A M A D I O F R E D D I V E S P E R S ( 1 6 1 6 ) T H E G O N Z AG A BA N D JA M I E S AVA N (c.1580–1643) Ignazio Dona (c.1570–1638) Amadio Freddi 1. Domine ad adiuvandum [2:13] 12. Intonazione del Terzo et Vespers (1616) Quarto Tono [0:36] Amadio Freddi (c.1580–1643) 2. Dixit Dominus * [5:20] Amadio Freddi 13. Lauda Jerusalem * [3:51] The Gonzaga Band Biagio Marini (1594–1663) 3. Sinfonia: La Cornera [2:29] Biagio Marini Faye Newton soprano 14. Sinfonia: La Marnenga [2:24] Mark Chambers countertenor Giovanni Gabrieli (c.1554/1557–1612) Tim Travers-Brown countertenor 4. Intonazione del Secondo Tono [0:28] Amadio Freddi Steven Harrold tenor (reconstructed J. Savan) Thomas Herford tenor Amadio Freddi 15. Ave maris stella * [3:36] William Gaunt bass 5. Laudate pueri * [4:03] Oliver Webber violin Amadio Freddi Jamie Savan director, corne (treble, mute) Alessandro Grandi (1586–1630) 16. Salve Regina [2:46] Steven Devine organ 6. Tota pulchra es [4:39] (soloist: Faye Newton) (soloist: Faye Newton) (c.1532/3–1585) Amadio Freddi 17. Intonazione del Sesto Tono [1:21] 7. Laetatus sum * [5:26] Amadio Freddi Dario Castello (fl. 1st half 17th century) 18. Magnificat Sesto Tuono * [6:23] 8. Seconda Sonata [4:43]

Giovanni Gabrieli Total playing me [58:10] 9. Intonazione del Oavo Tono [0:34] About The Gonzaga Band: Amadio Freddi ‘Faultlessly stylish’ 10. Nisi Dominus * [4:12] * World premiere recording BBC Music Magazine 11. Cognoscam te, Domine [2:57] (soloist: Thomas Herford) ‘Abundant fluency, shapely virtuosity and brilliant sonorities’ Gramophone Amadio Freddi (c.1580–1643): the archival research of Nicolea Billio Biographical Note d’Arpa.

When preparing his Messa, vespro We first hear of Freddi in the payment et compieta for publicaon in 1616, records of the basilica of S. Antonio in Amadio Freddi must surely have been , where in January 1592 he was aware of the famous precedent of employed on a salary of eighteen ducats Monteverdi’s Mass and Vespers collecon, to sing soprano as a permanent member issued by the same Venean press of of the cappella (having previously sung Ricciardo Amadino in 1610. Yet Freddi’s for an enre year without recompense). music is no mere imitaon of Monteverdi; He was the only soprano to be paid for indeed, he emerges as a composer of his services, suggesng his status was striking originality and sophiscaon. So rather different to that of the boys who what do we know of Amadio Freddi, an normally sang unpaid as part of their elusive figure consigned unl now to ecclesiascal training. The contradictory the footnotes of music history? dates suggested for his birth year might lead us to radically different interpretaons The scant informaon on Freddi to be here. If born in 1570 he would at this found in major reference works such as point have been a young adult of twenty- the New Grove Diconary of Music and two, and as a professional soprano he is Musicians, Musik in Geschichte und not unlikely to have been a castrato. If we Gegenwart and the Dizionario Biografico believe the later birth date then he was degli Italiani is both incomplete and just twelve years old in 1592, and therefore inconsistent, and confusion abounds in a boy soprano. A further entry in the much of the underpinning scholarly payment records in 1598 adds weight to literature. For example, according to this second interpretaon: Freddi conflicng reports, Freddi was either is here listed as a contralto, suggesng 63 or 73 at his death in 1643, which his voice had broken by this point. His raises the significant queson of whether salary also doubled to thirty-six ducats at he was born in c.1570 or c.1580. The this me. following biographical sketch is therefore my best interpretaon of the available Freddi was evidently from a poor family: evidence, drawing in parcular on his Messa, vespro et compieta is dedicated to Antonio Lando, one of the procurators corne and violin. We can but speculate Freddi seems to have been highly regarded unaccompanied five-voice in of S. Marco in Venice, whom he thanks that this experience may have fuelled at S. Antonio: in 1606, following one of which Freddi can be seen experimenng for providing help ‘which I could not Freddi’s imaginaon for the possibilies the periodic reorganisaons of the with innovave harmonic devices and hope from my father due to straitened of extracng the maximum variety and cappella, he was proposed as substute voice-leading techniques that are so fortune’. His father is named in the colour from such restricted forces. maestro di cappella and elected to the characterisc of the music we hear in the records of S. Antonio as ‘Hippolito Indeed, in his first published composion, posion even in the face of opposion Vespers of 1616. Even the very first of spadaro’. In modern Italian usage a five-voice included in the from some of the senior clergy, who these madrigals includes a bold use of spadaro might suggest a swordsmith, Laudi d’amore anthology by diversi objected on the grounds that no lay- dominant seventh chords and surprising but according to Florio’s Italian-English eccellen musici di Padova in 1598, he person had occupied this posion before. false relaons in the service of expressing diconary of 1611 it referred at that me can already be seen exploing textural However, the priests eventually held the textual affect. Significantly, the second to the lowlier posion of a ‘frubber’, i.e. contrast between high and low voices sway, with the result that his appointment part of this collecon contains a further a polisher or burnisher of swords. It to simulate anphonal effects reminiscent was rescinded a month later. Perhaps eight madrigals with harpsichord appears likely, therefore, that the of a larger polychoral model. with a view to future career progression, basso connuo, in which he explores payment Freddi received from S. Antonio Freddi took holy orders in 1608. some of the concertato techniques that in 1592 was some kind of bursary A crucial figure in Freddi’s musical Nevertheless, in February 1614 he he would employ with organ connuo awarded on account of his family’s development during his formave years was again passed over for the posion in his sacred music just two years later. limited means. at S. Antonio was the renowned of maestro di cappella, which may have polyphonist Costanzo Porta, maestro precipitated his departure from S. Any documents that might have shed light Freddi entered the musical establishment di cappella from 1595 unl his death in Antonio at the end of that same month. on the musical organisaon of the cappella of S. Antonio at a me of expansion: 1601. Freddi named Porta as his teacher of Treviso Cathedral during Freddi’s tenure by 1593 it was one of the most lavishly in the preface to his first book of madrigals Freddi found new employment as maestro were unfortunately destroyed during the appointed in northern , with vocal in 1602 (no longer extant), describing him di cappella at Treviso Cathedral in 1615, Second World War, but there is some useful and instrumental forces (including as a ‘true light and supreme master, not his first recorded acvity there taking informaon contained in the records of the cornes, violins and trombones) only of musical pracce but also of place in November of that year. A possible church of S. Teonisto in Treviso where Freddi appropriate for the performance of theory’. If Porta gave Freddi his schooling clue to his acvies during the intervening found secondary employment both as a polyphonic music in the grand Venean in sle anco , the later period (from the end of February 1614) is musician and as a celebrang priest. S. style. But is seems that the church presence in S. Antonio of the theorbist, found in the preface to his second book Teonisto was aached to a Benedicne finances were not well managed, and singer and master monodist Bartolomeo of madrigals for five voices (dated 1 convent which was a source of considerable the chapel was periodically suspended Barbarino between 1606 and 1608 March 1614), dedicated to the nobleman wealth as many of the nuns were of noble and reduced in size in order to balance would surely have opened his ears to Hippolito Aldobrandini, in which he claims origin. During Freddi’s me in Treviso the the books. During such mes of the expressive possibilies of the to have been ‘received among the number church would regularly hire in the services contracon, the chapel had to make seconda praca. of his most humble servants’. The first of external musicians to perform at the do with fewer voices and a single part of this publicaon contains twelve important feast days of S. Teonisto and

the Assumpon, including a number of here), Freddi returned to a mixed vocal only serve for the Sinfonias and to give although with judicious allocaon of parts singers, a cornest, a violinist and an and instrumental scoring similar to his some rest to the voices so they do not have we were able to make do with six. organist. It is not unlikely, therefore, 1616 collecon, albeit this me for to sing connuously, but are also useful for that Freddi’s Vespers music may have been two violins and bassoon. the Ripieno, in company with the voices’. To complete the Marian sequence, we performed at S. Teonisto on one of Through such imaginave vocal- include the hymn, Ave maris stella, from these occasions. Finally, in 1634, Freddi returned to Padua instrumental combinaons, Freddi was Hinni novi concertate, which is here parally as maestro di cappella of the Cathedral of able to achieve an extraordinary variety reconstructed as not all the partbooks are Freddi remained in Treviso unl 1627, Santa Maria Assunta. The archetypal of texture and colour, creang an illusion extant. In performance we substuted during which me he was extraordinarily ‘local boy made good’, he was paid a of more lavish forces, evocave of the corne for the second violin of Freddi’s producve as a composer. In addion very comfortable salary of 120 ducats polychoral tradion. original scoring (a not uncommon pracce to the Messa, vespro et compieta (1616), a year, which in 1637 was increased to at the me), and in the absence of a bassoon he published a further four collecons 160 ducats following his plea for a rise The psalms set by Freddi in this collecon the bass line is played on the divided of sacred music. In 1625 he was invited to that he might support his extended are those appropriate for Vespers in ‘Tromboncini’ reed stop of the organ. contribute two solo-voice to the family that all lived on his ‘small honour of the Virgin Mary. Like Monteverdi Ghirlanda sacra anthology, alongside efforts and sweat’. before him in 1610, Freddi composed his Freddi did not publish a seng of the Monteverdi, Grandi, Barbarino et al., in a polyphonic sengs around selected opening versicle and response, and so we clear sign of the esteem in which he was Vespers (1616): The Music plainchant psalm tones. However, the borrowed the Domine ad adiuvandum held by musicians in the Venean circle. parcular psalm tones chosen for these from Ignazio Dona’s Psalmi boscarecci Both of Freddi’s contribuons to the The main structural-liturgical items in this composions do not accord with the (1623). The music in this extraordinary collecon – Cognoscam te, Domine and programme – the five Psalms and Magnificat prescribed combinaon for any known collecon is composed in a flexible manner Salve Regina – are included on this – are taken from Freddi’s Messa, vespro et Marian feast in the church year. This such that it can be performed in many recording. compieta (1616), which also includes raises the queson of whether this music different ways. The publicaon comprises sengs of the Mass Ordinary and the was intended to be performed as a a set of six partbooks to be sung by six solo From 1627 to 1634 Freddi was maestro principal sung components of Compline. connuous sequence, or whether one voices, and a further six partbooks for di cappella at Vicenza Cathedral, during The unusual scoring of this collecon is might simply pick and choose individual ripieno voices or instruments; Dona which period he published his final already sufficient to idenfy Freddi as a items from the collecon according to explains that these addional parts are collecon, Hinni novi concerta, the composer ahead of his me: fusing the requirements of each occasion. Adding oponal, and ‘one may use some or all of first edion of which is lost, but it elements of the nascent trio sonata to this conundrum is the change of these vocal and instrumental parts at will was evidently popular enough to be with the concertato , he ancipated vocal tessitura between different psalm […] at the taste and judgement of whoever reprinted in 1642. In this collecon a paern that was to become one of the sengs – the highest seng being is pleased to avail himself of this work.’ of hymns for different occasions hallmarks of the Venean style in the Laudate pueri, the lowest Nisi Dominus – This inherent flexibility allowed us to throughout the church year (including 1620s. He wrote in a note to his ‘Studious which make it impraccal to perform create an arrangement for the same forces the seng of Ave maris stella presented Readers’ that ‘the Corne and Violin not the full sequence with just five singers, required to perform Freddi’s Vespers music.

The remaining pieces in this recording cornes. There is a clear stylisc affinity are extra-liturgical adornments, and between these pieces and Freddi’s own Monteverdi’s 1610 Vespers seng provides instrumental wring, demonstrang just a useful precedent for understanding some how much he was at the cung edge of of the kinds of addional material that musical innovaon at this me. Castello’s might be appropriate to perform between Seconda Sonata is taken from his the main structural elements. For his small- Sonate concertate in sl moderno … libro scale ‘sacred concertos’, Monteverdi drew primo (1621), and is wrien for two on erocally-charged texts from the unspecified soprano instruments in an Song of Songs; this is also the source unusually low tessitura that invites the for Tota pulchra es, set by Alessandro use of mute corne (pitched one tone Grandi in 1621. Freddi’s Cognoscam te, lower than the usual curved treble Domine is a seng of a devoonal text instrument). To complete the programme that seems not to be found in any other we include some short organ intonaons source, while the text of Salve Regina is by Giovanni Gabrieli, and a slightly longer that of the familiar Marian anphon, one by his uncle, Andrea. The purpose which had a special importance in of including these intonaons is to Treviso where it was sung at Compline cleanse the aural palee and to establish throughout the church year (except from the mode (tono/tuono) of the piece that the Sunday aer Easter unl the follows (especially those that do not Ascension). Of parcular note in Freddi’s begin with their own sinfonia). seng of this text is his use of an added ninth to emphasise the word flentes Through the process of transcribing, eding, (‘weeping’), in a manner that seems to rehearsing and performing this repertoire ancipate the heightened recitave of a we have discovered a fascinang composer later generaon of composers for the with a unique voice. It is a privilege to be operac stage. able to share our findings through this recording, which we hope will mark just the The instrumental pieces La Cornera and start of further excing exploraons into La Marnenga are taken from Biagio the music of Amadio Freddi. Marini’s Affe musicali (1617), one of Jamie Savan the first collecons of small-scale © 2019 Jamie Savan instrumental music for violins and/or A version of this essay with footnote references is available at www.resonusclassics.com.

Sources Instruments used on this recording Texts and Translaons

Amadio Freddi: Messa, vespro et compieta Performing pitch: a'=466Hz; (Translaons of Biblical texts are from (Venice: Amadino, 1616) – tracks 2, 5, 7, Temperament: ¼ comma mean tone. the King James Version) 10, 13, 18. Cornes 1. Domine ad adiuvandum Amadio Freddi: Hinni novi concertate Jamie Savan plays a treble corne by John McCann Deus in adiutorium meum intende. God, make speed to save me! (Venice: Magni, 1642) – track 15. (Sandy, Utah, 2012) and a mute corne by Domine ad adiuvandum me fesna. Lord, make haste to help me! Serge Delmas (Paris, 2008). Gloria Patri, et Filio, et Spiritui Sancto. Glory be to the Father and to the Son: and to the Holy Ghost. Leornardo Simone (ed.): Ghirlanda sacra Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now and ever et in saecula saeculorum. Amen. shall be: world without end. Amen. (Venice: Gardano, 1625) – tracks 11, 16. Violin Alleluia. Alleluia. Oliver Webber plays a violin by George Stoppani, Ignazio Dona: Salmi boscarecci concerta Manchester 2005, aer Antonio & Girolamo 2. Dixit Dominus (Venice: Vincen, 1623) – track 1. Ama, Cremona 1595, in early-seventeenth Dixit Dominus Domino meo: Sede a The Lord said unto my Lord, sit thou at my century set-up, with equal tension gut strings dextris meis, donec ponam inimicos tuos, right hand, unl I make thine enemies Alessandro Grandi: Mote a una, et due voci, by Real Guts. scabellum pedum tuorum. thy footstool. con sinfonia (Venice: Vincen, 1621) – track 6. Virgam virtus tuae emiet Dominus ex Sion: The Lord shall send the rod of thy strength Organ dominare in medio inimicorum tuorum. out of Zion: rule thou in the midst of thine enemies. Biagio Marini: Affe musicali Steven Devine plays an electronic Hauptwerk Tecum principium in die virtus tuae in Thy people shall be willing in the day of thy (Venice: Gardano/Magni, 1617) – tracks 3, 14. organ running high-quality samples of an original splendoribus sanctorum: ex utero, ante power, in the beaues of holiness from the womb of the morning: thou hast the dew of thy youth. instrument in the church of S. Maria d’Alieto, Izola, luciferum, genui te. Juravit Dominus, et non poenitebit eum: The Lord has sworn and will not repent, Dario Castello: Sonate concertate in sl Slovenia, made by Pietro Nachini (1694–1769) Tu es sacerdos in aeternum secundum Thou art a priest forever aer the order moderno … libro primo in the tradion of Venean organ building ordinem Melchisedech. of Melchizedek. (Venice: Magni, 1621/R1658) – track 8. stretching back to Vincenzo Colombi in the Dominus a dextris tuis; confregit in die The Lord at thy right hand shall strike through sixteenth century. Its specificaons can be found irae suae reges. kings in the day of his wrath. Andrea and Giovanni Gabrieli: Intonazioni on the website of Sonus Paradisi Judicabit in naonibus, implebit ruinas: He shall judge among the heathen, he shall fill the d’organo di Andrea Gabrieli et di Gio. suo nepote (www.sonusparadisi.cz), who made the samples conquassabit capita in terra multorum. places with the dead bodies; he shall wound the heads (Venice: Gardano, 1593) – tracks 4, 9, 12, 17. and kindly granted us permission to use them De torrente in via bibet: propterea over many countries. He shall drink of the brook in on this recording. exaltavit caput. the way: therefore shall he li up the head. Edions Performing edions for tracks 1–5, 7, 8, 10, 11, Psalm 109 (Psalm 110 in the King James Version) 13–16 & 18 prepared by Jamie Savan (2019); publicaon forthcoming. Edions for tracks 4, 9 5. Laudate pueri Laudate pueri Dominum: laudate nomen Domini. Praise ye the Lord. Praise, O ye servants of the Lord, & 12 by Luigi Torchi, L’Arte musicale in Italia, Sit nomen Domini benedictum ex hoc nunc et praise the name of the Lord. Blessed be the name of the vol. 3 (: Ricordi, 1908). Edion for track 17 usque in saeculum. Lord from this me forth and for evermore. From the by Pierre Pidoux: Andrea Gabrieli, Intonaonen A solis ortu usque ad occasum, laudabile nomen Domini. rising of the sun unto the going down of the same the für Orgel oder Cembalo (Kassel: Bärenreiter, 1959). Excelsus super omnes gentes Dominus, et super Lord’s name is to be praised. The Lord is high above all Edion for track 6 by Dennis Collins (Celes Fiori, caelos gloria ejus. naons, and his glory above the heavens. Who is like unto 2006: available from www.primalamusica.com). Quis sicut Dominus Deus noster, qui in als habitat, the Lord our God, who dwelleth on high, who humbleth et humilia respicit in caelo et in terra? himself to behold the things that are in heaven, and in 10. Nisi Dominus Suscitans a terra inopem, et de stercore erigens pauperem; the earth! He raiseth up the poor out of the dust, and Nisi Dominus aedificaverit domum, Except the Lord build the house, they labour in vain ut collocet eum cum principibus, cum principibus lieth the needy out of the dunghill; That he may set in vanum laboraverunt qui aedificant eam. that build it: except the Lord keep the city, the populi sui. him with princes, even with the princes of his people. Nisi Dominus custdodierit civitatem, watchman waketh but in vain.It is vain for you to rise Qui habitare facit sterilem in domo, matrem filiorum He maketh the barren woman to keep house, frustra vigilat qui custodit eam. up early, to sit up late, to eat the bread of sorrows: laetantem. and to be a joyful mother of children. Vanum est vobis ante lucem surgere: for so he giveth his beloved sleep. surgite postquam sederis, Lo, children are an heritage of the Lord: Psalm 112 (113, KJV) qui manducas panem doloris. nd the fruit of the womb is his reward. Cum dederit dilecs suis somnum, As arrows are in the hand of a mighty man; 6. Tota pulchra es ecce haereditas Domini, filii; merces, fructus ventris. so are children of the youth. Tota pulchra es, amica mea! Oculi tui columbarum, Thou art all fair, my love! Thou hast doves’ eyes, Sicut saggiae in manu potens, ita filii excussorum. Happy is the man that hath his quiver full of them: capilli tui sicut greges caprarum, et dentes tui thy hair is as flocks of goats, and thy teeth are Beatus vir qui implevit desiderium suum ex ipsis: they shall not be ashamed, sicut greges tonsarum. Sicut via coccinea like a flock of sheep. Thy lips are like a thread of non confundetur cum loquetur inimicis suis in porta. but they shall speak with the enemies in the gate. labia tua, et eloquium tuum dulce. scarlet, and thy speech is comely. Thy neck is Sicut turris David collum tuum, duo ubera like the tower of David, thy two breasts like two Psalm 126 (127, KJV) tua sicut duo hinnuli, capreae gemelli. young roes that are twins. Come with me from Veni de Libano, sponsa mea, veni di Libano, Lebanon, my spouse, with me from 11. Cognoscam te, Domine veni, coronaberis. Lebanon [come, thou shalt be crowned]. Cognoscam te, Domine cognitor meus; Let me know you, my Lord, my guardian cognoscam te virtus animae meae. Let me know you, virtue of my soul Song of Songs 4: 7, 1–6, 8 Ostende te mihi, consolator meus; Show yourself to me, my consoler videam te lumen occulorum meorum. Let me see you, light of my eyes 7. Laetatus sum Veni gaudium Spiritus mei Come, joy of my spirit Laetatus sum in his quae dicta sunt mihi: I was glad when they said unto me, Let us go into videam te Laeam cordis mei Let me see you, happiness of my heart In domum Domini ibimus. the house of the Lord. Our feet shall stand within thy diligam te vita animae meae Let me love you, life of my soul Stantes erant pedes nostri in atriis tuis, Jerusalem. gates, O Jerusalem. Domine Deus meus, vita mea My Lord, my God, my life Jerusalem, quae aedificatur ut civitas: Jerusalem is builded as a city that is compact together: et gloria tota animae meae and complete glory of my soul cujus parcipao ejus in idipsum. Whither the tribes go up, the tribes of the Lord, inveniam te desiderium cordis mei Let me find you, desire of my heart Illuc enim ascenderunt tribus, tribus Domini: unto the tesmony of Israel, to give thanks unto the amplectar te sponse Let me embrace you, celesal spouse tesmonium Israel ad confitendum nomini Domini. name of the Lord. For there are set thrones of judgment, possideam te beatudo sempiterna Let me reside with you, eternal beatude Quia illic sederunt sedes in judicio, the thrones of the house of David. possideam te in medio cordis mei. Let me hold you at the centre of my heart sedes super domum David. Pray for the peace of Jerusalem: they shall prosper that Vita beata et dulcedo summa animae meae. You, blessed life and greatest kindness of my soul. Rogate quae ad pacem sunt Jerusalem: love thee. Peace be within thy walls, and prosperity et abundana diligenbus te. within thy palaces. (translaon by M. Dalle Frae) Fiat pax in virtute tua: et abundana in turribus tuis. For my brethren and companions’ sakes, 13. Lauda Jerusalem Propter fratres meos et proximos meos, I will now say, Peace be within thee. Lauda, Jerusalem, Dominum; Praise the Lord, O Jerusalem; loquebar pacem de te. Because of the house of the Lord our God lauda Deum tuum, Sion. praise thy God, O Zion. Propter domum Domini Dei nostri, quaesivi bona bi. I will seek thy good. Quoniam confortavit seras portarum tuarum; For he hath strengthened the bars of thy gates; benedixit filiis tuis in te. he hath blessed thy children within thee. Psalm 121 (122, KJV) Qui posuit fines tuos pacem, et adi He maketh peace in thy borders, and filleth thee pe frumen saat te. with the finest of the wheat. Qui emit eloquium suum terrae: He sendeth forth his commandment upon earth: velociter currit sermo ejus. his word runneth very swily. Qui dat nivem sicut lanam; He giveth snow like wool: he scaereth Et Jesum, benedictum fructum ventris tui, Show unto us the blessed fruit of thy womb, Jesus. nebulam sicut cinerem spargit. the hoarfrost like ashes. nobis post hoc exsilium ostende. O clement, O loving, Mit crystallum suam sicut buccellas: He casteth forth his ice like morsels: O clemens, O pia, O dulcis Virgo Maria. O sweet Virgin Mary. ante faciem frigoris ejus quis susnebit? who can stand before his cold? Emiet verbum suum, et liquefaciet ea; He sendeth out his word, and melteth them: 18. Magnificat Sesto Tuono flabit spiritus ejus, et fluent aquae. he causeth his wind to blow, and the waters flow. Magnificat anima mea Dominum: My soul doth magnify the Lord, Qui annunat verbum suum Jacob: He sheweth his word unto Jacob: et exultavit spiritus meus in Deo salutare meo. And my spirit hath rejoiced in God my Saviour. jusas et judicia sua Israel. his statutes and his judgements unto Israel. Quia respexit humilitatem ancillae suae: For he hath regarded the low estate of his handmaiden: Non fecit taliter omni naoni: He hath not dealt so with any naon: ecce enim ex hoc beatam me dicent for, behold, from henceforth all generaons et judicia sua non manifestavit eis. and as for his judgements, they have not known them. omnes generaones, shall call me blessed. quia fecit mihi magna qui potens est: For he that is mighty hath done to me great things; Psalm 147 et sanctum nomen ejus, and holy is his name. et misericordia ejus a progenie in And his mercy is on them that fear him from 15. Ave, maris stella progenies menbus eum. generaon to generaon. Ave, maris stella, Hail, star of the sea, Fecit potenam in brachio suo: He hath shewed strength with his arm; Dei Mater alma, Nurturing Mother of God, dispersit superbos mente cordis sui. he hath scaered the proud in the imaginaon of their hearts. Atque semper Virgo, And ever Virgin, Deposuit potentes de sede, He hath put down the mighty from their seats, Felix caeli porta. Happy gate of heaven. et exaltavit humiles. and exalted them of low degree. Solve vincla reis, Loosen the chains of the guilty, Esurientes implevit bonis: et divites dimisit inanes. He hath filled the hungry with good things; Profer lumen caesis, Send forth light to the blind, Suscepit Israel puerum suum, and the rich he hath sent empty away. Mala nostra pelle, Our evil do though dispel, recordatus misericordiae suae: He hath helped his servant Israel, in remembrance Bona cuncta posce. Entreat all good things. sicut locutus est ad patres nostros, of his mercy; As he spake to our fathers, Virgo singularis, O unique Virgin, Abraham et semini ejus in saecula. Abraham and to his seed for ever. Inter omnes mis, Meek above all others, Nos culpis solutos, Make us, set free from sin, Luke 1: 46–55 Mites fac, et castos. Meek and chaste. Sit laus Deo Patri, Praise be to God the Father, Summo Christo decus, Glory to Christ in the highest, Spiritui Sancto, To the Holy Spirit, rinus honor unus. One honour to the Three. Amen. Amen.

Hymn: (odd verses only)

16. Salve, Regina Salve, Regina, Mater misericordiae, Hail, holy Queen, Mother of Mercy, vita, dulcedo, et spes nostra, salve. Hail our life, our sweetness and our hope. To thee Ad te clamamus exsules filii Hevae, do we cry, Poor banished children of Eve; Ad te suspiramus, gementes et flentes To thee do we send up our sighs, Mourning and in hac lacrimarum valle. weeping in this vale of tears. Turn then, most Eia, ergo, advocata nostra, illos tuos gracious advocate, Thine eyes of mercy toward us; misericordes oculos ad nos converte; And aer this our exile,

The Gonzaga Band Jamie Savan is director of the Gonzaga Band, The Gonzaga Band was formed by cornest and is lucky enough to combine his performing Jamie Savan in 1997, with a mission to explore career with an academic posion as Professor the inmate relaonship between vocal and of Performance-led Research at the Royal instrumental performance pracce in the Birmingham Conservatoire. He is also acve Early Modern period. The ensemble takes its as a solo recitalist, as a chamber musician name from the ducal family of Mantua: the with His Majestys Sagbus & Cornes and as Gonzagas were powerful and influenal patrons an orchestral principal with the English Baroque of the arts in the late Renaissance, who Soloists under Sir John Eliot Gardiner. He has employed Claudio Monteverdi as their maestro performed with many other of the world’s della musica at the turn of the seventeenth century. leading period-instrument ensembles, Monteverdi wrote some of his most innovave including Concerto Palano, Amsterdam music for the Gonzagas: his third, fourth and Baroque Orchestra, and Bach Collegium fih books of madrigals, the operas Orfeo and Japan to name but a few, and enjoys exploring Arianna, and of course the Vespers of 1610. the many facets of his instrument, ranging from Renaissance improvisaon techniques Performing most oen as a chamber ensemble to new music for corne and live electronics. with a core of soprano voice, corne and keyboards, and expanding on occasion according Faye Newton enjoys a diverse repertoire to the parcular requirements of each spanning some six centuries and embracing programme, The Gonzaga Band is thus able many aspects of the solo voice, from medieval to perform in a variety of combinaons, ranging song recitals (with duo Trobairitz), to inmate from a trio to a full period-instrument orchestra lute song recitals, consort singing, and baroque and vocal consort. The Gonzaga Band is renowned opera roles. She has collaborated with leading for its innovave programming, underpinned period orchestras and choirs including: the by cung-edge research, which connually Amsterdam Baroque Orchestra, the Taverner shines new light on the repertoire and its Consort, the Monteverdi String Band, interpretaon. This is the Gonzaga Band’s Caecilia-Concert, the Feinstein second recording for Resonus Classics; the first, Ensemble and the New London Consort (with Venice 1629, was released to unanimous whom she performed at the BBC Proms and crical acclaim in 2018. This followed two in acclaimed opera producons by Jonathan previous albums on the Chandos label: Miller). Whilst her musical life is varied, Faye Sacred Garland (2009) and Chamber has a parcular affecon for the virtuosic Vespers (2011). and expressive music of Monteverdi and his contemporaries. www.gonzagaband.com Mark Chambers economics at St John’s College, Cambridge, Since leaving the Royal Northern College of he sang as a Lay Vicar at Westminster Abbey. Music in 1992, Mark Chambers has performed He has been in great demand as a soloist and all over the world with many leading groups ensemble singer now for almost thirty years. and conductors, including solo work with He is a member of Gothic Voices, The Tallis Sir John Eliot Gardiner (Bach St Mahew Scholars and The Cardinall’s Musick and Passion and Mass in B Minor) and Paul sings regularly with other groups including McCreesh (Monteverdi Vespers of 1610), The Sixteen, The Gabrieli Consort and Alamire. and numerous roles in baroque and He is best-known, however, for his sixteen contemporary opera. Notable recordings years as a member of the world-renowned include songs by Rubbra and Vaughan vocal quartet, The Hilliard Ensemble, with Williams with David Mason (piano), and whom he was fortunate enough to perform a series of discs as guest soloist with early music alongside new commissions the English Corne and Sackbut Ensemble. from composers including Arvo Pärt and Mark is also a part-me lecturer in Voice James Macmillan, and innovave at the University of Birmingham and collaboraons such as Officium with musical director of the young ensemble Sesna. jazz saxophonist, Jan Garbarek.

Tim Travers-Brown studied at the Royal Thomas Herford studied at Trinity College Academy of Music. He has worked with The Cambridge and the Guildhall School of Music Monteverdi Choir/Gardiner, The Dunedin Consort, and Drama, and has developed a varied career Tenebrae, The English Concert/Cummings, singing much of the core tenor repertoire in The Binchois Consort, The Gabrieli Consort/ both concert and opera. He is a noted McCreesh, The Sixteen, Bach Collegium Japan, Evangelist in Bach’s Passions (Wigmore Hall, The Choir of the Enlightenment, The Hannover Aldeburgh Fesval, Bachfest Leipzig), and Hoapelle. Also with pianist Jeremy Filsell tours widely as a member of I Fagiolini, (Tweneth Century English Song) and lutenist the Monteverdi Choir and Solomon’s Knot. David Miller (Dowland, Danyel, Humfrey & Purcell). Opera includes Steffani’s Niobe at ROH William Gaunt was born in Yorkshire and and Summer/Ensemble in Purcell’s Fairy began his musical educaon there as a Queen with NLC. He has recorded with The chorister at Ripon Cathedral. Following a Musicke Companye, Bach Collegium choral scholarship to King’s College, Cambridge, Japan/Suzuki and Jeremy Filsell. he began his professional career in the choirs He is a Lay Clerk at St George’s Chapel, of Christ Church, Oxford and Westminster Windsor Castle and teaches singing at Eton Cathedral. William performs and records College and Royal Holloway University. regularly with some of the world’s leading ensembles, solo highlights including Handel’s Steven Harrold began his career in music as a Messiah with Nieuwe Philharmonie Utrecht chorister at St Paul’s Cathedral. Aer studying (Johannes Leertouwer) and Portland Baroque

More titles from Resonus Classics Orchestra (Desmond Earley); Bach Opera Company and performs regularly Johannes-Passion for Paul McCreesh; with many other groups internaonally. Venice 1629 Stravinsky Les Noces for Paul Hillier. He has numerous solo recordings to his The Gonzaga Band Recordings include Monteverdi Vespers credit, including Bach’s Goldberg Variaons RES10218 with the Orchestra of the Age of (Chandos), hailed by Gramophone as ‘among Enlightenment (Robert Howarth) and the best’, and a three-CD set of the complete ‘This is a splendid CD [...] spontaneous, musical the Dunedin Consort (John Bu), Odes harpsichord works of Rameau (Resonus) which and is a pleasure to listen to from beginning to end.’ by John Blow with Arcangelo (Jonathan received five-star reviews from BBC Music Cohen), Bach Mahäus-Passion with Magazine. Steven’s latest solo project with Early Music Review King’s College, Cambridge (Stephen Cleobury), Resonus Classics is Bach’s Well-Tempered and Fauré Requiem with the London Clavier, of which Book 1 was recorded and Symphony Orchestra. released earlier in 2019.

Oliver Webber has been immersed in the Hieronymus Praetorius: Motets in 8, 10, 12, world of historical performance for twenty-five 16 & 20 Parts years, with a parcular interest in the Alamire; His Majestys Sagbutts and Cornetts; early seventeenth century. He is the Stephen Farr (organ); David Skinner (conductor) director of the Monteverdi String Band, INV001 known for their elaborate and informed producons of the music of Monteverdi ‘ [...] this is now my prime recommendation for and his contemporaries, and performs with many of the finest ensembles in this neglected composer’ the field, including guest leading for MusicWeb International Monteverdi producons by Andrew Parro and Sir John Eliot Gardiner. He teaches at the Guildhall School and lectures internaonally; he has also © 2019 Resonus Limited made a parcular study of Italian è 2019 Resonus Limited literature and poetry of the period, Acknowledgements Recorded in St Andrew’s Church, Toddington on 19–21 March 2019 and gives specialist vocal coaching at Producer, engineer & editor: Adam Binks the Royal College of Music. The Gonzaga Band gratefully acknowledges financial Session photography © Resonus Limited support from the ADM Faculty Research Investment Recorded at 24-bit/96kHz resolution Cover image: Madonna and Child with Saints and Donor (detail) by Carlo Crivelli (c.1435–c.1495) Steven Devine enjoys a busy career as a Scheme, Birmingham City University. music director and keyboard player working RESONUS LIMITED – UK with some of the finest musicians. He is the co-principal keyboard player with the [email protected] Orchestra of the Age of Enlightenment and www.resonusclassics.com also the principal keyboard player for The Consultant for Italian/Venean pronunciaon of Gonzaga Band, Apollo and Pan, The Classical ecclesiascal Lan: Dr Maeo Dalle Frae. RES10245