Journeys to the New World were born in and were trained in music JOURNEYS TO THE NEW WORLD Old Spain to New Spain there; they held appointments in Spain and later HISPANIC SACRED MUSIC FROM THE emigrated to the new colonial cities. One more This is a musical trip from the mid-sixteenth became the first composer-choirmaster to be 16th & 17th CENTURIES century to around 1700, involving music in Late born there of Spanish parents, thus criollo. style, carrying Spanish Catholicism across the Atlantic to supplant an indigenous Cristóbal de Morales (d.1553) was a Sevillian 1 Regina caeli laetare à 6 Cristóbal de Morales (c.1500 – 1553) [4.30] culture. Once the invasion had taken root with the who spent ten years away in Rome at the Sistine 2 Salve regina à 5 Hernando Franco (1532 – 1585) [9.36] conquest of Tenochtitlán and its transformation Chapel. Tomás Luis de Victoria (d.1611) who 3 Vidi speciosam Tomás Luis de Victoria (c.1548 – 1611) [5.58] to Mexico City, the country became the target of came from Ávila in Castile spent twenty years in 4 Trahe me post te Francisco Guerrero (1528 – 1599) [4.50] fervent friars and preachers. Franciscans were Rome and published most of his works in . first in 1523, then Dominicans, all fired with Francisco Guerrero and Alonso Lobo were from 5 Versa est in luctum Alonso Lobo (1555 – 1617) [4.47] Christian zeal to convert the native population. or nearby. Guerrero spent his mature 6 Circumdederunt me Juan Gutierrez de Padilla (c.1590 – 1664) [4.16] From the outset they used music to great effect. career serving Seville Cathedral, visiting Rome 7 In horrore visionis Francisco López Capillas (1614 – 1674) [4.27] The accounts that survive show how successful and the Holy Land briefly. Alonso Lobo stayed 8 Versa est in luctum Juan Gutierrez de Padilla [3.02] they were in teaching singing and playing, at home. At first he was assistant to Guerrero, 9 Tantum ergo Francisco López Capillas [1.40] training choirs to perform liturgical music. By then appointed maestro at Toledo, a prestigious 0 O quam suavis est Alonso Lobo [4.32] the mid-century it was claimed that standards post he held for ten years. He returned to q Christus factus est attrib. Hernando Franco [2.00] had reached that of Charles V’s chapel. Churches Seville, taking charge until his death in 1617. w O sacrum convivium Cristóbal de Morales [4.48] and cathedrals were established throughout the Guerrero, his beloved mentor and model, had e O quam gloriosum Tomás Luis de Victoria [2.20] rapidly expanding New Spain. Conquest died in 1599, by then the most widely known and r Beatus Achacius Francisco Guerrero [7.31] and Christianity imposed an almost exact admired composer in Spain. replica of Old Spain. Liturgical books, prints t Laudate Dominum Miguel Mateo de Dallo y Lana (c.1650 – 1705) [2.06] of plainchant and polyphony were shipped in Hernando Franco was born near the Portuguese Total timings: [66.23] throughout the century. border in 1532, just four years younger than Guerrero. He trained at Segovia and became In this recording the singers present music associated with companions intending to cross by eight composers. Four of them never went to New Spain. We hear of him as maestro at THE QUEEN’S SIX to the New World; their music did. Three of them Guatemala Cathedral in 1573, then in 1575 www.signumrecords.com - 3 - he gained charge at Mexico City and remained 1 Regina caeli laetare à 6 effects pitting varying combinations contemporaries Victoria and Vivanco; both maestro there until his death in 1585. Juan Regina caeli laetare is the Marian to of three against three, dovetailed together. wrote similar settings for six voices, both Gutiérrez de Padilla was a native of Málaga. In be sung at the end of Compline in Paschal Time There is a glittering variety of texture interspersed taking pains to begin with striking descending his twenties he held posts in charge as maestro (Easter to Pentecost). Three settings by Morales with bursts of declamation in four, five or six phrases paired with answering voices that at Jerez and Cádiz. In 1622 we find him in New survive; the present one is for six voices, the voices. The two distinct parts follow the rise. Some forty to fifty years later Padilla, at Spain at the Cathedral of Puebla de los Ángeles, others are for five and for four. It is a fine responsorial plan (AB CB) with shared endings. Puebla, Mexico, wrote his own version for five appointed assistant maestro. There he stayed example of Morales creating a sustained flow of voices using similar devices. until his death in 1664; he had become maestro equal voices in exuberant . 4 Trahe me post te at the richly endowed cathedral in charge of This work is a Marian adapted from the 6 Circumdederunt me the largest and best choral and instrumental 2 Salve regina à 5 Song of Songs in which Guerrero symbolically The words of this motet are adapted from establishment in the Americas.Francisco López Salve regina is the Marian text that takes over as has the second alto ‘drag’ its twin, the top Psalm 114: 3, 4. The Psalm was chanted at rose from humble bassoonist (bajonero), then the final antiphon at Compline from voice, after it – a canon ad tertiam – one and Vespers of the Dead. The motet extract became organist and assistant to Gutiérrez de Padilla Pentecost until Advent, but it had been widely a half bars behind and a third above. Among a favourite of composers throughout Europe at Puebla, becoming maestro de capilla at the used for extra-liturgical devotions especially in the effects this creates is the beautiful ‘lift’ at in the sixteenth century and beyond. One by cathedral of Mexico City in 1654. He added Spain. Hernando Franco seems to have written at carissima in delitiis. This poetic work is surely a Morales was sung at the obsequies in Mexico Capilla or Capillas to his name at that time. He least five settings, four are for four voices, jewel in Guerrero’s crown. City Cathedral marking the death of Charles remained there until he died in 1674. Certainty the other for five as sung here. All but one are V, Holy Roman Emperor in 1559. Padilla’s setting about his birth in Mexico and its date has been found in manuscripts almost identically at 5 & 8 Versa est in luctum was composed more than a century later in a revealed in the discovery of his baptismal record: it Guatemala and Puebla cathedrals. They alternate Alonso Lobo’s masterpiece is one of three manner directly descended from the great master, took place on 7th April, 1614. Both Padilla and López polyphony and plainsong, verse by verse. Franco’s for six voices included in his sole publication in six-voiced polyphony, poignant and powerful. have left great stores of work in the archives of ‘Salves’ preserve an Hispanic variant, adding (1602), four years after Philip II had died. Lobo their respective cathedrals. Miguel Mateo de semper to the last phrase – Mary ever virgin. had designated all the motets as for singing at 7 In horrore visionis Dallo y Lana, a native of Logroño (La Rioja), solemn masses, and the funeral motet was The Prophet Job supplies the phantasms of was maestro at Seville’s church of San Salvador. 3 Vidi speciosam headed ’at the obsequies of Philip II Catholic the night for this motet by López. He sets it He moved to Mexico and took charge at Puebla, This is a motet for the Feast of the Assumption King of Spain’. It is possible that it was sung with intensity and contrives a quite sinister effect succeeding Antonio Salazar in 1688. of the Virgin Mary (August 15th). Its text at the king’s funeral, but there’s no evidence. with his close packed opening phrases as the combines verses from the Song of Songs to form a We can be sure that it was sung at Toledo voices rise in semitones and minor thirds. Like Responsory at Matins. Victoria’s splendid setting Cathedral’s memorial service. This dignified work Circumdederunt and Versa est it is intended exploits the six voices with call-and-answer of majestic sadness may have impressed Lobo’s for extraliturgical devotions at the catafalque.

- 4 - - 5 - 9 Tantum ergo services, the first on the Thursday, with the saint was said to have been martyred along t Laudate Dominum This is the penultimate stanza of the Corpus second added on Good Friday, then all three on with 10,000 companions at Mount Ararat, no Miguel Mateo de Dallo y Lana was maestro Christi hymn Pange lingua gloriosi corporis Holy Saturday. Probably this polyphonic version less. In Guerrero’s time the Feast was in the at Puebla Cathedral from 1688 until his death mysterium. Spain had its own distinctive was reserved for that final day. Seville liturgical books. It disappeared in the in 1705. He became well known for his settings triple-time tune; it enjoyed widespread popularity. 1570s, excised by Roman reforms. It remained of psalms, mainly for Vespers, and for sacred López has used this melody, unadorned, in his w O sacrum convivium in the Martyrologium of 1949, and was villancicos, composed to vernacular poems, second voice of the six, buried under the top Morales sets the antiphon to the for abolished as myth in 1969. Guerrero’s motet notably some by Sor Juana de la Cruz. He and almost obscured by a welter of faster notes Second Vespers of Corpus Christi. In typically is a fine example of his flowing style, unhurried handles his six voices almost as though for from its companions. free counterpoint with variable imitation he and mellifluous. It owes much to the influence twin choirs in this sprightly major key setting proceeds to weave a tapestry of interlocked of Morales, but somehow gentler. This was a of Psalm 116 (KJV117). 0 O quam suavis est phrases. He takes his time. The rising fourths, piece that did not get reprinted in Guerrero’s Once more this is from the Office of Corpus O sacrum, stamp character and devotion on a later books, due to the fading of Achacius from © Bruno Turner 2020 Christi, written by Thomas Aquinas. It is the work that seems one of organic growth. festal status. antiphon to the Magnificat at First Vespers. Alonso Lobo’s motet is deeply devotional, full e O quam gloriosum of expressive melody, wrapped in gorgeous One of Victoria’s most popular motets. It uses the harmony. It must surely stand with Lobo’s great words of the antiphon to Magnificat at Second funeral motet as one of the finest of its time. Vespers of All Saints (Nov 1). The opening heralds its joyful vigour. Three voices hurtle up q Christus factus est at gaudent below the top voice’s long notes. This has been attributed to Franco because his It’s all joyful; it is one of those happy pieces name has been attached to one of the three that remind us that Victoria’s music is not all manuscript copies that survive at Mexico City penitential or linked to Holy Week and Tenebrae. Cathedral. They are dated between 1717 and 1730, 150 years after Franco’s time. More likely it r Beatus Achacius was the work of Manuel de Sumaya whose What a strange one this is. Did Guerrero know Holy Week music surrounds it in one of how many saints were called Achacius? Perhaps. the choirbooks. Its three sections follow the In his first printed collection, in 1555, he took care plainchant as specified at the three Tenebrae to label his motet in festo S.Achacii, 22 Iunii. The

- 6 - - 7 - TEXTS and TRANSLATIONS 3 Vidi speciosam Tomás Luis de Victoria 1 Regina caeli laetare à 6 Cristóbal de Morales Vidi speciosam sicut columbam ascendentem I saw the fair one rising like a dove above the desuper rivos aquarum: streams of water: Regina coeli laetare, Alleluia. Queen of Heaven, rejoice, alleluia. Cuius inaestimabilis odor erat nimis in whose priceless fragrance clung to her garments. Quia quem meruisti portare, Alleluia. For He whom you were worthy to bear, alleluia. vestimentis eius. And as on a spring day, she was surrounded by Resurrexit sicut dixit, Alleluia. He has risen, as He said, alleluia. Et sicut dies verni, flores rosarum circumdabant roses and lily-of-the-valley. Ora pro nobis Deum. Alleluia. Pray for us to God, alleluia. eam, et lilia convallium. Who is this who rises from the desert like a pillar Quae est ista, quae ascendit per desertum sicut of smoke from incense of myrrh and frankincense? Medieval Antiphon for the Virgin Mary virgula fumi, ex aromatibus myrrhae et thuris? And as on a spring day, she was surrounded by 2 Salve regina à 5 Et sicut dies verni, flores rosarum circumdabant roses and lily-of-the-valley. eam, et lilia convallium. Hernando Franco Responsory for the Feast of the Assumption of the BVM 4 Salve regina, Mater Misericordiae, Hail, Holy Queen, Mother of mercy, Trahe me post te Vita, dulcedo, et spes nostra, Salve! Our life, our sweetness and our hope, Hail! Francisco Guerrero Ad te clamamus, exsules filii [H]evae, To thee do we cry, poor banished children of Eve, Trahe me post te, virgo Maria: Draw me after you, Virgin Mary: Ad te suspiramus, gementes et flentes, to thee do we send up our sighs, curremus in odorem unguentorum tuorum. we will run after thee to the odour of thy In hac lacrimarum valle. mourning and weeping in this valley of tears. Quam pulchra es et quam decora, carissima ointments. Eja ergo, Advocata nostra, Turn, then, most gracious advocate, in delitiis, How beautiful art thou, and how comely, my Illos tuos misericordes oculos ad nos converte thine eyes of mercy toward us, Statura tua assimilata est palmae et ubera tua botris. dearest, in delights! Et Jesum, benedictum fructum ventris tui, and after this, our exile, Dixi: ascendam in palmam et apprehendam Thy stature is like to a palm tree, and thy breasts Nobis, post hoc exilium, ostende, show unto us the blessed fruit of thy womb, Jesus. fructum eius: to clusters of grapes. O clemens, O pia, O dulcis Virgo semper Maria. O clement, O loving, O sweet ever Virgin Mary et erunt ubera tua sicut botri vineae, I said: I will go up into the palm tree, Votive Antiphon for the Virgin Mary et odor oris tui sicut odor malorum. and will take hold of the fruit thereof: and thy breasts shall be as the clusters of the vine, and the odour of thy mouth like apples.

Motet for the Virgin Mary, adapted from the Song of Songs 1. 3a, 7. 6-8

- 8 - - 9 - 5 & 8 Versa est in luctum 9 Tantum ergo est Alonso Lobo & Juan Gutiérrez de Padilla Francisco López Capillas Tantum ergo Sacramentum Down in adoration falling, Versa est in luctum cithara mea, My is turned to grieving Veneremur cernui: Lo! the sacred Host we hail, et organum meum in vocem flentium. and my music to the voice of those who weep. Et antiquum documentum Lo! o’er ancient forms departing Parce mihi Domine, Spare me, O Lord, Novo cedat ritui: Newer rites of grace prevail; nihil enim sunt dies mei. for my days are as nothing. Præstet fides supplementum Faith for all defects supplying, Funeral motet (from Job 30. 31) Sensuum defectui. Where the feeble senses fail. 6 Circumdederunt me From the Corpus Christi hymn Pange lingua by St Thomas Aquinas Juan Gutiérrez de Padilla (1225–74) 0 O quam suavis Circumdederunt me dolores mortis, The sorrows of death have compassed me: Alonso Lobo et pericula inferni invenerunt me. and the perils of hell have found me. O quam suavis est, Domine, spiritus tuus, O how sweet is thy spirit, Lord, In tribulatione mea invocavi Dominum In my trouble, I called upon the name of the Lord qui ut dulcedinem tuam in filios demonstrares thou who, in order to demonstrate thy sweetness et a Deum meum clamavi. and cried out to my God. pane suavissimo de caelo praestito, to thy children, Motet based on Psalm 114:3,4 esurientes reples bonis, send down from heaven the sweetest bread fastidiosos divites dimittens inanes. unsurpassed, filling the hungry with good things, 7 In horrore visionis sending away empty the disdainful rich! Francisco López Capillas Antiphon for Corpus Christi In horrore visionis nocturnæ, Amidst thoughts from visions of the night, q Christus factus est quando solet sopor occupare homines, when deep sleep falls on mortals, Attrib. Hernando Franco pavor tenuit me, et tremor, dread came upon me, and trembling, et omnia ossa mea perterrita sunt. which made all my bones shake. Christus factus est pro nobis obediens Christ became obedient for us unto death, usque ad mortem, mortem autem crucis. even to the death, death on the cross. From the Office of the Dead (Job 4. 13-14) Propter quod et Deus exaltavit illum et dedit illi nomen, Therefore God exalted Him and gave Him a name quod est super omne nomen. which is above all names.

Verses for Tenebrae (from St Paul’s Epistle to the Philippians) - 10 - - 11 - w O sacrum convivium Concedesque eis And grant them as well Cristóbal de Morales Remissionem peccatorum the remission of their sins Et non permitas eos And let us not die in sin. O sacrum convivium, O sacred banquet, In peccatis mori. Accord them good health in quo Christus sumitur: in which Christ is received: Et dona eis sanitatem of body and spirit. recolitur memoria passionis eius: the memory of his Passion is renewed: Animarum et corporum. Holy Achacius, pray for us. mens impletur gratia: the mind is filled with grace: Sancte Achacius, ora pro nobis. et futurae gloriae nobis pignus datur. and a pledge of future glory to us is given. Motet for St Achacius Alleluia. Alleluia. t Laudate Dominum Antiphon for Corpus Christi Miguel Mateo de Dallo y Lana e O quam gloriosum Tomás Luis de Victoria Laudate Dominum, omnes gentes: O praise the Lord, all ye nations: laudate eum, omnes populi. praise him, all ye people. O quam gloriosum est regnum, O how glorious is the kingdom Quoniam confirmata est super nos misericordia ejus: For his merciful kindness is great toward us: in quo cum Christo gaudent omnes Sancti. in which all the saints rejoice with Christ. et veritas Domini manet in aeternum. and the truth of the Lord endureth for ever. Amicti stolis albis, Clad in robes of white Gloria Patri, et Filio, et Spiritui Sancto: Glory be to the Father, and to the Son, and to the sequuntur Agnum, quocumque ierit. they follow the Lamb wherever he goes. Sicut erat in principio, et nunc, et semper: Holy Ghost: Antiphon for All Saints et in saecula saeculorum. Amen. As it was in the beginning, is now, and ever shall be: r Beatus Achacius world without end. Amen. Francisco Guerrero Psalm 116 (KJV 117)

Beatus Achacius oravit dicens: The blessed Achacius prayed, saying: Domine Iesu Christe, Lord Jesus Christ, Qui propter te crucifiximur whom we crucified because of Thyself Exaudi orationem nostram Answer our prayers Et concede ut and grant that Qui cumque per nos whosoever invokes Thy compassion Tuam misericordiam invocaverint through us Eos exaudias. be answered.

- 12 - - 13 - day that lends this group its distinctive The Queen’s Six tours internationally on a regular closeness and blend, as well as an irresistible basis. 2019 saw their first performances in informality and charm. Slovenia, Croatia and Bermuda, and return trips to the USA (including New York City) and Individually, members of The Queen’s Six have Germany (including Bayreuth). appeared in many of the most prestigious vocal ensembles on the circuit, including The Tallis For more information, please visit Scholars, Tenebrae, and The Sixteen. Their www.thequeenssix.com or find us on Facebook, repertoire extends far beyond the reach of the Twitter and Instagram. choir stalls: from austere early chant, florid Renaissance polyphony, lewd and haunting folk songs to upbeat Jazz and Pop arrangements.

The Queen’s Six would like to thank: Juan Manuel Lara Cárdenas, Enrique Guerrero, Carolina Leleu, Fr Paul McLaren-Cook, Alastair Putt, Gareth Thomas, Instituto Nacional de Bellas Artes (INBA- México)/Centro Nacional de Investigación, Countertenor: Daniel Brittain, Tim Carleston Documentación e Información Musical Carlos Chávez (CENIDIM-México) and www.musicavirreinal.com Tenor: Nicholas Madden, Dominic Bland Recorded from 27th to 29th March 2019 at Ascot Priory, Ascot, UK. Producer & Editor – Adrian Peacock. Baritone/Bass: Andrew Thompson, Simon Whiteley Recording Engineer, Mixing and Mastering – Dave Rowell.

Cover Image – iStock Design and Artwork – Woven Design www.wovendesign.co.uk

P 2020 The copyright in this sound recording is owned by Signum Records Ltd Based at Windsor Castle, the members of and state occasions. In 2018 this included © 2020 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd The Queen’s Six make up half of the Lay Clerks the weddings of Princess Eugenie and Mr Jack Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored of St George’s Chapel, whose homes lie within Brooksbank, and Prince Harry and Ms Meghan in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. the Castle walls. This rare privilege demands Markle, both held in St George’s Chapel. Most SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middlesex, UB6 7LQ, UK. the highest musical standards, as they sing significantly however, it is the familiarity +44 (0) 20 8997 4000 E-mail: [email protected] regularly for the Royal family at both private of living and singing together in Chapel every www.signumrecords.com

- 14 - - 15 - ALSO AVAILABLE on signumclassics

España: A Choral Postcard from Spain The Last Rose of Summer The World Encompassed: Orlando Gough Coro Cervantes | Carlos Aransay The Queen’s Six Fretwork | Simon Callow Narrator SIGCD196 SIGCD598 SIGCD453

Coro Cervantes is the only choir in the The first release by The Queen’s Six on During his journey to circumnavigate UK dedicated to the classical music of Signum, this project contains uniquely the globe, Sir Francis Drake took four the Iberian Peninsula and Latin America. arranged folk-songs, taken from various players with him, who played both for This recording shows a glimpse of their parts of the British Isles. his devotions and to the native peoples capabilities singing the Spanish music around the world that they encountered. they are best known for. This music, written by Orlando Gough, recreates that journey.

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

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