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Home , Andrea Gabrieli, Choir, Grands motets, In Ecclesiis, Sackbut

1615 GABRIELI IN

STEPHEN CLEOBURY CONDUCTOR

HIS MAJESTYS SAGBUTTS &

The of King’s College, Cambridge, with His Majestys Sagbutts & Cornetts, conducted by , recording Surrexit Christus in the Chapel of King’s College, Cambridge. CollegiumCollegium BBasilicaasilica FRONT COVER ILLUSTRATION Illustration by Louis Wilson, depicting the South door of King’s College Chapel, where this was ReRegalegale didi San MarcoMarco recorded, and the central West door to St Mark’s Basilica, where much of Gabrieli’s music was composed.

KGS0012 8 Sonata XXI, ‘con tre violini’ (a 4), C214 ** – 04:27 JS, HR, JW / SC organ Edited Adam Woolf

9 Exultavit cor meum in Domino (a 6), C53 * – Giovanni Gabrieli 04:34 1615 NP / RG organ / Choir of King’s College, Cambridge / Stephen Cleobury conductor GABRIELI Published 2015, The Company. Edited Brian Clark & Cliff ord Bartlett 10 Surrexit Christus (a 11), C66 * – Giovanni Gabrieli 04:12 Solos: Oliver Finn / Benedict Kearns / Robin Mackworth-Young IN VENICE JW, HR cornett / WK, DB / AW, AN, MTS, SS sackbutt / RG, TE organ / Choir of King’s College, Cambridge / Stephen Cleobury conductor Published 2003, The Beauchamp Press (The Early Music Company). Edited 1994, Richard Charteris 1 In ecclesiis (a 14), C78 * – Giovanni Gabrieli 07:45 11 Prima (a 5), C195 ** – Giovanni Gabrieli 03:34 Solos: Gabriel May treble, Patrick Dunachie alto, Toby Ward JW, JS cornett / AW, AN, SS sackbutt / SC organ JS, HR, JW cornett / AW, AN, SS sackbutt / TE, RG organ / Choir of King’s College, Cambridge / Stephen Cleobury conductor Edited Adam Woolf Published 1990, King’s Music (The Early Music Company). Edited Cliff ord Bartlett 12 Litaniæ Beatæ Mariæ Virginis (a 8), C63 * – Giovanni Gabrieli 11:42 2 Canzona Seconda (a 6), C196 ** – Giovanni Gabrieli 04:07 KM dulcian / RG organ (choir I) / TE organ (choir II) / Choir of King’s College, Cambridge / Stephen Cleobury conductor JS, JW, HR cornett / AW, AN, SS sackbutt / SC organ Published 2012, The Early Music Company. Edited Cliff ord Bartlett Published London Pro Musica Edition. Edited Bernard Thomas 13 Magnifi cat (a 14), C79 * – Giovanni Gabrieli 06:29 3 Suscipe, clementissime Deus (a 12), C70 * – Giovanni Gabrieli 04:50 Choir I: Benedict Kearns baritone / JW, JS, HR cornett / SD sackbutt / TE organ AW, AN, MTS, SD, MS, SS sackbutt / TE, RG organ / Choir of King’s College, Cambridge / Stephen Cleobury conductor Choir II: Philip Barrett tenor / AW, AN, AH, GM sackbutt / RG organ Published 1995, The Beauchamp Press (The Early Music Company). Edited Richard Charteris Choir III: Choir of King’s College, Cambridge / TE organ Stephen Cleobury conductor 4 completi sunt dies Pentecostes (a 8), C57 * – Giovanni Gabrieli 04:04 Published 1991, King’s Music (The Early Music Company). Edited Richard Charteris KM dulcian / RG organ (choir I) / TE organ (choir II) / Choir of King’s College, Cambridge / Stephen Cleobury conductor Published 1962, Corpus Mensurabilis Musicae (CMM). Edited Total Time 73:10 5 Iubilate Deo omnis terra (a 10), C65 * – Giovanni Gabrieli 05:18 * from Symphoniæ Sacræ Ioannis Gabrielii serenissimæ reipublicæ Venetiarum organistæ in ecclesia divi Marci. Liber secundus. (1615) Solos: Patrick Dunachie, Oliver Finn alto / Benedict Kearns baritone ** from Canzoni et Sonate (1615) JW, JS cornett / AW, SD, AN, AH, GM sackbutt / KM dulcian / TE, RG organ / Choir of King’s College, Cambridge / Stephen Cleobury conductor Published 2003, The Beauchamp Press (The Early Music Company). Edited Cliff ord Bartlett His Majestys Sagbutts & Cornetts (Jeremy West, director) 6 Canzona Terza (a 6), C197 ** – Giovanni Gabrieli 03:27 cornett Jeremy West (JW), Jamie Savan (JS), Helen Roberts (HR) HR, JW cornett / JS / AW, AN, SS sackbutt / SC organ tenor cornett Jamie Savan (JS) Published London Pro Musica Edition. Edited Bernard Thomas sackbutt Adam Woolf (AW), Abigail Newman (AN), Stephanie Dyer (SD), Martyn Sanderson (MS), Miguel Tantos Sevillano (MTS), Stephen Saunders (SS), Guy Morley (GM), Ashley Harper (AH) 7 Quem vidistis pastores? (a 14), C77 * – Giovanni Gabrieli 08:41 viola Wendi Kelly (WK), David Brooker (DB) Solos: Patrick Dunachie, Oliver Finn alto / Daniel Lewis, Philip Barrett , Toby Ward, Sebastian Johns tenor / Benedict Kearns baritone dulcian Nicholas Perry (NP), Keith McGowan (KM) JW, JS cornett / AW, SD, AN, AH, GM sackbutt / KM dulcian / TE, RG organ / Choir of King’s College, Cambridge / Stephen Cleobury conductor Published 2015, The Early Music Company. Reconstructed Hugh Keyte (see separate note on page 4 of this booklet) organ Tom Etheridge (TM), Richard Gowers (RG), Stephen Cleobury (SC) DISC FORMATS MUSIC AND MAGNIFICENCE the musical at the Basilica. The increasingly IN VENICE heavy burdens of state and religious ceremonial brought DISC 1 of this set is an SACD hybrid disc. This disc contains 2 layers, and is compatible with all CD players. The CD with them extra duties; new music was required for such layer contains standard CD quality audio. The Super Audio layer includes high density stereo (2.0) and surround (5.0) In 1608 the English writer, traveller and eccentric Thomas occasions, and the day-to-day organisation of the chapel tracks that can be read by SACD players. SACD and its logos are trademarks of Sony. Coryat visited Venice. Among the many wonders of the was now more complex than ever. With the employment of city ‘hastily gobled up’ (as he later described it) was the as one of the two of the Basilica DISC 2 of this set is a Pure Audio Blu-ray Disc, and plays back on every Blu-ray player. The disc contains a Dolby celebration of the feast day of S. Roch, which he att ended the music at St Mark’s entered a new phase. Although Atmos stream, compatible with 7.1. The disc can be operated in two ways: by on-screen navigation or by remote control in the main hall of the Scuola di San Rocco, one of the six Andrea wrote a certain amount of music suitable without a TV-screen. Besides the standard transport controls, the numeric keys of the remote control directly access the main charitable organisations of the city. There, surrounded for small groups of performers, it was the large-scale works corresponding track number. The desired audio stream can be selected by the coloured keys on the remote control. by the vast glowing canvases of Jacopo Tintorett o, he for two or more that earned him his reputation. It Audio streams available: 5.1 Dolby True HD 2.0 LPCM 24bit/96kHz Dolby Atmos listened for some three hours to music ‘both vocall and was also this style that was widely imitated, particularly by his own pupils, of whom the most important was his The disc also contains downloadable digital files. With your Blu-ray player connected to a home network, you can access , so good, so delectable, so rare, so admirable, so super excellent, that it did even ravish and stupifi e nephew, who adopted Andrea’s most magisterial style in the player via a web browser and, using the mShuttle technology provided, download the files from the Blu-ray disc to works such as the fourteen-voice sett ing of the Magnifi cat. your home computer. The digital file formats provided on this disc are: all those strangers that never heard the like’. His lyrical description goes on to praise the choir of 20 voices and Stereo files in 24bit 96kHz & 24bit 192kHz FLAC (depending on source audio) / 16bit 44.1kHz WAV / 320kbps MP3. the instrumental ensemble of 24 performers (10 , Giovanni’s Symphoniæ sacræ…liber secundus of 1615 1. Connect your BD player to your computer network. four cornett s, two da gamba, one and seven represents something of a milestone in the development 2. Insert the Pure Audio Blu-ray Disc into the BD player and press the mShuttle button on the on-screen navigation after organs), precisely the kind of forces which we normally of the Venetian tradition, containing works in the older the disc is loaded. associate with Venetian of the High Renaissance, polychoral style of music for one or more choirs as well 3. Open the internet browser of your computer and type in the IP address of your BD player. You will find this address the magisterial polychoral style of Andrea Gabrieli and as pieces in the somewhat diff erent manner typical of his in the setup menu of your Blu-ray Disc player. his nephew Giovanni. It is the latt er’s contribution to this mature . This later style is seen at its most developed 4. Select audio files to download from the Blu-ray to your computer. repertory, drawn from the posthumous Symphoniæ sacræ in ‘In ecclesiis’, which displays contrasts not only of of 1615, which forms the core of this recording. between groups, but also between diff erent styles For more information on the mShutt le system, please visit pureaudio-bluray.com/mshutt le of writing. While the use of the in this piece Reports of the sumptuous musical life of Venice had allows solo voices to be accompanied by the organ as become commonplace by Coryat’s day. During the well as by groups of instruments, idiomatic writing also sixteenth and seventeenth centuries, the great occasions renders the procedures of the older polychoral tradition QUEM VIDISTIS RECONSTRUCTION of church and state had come to be celebrated with less useful. As adapted for on increasingly elaborate music and ceremony. A fundamental instruments, much sixteenth-century ensemble music is Probably composed for the Christmas Midnight in St Mark’s, Quem vidistis survives only in the 1615 Symphoniæ Sacræ, element in these arrangements was the choir of St Mark’s essentially parasitic, but with Gabrieli the exploration of the collection of Gabrieli’s church and instrumental music put together two years after his death by Alvise Grani, a trombonist Basilica, the principal church of the city; although it was the possibilities provided by the and characters of colleague in the ducal basilica. Grani’s version is by far the most unsatisfactory item in the entire collection, with the extended not the cathedral of Venice, as the private chapel of the particular instrumental types leads to a variety of diff erent central section (between the opening Sinfonia and the great tutt i cry of ‘O magnum mysterium’) seeming to derive from a Doge it had been developed over the centuries to become responses. The opening passages of the large-scale sett ings preliminary draft or – more likely – a drastically cut-down skeleton score. (For example, the inert solo vocal line at the words the focal point of civic and devotional life. Since the early of both ‘Iubilate Deo’ and ‘Surrexit Christus’ show this ‘in terra stratos’ is patently designed for four voices in close imitation, in which guise it suddenly ‘sounds like Gabrieli’.) decades of the sixteenth century the number of singers process at work, and ‘In ecclesiis’ takes it to its logical at the Basilica had slowly increased, and sometime later conclusion. A further consequence, which aff ects the In c.1992 Paul McCreesh and Timothy Roberts published a ‘hypothetical restoration’ of the lost original, but McCreesh was instrumentalists had been added to the vocal forces. By articulation of the overall architecture of the piece, is that dissatisfi ed with that and commissioned me to make another att empt on broadly the same lines for a 1998 recording. It is my the time of Coryat’s visit to Venice the choir included dialogues of alternating passages, often repeating the same 2015 revision of that att empt that is recorded here. Besides fi lling out the central section I have ironed out some suspiciously 24 singers, two organists and 16 instrumentalists, an musical material, are now replaced by sectionalism. In amateurish-looking embellishment in the Sinfonia and added a four-part choral cappella. I should not dream of pretending impressively large ensemble by contemporary standards. short, ‘In ecclesiis’ is a remarkably advanced work which that the result recovers precisely what Gabrieli wrote, but it must be a good deal closer to that than the ‘bare-bones’ version eff ectively anticipates some of the structural features of that has come down to us in the 1615 print. During the course of the sixteenth century the organists of the mid- church . St Mark’s had begun to assume a more important role in Hugh Keyte 4 5 In other ways too, the generous resources that were devotion in in the decades after the closure of the MUSIQUE ET MERVEILLES DANS lesquelles de nouvelles compositions étaient sans cesse available at St Mark’s inevitably encouraged to fi nal session of the , a practice which LA VENISE DE LA RENAISSANCE requises, rendaient l’organisation de la vie de la chapelle exploit them to the full. In addition to large-scale motets, continued to infl ect devotional behaviour well into the particulièrement complexe. L’arrivée d’Andrea Gabrieli Giovanni Gabrieli’s output includes a considerable number seventeenth century, but also the specifi cally Venetian En 1608, l’écrivain, voyageur et excentrique anglais Thomas à l’un des deux postes d’organistes fi t entrer la musique of instrumental pieces, certainly more than was usual at att achment to the cult of the Virgin. Gabrieli’s sett ing of Coryat visita Venise. Entre autres splendeurs “gobées à la à Saint Marc dans une nouvelle ère. S’il composa une the time. The Canzoni et Sonate, which was also published the Litany of the BVM may well have been composed for hâte” (selon ses propres termes!), il assista aux célébrations certaine quantité de musique sacrée pour de petites in 1615, is virtually a compendium of the styles of performance in front of the Basilica’s prized icon of the de la fête de Saint Roch, dans la grande salle de la Scuola formations, ce sont ses grandes œuvres pour deux chœurs ensemble music current during Gabrieli’s lifetime. Madonna Nicopeia, a precious piece of Byzantine art that di San Rocco, l’une des six principales œuvres de charité ou plus qui lui valurent sa réputation, et dont le style fut was allegedly one of a large number of religious images, de la ville. Trois heures durant il y entendit, parmi les largement imité – en particulier par ses propres élèves, dont It is important to realise that instrumental works which sacred vessels, and sculptures that had been brought to immenses et somptueuses toiles du Tintoret, une musique son neveu fut le plus important. Ce dernier adopta ainsi were intended to articulate the liturgy, and large-scale Venice from the Middle East, much of it booty captured “tant vocale qu’instrumentale, si belle, si ravissante, si rare, le style le plus grandiose d’Andrea dans son Magnifi cat motets such as those in the Symphoniæ sacræ, were not during the Fourth Crusade. The Venetians believed that si admirable, si supérieure, qu’elle enchanta et stupéfi a tout pour quatorze voix, entre autres compositions d’envergure. designed for everyday use but were reserved for major the Nicopeia, which consists of a central image of the Virgin le monde, même les étrangers, qui n’avaient jamais rien occasions. The most important annual feast-days in the framed by sixteen small enamels, had brought good fortune entendu de semblable”. Il en donne alors une description Les Symphoniæ sacræ...liber secundus de 1615 de Venetian calendar might correspond to saints’ days in to those who had carried it in batt le in Asia Minor; it was lyrique, glorifi ant le choeur de 20 voix et l’ensemble Giovanni Gabrieli constituent une étape importante the Roman calendar, but equally might commemorate venerated in Venice in the hope that it would bring similar instrumental de 24 musiciens, c’est-à-dire précisément les dans le développement de la tradition vénitienne; elles important events in Venetian history. In this way what blessings upon the Republic. Although for much of the forces musicales que l’on associe à la polyphonie vénitienne comprennent des œuvres dans l’ancien style polychoral was characteristically Venetian was associated with what sixteenth century the Madonna Nicopeia was kept in the de la Haute Renaissance, le style polychoral d’Andrea pour un ou plusieurs chœurs, ainsi que des pièces écrites was universally Christian; patriotism and faith were thus upper of the Basilica, away from the public gaze, Gabrieli et de son neveu Giovanni. C’est la contribution dans la manière plus tardive de ses derniers motets. Ce conveniently and inextricably fused. The most obvious it was sometimes carried in in St Mark’s Square. de ce dernier, extraite des Symphoniæ sacræ posthumes dernier style trouve son apogée dans ‘In ecclesiis’, où case is that of St Mark himself, whose cult lay at the centre The comparatively straightforward style of Gabrieli’s (1615), qui forme le cœur de cet enregistrement. le compositeur joue sur les contrastes non seulement de of Venetian mythology, and whose relics were believed sett ing of the Litany would have been particularly eff ective tessiture entre les diff érents groupes, mais également entre to lie in the crypt under the high of the Basilica. No in outdoor performance at such moments, yet for all its Le récit des fastes de la vie musicale vénitienne était devenu diff érents styles musicaux. L’usage du basso continuo dans fewer than four festivals were dedicated to him, and the apparent simplicity it achieves a powerful eff ect through à l’époque de Coryat un lieu commun. Au cours des cett e pièce permet aux voix solistes d’être accompagnées symbol of the winged lion was extensively used as an the hypnotic cumulative force of its repeated injunctions. seizième et dix-septième siècles, les grands événements par l’orgue et par des groupes d’instruments, tandis que image of Venetian authority throughout the Venetian de l’Eglise et de l’Etat étaient célébrés par des musiques le style d’écriture commence à se dispenser des anciennes empire, including the cities of the mainland and places Venetian offi cial policy regarded the musical and et cérémonies toujours plus riches et élaborées. Au centre traditions polychorales. Œuvres vocales adaptées pour as far away as Crete and Cyprus. It was also on such ceremonial life of church and state as intimately related de ces solennités était le chœur de la Basilique Saint Marc, une performance instrumentale, une grande partie de la feast-days that pieces such as ‘Iubilate Deo’ would have and vital components of the elaboration of the ‘Myth of la principale église de la ville; bien qu’elle n’eût pas le musique pour ensemble du seizième siècle est de nature been performed. This was also sung during the Venice’, a political idea which upheld the reputation and statut de cathédrale, elle était peu à peu devenue, en tant essentiellement parasitique, mais chez Gabrieli l’exploration Ascension Day ceremonies when, following mass in St unique qualities of the Republic and deployed them as a que chapelle privée du Doge, la de voûte de la vie des possibilités fournies par les timbres et les caractères Mark’s, the Doge carried out the annual marriage of Venice powerful weapon of propaganda. Throughout the early civique et religieuse. Depuis le début du seizième siècle, propres des types d’instruments occasionne une variété to the sea. In eff ect ‘Iubilate Deo’ was an all-purpose modern period, the essence of this concept was endlessly le nombre de chanteurs à la Basilique s’était progressivement de réponses musicales. Les introductions des majestueux celebratory piece, and Gabrieli composed at least four repeated, not only in books but also through paintings, accru, et des instrumentistes avaient rejoint les chanteurs. ‘’ et ‘Surrexit Christus’ en sont la preuve, large-scale sett ings of the text for the use of the Basilica. sculpture, and architectural schemes. It was also expressed Quand Coryat se rendit à Venise, ces derniers étaient et ‘In ecclesiis’ en présente la conclusion logique. Cela a Similarly, a work such as the imposing sett ing of ‘Quem through music, both instrumental and vocal, that was désormais 24, accompagnés par deux organistes et 16 également pour conséquence (une conséquence qui aff ecte vidistis’ would have lent some sense of the specifi cally designed to project the majesty and grandeur of the Venetian instrumentistes, un ensemble d’une taille remarquable l’architecture de la pièce) que les dialogues entre passages Venetian to the celebration of Christmas. state and the principles upon which it was founded, even pour l’époque. successifs, reprenant souvent un même matériau musical, at a time when the long process of political and economic sont désormais remplacés par des sections distinctes. ‘In In addition to texts suitable for these occasions, Gabrieli decline, which was to eventually culminate in the arrival Au cours du seizième siècle, les organistes de Saint Marc ecclesiis’ est ainsi une œuvre remarquablement novatrice, set the Magnifi cat no fewer than seven times, in all cases of Napoleon, had already begun. avaient pris un rôle de plus en plus important dans la qui anticipe certaines marques structurelles des cantates for large forces (the two most grandiloquent are set for musique de la Basilique. Les obligations toujours plus du Baroque moyen. eighteen and thirty-three voices respectively). This is a Programme notes © 2015, Professor Iain Fenlon (Fellow of King’s; lourdes des cérémonies civiques et religieuses, pour refl ection not only of the growing strength of Marian Professor of Historical , Faculty of Music) 6 7 Si généreuses étaient les ressources de Saint Marc, qu’elles de la Sainte Vierge a probablement été composée pour MUSIKALISCHE PRACHT Im Lauf des 16. Jahrhunderts war den Dom-Organisten ne manquaient pas d’encourager les compositeurs à en faire être jouée devant la fameuse icône de la Vierge Nikopeia IM VENEDIG DER RENAISSANCE eine immer größere Rolle bei der dort dargebotenen Musik plein usage. Outre ses vastes motets, Giovanni Gabrieli (que la légende att ribue à la main de l’évangéliste Saint zugekommen. Aufgrund der zahlreicher werdenden Staats- composa par conséquent des pièces instrumentales en Luc), l’une des nombreuses pièces d’art byzantin, images 1608 fuhr der englische Schriftsteller, Reisende und und Kirchenfeste mussten sie zusätz liche Aufgaben nombre bien plus important qu’il n’était alors coutume. Les religieuses, objets sacrés et sculptures venus du Moyen- Exzentriker Thomas Coryat nach Venedig. Zu den vielen übernehmen, zudem wurde für derartige Anlässe neue Canzoni et sonate, également publiées en 1615, sont comme Orient, pour la plupart dans le butin de la Quatrième wunderbaren Dingen, die er dort „eilig verschlang“ (so Musik verlangt, und auch die alltägliche Organisation un répertoire des divers styles de musique d’ensemble Croisade. Cett e icône, une Vierge entourée de seize petits sein Reisebericht), gehörten die Feierlichkeiten zum Festt ag des Gott eshauses gestaltete sich komplexer als je zuvor. de l’époque. émaux, avait selon les Vénitiens assuré la protection de ceux des Heiligen Rochus, denen er im großen Saal der Scuola Mit der Anstellung Andrea Gabrielis als einem der zwei qui l’avaient transportée durant leurs batailles en Asie di San Rocco beiwohnte, einer der sechs bedeutenden Organisten begann in der Musik des Markusdoms eine Il faut bien garder à l’esprit que les œuvres instrumentales Mineure; elle était ainsi vénérée dans l’espoir qu’elle serait wohltätigen Einrichtungen der Stadt. Da, unter den neue Ära. Auch wenn er eine gewisse Anzahl geistlicher destinées à lier entre elles les diff érentes parties de la liturgie, source de semblables bienfaits pour la République. La leuchtenden Gemälden Jacopo Tintorett os, hörte er rund Musiken für kleinere Ensembles schrieb, berühmt wurde et les comme ceux des Symphoniæ sacræ Vierge Nikopeia était conservée dans la sacristie supérieure drei Stunden lang Musik, „vokal als auch instrumental, er durch seine umfangreichen Werke für zwei oder mehr n’étaient pas destinés à un usage régulier, mais réservés de la Basilique, à l’abri des regards, pour être parfois portée derart schön, derart ergötz lich, derart außergewöhnlich, Chöre. Dieser Stil wurde auch am häufi gsten kopiert, pour les grandes occasions. Les célébrations les plus en procession sur la place Saint Marc. Le style relativement derart treffl ich und exquisit, dass sie selbst all die insbesondere von seinen Schülern, unter denen sein importantes étaient bien sûr les jours des saints du calendrier simple de la Litanie est particulièrement adapté à de Fremden betörte und verblüff te, die noch nie dergleichen Neff e der bedeutendste war. Der griff in Werken wie romain, mais également les commémorations des grandes telles en plein air, et derrière son apparente vernommen hatt en.“ Im weiteren Verlauf seiner lyrischen der vierzehnstimmigen Vertonung des Magnifi kats auf dates de l’histoire de Venise – fêtes vénitiennes et fêtes clarté elle produit sur l’auditoire, par la force hypnotique Schilderung preist er den 20-stimmigen Chor und auch das Andreas imposantesten Stil zurück. universellement chrétiennes, foi et patriotisme étaient ainsi de ses injonctions renouvelées, un eff et considérable. Instrumentalensemble mit 24 Musikern (zehn Posaunen, inextricablement liés. Saint Marc, dont on croyait que les vier Kornett s, zwei Viole da gamba, eine Geige und sieben Giovannis Symphoniæ sacræ…liber secundus von 1615 reliques reposait dans la crypte, sous le grand autel de La vie musicale et les cérémonies de l’Eglise et de l’Etat Orgelpfeifensätz e) – also genau die Besetz ung, die wir stellen eine Art Meilenstein in der Entwicklung der la Basilique, fi gurait bien sûr au centre de la mythologie étaient offi ciellement considérées comme des composantes von der venezianischen Polyphonie der Hochrenaissance venezianischen Tradition dar, enthalten sie doch sowohl vénitienne. Pas moins de quatre festivals lui étaient dédiés, intimement liées de l’élaboration d’un “Mythe de Venise”, kennen, dem feierlichen mehrchörigen Stil Andrea Gabrielis Werke im älteren polychoralen Stil für Musik mit einem et le symbole du lion ailé constituait un puissant symbole un thème politique qui faisait de la réputation et des und seines Neff en Giovannis. Eben dessen Beitrag zu oder mehr Chöre als auch Stücke in der Art, wie sie seine d’autorité dans tout l’empire vénitien, jusqu’aux cités de particularités de la République vénitienne une puissante diesem Repertoire aus den 1615 posthum veröff entlichten Motett en der Reifezeit kennzeichnet. Den erlesensten l’intérieur et aux îles lointaines de Crète et de Chypre. C’est arme de propagande. Aux débuts de l’époque moderne, Symphoniæ sacræ steht im Mitt elpunkt dieser Einspielung. Ausdruck fi ndet dieser spätere Stil in „In ecclesiis“, der également en de telles occasions que des pièces comme ce concept était sans cesse réitéré, non seulement dans nicht nur die Gegensätz e in der Tessitur der einzelnen ‘Jubilate Deo’ étaient interprétées. Ce motet faisait par des livres mais également par la peinture, la sculpture Berichte vom herrlichen Musikleben in Venedig waren Gruppen nutz t, sondern auch den Kontrast zwischen ailleurs partie des cérémonies de l’Ascension quand, après et l’architecture. La musique, tant instrumentale que zu Coryats Lebzeiten keineswegs neu. Das 16. und 17. verschiedenen Musikstilen. Während Solostimmen la messe à Saint Marc, le Doge conduisait chaque année vocale, devait elle aussi déclarer la majesté et la grandeur Jahrhundert hindurch wurden Staats- und Kirchenfeste dank des Basso continuo hier von der Orgel, aber auch la célébration du mariage entre Venise et la mer. De fait, de l’Etat vénitien et de ses principes fondateurs, alors zunehmend mit immer anspruchsvollerer Musik und von Instrumentalgruppen begleitet werden können, le ‘Jubilate Deo’ pouvait convenir à toutes sortes de même que le long processus du déclin économique et größerem zeremoniellem Gepränge begangen. Eine verlieren die Abläufe der älteren mehrchörigen Tradition célébrations, et Gabrieli composa sur ce texte quatre pièces politique, qui devait trouver sa conclusion avec l’arrivée wesentliche Rolle kam dabei dem Chor des Markusdoms aufgrund des idiomatischen Schreibstils an Bedeutung. de grande ampleur. De même, l’imposant ‘Quem vidistis’ de Napoléon, avait déjà commencé. zu, der Hauptkirche der Stadt. Auch wenn das Gott eshaus Als Vokalmusik, die zu Auff ührungszwecken für était destiné à conférer un sentiment spécifi quement nicht die Kathedrale war, hatt e es sich als Privatkapelle Instrumente adaptiert wurde, ist die Ensemblemusik vénitien aux célébrations de Noël. Notes de programme © 2015, Professeur Iain Fenlon. des Dogen doch über die Jahrhunderte hinweg zum des 16. Jahrhunderts im Wesentlichen parasitär, Gabrieli Traduction : Gildas Tilliett e (French Lecteur, King’s College, 2014-2015) Zentrum des städtischen und religiösen Lebens entwickelt. jedoch erforscht die Möglichkeiten, welche das Le texte du Magnifi cat fut mis en musique par Gabrieli pas Seit den ersten Jahrzehnten des 16. Jahrhunderts hatt e sich und die Merkmale bestimmter Instrumente bieten, moins de sept fois et pour de larges ensembles – jusqu’à die Zahl der dort angestellten Sänger ständig vergrößert, mit recht vielfältigen Ergebnissen. Das verdeutlichen trente-trois voix pour la plus grandiose de ces pièces. später waren sie zudem durch Instrumentalisten ergänzt etwa die einleitenden Passagen der großformatigen Cela refl ète non seulement le développement rapide de la worden. Zurzeit von Coryats Venedigreise gehörten Vertonungen von „Jubilate Deo“ und „Surrexit dévotion mariale en Italie, dans les décennies qui suivirent zum Chor vierundzwanzig Sänger, zwei Organisten und Christus“, was in „In ecclesiis“ seinen logischen la fi n du Concile de Trente (et ce jusqu’au milieu du sechzehn Instrumentalisten – für die damalige Zeit ein Abschluss fi ndet. Eine weitere Folge, und zwar dix-septième siècle), mais également l’att achement Ensemble von beachtlichem Umfang. für die Gliederung der Gesamtstruktur des Werks, spécifi quement vénitien au culte de la Vierge. La Litanie besteht darin, dass Dialoge abwechselnder Passagen, 8 9 die häufi g dasselbe Musikmaterial verwenden, nun mindestens vier große Vertonungen des Texts zur Die ganze Frühe Neuzeit hindurch wurde es immer einer Zeit, als der lange politische und wirtschaftliche durch Sektionierung ersetz t werden. Kurz gesagt, „In Verwendung im Dom. Ein Werk wie die grandiose wieder beschworen, nicht nur in Büchern, sondern auch Niedergang, der schließlich in der Ankunft Napoleons ecclesiis“ ist ein erstaunlich fortschritt liches Werk, das Vertonung von „Quem vidistis“ wiederum verlieh den in Gemälden, Skulpturen und in der Architektur. Zudem mündete, längst begonnen hatt e. im Grunde einige Strukturmerkmale der hochbarocken weihnachtlichen Feierlichkeiten den ganz besonderen fand das Konzept Ausdruck in der Instrumental- und Kirchenkantate vorwegnimmt. venezianischen Charakter. Vokalmusik, die den Zweck hatt e, die Pracht und Einführungstext © 2015, Professor Iain Fenlon. Erhabenheit der Republik Venedig sowie die Prinzipien, Übersetz ung aus dem Englischen: Ursula Wulfekamp Auch in anderer Hinsicht fühlten sich die Komponisten Zusätz lich zu den Texten, die sich für derartige Anlässe auf denen sie beruhte, nach außen zu tragen, selbst zu (Ros Schwartz Translations Ltd). durch die reichen musikalischen Mitt el, die der eigneten, vertonte Gabrieli das Magnifi kat insgesamt Markusdom bot, dazu berufen, sie in ihrer ganzen Fülle sieben Mal, und zwar jeweils für große Besetz ungen (die zu nutz en. So umfasst Giovanni Gabrielis Schaff en neben beiden gewaltigsten sind für achtz ehn bzw. dreiunddreißig den großen Motett en auch eine beträchtliche Anzahl von Stimmen gesetz t). Das spiegelt zum Einen die wachsende Instrumentalstücken, und zwar weit mehr, als man zu Marienverehrung in Italien in den Jahrzehnten nach dem TEXTS der Zeit erwarten würde. Die Canzoni et sonate, ebenfalls Ende der letz ten Sitz ungsperiode des Konzils von Trient – 1615 verlegt, stellen letz tlich ein Kompendium der Stile eine Praxis, die bis weit ins 17. Jahrhundert hinein die 1 In ecclesiis dar, die zu Gabrielis Lebzeiten in der Ensemblemusik Form der Andacht beeinfl usste –, zum Anderen aber music Giovanni Gabrieli (c. 1554-1612) / edited Cliff ord Bartlett / published 1990, King’s Music (The Early Music Company) geläufi g waren. auch die sehr venezianische Vorliebe für den Kult der text derived from Psalms 67 (Vulgate) [68 (AKJV)], 102 [103], 61 [62] & to the Blessed Trinity Mutt ergott es. Womöglich entstand Gabrielis Vertonung Man darf nicht vergessen, dass Instrumentalwerke, der Lauretanischen Litanei eigens für eine Darbietung In ecclesiis benedicite Domino. . In the churches, bless ye the Lord. Alleluia. die im Dienst der Liturgie standen, und große vor der hoch verehrten kostbaren byzantinischen Madonna In omni loco dominationis In every place of his dominion, Motett en wie etwa die der Symphoniæ sacræ, nicht Nikopeia; die Ikone gehörte angeblich zu den zahlreichen benedic anima mea Dominum. Alleluia. bless the Lord, O my soul. Alleluia. für jeden Tag gedacht, sondern besonderen Anlässen religiösen Bildnissen, heiligen Gefäßen und Skulpturen, In Deo salutari meo et gloria mea. In God is my salvation and my glory. vorbehalten waren. Zu den bedeutendsten Festt agen die aus dem Nahen Osten nach Venedig gelangten und Deus auxilium meum God is my help, im venezianischen Kalender gehörten nicht nur die wohl großteils während des Vierten Kreuzzugs erbeutet et spes mea in Deo est. Alleluia. and my hope is in God. Alleluia. Heiligentage des katholischen Kalenderjahres, sondern worden waren. Nach Ansicht der Venezianer hatt e die Deus noster, te invocamus, Our God, we call upon thee; auch bedeutende Ereignisse aus der Stadtgeschichte. So Nikopeia – ein zentrales Bildnis der Mutt ergott es umgeben te laudamus, te adoramus. we praise thee; we worship thee. verschmolz das für Venedig Typische mit dem allgemein von sechzehn kleinen Emails – allen Glück gebracht, die Libera nos, salva nos, vivifi ca nos. Alleluia. Free us; save us; restore life to us. Alleluia. Christlichen, bis Patriotismus und Glaube schließlich, sie in Kleinasien in der Schlacht bei sich trugen, und man Deus adiutor noster in æternam. Alleluia. God, our help in all eternity. Alleluia. durchaus zweckdienlich, untrennbar miteinander verehrte sie in Venedig in der Hoff nung, sie werde der verbunden waren. Eindrücklichstes Beispiel hierfür ist Republik ähnlichen Segen bescheren. Zwar wurde die 3 Suscipe, clementissime Deus der Heilige Markus, dessen Kult eine wesentliche Rolle Ikone im 16. Jahrhundert vorwiegend in der oberen Sakristei music Giovanni Gabrieli (c. 1554-1612) / edited Richard Charteris / published 1995, The Beauchamp Press (The Early Music Company) in der venezianischen Mythologie spielte und dessen aufb ewahrt und war damit dem Blick der Gläubigen text Non-liturgical, for the Feast of the Nativity of St John the Baptist Relikte angeblich in der Krypta unter dem Hochaltar entz ogen, bisweilen aber wurde sie in einer Prozession im Dom ruhen. Nicht weniger als vier Festt age waren auf den Markusplatz getragen. Die relative Schlichtheit Suscipe, clementissime Deus Hear, O most merciful God, ihm geweiht, und das Symbol des gefl ügelten Löwen von Gabrielis Vertonung der Litanei entfaltet bei einer oblationem istam quam tibi off erimus hodie this which we off er today wurde in der ganzen Republik als Emblem der Macht Auff ührung im Freien zweifellos eine ganz besondere in spiritu humilitatis in a spirit of humility Venedigs eingesetz t, ob nun in den Städten auf dem Wirkung, besitz t die kumulative Wucht der wiederholten in honorem Sancti Ioannis Baptistae. in honour of St John the Baptist. Festland oder auf abgelegenen Inseln wie Kreta und Anrufungen doch eine regelrecht hypnotische Kraft. Veni et benedic hoc sacrifi cium Come and bless this sacrifi ce Zypern. An derartigen Feiertagen also kamen zweifellos immensæ maiestati tuæ præparatum prepared for thy great majesty auch Werke wie das „Jubilate Deo“ zur Auff ührung, Nach venezianischem Staatsverständnis waren Musik und quam laudant angeli et archangeli which angels and archangels praise das zudem anlässlich der Feierlichkeiten zu Christi Zeremonie von Kirche und Staat aufs Engste miteinander qui non cessant clamare quotidie: and proclaim daily without ceasing: Himmelfahrt gesungen wurde, wenn der Doge nach der verbunden und stellten wesentliche Komponenten des tu solus , tu solus Dominus, Thou alone art holy, thou alone art the Lord, Messe im Dom die jährliche Hochzeit Venedigs mit dem „Mythos Venedig“ dar, ein politisches Konzept, das den tu solus altissimus, Iesu Christe. thou alone art the most high, Jesus Christ. Meer vollzog. Im Grunde war das „Jubilate Deo“ eine Ruf und die Einzigartigkeit der Republik untermauerte Festmusik für jeden Anlass, und Gabrieli komponierte und als wirksames Mitt el der Propaganda genutz t wurde. 10 11 4 Hodie completi sunt dies Pentecostes 9 Exultavit cor meum music Giovanni Gabrieli (c. 1554-1612) / edited Denis Arnold / published 1962, Corpus Mensurabilis Musicæ (CMM) music Giovanni Gabrieli (c. 1554-1612) / edited Brian Clark & Cliff ord Bartlett / published 2015, The Early Music Company text for use within the Octave of the Feast of Pentecost text 1 Samuel 2. 1-2

Hodie completi sunt dies Pentecostes. Alleluia. Today the days of Pentecost are fulfi lled. Alleluia. Exultavit cor meum in Domino My heart rejoiceth in the Lord Hodie Spiritus Sanctus in igne discipulis apparuit, Today the Holy Spirit appeared in fi re to the disciples, et exaltatum est meum in Deo meo mine is exalted in the Lord, et tribuit eis charismatum dona: and gave unto them the gift of grace: dilatatum est os meum super inimicos meos my mouth is enlarged over mine enemies misit eos in universum mundum prædicare, et testifi cari: he hath sent them into all the world to foretell and bear witness: quia lætatus sum in salutari meo. because I rejoice in thy salvation. qui crediderit et baptizatus fuerit, salvus erit. Alleluia. that whosoever believeth and is baptised shall be saved. Alleluia. Non est sanctus ut est Dominus There is none holy as the Lord neque enim est alius extra te for there is none beside thee et non est fortis sicut Deus noster. neither is there any rock like our God. 5 Iubilate Deo omnis terra music Giovanni Gabrieli (c. 1554-1612) / edited Cliff ord Bartlett / published 2003, The Beauchamp Press (The Early Music Company) text derived from Psalms 19 [20], 65 [66], 99 [100], 127 [128], 133 [134] 10 Surrexit Christus music Giovanni Gabrieli (c. 1554-1612) / edited 1994, Richard Charteris / published 2003, The Beauchamp Press (The Early Music Company) Iubilate Deo omnis terra O be joyful in the Lord, all ye lands, text non-liturgical text, derived from parts of the Mass on Easter Wednesday and Thursday, suitable for use on Easter Sunday quia sic benedictur homo for blessed is the man qui timet Dominum. that feareth the Lord. Surrexit Christus Dominus de cælo intonuit. Alleluia. Christ has risen and the Lord has thundered from heaven. Alleluia. Deus Israel coniugat vos The God of Israel unite thee Et altissimus dedit vocem suam. Alleluia. And the most high gave voice. Alleluia. et ipse sic vobiscum. and unite himself with thee. In die solemnitatis vestræ inducam In the day of your solemn feast Auxilium de sancto [May he send thee] help from his holy place vos in terram fl uentem lac et mel. Alleluia. I shall lead you into a land fl owing with milk and honey. Alleluia. tueatur vos et de Sion. and protect thee out of Sion. Populus acquisitionis annuntiate virtutes eius. Alleluia. Ye people of his inheritance, proclaim his virtues. Alleluia. Benedicat vobis Dominum ex Sion The Lord bless thee out of Sion qui fecit cœlum et terram. who hath made heaven and earth. Servite Domino in lætitia. Serve the Lord with gladness. 12 Litaniæ Beatæ Mariæ Virginis music Giovanni Gabrieli (c. 1554-1612) / edited Cliff ord Bartlett / published 2012, The Early Music Company. text Litany of Loreto, in honour of the Blessed Virgin Mary 7 Quem vidistis, pastores music Giovanni Gabrieli (c. 1554-1612) / reconstructed Hugh Keyte / published 2015, The Early Music Company eleison. Christe eleison. Lord, have mercy on us. Christ have mercy upon us. text based on and Responds from the Feast of the Nativity of Our Lord Jesus Christ (25 December) Christe, audi nos. Christe, exaudi nos. Christ, hear us. Christ, graciously hear us. Pater de cælis Deus, miserere nobis. God the Father of heaven, have mercy on us. Quem vidistis, pastores, Dicite, Whom did you see, shepherds. Tell us, Fili, Redemptor mundi Deus, miserere nobis. God the Son, Redeemer of the world, have mercy on us. annunciate nobis, in terris quis apparuit? proclaim to us: who has appeared on earth? Spiritus Sancte Deus, miserere nobis. God the Holy Spirit, have mercy on us. Christum salvatorem de virgine natum vidimus We saw Christ the saviour born of a virgin, Sancte Trinitas unus Deus, miserere nobis. Holy Trinity, one God, have mercy on us. et angelorum collaudantes Domino. and choirs of angels praising the Lord. Sancta Maria, ora pro nobis. Holy Mary, pray for us. Mariam et Ioseph vidimus We saw Mary and Joseph, Sancta Dei genitrix, ora pro nobis. Holy Mother of God, pray for us. in terra stratos supplices prostrate upon the ground in supplication Sancta virgo virginum, ora pro nobis. Holy Virgin of virgins, pray for us. et natum carum pariter adorantes humiliter. and humbly worshipping the dear child. Mater Christi, ora pro nobis. Mother of Christ, pray for us. Gratia Deo, qui dedit nostris victoriam Thanks be to God, who delivered to us victory Mater divinæ gratiæ, ora pro nobis. Mother of divine grace, pray for us. per Iesum Christum, salvatorem nostrum. through Jesus Christ, our saviour. Mater purissima, ora pro nobis. Mother most pure, pray for us. O magnum mysterium O great mystery Mater castissima, ora pro nobis. Mother most chaste, pray for us. et admirabile sacramentum, and wondrous sacrament, Mater inviolata, ora pro nobis. Mother inviolate, pray for us. ut animalia viderent Dominum natum that animals should see the newborn Lord Mater intemerata, ora pro nobis. Mother undefi led, pray for us. iacentem in præsepio. Alleluia! lying in a manger. Alleluia! Mater amabilis, ora pro nobis. Mother most amiable, pray for us. Mater admirabilis, ora pro nobis. Mother most admirable, pray for us.

12 13 Mater creatoris, ora pro nobis. Mother of our Creator, pray for us. 13 Mater salvatoris, ora pro nobis. Mother of our Saviour, pray for us. music Giovanni Gabrieli (c. 1554-1612) / edited Richard Charteris / published 1991, King’s Music (The Early Music Company). Mater prudentissima, ora pro nobis. Mother most prudent, pray for us. text Luke 1. 46-55 and Virgo veneranda, ora pro nobis. Virgin most venerable, pray for us. Virgo prædicanda, ora pro nobis. Virgin most renowned, pray for us. Magnifi cat anima mea Dominum, My soul doth magnify the Lord, Virgo potens, ora pro nobis. Virgin most powerful, pray for us. Et exultavit spiritus meus in Deo salutari meo. And my spirit hath rejoiced in God my Saviour. Virgo clemens, ora pro nobis. Virgin most merciful, pray for us. Quia respexit humilitatem ancillæ suæ: For he hath regarded the lowliness of his hand-maiden: Virgo fi delis, ora pro nobis. Virgin most faithful, pray for us. Ecce enim ex hoc beatam me For behold, from henceforth Speculum iustitiæ, ora pro nobis. Mirror of justice, pray for us. dicent omnes generationes. all generations shall call me blessed. Sedes sapientiæ, ora pro nobis. Seat of wisdom, pray for us. Quia fecit mihi magna qui potens est, For he that is mighty hath magnifi ed me, Causa nostræ lætitiæ, ora pro nobis. Cause of our joy, pray for us. et sanctum nomen eius. and holy is his name. Vas spirituale, ora pro nobis. Spiritual vessel, pray for us. Et misericordia eius a progenie And his mercy is on them that fear him Vas honorabile, ora pro nobis. Vessel of honour, pray for us. in progenies timentibus eum. throughout all generations. Vas insigne devotionis, ora pro nobis. Singular vessel of devotion, pray for us. Fecit potentiam in brachio suo; He hath shewed strength with his arm; Rosa mistica, ora pro nobis. Mystical rose, pray for us. dispersit superbos mente cordis sui. he hath scatt ered the proud in the imagination of their hearts. Turris Davidica, ora pro nobis. Tower of David, pray for us. Deposuit potentes de sede, He hath put down the mighty from their seat, Turris eburnea, ora pro nobis. Tower of ivory, pray for us. et exaltavit humiles. and hath exalted the humble and meek. Domus aurea, ora pro nobis. House of gold, pray for us. Esurientes implevit bonis, He hath fi lled the hungry with good things, Foederis arca, ora pro nobis. Ark of the covenant, pray for us. et divites dimisit inanes. and the rich he hath sent empty away. Ianua cæli, ora pro nobis. Gate of heaven, pray for us. Suscepit Israel puerum suum, He remembering his mercy Stella matutina, ora pro nobis. Morning star, pray for us. recordatus misericordiæ suæ, hath holpen his servant Israel, Salus infi rmorum, ora pro nobis. Health of the sick, pray for us. Sicut locutus est ad patres nostros, As he promised to our forefathers, Refugium peccatorum, ora pro nobis. Refuge of sinners, pray for us. Abraham et semini eius in saecula. Abraham and his seed for ever. Consolatrix affl ictorum, ora pro nobis. Comforter of the affl icted, pray for us. Gloria Patri, et Filio, et Spiritui Sancto; Glory be to the Father, and to the Son, and to the Holy Ghost; Auxilium Christianorum, ora pro nobis. Help of Christians, pray for us. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, and ever shall be, Regina Angelorum, ora pro nobis. Queen of angels, pray for us. et in sæcula sæculorum. Amen. world without end. Amen. Regina Patriarcharum, ora pro nobis. Queen of patriarchs, pray for us. Regina Prophetarum, ora pro nobis. Queen of prophets, pray for us. Regina Apostolorum, ora pro nobis. Queen of apostles, pray for us. Regina martirum, ora pro nobis. Queen of martyrs, pray for us. Regina confessorum, ora pro nobis. Queen of confessors, pray for us. Regina virginum, ora pro nobis. Queen of virgins, pray for us. Regina sanctorum omnium, ora pro nobis. Queen of all saints, pray for us. , qui tollis peccata mundi, O Lamb of God, that taketh away the sins of the world, parce nobis, Domine. spare us, O Lord. Agnus Dei, qui tollis peccata mundi, O Lamb of God, that taketh away the sins of the world, exaudi nos, Domine. graciously hear us, O Lord. Agnus Dei, qui tollis peccata mundi, O Lamb of God, that taketh away the sins of the world, miserere nobis. have mercy on us.

14 15 SACKBUTTS & CORNETTS Although the cornett can well stand alone as a solo SACQUEBOUTES ET l’ensemble de cuivres d’aujourd’hui. Si le n’a pas instrument it is undoubtedly at its best when playing in hélas d’équivalent moderne, la sacqueboute ressemble The noble combination of cornett s and sackbutt s was groups and with choirs. In partnership with the sackbutt La noble association des cornets et des sacqueboutes était d’assez près à son successeur; les principales diff érences among the most expressive and versatile of instrumental (baroque ) it forms, one could say, the 17th-century l’une des couleurs instrumentales les plus expressives résident dans la perce, bien plus fi ne chez l’instrument colours available to composers of the sixteenth and equivalent of the modern brass ensemble. Sadly, the cornett parmi celles que les compositeurs des seizième et baroque, et dans le pavillon, qui n’est pas aussi évasé que seventeenth centuries. It was a sound that could be heard died out and has no modern equivalent. The sackbutt , in dix-septième siècles avaient à leur disposition. On les celui de notre trombone moderne. Mais c’est le style de in many musical contexts: for example, in consort or in contrast, resembles its modern symphonic counterpart entendait seuls ou en alternance avec des choeurs dans les jeu qui démarque par-dessus tout cornet et trompett e, alternatim with voices in the extravagant services of the very closely. The principal diff erences between the two grandes églises italiennes et espagnoles (en particulier la sacqueboute et trombone : le chanteur et le choeur baroques great Italian and Spanish churches (above all, the Basilica lie in the , which is very much fi ner in the baroque Basilique Saint Marc à Venise); dans des divertissements avaient une préséance absolue, et la manière de jouer of St Mark’s in Venice); in aristocratic such instrument, and in the , which does not fl are as that of aristocratiques comme les intermedii de l’Italie du Nord des instruments à vents était par conséquent “vocale”. as the intermedii of northern Italy or the royal masques of the symphonic modern trombone. However, perhaps the ou les masques royaux de l’Angleterre jacobéenne; et dans Idéalement, la liaison entre chanteur et instrument est Jacobean England; and in the ceremonial and devotional biggest diff erence between sackbutt and modern trombone, la musique civique et dévotionnelle des cours et des presque indiscernable : où fi nit l’un, où commence l’autre ? music for the courts and free cities of Lutheran . cornett and , lies in the style of playing: the singer villes de l’Allemagne luthérienne. Est-ce une voix ou un son instrumental que l’on entend ? and the choir were elevated in importance above all else and, Si la question se pose, alors His Majestys Sagbutt s & Since its formation in 1982, His Majestys Sagbutt s and consequently, the style of playing wind instruments was Depuis leur formation en 1982, His Majestys Sagbutt s & Cornett s ont obtenu l’eff et escompté. Cornett s has explored and revived this richly-varied vein of vocal. Ideally the ‘join’ between singer and instrument is Cornett s explorent cett e musique riche et diverse, avec music, taking in often-overlooked pan-European repertoire hard to spot: where does the voice stop and the instrument un répertoire souvent méconnu allant de la Pologne au En 1661, pour l’édition des pièces de Matt hew Locke qui from Poland to Portugal, Durham to the Dolomites. The start? Is that a voice or is it an instrument? If these questions Portugal et de Durham aux Dolomites. L’ensemble se a donné leur nom à His Majestys Sagbutt s & Cornett s, ensemble has appeared both in and on recordings, are tricky to answer then His Majestys Sagbutt s & Cornett s produit et enregistre seul ou avec des choeurs de tous l’orthographe est bien “sagbutt ” ; mais cett e orthographe alone as a recital group, as well as alongside choirs, great is doing well. formats, de l’Université de Cambridge (à King’s College) se trouve rarement ailleurs, la forme la plus and small, ranging from the University of Cambridge (at à l’Université de Californie (Berkeley). étant “sackbutt ” (en français, “sacqueboute” coexiste King’s College) all the way to the University of California The word ‘sagbutt ’ appears on the title page of the Locke avec “saquebutt e”). (at Berkeley). pieces in 1661 from which His Majestys Sagbutt s and Le cornet (cornett o/zink, en français également cornet Cornett s takes its name. However, the spelling is rarely à bouquin), parfois considéré par méprise comme une Jeremy West, HMSC 2015 Not to be mistaken as any form of ‘early trumpet’ (to which seen elsewhere in this form, and is more commonly known sorte de “trompett e primitive” est de fait membre de la www.hmsc.co.uk it is frequently likened) the cornett (cornett o / Zink) is as ‘sackbutt ’, perhaps because there were no ‘right’ or famille des instruments à (que l’on regroupe indeed a member of the lip-reed family – those instruments ‘wrong’ spellings in 1661. communément sous le nom de “cuivres”); mais là s’arrête most often lumped together as ‘brass’ – being blown on a la ressemblance avec la trompett e. Il compte en eff et sept small in the same way; but there the likeness Jeremy West, HMSC 2015 trous, dont un pour le pouce, comme une fl ûte, et est to the trumpet ends. The instrument is fi ngered like a fl ute www.hmsc.co.uk fait de bois recouvert de cuir ou de parchemin. C’est un or recorder (six fi nger holes and a thumb hole) and is instrument aussi virtuose que, par exemple, le violon, made of wood, covered with either leather or parchment. au jeu très compliqué et possédant une tessiture de deux This instrument has a range of some 2 ½ octaves, can octaves et demi; sa sonorité, particulièrement expressive play virtuosically (on equal terms, for example, with the et capable d’une grande énergie, était considérée comme violin), expressively, and with an impressive dynamic la plus proche de la voix humaine. Le cornet occupait range. Additionally, the cornett has a sound which was ainsi la plus haute place de la hiérarchie instrumentale, considered closer to the human voice than any other en particulier dans les cercles religieux; les meilleurs . It was, therefore, considered ‘top dog’ joueurs en étaient extrêmement recherchés et recevaient above all instruments, especially in ecclesiastical circles. des salaire équivalents (sinon supérieurs) à ceux de leurs The best players of this notoriously diffi cult instrument propres Directeurs de Musique. were highly sought after, frequently commanding salaries equal to (or even above) their own Directors of Music. Associé à la sacqueboute (le trombone baroque), le cornet forme, pour ainsi dire, l’équivalent “dix-septième” de

16 17 ZINKEN UND BAROCKPOSAUNEN Stimme näher käme als jedes andere Instrument, weshalb MAP OF RECORDING LAYOUT FOR IN ECCLESIIS er als König der Instrumente galt, insbesondere in Die großartige Verbindung von Zink und Barockposaune Kirchenkreisen. Die besten Spieler dieses bekanntermaßen gehörte zu den ausdrucksstärksten und vielseitigsten schwierigen Instruments waren sehr gesucht und wurden KEY TO MAP instrumentalen Klangfarben, die den Komponisten des 16. vielfach ebenso gut bezahlt wie der Musikleiter, wenn nicht gar besser. und 17. Jahrhunderts zur Verfügung standen. Und dieser 1. Choir Klang war in vielen unterschiedlichen musikalischen 2. Soloists Obwohl der Zink durchaus auch als Soloinstrument Rahmen zu hören, ob gemeinsam oder abwechselnd mit 3. Organ bestehen kann, kommt er in Ensembles und mit Chören Singstimmen in den ausladenden Messen der großen 4. Dulcian doch am besten zur Geltung und bildete im 17. Jahrhundert italienischen und spanischen Kirchen (und insbesondere im 5. Brass zusammen mit der Barockposaune sozusagen das Markusdom in Venedig), zur Unterhaltung aristokratischer 6. Organ Gegenstück zum heutigen Blechbläserensemble. Leider Kreise wie den intermedii in Norditalien und den 7. Conductor königlichen Maskenspielen im England Jakobs I., oder in ist der Zink obsolet geworden und fi ndet unter den der zeremoniellen und geistlichen Musik an den Höfen modernen Instrumenten kein Äquivalent, während die und in den freien Städten im protestantischen Deutschland. Barockposaune ihrer modernen sinfonischen Verwandten recht ähnlich ist. Die Hauptunterschiede bestehen in der Seit ihrer Gründung im Jahr 1982 haben His Majestys Bohrung, die beim barocken Instrument schmaler ist, und Sagbutt s and Cornett s – zu deutsch: „Die Barockposaunen im Schallbecher, der sich nicht so stark weitet wie bei und Zinken seiner Majestät“ – diese sehr vielfältige Musik seinem modernen Gegenstück. Der größte Unterschied erforscht und das vielfach in Vergessenheit geratene zwischen Barock- und moderner Posaune, zwischen paneuropäische Repertoire aus Städten und Ländern von Zink und Trompete liegt jedoch vielleicht in der Art des Polen bis Portugal, von Durham bis zu den Dolomiten Spielens: Sänger und Chor waren von weit größerer mit neuem Leben erfüllt. Das Ensemble tritt in Konzerten Bedeutung als alle anderen Musiker, was bedeutete, dass auf, hat aber auch Einspielungen vorgelegt, und zwar Blasinstrumente vokal gespielt wurden. Im Idealfall ist beides sowohl allein als Recital-Gruppe als auch zusammen der Übergang zwischen Sänger und Instrument nicht zu mit kleineren oder größeren Chören, von der University hören: Wo hört die Singstimme auf und wo beginnt das of Cambridge (am King’s College) bis zur University of Instrument? Ist das eine Singstimme oder ein Instrument? California (in Berkeley). Wenn diese Fragen schwer zu beantworten sind, kommen His Majestys Sagbutt s and Cornett s ihrem Ziel nahe. Der Zink wird zwar vielfach als eine Art früher Trompete beschrieben, was jedoch inkorrekt ist, auch wenn er Die Bezeichnung „Sagbutt “ steht auf dem Deckblatt der tatsächlich zu den Lippenton-Aerophonen gehört, die Locke-Stücke von 1661, die für His Majestys Sagbutt s and gemeinhin als Blechblasinstrumente bezeichnet werden, Cornett s Namen gebend waren. Üblicher ist im Englischen und entsprechend mit einem Kesselmundstück geblasen zwar die Schreibweise „Sackbutt “ – im Deutschen wird. Doch damit endet die Ähnlichkeit mit der Trompete wahlweise auch „“, wie man gelegentlich einmal bereits. Das Instrument wird wie eine Quer- oder Blockfl öte liest –, aber vermutlich nahm man es anno 1661 noch gegriff en (sechs Griffl öcher für die Finger sowie eines nicht so genau mit der Rechtschreibung. During regular services in King’s College Chapel, the Choir sings in the stalls to the East of the screen. für den Daumen) und besteht aus Holz, das mit Leder oder Pergament bezogen ist. Der Tonumfang beträgt gut Jeremy West, HMSC 2015 For and recordings with large ensembles, it is more common for the Choir to perform zweieinhalb Oktaven, und das Instrument kann der Violine www.hmsc.co.uk in front of the screen in what is now known as the antechapel, in the area shown on the above map. vergleichbar virtuos, ausdrucksstark und mit einer erstaunlichen dynamischen Bandbreite gespielt werden. For this recording the performers are arranged in two loosely semi-circular groups, Zudem hieß es, dass der Klang des Zinken der menschlichen with the Choir in two rows on stage risers in front of the screen, facing the brass on the fl oor.

18 19 From 1995 to 2007 he was Chief Conductor of the BBC Individual members of HMSC teach at conservatoires Singers, and since then has been Conductor Laureate. He and universities throughout the UK and , and was much praised for creating an integrated choral sound the group is often invited to give masterclasses and from this group of fi rst-class professional singers, which is workshops as a part of its educational activities. especially renowned for its performances of contemporary music. Amongst the premières that Stephen has given His Majestys Sagbutt s & Cornett s has more than twenty with the group are Giles Swayne Havoc, Ed Cowie Gaia, recordings to its credit, among them A Bach and Francis Grier Passion, all these with the distinguished (Hyperion), which was honoured ‘recording of the year’ ensemble, Endymion. His recordings with the BBC Singers in Gramophone Magazine (December 2002), and releases include of Tippett , Richard Strauss, and Bach. on Deutsche Gramophon and ASV. In 2007 the group launched its own recording label, sfzmusic. The fi rst Beyond Cambridge he is in demand all over the world as recording on this new label was the complete instrumental a conductor, adjudicator and leader of choral workshops. works of Giovanni Batt ista Grillo; The Twelve Days of © Paul Grover As an organ recitalist he has played in locations as diverse Christmas; Buccaneer, an Anglo-Spanish celebration; and as Houston and Dallas, Manchester’s Bridgewater Hall, His Majestys Sagbutts Cornetts Canzone per sonare, a collection of music by Giovanni Leeds and Birmingham Town Halls, the Performing Arts Gabrieli and his contemporaries, have since followed. For Centre in Hong Kong, Haderslev Cathedral in Denmark, Patron: Sir John Eliot Gardiner His Majestys Pleasure, a 65-minute without words and Salt Lake’s huge LDS Conference Center. At the AGO by the English Martyn Harry, the group’s fi rst in 2008, he premièred Bingham’s organ , Having celebrated its 30th birthday in 2012, His Majestys commission from a living composer, was released in 2012. Jacob’s Ladder. The latest addition to his many organ Sagbutt s & Cornett s continues to bring the sound of its Stephen Cleobury recordings is a CD of music by Reubke, Mendelssohn noble instruments to new audiences, through European In 2012 HMSC celebrated the life and inspirational work and Liszt on the King’s College label. repertoire from the 16th and 17th centuries to the 21st century, of Giovanni Gabrieli, marking the 400th anniversary of his Stephen Cleobury is a highly versatile who via recordings, radio, television, and live performance. death, in a unique collaboration with Concerto Palatino relishes the opportunities he has to operate in a variety of Stephen has played his part in serving a number of and . This was marked with a new recording roles and across a broad range of repertoire. At the centre organisations in his fi eld. From his teenage years until The group’s illustrious-sounding name is taken from on Hyperion, as well as performances in England and of his musical life, for over 30 years, has been his work 2008 he was a member of the Royal College of Organists, Matt hew Locke’s “fi ve-part things for His Majestys Germany, and at the Edinburgh International Festival. as Director of Music at King’s College, Cambridge. This of which he is a past President. He has been Warden of Sagbutt s and Cornett s” that were probably played has brought him into fruitful relationships with leading the Solo Performers’ section of the Incorporated Society of during the coronation celebrations for King Charles The group has played at, for, in, on, or with all of the and soloists, among them the Academy of Ancient and President of the Incorporated Association of II in 1661. Essentially a recital group comprising following, and many more: Athens; BBC Radio, TV & Music, the Philharmonia, Britt en Sinfonia, the BBC Concert Organists; he is currently Chairman of the IAO Benevolent three cornett s, three sackbutt s, and chamber organ / Proms; Cathedral; Deutsche Gramophon; and His Majestys Sagbutt s and Cornett s. He Fund and in June 2016 becomes President of the Friends , HMSC often joins with singers and string Edinburgh; Festspielhaus Salzburg; Granada; Hong complements and refreshes his work in Cambridge through of Cathedral Music. He holds an honorary doctorate in players, and is frequently asked to collaborate on projects Kong; Israel; Sir John Eliot Gardiner; King’s College, the many other musical activities in which he engages. music from Anglia Ruskin University, and is a Fellow of with choirs, such as: Sir John Eliot Gardiner’s Monteverdi Cambridge; Lufthansa Festival, London; Melbourne; the Royal College of Music. He was appointed CBE in the Choir, the BBC Singers, Ex Cathedra, the Choirs of New York; Oslo; Paris to Perth; Queen’s University, At King’s, he has sought to enhance the reputation of 2009 Queen’s Birthday Honours. King’s, St John’s, and Trinity Colleges, Cambridge, Belfast; Sir Roger Norrington; Sydney Opera House; the world-famous Choir, broadening its repertoire, and those of , and St Paul’s and Taipei; Utrecht Early Music Festival; Venice, St Mark’s; commissioning new music, principally for A Festival of www.stephencleobury.net Westminster Cathedrals (London). Westminster Abbey; Ex Cathedra; York; and Zaragoza. , and developing its activities in broadcasting, recording and touring. He conceived and Activities over the group’s thirty-year history have been introduced the highly successful annual festival, Easter at diverse, ranging from sound and vision recordings for cornett Jeremy West, Jamie Savan, Helen Roberts King’s, from which the BBC regularly broadcasts, and, in the BBC comedy The Two Ronnies, to appearances in the alto & tenor sackbutt Abigail Newman, Adam Woolf its wake, a series of high-profi le performances throughout Salzburg Festival; St Mark’s, Venice; the Sydney Opera the year, Concerts at King’s. House; and at the BBC Proms in the Royal Albert Hall. bass sackbutt Steve Saunders

20 21 The Choir of King’s College, Cambridge Most of the additional activities take place out of term, to avoid confl ict with academic work. It is perfectly possible Founded in the fi fteenth century, the Choir of King’s College, for choral and organ scholars to achieve high success in Cambridge is undoubtedly one of the world’s best known University examinations and to engage in other activities, choral groups. It owes its existence to King Henry VI who, e.g., opera and sport. King’s choral and organ scholars in founding the College in 1441, envisaged the daily leave Cambridge to go into any number of diff erent careers of services in his magnifi cent chapel, one of the jewels of (including in the last decade everything from teaching, © Ben Ealovega Britain’s cultural and architectural heritage. As the pre- professional photography, journalism, the law, the Foreign eminent representative of the great British Offi ce and Civil Service; there are currently ex-King’s choral tradition, the Choir regards the singing of the daily services scholars working in 10 Downing Street and Buckingham as its raison d’être, and these are an important part of the lives Palace!). Many, of course, continue with music, and the of its sixteen choristers, fourteen choral scholars and two professional music scene abounds with King’s alumni. These organ scholars. The Choir’s worldwide fame and reputation include Sir Andrew Davis, Richard Farnes and Edward for maintaining the highest musical standards over the Gardner in the world; the late Robert Tear, course of so many years, enhanced by its many recordings Gerald Finley, Michael Chance, Mark Padmore, James Choir of King’s College, Cambridge with labels such as Decca and EMI, have led to an extensive Gilchrist and Andrew Kennedy in opera and lieder; and Choristers Henry Butlin, William Dewhurst, Samuel Ellis, Jamie Etheridge, Alexander Finlayson-Brown, Joseph Hall, international touring schedule and invitations to sing with Simon Preston, Thomas Trott er, David Briggs and David Thomas Hopkins, Abrial Jerram, Theo Kennedy, James Lord, Gabriel May, Marcus McDevitt , Sung-Joon Park, some of the most distinguished soloists and orchestras in Goode in the world of organ-playing. Some have made Oliver Thomas, Alexander Trigg, Lucas Williams the world, in some of the most prestigious venues. a career as instrumentalists: Joseph Crouch is one of the Patrick Dunachie, Oliver Finn, Isaac Jarrat-Barnham, Rupert Scarratt , Colm Talbot leading continuo cellists in the early music scene, and some, Philip Barrett , Julius Haswell, Sebastian Johns, Daniel Lewis, Toby Ward The boy choristers of King’s are selected at an annual such as Francis Grier and , as composers. Basses Stewart Bates, William Geeson, Hugo Herman-Wilson, James Jenkins, Benedict Kearns, Robin Mackworth-Young , advertised nationally, when they are aged six or Some join leading professional choral ensembles, such as Organ Scholars Tom Etheridge, Richard Gowers seven. A child enters the Choir as a probationer, usually the BBC Singers, the King’s Singers, the Swingle Singers, Director of Music Stephen Cleobury at the age of eight, and receives a generous scholarship and the Monteverdi Choir. Those wishing to enter the from the College to help to pay for his education and for world of opera often pursue their studies further at music instrumental and singing lessons at King’s College School, college, and there is a steady stream of King’s choral Tracks 1-3, 6 & 8-11 recorded at 192kHz 24-bit PCM, 11-13 January 2015. Tracks 4-5, 7 & 12-13 recorded at 96kHz 24-bit PCM, 22-23 June 2015. which was founded in the 1878 for the choristers, but which scholars taking up scholarships at The Royal College, All tracks recorded in the Chapel of King’s College, Cambridge, by kind permission of the Provost and Fellows. 2 now has over 400 boys and girls, aged 4 to 13. After one or the Royal Academy of Music and the Guildhall. Former Organ 1 – Continuo organ by Henk Klop in Cherry wood, 2007. 8’ 4’ 2’ & Quint 2 /3’. Supplied by Keith McGowan. 2 two years, he progresses to a full choristership and remains organ scholars can currently be found in the organ lofts Organ 2 – Continuo organ by Henk Klop in Oak, 2012. 8’ 4’ 2’ & Quint 2 /3’. Owned by King’s College, Cambridge. in the Choir until he leaves at the age of 13 to go to secondary and conducting at Westminster Cathedral; St George’s Organs tuned by Dan Tidhar and Keith McGowan to A=440 in quarter comma . Chapel, Windsor; in Durham, Gloucester, and Norwich school at which he will usually have received a music Producer & Editor Simon Kiln Recording Engineer Arne Akselberg Mixing Engineer Arne Akselberg scholarship. In a gratifying number of instances, a former Cathedrals; St Albans Abbey; St Mary’s Cathedral, Sydney; Technical Engineer Richard Hale CD Mastering Engineer Simon Kiln SACD Mastering Engineer Andrew Walter chorister seeks to return to the Choir fi ve years later as a New College, Oxford; Magdalen College, Oxford; and choral scholar, though this depends on his being able to Trinity College in Cambridge, and the choirs of all the secure an academic place at the College. The majority of the London foundations are well stocked with former members Cover Design Andy Doe choral scholars and organ scholars, however, will not have of King’s College Choir. Booklet Design & Layout David Millinger been choristers at King’s and this infusion of musical talent Booklet Editors Emma Disley (Chaplain of King’s, 1996-2001), David Millinger & Bella Scarr from elsewhere is much welcomed. The young men who sing For full information about King’s College School and the French Translation Gildas Tilliett e (French Lecteur at King’s, 2014-2015) in King’s College Choir come from a variety of backgrounds life of a Chorister, please see www.kcs.cambs.sch.uk. German Translation Ursula Wulfekamp for Ros Schwartz Translations Ltd Pure Audio Blu-ray mastering Stefan Bock, msm-studios, and nationalities (as do the boys) and, between them, study Stephen Cleobury is always pleased to hear from potential many diff erent subjects in Cambridge. members of the Choir, choristers, choral scholars and organ Label management Andy Doe scholars. Those interested are invited to contact him on The Choir of King’s College, Cambridge is represented by Intermusica Artist Management. telephone 01223 331224 or e-mail: [email protected]. Please contact [email protected] for further information. For more information about the college visit www.kings.cam.ac.uk 22