; virgines ejus squalidæ, et ipsa oppressa her maidens have been dragged away, amaritudine. and she herself suffers bierly.

Jerusalem, Jerusalem, convertere ad Jerusalem, Jerusalem return unto the Dominum Deum tuum. Lord thy God.

6. Ave sancssima Maria, mater Dei, Hail most holy Mary, mother of God, , porta paradisi, domina mundi. , gate of paradise, Pura singularis tu es virgo. ruler of the world. Tu concepis Jesum sine peccato. You are a uniquely pure virgin. Tu peperis creatorem et salvatorem mundi You conceived without sin. in quo ego non dubito. You bore the creator and saviour of the Libera nos ab omni malo et ora pro world in whom I do not doubt. peccas nostris. Free us from every evil and pray for us sinners. 7. Ave maris stella, Hail, star of the sea, 10. Super flumina Babylonis By the waters of Babylon we sat down Dei Mater alma, Nourishing mother of God, illic sedimus et flevimus, and wept, Atque semper virgo, Ever a virgin, cum recordaremur Sion. when we remembered thee, O Sion. Felix caeli porta. Joyous gate of heaven. In salicibus in medio eius suspendimus As for our harps, we hanged them up upon Solve vincla reis, Release the chains of the guilty, organa nostra: the trees that are therein: Profer lumen caecis, Bring light to the blind, quia illic interrogaverunt nos, qui capvos for they that led us away capve required Mala nostra pelle, Take away our wrong-doing, duxerunt nos, verba canonum, et qui of us then a song, and melody in Bona cuncta posce. Demand all that is good. abduxerunt nos: Hymnum cantate nobis our heaviness: de cancis Sion. Sing us one of the songs of Sion. Vitam praesta puram, Display a pure life, Iter para tutum, Prepare your path, Quomodo cantabimus cancum Domini How shall we sing the Lord’s song in a Ut videntes Jesum, So that we may see Jesus in terra aliena? strange land? Semper collaetemur. And rejoice together always. Si oblitus fuero tui, Jerusalem, oblivioni If I forget thee, O Jerusalem: let my right Sit laus Deo Patri, Let praise be to God the Father, detur dextera mea. hand forget her cunning. Summo Christo decus, Glory to Christ the great, Spiritui Sancto, To the Holy Spirit, Adhaereat lingua mea faucibus meis, If I do not remember thee, let my tongue Tribus honor unus. One honour in three. si non meminero tui; cleave to the roof of my mouth: si non proposuero Jerusalem in yea, if I prefer not Jerusalem in my mirth. Amen. Amen. principio laeae meae.

8. Alma Redemptoris Mater, Loving Mother of the Redeemer, Psalm 137, vv. 1–6 quae pervia caeli porta manes, who remains the gate by which we et stella maris, succurre caden mortals enter heaven, 11. O sacrum convivium in quo O sacred banquet! in which sugere qui curat populo: and star of the sea, help your fallen Christus sumitur; Christ is received, people who strive to rise: recolitur memoria passionis ejus the memory of his Passion is renewed, Tu quae genuis, natura mirante, mens impletur graa, the mind is filled with grace, tuum sanctum Genitorem: You who gave birth, amazing nature, et future gloriae nobis pignus datur. and a pledge of future glory to us is given. to your sacred creator: Virgo prius ac posterius, Gabrielis ab Alleluia Alleluia. ore sumens illud Virgin prior and following, taking from the Ave, peccatorum miserere. mouth of Gabriel that Hail! Have mercy on our sins. Acknowledgements SANSARA

This project was supported in part Arsc Director & Conductor by The RVW Trust Tom Herring

Our thanks also go to: Soprano Heather & John Cawley Lucy Cox (solo: Lamentaons II, Bill Clilands Alma Redemptoris Mater) Alastair Coates Fiona Fraser (solo: Lamentaons II) Jill & David Galvani Victoria Meteyard* Antonia Lacey Daisy Walford Julia Moore Carol & Duncan Neithercut Alto Wyn Pugh Laura Baldwin (solo: Lamentaons I, II) Phil Smith Amy Blythe Rosie Parker

Tenor Tom Castle Oscar Golden-Lee (solo: Lamentaons I, II) Jonathan Hanley

Bass Piers Kennedy Ben McKee Ben Tomlin (solo: Lamentaons I, II)

*Lamentaons only SANSARA ‘Choral singing with real depth’ The Observer SANSARA is an award-winning vocal collecve uning the next generaon ‘SANSARA slips easily into the elite ranks of of choral arsts. Choirs are living, breathing exceponal performers’ instruments – bodies of voices with Choir & Organ unparalleled expressive potenal and powerful symbols of human coexistence. ‘Truly special’ We harness this creave force through Sir James MacMillan our engaged musicianship, communicang with passion and integrity to conjure ‘Hail SANSARA! A new star in the galaxy of spell-binding atmospheres. wonderful chamber choirs.’ John Ruer Winners of the 2015 London Internaonal A Cappella Choir Compeon, performance www.sansarachoir.com highlights include Barbican Sound Unbound, Kings Place, St John’s Smith Square, V&A, Holy Week Fesval, Temple Winter Fesval, Newbury Spring Fesval, Budleigh Fesval and Winchester Fesval.

The choir’s debut recording, Cloths of Heaven (Convivium Records, 2017) received high praise for its ‘perfect intonaon and clean, pure sound’ (The Observer) and ‘breathtaking interpretaons’ (Choir & Organ). The group’s second release, The Waing Sky (Resonus Classics, 2019) was described as ‘an excellent record’ (Gramophone) and ‘imaginave and eclecc’ (The Observer). Both recordings have featured on BBC Radio 3 and 4 (The Choir, Breakfast, Essenal Classics, The World Tonight). More titles from Resonus Classics Tom Herring from a variety of musical genres. Tom is a conductor, singer and creave The Waiting Sky: Music for and producer based in London. Co-founder and Marco has also worked extensively in the SANSARA, Benjamin Cunningham & Arsc Director of SANSARA, he has directed fields of opera and instrumental music, Tom Herring (conductors) the choir at fesvals and venues across the having been commissioned and performed RES10250 UK and abroad, producing ‘breathtaking by arsts and foundaon such as Mahew ‘Imaginative and eclectic’ interpretaons’ (Choir & Organ) of a broad Schellhorn, The Hermes Experiment, The Observer range of repertoire. An alumnus of the CHROMA, London Accordion Orchestra, Netherlands Chamber Choir’s innovave Borough New Music, and his two operas NXT scheme, Tom sings regularly with Rothschild’s Violin and Autopilot Saves Tenebrae and other professional ensembles Model S were performed in 2016 and 2018, as well as developing a solo career. seng Chekhov and a New York Times In No Strange Land: Choral Music by Martin Bussey inspired arcle/libreo by Leo Mercer Sonoro, Micheal Higgins (organ) & Tom read Music at the University of Oxford respecvely. Neil Ferris (conductor) and has worked for Oxford Lieder, Associaon RES10251 of Brish Orchestras, Intermusica and His recent work has explored the integraon Sulivan Sweetland arst management. He of electronics and AI with composion, ‘This isn’t a Tenebrae or a Polyphony, where blend is is the producer of the Holy Week Fesval including new commissions for Liverpool paramount, but an ensemble where individual voices at St John’s Smith Square and a Project Light Nights Fesval collaborang with push and urge and jostle. The effect is exciting – Manager and Mentor with Young People virtual reality arst Rosie Summers and Leo released, urgent, vibrant’ in the Arts. Mercer, a new work for virtual ensemble Gramophone Bandwidth, and a new operac work Marco Galvani exploring the idea of transhumanism for © 2021 Resonus Limited Marco is a composer based in London, Tête-à-Tête Opera Fesval 2021. è 2021 Resonus Limited whose choral music is published by Edion Recorded at the Church of St Jude-on-the-Hill, Hampstead Garden Suburb, London on 12–13 October 2020 Producer, engineer & editor: Adam Binks Peters. Marco’s choral pieces have been Marco has taught General Music and Recorded at 24-bit/96kHz resolution commissioned by the Royal Philharmonic composion at the Yehudi Menuhin School Cover image and artwork: Henize 2–10 – Study, oil and pigment on linen, 100cm x 80cm Society, The Sixteen, Siglo d’Oro, Rushworth since 2018, and divides his me between by Charlie Barton www.charliebarton.com Foundaon, and the Choir of The Queen’s teaching and composing. College Oxford, among others. His work in RESONUS LIMITED – UK this area explores ways of reinterpreng www.marcogalvani.co.uk polyphonic vocal wring for the twenty-first [email protected] century, while drawing harmonic inspiraon www.resonusclassics.com

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