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Home , Deo gratias, Gregorio Allegri, Miserere (Allegri), Thomas Tallis

1000 YEARS OF

SACRED MUSIC OF THE

VOLUME 3 | & BEFORE

SACRED MUSIC OF THE RENAISSANCE FAST FACTS 1582–1652 1 12’22 • The Renaissance in music stretches from about 1430 to the early 1600s. Solo quartet: Jane Sheldon (solo treble), Belinda Montgomery, Jenny Duck-Chong, Richard Anderson • The most important musical development in this period was . This means music made up of several independent melodic lines that are played or sung simultaneously. Although each musical line has c.1440–1521 a different rhythm, they all fit together to make up one harmonious whole. 2 Ave Maria ... virgo serena 5’25 • All of the lines in polyphony are equally important: there’s not one that’s the tune, with the rest just 1543–1623 background. Different lines might be more prominent at different moments in the music, but the overall 3 4’34 effect is of a smooth, seamless interweaving of musical parts. Belinda Montgomery soprano, Jenny Duck-Chong alto, Paul McMahon tenor, Richard Anderson bass • Most Renaissance polyphony has four or five lines of music. Some of the more complicated pieces have up to eight or even twelve vocal parts, but few have equalled the achievements of Jean de Ockeghem, ROBERT PARSONS c.1530–1570 with his 36-voice canon Deo gratias, and , with his 40-part . 4 Ave Maria 4’39 • The most famous piece of Renaissance sacred music is the Miserere by Gregorio Allegri. It’s called c.1397–1474 ‘Miserere’ because that’s the first word of the text: ‘Miserere mei, Deus’ (Have mercy on me, 5 Nuper rosarum flores 5’53 O God). Many set these words to music, but Allegri’s version is the one that was sung Belinda Montgomery soprano, Paul McMahon tenor regularly in the . They thought so highly of it there, that they wanted to keep it for their Richard Black, John Pitman, Richard Anderson cantus firmus own exclusive use, so the church authorities prohibited anyone from making any copies of the music. TOMÁS LUIS DE VICTORIA 1548–1611 It wasn’t until 1770 that Allegri’s Miserere ‘escaped’: the 14-year-old Mozart, on a visit to , heard 6 O magnum mysterium 3’54 a performance and then went away and wrote the music down from memory.

JEAN DE OCKEGHEM c.1410–1497 7 Deo gratias for 36 voices 4’29

GIOVANNI PIERLUIGI DA PALESTRINA c.1525–1594 8 Stabat Mater for eight voices 11’20 • Galileo has been under house arrest for five years, for saying that the sun, c.1667–1740 not the earth, was the centre of the universe. 9 Crucifixus for eight voices 3’32 • The world’s first public house, the Teatro San Cassiano in Venice, is one year old. 1571–1621 0 In dulci jubilo for four voices 2’22 • Birth of Louis XIV, the ‘Sun King’; he will become King of France just four years later, reigning for 72 years. c.1460–1518 • Death of John Harvard, a 31-year-old English clergyman who had settled in ! O salutaris hostia 2’32

1638 Massachusetts barely a year earlier. He leaves his library and half his estate to THOMAS TALLIS c.1505–1585 the local college – the future Harvard University. @ Spem in alium for 40 voices 9’35 • Sweden, a major European power at this time, extends its empire to the New World, establishing a settlement in the Delaware Valley. Total Playing Time 72’09 • And in Rome, Gregorio Allegri’s new setting of the Miserere is heard in the Cantillation Sistine Chapel. Antony Walker conductor Brett Weymark conductor 2, 3, 5

— 2 — Sacred music of the Renaissance Pierre de la Rue and Josquin appear side by side in Molinet’s list of master composers in his poem Nimphes des bois, a déploration or lamentation on the death of Jean de Ockeghem (which was in turn set to music by From the first was seen a great host of trumpeters, of players on the lyre and the flute. Each one of them... Josquin). More forward-looking than Du Fay, Ockeghem was the true father of , a technical had adorned himself in raiment sparkling with light...in a perfect fusion of this venerable gathering together of genius whose mastery of , sensitive handling of four-part vocal texture, and expressive bass lines such beautiful music and harmonious chords... Yea, in such a wise that the melodies of the angels and of divine – he was famous for his own fine bass voice – provided a model for an entire generation of composers across paradise, and the songs descending from heaven unto us here below, by means of so incredible a sweetness, Europe. Among his most intricate creations are the Missa Cuiusvis toni, designed to be performable in any of rightly seemed to murmur in our ears something of the ineffable and of the divine... the available modes, and the Missa Prolationum, constructed entirely in canon with each part in a different time Thus wrote Giannozzo Manetti of the events of 25 March 1436: the consecration of the dome of Florence signature, and with the canon in each section built on a different interval – the different voices starting on the Cathedral amid immense pomp and splendour. The dome itself was a miracle of engineering. Brunelleschi, same pitch in the first section, then a tone apart, then a third apart, all the way through to canon at the . inspired by the construction feats of the ancient Romans, had found a way to support the massive weight Regardless of the level of complexity, Ockeghem’s writing remains seamless, a gradually evolving soundscape of the structure, 40 metres in diameter and a remarkable 56 metres high: an octagonal ribbed dome with a articulated by familiar melodic shapes. reinforced double shell. Central to the ceremony was a miracle of musical composition: the motet Nuper Even for Ockeghem, the 36-part canon Deo gratias represents an extraordinary achievement: four of rosarum flores by French Guillaume Du Fay. nine voices, each singing its own line in a nine-fold canon. The Superius and Altus choirs (here sung by The work is an isorhythmic motet, a musical style grounded in the medieval aesthetic which saw music and the sopranos and tenors respectively) come to rest one after another on a single, swelling C, under which the geometry as equal branches of knowledge. Such are constructed on a rhythmic pattern which is Tenor and Bassus choirs continue to weave their own canonic lines until the piece finally settles on a glorious repeated, often independently of the melody to which it is sung. In Nuper rosarum flores, there is a double F major chord. American music theorist Edward Lowinsky points to the medieval Christian mystical tradition of isorhythm (reflecting the double dome of the cathedral): two interlocking rhythmic patterns, in the two lowest as the echo of angelic hymns, inspired by Old Testament accounts of angels unceasingly calling voices. The isorhythm is sung four times, each time taking a different note value as the basis of the pattern. out the praises of God to each other, as if with a single voice. Lowinsky suggests that this image may have So the shortest note in the pattern, a dotted semibreve the first time, is a semibreve the second time, then a been Ockeghem’s inspiration for his Deo gratias, a constant chain of canonic entries suggesting the angels’ minim, then a dotted minim: a ratio of 6 : 4 : 2 : 3. The temple of Solomon in Jerusalem, as described in the Old unending and overlapping repetition of the simple shout of praise, ‘Thanks be to God!’ This could also explain Testament, was built in the same proportions: 60 cubits long, with a main hall 40 cubits long in front of the inner Ockeghem’s decision to write nine voices in each choir, a symbolic representation of the nine orders of angels sanctum, 20 cubits wide and 30 cubits high. And the cathedral in Florence had been constructed to reflect those (Seraphim, Cherubim, Thrones, Dominions, Virtues, Powers, Principalities, Archangels and Angels). same proportions. Curiously, the score of Deo gratias was lost, and Ockeghem’s immense achievement became no more than The melody of the isorhythm phrase is based on the Gregorian Locus iste, the text of which is an scarcely believable rumour in the following centuries; Fétis, author of the seminal eight-volume Biographie affirmation of the overwhelming holiness of the house of God. Around this, two upper voices weave an universelle des musicians (1860–65), scoffed, ‘I will say it again, a composition like that was absolutely elaborate filigree singing a hymn in praise of the pope, Eugenius IV, who was dedicating the cathedral, and of impossible in Ockeghem’s day.’ It was not until 1877 that the work was rediscovered. the Virgin Mary, patron saint of the cathedral (Santa Maria del Fiore). When Englishman Thomas Tallis, a century after Ockeghem, was challenged by Thomas Howard, Duke of Du Fay stands at the gateway between Medieval and Renaissance music, able to incorporate the contemporary Norfolk, to equal the feat of an Italian composer who was reputed to have written ‘a songe ... in 30 parts developments in contrapuntal techniques into such traditional genres as the isorhythmic motet. By the time (whence the Italians obteyned the name to be called the Apices of the world) wch beeinge songe mad a of Josquin des Prez, however, the pace of stylistic change had picked up dramatically. His Ave Maria ... virgo heavenly Harmony,’ it was not Ockeghem’s work (even allowing for inaccuracies of geography – Ockeghem serena, like Du Fay’s Nuper rosarum flores, is based on a melody, but the differences are striking. never worked in ) or even Josquin’s 24-part Qui habitat in adiutorio which prompted the challenge, but most There is no longer any sense of a hierarchy of function, no grounding cantus firmus delineated from decorative likely a piece by the now largely forgotten composer , who had visited in 1567 and upper parts. Here, the melody which opens the piece is immediately passed through all four voice parts, from brought with him a 40-part motet Ecce beatam lucem. soprano through alto and tenor down to the bass line, in a simple two-part canonic structure that blossoms into Tallis’ response, Spem in alium, is written for eight choirs of five voices each, a palette of sound colours used full four-part polyphony. boldly yet sensitively to create an immense canvas that blends luxuriant detail with massive power. The work The text, though it begins with the angel Gabriel’s greeting to Mary (from the according to Luke 1:28), begins with a single voice, soon joined by a second and a third until all of the first choir is singing; the voices of is not the standard Ave Maria text of the Catholic liturgy, but rather a devotional poem in praise of the Virgin, the second choir take over smoothly and the music moves around the whole ensemble, gradually bringing in with each verse focusing on one of the five major Marian feasts (Immaculate Conception, Nativity of the the richer tones of lower voices. The slow-moving but never static harmonies have great dignity and gravitas, Virgin, Annunciation by the Archangel Gabriel, Purification [later renamed Presentation], and Assumption of the like strong pillars around which individual voices weave their slender and often ornately detailed melodic lines. Blessed Virgin into Heaven). It has been suggested that the work was composed for Josquin’s patron Cardinal Ascanio Sforza, to take with him on a pilgrimage to Loreto, an important shrine to the Virgin Mary, in fulfilment The text is technically liturgical – it comes from a responsory sung at as part of the Historia Judith – but of a vow made by Ascanio during a very serious illness. it was not a text commonly set to music and, in fact, Tallis does not set it in a liturgical fashion (which would have required a repetition of the passage beginning ‘qui irasceris’). The first performance seems to have been Writing at the same time as Josquin was Pierre de la Rue, markedly less well known today but in fact one of given in Arundel House, the Duke of Norfolk’s London residence; the symbolism of the brave Israelite woman the most important composers of the late 15th and early 16th centuries. Unlike Josquin, and indeed most other Judith beguiling Holofernes, the commander of Nebuchadnezzar’s armies, and cutting of his head would have leading composers of his day, de la Rue travelled not to Italy, but to Spain, in the service of Philip the Fair. He been easily read as an allegory of Queen Elizabeth and Philip of Spain, while the poignancy of Judith’s prayer was particularly prolific as a composer of masses – at least 29 complete settings have come down to us – but would doubtless have had resonances for the Duke, who had recently spent nearly a year in prison as a result he also wrote numerous motets and secular works. The motet O salutaris hostia appears as part of his Missa of a plot to marry him to Mary Queen of Scots. de Sancta Anna, where it takes the place of the first ‘Osanna’, as well as existing in independent sources. Only four phrases long, it is a delicately crafted miniature which nevertheless displays variety of texture (note It was a difficult time for church musicians. Tallis worked under four monarchs and experienced the traditions of especially the second phrase, where the counterpoint crystallises into pure, transparent chords), imitative the old liturgy, Henry VIII’s confiscation of the monasteries, the Protestantism of Edward VI, the Restoration of counterpoint (the descending scales in the final phrase) and a sense of perfect equilibrium. Catholicism under Queen Mary and the strategic manoeuvres leading to the discipline of Elizabeth’s new

— 3 — church establishment in 1558. He survived by adapting his music to the times: early Latin polyphony that he more mystical understanding of the Christmas story: O magnum mysterium, ‘O great mystery and wonderful wrote for the old, ornate Tudor liturgy; Protestant music in English, employing the one-note-to-a-syllable ideal sacrament, that the animals should see the newborn Lord lying in a manger.’ of the reformers; music for the as restored under Mary; and a range of styles under Elizabeth: more The motet begins with an austerely beautiful two-part canon between soprano and alto; as tenor and bass or less elaborate Latin music for court or private use, such as Spem in alium, and soberer music in English join in, the music suddenly blooms briefly into a major tonality before returning to the more subdued imitative for the new rites. Spem would probably have been forgotten entirely had it not been transformed into an counterpoint which forms the basis of the work. A similar moment of glorious stillness is created with the English-language ceremonial to the text ‘Sing and glorifie heavens high Majesty’, in which form it was major chord at ‘O beata Virgo’; the motet ends with a dance-like yet dignified triple-time Alleluia and a final performed at the investiture of Henry as Prince of Wales in 1610 and again in 1616 after Henry’s death, when flourish of descending scale passages. his younger brother Charles received the same honour. It comes as no surprise that the composer of this music of awe and wonder, ordained a priest in 1575, Tallis’ younger contemporary William Byrd began composing in his teens under Mary but most of his work drew back from the busyness of court and cathedral life in Rome (where he had succeeded Palestrina as was written during the reign of Elizabeth. A devout Catholic, he managed somehow to avoid the persecution chapelmaster in the Roman seminary) to become a member of the quasi-monastic Oratory of St Philip Neri, being meted out to other non-Protestants at the time, enduring only the occasional fine, and even continued to before returning to Spain to take up a position as chaplain at a convent of strictly cloistered nuns in Madrid. write music for the old rites, dedicating them to Elizabeth herself: it seems that he was protected purely by his And yet contemporary reports describe Victoria as being of a ‘naturally sunny’ disposition, disinclined to remain talent. Nevertheless, the delicacy of his situation is clear from the title given to the collection of Latin motets he downcast for long; the poignancy of O magnum mysterium should not be taken as typical of his style. published with Tallis in 1575: Cantiones, quae ab argumento sacrae vocantur – that is, ‘Songs which are [strictly speaking not sacred but only] called sacred on account of their texts’. Victoria must have known Palestrina, and may have been taught by him: widely acknowledged as ‘the very first musician in the world’, Palestrina’s music had become the model for sacred music, perfect in its By the 1590s, however, Byrd had begun to publish explicitly Catholic music, and his Gradualia of 1605 spelt contrapuntal structure, yet also as respectful as possible of the comprehensibility of texts. (His Missa Papae out his Catholic agenda in full detail: the complete mass propers (introit, gradual, tract, , communion) Marcelli quickly passed into popular legend as having saved polyphonic music from the zeal of the Counter- for the major feasts of the church year, Marian feasts and Marian votive masses. There is a record of someone Reformation by demonstrating that it was possible to compose polyphony in such as way that the words could being arrested for possessing Gradualia partbooks; Byrd seems to have simply withdrawn the edition and still be understood.) stored the pages. Ave verum corpus, for the feast of Corpus Christi, comes from this collection of music for private, even secret, worship. It is an intimate and concentrated work; as Byrd wrote in the dedication of Palestrina composed 104 masses, at least 250 motets and about 175 other sacred works, as well as over Gradualia, ‘There is a certain hidden power, as I learnt by experience, in the thoughts underlying the words 140 . The Stabat Mater for double choir is a relatively late work, dating from around 1589. The text, themselves; so that, as one meditates upon the sacred words and constantly and seriously considers them, a meditation on the suffering of Mary standing at the foot of the cross watching her son die, had been part the right notes, in some inexplicable manner, suggest themselves quite spontaneously.’ of the Catholic liturgy since the 15th century. It is a fairly long poem, which led Palestrina to put aside his usual techniques of using imitative counterpoint to stretch out short sections of text. Instead, he created a Robert Parsons’ Ave Maria, on the other hand, is pure Latin polyphony, from the five short years of Mary’s comparatively simple work which makes extensive use of chord textures, often used antiphonally, relying on reign when Catholicism had returned to England. Of Parsons himself we know almost nothing, except that he the play of different groupings of voices to create light and shade. Palestrina was choirmaster of the Cappella was sworn in as a Gentleman of the in 1563 (as Tallis had been in 1543, and as Byrd would be in Giulia at St Peter’s at the time, but presented the work to the choir of the Sistine Chapel, who kept it for their 1569), and died untimely by drowning in the river Trent. The harmonies of his Ave Maria are rich and warm, and own exclusive performance each . It was not until 1771, when the English musician the motet closes with a melismatic ‘Amen’ which builds triumphantly and ends in quiet confidence. reportedly bribed one of the Sistine singers to show him a copy, that the piece was published. The Ave Maria text has a close association with Christmas, being part of the narrative of Mary’s pregnancy: The most famous musical secret, however, is surely Allegri’s Miserere. This setting of the penitential Psalm Gabriel’s announcement to Mary that she was to give birth to the Son of God, and her cousin Elizabeth’s 51 was composed by Allegri around 1638 for the services in , an intensely dramatic night prophecy of the greatness of the child she was to bear. Michael Praetorius’ Christmas In dulci jubilo office in which the candles were extinguished one by one to the solemn chanting of . The Miserere was takes up the story at a later point, when the baby has been born and Mary rocks the child in her lap. The text, the culmination of this ritual, during which the final candle was carried behind the high altar, leaving the church half in Latin, half in German, is said to have been sung by angels to the mystic Heinrich Seuse (or Suso): in total darkness. Gregorio Allegri, a tenor in the for over 30 years, was not the only person After he had spent many hours in contemplating the joys of the angels ... there came to him a youth ... to write settings of the Miserere, nor did his version become the standard setting until at least ten years after and with him many other noble youths ... then they drew him by the hand into the dance, and the youth his death, but once established, it became an almost immutable tradition, and the score, which Allegri had began a joyous song about the infant Jesus, which runs thus: in dulci jubilo ... the leader of the song knew given to the choir for its exclusive use, was hidden away from all prying eyes. right well how to guide them, and he sang first, and they sang after him. Thrice the leader repeated the The story of the 14-year-old Mozart’s memorisation of the work on a single hearing, thus smuggling the music burden of the song. out in his own head, is well known. While this is an impressive feat, it becomes less impressive on closer The melody is one of the best known in the entire Lutheran tradition, and has been arranged and harmonised examination, since the piece basically consists of only three short passages of music: a standard plainsong by countless composers, including J.S. Bach. Praetorius wrote many settings for various arrays of voices and psalm tone, and two chorus passages, one twelve bars long and the other fourteen, each of which is repeated instruments, right up to a version for several choirs and large numbers of instruments, including a five times. The only section which is heard just once is the last verse, in which both choirs come together in band. The setting on this recording is for more modest forces – a single four-part choir – and in Praetorius’ an imposing final . Lutheran church the well-known melody would have been sung by the congregation, led by a Cantor who stood The irony of all the secrecy surrounding the piece is that in fact nobody knows what Allegri’s original setting among them, with the harmony provided by a professional choir from the local Latin school, singing from the sounded like. The two solo choirs of the Miserere were the best singers in that already elite ensemble, and organ loft. This setting comes from Praetorius’ nine-volume collection Musae Sionae or The Muses of Zion famous for their ability to embellish the melodic lines with elaborate ornamentations. To have sung just the (1605–10) which contains 1,244 chorale settings for anything from two voices to a dozen or more. notes on the page would have been unthinkable. In dulci jubilo is an exuberant dance of joy with a directness that expresses the Lutheran confidence in the saving power of a believer’s personal relationship with God. Spanish composer Tomás Luis de Victoria offers a

— 4 — It is not known who first sang the famous high C in Allegri’s setting, nor when it came to be standard Miserere performance practice for the piece, nor indeed what embellishments may have originally been made in the 1 Miserere mei, Deus, Have mercy on me, O God other voices, but certainly in the course of the 18th century the ability of Sistine Chapel choristers to improvise secundum magnam misericordiam tuam; according to your great mercy. such decorations gradually diminished until it was lost entirely, and the singers simply memorised the received et secundum multitudinem miserationum tuarum And in your great tenderness tradition and performed it as learnt. Today, the piece has become inseparable from its top Cs, and the ethereal dele iniquitatem meam. wipe away my faults. beauty of the floating soprano line is for many people the work’s main attraction. Indeed, the Miserere itself Amplius lava me ab iniquitate mea, Wash me thoroughly clean of my guilt, is in most people’s minds the only work by Allegri, even though he was, in his own day, well known as a et a peccato meo munda me. and cleanse me from my sin. composer – a further irony, in view of the fact that the piece as we know it is almost certainly not what Quoniam iniquitatem meam ego cognosco, For I am well aware of my faults, Allegri wrote. et peccatum meum contra me est semper. and my sin is always before me. Tibi soli peccavi, Against you alone have I sinned, The version most often heard today (and recorded here) is Ivor Atkins’ of 1951, based largely on transcriptions by et malum coram te feci; and done what you regard as wrong, Charles Burney and of what they heard at the Vatican in about 1771 and 1831 respectively. In ut justificeris in sermonibus tuis so that you are just in passing sentence on me, fact the famous high C is now known to be an error, brought about by the accidental transposition of the second et vincas cum judicaris. and blameless when you give judgment. choir upward by a fourth, meaning this high note would originally have been a G if the work were sung in G minor. Nonetheless this version has endured through a half-century of performance practice, and despite problems of Ecce enim in iniquitatibus conceptus sum; Behold, surely I was sinful at birth, authenticity, its broad appeal is undeniable. et in peccatis concepit me mater mea. a sinner from the time my mother conceived me. Ecce enim veritatem dilexisti; Behold, surely you delighted in truth: Another quite prolific composer known for a single work is Antonio Lotti. Born in Germany, he moved in his incerta et occulta sapientiae tuae manifestasti mihi. you taught me the hidden secrets of your wisdom. teens to Venice where he remained for the rest of his life, except for one two-year stint in Dresden. Lotti’s Asperges me hyssopo, et mundabor; Cleanse me with hyssop, and I shall be clean; career as a composer of sacred music was firmly grounded at St Mark’s Basilica, where he was first a member lavabis me, et super nivem dealbabor. wash me and I shall be whiter than snow. of the choir, then organist and eventually maestro di cappella, and he wrote numerous masses and other Auditui meo dabis gaudium et laetitiam, Let me hear of joy and gladness, sacred choral works. Of all his works, however, only his settings of the Crucifixus text (for from five to ten et exsultabunt ossa humiliata. and these humbled bones will rejoice again. voices) – some of which come from the Credos of complete mass settings – have stood the test of time. Of those, only the eight-part Crucifixus is at all well known today. Although Lotti was a contemporary of J.S. Bach, Averte faciem tuam a peccatis meis, Turn your face away from my sins, the piled-up dissonances of this Crucifixus have something of the flavour of Monteverdi, on the very cusp et omnes iniquitates meas dele. and wipe out all my guilt. Cor mundum crea in me, Deus, Create a clean heart in me, O God, between Renaissance and Baroque, even if some of the harmonies seem almost Classical. Perhaps also Lotti’s et spiritum rectum innova in visceribus meis. and renew a right spirit within me. involvement with opera – he wrote over 20 works for the stage – accounts for the richly dramatic gestures of this motet. Ne projicias me a facie tua, Do not cast me out from your presence, et spiritum sanctum tuum ne auferas a me. and do not take your holy spirit from me. Nevertheless, this Crucifixus – like all the works on this disc, across the centuries of political and theological Redde mihi laetitiam salutaris tui, Restore to me the joy of your salvation, turmoil, through reformations and counter-reformations – seems in its own way to murmur to us ‘something of et spiritu principali confirma me. and keep my spirit steady and willing; the ineffable and of the divine’, just as Du Fay’s Nuper rosarum flores did for the people of Florence in 1436. Docebo iniquos vias tuas, I shall teach your ways to sinners. Natalie Shea et impii ad te convertentur. And the wicked will turn to you again. Libera me de sanguinibus Deus, Deus salutis meae, Save me from bloodguiltiness, O God, God my saviour, et exsultabit lingua mea justitiam tuam. and my tongue will acclaim your righteousness. Domine, labia mea aperies, O Lord, open my lips et os meum annuntiabit laudem tuam. and my mouth will declare your praise. Quoniam si voluisses sacrificium, For if you desired sacrifice, dedissem utique; I would bring it: holocaustis non delectaberis. you have not taken pleasure in burnt offerings. Sacrificium Deo spiritus contribulatus; The sacrifice of God is a broken spirit; cor contritum, et humiliatum, Deus, non despicies. a contrite, humble heart, O God, you will not despise. Benigne fac, Domine, in bona voluntate tua Sion, In your good pleasure, O Lord, let Zion be blessed; ut aedificentur muri Jerusalem. build up the walls of Jerusalem. Tunc acceptabis sacrificium justitiae, Then you will accept proper sacrifice: oblationes et holocausta; oblations and whole burnt offerings; tunc imponent super altare tuum vitulos. then will young bulls be offered on your altar. from Psalm 50 (51)

— 5 — Ave Maria … virgo serena Successor Eugenius of Peter, Eugenius, 2 Ave Maria, gratia plena, Hail Mary, full of grace, Hoc idem amplissimum has deigned to consecrate Dominus tecum, virgo serena. The Lord is with you, serene virgin. Sacris templum manibus this same and most splendid Sanctisque liquoribus temple with his sacred hands Ave cujus conceptio, Hail to you, whose conception, Consecrare dignatus est. and holy oils. Solemni plena gaudio, Full of solemn joy, Caelestia, terrestria, Fills the heavens and the earth Igitur, alma parens Therefore, kindly parent Nova replet laetitia. Anew with rejoicing. Nati tui et filia, and daughter of your Son, Virgo decus virginum O Virgin, glory of virgins, Ave cujus nativitas Hail to you, whose birth Tuus te Florentiae your devoted inhabitants Nostra fuit solemnitas Was our solemn festival, Devotus orat populus, of Florence implore you Ut lucifer lux oriens As the morning star Ut qui mente et corpore that whoever with pure mind Verum solem praeveniens. Heralds the true sun. Mundo quicquam exorarit, and body has made entreaty, Ave pia humilitas, Hail to you, in your humility and goodness, Oratione tua by your prayer Sine viro foecunditas, Fruitful without a man: Cruciatus et meritis and by the merits of the crucifixion Cujus annunciatio Your Annunciation Tui secundum carnem of your Son, his Lord Nostra fuit salvatio. Was our salvation. Nati Domini sui made flesh Ave vera virginitas, Hail, true virginity, Grata beneficia may deserve to receive Immaculata castitas, Immaculate chastity, Veniamque reatum welcome favours and Cujus purificatio Whose purification Accipere mereatur. Amen. the forgiveness of sins. Amen. Nostra fuit purgatio. Was our cleansing. Attributed Guillaume Du Fay Ave praeclara omnibus Hail to you who excel in all Cantus firmus: Angelicis virtutibus Angelic virtues Terribilis est locus iste. Amen. This is a place of awe. Amen. Cujus fuit assumptio Whose Assumption O magnum mysterium Nostra glorificatio. Was our glorification. 6 O magnum mysterium, O great mystery O Mater Dei, O Mother of God, et admirabile sacramentum, and wondrous sacrament, Memento mei. Amen. Remember me. Amen. ut animalia viderent that animals should see Anonymous devotional poem Dominum natum, the newborn Lord, inspired by Luke 1:28 jacentem in praesepio. lying in the manger. O Beata Virgo O Blessed Virgin Ave verum corpus cujus viscera meruerunt whose womb was worthy 3 Ave verum corpus, natum de Maria Virgine: Hail, true body, born of the Virgin Mary: portare Dominum Jesum Christum, to bear our Lord Christ, vere passum immolatum in cruce pro homine, who truly suffered, sacrificed on the cross for mankind, Alleluia! Alleluia! cujus latus perforatum unda fluxit sanguine. whose pierced side flowed with a tide of blood. Esto nobis praegustatum Be for us a foretaste [of heaven] Matins Responsory for Christmas Day in mortis examine. when we are tested in death. 7 Deo gratias Thanks be to God. O dulcis, O pie, O Jesu, fili Mariae O sweet, gentle Jesus, Son of Mary I Corinthians 15:57 / II Corinthians 2:14 miserere mei. Amen. have mercy on me. Amen. Stabat Mater Anonymous hymn for the Feast of Corpus Christi 8 Stabat Mater dolorosa The grieving Mother Ave Maria Juxta crucem lacrimosa Stood weeping by the cross 4 Ave Maria, gratia plena, Hail Mary, full of grace, Dum pendebat Filius. Where her Son was hanging. Dominus tecum: the Lord is with you: Cujus animam gementem Her spirit crying out, benedicta tu in mulieribus, you are blessed among women, Contristatam et dolentem Mourning and grieving et benedictus fructus ventris tui. and blessed is the fruit of your womb. Pertransivit gladius. Had been pierced by a sword. Amen. Amen. O quam tristis et afflicta O how sad and afflicted Luke 1:28b,42b Fuit illa benedicta Was that blessed Nuper rosarum flores Mater Unigeniti! Mother of the only-begotten! 5 Nuper rosarum flores The rose blossoms, Quae maerebat et dolebat, How she grieved and lamented, Ex dono pontificis recently given by the Pope, Et tremebat, dum videbat And trembled, when she saw Hieme licet horrida despite the winter’s cold Nati poenas inclyti. The sufferings of her glorious Son. Tibi virgo caelica have continued to adorn this temple Quis est homo qui non fleret, Who would not weep Pie et sancte deditum with its great device, Christi Matrem si videret To see the Mother of Christ Grandis templum machinae piously and solemnly dedicated In tanto supplicio? In such torment? Condecorarunt perpetim. to you, heavenly Virgin. Quis non posset contristari, Who could fail to grieve with her, Hodie vicarius Today the vicar of Jesus Piam Matrem contemplari If he saw the Mother of Christ Jesu Christi et Petri Christ and the successor Dolentem cum Filio? Suffering with her Son?

— 6 — Pro peccatis suae gentis, For the sins of his people Crucifixus Vidit Jesum in tormentis, She saw Jesus tortured 9 Crucifixus etiam pro nobis, He was indeed crucified for us, Et flagellis subditum. And scourged. sub Pontio Pilato at the order of Pontius Pilate Vidit suum dulcem natum She saw her sweet son, passus et sepultus est. He suffered and was buried. Morientem desolatum Dying and forsaken From the Credo of the of the Mass Dum emisit spiritum. As he gave up his spirit. In dulci jubilo Eia Mater, fons amoris, O Mother, fount of love, 0 In dulci jubilo In sweet joy Me sentire vim doloris Make me feel the power of your grief nun singet und seid froh! now sing and be glad! Fac, ut tecum lugeam. And mourn with you. Unsers Herzens Wonne Our heart’s happiness Fac ut ardeat cor meum Make my heart burn leit in praesepio lies in the manger, In amando Christum Deum, With the love of Christ und leuchtet als die Sonne and shines like the sun Ut sibi complaceam! That I may please Him. matris in gremio. in his mother’s lap. Sancta Mater, istud agas Holy Mother, may you inflict Alpha es et O. You are Alpha and Omega. Crucifixi fige plagas The wounds of the crucified one O Jesu parvule, O tiny baby Jesus Cordi meo valide. Deeply on my heart. nach dir ist mir so weh, I so long for You! Tui nati vulnerati, Your wounded Son tröst mir mein Gemüte, Comfort my soul, Tam dignati pro me pati, Deigned to suffer for me: o puer optime, O peerless child, Poenas mecum divide. Let me share his punishment. durch alle deine Güte, through all your goodness, Fac me tecum pie flere, Make me weep with you, o princeps gloriæ, O Prince of Glory, Crucifixo condolere Grieve by the cross with you trahe me post te! draw me to you. Donec ego vixero. As long as I live. Ubi sunt gaudia, Joys are there, Juxta crucem tecum stare, To stand by the cross with you Nirgends mehr denn da, as in no other place: Et me tibi sociare And join with you da die Engel singen there the angels sing In planctu desidero. In lamenting is my desire. nova cantica a new song Virgo virginuum praeclara, Brightest Virgin of virgins, und die Schellen klingen and the bells ring out Mihi jam non sis amara, Do not be harsh with me, in regis curia: in the court of the King: Fac me tecum plangere. Make me grieve with you. eia wärn wir da! Oh, that we were there! Fac ut portem Christi mortem, Make me bear the burden of Christ’s death, Anonymous 15th-century German Passionis fac consortem Make me share His Passion ! O salutaris hostia Et plagas recolere. And reflect on His wounds. O salutaris hostia O Saving Victim, opening wide Fac me plagis vulnerari, Make me suffer His wounds, Quae caeli pandis ostium. The gate of heaven to all below: Cruce hac inebriari, Let me be overcome by the cross Bella premunt hostilia; Our foes press in on every side; Et cruore Filii. And the blood of your Son. Da robur, fer auxilium. Thine aid supply, Thy strength bestow. Inflammatus et accensus, Thus inflamed and burning, From ‘Verbum supernum prodiens’ by Per te, virgo, sim defensus May I be protected by you, Virgin, St Thomas Aquinas In die judicii. On the day of judgment. Spem in alium Fac me cruce custodiri, May I be guarded by the cross, @ Spem in alium nunquam habui, I have never had hope Morte Christi praemuniri, Fortified by the death of Christ, praeter in te, Deus Israel: in any other but you, God of Israel: Confoveri gratia. Supported by His grace. qui irasceris, et propitius eris. after your anger comes your favour. Quando corpus morietur, When my body dies, Et omnia peccata hominum in And you forgive all the sins of Fac ut animae donetur Let my soul be granted tribulatione dimittis, suffering humanity, Paradisi Gloria. The glory of paradise. Domine Deus, Creator caeli et terrae, Lord God, Creator of Heaven and Earth, Hymn attributed to Pope Innocent III respice humilitatem nostram. look down upon our humility. or Jacopone da Todi Matins Responsory after Trinity Sunday

— 7 — 1000 YEARS OF CLASSICAL MUSIC THE ALBUM COLLECTION

Explore the history of classical music further at www.1000YearsofClassicalMusic.com, where you can listen to podcasts, watch films, listen to playlists – and discover our album collection.

BAROQUE & BEFORE THE ROMANTIC ERA THE MODERN ERA 93 BARBER Adagio for Strings | 1 GREGORIAN CHANT 34 SCHUBERT ‘Trout’ Quintet 63 DEBUSSY Prélude à L’Après-midi d’un faune | 94 MUSIC FROM THE MOVIES 2 MEDIEVAL CHORAL MUSIC 35 SCHUBERT Symphony No. 8 ‘Unfinished’ La Mer 95 SCULTHORPE The Fifth Continent 3 SACRED MUSIC OF THE RENAISSANCE 36 BERLIOZ Symphonie fantastique 64 DEBUSSY Preludes 96 TAKEMITSU Music for Orchestra 4 37 MENDELSSOHN The Hebrides | 65 ELGAR Concerto | Sea Pictures 97 GÓRECKI Symphony of Sorrowful Songs 5 ITALIAN BAROQUE A Midsummer Night’s Dream 66 ELGAR Enigma Variations 98 GLASS | NYMAN Music for Solo Piano 6 PURCELL 38 MENDELSSOHN Violin Concerto | 67 HOLST The Planets 99 MUSIC OF AUSTRALIA 7 BIBER Rosary Sonatas Piano Concerto No. 2 68 100 THE 21ST CENTURY 8 A. SCARLATTI 39 CHOPIN Nocturnes 69 R. STRAUSS Four Last Songs 9 VIVALDI The Four Seasons 40 SCHUMANN Music for Solo Piano 70 SIBELIUS Violin Concerto 10 FRENCH BAROQUE 41 SCHUMANN Symphonies 3 & 4 71 SIBELIUS Symphonies 2 & 7 | Finlandia 11 PERGOLESI Stabat Mater 42 LISZT Years of Pilgrimage 72 RACHMANINOFF Symphony No. 2 12 BACH Brandenburg 43 BIZET and Overtures 73 RACHMANINOFF Piano Concerto No. 2 13 BACH Music for Cello | Music for Violin 44 BRAHMS A German Requiem 74 SATIE Gymnopédies 14 BACH Sacred Arias and Choruses 45 BRAHMS Piano Concerto No. 2 75 RAVEL Bolero | Mother Goose 15 BACH Music for Keyboard 46 BRUCKNER Symphony No. 4 76 RAVEL Chamber Music 16 HANDEL Water Music | Music for the 47 VIENNESE WALTZES 77 RESPIGHI Pines of Rome Royal Fireworks 48 DVOŘÁK Cello Concerto 78 SCHOENBERG Pelleas und Melisande 17 HANDEL Messiah 49 DVOŘÁK Symphony No. 9 ‘From the New World’ 79 BARTÓK Concerto for Orchestra | 18 HANDEL Arias 50 GRIEG Music for Orchestra Violin Concerto No. 2 51 GRIEG Piano Concerto | Music for Solo Piano 80 STRAVINSKY The Rite of Spring THE CLASSICAL ERA 52 TCHAIKOVSKY The Nutcracker 81 PROKOFIEV Piano Concerto No. 3 19 C.P.E. BACH 53 TCHAIKOVSKY Violin Concerto | 82 CANTELOUBE Songs of the Auvergne 20 HAYDN Music for Orchestra Piano Concerto No. 1 83 GRAINGER 21 HAYDN Arias 84 ORFF Carmina burana 22 MOZART Symphonies 40 & 41 54 WAGNER Arias 85 VAUGHAN WILLIAMS The Lark Ascending | 23 MOZART Piano Concertos 55 VERDI Arias, Choruses and Overtures 24 MOZART Arias 56 VERDI Requiem Fantasia on a Theme by Thomas Tallis 25 MOZART Requiem 57 SAINT-SAËNS Carnival of the Animals | 86 POULENC Organ Concerto | Music for Solo Piano 26 MOZART Clarinet Concerto Symphony No. 3 ‘Organ’ 87 BRITTEN The Young Person’s Guide to the 27 BEETHOVEN String Quartets 58 MUSSORGSKY Pictures at an Exhibition Orchestra | Four Sea Interludes 28 BEETHOVEN Piano Sonatas 59 FAURÉ Requiem 88 COPLAND Appalachian Spring 29 BEETHOVEN Symphonies 3 & 5 60 PUCCINI Arias 89 RODRIGO Guitar Concertos 30 BEETHOVEN Symphony No. 9 ‘Choral’ 61 MAHLER Symphony No. 4 90 GERSHWIN | BERNSTEIN 31 BEETHOVEN Piano Concertos 62 MAHLER Symphony No. 5 91 SHOSTAKOVICH Symphony No. 8 32 HUMMEL 92 MESSIAEN Turangalîla-Symphonie 33 ROSSINI Arias and Overtures

— 8 — ABC Classics Executive Producer Toby Chadd 1000 YEARS OF CLASSICAL MUSIC Recording Producer Ralph Lane OAM Recording Engineer Christian Huff-Johnston THE ERAS Associate Producer, Editor and Mastering Engineer Virginia Read For Allegri Miserere 1: Recording Producer and Editor Stephen Snelleman BAROQUE & BEFORE c.1000 TO c.1750 Recording Engineer Allan MacLean Project Coordinator Alison Johnston The age of the church and the court – with music from ancient Publications Editor Natalie Shea chant to the treasures of the baroque, including Hildegard, Tallis, Cover Image MS Designs Monteverdi, Vivaldi, JS Bach and Handel. Booklet Design Imagecorp Pty Ltd

Recorded 21 November 2001 1 and 15–17 March 2002 2-@ in the Eugene Goossens Hall of the Australian Broadcasting THE CLASSICAL ERA c.1750 TO c.1820 Corporation’s Ultimo Centre, Sydney.

The era of innovation – the birth of the symphony, the arrival of the 1000 Years of Classical Music piano, the first concerts, and the towering geniuses of Ludwig van Project Concept Toby Chadd, Robert Patterson Beethoven and . Executive Producer Toby Chadd ABC Classics thanks Richard Buckham, Martin Buzacott, Matthew Dewey, Wendy McLeod, Ben Eliot Nielsen, Emma THE ROMANTIC ERA c.1820 TO c.1900 Paillas (ABC Classic FM), Michael Mason (ABC Radio), Steve Beck, Joshua Crowley, Caroline Kinny-Lewis (Digital Business Development, ABC Commercial), Lisa Hresc, Jillian Reeves (Marketing, ABC Commercial), Sophie Fraser, Hamish Lane, Revolution, heroism and ambition – told in music through the James Limon, Natalie Waller and Robert Patterson. virtuosic concertos of Chopin, Mendelssohn and Tchaikovsky, and www.1000YearsofClassicalMusic.com the of Puccini, Verdi and Wagner. www.abcclassics.com

THE MODERN ERA c.1900 TO THE PRESENT P 2003 Australian Broadcasting Corporation. C 2016 Australian Broadcasting Corporation. Digitally distributed worldwide by The Orchard. All rights of the owner of copyright reserved. Any copying, renting, lending, diffusion, public performance or broadcast of this record without the authority of A world of fragmentation and a flourishing of diversity – from the copyright owner is prohibited. music born out of World War I to 21st-century Australia, via French Impressionism, Eastern European minimalism and American classics.

www.1000YearsofClassicalMusic.com

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