Cambridge Early Music

CAMBRIDGE FESTIVAL OF THE VOICE (7-12 May 2019)A ‘Queen Anne’ EvensongTuesday 7 May, 6.30pm - Gonville & Caius College

Sollazzo EnsembleThursday 9 May, 8pm - Trinity College Chapel & Friday 10 May, 1.30pm - Little St Mary’s Church

Tenebrae, Nigel Short directorFriday 10 May, 7.30pm - King’s College Chapel (in association with Concerts at King’s)

The Gesualdo Six, Owain Park directorSaturday 11 May, 8pm – Trinity College Chapel

Choral Matins, Stephen Cleobury directorSunday 12 May, 10.30am – King’s College Chapel

With generous support from Roger Mayhew and Robert Gray

TENEBRAE

SOLLAZZO

ENSEMBLE

THE

GESUALDO

SIX

PROGRAMME

Cambridge Early Music

CAMBRIDGE FESTIVAL OF THE VOICE (7-12 May 2019)A ‘Queen Anne’ EvensongTuesday 7 May, 6.30pm - Gonville & Caius College

Sollazzo EnsembleThursday 9 May, 8pm - Trinity College Chapel & Friday 10 May, 1.30pm - Little St Mary’s Church

Tenebrae, Nigel Short directorFriday 10 May, 7.30pm - King’s College Chapel (in association with Concerts at King’s)

The Gesualdo Six, Owain Park directorSaturday 11 May, 8pm – Trinity College Chapel

Choral Matins, Stephen Cleobury directorSunday 12 May, 10.30am – King’s College Chapel

With generous support from Roger Mayhew and Robert Gray

TENEBRAE

SOLLAZZO

ENSEMBLE

THE

GESUALDO

SIX

PROGRAMME

CAMBRIDGE FESTIVAL OF THE VOICE

Tuesday 7 May 6.30pm The Choir of Gonville & Caius College Choral Evensong: A `Queen Anne´ Evensong Gonville & Caius College Chapel

Thursday 9 May 8pm Sollazzo Ensemble 3 Firenze circa 1350 Trinity College Chapel

Friday 10 May 1.30pm Sollazzo Ensemble 12 The Blind Fliddlers Little St Mary’s Church 7.30pm Tenebrae 14 Spanish Glories of the 16th century King’s College Chapel

Saturday 11 May 8pm The Gesualdo Six 28 The Flower of the Italian Madrigal Trinity College Chapel

Sunday 12 May 10.30am The Choir of King’s College Choral Matins King’s College Chapel

DATES FOR YOUR DIARIES Sunday 28 July, 4pm - Girton College, Cambridge The Parley of Instruments - La Boutade: French Chamber Music from Versailles to Paris Wednesday 31 July, 8pm - Emmanuel United Reform Church, Cambridge Pre-concert talk by Professor Graham Sadler at 7pm The Parley of Instruments - Marc-Antoine Charpentier & François Couperin Saturday 3 August, 7.30pm - Girton College, Cambridge Baroque Summer School showcase Sunday 4 August, 4pm - Girton College, Cambridge The Courtiers of Grace - Jouyssance vous donneray Wednesday 7 August, 8pm - Emmanuel United Reform Church, Cambridge Pre-concert talk by Professor Richard Freeman at 7pm The Courtiers of Grace - City voices, Courtly airs Saturday 10 August, 7.30pm - Girton College, Cambridge Renaissance Summer School showcase

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Thursday 9 May, 8pm – Trinity College Chapel, Cambridge

Firenze circa 1350: Music from the age of the birth of humanism

Sollazzo Ensemble PROGRAMME Godi Firenze Paolo da Firenze (c.1355-after 1436) Come ‘l potes’ tu far Donato da Firenze (fl. 1350-1370) Adiou adiou Francesco degli Organi or ‘Landini’ (c.1325-1397) O fanciulla giulia Francesco degli Organi * Lauda novela sia cantata Anonymous Peccatrice nominata Anonymous Creata fusti o vergine Maria, cantasi come Questa fanciulla amor Francesco degli Organi Benedicamus domino cantasi come Ja Falla Anonymous Benedicamus domino Paolo da Firenze Benedicamus domino Anonymous *

INTERVAL (20 minutes) Il meglie e pur tacere Niccolo da Perugia (fl. 1350) Non piu doglia ebbe Dido Andrea da Firenze (†1415) Vago et benigno amor Paolo da Firenze Ay schonsolato Vincenzo da Rimini (fl. 1350) Quando la stella Giovanni da Firenze or “da Cascia” (fl. 1340-50) Quand’amor Giovanni da Firenze Poi che veder non poso Anonymous Conviens’ a fede Francesco degli Organi A poste messe Lorenzo da Firenze († c.1372) * Would patrons please ensure that mobile phones are switched off. We kindly encourage saving the applause until the end of each section marked with an asterisk (*) rather than after every item.

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NOTES ON THE MUSIC It is said that on a warm morning in the year 1389, in a Florentine garden known as ‘Il Paradiso’, the famed virtuouso Francesco degli Organi accepted a bet to silence the birds by the beauty of his organ-playing. This blind composer and multi-instrumentalist was known in the city not only for his musical prowess but also for his rhetorical abilities and philosophical views. A perfect representative of incipient humanism, Francesco – together with fellow composers such as Lorenzo da Firenze, Andrea Stefani and Giovanni da Firenze – was to bring the music of that time to its apogee.

Between 1350 and 1400 the city of Florence was the epicentre of a cultural blossoming which has influenced Italian culture down to the present day: architecture and arts were undergoing an aesthetic transformation, the Tuscan dialect was elevated to a language of literature by poets such as Dante, Petrarch and Boccaccio, and the population of Florence became exceptionally cultivated and well-educated. More than two thirds of the male population were able to read, and a new elite was born out of the blend of merchants with international trade-relations and the culturally curious middle class. The production of manuscripts, notably musical ones, increased suddenly, creating not only professionally crafted, luxurious and highly ornate exemplars, but also the so-called zibaldoni or personal notebooks through which we can gain an intimate glance on the intellectual life in Florence at that time.

The first part of this concert is dedicated to two of the main Florentine composers: Paolo da Firenze and Francesco degli Organi, called ‘Landini’. Their music was the most copied and transmitted, and we now have access to a good part of their work. It is particularly interesting for its mixture of tradition and innovation. While Landini on occasions quotes and imitates the compositions of his French contemporary Guillaume de Machaut, and Paolo at times uses elements from the Ars subtilior, a musical stream flourishing at the turn of the fifteenth century particularly noted for its rhythmic audacity, both composers tend to combine these elements with more techniques more typical of the Italian trecento, including highly elaborate, ornamented melodic lines.

The middle section of the concert opens a parenthesis to address sacred, though not liturgical music. The Lauda, a type of devotional song of praise, had been common in Florence since the previous century among the city’s laudesi. These fraternities of believers gained considerable cultural and political influence, and singing together played an important role in their gatherings; soon fraternities began hiring professional musicians to support their singing of laude, making the genre an increasingly significant part of the urban soundscape. While the monody Peccatrice nominate was specially composed for the purposes of the laudesi, and is to be found in a collection of such pieces called a laudario, other laude such as Creata fusti o vergine Maria were adapted from pre-existing music. Here a profane song by Francesco Landini was used to support a new text, a procedure called contrafactum or cantasi come. In the case of Creata fusti, it is not only the music which is reused, but also part of the vocabulary, the rhyme scheme and the structure of the text. The music, the text and the relationship between all them acquire new meanings through the process of contrafaction The three settings of the mass movement Benedicamus Domino show how different sacred music could be at the same time and in the same place. Paolo da Firenze demonstrates with his version how an intricate texture, pushing the boundaries of the compositional rules of his time, could result in daringly dissonant counterpoint. The other two versions show links both to

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chant and to patterns from dances, and were probably in use in very different circles from Paolo’s Benedicamus.

With the last part of the programme, we turn to the works of less well known, but in their time highly influential composers, such as Giovanni da Firenze and Vincenzo da Rimini. They are representatives of a style of madrigal that was typical in Italy and which is marked by its extremely elaborate, agile lines. This taste for virtuosity shows itself not only in the melodies, but also in the texts: the use of allegory is a distinctive feature, and so is the featuring of mythological figures and stories, as in the lament Ay schonsolato.

A poste messe, the final piece in the program, is a rarity: vividly describing a hunt, the text is presented in a canon not only of two voices, as was to be expected by then, but of three. This compositional tour de force sums up what makes the music of medieval Florence unique: an exceptional virtuosity in all senses, haunting melodies, and both elegant and fiery writing.

Programme notes by Anna Danilevskaia

brightonearlymusic@BREMF brightonemf

BREMF 2019 explores transformation and change across 700 years of music and 2,000 years of stories. Events include include newly discovered Lamentations by Brumel; Hildegard ‘transfigured’; music dramas revealing new perspectives on the lives of Purcell and Barbara Strozzi from Ceruleo and Fieri Consort; and a dramatic recreation of the medieval Feast of Fools.

See the full programme and join the mailing list at bremf.org.uk or call 01273 833746.Tickets on sale early September.

METAMORPHOSIS

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TEXTS & TRANSLATIONS

Godi Firenze, Paolo da Firenze Godi, Firençe, poi che sse’ sì grande Che batti l’ale per terr’e per mare Faccend’ogni toscan’ di te tremare. Glorioso triunfo di te spande Per tutto l’universo immortal fama Po’ che Pisa tuo serva omai si chiama. Giove superno e’l Batista di gloria Dànno di Pisa’l tuo popol vittoria.

Rejoice, Florence, for you are so grand that above land and sea you beat your wings; so that every Tuscan trembles before you. Your glorious Triumph spreads your immortal fame throughout the universe, now that Pisa calls herself your servant. Jove on high and St. John the Baptist give your people victory over Pisa.

Adiou adiou, Francesco degli Organi Adyou, adyou dous dame iolie, Kar da vous se depart lo corps plorans; Mes a vous las le spirt e l’arme mie. Lontan da vous, ay las! vivran dolant, Byen che loyal seran tout ma vie. Poyr tant, ay clere stelle, vos prie Com lermes e sospirs, tres dousemant Che loyaute haies pour vestre amye. Adyou, adyou…

Adieu, adieu, sweet lady fair, for my body leaves you crying; but to you I leave my spirit and soul. Far from you – alas – I will live in despair, yet will I remain faithful to you all my life. Thus I ask you, bright star, with tears and sighs, most gently that you may remain faithful to your friend. Adieu, adieu...

O fanciulla giulia, Francesco degli Organi O fanciulla giulía Con te sarà et [è] sempre 'l cor mio. Et ogn’ altro pensier mess'o ‘n oblio. A cciò m'induce un congnoscer d'amore Che m'a mostrat’ e più mi mostr’ ognora Quant'è l'alta belleça e 'l gran valore Che in te risplende et la tu[a] schiatta onora. Se con teco dimora Benignità, che sdegnosa non sia. Per certo ogni altra da parte si stia. O fanciulla giulía…

O joyful girl, my heart is and will always be with you; and I have put out of my mind every other thought. That’s because of my insight into love, which has shown me, and is showing me evermore, how exalted a beauty and how great a worth shine in you, and do your family proud. Should you be kindly disposed and not disdainful, then let every other woman make way. O joyful girl…

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Lauda novela sia cantata, Anonymous Laude novella sia cantata A l'alto donna encoronata. Fresca vergene doncella Priomo fior, rosa novella Tutto'l mondo a te s’apella Nella bonor fosti nata Laude novella… Tu se' verga, tu se’fiore Tu se' luna de splendore Volunta avemo e core De venir a te, ornata Laude novella… Tu se' rosa, tu se' gillio Tu portasti el dolce fillio Però, donna, si m’enpillio De laudar te, honorata

Let a new song of praise be sung to the noble crowned Lady. Fresh Virgin Maid, first flower, new rose, the whole world appeals to thee; thou wast born in happiness Let a new song… Thou art the branch, thou art the flower; thou art the moon of splendour; we have the will and the heart to come to thee, adorned one. Let a new song… Thou art the rose, thou art the lily; thou borest the sweetest son; therefore I set to work to praise thee, distinguished Lady.

Peccatrice nominata, Anonymous Peccatrice nominata, Madalena da Dio amata! Magdalena decta stesti dal castel nel qual nascesti; Marta per sorore avesti, nel Vangelio asai lodata. Laççaro fo tuo fratello, santo, iusto, buono e bello; Cristo amò sença ribello, poi k’a lui fosti tornata. Fosti plena de peccato, gisti a Cristo re beato; nel convito l’à trovato de Symon, ke t’à spresciata. Andasti dentro cum timore, plangesti cum gram dolore, basciast’i piei cum grand’ amore per la gratia k’ài trovata.

You are called a sinner, Magdalene, who is loved by God! Magdalene were you called by the town in which you were born; Martha was your sister, whom the Gospel praises highly. Lazarus was your brother, holy, just, good and handsome; he loved Christ without when you returned to him. You were full of sin, and went to Christ, the blessed king; you found him at the feast of Simon, who shunned you. You entered fearfully, cried with great grief, kissed the feet with great love for the grace that you found.

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Creata fusti o vergine Maria, Francesco degli Organi Creata fusti, O vergine Maria, da quel Signiore in chui e la balia. Per lo pechare d’Adamo, fu rimosso il nostro Padre chon mente bramosa del tuo Figliuolo, che tu portasi adosso per ischamparti, o Madre gloriosa. Vergine donna, se’ saggia e vezosa: Aiuta ‘l pechator per chortesia. Creata fusti…

O Virgin Mary, you were created by that Lord who has absolute power. Because of the sin of Adam, our Father eagerly deprived himself of your son whom you bore for your salvation, o glorious mother. Virgin, you are a wise and gracious woman; Please help the sinner. O Virgin Mary, you were created…

Benedicamus domino Benedicamus domino Deo gratias Il meglie e pur tacere, Niccolo da Perugia Il megli’è pur tacere Colui che troppo parla. Ispesse volte falla. E poi non va pentere. I’ mi fidai di tale Che di me dice mala E ben già non vol dile Colui assai più vale. Non piu doglia ebbe Dido, Andrea da Firenze Non pi· doglia ebbe Dido che per Enea s'ancise. che udir melodie da organ divise. Da Dio prima creata con tutti ciel fu questa melodia. per darci buona rata del paradiso con quest'armonia. Ma sol ne l'alma pia F posto questo fido di melodia e di paradiso el nido.

Let us bless the Lord Thanks be to God It is best to be silent Before he who speaks too much, For he misleads And makes me doubt. And it is not worth regretting That he says bad things about me; It doesn’t mean anything To the one who is worth much more. No greater pain had Dido, who killed herself for Aeneas, than the pain of hearing melodies without polyphony. Melody was first created by God with all the heavens to give us, together with harmony, a good share of Paradise. But this pledge of trust, where melody and Paradise nest, is placed only in a pious soul.

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Ay schonsolato, Vincenzo da Rimini Ay scho[n]solato ed amoroxo Troyolo, Abandonato da la ria Brisæyda, Ay trista Dido, per l’engrato Eneyda. Vostro dolor nel cor me fa memoria, Tanto più forte qu’a ch’el preterito, Fedel amando un solo no me fa merito.

Oh, disconsolate and amorous Troilus, left by the cruel Briseida, Oh, bitter Dido, [left] by the thankless Aeneas. Your suffering calls memories to my heart, much stronger than before; a true lover I do not deserve.

Quando la stella, Giovanni da Firenze Quando la stella press'a l'alba spira e 'l sol si mostra in verso l'oriente. Amor gentil m'aparse ne la mente: La vaga donna col benigno aspetto teneva nelle brazza per diletto. Poi la coperse di perfetta luce e del suo raggio la fece vestita vermiglio e bianco di color partita. Una ghirlanda in su le trezze bionde di foglie verdi pose con le fronde. Quand’amor, Giovanni da Firenze Quand’Amor gli occhi rilucenti e belli, Ch’an d’alto foco la sembianza vera, Volge ne’ miei, sì dentro arder mi fanno, Che per virtù d’Amor vengo un di quelli Spirti que son nella celeste sfera, Ch’amor e gioia ugualment’ in lor hanno.

When the evening star dies near dawn, and the sun shows itself in the East, gentle Love appeared in my mind. He was carrying in his arms for pleasure a beautiful woman with a benign face. Then he wrapped her up in perfect light, clothing her in his rays so that her garment appeared to be partly white, partly red. On her blonde tresses he placed a leafy green garland. When Love turns those shining and beautiful eyes, which truly resemble a high fire, towards me, they make me burn so, for, by the power of Love I come [to] one of those spirits that dwell in the celestial sphere, that carry as much love as joy in themselves.

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Conviens’ a fede, Francesco degli Organi Conviens a fede fè conviens’ amore Ne tanto sdengnj, tanta leggiadria Conviensi quanto è quel del tuo splendore A chi ama portar donna già mia Dunque si sdegnoi tu’ superbi sdeny, La cholp’è tu et non è per mie volglia Chi’l fo contra’l volore Machi poria nel cor d’amore i senny Sança gratia portar d’amor ei sengnj Lungho tempo tenere Non puo l’anim’alter’ sempre coidere Suggiett’el suo albitrio a chi non chura Ma vuol dover’ c’ogni cosa misura Che chen disdengno sdengno fugge al core. Conviens a fede ...

It is seemly to be faithful to faith, to love him who loves; Lady, mine already, don’t disdain so much; it is necessary to show as much loveliness as there is splendour in your person. Therefore, if I scorn your haughty scorns, the fault is yours, and it has nothing to do with my will, for I act this way despite myself. But who could bear the signs of unrequited love in his heart, and manage to keep these signs for a long time? The proud soul cannot always keep his will subject to someone who does not care, but necessity wants everything to have a balance, and so from disdain scorn flees from the heart. It is seemly…

A poste messe, Lorenzo da Firenze A poste messe veltri et gram mastini, “Te, te, Villan, te, te, Baril”, chiamando, “Ciof, ciof” “Qui, qui!” “Ciof” Bracchi e segugi per bosch’ aiçando “Eccola eccola!” “Guarda, guarda qua!” “Lassa, lassa, lassa. O tu, o tu, o tu !” “Passa, passa, passa!” La cervia uscì al grido dall’ abaio, bianca, lattata col collar di vaio. “A ricolta, bu, bu, bu, bu” sança corno, “Ta tim ta tim ta tim ti ton ti ton ti ton” sonava per ischorno no no no no...

At their posts the greyhounds and mastiffs are waiting, “Hey, Villan - hey, Baril” they call, “Bow-wow” “Here, here!” “Arf” The hounds rush through the woods “There she is!” “Look here!” “Heel, let it be - oh you!” “She is passing by!” The deer appeared at the noise of the barking, white, like milk with a collar of vair. “Gather together, bu bu!” without a horn, “Ta tim ti ton” sounds the horn.

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MEMBERS AND BIOGRAPHY

Perrine Devillers, soprano Andrew Hallock, counter-tenor

Vivien Simon, tenor Sophia Danilevskaia, fiddle

Roger Helou, organetto Anna Danilevskaia, fiddle and direction

Sollazzo Ensemble was founded in 2014 in Basel and brings together musicians with a strong interest in late medieval and early renaissance repertoires. The ensemble is directed by fiddle player Anna Danilevskaia and benefits from the different musical backgrounds of its members: while some of them come from Early Music families, others have found their calling via modern classical music, theatre or even musicals.

Shortly after their concert debut in 2014, Sollazzo was selected for the eeemerging young artists program (supported by Creative Europe). The following year, the ensemble won the Young Artists Prize of the York Early Music Competition, as well as being rewarded by the public with the Friends Prize, and in addition to that won the Cambridge Early Music Prize.

“Parle qui veut”, released in 2017 under the label Linn Records, was the ensemble’s debut recording. Disk of the Year (The Art Desks), Editor’s Choice (Gramophone), Critic’s Choice (De Standaard), and CD of Choice (BBC Magazine), the record also received the award “Diapason d’Or de l’Année 2017” in the category Early Music.

The second recording of the ensemble, “En seumeillant” was released in 2018 on the Ambronay Edition Label as the culmination of the partnership within the eeemerging program. It was awarded a Diapason d’Or, and marks the beginning of a 3-year partnership between the ensemble and the CCR of Ambronay.

In 2017 Sollazzo was invited to New York by the Alamire Foundation to perform the modern premiere of several newly rediscovered songs, contained in a songbook called the Leuven Chansonnier and identified only since 2015. This ongoing project will lead to a recording of the complete source, to be published in four volumes under a collaboration between the Alamire Foundation, the record label Passacaille and the Abbaye of Ambronay.

www.sollazzoensemble.com

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Friday 10 May, 1.30pm – Little St Mary’s Church, Cambridge

The Blind Fiddlers Sollazzo Ensemble

Perrine Devillers, soprano Sophia Danilevskaia, fiddle

Anna Danilevskaia, fiddle and direction

PROGRAMME Adieu mon joyeux souvenir Guillaume Dufay, (c.1400-1474) Triste plaisir Gilles Binchois (c.1400-1460) J’ayme celui qui s’en va Pierre Fontaine (c.1380-1450) and Guillaume Dufay Amours mercy Gilles Binchois Mon cuer s’enfuit Anonymous (Cyprus Chansonnier) * Qu’es mi vida preguntais Johannes Cornago (c.1400-1475) Souvent je m’esbat Anonymous (Bayeux Chansonnier) Sans faire de vous departie Pierre Fontaine (1380-1450) * Jeloymors Anonymous (Buxheimer Orgelbuch), after Gilles Binchois Luffile Anonymous (Buxheimer Orgelbuch) La bonne et belle Anonymous (Cyprus Chansonnier) Helas l’avoy je desservi Anonymous (Leuven Chansonnier) Henri Phlippet Anonymous (Leuven Chansonnier) D’ung aultre amer Johannes Ockeghem (1410-1497) arr. Johannes Tinctoris (1435-1511) and Anna Danilevskaia (1987-) Ay-je rien fet? Alexander Agricola (1445-1506) Le grant desir d’aymer m’y tient Loyset Compère (c.1445-1518) * Would patrons please ensure that mobile phones are switched off. We kindly encourage saving the applause until the end of each section marked with an asterisk (*) rather than after every item.

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NOTES ON THE MUSIC Jehan Ferrandes and Jehan de Cordoval, both fiddle players, both blind, are known to us primarily because of the effect their music had on the famous composers Dufay and Binchois in 1434 - an encounter recorded by Martin le Franc in the Champion des Dames: The shame-faced Binchois I have seen Silent before their rebec- tones And frowning Dufay in spleen Since no such melody he owns. Cordoval and Ferrandes immigrated to the court of Burgundy from the Iberian peninsula and were based in Bruges from circa 1433 onwards. Despite their blindness, they both achieved hugely successful careers, performing at the court for decades as colleagues of some of the most interesting composers of their time – notably Binchois and Fontaine. Among other documents a description of them playing a song by Dufay, accompanying a singer called Paquette together with a lute player, gives an insight into their musical activities at the court. The Lamentatio opening this program was performed for the first time in 1454, at a banquet in Lille, an event at which Ferrandes and Cordoval played and accompanied singers. This is the context in which Ferrandes' two sons, Johannes and Carolus Ferrandes, the protagonists of the second part of this concert, were educated. Both inherited the blindness as well as the musical talent of their father, and were born and raised in Bruges, surrounded by a prospering musical culture. They later became the most famous fiddle players of the next generation, as well as Doctors in Theology, and at the end of their lives, Rectors of the University of Paris, a highly prestigious position. Their musical path crossed that of composers whose taste for experimentation is striking, such as Alexander Agricola whom they met in Paris, or Johannes Tinctoris, who speaks highly of them in one of his treatises. It is highly probable that some of the works of these composers were dedicated to our fiddle players. Many of the pieces that can be linked to them are reworkings of pieces to be found in the repertory of their father. For instance, De tous biens plaine was first composed by the Flemish composer Hayne van Ghyzeghem and later used as the basis for new versions by several other composers. In this concert we can hear the original setting with two other versions, dedicated to Johannes and Carolus, interspersed. The enigmatic Cecus non judicat de coloribus (‘The blind cannot judge colors’), a contrapuntal masterpiece by Agricola, carries the traces of Johannes and Carolus as well, and is dedicated to them in the Segovia Manuscript. Through these portraits, we can observe the emergence of a new kind of musician: the soloist. Most of the musicians who are known to us today are composers, while these four fiddle players made it through history for their playing only.

Programme notes by Anna Danilevskaia

See page 11 for Sollazzo Ensemble’s biography

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Friday 10 May, 7.30pm – King’s College Chapel, Cambridge In association with Concerts at King’s

Spanish Glories of the Sixteenth Century

Tenebrae Nigel Short, director

PROGRAMME

Alonso Lobo Versa est in luctum

Tomás Luis de Victoria Selection from Tenebrae Responsories and Lamentations for Holy Saturday

Responsory I: Amicus meus osculi me tradidit signa Responsory II: Judas mercator pessimus

Lectio I: Heth. Misericordiae Domini Responsory V: Una hora non potuistis vigilare mecum

Responsory XIV: O vos omnes Lectio II: Aleph. Quomodo obscuratum Responsory XVI: Astiterunt reges terrae

Responsory XVIII: Sepulto Domino Lectio III: Incipit oratorio Jeremiae Prophetae

INTERVAL (10 minutes)

Tomás Luis de Victoria Requiem Mass, 1605

Would patrons please ensure that mobile phones are switched off. We kindly encourage saving the applause until the end of each half of the performance rather than after every item.

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NOTES ON THE MUSIC Versa est in luctum: Alonso Lobo Lobo was born in 1555 in Osuna, a small town 50 miles east of Seville. Lobo was educated in Seville and Osuna, becoming a priest in Osuna before beginning his employment at Seville cathedral in 1591. He journeyed north for eight years to take a job at the cathedral in Toledo, but returned to Seville to spend the rest of his life as director of music there. Lobo’s life could perhaps seem less cosmopolitan than Victoria’s. Lobo didn’t enjoy royal patronage and certainly didn’t live surrounded by luxury in a royal convent in Madrid, serving the king’s sister. As far as we know, he never spent time outside of Spain. While Victoria and Lobo at least corresponded, it is likely that Lobo was viewed by his contemporaries, perhaps as we do today, as outside of the top tier of musicians, stuck in the south of Spain, off the map. Lobo’s Versa est in Luctum was most likely written while he was in Toledo (as was most of his surviving music), perhaps before Victoria wrote his six-voice requiem, and while its emotive power is obvious, so is the difference in style from that of Victoria’s requiem music; more chromatic, more adventurous, more extroverted. Can we be certain that the influence of the great Palestrina, whom Victoria knew in Italy, was so great that Lobo, only seven years Victoria’s junior, already represented a coming wave of musical experimentation that Victoria missed or eschewed? Did Lobo’s marginalisation cause him to adopt a more adventurous style in order to attract attention? Did Lobo even feel marginalised at all or was he happy to spend his life in the south of Spain away from the limelight?

Programme notes by Greg Skidmore

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Tenebrae Responsories and Lamentations: Tomás Luis de Victoria Tomás Luis de Victoria (Ávila 1548 – Madrid 1611) left his native Spain in 1565, at the age of 17, to study in Rome. He would stay there over 20 years, and publish many of his most important works, including, in 1585, his monumental Officium Hebdomae Sanctae. When Thomé, as he called himself, arrived in the Eternal City the musical star was undoubtedly Palestrina (1525 – 1594) who at that time was Maestro de Capilla at Santa Maria Maggiore among other positions, and later, from 1571, served at the Julian Chapel at St Peter’s. Victoria, initially supported by a student grant awarded by Philip II of Spain, studied at the German Seminary founded only a few years previously by St Ignatius Loyola. His first major position was as Maestro de Capilla at the Roman Seminary, taking over from Palestrina. His work as a composer was first noted with his 1572 collection of motets. In 1573 he was also appointed Maestro de Capilla at the German seminary, and in the following year was ordained priest. His 1572 collection was followed in 1576 by his first book of masses, with other motets, Marian antiphons and Magnificats. 1581 saw another two publications, one of motets for the liturgical year and the second of Magnificats and Marian antiphons. 1583 saw a second book of Masses and a new anthology of motets (not all were new, the sharp commercial mind of Victoria already recognised opportunities in “best of” collections). In 1585 another collection of motets were published, some of which were now in their third Edition, and also the collection of music for Holy week. This Officium Hebdomae Sanctae contains 37 works, with music set from Palm Sunday to Easter Saturday. In addition to the Responsories set for Thursday, Friday and Saturday included in this recording, there are also the Lamentations of Jeremiah, the psalm Miserere mei and the Benedictus (Canticle of Zachary) for the same offices, two Passion settings, hymns, motets, the Reproaches and other music for the week. Some of the works included in this collection appear to have been composed significantly earlier. The office of Tenebrae (the shadows) is in fact the combination of two offices, the early morning Matins, which was followed by Lauds. Later these were performed together on the previous evening after Compline. This is to say that the Tenebrae for Maundy Thursday would have been sung on Wednesday – in Rome the practice was to have this office at around 4pm. The main feature of this office, and from whence it derives its name, is the gradual extinguishing of 15 candles arranged on a triangular stand called a hearse. These candles represent Christ (the highest candle), the disciples (except Judas Iscariot), and the so-called

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three Marys (three female disciples who went to the Tomb, however, different traditions give distinct names). The Tenebrae is divided in each day into the Matins of three nocturnes each of which had three psalms, a short versicle and response, Pater Noster (silent) and a reading. This was followed immediately by Lauds, made up of five psalms, a short versicle and response, the Benedictus canticle, the gradual text Christus factus est, Psalm 50 – Miserere mei and a closing prayer. The readings of the first nocturne were from the Book of Lamentations, which were set by Victoria, but he did not compose music for the Responsories of these readings. The readings for the second nocturne were from the Commentaries of St Augustine and, for the third, from the letters of St Paul. These were not generally set polyphonically (though there is a set by the Portuguese composer Manuel Cardoso) and would have been sung on a simple reciting tone. Victoria set the Responsories that followed each of these readings, so that for each day there are three sections of the Lamentations corresponding to the first nocturne, and three Responsories each for the second and third nocturnes. The texts of the responds follow the Passion story, mixing phrases from the Gospels with other texts commenting on collective suffering, thought to date from the fourth century. For Thursday (Feria V in Coena Domini), the first nocturne (not set) starts in the Garden of Gethsemane, the second and third nocturnes consider the betrayal of Judas and Jesus’ arrest. The Good Friday (Feria VI in Parasceve) nocturnes consider the trial and Via Crucis, and on Saturday (Sabatto Sancto) reflect on the death and, finally, with Sepulto Domino, the entombment of Jesus. The illumination is gradually reduced throughout the service. On the hearse, one candle is extinguished, starting from the lowest level of the hearse, after each of the fourteen (nine for Matins and five for Lauds) psalms. The six candles on the altar are also extinguished during the recitation of the Benedictus, and the final flame (representing Jesus) is placed under the altar so as to end in almost total darkness, during the Christus antiphon and final prayer. The office ends with a ‘great noise’ (strepitus in Latin) made by slamming books against the choir stalls or stamping on the floor. This is to represent the earthquake after the death of Christ. The ‘great noise’ continues until the candle is brought out from under the altar – revealing the light of Christ still burning, representing the resurrection – and replaced in the hearse. This is the signal for the participants to leave in silence. Victoria set the Responsories, like the Lamentations, for four voices, mostly SATB, but for each nocturne the second Responsory was set for a different combination – SSAT, often also sung an octave lower by tenors and basses, following a Roman tradition dating from the 18th century. The Responsories have a balanced structure of three parts: a two part respond and a versicle. After the versicle, the second part of the respond is repeated, giving a structure of ABCB, where A and B are the two parts of the respond, and C is the versicle. Victoria always writes this versicle for a reduced number of voices, and the respond sections for four voices. For liturgical purposes, the final Responsory of each nocturne has an additional repeat of the complete respond, giving an ABCBAB form, however, this extra repeat is often omitted in concert performance. There is also an overall scheme for the reduced voice sections: with the exception of the very first Responsory, which is a duet, the first of each set of three is set for

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SAT voices, the third for ATB and the second makes use of the extra soprano line, giving either SSA or SST. This pattern allows for simple contrasts within each set. Although Victoria did not compose any secular music, his treatment of text is almost madrigalian at times. In general terms, there is little melismatic writing except to highlight a particular word, and repetition of short phrases is also employed for effect, sometimes using pairs of voices to build up the musical tension, for example the Adversus Dominum section of Asiterunt reges. Victoria uses similar rhythmic and melodic devices when textual phrases occur in different Responsories, for example the text Si est dolor sicut dolor meus which appears in an almost identical form in Caligaverunt (no 12) and O vos omnes (no 14), and which employs the expressive downward scale of the fourth used as the famous Lachrymae motive by John Dowland. Likewise the text Tamquam ad latronem, cum gladiis et fustibus which appears first in the second respond section of Seniores populi – the last Responsory of the Thursday collection, and which also begins the Responds of Friday. Another example is the phrase Bonum, Melius illi erat si natus non fuisset, referring to Judas, which appears (with slight variation) in all three of the responds for the second nocturne of Thursday. Similarly, the Responsory Iesum tradidit impius (no 11) has almost identical music for its opening phrase as Judas Mercator pessimus (no 2) to remind the listener of the Judas’ betrayal. Victoria always complements the texts with his apparently simple setting, without ever letting the music overpower them. At the same time he produces a coherent, structured and introspective journey through the three climactic days of Holy Week.

Programme notes by Rupert Damerell

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Requiem Mass, 1605 : Tomás Luis de Victoria Tomás Luis de Victoria’s requiem mass for six voices, written in 1603 and published in 1605, is a masterpiece. For many, it represents what Renaissance polyphony is, what it sounds and feels like, and how expressive it can be. For those who have come to know it through an interest in ‘early music’, some would be bold enough to say it sits comfortably beside works like Bach’s St. Matthew Passion, Mozart’s own Requiem mass, and perhaps even Beethoven’s Ninth Symphony as one of the truly great achievements in the history of music; a masterpiece, if there ever was one. However, it is still very much known as ‘early music’. Despite the efforts and protestations of many performers, it is often appreciated through the lens (or is it actually a filter?) of the ‘academic exercise’. A barrier exists – in different places for different people – between ‘early music’ and ‘not early music’ which affects our relationship with what we hear, how we engage with it emotionally, how we believe we are expected to evaluate its performance, and even the extent to which we allow it to excite and overwhelm us. So, what is a masterpiece? Perhaps it is precisely that work of art which, through its greatness, forces us to forget history; when it was written, in what circumstances, by whom, and for whom. The greatness of the thing itself exists outside time and is as impressive now as it was at its creation. A great composer needs only to encapsulate his idea in notation and a great performer needs only to understand it and communicate it to a receptive audience. This is music, not modern music or early music, new or old. But surely an understanding of the artists’ life contributes to an understanding of his art. After all, the artist was a person, creating art to be experienced by other people, at a specific time and in a specific place. A true understanding of the work therefore requires the acceptance of this idea and of these limits. Isn’t all this talk of universality, transcendence, and timelessness in art just a bit of dreaming? Time definitively separates us from the past. The best we can do is understand history’s facts and attempt to approach a recreation of another time. The closer we come to ‘actually being there’, the closer we get to being the artist himself and thereby to understanding the creation of his art – in other words, relating to and interacting with the art in the most intense way possible.

This is the problem. We are all familiar with the staggering success many have achieved by attempting to be ‘historically informed’ about the music they perform. While in academic circles these theoretical arguments have raged for a few decades now, in concert and on disc the historical ‘added value’ brought by the continued integration of academic research into performances has enjoyed great popularity. Indeed, it is precisely this enthusiasm which has brought works such as Victoria’s six-voice requiem mass to such widespread familiarity. But what makes some works stand out? Why is it that, regardless of our fascination with the historical information we consume with such delight, we are sometimes forced to encounter the difficult question of music’s timeless appeal? It doesn’t matter how far we dig into history; great music refuses to be limited, to be understood, to elicit any response except astonishment, humility, awe, and all of the other more important feelings for which there are no words. Perhaps as a demonstration of this, below is an outline of the historical facts surrounding the creation of Victoria’s six-voice requiem mass. Tomás Luis de Victoria was born in Avila, 55 miles north west of Madrid, in 1548. He attended the choir school at the cathedral there under the tutelage of Bernardino de Ribera and Juan Navarro, both well-known composers in 16th-century Spain. He was educated at a Jesuit school in Avila before his voice broke and in 1565 he was sent to Rome to be first a singer and later director of music at the Collegio Germanico, a Jesuit foundation training priests for German missionary work. He was ordained a priest in 1575

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and remained in Rome working mainly as a cleric, securing an income from his association with two large religious houses in Rome as well as benefices in Spain, but also publishing books of masses and motets. In 1585 he was made chaplain to the Dowager Empress María, sister of King Philip II of Spain. María lived at the Monasterio de las Descalzas de S. Clara (Royal Convent of Barefoot Nuns of St. Clare) in Madrid with 32 other cloistered nuns in extraordinary luxury; the nuns were widowed or unmarried noblewomen, each bringing an endowment. Victoria became director of music at the convent, supervising 12 adult singing priests and 4 boys. He also had a personal servant, private meals served to him, and a month’s holiday every year (from 1592 until 1595 he managed to expand his month’s holiday to three years!) and he was even joined at the convent by one of his brothers, Agustín, who was also a chaplain. In 1603, the Empress died and in 1605 Victoria published the music he wrote for her burial observance (which would have lasted all day if not for many days) in a publication entitled Officium defunctorum: in obitu et obsequiis sacrae imperatricis (The Office of the Dead: for the death and obsequies of the holy empress). María left money in her will which allowed Victoria to remain at the convent until his death in 1611. Does this information help us to appreciate the music Victoria wrote more than 400 years ago? Does it aid in its appreciation to visualise 30 or so wealthy, cloistered, barefoot, aristocratic women sitting in a magnificent chapel in central Madrid, listening to this music performed by 12 men and 4 boys, mourning the loss of their matriarch, perhaps their friend? Or does it help to realise that it was published and disseminated throughout Europe, performed in the early 17th-century at perhaps hundreds of other ceremonies of varied descriptions by choirs of all sizes and abilities? Does it help to remember that Victoria likely considered his job as María’s chaplain as a ‘retirement’ position? With this his last publication, was Victoria summing up his life’s work, or attempting to continue his successful but still nascent relationship with his Spanish printer? Does it make a difference that Victoria relinquished the post of director of music for that of organist in 1604, one year after María’s death, and spent the last seven years of his life with less responsibility? Any attempt to contextualise great works of art results in questions like these. However, as modern musicians and music lovers, we must not forget that we are necessarily confronted with the practical consequences of these fragmentary histories. If we were somehow able to kneel with the nuns in Madrid in 1603, understand what it felt to have their relationships, live their lives, experience their understanding of the world, would we think the music was more beautiful or powerful? Does the fact we know more about the creation of Victoria’s music than Lobo’s mean it affects us more, is more powerful, is ‘better’ art? Crucially, does our own awe and wonder at this music lack such validity that we must seek to experience the emotions and understandings of our artistic ancestors vicariously? Tenebrae’s performance of this music seeks to express the beauty and power hidden below the surface of historical circumstance, that which marks out true masterpieces as works of art wholly mysterious in their wonder and timeless in their meaning. Their energy, dedication, passion and precision are matched by music of extraordinary quality. The result is a vivid manifestation of what Victoria and Lobo – and all musicians and artists – must surely want; an expression of inexplicable beauty.

Programme notes by Greg Skidmore

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TEXTS AND TRANSLATIONS Alonso Lobo – Versa est in luctum

Versa est in luctum cithara mea, et organum in vocem flentium. Parce mihi, Domine, nihil enimsunt dies mei. Tomás Luis de Victoria – Selection from Tenebrae Responsories and Lamentations for Holy Saturday Responsory I: Amicus meus osculi me tradidit signa Amicus meus osculi me tradidit signa: Quem osculatus fuero, ipse esl, lenete eum: hoc malum fecit signum, qui per osculum adimplevit homicidium. Infelix praetermisit pretium sanguinis, et in fine laqueo se suspendit. Verso: Bonum erat illi, si natus non fuisset homo ille. Responsory II: Judas mercator pessimus Iudas mercator pessimus oscula petiit Dominum: ille ut agnus innocens non negavit ludae osculum: Denariorum numero Christum ludaeis tradidit. Verso: Melius illi erat, si natus non fuisset. Lectio I: Heth. Misericordiae Domini HETH. Misericordiæ Domini, quia non sumus consumpti; quia non defecerunt miserationes ejus. Responsory V: Una hora non potuistis vigilare mecum Una hora non potuistis vigilare mecum, qui exhortabamini mori pro me? Vel Judam non videtis quomodo non dormit, sed festinat tradere me Judaeis? Verso: Quid dormitis? Surgite et orate, ne intretis in tentationem. Vel Judam non videtis quomodo non dormit, sed festinat tradere me Judaeis? Responsory XIV: O vos omnes O vos omnes, qui transitis per viam, attendite et videte Si est dolor similis sicut dolor meus.

My harp is turned to mourning, and my music into the voice of those that weep. Spare me, O Lord, for my days are as nothing. The sign by which my friend betrayed me was a kiss: he whom I kiss, that is he: hold him fast. He that committed murder by a kiss gave this wicked sign. The unhappy wretch returned the price of blood, and in the end hanged himself. Verse: It had been good for that man that he had never been born. The wicked merchant Judas sought our Lord with a kiss. He, like an innocent lamb, refused not the kiss of Judas. For a few coins he delivered Christ to the Jews. Verse: It had been better for him if he had never been born. HETH. The steadfast love of the Lord never ceases, his mercies never come to an end; What, could you not watch one hour with me, you that were eager to die for me? Or do you not see Judas, how he sleeps not, but makes haste to betray me to the Jews? Verse: Why do you sleep? Arise and pray, lest ye fall into temptation. Or do you not see Judas, how he sleeps not, but makes haste to betray me to the Jews? O all you that pass by the way, attend and see, if there be any sorrow like my sorrow.

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Verso: Attendite universi populi, dolorem meum. Lectio II: Aleph. Quomodo obscuratum ALEPH. Quomodo obscuratum est aurum, mutatus est color optimus! dispersi sunt lapides sanctuarii in capite omnium platearum! Responsory XVI: Astiterunt reges terrae Astiterunt reges terrae, et principes convenerunt in unum, adversus Dominum et adversus Christum eius. Quare fremuerunt gentes, et populi meditati sunt inania? Adversus Dominum et adversus Christum eius. Responsory XVIII: Sepulto Domino Sepulto Domino, signatum est monumentum, volventes lapidem ad ostium monumenti: Ponentes milites, qui custodirent illum. Verso. Accedentes principes sacerdotum ad Pilatum petierunt illum. Lectio III: Incipit oratorio Jeremiae Prophetae Recordare, Domine, quid acciderit nobis: intuere et respice opprobrium nostrum. Haereditas nostra versa est ad alienos, domus nostrae ad extraneos. Pupilli facti sumus absque patre, matres nostrae quasi viduae. Aquam nostram pecunia bibimus; ligna nostra pretio comparavimus. Cervicibus nostris minabamur, lassis non dabatur requies. Jerusalem convertere ad Dominum Deum tuum. Tomás Luis de Victoria – Requiem Mass, 1605 Lesson: Taedet anima mea Taedet animam meam vitae meae, dimittam adversum me eloquium meum, loquar in amaritudine animae meae. Dicam Deo: Noli me condemnare: indica mihi, cur me ita iudices. Numquid bonum tibi videtur, si calumnieris, el opprimas me, opus manuum tuarum, et consilium impiorum adiuves? Numquid oculi carnei tibi sunt: aut sicut videt homo, et tu vides?

Verse: Watch, all you people, and see my sorrow. ALEPH. How the gold has grown dim, how the pure gold is changed! The holy stones lie scattered at the head of every street. The kings of the earth rise up, and the rulers take counsel together, against the Lord, and against his anointed. Why do the heathen rage, and the people imagine a vain thing? Against the Lord, and against his anointed. When the Lord was buried; they sealed up the tomb, rolling a stone before the entrance: and placing soldiers to guard it. Verso. The chief priests went to Pilate and petitioned him. Remember, O Lord, what is come upon us: consider, and behold our reproach. Our inheriatance is turned to strangers, our houses to aliens. We are orphans and fatherless, our mothers are as widows. We have drunken our water for money; our wood is sold unto us. Our necks are under persecution: we labour, and have no rest. Jerusalem, return to the Lord thy God. My soul is weary of my life; I will let go my speech against myself, and express the bitterness in my soul. I shall say to God: Do not condemn me, but show me why Thou judgest me in this manner. Shall it seem a good thing to Thee to cheapen me and oppress me, the work of Thine own hands, and to support the schemes of the wicked? Are Thine eyes of flesh?

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Numquid sicut dies hominis dies tui, et anni tui sicut humana sunt tempora, ut quaeras iniquitatem meam, et peccatum meum scruteris? Et scias, quia nihil impium fecerim, cum sit nemo, qui de manu tua possit eruere. Introit: Requiem aeternam Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus Deus in Sion, et tibi reddetur votum in lerusalem: exaudi orationem meam. ad te omnis caro veniet. Kyrie

Kyrie eleison. Christe eleison. Kyrie eleison. Gradual: Requiem aeternam Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. In memoria aeterna erit iustus: ab auditione mala non timebit. Offertory: Domine, Jesu Christe Domine lesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum: sed signifer Sanctus Michael repraesentet eas in lucem sanctam: Quam olim Abrahae promisisti et semini eius. Hostias et preces tibi, Domine, laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam, Quam olim Abrahae promisisti et semini eius.

Dost Thou even see only as men do? Is Thy life like the life of men, and do Thy years pass like the days of men, that Thou shouldst enquire after my iniquity, and investigate my sins? Surely Thou knowest that I have done no wrong and there is no man that can deliver me from Thy hand. Grant them eternal rest, O Lord, and let light perpetual shine upon them. A hymn, O God, becometh Thee in Sion, and a vow shall be paid to Thee in Jerusalem: give ear to my supplication, unto Thee shall all flesh come. Lord have mercy upon us. Christ have mercy upon us. Lord have mercy upon us. Grant them eternal rest, O Lord, and let light perpetual shine upon them. The just man shall remain in memory everlasting: of ill report he shall not be afraid. Lord Jesus Christ, King of glory, deliver the souls of all who died in the faith from the pains of hell and from the deep pit. Deliver them from the lion’s mouth, lest the jaws of hell swallow them, lest they fall into everlasting darkness. But let Saint Michael, the leader of hosts, bring them forth into Thy holy light, as Thou promised before to Abraham and to his seed. We offer sacrifice and prayers of praise unto Thee, O Lord: receive them on behalf of those souls whom we remember this day: grant them, O Lord, to pass over from death to life, as Thou promised before to Abraham and to his seed.

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Santus & Benedictus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth, plena sunt caeli et terra gloria tua. Osanna in exceisis. Benedictus qui venit in nomine Domini. Osanna in excelsis. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam. Communion - Lux aeterna Lux aeterna luceat eis, Domine. cum sanctis tuis, in aeternum: quia pius es. Requiem aeternam dona eis Domine, et lux perpetua luceat eis cum sanctis tuis in aeternum, quia pius es. Requiescant in pace. Amen Motet - Versa est in luctum Versa est in luctum cithara mea, et organum in vocem flentium. Parce mihi, Domine, nihil enimsunt dies mei. Responsory – Libera me, Domine Libera me, Domine, de morte aeterna, in die illa tremenda: Quando caeli movendi sunt et terra dum veneris iudicare saeculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira. Quando caeli movendi sunt et terra.

Holy, Holy, Holy, Lord God of Sabaoth, the heavens and the earth are full of Thy glory. Hosanna in the highest. Blessed is he who cometh in the name of the Lord. Hosanna in the highest. Lamb of God, that takest away the sins of the world, grant them rest. Lamb of God, that takest away the sins of the world, grant them rest. Lamb of God, that takest away the sins of the world, grant them eternal rest. Let light perpetual shine upon them, O Lord, in the company of Thy saints for evermore; because Thou art merciful. Grant them eternal rest, O Lord, and let light perpetual shine upon them in the company of Thy saints for evermore, because Thou art merciful. Let them rest in peace. Amen. My harp is turned to mourning, and my music into the voice of those that weep. Spare me, O Lord, for my days are as nothing. Deliver me, O Lord, from everlasting death on that fearful day, when the heavens and the earth shall be moved and Thou shalt come to judge the world by fire. I am seized with trembling, I am sore afraid, for the day of judgement and for the wrath to come, when the heavens and the earth shall be moved.

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Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde: Dum veneris iudicare saeculum per ignem. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Libera me, Domine, de morte aeterna, in die illa tremenda: Quando caeli movendi sunt et terra: Dum veneris iudicare saeculum per ignem. Kyrie eleison. Christe eleison. Kyrie eleison.

That day, a day of wrath, calamity and woe, a great day and bitter indeed, when Thou shalt come to judge the world by fire. Grant them eternal rest, O Lord, and let light perpetual shine upon them. Deliver me, O Lord, from everlasting death, on that fearful day, when the heavens and the earth shall be moved, and Thou shalt come to judge the world by fire. Lord have mercy upon us. Christ have mercy upon us. Lord have mercy upon us.

MEMBERS Soprano Natalie Clifton-Griffith Victoria Meteyard Emilia Morton Bethany Partridge Emma Walshe Josephine Stephenson Alto Hannah Cooke Martha McLorinan Elisabeth Paul Tenor Jeremy Budd David de Winter Nicholas Madden Tom Robson Bass William Gaunt Jimmy Holliday Owain Park

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BIOGRAPHIES Tenebrae Described as ‘phenomenal’ (The Times) and ‘devastatingly beautiful’ (Gramophone Magazine), award-winning choir Tenebrae, under the direction of Nigel Short, is one of the world’s leading vocal ensembles renowned for its passion and precision. Tenebrae’s ever-increasing discography has brought about collaborations with Signum, Decca Classics, Deutsche Grammophon, EMI Classics, LSO Live, and Warner Classics. In 2012 Tenebrae was the first-ever ensemble to be multi-nominated in the same category for the BBC Music Magazine Awards, securing the accolade of ‘Best Choral Performance’ for the choir’s recording of Victoria’s Requiem Mass, 1605. The following year Tenebrae’s Fauré Requiem with the London Symphony Orchestra was nominated for the Gramophone Awards, having been described as ‘the very best Fauré Requiem on disc’ and ‘the English choral tradition at its zenith’ (Richard Morrison, Chief Music Critic, The Times). In 2014 the choir’s recording of Russian Orthodox music, Russian Treasures, reached number 1 in the UK Specialist Classical Chart. In 2016 Tenebrae received its second BBC Music Magazine Award for a recording of Brahms and Bruckner Motets, the profits from the sale of which benefit Macmillan Cancer Support. In 2018, Tenebrae’s album of part songs from the British Isles, Music of the Spheres, received a Grammy nomination and the choir presents a new release to champion the music of Ivor Gurney and his contemporaries featuring Dame Sarah Connolly, Aurora Orchestra and Simon Callow. Tenebrae is a dedicated advocate for contemporary composers, having worked with Judith Bingham, Ola Gjeilo, Alexander L’Estrange, Alexander Levine, Paul Mealor, Hilary Tann, Joby Talbot, Sir John Tavener and Will Todd, in addition to a recent release of music by Paweł Łukaszewski. The choir is renowned for its highly-acclaimed interpretations of choral music with repertoire ranging from hauntingly passionate works of the Renaissance through to contemporary choral masterpieces. Tenebrae is regularly engaged with the world’s finest orchestras – appearing regularly with the Academy of Ancient Music and Aurora Orchestra – and has performed at major festivals and venues including the BBC Proms, Edinburgh International Festival, Leipzig Gewandhaus (Germany) and Melbourne Festival (Australia). The 2018-19 season sees the return of Tenebrae’s popular Holy Week Festival at St John’s Smith Square, London, as well as concerts

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throughout the UK and abroad. The choir has also developed its inspirational workshop method, The Tenebrae Effect, designed to challenge and advance every participant by instilling skills essential to a Tenebrae performance. To complement this, Tenebrae commissioned a unique new choral work by Owain Park, Footsteps, which allows choirs of all abilities to perform alongside Tenebrae in concert. ‘Passion and Precision’ are Tenebrae’s core values. Through its continued dedication to performance of the highest quality, Tenebrae’s vision is to deliver dramatic programming, flawless performances and unforgettable experiences, allowing audiences around the world to be moved by the power and intimacy of the human voice. www.tenebrae-choir.com Nigel Short Award-winning conductor Nigel Short has built up an enviable reputation for his recording and live performance work with leading orchestras and ensembles across the world. A singer of great acclaim, Nigel was a member of the renowned vocal ensemble The King’s Singers from 1994–2000. Upon leaving the group he formed Tenebrae, a virtuosic choir that embraced his dedication for passion and precision. Under his direction, Tenebrae has collaborated with internationally acclaimed orchestras and instrumentalists and now enjoys a reputation as one of the world’s finest vocal ensembles. To date, Nigel has conducted the Academy of Ancient Music, Aurora Orchestra, BBC Symphony Orchestra, Chamber Orchestra of Europe, English Chamber Orchestra, English Concert, London Philharmonic Orchestra, London Symphony Orchestra, Orchestra of the Age of Enlightenment, Royal Philharmonic Orchestra and the Scottish Ensemble. He has directed the London Symphony Orchestra alongside Tenebrae in a live recording of Fauré’s Requiem, which was nominated for the Gramophone Awards (2013) and since then, he has conducted the orchestra at St. Paul’s Cathedral as part of the City of London Festival. Other orchestral recordings include Mozart’s Requiem and Ave Verum Corpus with the Chamber Orchestra of Europe and a new release of music by Bernstein, Stravinsky and Zemlinsky with the BBC Symphony Orchestra described as a ‘master stroke of programming’ (Financial Times). Recent guest conducting appearances include the BBC Singers, Leipzig’s MDR Rundfunkchor and the Danish National Vocal Ensemble. Nigel has vast recording experience having conducted for many of the world’s major labels including Decca Classics, Deutsche Grammophon, EMI Classics, LSO Live, Signum and Warner Classics. In 2018, he received a Grammy nomination in the category of ‘Best Choral Performance’ for Tenebrae’s album of parts songs from the British Isles, Music of the Spheres. As a Gramophone award-winning producer, Nigel works with many of the UK’s leading professional choirs and vocal ensembles including Alamire, Ex Cathedra, Gallicantus and The King’s Singers.

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Saturday 11 May, 8pm – Trinity College Chapel, Cambridge

The Flower of the Italian Madrigal The Gesualdo Six

Owain Park, director

PROGRAMME Potrò viver io più se senza luce Luca Marenzio (c.1553 – 1599) Io son ferito, ahi lasso Giovanni Pierluigi da Palestrina (c.1525 – 1594) Sfogava con le stelle (Book IV) Claudio Monteverdi (1567 – 1643) Soave fia il morir Giovanni Pierluigi da Palestrina Selected works from ‘Il Trionfo di Dori’* Vaghe ninfe selvage Giovanni de Macque (1548/50 – 1614) Sù le fiorite sponde Tiburtio Massaino (ca. 1550 – 1608) Sotto l'ombroso speco Felice Anerio (c. 1560 – 1614) Quand’apparisti o vag'o amata Dori Ruggiero Giovanelli (c. 1560 – 1625) Misero Ohime Alessandro Striggio (1540 – 1592) Rimanti in Pace (Book III) Claudio Monteverdi Madonna io non so far Rinaldo del Mel (c.1554–1598)

INTERVAL (20 minutes) This sweet and merry month of May William Byrd (c.1540 – 1623) Felice primavera Carlo Gesualdo (1566 – 1613)

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Asciugate i begli occhi Carlo Gesualdo My heart is like a singing bird Sarah Rimkus (b.1990) Selection from ‘Nonsense Madrigals’* György Ligeti (1923 – 2006) Vide Homo quae pro te patior Orlande de Lassus (c.1532 – 1594) Lieti solcando il mare Cristoforo Malvezzi (1547 – 1599) Would patrons please ensure that mobile phones are switched off. *For the grouped works marked with an asterisk, we kindly encourage saving the applause until the end of the group rather than after every item of the group. NOTES ON THE MUSIC Madrigal A type of secular song that flourished in Italy in the 16th and 17th centuries, also spreading to most other European countries. The origin of the word could be matricale (Italian, ‘of the womb’), referring to the fact that madrigal texts are in the mother tongue, rather than in Latin. Monteverdi coined the term ‘seconda pratica’ to describe the new expressive style of composition, in which the colouring of words was as important as harmonic invention. Composers achieved this by developing an expanded and more complex musical language that more conservative critics considered a violation of the rules of harmony and counterpoint. Madrigals by Claudio Monteverdi If one were to name the composer that stitches the seam between the Renaissance and the Baroque, it would likely be Claudio Monteverdi – the same composer who is frequently credited with making the cut in the first place. The path from his earliest canzonettas and madrigals to his latest operatic work exemplifies the shifts in musical thinking that took place in the last decades of the sixteenth century and the first few of the seventeenth. Chromaticism, dissonance, wide melodic leaps, and bold harmonies are combined with a strong dramatic sense, the use of declamatory rhythms and recitative-like passages, and a focus on large-scale structures as well as on small-scale attention to individual words. Madrigals by Giovanni Pierluigi da Palestrina Palestrina was one of the most highly acclaimed musicians of the sixteenth century, and wrote a tremendous number of musical works, refining the musical style of his time. The balance and elegant moderation of his music derives from his conservative melodic and harmonic style. He is best known for the 104 masses, though he composed in every other liturgical genre of his day, as well as for nearly 100 madrigals. ‘Il Trionfo di Dori’ As the madrigal form began to supplant a rather more unsophisticated repertoire of secular songs in the early 16th-century, Italian composers were soon vying with one another to express the meaning of the text as fully as possible through their music. Most madrigals spoke of love and mythology, reflecting the most popular themes of Renaissance culture, and these themes are to the fore in the collection of madrigals first published by the Venetian music printer Angelo Gardano in 1592 under the title ‘Il Trionfo di Dori’. The collection was dedicated to

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Leonardo Sanudo, a nobleman from one of Venice’s oldest and most respected families. It is thought that the madrigals were composed in honour of Sanudo’s wife, Elisabetta Giustinian. The collection comprises 29 madrigals by 29 composers, including many of the most significant Italian musicians of the time. The texts paint an idyllic Arcadian scene, inhabited by nymphs, shepherds and satyrs, who all join together at the end of each madrigal to sing the praises of Dori, with the refrain ‘Viva la bella Dori’ (Long live beautiful Dori). Madrigals by Carlo Gesualdo Gesualdo’s madrigals are well known today for their extreme style: his chromatic melodies create dissonant and disjointed harmonic progressions that explore the most melancholy aspects of the dark texts he set. Conversely, Felice Primavera is a simple, joyful setting of an uplifting text, which goes some way to dispel critics who lambast Gesualdo’s unusual harmonic procedures. Nonsense Madrigals by György Ligeti The title of this set suggests a parody of the earlier secular vocal form; indeed, the work exhibits the use of very old compositional techniques. Parody extends from the ridiculous to the sophisticated, and is used by Ligeti on multiple levels, both as a humourous device (in the manner of Lewis Carroll) and as a substantial technical feature. The text consists of children’s literature from the Victorian era, including works by Lewis Carroll, William Brighty Rands and Dr. Heinrich Hoffman. (i) Two Dreams and Little Bat The opening number parodies the fourteenth-century Ars Nova motet, containing multiple texts, a polyphonic texture, a complicated rhythmic structure, and a cantus firmus (Hatter’s song is set to ‘Twinkle Twinkle Little Star’), which is treated in a repetitive framework. The fact that it is a children’s song, and not plainchant, adds humour to the parody. This melody in the tenor also serves as the fulcrum between the opposing meters of the alto voices and the baritone/bass voices. (iii) The Alphabet This Nonsense Madrigal sets the English alphabet phonetically, and juxtaposes emotional depth with humour. The piece begins serenely on two sustained pitches at pppp (extremely soft) and builds in chromaticism and tension to the peak at bar 49 marked ffffff (crashingly loud) followed by a subito pp (suddenly very quiet) three bars later. The contrasting moods of the opening compared to the climax are as divergent as humour and horror. (ii) Cuckoo in the Pear-Tree A conversation between two animals is commonplace in children’s literature, so not overly nonsensical. The cartoon-like ‘cuckoo’ refrain emphasises the bi-meter, and there are instances of multiple birds cuckooing against each other. The opening Baritone theme is based on a medieval folk tune, Grüß Gott, du schöner Maien (May God greet you beautiful month of May).

Programme notes by Owain Park

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TEXTS & TRANSLATIONS

Potrò viver io più se senza luce, Luca Marenzio Potrò viver io più se senza luce Rimasto son e se altrove riluce Del mio bel sol la sua lucente luce? Ahi, non fia ver, ma copri d'ogni interno Oscure nubbi il giorno E a me la luce cara di questa vita sia per sempre amara, Finche d'un giorno più serena luce Non meni a gli occhi miei la vera luce.

Will I be able to live anymore if I remain without light and if my beautiful sun shines its brilliant light elsewhere? Ah, let it not be true, but each day is covered with dark clouds and the dear light of this life is forever bitter to me, until one day a more serene light leads my eyes to the true light.

lo son ferito, ahi lasso, Giovanni Pierluigi da Palestrina Io son ferito, ahi lasso e chi mi diede accusar pur vorrei, ma non ho prova, che senz’indici al mal non si da fede, ne getta sangue la mia piaga nova. Io spasm'e moro, il colpo non si vede, la mia nemic’armata non si trova, che fia tornar a lei crudel partita, che sol m’habbi’a sanar chi m'ha ferito.

I am wounded, alas, and I desire to accuse her who gave it to me, but I have no proof; without evidence of evil, no-one will believe it; nor does my new wound pour forth blood. I shiver and die – the blow cannot be seen. My enemy is armed. What good would it do to return to her – cruel happening – because only she who wounded me can heal me.

Sfogava con le stelle, Claudio Monteverdi Sfogava con le stelle un infermo d’amore sotto notturno cielo il suo dolore. E dicea fisso in loro: ‘O imagini belle de l’idol mio ch’adoro, sì com’a me mostrate mentre così splendete la sua rara beltate, così mostraste a lei i vivi ardori miei: la fareste col vostr’aureo sembiante pietosa sì come me fate amante.’

A lovesick man was venting to the stars his grief, under the night sky. And staring at them he said: "O beautiful images of my idol whom I adore, just as you are showing me her rare beauty while you sparkle so well, so also demonstrate to her my living ardour: by your golden appearance you'd make her compassionate, just as you make me loving."

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Soave fia il morir, Giovanni Pierluigi da Palestrina Soave fia il morir per viver sempre; E chiuder gli occhi per aprirli ognora In quel sì chiaro e lucido soggiorno. Dolce il cangiar di queste varie tempre Nel fermo stato. Oh! Quando fia l’aurora Di cosi chiaro avventuroso giorno?

How sweet it is to die to live forever; And close your eyes only to open them every time In that clear and lucid living room. The taste of these various tempers is sweet. Oh! When is the dawn of such a clear, adventurous day?

Vaghe ninfe selvage, Giovanni de Macque Vaghe ninfe selvagge E pastorell’amanti, Tra mille suon’e canti, Trahean liete carole, Al dolce orezo dell’ombrose piagge, Quand’ ecco e Dori apparve, Distese all’hor quasi invighit’il sole, Dal ciel raggi più belli, L’aria s’empi di vezzosetti Amori, Et ogni nebbia sparve, La salutare da rami I vagh’augelli, E le ninfe e I pastori, Tutti cantar, viva la bella Dori. Lyricist, Erasmo di Valvasone (1523-1593)

Errant wild nymphs, and their shepherd lovers, among thousands of sounds and songs, Danced happily to lovely songs In the delightful air of the shady lands, When all of a sudden Dori appeared, And the sun—as if he was infatuated by her— Spread his most beautiful rays across the sky. The air was filled with charming Cupids, And all mists disappeared. The birds greeted her from the trees, And the nymphs and the shepherds all sang, “Long live beautiful Dori.”

Sù le fiorite sponde, Tiburtio Massaino Sù le fiorite sponde D’Arno cantava Amore, Pien di celeste adore, Al cui canto gentile, Vidi guidar amorosetti balli, Ninfe vezzose e snelle, Quai son del ciel le fiammeggianti stelle, E per quei stessi calli, I satiri scherzavano, E i pastor saltavano, Gridando ninfe satiri e pastori, Viva la bella Dori. Lyricist, Francesco Lazaroni

Upon the flowery banks Of the Arno, Love sang Full of heavenly ardour; To this fair singing I beheld graceful dances By fair and slender nymphs, And along these paths, Under the flaming stars of heaven, Satyrs played Shepherds danced, And the nymphs, satyrs and shepherds proclaimed, “Long live beautiful Dori!”

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Sotto l'ombroso speco, Felice Anerio Sotto l’ombroso speco Di fior herbetta e fronde Posava Dori al mormorar dell’onde, Che parean dir le grati e alberga meco, Contrastar vidd’il cielo Col prato leggiadretto ove s’assise La matutina stella, Ma la divina e tremola fiamella, Comparve onde pastori, fauni e ninfe, La coronaro e fra le pure linfe, Dicean scherzando i pargoletti amori, Viva la bella Dori. Lyricist, Fra Martiale di Catanzaro Quand’apparisti o vag'o amata Dori, Giovanelli Ruggiero Quand’apparisti o vag’o amata Dori, I satiri e le ninfe, Gl’antri lasciaro e le correnti linfe, E con quest’i pastori a te d’intorno, Tessean leggiadri balli, Al suon de bei cristalli, Di verde lauro il biondo crin’adorno, Ti fer’altri cantand’in dolci chori, Viva la bella Dori. Lyricist, Giovanni Domenico Alessandri Misero Ohime, Alessandro Striggio Miser’hoimè chi potra piu’allegrarmi Poi ch’ogni mio dilett’e’in tutt’estinto E son dal grave duol si pres’e’avvinto Che piu non spero mai poter slegarmi Vissi d’amor pregion ma si contento Che dolce mi pareva’ogni tormento Hor sciolto’i son ma pien di tant’amaro Che sol potria’l morir essermi caro.

Under the shady arbour Of fine plants and fronds, Dori rested by the murmuring waters That seemed to give thanks and say dwell with me, In contrast I saw the sky With the pretty meadow where sat The morning star; But the divine and sparkling flame Appeared, wherefore by shepherds, fauns and nymphs Was she crowned, and amid the limpid waters The little gods of love said, as they sported: “Long live beautiful Dori!” When you appeared, O beloved Dori, The satyrs and nymphs Left their caves and the flowing waters, And, with the shepherds Danced gracefully around you. To the sound of the fair, crystal waters, With green laurel adorning your blond hair, We sing in sweet chorus: “Long live beautiful Dori!” Miserable are they who are so proud; when my beloved ones are all gone, and I am of the grave, taken and bound, I never hope to be able to untie myself, but remain here, happy. How sweet every torment seemed to me; but I am only full of bitterness, which a dear death can only cure.

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Rimanti in pace, Claudio Monteverdi Rimanti in pace a la dolente e bella Fillida Tirsi sospirando disse Io me ne vo'tal mi prescrisse Legge empio fato aspra sort'e rubella Ed ella hora da l'una a l'altra stella Stillando amaro humore i lumi affisse Ne i lumi del suo Tirsi e gli trafisse Il cor di pietosissime quadrella. Ond'ei di morte la sua faccia impressa Disse Ahi come n'andro senz'il mio sole Di martir in marti di doglie in doglie Ed ella da singhiozzi e piant'oppressa Fievolmente formo queste parole Deh cara anima mia chi mi ti toglie. Madonna io non so far, Rinaldo del Mel Madonna, io non so far tante parole, Ne tanto ninfigiar ne far l’amore O voi volete o no voi volete O prat’al mio bisogno Il vostro senno Da me sarett’in teso sol col cenno. Et se pur del mio mal punto vi dole, Un bel si o un bel no me rispondete Se sia un si, un si scrivero in rima, Se sia un no, Amici come prima Voi trovare un altra amante ed io, non potendo esser vostro sarro mio. INTERVAL This sweet and merry Month of May, William Byrd This sweet and merry month of May, while nature wantons in her prime, And birds do sing, and beasts do play, For pleasure of the joyful time, I choose the first for holy day, And greet Eliza with a rhyme. O beauteous Queen of second Troy: Take well in worth a simple toy.

"Remain in peace," said Tirsi, sighing, to the sorrowing and fair Fillida; "Remain - I shall go: that was prescribed by law, cruel fate and bitter, perverse destiny!" And she, now from one and the other eye dripping bitter moisture, her eyes fixed on the eyes of her Tirsi, pierced his heart with the most bitter arrows. Whence he, with death imprinted on his face, said: "Alas, how can I go without my sun, from torment to torment, from pain to pain!" And she, oppressed with sighs and tears, faintly uttered these words: "Ah, my dear soul, who takes you from me?" Madonna, I do not know how to speak with so many words, Neither with nymphs or proving my love; Either you would like my affections or not, Therefore I shall patiently await your sign. If I give you the wrong signal, Give me a nice affirmation or rejection: If it is a yes, one should write it in rhyme, If it is a no, we remain friends as before, You find another lover, and I cannot be yours.

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Felice primavera, Carlo Gesualdo Felice primavera Di bei pensier fiorisce nel mio core Novo lauro d'amore A cui ride la terra e il ciel d'intorno, E di bel manto adorno Di giacinti e viole il Po si veste: Danzan le ninfe oneste e i pastorelli E i susurranti augelli in fra le fronde Al mormorar de l'onde: e vaghi fiori Donan le Grazie a i pargoletti Amori. Asciugate i begli occhi, Carlo Gesualdo Asciugate i begli occhi, deh, cor mio, non piangete se lontano da voi gir mi vedete! Ahi, che pianger debb'io misero e sólo, ché partendo da voi m'uccide il duòlo. My heart is like a singing bird, Sarah Rimkus My heart is like a singing bird Whose nest is in a water'd shoot; My heart is like an apple-tree Whose boughs are bent with thickset fruit; My heart is like a rainbow shell That paddles in a halcyon sea; My heart is gladder than all these Because my love is come to me.

Happy Spring! Joyful thoughts cause Love’s new laurels to flourish within my heart, and heaven and earth smile at the sight while the Po adorns its banks with a fine mantle of hyacinths and violets. The honest nymphs and shepherds dance and amid the leaves the birds softly sing above the murmuring water, and the Graces give pretty flowers to the little cupids. Dry those lovely eyes, alas, my beloved, do not weep if you see me wandering far away from you. For, ah, I must weep alone and in misery, because as I part from you, I suffer such bitter pain that my days are numbered. Raise me a dais of silk and down; Hang it with vair and purple dyes; Carve it in doves and pomegranates, And peacocks with a hundred eyes; Work it in gold and silver grapes, In leaves and silver fleurs-de-lys; Because the birthday of my life Is come, my love is come to me.

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Selection from ‘Nonsense Madrigals’, György Ligeti Two dreams and little bat [The Dream of a Girl who Lived at Seven-Oaks] Seven sweet singing birds up in a tree; Seven swift sailing ships white upon the sea; Seven bright weather-cocks shining in the sun; Seven slim race-horses ready for a run; Seven gold butterflies, flitting overhead; Seven red roses blowing in a garden bed; Seven white lilies, with honey bees inside them; Seven round rainbows with clouds to divide them; Seven pretty little girls with sugar on their lips; Seven witty little boys, whom everybody tips; Seven nice fathers, to call little maids joys; Seven nice mothers, to kiss the little boys; Seven nights running I dreamt it all plain; With bread and jam for supper I could dream it all again! Lyricists, William Brighty Rands and Lewis Carroll The Alphabet A, B, C, D, E, F, G… Cuckoo in the pear tree The Cuckoo sat in the old pear-tree, Cuckoo! Raining or snowing, nought cared he. Cuckoo! Cuckoo, cuckoo, nought cared he. The Cuckoo flew over a housetop high. Cuckoo! “Dear, are you at home, for here am I? Cuckoo! Cuckoo, cuckoo, here am I.” “I dare not open the door to you. Cuckoo! Perhaps you are not the right cuckoo? Cuckoo! Cuckoo, cukoo, the right Cuckoo!”

[The Dream of a Boy who Lived at Nine-Elms] Nine grenadiers, with bayonets in their guns; Nine bakers' baskets, with hot cross buns; Nine brown elephants standing in a row; Nine new velocipedes, good ones to go; Nine knickerbocker suits, with buttons all complete; Nine pairs of skates with straps for the feet; Nine clever conjurors eating hot coals; Nine sturdy mountaineers leaping on their poles; Nine little drummer-boys beating on their drums; Nine fat aldermen sitting on their thumbs; Nine new knockers to our front door; Nine new neighbours that I never saw before; Nine times running I dreamt it all plain; With bread and cheese for supper I could dream it all again! [Twinkle, Twinkle, Little Bat] Twinkle, twinkle, little bat! How I wonder what you're at! Up above the world you fly, Like a tea tray in the sky. “I am the right Cuckoo, the proper one. Cuckoo! For I am my father's only son, Cuckoo! Cuckoo, cuckoo, his only son.” “If you are your father's only son - Cuckoo! The bobbin pull tightly, Come through the door lightly - Cuckoo! “If you are your father's only son - Cuckoo! It must be you, the only one - Cuckoo, cuckoo, my own Cuckoo! Cuckoo!”

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Lieti solcando il mare, Cristoforo Malvezzi Lieti solcando il mare Cantiam compagni fidi Ecco ch'il cielo Ai nostri bei desir cortese aspira Già fatto freddo gielo L'infelice Arion l'anima spira Dentr'a quell'acque hor noi Godiam felici dei tresori suoi. Vide Homo quae pro te patior, Orlande de Lassus Vide homo, quæ pro te patior, Ad te clamo, qui pro te morior, Vide poenas quibus afficior; Vide clavos quibus confodior; Non est dolor sicut quo crucior; Et cum sit tantus dolor exterior, Intus tamen dolor est gravior, Tam ingratum cum te experior.

Happily sailing the sea Let's sing, faithful companions Behold the sky aspiring graciously to our beautiful desires Now that the soul of the unfortunate Arion, which turned freezing cold, dies in those waters, we can happily enjoy his treasures. See, O man, what I have suffered for you; I cry out to you, I who am dying for you; See the agonies with which I am afflicted; See the nails with which I am pierced. There is no pain like that which torments me; And though the outward pain be great, The internal agony is graver still, When I find you to be so ungrateful.

MEMBERS AND BIOGRAPHIES

Guy James, countertenor Andrew Leslie-Cooper, countertenor

Chris Fitzgerald-Lombard, tenor Joshua Cooter, tenor

Michael Craddock, baritone Sam Mitchell, bass

Owain Park, director and bass

The Gesualdo Six is a vocal consort comprised of some of the UK’s finest young consort singers, directed by Owain Park. Formed in March 2014 for a performance of Gesualdo’s ‘Tenebrae Responsories for Maundy Thursday’ in the chapel of Trinity College, Cambridge, the group went on to give over sixty performances around the United Kingdom and abroad in its first three years. Over this time, The Gesualdo Six further developed a passion for ensemble singing that for many of them stemmed from formative years as choristers in churches and cathedrals around the country.

The Gesualdo Six has performed in many festivals in the UK, Canada, Germany, The Netherlands, France, Poland and Monaco. The ensemble recognises the importance of teaching, and regularly incorporates educational work into its activities, holding workshops for choirs and composers and giving concerts alongside local performers.

Whilst initially focusing on early music, concert programmes began to reflect a desire to include more modern repertoire and now renaissance polyphony is often juxtaposed with works by composers including György Ligeti and Joanna Marsh amongst others. In 2016, The Gesualdo

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Six successfully curated its first Composition Competition, supported by St John’s Smith Square and the Music Sales group of companies, attracting 174 entries from around the world. In 2019, over three hundred composers entered the second edition of the Composition Competition, with the winning works by Alison Willis and Jacob Beranek receiving their world premieres at Cadogan Hall in London.

The ensemble released their debut recording on Hyperion Records in early 2018, an album of English renaissance polyphony titled ‘English Motets’.

Owain Park, director

Owain Park is a composer, conductor, singer and organist. As well as directing The Gesualdo Six, he regularly works with ensembles including the BBC Singers and Cappella Cracoviensis. Owain is also the Musical Director of Cambridge Chorale.

Owain’s compositions are published by Novello and have been performed internationally by ensembles including the Tallis Scholars and the Aurora Orchestra. While at Cambridge University he studied orchestration with John Rutter, before undertaking a Masters degree in composition.

Recent works include ‘Antiphon for the Angels’ for VOCES8 and Rachel Podger, and ‘Footsteps’ for Tenebrae and Nigel Short, a piece conceived to be performed by young and amateur singers alongside the professional forces of Tenebrae. His chamber opera ‘The Snow Child’ was performed over five nights at the Edinburgh Fringe Festival, and his compositions have won awards from organisations including the National Centre for Early Music, with his music regularly broadcasted on the BBC, Classic FM, and internationally. The Choir of Trinity College Cambridge included ‘The Wings of the Wind’ in their tour programmes to the United States, Australia and Hong Kong, and recently released an album of his music on Hyperion Records which has been nominated in the 2019 BBC Music Magazine Awards.

Owain is a Fellow of the Royal College of Organists (FRCO), and was awarded the Dixon Prize for improvisation, having been Senior Organ Scholar at Wells Cathedral and Trinity College Cambridge. He is a Tenebrae Associate Artist, and has worked with ensembles including Polyphony, Gabrieli Consort and Alamire.

Photo: Ash Mills

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Martin Darling

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