0000 nc montecd book 3 - eclassical.com · ve psalms, a hymn, the magnifi cat (in two different...
TRANSCRIPT
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1610C
LA
UD
IO M
ON
TE
VE
RD
I
DE
LLA
BE
AT
A
VE
RG
INE
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2
A n
ote
on th
e co
ver
imag
e
All
cds i
n th
e no
vum
colle
ctio
n w
ill fe
atur
e im
ages
ass
ocia
ted
wit
h N
ew C
olle
ge. F
or th
is re
cord
ing
of m
usic
for
a M
aria
n Ve
sper
s, w
e ha
ve c
hose
n a
deta
il fr
om t
he l
ate
med
ieva
l st
aine
d gl
ass
of th
e C
olle
ge c
hape
l, th
e w
ork
of T
hom
as th
e G
lazi
er.
It sh
ows t
he h
ead
of M
ary,
the
patr
on sa
int
of th
e C
olle
ge; h
er im
age
feat
ures
pro
min
entl
y in
the
glas
s and
stat
uary
in a
nd a
roun
d th
e ch
apel
. T
he r
epro
duct
ion
is u
sed
wit
h th
e pe
rmis
sion
of t
he W
arde
n an
d Sc
hola
rs o
f New
Col
lege
.
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3
da c
once
rto,
com
post
o so
pra
cant
i fer
mi
sex
voci
bus e
t sex
inst
rum
entis
Ch
oir
of
Ne
w C
ol
le
ge
Ox
fo
rd
Nic
ho
la
s M
ul
ro
y a
nd
Th
om
as
Ho
bb
s(t
en
or
s)
Ch
ar
iva
ri
Ag
ré
ab
le
(DIR
EC
TO
R K
AH
-MIN
G N
G)
DIR
EC
TED
BY
Ed
wa
rd
Hig
gin
bo
tt
om
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4
CL
AU
DIO
MO
NT
EV
ER
DI
• V
ESP
RO
DE
LLA
BE
AT
A V
ER
GIN
E
CD
11
DEU
S IN
AD
JUT
OR
IUM
T
hom
as H
obbs
(T
)
2 D
IXIT
DO
MIN
US
H
ugh
Cut
ting
(S1
), S
ebas
tian
Cox
(S2
),
N
icho
las
Prit
char
d (T
1), G
uy C
utti
ng (
T2)
3 N
IGR
A S
UM
voc
e so
la
Nic
hola
s M
ulro
y (T
)
4
LAU
DA
TE
PU
ERI
a 8
Ja
mes
Sw
ash
(S1)
, Seb
asti
an C
ox (S
2),
N
icho
las
Mul
roy
(T1)
, Tho
mas
Hob
bs (T
2),
Dun
can
Saun
ders
on (B
1), T
hom
as E
dwar
ds (B
2)
5 P
ULC
HR
A E
S a
due
voci
Se
bast
ian
Cox
(S1
), J
ames
Sw
ash
(S2)
6
LAET
AT
US
SUM
a 6
voc
i
Hug
h C
utti
ng (
S1),
Seb
asti
an C
ox (
S2),
Step
hen
Tayl
or (
F), N
icho
las
Mul
roy
(T1)
,
Tho
mas
Hob
bs (
T2)
, Jon
atha
n H
owar
d (B
)
7 D
UO
SER
AP
HIM
trib
us
voci
bus
N
icho
las
Mul
roy
(T1)
, Tho
mas
Hob
bs (
T2)
,
Tho
mas
Ras
kin
(T3)
8
NIS
I D
OM
INU
S a
10
9 A
UD
I C
OEL
UM
sex
voci
bus
T
hom
as H
obbs
(T
), N
icho
las
Mul
roy
(ech
o)
10 L
AU
DA
JER
USA
LEM
a 7
CD
21
SON
AT
A À
8 S
OP
RA
SA
NC
TA
M
AR
IA O
RA
PR
O N
OB
IS2
AV
E M
AR
IS S
TEL
LA: H
YM
NU
S À
8
Seba
stia
n C
ox (
S: v.
4), H
ugh
Cut
ting
(S:
v.5)
,
Nic
hola
s M
ulro
y (T
: v.6
)
3 M
AG
NIF
ICA
T
se
ptem
voc
ibu
s &
sex
inst
rum
enti
s
4
E
t exu
ltav
it a
3 v
oci
Nic
hola
s M
ulro
y (T
1), T
hom
as H
obbs
(T
2)
5
Qui
a re
spex
it
ad u
na
voce
sol
a &
sei
inst
rum
enti
6
Qui
a fe
cit a
3 v
oci &
doi
ins
trum
enti
Jona
than
How
ard
(B1)
, Tho
mas
Edw
ards
(B2)
7
Et m
iser
icor
dia
a 6 v
oci
sole
in d
ialo
go
8
Fe
cit p
oten
tiam
ad
una
voce
& t
re i
nst
rum
enti
9
Dep
osui
t ad
una
voce
& d
oi in
stru
men
ti
10
Esur
ient
es
a du
e vo
ci &
qu
attr
o in
stru
men
ti
11
Susc
epit
Isra
el a
tre
voci
Jam
es S
was
h (S
1), S
ebas
tian
Cox
(S2
)
12
Sicu
t loc
utus
ad
una
voce
sol
a &
sei
inst
rum
enti
in d
ialo
go
13
Glo
ria
Patr
i a t
re v
oci
– d
ue
dele
qual
i ca
nta
no
in e
cho
Nic
hola
s M
ulro
y (T
), T
hom
as H
obbs
(ec
ho)
14
Sicu
t era
t tu
tti
gli
inst
rum
enti
&
vo
ci &
va
canta
to &
son
ato
fort
e
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Intr
oduc
tion
Edw
ar
d H
igg
inb
ot
to
m
See
ww
w.n
ewco
llege
choi
r.com
/ves
pers
book
let f
or G
erm
an a
nd
Fre
nch
tra
nsl
atio
ns
of t
he f
ollo
win
g not
es.
The
‘161
0 Ve
sper
s’ is
an
icon
ic c
hora
l wor
k, o
ften
per
form
ed, o
ften
rec
orde
d. T
his
used
not
to
be th
e ca
se: o
nly
sinc
e th
e 19
30s
has
it e
mer
ged
at a
ll, a
nd n
ot u
ntil
the
1950
s as
a w
ork
equa
l in
stat
ure
to o
ther
gre
at c
hora
l wor
ks in
the
Wes
tern
Tra
diti
on, s
uch
as th
e M
ozar
t Req
uiem
or
the
Bac
h B
min
or M
ass.
1 Wha
t dis
ting
uish
es th
is r
ecor
ded
vers
ion
is th
e fa
ct th
at it
use
s bo
ys v
oice
s (r
arel
y en
coun
tere
d in
Mon
teve
rdi
disc
ogra
phy)
, an
d th
at i
t pr
esen
ts a
mus
ical
tex
t in
str
ict
acco
rdan
ce w
ith
the
1610
pub
licat
ion.
It
does
not
set
out
to
repl
icat
e a
litur
gica
l per
form
ance
, bu
t to
pre
sent
the
mus
ic a
s pu
blis
hed
by M
onte
verd
i app
ropr
iate
to
a ce
lebr
atio
n of
Ves
pers
on
a m
ajor
feas
t of t
he B
less
ed V
irgin
Mar
y, m
usic
wri
tten
and
ass
embl
ed a
s an
exe
mpl
ar o
f chu
rch
mus
ic co
mpo
siti
on in
the
fi rst
dec
ade
of th
e 17
th ce
ntur
y. T
he re
leas
e of
this
reco
rded
per
form
ance
in
201
0 ce
lebr
ates
the
400th
ann
iver
sary
of i
ts p
ublic
atio
n in
Sep
tem
ber
1610
.
Bac
kgro
und
to th
e 16
10 p
ublic
atio
nFr
om t
he t
itle
of
the
publ
icat
ion,
we
lear
n th
at i
ts c
onte
nts
incl
ude
a se
ttin
g of
the
Mas
s,
and
mus
ic a
ppro
pria
te t
o th
e of
fi ce
of V
espe
rs o
n a
Mar
ian
feas
t: fi
ve
psal
ms,
a h
ymn,
the
M
agni
fi cat
(in
tw
o di
ffer
ent
vers
ions
), a
nd a
num
ber
of ‘s
acre
d co
ncer
tos’
, sol
o-vo
ice
mot
ets
on n
on-li
turg
ical
tex
ts. T
he s
cope
of
the
colle
ctio
n w
as u
npre
cede
nted
. The
re h
ad p
revi
ousl
y be
en p
ublic
atio
ns in
Ita
ly o
f psa
lm s
etti
ngs
for
Vesp
ers,
suc
h as
Gas
told
i’s T
utt
i li
sal
mi
che
nel
le
sole
nnit
a de
ll’a
nno
al v
espr
o si
can
tano
(160
1), b
ut n
othi
ng p
revi
ousl
y w
hich
had
cov
ered
the
Mas
s
1 T
he te
rm ‘w
ork’
is n
ot a
ltog
ethe
r a
sati
sfac
tory
des
crip
tion
of w
hat M
onte
verd
i wro
te. T
he 1
610
Vesp
ers
take
s th
e fo
rm it
doe
s be
caus
e it
is a
set
ting
of a
seq
uenc
e of
text
s be
long
ing
to a
litu
rgic
al o
ffi ce
. The
offi
ce o
f Ves
pers
re
quir
es a
sun
g op
enin
g Ve
rsic
le a
nd R
espo
nse,
fi ve
psa
lms
(her
e pr
oper
to a
Mar
ian
feas
t), a
hym
n (a
lso
prop
er
to a
Mar
ian
feas
t) a
nd th
e M
agni
fi cat
. In
addi
tion
, ant
ipho
ns w
ere
atta
ched
to e
ach
psal
m a
nd th
e M
agni
fi cat
. In
one
form
or
othe
r, M
onte
verd
i cou
ld b
e sa
id to
hav
e pr
ovid
ed fo
r ea
ch o
f the
se it
ems.
But
, as
a re
sour
ce fo
r us
e in
It
alia
n ch
urch
es, h
is m
usic
was
not
req
uire
d to
be
sung
eit
her
excl
usiv
ely
or in
its
enti
rety
: a m
aest
ro d
i ca
ppel
la c
ould
pi
ck a
nd c
hoos
e, p
erha
ps o
ptin
g to
sub
stit
ute
two
of th
e ps
alm
s fo
r a
sim
ple
fals
obor
done
set
ting
. Or
choo
sing
th
e si
mpl
er o
f the
two
Mag
nifi c
at s
etti
ngs
that
Mon
teve
rdi h
imse
lf pr
ovid
es. I
n th
is s
ense
, the
Ves
pers
set
ting
s do
not
con
stit
ute
a si
ngle
wor
k, b
ut a
ser
ies
of w
orks
, eac
h se
lf-su
ffi ci
ent m
usic
ally
. And
yet
it is
und
enia
ble
that
th
e cu
mul
ativ
e ef
fect
of t
he w
hole
seq
uenc
e, a
s se
t by
Mon
teve
rdi,
is b
oth
huge
ly d
ram
atic
and
con
vinc
ing,
and
th
at a
nyon
e w
ho e
mba
rks
upon
its
mus
ical
dis
cove
ry is
str
ongl
y m
otiv
ated
to in
clud
e al
l tha
t the
com
pose
r w
rote
, al
thou
gh in
this
rec
ordi
ng o
nly
the
mor
e el
abor
ate
Mag
nifi c
at s
etti
ng is
rep
rese
nted
.
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and
Vesp
ers,
and
on
such
a c
ompr
ehen
sive
sca
le. C
lear
ly M
onte
verd
i w
as t
ryin
g to
im
pres
s.
The
rea
sons
are
not
diffi
cul
t to
unde
rsta
nd. A
t the
tim
e of
the
publ
icat
ion,
Mon
teve
rdi h
ad b
een
wor
king
for V
ince
nzo
Gon
zaga
, Duk
e of
Man
tua,
for t
en y
ears
. He
was
resp
onsi
ble
for t
he se
cula
r m
usic
of t
he D
uke’
s co
urt,
and
only
info
rmal
ly fo
r th
e ch
apel
mus
ic. A
mon
g hi
s du
ties
wer
e th
e co
mpo
siti
on a
nd p
erfo
rman
ce o
f ela
bora
te m
usic
al e
nter
tain
men
ts fo
r co
urt
occa
sion
s. T
hus
his
earl
y op
era
Orf
eo w
as w
ritt
en f
or t
he C
arni
val
cele
brat
ions
of
1607
. How
ever
, fro
m a
let
ter
he
wro
te t
o th
e D
uke
in 1
608
com
plai
ning
abo
ut h
is c
ondi
tion
s of
wor
k, a
nd f
rom
his
att
empt
s to
be
rel
ease
d fr
om h
is p
ost,
we
know
that
he
was
see
king
diff
eren
t em
ploy
men
t, m
ost l
ikel
y in
the
chur
ch (
he h
ad tr
ied
unsu
cces
sful
ly o
n tw
o oc
casi
ons
to tr
ansf
er to
the
cour
t cha
pel i
n M
antu
a).
Wit
h th
e de
ath
of h
is w
ife in
160
7 he
had
als
o fa
llen
on d
iffi c
ult
pers
onal
cir
cum
stan
ces,
hav
ing
now
two
youn
g so
ns to
care
for.
He
knew
that
his
chan
ces o
f fi n
ding
a p
rest
igio
us ch
urch
pos
t wou
ld
be t
he b
ette
r fo
r ha
ving
pub
lishe
d an
impr
essi
ve c
olle
ctio
n of
chu
rch
mus
ic. T
his
inde
ed is
wha
t th
e 16
10 p
ublic
atio
n is
. Its
ded
icat
ion
to P
ope
Paul
V s
peak
s of
Mon
teve
rdi s
eeki
ng p
atro
nage
at
the
hig
hest
and
mos
t in
fl uen
tial
leve
l. T
hat
the
colle
ctio
n w
as p
rint
ed in
Ven
ice
was
a m
atte
r of
con
veni
ence
: Ven
ice
was
a c
ity
of b
ook
and
mus
ic p
ublis
hing
, and
Mon
teve
rdi d
id n
ot h
ave
a lo
ng jo
urne
y fr
om M
antu
a to
ove
rsee
the
proj
ect.
But
it is
mor
e th
an li
kely
that
he
had
his e
ye o
n a
pres
tigi
ous
chur
ch p
ost
in R
ome.
He
spen
t th
e la
st t
hree
mon
ths
of 1
610
in t
he E
tern
al C
ity,
netw
orki
ng in
fl uen
tial
car
dina
ls, s
eeki
ng a
n au
dien
ce w
ith
the
dedi
cate
e of
his
161
0 pu
blic
atio
n,
and
nego
tiat
ing
the
adm
issi
on o
f one
of h
is s
ons
into
a R
oman
sem
inar
y.
We
do n
ot k
now
wha
t mig
ht e
vent
ually
hav
e co
me
of h
is R
oman
trip
. For
the
mom
ent M
onte
verd
i w
as t
ied
to t
he M
antu
an C
ourt
, fre
e on
ly t
o pu
t hi
s na
me
abou
t (w
ith
som
e di
scre
tion
). B
ut
thos
e ci
rcum
stan
ces
chan
ged
in 1
612
whe
n th
e ne
w D
uke,
str
uggl
ing
wit
h a
larg
e de
fi cit
in t
he
duca
l acc
ount
s, s
acke
d M
onte
verd
i. N
ow t
he c
ompo
ser
was
a fr
ee a
gent
, abl
e to
app
ly fo
r ot
her
empl
oym
ent.
His
stro
ke o
f goo
d fo
rtun
e w
as th
at th
e m
ost p
rest
igio
us c
hurc
h po
st in
the
who
le o
f It
aly,
outs
ide
Rom
e, c
ame
up th
e fo
llow
ing
year
, the
pos
t of m
aest
ro d
i ca
ppel
la a
t St M
ark’
s, V
enic
e.
Mon
teve
rdi
appl
ied
and
was
suc
cess
ful.
The
pro
cura
tors
of
St M
ark’
s re
ferr
ed i
n th
eir
repo
rt
on M
onte
verd
i’s m
usic
al a
udit
ion
to ‘t
he q
ualit
y an
d vi
rtue
of
his
wor
ks f
ound
in p
rint
’, a
clea
r in
dica
tion
that
the
1610
pub
licat
ion
had
inde
ed fo
und
its m
ark.
It is
no
surp
rise
ther
efor
e th
at th
is
publ
icat
ion,
wit
h it
s mag
nifi c
ent c
olle
ctio
n of
mus
ic fo
r Ve
sper
s, sh
ould
be
clos
ely
asso
ciat
ed w
ith
St M
ark’
s, V
enic
e. H
owev
er, a
t the
tim
e of
its
prin
ting
, Mon
teve
rdi’s
exp
erie
nce
as a
com
pose
r of
ch
urch
mus
ic h
ad b
een
limit
ed to
Man
tua.
It w
as in
Man
tua,
if a
t all,
that
som
e of
this
mus
ic m
ay
have
fi rs
t bee
n pe
rfor
med
, wha
teve
r th
e us
e m
ade
of it
in S
t Mar
k’s
afte
r 16
13.
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teCd
_Boo
k_3.
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teCd
_Boo
k_3.
indd
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1:6
30/7
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/7/1
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5:23
:13
7
The
mus
ic o
f the
161
0 pu
blic
atio
nSo
, w
hat
was
it
that
so
muc
h im
pres
sed
the
proc
urat
ors?
Par
t of
Mon
teve
rdi’s
ski
ll w
as i
n pr
ovid
ing
evid
ence
of h
is c
ompe
tenc
e ac
ross
the
pri
ma
and
seco
nda
prat
tice
. The
se t
erm
s w
ere
prob
ably
coi
ned
by M
onte
verd
i him
self
to d
eal w
ith
the
inno
vato
ry h
arm
onic
pra
ctic
e em
ergi
ng
in h
is m
adri
gals
(se
e th
e pr
efac
e to
his
col
lect
ion
of 1
605)
. Her
e he
say
s th
at h
is m
ore
adva
nced
co
mpo
siti
onal
pra
ctic
e (t
he s
econ
da p
ratt
ica)
was
not
to
be c
riti
cise
d fo
r de
part
ing
from
the
pr
inci
ples
of t
he p
rim
a pr
atti
ca. T
he tw
o w
ere
dist
inct
sty
les.
The
sec
ond
prac
tice
was
ass
ocia
ted
wit
h th
e ne
w m
onod
ic st
yle
of h
is o
pera
s (th
ough
not
lim
ited
to m
onod
y), a
nd th
e fi r
st w
ith
the
mor
e co
nser
vati
ve p
ract
ice
of c
hurc
h co
mpo
sers
. In
the
1610
pub
licat
ion,
the
Mas
s se
ttin
g ex
empl
ifi es
th
e pr
ima
prat
tica
, in
the
tim
e-ho
nour
ed g
enre
of
paro
dy m
ass,
whe
re a
pre
viou
sly
com
pose
d m
otet
(he
re, G
ombe
rt’s
In i
llo
tem
pore
) is
tak
en a
s a
com
posi
tion
al b
asis
, and
whe
re M
onte
verd
i ac
know
ledg
es a
pre
viou
s m
aste
r, de
mon
stra
ting
ski
ll in
ext
endi
ng a
nd d
evel
opin
g a
pre-
exis
ting
co
ntra
punt
al te
xtur
e. T
hus M
onte
verd
i ans
wer
ed h
is cr
itic
s by
givi
ng a
mpl
e ev
iden
ce o
f his
abi
lity
to w
rite
in th
e co
nser
vati
ve (c
ontr
apun
tal)
chu
rch
styl
e. B
ut it
wou
ld b
e to
o si
mpl
isti
c to
say
that
th
e m
usic
for
Vesp
ers
is, b
y w
ay o
f con
tras
t, ev
iden
ce o
f his
mor
e ad
vanc
ed c
ompo
siti
onal
voi
ce,
the
seco
nda
prat
tica
. Wit
hin
the
Vesp
ers s
etti
ngs t
here
is a
who
le r
ange
of s
tylis
tic
tech
niqu
es o
n sh
ow, a
nd it
is t
his
whi
ch m
akes
the
Ves
pers
the
wor
k it
is: a
n en
cycl
oped
ia o
f gen
res,
form
s an
d st
yles
. Thi
s m
ust a
lso
have
impr
esse
d th
e pr
ocur
ator
s, w
ho w
ould
hav
e na
tura
lly w
ishe
d to
see
St
Mar
k’s f
urni
shed
wit
h a
full
rang
e of
mus
ical
idio
ms,
from
the
trad
itio
nal t
o th
e fo
rwar
d-lo
okin
g.
The
ir ju
dgem
ent w
as n
ot m
ispl
aced
.
Tho
se o
f the
m w
ith re
al d
isce
rnm
ent w
ill h
ave
seen
that
Mon
teve
rdi c
ould
take
the
basi
c ha
rmon
ic
elab
orat
ion
of p
salm
tone
s, th
e fa
lsob
ordo
no, a
nd tr
ansf
orm
it in
to a
kal
eido
scop
ic va
riat
ion
prac
tice.
Ta
ke fo
r ex
ampl
e th
e se
ttin
g of
Dix
it D
omin
us.
Her
e th
e ob
viou
sly
stro
phic
str
uctu
re o
f the
psa
lm
prov
ides
for a
seri
es o
f dis
cret
e se
ttin
gs o
f the
pla
inch
ant p
salm
tone
, car
ried
mai
nly i
n th
e ba
ss vo
ice,
ea
ch o
f the
se e
mbe
llish
ed b
y ne
w fi
gure
s in
the
uppe
r voi
ces.
But
the
proc
ess i
s mor
e so
phis
ticat
ed:
alte
rnat
e ve
rses
hav
e a
cont
rast
ing
chor
dal r
ecita
tion,
bre
akin
g in
to a
hig
hly
deco
rativ
e ca
dent
ial
fl our
ish.
The
seco
nd o
f eac
h fl o
uris
h gi
ves w
ay to
an
inst
rum
enta
l rito
rnel
lo, e
choi
ng th
e fi g
urat
ion
hear
d im
med
iate
ly b
efor
e. T
his h
ighl
y or
gani
sed
stru
ctur
e ca
rrie
s a w
onde
rful
var
iety
of t
reat
men
ts
of t
he t
ext.
The
follo
win
g ps
alm
, Lau
date
puer
i is
built
aro
und
a m
igra
ting
cant
us fi
rmus
, a p
salm
to
ne (a
lway
s rec
ogni
sabl
e by
its s
impl
e an
d re
petit
ive
cont
our)
whi
ch ‘w
ande
rs’ f
rom
voi
ce to
voi
ce,
allo
win
g fo
r a
seri
es o
f hig
hly
orna
men
tal d
ialo
gues
to b
e cr
afte
d be
twee
n tw
o so
pran
i, tw
o te
nors
0000
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teCd
_Boo
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8
and
two
bass
es, e
ach
pair
in tu
rn. A
gain
, the
syst
emat
ic a
ppro
ach,
exe
mpl
ifyin
g a
rang
e of
text
ural
po
ssib
ilitie
s, in
no
wis
e so
unds
form
ulai
c; r
athe
r th
e op
posi
te. L
aeta
tus
sum
is b
uilt
on t
he s
trop
hic
bass
pri
ncip
le, f
ound
als
o in
Mon
teve
rdi’s
mad
riga
ls, w
here
for
the
odd
-num
bere
d ve
rses
a b
ass
patt
ern
in c
onst
ant
croc
hets
is r
epri
sed,
invi
ting
diffe
rent
upp
er-v
oice
ela
bora
tions
. For
the
oth
er
vers
es, l
onge
r va
lues
are
em
ploy
ed in
the
bas
s pa
rt w
ith a
free
r re
petit
ion
patt
ern,
but
with
cle
ar
fi gur
ativ
e re
latio
nshi
ps. T
his
sett
ing
is a
noth
er t
echn
ical
tou
r de
for
ce, b
ut s
ound
ing
com
plet
ely
unfo
rced
. N
isi
Dom
inus
has
the
psal
m t
one
cons
tant
ly p
rese
nt i
n th
e Q
uint
us p
art
(the
sec
ond
teno
r), m
ovin
g at
‘Sic
ut s
agitt
ae’ t
o th
e fi r
st t
enor
. The
she
er v
irtu
osity
of
the
chan
ging
tex
ture
s an
d fi g
urat
ions
surr
ound
ing
the
psal
m-t
one
reite
ratio
ns is
bre
atht
akin
g, in
clud
ing
a br
illia
nt (i
f not
w
holly
cre
dibl
e) s
tret
to c
anon
bet
wee
n fo
ur o
f the
voi
ces
in t
he o
peni
ng v
erse
. The
re is
n’t
muc
h,
it se
ems,
that
Mon
teve
rdi c
ould
n’t
do, a
nd d
o be
tter
tha
n an
yone
els
e. M
eanw
hile
, as
evid
ence
of
his
thor
ough
goin
g se
cond
a pr
attic
a, h
e in
ters
pers
ed t
hese
psa
lm s
ettin
gs w
ith h
is s
acre
d co
ncer
ti,
scor
ed f
or s
olo
teno
r (N
igra
sum
), tw
o so
pran
i (P
ulc
hra
es),
thre
e te
nors
(D
uo
sera
phim
), an
d te
nor
+ e
cho
(Audi
coe
lum
). W
hate
ver
the
litur
gica
l fun
ctio
n of
the
se m
ovem
ents
(an
d th
ere
is a
str
ong
argu
men
t for
seei
ng th
em a
s ant
ipho
n su
bstit
utes
), th
ey se
rve
as h
ighl
y per
sona
l, em
otiv
ely c
harg
ed,
and
virt
uosi
c fo
ils t
o th
e ps
alm
set
tings
. Mon
teve
rdi’s
res
pons
e to
the
tex
t am
ply
test
ifi es
to
his
dict
um th
at ‘t
he w
ords
are
the
mis
tres
s of t
he h
arm
ony
and
not t
he se
rvan
t’.
How
ever
, the
161
0 co
llect
ion
is n
ot s
impl
y ab
out
voca
l mus
ic; M
onte
verd
i bri
ngs
to t
he M
aria
n fe
ast s
omet
hing
els
e, a
nd so
met
hing
ver
y di
stin
ctiv
e in
the
real
m o
f chu
rch
mus
ic: t
he in
tegr
atio
n of
an
orch
estr
a. It
has
bec
ome
a co
mm
onpl
ace
to o
bser
ve th
at in
Orf
eo (1
607)
Mon
teve
rdi e
xten
ds
the
rang
e an
d sc
ope
of i
nstr
umen
tal
prac
tice
to
just
ify t
he u
se o
f th
e te
rm ‘
orch
estr
a’.
It i
s eq
ually
just
ifi ed
wit
h re
spec
t to
the
Ves
pers
. Apa
rt fr
om a
nyth
ing
else
, the
ope
ning
ver
sicl
e an
d re
spon
se b
egin
s w
ith
a re
wor
king
of t
he o
peni
ng si
nfo
nia
from
Orf
eo. B
ut e
ven
mor
e im
pres
sive
in
stru
men
tally
spe
akin
g is
the
Son
ata
sopr
a S
anct
a M
aria
. Thi
s is
the
long
est,
mos
t so
phis
tica
ted
and
mos
t sk
ilful
ly ‘o
rche
stra
ted’
pie
ce e
ver
to h
ave
been
wri
tten
by
1610
. It
surp
asse
s by
far
the
canz
one o
f Gio
vann
i Gab
riel
i, M
onte
verd
i’s V
enet
ian
riva
l. T
he re
curr
ing
voca
l (pl
ainc
hant
) ref
rain
‘S
anct
a M
aria
ora
pro
nob
is’ p
rovi
des a
n im
port
ant s
truc
tura
l ele
men
t, bu
t mor
e si
gnifi
cant
is th
e pr
oces
s th
at s
ubje
cts
the
inst
rum
enta
l mat
eria
l to
cons
tant
var
iati
on a
nd e
labo
rati
on, w
ithi
n a
broa
d te
rnar
y st
ruct
ure.
The
stri
ng a
nd w
ind
grou
ping
s are
pla
yed
off a
gain
st e
ach
othe
r, w
ith
an
asto
nish
ing
leve
l of v
irtu
osit
y. A
ll th
is s
ets
the
scen
e fo
r w
hat h
appe
ns in
the
Mag
nifi c
at. H
ere
it
is e
ntir
ely
appr
opri
ate
to ta
lk o
f a g
litte
ring
pro
cess
ion
of s
onor
itie
s, a
s ea
ch v
erse
of t
he c
anti
cle
is g
iven
its d
isti
nct c
olou
rs a
nd e
nsem
ble
scor
ing:
from
ech
o vi
olin
s and
cor
nett
i to
juxt
apos
itio
ns
0000
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9
of w
ind
and
stri
ng g
roup
s, th
roug
h ri
torn
ello
pra
ctic
e to
full-
blow
n ca
nzon
a. A
nd a
ll th
e ve
rses
are
kn
it to
geth
er b
y th
e ps
alm
ton
e, h
eard
in a
var
iety
of
voic
es. I
t is
impo
ssib
le t
o im
agin
e a
mor
e im
agin
ativ
e, v
arie
d an
d se
duct
ive
sett
ing,
a se
ttin
g th
at se
als t
he r
eput
atio
n of
the
1610
Ves
pers
as
one
of th
e m
ost a
ccom
plis
hed
sacr
ed w
orks
of a
ny c
entu
ry, a
nd fo
r th
e ea
rly
17th c
entu
ry, u
nriv
alle
d in
its s
cale
and
leve
l of a
mbi
tion.
Not
es o
n th
is p
erfo
rman
ceT
he 1
610
Vesp
ers
pose
a n
umbe
r of
que
stio
ns t
o th
e m
oder
n pe
rfor
mer
: wha
t is
an
appr
opri
ate
pitc
h st
anda
rd fo
r thi
s mus
ic? H
ow d
o th
e se
ttin
gs in
hig
h cl
efs –
requ
irin
g do
wnw
ard
tran
spos
itio
n –
rela
te t
o th
is p
itch
sta
ndar
d? H
ow s
houl
d th
e in
stru
men
tati
on e
xten
d be
yond
Mon
teve
rdi’s
sp
ecifi
cati
on?
How
man
y vo
ices
did
Mon
teve
rdi
envi
sage
, an
d of
wha
t so
rt?
How
doe
s th
e m
usic
fi t
into
a li
turg
ical
con
text
? A
ll th
ese
requ
ire
an a
nsw
er b
efor
e th
e ta
sk o
f re
spon
ding
to
Mon
teve
rdi’s
mus
ical
tex
t ca
n be
gin.
To
take
the
m in
ord
er: t
here
is a
mpl
e ev
iden
ce t
hat
pitc
h st
anda
rds i
n th
e Ve
neto
in th
e ea
rly
17th
cen
tury
wer
e hi
gh in
rela
tion
to (f
or e
xam
ple)
Rom
e, a
nd
may
be h
ighe
r th
an A
=44
0 (m
oder
n pi
tch)
. It i
s tem
ptin
g to
ado
pt A
=46
5, fo
r so
me
of th
is m
usic
at
leas
t; bu
t it
is e
qual
ly t
empt
ing
to g
o no
fur
ther
tha
n A
=44
0. A
=46
5 m
akes
the
dow
nwar
d tr
ansp
osit
ions
req
uire
d in
Lau
da J
erusa
lem
and
the
Mag
nifi c
at m
ore
feas
ible
(th
ey a
re n
ot s
o lo
w);
but
els
ewhe
re t
he m
usic
bec
omes
shr
ill (
the
high
sop
rano
g’’s
in L
aeta
tus
sum
bec
ome
a’’
fl ats
). I
n th
is r
ecor
ding
, A=
440
is t
aken
as
the
stan
dard
, but
the
dow
nwar
d tr
ansp
osit
ions
of
Lau
de J
erusa
lem
and
the
Mag
nifi c
at a
re in
fl ect
ed: L
auda
Jer
usa
lem
is t
aken
dow
n a
tone
, and
the
M
agni
fi cat
a m
inor
thir
d. In
the
fi rst
inst
ance
, thi
s br
ings
the
psal
m to
ne o
nto
the
sam
e pi
tch
as
foun
d in
Lae
tatu
s su
m, a
nd in
the
seco
nd th
e ps
alm
-ton
e re
citi
ng n
ote
is a
resp
ecta
ble
B (F
shar
p in
th
e al
tern
ativ
e se
ttin
g), a
nd th
e si
ngle
shar
p ke
y-si
gnat
ure
rend
ers t
he m
usic
still
pla
yabl
e by
the
corn
etti
. In
addi
tion
the
re a
re p
laus
ible
mod
al t
rans
itio
ns b
etw
een
the
neig
hbou
ring
item
s. A
s re
gard
s in
stru
men
tati
on, o
nly
thre
e ‘m
ovem
ents
’ of t
he V
espe
rs h
ave
inst
rum
ents
spe
cifi e
d: t
he
open
ing
resp
onse
Dom
ine
ad a
djuva
ndu
m, t
he S
onat
a so
pra
San
cta
Mar
ia a
nd th
e M
agni
fi cat
. Ano
ther
tw
o, D
ixit
Dom
inus a
nd A
ve m
aris
ste
lla
have
opt
iona
l rit
orne
lli b
etw
een
the
vers
es, b
ut n
o pa
rtic
ular
in
stru
men
tal c
olou
r sp
ecifi
ed. O
ther
wis
e th
e ps
alm
s ar
e w
itho
ut p
resc
ribe
d in
stru
men
tati
on (
if w
e di
scou
nt th
e om
nipr
esen
t con
tinu
o gr
oup
– or
gan
and
theo
rbo)
. Des
pite
a co
nven
tion
(as m
uch
cont
empo
rary
as h
isto
rica
l) o
f dou
blin
g vo
cal p
arts
on
inst
rum
ents
, Mon
teve
rdi e
xplic
itly
ask
s for
th
is o
n on
ly tw
o oc
casi
ons:
the
open
ing
and
conc
ludi
ng se
ctio
ns o
f the
Mag
nifi c
at. O
ther
wis
e su
ch
inst
ruct
ions
are
abs
ent
from
the
pub
lishe
d m
ater
ials
. Con
sequ
entl
y, it
is e
ntir
ely
appr
opri
ate
to
0000
_Nc_
Mon
teCd
_Boo
k_3.
indd
Sec
1:9
0000
_Nc_
Mon
teCd
_Boo
k_3.
indd
Sec
1:9
30/7
/10
15:
23:1
330
/7/1
0 1
5:23
:13
10
excl
ude
inst
rum
enta
l dou
blin
g. S
uch
an a
ppro
ach,
ado
pted
in th
is re
cord
ing,
has
the
adva
ntag
e of
al
low
ing
for a
n in
crea
se in
rich
ness
and
com
plex
ity
of sc
orin
g as
the
Vesp
ers s
eque
nce
prog
ress
es,
culm
inat
ing
in th
e M
agni
fi cat
, the
clim
ax o
f the
offi
ce. A
s for
the
voic
es –
type
and
num
ber –
her
e w
e ar
e on
gro
unds
requ
irin
g m
edia
tion
: Mon
teve
rdi i
n hi
s day
wou
ld n
ot h
ave
expe
cted
wom
en to
si
ng li
turg
ical
mus
ic; a
nd in
our
ow
n ti
me
we
wou
ld n
ot e
xpec
t, as
he
expe
cted
, to
hear
cas
trat
i. T
he s
opra
no p
arts
in I
talia
n ch
urch
mus
ic o
f th
is p
erio
d m
ight
hav
e be
en s
ung
by a
ny o
f th
ree
voic
e-ty
pes:
cas
trat
o, fa
lset
tist
, or b
oy so
pran
o, o
r ind
eed
any
com
bina
tion
of t
he th
ree;
eve
ryth
ing
wou
ld h
ave
depe
nded
on
the
reso
urce
of a
n in
divi
dual
est
ablis
hmen
t. T
hus N
ew C
olle
ge e
mpl
oys
treb
les
as a
n in
stit
utio
nal r
esou
rce.
The
voc
al s
cori
ng is
ess
enti
ally
SST
TB
B. I
f ‘al
tos’
wer
e us
ed
at a
ll, it
wou
ld h
ave
been
as f
alse
ttis
ts o
n th
e to
p lin
e. H
owev
er, t
his b
egs t
he q
uest
ions
of w
heth
er
the
teno
r vo
ice
in M
onte
verd
i’s d
ay e
mpl
oyed
a ‘m
ixed
’ reg
iste
r fo
r hi
gh n
otes
, or
inde
ed s
lippe
d in
to f
alse
tto.
The
alt
os o
f N
ew C
olle
ge h
ave
been
fre
ely
empl
oyed
to
prov
ide
an e
xten
sion
of
the
teno
r vo
ice.
On
the
subj
ect
of n
umbe
r of
voi
ces,
the
his
tori
cal
and
arti
stic
arg
umen
t fo
r M
onte
verd
i’s m
usic
bei
ng p
erfo
rmab
le b
y si
ngle
voi
ces
is i
rref
utab
le.
At
the
sam
e ti
me,
the
ar
gum
ent f
or th
e us
e of
‘rip
ieni
sts’
is n
o le
ss st
rong
. The
man
ner
of c
onst
ruin
g ri
pien
o pr
acti
ce is
al
l-im
port
ant:
in t
his
reco
rded
per
form
ance
, the
mus
ic is
sun
g es
sent
ially
by
an e
nsem
ble
of so
lo
voic
es, r
einf
orce
d, a
t th
e di
scre
tion
of t
he d
irec
tor,
by a
ddit
iona
l voi
ces,
pro
vidi
ng a
fulle
r so
und
for
a la
rge
eccl
esia
stic
al s
pace
. Suc
h pr
acti
ce w
as c
omm
onpl
ace
in 1
7th-c
entu
ry I
taly.
Tur
ning
to
the
som
ewha
t ve
xati
ous
ques
tion
of
litur
gica
l con
text
, we
know
tha
t M
onte
verd
i pub
lishe
d hi
s m
usic
for
use
at V
espe
rs o
n m
ajor
Mar
ian
feas
ts. W
heth
er it
is p
ossi
ble
to r
econ
stru
ct a
rel
igio
us
offi c
e in
a re
cord
ing
is a
moo
t poi
nt, e
spec
ially
whe
n sc
hola
rly
opin
ion
is st
ill d
ivid
ed o
n th
e ro
le o
f th
e sa
cred
con
cert
os –
are
the
y an
tiph
on s
ubst
itut
es o
r ex
tra-
litur
gica
l ite
ms?
– a
nd o
n w
heth
er
addi
tion
al (
plai
ncha
nt)
anti
phon
s ar
e re
quir
ed o
r no
t. T
here
is a
lso
the
unre
solv
ed is
sue
of t
he
Son
ata,
whi
ch is
not
req
uire
d lit
urgi
cally
, and
who
se p
lace
in th
e se
quen
ce is
pro
blem
atic
. In
view
of
thes
e is
sues
, it s
eem
s ver
y se
nsib
le to
per
form
this
mus
ic a
s the
exe
mpl
ary
anth
olog
y th
at it
is,
in t
he o
rder
pri
nted
in 1
610,
cul
min
atin
g in
the
mos
t ac
com
plis
hed
sett
ing
of t
he M
agni
fi cat
of
the
earl
y ba
roqu
e2 .
© E
. HIG
GIN
BO
TT
OM
201
0
2 ‘It
is p
reci
sely
this
asp
ect o
f the
161
0 Ve
sper
s –
as a
wel
l-org
anis
ed p
ortf
olio
des
igne
d to
dem
onst
rate
Mon
teve
rdi’s
in
vent
ion
and
craf
tsm
ansh
ip –
that
just
ifi es
per
form
ing
them
now
aday
s as
thou
gh th
ey w
ere
a co
ncer
t wor
k ra
ther
than
a c
olle
ctio
n of
indi
vidu
al p
iece
s w
hich
can
be
lifte
d ou
t of c
onte
xt fo
r us
e in
the
litur
gy’ (
J. W
henh
am,
Mon
teve
rdi
Ves
pers
(1610),
Cam
brid
ge, 1
997,
p.3
8).
Whe
nham
’s h
isto
rica
l, m
usic
al a
nd p
erfo
rmat
ive
surv
ey p
rovi
des
the
mos
t acc
essi
ble
and
read
able
intr
oduc
tion
to th
e w
ork.
0000
_Nc_
Mon
teCd
_Boo
k_3.
indd
Sec
1:10
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_Nc_
Mon
teCd
_Boo
k_3.
indd
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:13
11
1
Lat
in te
xts
wit
h E
NG
LIS
H T
RA
NSL
AT
ION
CD
1D
EUS
IN A
DJU
TO
RIU
M
Psal
m 6
9: 1
Deu
s in
adj
utor
ium
meu
m in
tend
e:D
omin
e, a
d ad
juva
ndum
me
fest
ina.
Glo
ria
Patr
i et
Fili
oet
Spi
ritu
i San
cto.
Sicu
t er
at in
pri
ncip
io, e
t nu
nc,
et s
empe
r, et
in s
æcu
la s
æcu
loru
m. A
men
.A
llel
uja.
Dix
it D
om
inu
s Ps
alm
109
Dix
it D
omin
us D
omin
o m
eo:
sede
a d
extr
is m
eis,
don
ec p
onam
in
imic
os tu
os s
cabe
llum
ped
um tu
orum
.V
irga
m v
irtu
tis
tuæ
em
itte
t D
omin
us
ex S
ion:
dom
inar
e in
med
io in
imic
orum
tuo
rum
.Te
cum
pri
ncip
ium
in d
ie v
irtu
tis
tuæ
in s
plen
dori
bus
sanc
toru
m:
ex u
tero
ant
e lu
cife
rum
gen
ui t
e.Ju
ravi
t D
omin
us, e
t no
n pœ
nite
bit
eum
:tu
es
sace
rdos
in æ
tern
um
secu
ndum
ord
inem
Mel
chis
edec
h.D
omin
us a
dex
tris
tui
s,
conf
regi
t in
die
iræ
suæ
reg
es.
Judi
cabi
t in
nat
ioni
bus,
impl
ebit
rui
nas:
conq
uass
abit
cap
ita
in t
erra
mul
toru
m.
De
torr
ente
in v
ia b
ibet
:pr
opte
rea
exal
tabi
t ca
put.
Mak
e ha
ste,
O G
od, t
o de
liver
me:
M
ake
hast
e, O
Lor
d, t
o he
lp m
e.
Glo
ry b
e to
the
Fat
her
and
to t
he S
onan
d to
the
Hol
y Sp
irit
. A
s it
was
in t
he b
egin
ning
, is
now,
an
d ev
er s
hall
be,
wit
hout
end
. Am
en.
Alle
luja
h.
The
Lor
d sa
id t
o m
y L
ord,
si
t at
my
righ
t ha
nd, u
ntil
I m
ake
thin
e en
emie
s th
y fo
otst
ool.
The
Lor
d sh
all s
end
out
the
rod
of t
hy
stre
ngth
from
Zio
n:
rule
tho
u in
the
mid
st o
f thi
ne e
nem
ies.
A
t th
y be
ginn
ing
in t
hy d
ay o
f glo
ry
in
the
spl
endo
ur o
f the
hol
y pl
aces
, be
fore
the
fi rs
t lig
ht I
beg
at t
hee.
T
he L
ord
hath
sw
orn,
and
will
not
rep
ent:
th
ou a
rt a
pri
est
for
ever
af
ter
the
orde
r of
Mel
chis
edec
h.
The
Lor
d at
thy
rig
ht h
and
shal
l des
troy
kin
gs in
the
day
of h
is w
rath
. H
e sh
all j
udge
am
ong
the
natio
ns, fi
ll th
em w
ithth
e de
ad, a
nd s
mas
h he
ads
in m
any
land
s.
He
shal
l dri
nk o
f the
bro
ok in
the
way
: th
us s
hall
he r
aise
his
hea
d.
2 0000
_Nc_
Mon
teCd
_Boo
k_3.
indd
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1:11
0000
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teCd
_Boo
k_3.
indd
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12
3 4
Glo
ria
Patr
i et
Fili
o
et S
piri
tui S
anct
o.Si
cut
erat
in p
rinc
ipio
, et
nunc
,
et s
empe
r,
et in
sæ
cula
sæ
culo
rum
. Am
en.
Nig
ra
su
m
Song
of S
olom
on 1
:4, 1
:3, 2
:10-
12N
igra
sum
sed
for
mos
a fi
liae
Je
rusa
lem
.Id
eo d
ilex
it m
e re
x et
intr
odux
it in
cub
icul
um s
uum
et
dixi
t m
ihi:
Surg
e, a
mic
a m
ea, e
t ve
ni.
Jam
hie
ms
tran
siit
, im
ber
abii
t, e
t re
cess
it.
Flor
es a
ppar
ueru
nt in
ter
ra n
ostr
a,
tem
pus
puta
tion
is a
dven
it.
Lau
da
te
Pu
eri
Psal
m 1
12L
auda
te p
ueri
, Dom
inum
: la
udat
e no
men
Dom
ini.
Sit
nom
en D
omin
i ben
edic
tum
, ex
hoc
nun
c, e
t us
que
in s
æcu
lum
.A
sol
is o
rtu
usqu
e ad
occ
asum
, la
udab
ile
nom
en D
omin
i.E
xcel
sus
supe
r om
nes
gent
es D
omin
us,
et s
uper
cœ
los
glor
ia e
jus.
Qui
s si
cut
Dom
inus
Deu
s no
ster
, qui
in
alti
s ha
bita
t,et
hum
ilia
res
pici
t in
cœ
lo
et in
ter
ra?
Susc
itan
s a
terr
a in
opem
, et
de
ster
core
eri
gens
pau
pere
m:
Ut
coll
ocet
eum
cum
pri
ncip
ibus
, cu
m p
rinc
ipib
us p
opul
i sui
.
Glo
ry b
e to
the
Fat
her
and
to t
he S
on
an
d to
the
Hol
y Sp
irit
. A
s it
was
in t
he b
egin
ning
, is
now,
and
ever
sha
ll be
, w
itho
ut e
nd. A
men
.
I am
bla
ck b
ut c
omel
y, O
dau
ghte
rs o
f Je
rusa
lem
. T
here
fore
the
kin
g ha
th d
elig
hted
in m
e an
d br
ough
t m
e to
his
cha
mbe
r an
d sa
id
to m
e:
Ari
se, m
y lo
ve, a
nd c
ome.
Fo
r th
e w
inte
r is
pas
sed,
the
rai
n is
ove
r an
d go
ne;
Flow
ers
have
app
eare
d in
our
land
, th
e ti
me
of p
runi
ng is
at
hand
.
Prai
se t
he L
ord,
ye
serv
ants
: pr
aise
the
nam
e of
the
Lor
d.
Ble
ssed
be
the
nam
e of
the
Lor
d,
from
thi
s ti
me
fort
h fo
r ev
erm
ore.
Fr
om t
he r
isin
g to
the
set
ting
of t
he s
un,
the
Lor
d’s
nam
e be
pra
ised
. T
he L
ord
is h
igh
abov
e al
l nat
ions
, an
d hi
s gl
ory
abov
e th
e he
aven
s.
Who
is li
ke t
he L
ord
our
God
, who
dw
elle
th
on h
igh,
Ye
t re
spec
teth
hum
bly
wha
t is
in h
eave
n an
d ea
rth?
He
rais
eth
the
sim
ple
from
the
dus
t,
and
lifte
th t
he p
oor
from
the
mir
e.T
hat
he m
ay s
et h
im w
ith
prin
ces,
ev
en t
he p
rinc
es o
f his
peo
ple.
0000
_Nc_
Mon
teCd
_Boo
k_3.
indd
Sec
1:12
0000
_Nc_
Mon
teCd
_Boo
k_3.
indd
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1:12
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13
Qui
hab
itar
e fa
cit
ster
ilem
in d
omo,
m
atre
m fi
lior
um læ
tant
em.
Glo
ria
Patr
i et
Fili
o
et S
piri
tui S
anct
o.Si
cut
erat
in p
rinc
ipio
, et
nunc
, et
sem
per,
et
in s
æcu
la s
æcu
loru
m. A
men
.
Pu
lch
ra
es
S
ong o
f So
lomon
6: 3
-4P
ulch
ra e
s, a
mic
a m
ea,
suav
is e
t de
cora
fi li
a Je
rusa
lem
.P
ulch
ra e
s, a
mic
a m
ea, s
uavi
s et
de
cora
sic
ut J
erus
alem
, ter
ribi
lis
ut
cast
roru
m a
cies
ord
inat
a.A
vert
e oc
ulos
tuo
s a
me,
qu
ia ip
si m
e av
olar
e fe
ceru
nt.
Læt
at
us
sum
Ps
alm
121
Læ
tatu
s su
m in
his
, quæ
dic
ta s
unt
mih
i:in
dom
um D
omin
i ibi
mus
.St
ante
s er
ant
pede
s no
stri
, in
atri
is t
uis,
Je
rusa
lem
.Je
rusa
lem
, quæ
ædi
fi ca
tur
ut c
ivit
as:
cuju
s pa
rtic
ipat
io e
jus
in id
ipsu
m.
Illu
c en
im a
scen
deru
nt t
ribu
s,
tr
ibus
Dom
ini:
te
stim
oniu
m I
sræ
l ad
con
fi te
ndum
nom
ini D
omin
i.Q
uia
illi
c se
deru
nt s
edes
in ju
dici
o,
sede
s su
per
dom
um D
avid
.R
ogat
e qu
æ a
d pa
cem
sun
t Je
rusa
lem
:et
abu
ndan
tia
dili
gent
ibus
te.
Fiat
pax
in v
irtu
te t
ua:
et a
bund
anti
a in
tur
ribu
s tu
is.
Pro
pter
fra
tres
meo
s, e
t pr
oxim
os m
eos,
Who
mak
eth
the
barr
en w
oman
to k
eep
hous
e,
a jo
yful
mot
her
of c
hild
ren.
Glo
ry b
e to
the
Fat
her
and
to t
he S
on
an
d to
the
Hol
y Sp
irit
. A
s it
was
in t
he b
egin
ning
, is
now,
and
eve
r sh
all b
e,
wit
hout
end
. Am
en.
Tho
u ar
t be
auti
ful,
my
love
, a
swee
t an
d co
mel
y da
ught
er o
f Jer
usal
em.
Tho
u ar
t be
auti
ful,
my
love
, sw
eet
and
com
ely
as J
erus
alem
, ter
ribl
e as
an
arm
y ar
raye
d fo
r ba
ttle
. Tu
rn t
hine
eye
s fr
om m
e,
for
they
mak
e m
e fl e
e aw
ay.
I w
as g
lad
whe
n th
ey s
aid
to m
e:
we
will
go
into
the
hou
se o
f the
Lor
d.
Our
feet
sha
ll st
and
in t
hy g
ates
, O
Jer
usal
em.
Jeru
sale
m, t
hat
is b
uilt
as
a ci
ty
that
is a
t on
e w
ith
itse
lf.
For
thit
her
the
trib
es g
o up
,
the
trib
es o
f the
Lor
d,
to t
he t
esti
mon
y of
Isr
ael,
to g
ive
than
ks t
o th
e na
me
of t
he L
ord.
Fo
r th
ere
are
the
seat
s of
judg
emen
t,
the
thro
nes
of t
he h
ouse
of D
avid
. Pr
ay fo
r th
e pe
ace
of J
erus
alem
: th
ey s
hall
pros
per
that
love
the
e.
Peac
e be
wit
hin
thy
wal
ls,
and
plen
ty w
ithi
n th
y pa
lace
s.
For
my
bret
hren
, and
my
com
pani
ons,
5 6 0000
_Nc_
Mon
teCd
_Boo
k_3.
indd
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0000
_Nc_
Mon
teCd
_Boo
k_3.
indd
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30/7
/10
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330
/7/1
0 1
5:23
:13
14
loqu
ebar
pac
em d
e te
:P
ropt
er d
omum
Dom
ini D
ei n
ostr
i, qu
æsi
vi b
ona
tibi
.G
lori
a Pa
tri e
t Fi
lio
et
Spi
ritu
i San
cto.
Sicu
t er
at in
pri
ncip
io, e
t nu
nc, e
t se
mpe
r,
et in
sæ
cula
sæ
culo
rum
. Am
en.
Du
o S
era
ph
im
Is
aiah
6:3
, 1 J
ohn
5: 7
-8D
uo S
erap
him
cla
mab
ant a
lter
ad
alte
rum
:Sa
nctu
s, s
anct
us, s
anct
us, D
omin
us
Deu
s Sa
baot
h.P
lena
est
om
nis
terr
a gl
oria
eju
s.Tr
es s
unt,
qui
tes
tim
oniu
m d
ant
in
cœlo
:Pa
ter,
Ver
bum
et
Spir
itus
San
ctus
:et
hi t
res
unum
sun
t.Sa
nctu
s, s
anct
us, s
anct
us, D
omin
us
Deu
s Sa
baot
h.P
lena
est
om
nis
terr
a gl
oria
eju
s.
Nis
i D
om
inu
s
Psal
m 1
26N
isi D
omin
us æ
difi
cave
rit
dom
um,
in v
anum
labo
rave
runt
qui
ædi
fi ca
nt e
am.
Nis
i Dom
inus
cus
todi
erit
civ
itat
em,
frus
tra
vigi
lat
qui c
usto
dit
eam
.Va
num
est
vob
is a
nte
luce
m s
urge
re:
surg
ite
post
quam
sed
erit
is,
qu
i man
duca
tis
pane
m d
olor
is.
Cum
ded
erit
dil
ecti
s su
is s
omnu
m:
ecce
, hæ
redi
tas
Dom
ini fi
lii
:m
erce
s, f
ruct
us v
entr
is.
I w
ill s
eek
peac
e fo
r th
ee.
For
the
hous
e of
the
Lor
d ou
r G
od,
I w
ill s
eek
to d
o th
ee g
ood.
G
lory
be
to t
he F
athe
r an
d to
the
Son
and
to t
he H
oly
Spir
it.
As
it w
as in
the
beg
inni
ng, i
s no
w, a
nd e
ver
shal
l be,
w
itho
ut e
nd. A
men
.
Two
sera
phim
cri
ed t
o on
e an
othe
r:
Hol
y, ho
ly, h
oly
is t
he L
ord
God
of
Sab
aoth
. T
he w
hole
ear
th is
full
of h
is g
lory
. T
here
are
thr
ee w
ho b
ear
wit
ness
in
heav
en:
the
Fath
er, t
he W
ord,
and
the
Hol
y Sp
irit
: an
d th
ese
thre
e ar
e on
e.
Hol
y, ho
ly, h
oly
is t
he L
ord
God
of
Sab
aoth
.T
he w
hole
ear
th is
full
of h
is g
lory
.
Unl
ess
the
Lor
d bu
ild t
he h
ouse
, th
ey la
bour
in v
ain
who
bui
ld it
.E
xcep
t th
e L
ord
keep
the
cit
y, he
wat
chet
h in
vai
n w
ho k
eepe
th it
. It
is v
ain
for
you
to r
ise
befo
re d
awn:
ri
se la
ter,
ye
who
hav
e ea
ten
the
brea
d of
sor
row
s;
Whe
n he
will
giv
e sl
eep
to h
is c
hose
n.
Lo,
chi
ldre
n ar
e an
her
itag
e of
the
Lor
d;
a re
war
d, t
he fr
uit
of t
he w
omb.
7 8
0000
_Nc_
Mon
teCd
_Boo
k_3.
indd
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1:14
0000
_Nc_
Mon
teCd
_Boo
k_3.
indd
Sec
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30/7
/10
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23:1
330
/7/1
0 1
5:23
:13
15
Sicu
t sa
gitt
æ in
man
u po
tent
is:
ita
fi li
i exc
usso
rum
.B
eatu
s vi
r qu
i im
plev
it d
esid
eriu
m
suum
ex
ipsi
s:no
n co
nfun
detu
r cu
m lo
quet
ur
in
imic
is s
uis
in p
orta
.G
lori
a Pa
tri e
t Fi
lio
et
Spi
ritu
i San
cto.
Sicu
t er
at in
pri
ncip
io, e
t nu
nc, e
t se
mpe
r,
et in
sæ
cula
sæ
culo
rum
. Am
en.
Au
di
Cœ
lum
Aud
i, cœ
lum
, ver
ba m
ea p
lena
de
side
rio
et p
erfu
sa g
audi
o.
Aud
ioD
ic, q
uæso
, mih
i: Q
uæ e
st is
ta
quæ
con
surg
ens
ut a
uror
a ru
tila
t,
ut b
ened
icam
? D
icam
Dic
nam
ista
pul
chra
ut
luna
, el
ecta
ut
sol,
repl
et læ
titi
a te
rras
, cœ
los,
mar
ia.
Mar
iaM
aria
vir
go il
la d
ulci
s pr
ædi
cata
de
prop
heta
Eze
kiel
, por
ta o
rien
tali
s.
Tali
sIl
la s
acra
et
feli
x po
rta
per
quam
mor
s fu
it e
xpul
sa
intr
oduc
ta a
utem
vit
a.
Ita
Quæ
sem
per
tutu
m e
st m
ediu
m
inte
r ho
min
es e
t D
eum
pr
o cu
lpis
rem
ediu
m.
Med
ium
Om
nes
hanc
erg
o se
quam
ur q
ua c
um
grat
ia m
erea
mur
vit
am æ
tern
am.
Con
sequ
amur
. S
equa
mur
As
arro
ws
in t
he h
ands
of t
he m
ight
y, th
us a
re t
he c
hild
ren
of o
utca
sts.
B
less
ed is
the
man
who
se q
uive
r is
full
of
them
: th
ey s
hall
not
be a
sham
ed w
hen
they
co
nfro
nt t
heir
ene
mie
s in
the
way
. G
lory
be
to t
he F
athe
r an
d to
the
Son
and
to t
he H
oly
Spir
it.
As
it w
as in
the
beg
inni
ng, i
s no
w, a
nd e
ver
shal
l be,
w
itho
ut e
nd. A
men
.
Hea
r, O
hea
ven,
hea
r m
y w
ords
full
of lo
ngin
g an
d pe
rvad
ed b
y jo
y. I
hear
Tell
me,
I p
ray,
who
is s
he
that
shi
nes
like
the
daw
n in
her
ris
ing,
th
at I
mig
ht b
less
her
? I
wil
l te
llTe
ll m
e, fo
r sh
e, b
eaut
eous
as
the
moo
n,
radi
ant
as t
he s
un, fi
lls
wit
h jo
y th
e ea
rth,
heav
ens
and
seas
. M
ary
Mar
y, th
at s
wee
t vi
rgin
fore
told
by
the
prop
het
Eze
kiel
, the
gat
eway
to
the
Eas
t.
Eve
n s
heT
hat
sacr
ed a
nd h
appy
por
tal t
hrou
gh
whi
ch d
eath
was
dri
ven
out
and
life
brou
ght
in.
Eve
n s
oSh
e w
ho is
alw
ays
a su
re in
term
edia
ry
betw
een
men
and
God
, th
e cu
re fo
r ou
r si
ns.
The
Med
iato
rL
et u
s al
l the
refo
re fo
llow
her
thr
ough
w
hose
gra
ce w
e m
ay b
e gr
ante
d et
erna
l lif
e.
Let
us
go w
ith
her.
Let
us
foll
ow
9 0000
_Nc_
Mon
teCd
_Boo
k_3.
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_Nc_
Mon
teCd
_Boo
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16
Præ
stet
nob
is D
eus,
Pat
er h
oc e
t Fi
lius
et
Mat
er c
ujus
nom
en in
voca
mus
dul
ce
mis
eris
sol
amen
. A
men
Ben
edic
ta e
s, v
irgo
Mar
ia,
in s
æcu
loru
m s
æcu
la.
Lau
da
Jer
usa
lem
Ps
alm
147
Lau
da, J
erus
alem
, Dom
inum
:la
uda
Deu
m t
uum
, Sio
n.Q
uoni
am c
onfo
rtav
it s
eras
por
taru
m
tuar
um:
bene
dixi
t fi
liis
tui
s in
te.
Qui
pos
uit
fi ne
s tu
os p
acem
:et
adi
pe f
rum
enti
sat
iat
te.
Qui
em
itti
t el
oqui
um s
uum
ter
ræ:
velo
cite
r cu
rrit
ser
mo
ejus
.Q
ui d
at n
ivem
sic
ut la
nam
:ne
bula
m s
icut
cin
erem
spa
rgit
.M
itti
t cr
ysta
llum
sua
m s
icut
buc
cell
as:
ante
fac
iem
fri
gori
s ej
us q
uis
sust
ineb
it?
Em
itte
t ve
rbum
suu
m, e
t li
quef
acie
t ea
:fl
abit
spi
ritu
s ej
us, e
t fl
uent
aqu
æ.
Qui
ann
unci
ate
verb
um s
uum
Jac
ob:
just
itia
s et
judi
cia
sua
Isræ
l.N
on f
ecit
tal
iter
om
ni n
atio
ni:
et ju
dici
a su
a no
n m
anif
esta
vit
eis.
Glo
ria
Patr
i et
Fili
o
et S
piri
tui S
anct
o.Si
cut
erat
in p
rinc
ipio
, et
nunc
, et
sem
per,
et
in s
æcu
la s
æcu
loru
m. A
men
.
May
God
hel
p us
, God
the
Fath
er, a
nd th
e So
n,
and
the
Mot
her
on w
hose
sw
eet
nam
e w
eca
ll as
a c
omfo
rt t
o th
e w
retc
hed.
A
men
Tho
u ar
t bl
esse
d, v
irgi
n M
ary,
for
ever
and
eve
r.
Prai
se t
he L
ord,
O J
erus
alem
; pr
aise
thy
God
, O Z
ion.
Fo
r he
hat
h st
reng
then
ed t
he b
ars
of t
hy
gate
s;
he h
ath
bles
sed
thy
child
ren
wit
hin
thee
. H
e m
aket
h pe
ace
in t
hy b
orde
rs,
and
fi lle
th t
hee
wit
h th
e fi n
est
whe
at.
He
send
eth
his
com
man
dmen
t to
the
ear
th;
his
wor
d ru
nnet
h sw
iftl
y.H
e gi
veth
sno
w li
ke w
ool;
he s
catt
eret
h ho
ar fr
ost
like
ashe
s.
He
cast
eth
fort
h hi
s ic
e lik
e m
orse
ls;
befo
re h
is c
old
who
can
sta
nd?
He
send
eth
out h
is w
ord,
and
mel
teth
them
; hi
s sp
irit
blo
ws,
and
the
wat
ers
fl ow.
H
e sh
ewet
h hi
s w
ord
unto
Jac
ob,
his
stat
utes
and
judg
emen
ts t
o Is
ræl.
He
hath
not
dea
lt s
o w
ith
any
nati
on;
and
his j
udgm
ents
he
hath
not
mad
e m
anife
st.
Glo
ry b
e to
the
Fat
her
and
to t
he S
on
an
d to
the
Hol
y Sp
irit
. A
s it
was
in t
he b
egin
ning
, is
now,
and
eve
r sh
all b
e,
wit
hout
end
. Am
en.
10
0000
_Nc_
Mon
teCd
_Boo
k_3.
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_Nc_
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teCd
_Boo
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5:23
:14
17
Son
at
a S
op
ra
Sa
nc
ta
Ma
ria
Sanc
ta M
aria
, ora
pro
nob
is.
Av
e M
ar
is S
tel
laA
ve m
aris
ste
lla,
D
ei M
ater
alm
a A
tque
sem
per
Vir
go
Feli
x cœ
li p
orta
.
Sum
ens
illu
d A
ve
Gab
riel
is o
re,
Fund
a no
s in
pac
e,
Mut
ans
Evæ
nom
en.
Solv
e vi
ncla
rei
s,
Pro
fer
lum
en c
æci
s,
Mal
a no
stra
pel
le,
Bon
a cu
ncta
pos
ce.
Mon
stra
te
esse
mat
rem
, Su
mat
per
te
prec
es,
Qui
pro
nob
is n
atus
, Tu
lit
esse
tuu
s.
Vir
go s
ingu
lari
s,
Inte
r om
nes
mit
is,
Nos
cul
pis
solu
tos,
M
ites
fac
et
cast
os.
Vit
am p
ræst
a pu
ram
, It
er p
ara
tutu
m,
Ut
vide
ntes
Jes
um
Sem
per
coll
æte
mur
.
Hol
y M
ary,
pray
for
us.
Hai
l, st
ar o
f the
sea
, bo
unti
ful m
othe
r of
God
an
d ev
er V
irgi
n,
happ
y ga
te o
f hea
ven.
Taki
ng t
hat
Ave
fr
om t
he m
outh
of G
abri
el,
pres
erve
us
in p
eace
, gi
ving
Eve
a n
ew n
ame.
Loo
se t
he c
hain
s of
the
bou
nd,
brin
g lig
ht t
o th
e bl
ind,
dr
ive
out
our
ills,
in
voke
all
thin
gs g
ood.
Show
thy
self
to
be a
mot
her,
m
ay h
e w
ho w
as b
orn
for
us
rece
ive
our
pray
ers
thro
ugh
thee
.
Vir
gin
wit
hout
com
pare
, m
ore
gent
le t
han
all,
ab
solv
e us
from
sin
and
m
ake
us g
entl
e an
d pu
re.
Gra
nt u
s a
pure
life
, pr
epar
e a
safe
way
, th
at in
see
ing
Jesu
s
we
may
rej
oice
for
ever
.
1 2
CD
2
0000
_Nc_
Mon
teCd
_Boo
k_3.
indd
Sec
1:17
0000
_Nc_
Mon
teCd
_Boo
k_3.
indd
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1:17
30/7
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/7/1
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:14
18
Sit
laus
Deo
Pat
ri,
Sum
mo
Chr
isto
dec
us,
Spir
itui
San
cto
Trin
us h
onor
unu
s. A
men
.
Ma
gn
ifi c
at
St
Luk
e 1: 4
6-55
Mag
nifi
cat
anim
a m
ea D
omin
um:
et e
xult
avit
spi
ritu
s m
eus
in D
eo
salu
tari
meo
.Q
uia
resp
exit
hum
ilit
atem
anc
illæ
suæ
:ec
ce e
nim
ex
hoc
beat
am m
e di
cent
om
nes
gene
rati
ones
.Q
uia
feci
t m
ihi m
agna
qui
pot
ens
est:
et s
anct
um n
omen
eju
s.E
t m
iser
icor
dia
ejus
a p
roge
nie
in
prog
enie
s ti
men
tibu
s eu
m.
Feci
t po
tent
iam
in b
rach
io s
uo:
disp
ersi
t su
perb
os m
ente
cor
dis
sui.
Dep
osui
t po
tent
es d
e se
de,
et e
xalt
avit
hum
iles
.E
suri
ente
s im
plev
it b
onis
:et
div
ites
dim
isit
inan
es.
Susc
epit
Isr
æl p
ueru
m s
uum
, re
cord
atus
mis
eric
ordi
æ s
uæ.
Sicu
t lo
cutu
s es
t ad
pat
res
nost
ros,
A
brah
am e
t se
min
i eju
s in
sæ
cula
.G
lori
a Pa
tri e
t Fi
lio
et S
piri
tui S
anct
o.Si
cut
erat
in p
rinc
ipio
, et
nunc
, et
sem
per,
et in
sæ
cula
sæ
culo
rum
. Am
en.
Prai
se b
e to
God
the
Fat
her,
glor
y to
Chr
ist
on h
igh,
an
d w
ith
the
Hol
y Sp
irit
on
e tr
iple
hon
our.
Am
en.
My
soul
dot
h m
agni
fy t
he L
ord,
and
my
spir
it h
ath
rejo
iced
in G
od m
y sa
viou
r.Fo
r he
hat
h re
gard
ed t
he lo
wlin
ess
of h
is
hand
mai
den:
for
beho
ld fr
om h
ence
fort
h
all g
ener
atio
ns s
hall
call
me
bles
sed.
Fo
r he
tha
t is
mig
hty
hath
don
e gr
eat
thin
gs t
o m
e, a
nd h
oly
is h
is n
ame.
A
nd h
is m
ercy
is o
n th
em t
hat
fear
him
from
gen
erat
ion
to g
ener
atio
n.
He
hath
she
wed
str
engt
h w
ith
his
arm
;he
hat
h sc
atte
red
the
prou
d in
the
im
agin
atio
n of
the
ir h
eart
s.H
e ha
th p
ut d
own
the
mig
hty
from
the
ir
seat
, and
hat
h ex
alte
d th
e lo
wly
. H
e ha
th fi
lled
the
hung
ry w
ith
good
thi
ngs,
and
the
rich
he
hath
sen
t em
pty
away
. H
e ha
th s
usta
ined
Isr
æl h
is s
erva
nt,
rem
embe
ring
his
mer
cy.
As
he p
rom
ised
to
our
fore
fath
ers,
Abr
aham
and
his
see
d fo
r ev
er.
Glo
ry b
e to
the
Fat
her
and
to t
he S
onan
d to
the
Hol
y Sp
irit
. A
s it
was
in t
he b
egin
ning
, is
now,
an
d ev
er s
hall
be,
wit
hout
end
. Am
en.
3 4 5 6 7 8 9 10 11 12 13 14
Tra
nsl
atio
ns
by J
ohn K
ilpa
tric
k ba
sed
on t
he K
ing
Jam
es B
ible
.
Fac
ing
imag
e: C
hoir
in p
roce
ssio
n i
n N
ew C
olle
ge c
lois
ter
by M
icha
el O
wen
.
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:14
19
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20
The
per
form
ers
TH
E C
HO
IR O
F N
EW
CO
LL
EG
E O
XF
OR
D(d
ir. Ed
wa
rd
Hig
gin
bo
tt
om
)
Favo
riti
Sopr
ani:
Se
bast
ian
Cox
, Hug
h C
utti
ng, J
ames
Sw
ash
Fals
etti
sta:
Ste
phen
Tay
lor
Teno
ri:
Tho
mas
Hob
bs, N
icho
las
Mul
roy,
Tho
mas
Ras
kin,
Guy
Cut
ting
, Nic
hola
s Pr
itch
ard
Bas
si:
Tho
mas
Edw
ards
, Jon
atha
n H
owar
d, D
unca
n Sa
unde
rson
Rip
ieni
sti
Sopr
ani:
N
atha
niel
Hes
s, H
orat
io H
ollo
way
, Phi
lip P
arke
r, Jo
shua
Rid
ley,
H
ecto
r St
into
n, O
scar
Tal
bot
Fals
etti
sti:
Dom
inic
Bur
nham
, Ric
hard
Poy
ser,
Ale
xand
er P
ullin
ger
Teno
ri:
Jam
es B
row
n, A
lex
Clis
sold
-Jon
esB
assi
: N
icho
las
Dal
y, M
ax J
ones
, Chr
isto
pher
Mar
low
Col
legi
um N
ovum
tre
bles
Dom
inic
Bau
m, E
dmun
d B
reen
, Nic
hola
s D
oll,
Hug
h Fi
nner
ty, T
om M
ontg
omer
y, C
arl O
lave
sen,
The
o R
oss,
Edw
ard
Swas
h, J
onty
War
d
The
Cho
ir o
f N
ew C
olle
ge O
xfor
d is
one
of t
he fe
w O
xbri
dge
choi
rs th
at h
as s
urvi
ved
dem
olit
ion
from
ref
orm
ers,
bur
sars
and
icon
ocla
sts;
it is
sti
ll la
rgel
y w
hat i
t was
in th
e la
te 1
4th c
entu
ry: a
gro
up
of 1
6 ch
oris
ters
and
a n
umbe
r of
cle
rks,
thes
e da
ys 1
4 (n
one
any
long
er in
hol
y or
ders
). A
t the
sam
e ti
me,
the
Cho
ir b
elon
gs fi
rmly
to
the
pres
ent.
Its
disc
ogra
phy
exte
nds
to a
ll co
rner
s of
the
sac
red
chor
al r
eper
tory
, and
the
qua
lity
of it
s w
ork
has
been
rec
ogni
sed
by a
num
ber
of im
port
ant
awar
ds
and
nom
inat
ions
. The
tim
bre
of th
e C
hoir
is v
ery
reco
gniz
able
, as
is th
e en
ergy
and
mus
ical
ity
of it
s pe
rfor
man
ces.
It tr
avel
s ext
ensi
vely,
bot
h w
ithi
n E
urop
e an
d fu
rthe
r afi e
ld. T
he e
xper
ienc
e of
fere
d to
it
s you
ng ch
oris
ters
and
chor
al sc
hola
rs a
ffor
ds it
a u
niqu
e pl
ace
in m
usic
edu
cati
on in
the
UK
. Edw
ard
Hig
ginb
otto
m –
in 2
008
awar
ded
the
uniq
ue ti
tle
of P
rofe
ssor
of C
hora
l Mus
ic in
the
Uni
vers
ity
of
Oxf
ord
– ha
s be
en d
irec
tor
of t
he C
hoir
sin
ce 1
976.
He
has
brou
ght
to t
he p
ost
a fr
uitf
ul m
ix o
f m
usic
olog
ical
and
pra
ctic
al a
ttri
bute
s, r
efl e
cted
in m
any
of th
e re
cord
ing
proj
ects
und
erta
ken
by th
e C
hoir.
In re
cogn
itio
n of
his
wor
k fo
r Fre
nch
mus
ic h
e ha
s bee
n aw
arde
d th
e de
cora
tion
Com
man
deur
de
l’or
dre
des
arts
et d
es le
ttre
s. F
or m
ore
info
rmat
ion,
vis
it w
ww.
new
colle
gech
oir.c
om.
.
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:15
21
CH
AR
IVA
RI
AG
RÉ
AB
LE
(dir
. K
ah
-Min
g N
g)
Vio
lin:
Oliv
er W
ebbe
r (l
eade
r), P
erse
phon
e G
ibbs
and
Haz
el B
rook
sV
iola
: H
eath
er B
irt a
nd T
hom
as K
irby
Vio
lonc
ello
: G
aret
h D
eats
Con
trab
asso
: E
lizab
eth
Har
réC
orne
tt &
pifa
rro:
Jam
ie S
avan
and
Adr
ian
Woo
dwar
dM
ute
corn
ett:
Ja
mie
Sav
an a
nd S
am G
oble
Sack
but:
Ph
ilip
Dal
e, C
lair
e M
cInt
yre,
Tom
Lee
s, A
ndre
w H
arw
ood-
Whi
teC
hita
rron
e:
Man
uel M
ingu
illon
Nie
toC
ham
ber
orga
n:
Kah
-Min
g N
g (C
D1:
1,2
,3,8
; CD
2: 1
,2,3
-14)
and
Stev
en G
rahl
(C
D1:
4,6
,7,9
,10;
CD
2:2)
Cha
riva
ri A
gréa
ble
(‘pl
easa
nt tu
mul
t’, f
rom
Sai
nt-L
ambe
rt’s
170
7 tr
eati
se o
n ac
com
pani
men
t)
was
form
ed a
t the
Uni
vers
ity
of O
xfor
d in
199
3, a
nd w
ithi
n th
e ye
ar b
ecam
e a
priz
e-w
inne
r of
the
Ear
ly M
usic
Net
wor
k C
ompe
titi
on, m
ade
its
debu
t at
the
Wig
mor
e H
all,
and
reco
rded
the
fi rs
t of
m
any
subs
eque
nt li
ve c
once
rts
for
the
BB
C, i
nclu
ding
Rad
io 3
’s ‘I
n tu
ne’,
‘Mus
ic R
esto
r’d’
, and
‘T
he E
arly
Mus
ic S
how
’. C
hari
vari
Agr
éabl
e ha
s si
nce
reco
rded
for
New
Yor
k’s
WN
YC
, and
man
y ot
her
Eur
opea
n ra
dio
stat
ions
, in
clud
ing
the
Eur
opea
n B
road
cast
ing
Uni
on.
The
ir d
isco
grap
hy
of 1
7 di
scs
have
gar
nere
d su
ch a
ccol
ades
as
the
Dia
paso
n d’
Or,
Gra
mop
hone
Edi
tor’
s C
hoic
e,
Inte
rnat
iona
l R
ecor
d R
evie
w’s
‘B
est
CD
of
the
Year
’, C
lass
ic F
M’s
Chr
istm
as C
hoic
e &
CD
of
the
Mon
th, B
BC
Mus
ic M
agaz
ine’
s ‘O
utst
andi
ng C
D’,
and
Mus
ic-W
eb I
nter
nati
onal
’s ‘R
ecor
ding
of
the
Yea
r 20
07’.
Follo
win
g th
e su
cces
s of
the
ir r
ecen
t or
ches
tral
dis
c en
titl
ed ‘
The
Ori
gina
l B
rand
enbu
rg C
once
rtos
’ by
Tore
lli, t
he e
nsem
ble
has
rele
ased
the
‘Pac
helb
el V
espe
rs’ w
ith
The
K
ing’
s Si
nger
s. F
or m
ore
info
rmat
ion,
vis
it w
ww.
char
ivar
i.co.
uk.
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:15
22
The
rec
ordi
ngPr
oduc
ed b
y A
dria
n H
unte
r E
ngin
eere
d by
Nic
k Pa
rker
& A
dria
n H
unte
rPo
st-p
rodu
ctio
n: A
dria
n H
unte
r &
Edw
ard
Hig
ginb
otto
mR
ecor
ded
in S
t Mic
hael
’s C
hurc
h, S
umm
erto
wn,
Oxf
ord
on 1
3-16
, 22,
23
July
200
9.M
usic
Edi
tion
by
Clif
ford
Bar
tlet
t and
Edw
ard
Hig
ginb
otto
m.
Thi
s re
cord
ing
has
been
spo
nsor
ed b
y N
ew C
olle
ge C
hoir
wit
h th
e ge
nero
us a
ssis
tanc
e of
Jo
hn a
nd D
iana
Bow
der,
Ric
hard
Bri
dges
, Mar
y C
row
ther
-Alw
yn, L
ady
Les
lie,
Rob
ert L
owri
e, M
ark
P. M
arsh
all,
Mar
ty S
ieve
and
Col
leen
Sha
nnon
.
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23
Oth
er r
ecor
ding
s on
the
Nov
um la
bel
Ev
enso
ng
A
trad
itio
nal E
vens
ong
in th
e hi
stor
ic c
hape
l of N
ew C
olle
ge.
M
usic
by
Eng
lish
com
pose
rs: H
arri
s, S
tanf
ord,
Fin
zi a
nd W
ood.
A
rt
of
th
e C
ho
ris
ter
M
usic
for
treb
les
by M
ozar
t, B
ach,
Men
dels
sohn
, Ire
land
and
oth
ers.
B
lack
wel
l’s
mu
sic
shop
bes
tsel
ler
2009
JS
BA
CH
MO
TET
S
The
6 m
otet
s of
Bac
h, a
tour
de
forc
e of
cho
ral w
riti
ng, s
ung
wit
h
New
Col
lege
’s c
usto
mar
y ze
st a
nd c
omm
itm
ent.
W
A M
OZ
AR
T: R
EQU
IEM
N
ew C
olle
ge C
hoir
O
rche
stra
of t
he A
ge o
f Enl
ight
enm
ent
So
lois
ts: J
onty
War
d (t
rebl
e), J
ames
Sw
ash
(alt
o),
G
uy C
utti
ng (
teno
r), J
onat
han
How
ard
(bas
s).
E
dwar
d H
iggi
nbot
tom
T
hese
and
all
the
Cho
ir’s
rec
ordi
ngs
are
avai
labl
e fo
r on
line
pu
rcha
se fr
om w
ww.
new
colle
gech
oir.c
om.
MO
ZA
RT
: R
EQU
IEM
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