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Home , Beatus vir, Claudio Monteverdi, Refugium Peccatorum

CORO CORO Claudio Monteverdi Monteverdi Monteverdi Messa a quattro voci et salmi of 1610 Selva morale e spirituale Vol. I “This is surely one of the “These are some of of 1650 most refined versions the most spirited of the Vespers currently and individual available.” performances of this repertory available.” today bbc music GRAMMYt Nominated magazine cor16126 cor16087

Monteverdi Monteverdi Selva morale e spirituale Vol. II Selva morale e spirituale Vol. III “There is a feeling of “Insightfully dramatic easiness with Monteverdi’s and precise… harmonic and especially a series well worth rhythmic vocabulary that collecting.” lends a tripping lightness gramophone to the performances.” international cor16101 record review cor16109

To find out more about , concert tours, and to buy CDs visit The Sixteen Volume I HARRY CHRISTOPHERS www.thesixteen.com cor16142 t took Monteverdi quite some time to find fulfilment plaintive petitions shared between various groups of singers; and then the heavenly Iin his work and his workplace but in the end he was duet Confitebor tibi Domine, where Grace and Mark deliver their text over a walking revered by all. It is a tribute to the reverence in which ground punctuated by a jaunty string , everything full of contrasts not he was held that after his death some of his unpublished only vocally but also instrumentally, culminating in the most exquisite Amen. Frances, works were printed. These make up the 1650 Messa a Dai and Al luxuriate in Monteverdi’s harmonic language: the variety of textures and quattro voci et salmi and we will be continuing our sonorities they achieve are quite extraordinary. survey of Monteverdi’s music with two volumes of this Borggreve Marco Photograph: publication. It is jam-packed with brilliant works, from Performing Monteverdi’s sacred music is in many ways no different from performing solo songs to thrilling eight-part vocal pieces, some his ; the same principles apply. It is essential we follow his dictum: recitar with added strings; every composition is full of luscious cantando (speak through singing). This allows the most amazing licence. As a result, which are always inventive and beautifully time relationships do not become mechanical but are intuitively felt, thus giving us constructed for all concerned. the freedom to be expressive and interpret the words, just as any great actor recites Shakespeare. A set of words, often repeated many times, can have different inflections, Once again the five days we spent recording Monteverdi’s works proved to be some of a different gesture each time. is just that – a series of gestures. the most enjoyable and evocative music-making in which we have ever participated. In effect, we recorded in the round, the precariously placed (well, it looked This is the first volume of this particular Monteverdi collection and I am so looking that way but was actually very safe) on top of the chamber organ, so that Al could forward to completing the series. Thanks to the whole but, in particular, Elin, move with ease from one instrument to the other, chitarrone, and strings on Grace, Jeremy, Mark, George, Steven, Stuart and Jimmy for their extraordinarily either side with the choir facing them. Everyone was in eye contact so that each subtle versatile singing; Simon, Andrea and Joe for being always intuitive and responding nuance and invention could be passed aurally and visually from one to another with so instinctively in their interplay with the singers, all finally signed and sealed by our great ease. Not that the music is easy; Monteverdi stretches every singer’s versatility classy continuo team, Al, Dai and Frances. Simply a pleasure! to the limit. It is demanding but so exhilarating. Just listen to the rhythmic vitality of the three-part Lauda Jerusalem – its stately start belying the speed at which words need to trip off the tongue in its later passages; the relative simplicity of the full choir’s rendering of his old style Laetaniae della Beata Vergine with its tender invocations and

2 3 6 Monteverdi Nisi Dominus a 3 SV200 7.02 Messa a quattro voci et salmi of 1650 Grace Davidson, Mark Dobell, Stuart Young

Volume I 7 Monteverdi Laudate pueri a 5 SV196 5.06 Soprano: Julie Cooper, Grace Davidson, Kirsty Hopkins, Elin Manahan Thomas Claudio Monteverdi (1567-1643) (1602-76) : Ian Aitkenhead, Clegg, Daniel Collins, Kim Porter Tenor: Simon Berridge, Mark Dobell, Steven Harrold, George Pooley Bass: Ben Davies, Eamonn Dougan, Tim Jones, Stuart Young 1 Monteverdi Dixit Dominus (Primo) a 8 SV191 7.33 Choir 1: Grace Davidson, Jeremy Budd, Mark Dobell, Jimmy Holliday 8 Monteverdi Laetaniae della Beata Vergine a 6 SV204 9.37 Choir 2: Elin Manahan Thomas, Steven Harrold, George Pooley, Stuart Young Soli: Grace Davidson, Elin Manahan Thomas, Jeremy Budd, Mark Dobell, George Pooley, Jimmy Holliday 2 Monteverdi Confitebor tibi Domine(Secondo) a due voci SV194 8.06 Soprano : Julie Cooper, Grace Davidson, Kirsty Hopkins, Elin Manahan Thomas Grace Davidson, Mark Dobell Alto: Ian Aitkenhead, David Clegg, Daniel Collins, Kim Porter 3 Tenor: Simon Berridge, Mark Dobell, Steven Harrold, George Pooley Monteverdi Lauda Jerusalem a 3 SV202 8.49 Bass: Ben Davies, Eamonn Dougan, Tim Jones, Stuart Young Jeremy Budd, George Pooley, Jimmy Holliday 9 Monteverdi Beatus vir a 7 SV195 8.48 4 Cavalli 9.40 Soli: Grace Davidson, Elin Manahan Thomas, Kim Porter, Grace Davidson, Elin Manahan Thomas, Jeremy Budd, George Pooley, Mark Dobell, Jimmy Holliday Jeremy Budd, Mark Dobell, George Pooley, Jimmy Holliday Soprano : Julie Cooper, Kirsty Hopkins, Kim Porter 5 Alto: Ian Aitkenhead, David Clegg, Daniel Collins Monteverdi Laetatus sum a 5 SV199 6.49 Tenor: Simon Berridge, Jeremy Budd, Ben Davies, Soprano: Julie Cooper, Grace Davidson, Kirsty Hopkins, Elin Manahan Thomas Mark Dobell, Steven Harrold, George Pooley Alto: Ian Aitkenhead, David Clegg, Daniel Collins, Kim Porter Bass: Eamonn Dougan, Jimmy Holliday, Tim Jones, Stuart Young Tenor: Simon Berridge, Mark Dobell, Steven Harrold, George Pooley Bass: Ben Davies, Eamonn Dougan, Tim Jones, Stuart Young Total running time 71.29

4 5 Claudio Monteverdi Messa a quattro voci et salmi of 1650 Volume I SOPRANO Julie Cooper, Grace Davidson, Kirsty Hopkins, Elin Manahan Thomas ALTO Ian Aitkenhead, David Clegg, Daniel Collins, Kim Porter owards the end of his life Monteverdi and inventive music. The contents of the TENOR Simon Berridge, Jeremy Budd, Mark Dobell, Steven Harrold, George Pooley Tpublished two large collections of his book were probably collected by its printer, BASS Ben Davies, Eamonn Dougan, Jimmy Holliday, Tim Jones, Stuart Young work. One – the Madrigali guerrieri et Alessandro Vincenti, though Francesco amorosi (1638) – contained . Cavalli, then first organist of San Marco, Simon Jones, Andrea Jones CHITARRONE David Miller The second, the Selva morale et spirituale may have had a hand in the enterprise; Joseph Crouch HARP Frances Kelly of 1641 was, in effect, a summing up of certainly he supplied the Magnificat setting ORGAN/HARPSICHORD Alastair Ross nearly 30 years of Monteverdi’s work in with which the book closes. In dedicating Organ supplied and tuned by Keith McGowan as choirmaster of the Doge’s chapel the book Vincenti said: of San Marco. It is a reflection of the esteem in which Monteverdi was held at Venice, ‘These sacred relics of the works of the Recording Producer: Mark Brown though, that even after his death in 1643 at Most Excellent Monteverdi, which, not Recording Engineer: Mike Hatch (Floating Earth) the age of 76, one of his publishers still felt without a miracle, it fell to me piously Recorded at: Church of St Augustine, Kilburn, London, 5-12 November 2015 it worthwhile to issue some of his hitherto to collect, are now published by me to Cover image: Angel Musician (fresco), Melozzo da Forli (1438-94) Pinacoteca Vatican Museum, Rome, , Peter Horree /Alamy unpublished music. The results were the satisfy the common devotion.’ Design: Andrew Giles: [email protected] Messa et salmi of 1650 and the Madrigali e canzonette...libro nono of 1651. Even allowing for an element of rhetorical 2016 The Sixteen Productions Ltd. the voi ces of © 2016 The Sixteen Productions Ltd. exaggeration in Vincenti’s extended metaphor, Made in Great Britain Far from being simply a collection of his words suggest that these works had not For further information about recordings on CORO or live performances and tours by The Sixteen, call: +44 (0) 20 7936 3420 or email: [email protected] poor leftovers, or reprints from earlier been stored safely and accessibly in the choir volumes, the Messa et salmi includes some library of San Marco, but came rather from of Monteverdi’s most attractive, novel, Monteverdi’s own stock of manuscripts, Also available as a studio master quality download at www.thesixteendigital.com 7 which had somehow survived the seven years Dominus published in Monteverdi’s Selva These short phrases are then used to initiate not fail to take him on’. Dixit Dominus was since his death, possibly in the possession morale of 1641. In a modern edition with the third and final clause of the verse. In the first psalm in most Vespers services and of his elder son Francesco, though since barlines, the 1641 version is some 45 bars verse 1 Monteverdi creates a busy texture Monteverdi may have felt under pressure Monteverdi’s will has not yet been discovered, longer than that of 1650, and where the two for this, perhaps to suggest the confusion of to produce a regular stream of new settings we have no idea of its provisions. pieces share material, the 1641 version often the king’s (or Venice’s) enemies. Similarly, of the text. Under these circumstances, elaborates the simpler material of 1650, verse 2 ends with a passage with fanfare-like and particularly since settings for eight The volume contains, as its title implies, a though the setting of verse 7 – ‘De torrente motifs for the words ‘in medio inimicorum voices were demanded for special feasts at Mass setting, psalm settings for the evening in via bibet’ – is actually much shorter. tuorum’ (in the midst among thine enemies). San Marco, it is not surprising to find him service of Vespers, and a Litany of the Virgin The consistency of this opening structure is reworking an existing setting. Mary. It does not include Vespers , The 1650 setting is probably the earlier of abandoned in the 1641 setting, where verse 1 such as are found in the Selva morale; but, the two. The setting of verses 1 and 2 hint is set as a grand opening to the psalm, three Beatus vir (; BCP 112) is another significantly, it does include festal settings at this. In the 1650 setting the two verses times as long as the 1650 setting, with no long psalm text that Monteverdi must have of , not found in the Selva, that are are carefully crafted in parallel, with three reference at all to the plainsong. In this set a number of times at Venice since it forms appropriate for a Vespers of the Blessed musical clauses in each.1 The first two version the plainsong appears only at the part of the sequence of psalms appointed for Virgin or other female saints (Laetatus sum, employ the plainsong psalm tone for mode 8, beginning of verse 2, from which point it feasts of male saints. In his 1650 setting for Nisi Dominus, Lauda Jerusalem). the first part of which is heard in the soprano shares material with the 1650 setting. seven voices and two violins he followed of choir 1, accompanied by block , a template that he also used for the more One of the most fascinating aspects of the and the second part as a solo accompanied We know that, in addition to his duties at San famous six-voice setting in the Selva morale, posthumous collection is the light that it by short interjections from two other voices. Marco, Monteverdi was able to supplement treating the first line of the psalm as a throws on Monteverdi’s working processes. his income by providing and performing refrain which binds together what would The first of the two settings of Dixit 1 In some recent Catholic – the Liber sacred music for other patrons. In a letter otherwise be disparate sections of music Dominus (; Book of Common Usualis, for example – the text ‘Donec ponam of 13th March 1620, for example, he said in which he translates the images of the Prayer 110), for eight voices in two , inimicos tuos scabellum pedum tuorum’ ‘whoever can engage [the choirmaster] to text in a madrigalian manner: a full texture is given as verse 2 of the psalm. In the provides a fascinating example of this since, version set by Monteverdi, as in the Book look after their music – not to mention the for ‘Potens in terra’ (verse 2) for example, apart from the setting of verse 1, it shares of Common Prayer, it forms part of verse 1, payment of 30 ducats, and even 40, and up illustrating the might of the blessed man’s much of its material with the first Dixit with verse 2 beginning ‘Virgam virtutis’. to 50 for two Vespers and a Mass – does descendants, or the sustained bass line for

8 9 ‘quia in aeternum non commovebitur’ (for to which the verses of the psalm are set early; eating the bread of misery; arrows for verse 2, we can perhaps hear a near aural he shall never be moved) (verse 5), or the are themselves variations over a bass that in the hand of a powerful man – provide equivalent for ‘Stantes erant pedes nostri in dotted rhythms as the wicked man gnashes elaborates a falling scale of C. Their steady ample opportunities for nuances of word atriis tuis’ (Our feet shall stand in thy gates); his teeth (verse 9). The subtle and reflective unfolding is interrupted only for significant painting, and the setting is rounded off and finding the word ‘abundantia’ in two way in which Monteverdi weaves the refrain phrases of text, such as ‘Magna by a return to the opening music for ‘as it verses (6 and 7) Monteverdi used the same into other textures, however, sets this apart Domini’ (verse 2: The works of the Lord are was in the beginning’. In Lauda Jerusalem musical phrase for both. Perhaps the chief from the more extrovert Selva version, great) and ‘Sanctum et terribile nomen eius’ Monteverdi uses extended passages of the delight of the setting is heard in the extended forming one of his most exquisite settings. (verse 9: Holy and reverend is his name). triple-time writing often found in Venetian phrases for ‘et in saecula saeculorum’ (world songbooks. His triple-time setting of without end) and ‘Amen’ , which Monteverdi Monteverdi had at his disposal a number Without Alessandro Vincenti’s work we verse 1 is contrasted with a striking setting sets both separately and combined together. of virtuoso singers whose abilities he put should have been deprived of what might in duple time for verse 2 which is brought to good use in psalm settings for one, be called Monteverdi’s ‘Venetian Vespers back at verse 6 and again in the Gloria Patri, Monteverdi constructed his setting of two and three voices in styles that would of the Blessed Virgin’ – psalm settings where Monteverdi also plays the trick of Laudate pueri (; BCP 113) in not have been out of place in Venetian for the feasts of female saints that did not reintroducing the opening ‘Lauda Jerusalem paragraphs covering single verses, or pairs songbooks of the early- and mid-17th form part of the ’s plan for the Dominum’ after the word ‘semper’ so that we of verses when the sense of the text runs century. The second of the Confitebor tibi Selva morale but illustrate his genius every are enjoined always to praise the Lord. on. One of the themes of the psalm is Domine (; BCP 111) settings, bit as much as the settings in the earlier God’s dwelling on high, but raising up the in fact, adopts an approach analogous to publication. Nisi Dominus (; In his five-voice setting of Laetatus sum humble. Monteverdi underpins this by Monteverdi’s Chiome d’oro in BCP 127) and Lauda Jerusalem (; (; BCP 122) – the third psalm of using audibly related rising motifs for the his Seventh Book of (1619). It BCP 147, vv 12-20), both for three voices, Marian Vespers – we hear Monteverdi the phrases ‘et super caelos’ (verse 4: above the begins with an introduction for two violins are the fourth and fifth psalms of Vespers for expert contrapuntist at work, inventing heavens) ‘qui in altis habitat’ (verse 5: that in two sections, each of them over a bass female saints. Nisi Dominus begins with a and combining motifs in ways that are as hath his dwelling so high) ‘suscitans a terra that elaborates a rising and falling scale of melodic line in paired quavers – a style that challenging for the choir as anything in his inopem’ (verse 6: he taketh up the simple out C major. The second section is then brought characterized Monteverdi’s ‘French style’ more colourful settings. Word painting is not of the dust) ‘et de stercore erigens pauperem’ back as a ritornello, punctuating the verses setting of Confitebor tibi in the Selva morale. central to the setting, though in the dragging, (verse 6: and lifteth the poor out of the of the psalm. The melodious vocal lines The images of Nisi Dominus – getting up syncopated phrase that Monteverdi invents mire). As in his setting of Lauda Jerusalem,

10 11 Monteverdi rounds off the setting by feeling that the city was under the special bringing back the music of the opening, protection of the Virgin was reinforced Texts and Translations this time to illustrate the words ‘sicut erat in when Pius V declared that the principio’ in the Gloria Patri. Venetians’ victory over the Turks in 1571 1 at the battle of Lepanto was due to the Dixit Dominus (Primo) a 8 SV191 The canticle Magnificat forms the climax intervention of the of the . Dixit Dominus Domino meo: The Lord said unto my Lord: of Vespers, with a ceremonial censing of The many polyphonic settings of the Litany Sede a dextris meis, Sit thou on my right hand, the altar, and Cavalli rose to the occasion of the Blessed Virgin that were written for donec ponam inimicos tuos until I make thine with a fine setting for six voices and two Venice and other Italian centres during the scabellum pedum tuorum. enemies thy footstool. violins that provided a fitting culmination seem to have been prompted to the 1650 book. Its texture is thoroughly by the new wave of Marian devotion that Virgam virtutis tuae emittet Dominus The Lord shall send the rod of thy power typical of the mid-17th century, with solos, followed the victory at Lepanto. ex Sion: dominare out of Sion: be thou ruler, duets and trios predominating and the full in medio inimicorum tuorum. even in the midst among thine enemies. complement of voices and instruments The litany is a series of invocations Tecum principium in die virtutis tuae In the day of thy power shall the people reserved for such appropriate moments and petitions. It begins and ends with in splendoribus sanctorum: offer thee free-will offerings with an holy worship: as ‘omnes generationes’ (all generations), invocations familiar from the mass – ‘Kyrie ex utero, ante luciferum, genui te. the dew of thy birth is of the womb of the morning. ‘fecit potentiam’ (he hath showed strength), eleison’ and ‘Agnus Dei’ – though here they and the end of the ‘Gloria Patri’. Triple- have new petitions added. Between these are Iuravit Dominus et non poenitebit eum: The Lord sware, and will not repent: time writing also plays a part, suggesting groups of petitions to the Trinity, to Mary as tu es sacerdos in aeternum Thou art a priest for ever pleasure, as at ‘Esurientes implevit bonis’ (he saint, mother and virgin, as personification secundum ordinem Melchisedech. after the order of Melchisedech. hath filled the hungry with good things) of biblical and other images, and as queen. Dominus a dextris tuis: The Lord upon thy right hand: and the contemplation of God’s eternal Monteverdi’s setting is in eight sections, confregit in die irae suae reges. shall wound even kings in the day of his wrath. glory (‘et in saecula saeculorum’). with the groups of petitions characterized by varied scorings. Iudicabit in nationibus, He shall judge among the heathen; Devotion to the Virgin Mary was a powerful implebit ruinas: he shall fill the places with the dead bodies: force in Venetian religious life, and the © John Whenham, 2016 conquassabit capita in terra multorum. and smite in sunder the heads over divers countries.

12 13 De torrente in via bibet: He shall drink of the brook in the way: Memor erit in saeculum testamenti sui: He shall ever be mindful of his covenant. propterea exaltabit caput. therefore shall he lift up his head. virtutem operum suorum annuntiabit He hath shewed his people the power populo suo. of his works: Gloria Patri et Filio, Glory be to the Father, and to the Son, et Spiritui Sancto: and to the Holy Ghost: Ut det illis That he may give them Sicut erat in principio, et nunc et semper, As it was in the beginning, is now and ever shall be: haereditatem gentium: the heritage of the heathen. et in saecula saeculorum. Amen. world without end. Amen. opera manuum eius veritas et iudicium. The works of his hands are verity and judgement.

Psalm 109 in Roman Psalm 110 in Book of Common Prayer Fidelia omnia mandata eius: All his commandments are true. confirmata in saeculum saeculi: They stand fast for ever and ever: facta in veritate et aequitate. and are done in truth and equity.

Redemptionem misit Dominus populo suo: [The Lord] sent redemption unto his people: 2 Confitebor tibi Domine (Secondo) a due voci SV194 mandavit in aeternum testamentum suum. he hath commanded his covenant for ever; Confitebor tibi, Domine, in toto corde meo: I will give thanks unto the Lord with my whole heart: Sanctum et terribile nomen eius: Holy and reverend is his name. in consilio iustorum, et congregatione. secretly among the faithful, and in the congregation. initium sapientiae timor Domini. The fear of the Lord is the beginning of wisdom. Magna opera Domini: The works of the Lord are great: Intellectus bonus omnibus facientibus eum: A good understanding have all they that do thereafter; exquisita in omnes voluntates eius. sought out of all them that have pleasure therein. laudatio eius manet in saeculum saeculi. the praise of it endureth for ever. Confessio et magnificentia opus eius: His work is worthy to be praised and had in honour: Gloria Patri et Filio, Glory be to the Father, and the Son, et iustitia eius manet in saeculum saeculi. and his righteousness endureth for ever. et Spiritui Sancto: and to the Holy Ghost: Memoriam fecit The merciful and gracious Lord hath so done Sicut erat in principio, et nunc et semper, As it was in the beginning, is now and ever shall be: mirabilium suorum, his marvellous works: et in saecula saeculorum. Amen. world without end. Amen. misericors et miserator Dominus: that they ought to be had in remembrance. Psalm 110 in Roman psalter Psalm 111 in Book of Common Prayer escam dedit timentibus se. He hath given meat unto them that fear him.

14 15 3 Lauda Jerusalem a 3 SV202 Gloria Patri et Filio, Glory be to the Father, and to the Son, et Spiritui Sancto: and to the Holy Ghost: Lauda Jerusalem Dominum: Praise the Lord, O Jerusalem: Sicut erat in principio, et nunc et semper, As it was in the beginning, is now and ever shall be: lauda Deum tuum Sion. praise thy God, O Sion. et in saecula saeculorum. Amen. world without end. Amen.

Quoniam confortavit seras portarum tuarum: For he hath made fast the bars of thy gates: Psalm 147 in Roman psalter Psalm 147, vv. 12-20 in Book of Common Prayer benedixit filiis tuis in te. and hath blessed thy children within thee.

Qui posuit fines tuos pacem: He maketh peace in thy borders: et adipe frumenti satiat te. and filleth thee with the flour of wheat. 4 Qui emittit eloquium suum terrae: He sendeth forth his commandment upon earth: Cavalli Magnificat velociter currit sermo eius. and his word runneth very swiftly. Magnificat anima mea Dominum: My soul doth magnify the Lord: et exultavit spiritus meus in Deo salutari meo. and my spirit hath rejoiced in God my Saviour. Qui dat nivem sicut lanam: He giveth snow like wool: nebulam sicut cinerem spargit. and scattereth the hoar-frost like ashes. Quia respexit humilitatem ancillae suae: For he hath regarded the lowliness of his handmaiden: ecce enim ex hoc beatam me dicent for, behold, from henceforth Mittit cristallum suum sicut buccellas: He casteth forth his ice like morsels: omnes generationes. all generations shall call me blessed. ante faciem frigoris eius quis sustinebit? who is able to abide his frost? Quia fecit mihi magna, qui potens est: For he that is mighty hath done great things to me: Emittet verbum suum, et liquefaciet ea: He sendeth out his word, and melteth them: et sanctum nomen eius. and holy is his name. flebit spiritus eius, et fluent aquae. he bloweth with his wind, and the waters flow. Et misericordiae eius, And his mercy is from generation Qui annuntiat verbum suum Jacob: He sheweth his word unto Jacob: a progenie in progenies: timentibus eum. unto generation, unto them that fear him. iustitias et iudicia sua Israel. his statutes and ordinances unto Israel. Fecit potentiam in bracchio suo: He hath showed strength with his arm; Non fecit taliter omni nationi: He hath not dealt so with any nation: dispersit superbos, he hath scattered the proud et iudicia sua non manifestavit eis. neither have the heathen knowledge of his laws. mente cordis sui. in the imagination of their hearts.

16 17 Deposuit potentes de sede: He hath put down the mighty from their seat Jerusalem, quae aedificatur ut civitas, Jerusalem is built as a city: et exaltavit humiles. and exalted the humble. cuius participatio eius in idipsum. that is at unity in itself.

Esurientes implevit bonis: He hath filled the hungry with good things, Illuc enim ascenderunt tribus, For thither the tribes go up, et divites dimisit inanes. and the rich he hath sent empty away. tribus Domini: testimonium Israel, even the tribes of the Lord: to testify unto Israel, ad confitendum nomini Domini. to give thanks unto the name of the Lord. Suscepit Israel puerum suum: He hath supported Israel, his servant, recordatus misericordiae suae. being mindful of his mercy. Quia illic sederunt sedes in iudicio: For there is the seat of judgement: sedes super domum David. even the seat of the house of David. Sicut locutus est ad patres nostros: As he spoke to our forefathers, Abraham et semini eius in saecula. to Abraham and his seed for ever. Rogate quae ad pacem sunt Jerusalem: O pray for the peace of Jerusalem: et abundantia diligentibus te. they shall prosper that love thee. Gloria Patri et Filio, Glory be to the Father, and to the Son, et Spiritui Sancto: and to the Holy Ghost: Fiat pax in virtute tua: Peace be within thy walls: Sicut erat in principio, et nunc et semper, As it was in the beginning, is now and ever shall be: et abundantia in turribus tuis. and plenteousness within thy palaces. et in saecula saeculorum. Amen. world without end. Amen. Propter fratres meos et proximos meos: For my brethren and companions’ sakes: Luke 1: 46-55 loquebar pacem de te. I will wish thee prosperity.

Propter domum Domini Dei nostri: Yea, because of the house of the Lord our God: quaesivi bona tibi. I will seek to do thee good. 5 Laetatus sum a 5 SV199 Gloria Patri et Filio, Glory be to the Father, and to the Son, Laetatus sum in his, quae dicta sunt mihi: when they said unto me: et Spiritui Sancto: and to the Holy Ghost: in domum Domini ibimus. We will go into the house of the Lord. Sicut erat in principio, et nunc et semper, As it was in the beginning, is now and ever shall be: et in saecula saeculorum. Amen. world without end. Amen. Stantes erant pedes nostri in atriis tuis, Our feet shall stand in thy gates: Jerusalem. O Jerusalem. Psalm 121 in Roman psalter in Book of Common Prayer

18 19 6 Nisi Dominus a 3 SV200 7 Laudate pueri a 5 SV196 Nisi Dominus aedificaverit domum: Except the Lord build the house: Laudate pueri Dominum: Praise the Lord, ye servants: in vanum laboraverunt qui aedificant eam. their labour is but lost that build it. Laudate nomen Domini. O praise the name of the Lord.

Nisi Dominus custodierit civitatem: Except the Lord keep the city: Sit nomen Domini benedictum: Blessed be the name of the Lord: frustra vigilat qui custodit eam. the watchman waketh but in vain. ex hoc nunc et usque in saeculum. from this time forth for evermore.

Vanum est vobis ante lucem surgere: It is but lost labour that ye haste to rise up early, A solis ortu usque ad occasum: The Lord’s name is praised: from the rising up surgite postquam sederitis, and so late take rest, laudabile nomen Domini. of the sun unto the going down of the same. qui manducatis panem doloris. and eat the bread of carefulness: for so he giveth his beloved sleep. Excelsus super omnes gentes Dominus: The Lord is high above all heathen: Cum dederit dilectis suis somnum. et super caelos gloria eius. and his glory above the heavens. Ecce haereditas Domini, filii: Lo, children and the fruit of the womb: merces, fructus ventris. are an heritage and gift that cometh of the Lord. Quis sicut Dominus Deus noster, Who is like unto the Lord our God, qui in altis habitat: that hath his dwelling so high: Sicut sagittae in manu potentis: Like as the arrows in the hand of the giant: et humilia respicit and yet humbleth himself to behold ita filii excussorum. even so are the young children. in caelo et in terra? the things that are in heaven and earth?

Beatus vir qui implevit Happy is the man that hath Suscitans a terra inopem: He taketh up the simple out of the dust: desiderium suum ex ipsis: his quiver full of them: et de stercore erigens pauperem; and lifteth the poor out of the mire; non confundetur cum loquetur they shall not be ashamed inimicis suis in porta. when they speak with their enemies in the gate. Ut collocet eum cum principibus: That he may set him with the princes: cum principibus populi sui. even with the princes of his people. Gloria Patri et Filio, Glory be to the Father, and to the Son, et Spiritui Sancto: and to the Holy Ghost: Qui habitare facit sterilem in domo: He maketh the barren woman to keep house: Sicut erat in principio, et nunc et semper, As it was in the beginning, is now, and ever shall be: matrem filiorum laetantem. and to be a joyful mother of children. et in saecula saeculorum. Amen. world without end. Amen. Gloria Patri et Filio, Glory be to the Father, and to the Son, Psalm 126 in Roman psalter in Book of Common Prayer et Spiritui Sancto: and to the Holy Ghost: 20 21 Sicut erat in principio, et nunc et semper, As it was in the beginning, is now, and ever shall be: Mater creatoris, ora pro nobis. Mother of the creator, pray for us. et in saecula saeculorum. Amen. world without end. Amen. Mater salvatoris, ora pro nobis. Mother of the saviour, pray for us.

Psalm 112 in Roman psalter in Book of Common Prayer Virgo prudentissima, ora pro nobis. Wisest Virgin, pray for us. Virgo veneranda, ora pro nobis. Worshipful Virgin, pray for us. Virgo praedicanda, ora pro nobis. Prophesied Virgin, pray for us. Virgo potens, ora pro nobis. Powerful Virgin, pray for us. 8 Virgo clemens, ora pro nobis. Kind Virgin, pray for us. Laetaniae della Beata Vergine a 6 SV204 Virgo fidelis, ora pro nobis. Faithful Virgin, pray for us. Kyrie eleison. Christe eleison. Lord, have mercy. Christ, have mercy. Christe, audi nos. Christe, exaudi nos. Christ, hear us. Christ, graciously hear us. Speculum iustitiae, ora pro nobis. Mirror of justice, pray for us. Pater de caelis, Deus, miserere nobis. Father from heaven, God, have mercy on us. Sedes sapientiae, ora pro nobis. Seat of wisdom, pray for us. Fili redemptor mundi, Deus, miserere nobis. Son, redeemer of the world, God, have mercy on us. Causa nostrae laetitiae, ora pro nobis. Reason for our rejoicing, pray for us. Spiritus Sancte, Deus, miserere nobis. Holy Spirit, God, have mercy on us. Vas spirituale, ora pro nobis. Spiritual vessel, pray for us. Sancta Trinitas, unus Deus, miserere nobis. Holy Trinity, one God, have mercy on us. Vas honorabile, ora pro nobis. Honourable vessel, pray for us. Vas insigne devotionis, ora pro nobis. Vessel worthy of devotion, pray for us. Sancta Maria, ora pro nobis. Holy Mary, pray for us. Sancta Dei genetrix, ora pro nobis. Holy Mother of God, pray for us. Rosa mystica, ora pro nobis. Mystic rose, pray for us. Sancta Virgo virginum, ora pro nobis. Holy Virgin of virgins, pray for us. Turris Davidica, ora pro nobis. Tower of David, pray for us. Turris eburnea, ora pro nobis. Tower of wars, pray for us. Mater Christi, ora pro nobis. Mother of Christ, pray for us. Domus aurea, ora pro nobis. Golden home, pray for us. Mater divinae gratiae, ora pro nobis. Mother of the divine grace, pray for us. Foederis arca, ora pro nobis. Ark of the covenant, pray for us. Mater purissima, ora pro nobis. Mother most pure, pray for us. Ianua caeli, ora pro nobis. Gates of heaven, pray for us. Mater castissima, ora pro nobis. Mother most chaste, pray for us. Stella matutina, ora pro nobis. Morning star, pray for us. Mater inviolata, ora pro nobis. Mother untouched, pray for us. Salus infirmorum, ora pro nobis. Cure of the sick, pray for us. Mater intemerata, ora pro nobis. Mother undefiled, pray for us. Refugium peccatorum, Refuge of the sinners, Mater amabilis, ora pro nobis. Loveable mother, pray for us. Consolatrix afflictorum, Consoler of the afflicted, Mater admirabilis, ora pro nobis. Mother most worthy, pray for us. Auxilium Christianorum, ora pro nobis. Help of Christians, pray for us.

22 23 Regina Angelorum, ora pro nobis. Queen of the Angels, pray for us. Exortum est in tenebris lumen rectis: Unto the godly there ariseth up light in the darkness: Regina Patriarcharum, ora pro nobis. Queen of the Patriarchs, pray for us. misericors et miserator et iustus. he is merciful, loving, and righteous. Regina Prophetarum, ora pro nobis. Queen of Prophets, pray for us. Regina Apostolorum, ora pro nobis. Queen of Apostles, pray for us. Iucundus homo qui miseretur et commodat, A good man is merciful, and lendeth, Regina Martyrum, ora pro nobis. Queen of Martyrs, pray for us. disponet sermones suos in iudicio: and will guide his words with discretion: Regina Confessorum, ora pro nobis. Queen of Confessors, pray for us. quia in aeternum non commovebitur. for he shall never be moved. Regina Virginum, ora pro nobis. Queen of Virgins, pray for us. In memoria aeterna And the righteous shall be had in Regina Sanctorum omnium, ora pro nobis. Queen of all Saints, pray for us. erit iustus: everlasting remembrance: Agnus Dei, qui tollis O Lamb of God, that takes away ab auditione mala non timebit. he will not be afraid of any evil tidings. peccata mundi, parce nobis, Domine. the sins of the world, spare us, Lord. Paratum cor eius, sperare in Domino, For his heart standeth fast, and believeth in the Lord; Agnus Dei, qui tollis O Lamb of God, that takes away confirmatum est cor eius: non commovebitur his heart is established: and [he] will not shrink: peccata mundi, exaudi nos, Domine. the sins of the world, hear us, Lord. donec despiciat inimicos suos. until he see his desire upon his enemies. Agnus Dei, qui tollis O Lamb of God, that takes away peccata mundi, miserere nobis. the sins of the world, have mercy on us. Dispersit, dedit pauperibus: He hath dispersed abroad, and given to the poor: iustitia eius manet in saeculum saeculi: and his righteousness remaineth for ever; cornu eius exaltabitur in gloria. his horn shall be exalted with honour.

9 Peccator videbit et irascetur, The ungodly shall see it, and it shall grieve him: Beatus vir a 7 SV195 dentibus suis fremet et tabescet: he shall gnash with his teeth, and consume away; Beatus vir qui timet Dominum: Blessed is the man that feareth the Lord: desiderium peccatorum peribit. the desire of the ungodly shall perish. in mandatis eius volet nimis. he hath great delight in his commandments. Gloria Patri et Filio, Glory be to the Father, and to the Son, Potens in terra erit semen eius: His seed shall be mighty upon earth: et Spiritui Sancto: and to the Holy Ghost: generatio rectorum benedicetur. the generation of the faithful shall be blessed. Sicut erat in principio, et nunc et semper, As it was in the beginning, is now, and ever shall be: et in saecula saeculorum. Amen. world without end. Amen. Gloria et divitiae in domo eius: Riches and plenteousness shall be in his house: et iustitia eius manet in saeculum saeculi. and his righteousness endureth for ever. Psalm 111 in Roman psalter Psalm 112 in Book of Common Prayer

24 25 Harry Christophers is known internationally as founder and After three decades of worldwide performance conductor of The Sixteen as well as being a regular guest and recording, The Sixteen is recognised as one conductor for many of the major symphony orchestras and opera of the world’s greatest ensembles. Its special companies worldwide. He has directed The Sixteen choir and reputation for performing early English , orchestra throughout Europe, America and Asia-Pacific, gaining a masterpieces of the , and distinguished reputation for his work in Renaissance, Baroque and early Classical periods, and a diversity of 20th- and 21st-century music, all stems from 20th- and 21st-century music. In 2000 he instituted The Choral the passions of conductor and founder, Harry Christophers.

Pilgrimage, a national tour of English cathedrals from York to Borggreve Marco Photograph: The Sixteen tours internationally giving regular performances at the major concert Canterbury in music from the pre-Reformation, as The Sixteen’s halls and festivals. At home in the UK, The Sixteen are ‘The Voices of Classic FM’ as contribution to the millennium celebrations. The Pilgrimage in well as Associate Artists of The Bridgewater Hall, Manchester, Artistic Associate of the UK is now central to The Sixteen’s annual artistic programme. Kings Place and hold a 2015-2016 Artist Residency at Wigmore Hall. The group also Since 2008 Harry Christophers has been Artistic Director of Boston’s Handel and Haydn promotes The Choral Pilgrimage, an annual tour of the UK’s finest cathedrals. Society; he is also Principal Guest Conductor of the Granada Symphony Orchestra. The Sixteen’s period-instrument orchestra has taken part in acclaimed semi-staged As well as enjoying a partnership with the BBC Philharmonic, with whom he won a performances of Purcell’s The Fairy Queen in Tel Aviv and London, a fully staged Diapason d’Or, he is a regular guest conductor with the Academy of St Martin in the production of Purcell’s King Arthur in Lisbon’s Belém Centre, and new productions of Fields. With The Sixteen he is an Associate Artist at The Bridgewater Hall in Manchester Monteverdi’s Il ritorno d’Ulisse at Lisbon Opera House and The Coronation of Poppea and features in the highly successful BBC television series, Sacred Music, presented by at . Simon Russell Beale. Over 140 recordings reflect The Sixteen’s quality in a range of work spanning the Harry has conducted numerous productions for Lisbon Opera and English National music of 500 years. In 2009 the group won the coveted Classic FM Gramophone Artist Opera as well as conducting the UK premiere of Messager’s opera Fortunio for Grange of the Year Award and the Baroque Vocal Award for Handel’s Coronation Anthems. Park Opera. He is a regular conductor at Buxton Opera where he initiated a very successful The Sixteen also features in the highly successful BBC television series, Sacred Music, cycle of Handel’s operas and including Semele, Samson, Saul and Jephtha. presented by Simon Russell Beale. Harry Christophers is an Honorary Fellow of Magdalen College, Oxford, as well as the In 2011 the group launched a new training programme for young singers, called Royal Welsh College of Music and Drama and has been awarded the Honorary Degree Genesis Sixteen. Aimed at 18- to 23-year-olds, this is the UK’s first fully funded choral of Doctor of Music by the University of Leicester. He was awarded a CBE in the 2012 programme for young singers designed specifically to bridge the gap from student to Queen’s Birthday Honours. professional practitioner. 26 27