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Teixeira Te Deum
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cor16009
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technically brilliant
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Victoria Requiem 1605
Ann Murray / Handel - Italian Secular Cantatas
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“... a dazzling revelation
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Priest, scholar and singer,
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CORO
The Sixteen Edition
Renaissance
Portugal
Sacred Music of
Cardoso and Lôbo
THE SIXTEEN
HARRY CHRISTOPHERS
T H E VO I C E S O F
There are two people, in particular, who have fired my
enthusiasm for the music of Portugal; one is Rui Nery of the
Calouste Gulbenkian Foundation in Lisbon and the other is
Martyn Imrie of Mapa Mundi. Over the years I have made
frequent visits to Lisbon where I have always found Rui to be
a constant source of new editions, wonderful anecdotes about
The Sixteen Edition
musical life in renaissance Portugal and, above all, an enthusiast
for the music of his beloved country. Martyn is the inspiration
behind his music publishing
company,
Mapa
Mundi,
“As time goes by, I find Harry Christophers’
CORO
is the
lively
and which is
second to none in the world of early choral music. Martyn and
successful record label of
music making more and more captivating.”
his team of excellent editors and researchers, of which he is
The Sixteen, The Symphony
BBC RADIO 
principal, ensure that we have performing editions that are not
Harmony and Invention
only accurate but also well of
documented.
Over
30,000
people each
year
hear our
and Harry
Christophers.
We,
as performers,
rely on
practical
editions which are thoroughly
researched
and faithful to the
concerts
and
so have their
livesofenriched
by to this disc who wish to programme any of these
composer’s
intentions.
For those
you listening
works
with your chamber
ensemble
or church choir, I stronglyFormed
recommend
you contact
the
music-making
of Harry
Christophers,
in 2001,
COROMapa
is
Mundi.
I know
that
will be delighted
by its presentation and
musical
accuracy.
Th
e Sixteen
and
Thyou
e Symphony
of Harmony
re-mastering, re-packaging
so to the music itself; Cardoso and Lôbo are the figureheads of the two centres of musical
andAnd
Invention.
Many thousands more enjoy
and re-issuing recordings
excellence in Portugal, Lisbon and Évora. Although both had studied the polyphonic works by the
our CD recordings and radio broadcasts.
of ThPortuguese
e Sixteen that
great masters of Italy and Spain, there is, nevertheless, a distinctive
voicewere
to be found in
for
a
short
time
available
their music, either in the prayerful simplicity of Lôbo’s Requiem Mass – just listen
to the end of the
Th
ere are
support
The Sixteen.- or in the more
on Collins
Agnus
Deimany
at the ways
entry to
of the
word sempiternam
complexClassics,
daring of Cardoso – the
Ifverse
you for
would
like to help
two sopranos
andby
twocontributing
tenors in the to
Credo section Etand
resurrexit
is quite
an new
extraordinary
making
brand
piece
of writing.
Cardoso
was Chapelmaster
Carmo for every
more than
its
work,
or would
like information
aboutof the Convent ofrecordings
year.sixty years.
The Convent of
Carmo ispatronage,
now a ruin;specifi
once the
membership
schemes,
c largest
church inorLisbon,
it was
half destroyed
by the
projects
business
sponsorship,
please
seeearthquake
of 1755. Today it has a different and haunting beauty.
CORO
The Sixteen
Supporting The Sixteen
www.thesixteen.com
2
14
FreiThe
Manuel
Cardoso (1566-1650)
Sixteen
HARRY
CHRISTOPHERS
Duarte
Lôbo
(c1565-1646)
virtually all the multi-choir music written by these
same masters of contrapuntal polyphony was
destroyed in the earthquake of 1755.
Cardoso came from Fronteira, in the Alentejo
oth Frei Manuel Cardoso and Duarte
region,
where he was born in 1566, and professed
fter twenty-five years of world-wide performance
Lôbo, two of Portugal's most important
as a monk in Lisbon in 1589, having studied
and recording, The Sixteen is recognised as
composers,
spent most
of their
under
'Grammar and the art of Music' in Évora (an
one of the world’s
greatest
vocallives
ensembles.
Spanish
ironically,
theearly
period
in
important city at this time, both the University
Its
specialrule;
reputation
for precisely
performing
English
which Poruguese
music began
to enjoy its 'golden
and Cathedral enjoying considerable renown
polyphony,
masterpieces
of the Renaissance
and a
age'. Philip
II of century
Spain, inmusic
spite is
ofdrawn
his treatment
as centres of musical education) from the age
diversity
of 20th
from the
of Portugal
as a province
his ownHarry
country
in
of nine.Recording
The connections
with Brown
royal patrons
passions
of conductor
andof
founder,
Christophers.
Producer: Mark
economic
political terms,
proved to be a reflect in Cardoso's
Over
eightyand
recordings,
many prize-winning,
case
are particularly
evident. He
Recording
Engineer:
Antony Howell
CD mastering:
Julian of
Millard
The
Sixteen’s
qualityof
inPortuguese
a range of work
spanning
generous
promoter
composers,
andthe dedicated
his 1631 book
Masses to Philip IV,
Recorded at
St. Jude's
on the Hill,
music
six hundred
years.
neitherofwere
aristocratic
patrons lacking at home.
was connected
with
the Bragança
family while
Garden Suburb in June 1993
The
has touredofthroughout
Europe,
Japan,
AfterSixteen
the restoration
the monarchy
in 1640,
a he wasHampstead
at the Carmelite
Priory
in Lisbon,
and it
Originally
released
on
the
Collins
label in 1994
Australia
and the Americas
andtohas
sense of national
identity had
be given
foughtregular
for once is probable
that thesupport
future from
King John IV was his
with generous
performances
at
major
concert
halls
and
festivals
again. The only unbroken line in cultural terms
pupil as
well 94
as Capital
his patron.
Lisboa
Europeia da Cultura
worldwide,
including
the Barbican
Sydney
was the power
and influence
of theCentre,
Church,
and by
TheCover
motets
on this
come from
image:
Domrecording
Christophers
Opera House, and Vienna Musikverein; also the BBC
extension Latin liturgical polyphony. Composers
two sources:
and
Non mortui
Design:Sitivit
Richardanima
Boxallmea
Design
Associates
Proms, and the festivals of Salzburg, Granada, Lucerne
such as Cardoso, Magalhães, Lôbo, and Brito
with
theProductions
Missa pro Ltd.
Defunctis in
P 2005 The
Sixteen
and Istanbul. The vigour and passion of its performancewere published
urgenew
onefans
to think
againitabout
suchAt
conventional
bookThe
of Sixteen
Masses,Productions
and Tulerunt
© 2005
Ltd. lapides
win
wherever
performs.
home in the UK,the 1625
labels
as 'Renaissance'
and 'Baroque';
conservative
Sunday)
is fromabout
the Livro
de Vários
For further
information
The Sixteen
the
group
promotes A Choral
Pilgrimage,
a tour of our (for Passion
contrapuntal
writing,
prima
prattica,
was
basis Motetesrecordings
CORO
live performances
of 1648.on
They
areortypical
of Cardoso's
finest
cathedrals
bringing
music
back to
thethe
buildings
(0) 1865 counterpoint
793 999
for which
this golden
which carried on until after
style inand
thetours,
way call
they+44
combine
of
for
it wasage
written.
or email
[email protected]
theThe
death
of Monteverdi
It is a genuine
Palestinian
rigour
with a very un-Palestrinian
choir
is enhanced in
by 1643.
the existence
of its
www.thesixteen.com
continuation
of a style founded
of the
own
period instrument
orchestra,upon
The that
Symphony
richness
of harmony, but one could say as much
of
Harmony
andcomposers
Invention, (themselves,
and through of
it Harry
earlier
Spanish
course,
of a great deal of Iberian music at this period.
Christophers
brings
fresh insights
music
popularly seen
as catching
up withtothe
restincluding
of
In fact, Cardoso's motets never really do sound
that
of Purcell,
Monteverdi,
JS Bach and
Handel.
T H any
E V other
O I C E composer;
S OF
the world
rather
late), in particular
Morales
and2004 quite like
his counterpoint
witnessed
of the
group's annual
Handelof is almost always a great deal more complicated
Guerrero, the
andlaunch
also upon
a thorough
knowledge
in
Oxford Festival,
a weekend
of out,
concerts
and events
Palestrina.
It should
be pointed
however,
that
and idiosyncratic in its harmonic ramifications
dedicated
to composers
the life of this
Portuguese
didgreat
writecomposer.
polychoral music; than his contemporary Lôbo's, for example, even
our view of this period is distorted by the fact that though both Non mortui and Sitivit anima mea
B
A
3
N
are perhaps the two pieces by Cardoso that come
bp
closest
to Lôbo's imposing serenity.
The Missa
taken from the
Domine
Iesu Regina
Christecaeli
Rex isgloriae
second book of Masses, printed in Lisbon in
libera animas omnium fidelium defunctorum
1636 by Lourenço Craesbeeck, and which has
poenis inferni,
de profundo
lacu.John II
ade
dedication
to theetDuke
of Bragança,
Libera
eas 1625
de orevolume).
leonis, As is the case with
(as
did the
ne absorbeat
eas in
tartarus,
the
other Masses
the collection, its model is
nec cadant ininobscurum,
monophonic,
this case the chant for the Marian
sed signifer
sanctus
Michael
antiphon
Regina
caeli.
Cardoso's treatment of his
model
is veryeas
free;initlucem
is never
quoted in full, the
repraesentet
sanctam,
composer
to use sections of it as
quam olimpreferring
Abrahae instead
promisisti,
aetmotivic
It becomes, in fact, a series
semini scaffolding.
eius.
of melodic tags which function as imitative points.
The outstanding characteristic of this Mass is its
joyfulness, presumably occasioned by the fact that
Regina
caeli is the antiphon for Eastertide. As if to
bq
underline this point, Cardoso makes reference in
Sanctus,
Sanctus,
Sanctus
the
Et resurrexit
section
of the Credo to the phrase
Dominus sicut
Deusdixit
Sabaoth.
Resurrexit
from the chant. The tonality
isPleni
another
thisgloria
celebratory
suntreason
caeli etfor
terra
tua. feeling; like
its
chant model,
the Mass is, to modern ears, in the
Hosanna
in excelsis.
key of F major (at source pitch), which imparts to
qui venit
itBenedictus
a very tangible
brightness.
in Duarte
nomineLôbo
Domini.
was the most widely known of
Portuguese
Hosanna incomposers,
excelsis. and as one might expect,
his music appears not only all over Portugal, but
in Spain, the Spanish Netherlands, and South
America. Like Cardoso, he studied at the Cloister
School in Évora under Manuel Mendes. The
greater part of his life was spent as mestre de capela
at Lisbon Cathedral, and he also taught in the
Cloister School. He was unique among the Évora
Offertorium
Sanctus/Benedictus
4
12
composers in having his works published by
Plantin in Antwerp: this certainly helped greatly
in theJesus
dissemination
of his
Lord
Christ, King
of music
glory, abroad.
There exist two austerely beautiful settings
deliver the souls of all the faithful departed
of the Missa pro Defunctis by Lôbo, one for six
from the
pains
of hell and
fromand
thethe
deep
voices
which
appeared
in 1639,
onepit.
for
Deliver
themrecorded
from the
lion’s
eight voices
here
andmouth,
published in the
lest the
jaws of hell
swallow
them,
Liber
Missarum
of 1621.
In comparison
with
lest they fall
intoharmony
everlasting
darkness.
Cardoso,
Lôbo's
is plainer,
though
But let
the leader ofof
hosts,
this
is atSaint
leastMichael,
partly a consequence
writing
for
so them
many forth
voices,into
even
though
the work is not
bring
Thy
holy light,
properly
polychoralbefore
(multi-choir
works by Lôbo
as Thou promised
to Abraham,
do
- the Opuscula of 1602 - though one of
andsurvive
to his seed.
the tenor parts is missing). The harmony of the
six-voice Requiem is more 'colourful', but even
so, the Iberian tradition of monumental, relatively
plain harmony for musical exequies is what is
important (contrary to what is often claimed,
Holy, Holy,
Holy Defunctorum was far from
Victoria's
Officium
Lord God
of hosts.
being
the origin
of this style, as a glance at funeral
music
de la
Torre,
or Vázquez
Heavenbyand
earth
areMorales
full of Thy
glory. would
prove).
Comparison
of Lôbo's settings of the
Hosanna
in the highest.
Ordinary of the Mass with Cardoso's prove him to
Blessed
is he
that
have
been
quite
ascometh
imaginative: the differences are
in theof
name
of the Lord.
those
personality.
It was common practice to
append
to publications of Requiem
Hosannafuneral
in themotets
highest.
Masses at this period, and Lôbo's 1621 book is
no exception. Audivi vocem de caelo and Pater
peccavi are two of his most beautiful pieces; their
haunting melodic style and harmonic sobriety are
deeply moving. A 'voice from heaven' indeed.
ivan moody
Agnus Dei
MANUEL CARDOSO (1566-1650)
br
1 Sitivit anima mea
Agnus Dei, qui tollis peccata mundi:
2
Tulerunt
lapides
miserere
nobis.
Agnus
qui tollis peccata mundi:
3
NonDei,
mortui
dona nobis pacem.
MISSA REGINA CAELI
4 Kyrie
5 Gloria
bs
6 Credo
LuxSanctus/Benedictus
aeterna luceat eis, Domine
7
cum
sanctis tuis in aeternum,
8 Agnus
Dei
quia pius es.
Requiem aeternam dona eis Domine
DUARTE
LÔBO
et
lux perpetua
luceat c15651646
eis
cum
sanctis
tuis
in
aeternum,
9 Audivi vocem de caelo
quia pius es.
bl Pater peccavi
Lux aeterna
3.56Lamb of God, who takest away the sins of the world,
1.37have mercy on us.
4.23Lamb of God, who takest away the sins of the world,
grant us peace.
5.38
5.23
8.46
3.38Let light perpetual shine upon them, O Lord,
2.08in the company of Thy saints for evermore;
because Thou art merciful.
Grant them eternal rest, O Lord,
THE
SIXTEEN
and let light perpetual
shine
upon them
SOPRANO
in the company of Thy saints
for evermore,
2.29
because ThouFiona
art merciful.
Clarke, Libby Crabtree
2.20
Ruth Dean, Harriet Goodwin
Carys Lane, Rebecca Outram
MISSA PRO DEFUNCTIS a 8
bm Introitus
bn Kyrie
5.27
bo Graduale
bp Offertorium
3.09
bq Sanctus/Benedictus
br Agnus Dei
2.17
bs Lux aeterna
2.36
Total playing time
ALTO
2.09
Andrew Giles, Michael Lees
Philip Newton, Christopher Royall
3.05
TENOR
Andrew Carwood, Neil MacKenzie
David Roy, Matthew Vine
2.30
BASS
Simon Birchall, Matthew Brook
Robert Evans, Michael McCarthy
62.51
13
5
CARDOSO
Agnus Dei
Agnus Dei, qui tollis peccata mundi:
1 Sitivit anima mea
miserere nobis.
pro Defunctis
Missa Regina
Caeli a 8
MANUEL
8
Agnus
Dei, quimea
tollis
Sitivit anima
adpeccata
Deum mundi:
dona
pacem.
fortemnobis
vivum:
quando veniam et apparebo
ante faciem Dei mei,
quis dabit mihi pennas sicut columbae
et volabo et requiescam?
Lamb of God, who takest away the sins of the world,
have mercy on us.
LambMy
of soul
God,hath
whothirsted
takest away
sins of the world,
afterthe
God,
grantwho
us peace.
is great and living:
when I come and appear
before the face of my God,
who will give me wings as of a dove
and I will fly and be at rest?
DUARTE LÔBO
9
2
et exivit de templo.
3
bl
Introitus
Kyrie
Requiem
aeternam dona eis Domine;
Kyrie
eleison.
et lux perpetua
Christe
eleison. luceat eis.
Te decet
hymnus Deus in Sion
Kyrie
eleison.
Et tibi reddetur votum in Jerusalem:
exaudi orationem meam,
ad te omnis caro veniet.
5
Grant
eternalupon
rest, O
Lord them
have mercy
us.Lord,
and
let light
shine
Christ
haveperpetual
mercy upon
us.upon them.
ALord
hymn,
O God,
have
mercybecometh
upon us. Thee in Sion,
and a vow shall be paid to Thee in Jerusalem:
give ear to my supplication, O Lord,
unto Thee shall all flesh come at last.
Gloria in excelsis Deo.
Et in terra pax
bn
hominibus
bonae voluntatis.
Laudamus te, benedicimus te, adoramus te,
Kyrie eleison.te.
glorificamus
Christe eleison.
Gratias
agimus tibi
Kyrie eleison.
propter
magnam gloriam tuam.
Domine Deus, Rex caelestis,
Deus Pater omnipotens.
Domine
Fili unigenite, Iesu Christe.
bo
Domine Deus, Agnus Dei, Filius Patris.
Requiem
dona eis Domine,
Qui
tollis aeternam
peccata mundi,
et lux perpetua
miserere
nobis. luceat eis.
In memoria
aeterna,
erit justus;
Qui
tollis peccata
mundi,
ab auditione
mala nonnostram.
timebit.
suscipe
deprecationem
Qui sedes ad dexteram Patris,
miserere nobis.
Quoniam tu solus Sanctus,
tu solus Dominus,
Glory be to God on high.
And on earth peace
to men of good will.
We praise Thee, we bless Thee,
Lord
have mercy
we glorify
Thee.upon us.
Christ
have
mercytoupon
We give
thanks
Theeus.
Lord
havegreat
mercy
upon us.
for Thy
glory.
Gloria
Kyrie
Audivi
de caelo
Tuleruntvocem
lapides
Audivi
vocem
de ut
caelo,
dicentem
mihi:
Tulerunt
lapides
iacerent
in eum:
Beati
mortui,abscondit
qui in Domino
moriuntur.
Iesus autem
se
bm
4
I heard a voice from heaven saying to me:
They took up stones to throw at Him:
Blessed are the dead who die in the Lord.
Jesus however concealed Himself
and went out from the temple.
Lord God, heavenly King,
God the Father almighty.
O Lord, the only-begotten Son, Jesu Christ.
Lord God, Lamb of God, Son of the Father.
Thouthem
that takest
sins of the world,
Grant
eternalaway
rest, the
O Lord,
have
upon us. shine upon them.
and
letmercy
light perpetual
Thou
theinsins
of the everlasting:
world,
The
justthat
mantakest
shall away
remain
memory
ourheprayer.
ofreceive
ill report
shall not be afraid.
Thou that sittest at the right hand of the
Father, have mercy upon us.
For Thou only art holy,
Thou only art the Lord,
Graduale
Non mortui
Pater
peccavi
Non mortui
sunt in inferno,
They
are sinned
not dead
who are
in hell,
Pater
peccaviqui
in caelum,
Father,
I have
against
heaven,
quorum
acceptus est a visceribus suis; and before
whose you;
souls have passed from their flesh;
et
coram spiritus
te;
dabunt
et iustificationem
Domino.
they Ishall
giveworthy
honourtoand
to
iam
nonhonorem
sum dignus
vocari filius tuus.
therefore
am not
be justification
called your son.
Sed anima quae tristis est
the Lord. But the soul that is sad over the
super magnitudinem mali
magnitude of its wrongdoing
et incedit curva et infirma,
and treads a path crooked and weak,
dat tibi gloriam et iustitiam Domino.
gives Thee glory and justice, O Lord.
6
10
11
7
tu solus Altissimus Iesu Christe.
Cum Sancto Spiritu
in gloria Dei Patris. Amen.
6
Thou only art the most high, Jesu Christ.
With the Holy Spirit
in the glory of God the Father. Amen.
Credo
I believe in God
the Father almighty,
Maker of heaven and earth,
and of all things visible and invisible.
And in one Lord Jesus Christ,
the only begotten Son of God,
begotten of his Father before all worlds.
God of God, Light of Light,
very God of very God,
begotten, not made,
being of one substance with the Father,
by Whom all things were made.
Who for us men,
and for our salvation,
came down from heaven.
And was incarnate by the Holy Ghost
of the Virgin Mary
and was made man.
And was crucified also for us
under Pontius Pilate.
He suffered and was buried.
And the third day He rose again
Credo in unum Deum
Patrem omnipotentem,
factorem caeli et terrae,
visibilium omnium et invisibilium.
Et in unum Dominum, Iesum Christum,
Filium Dei unigenitum,
et ex Patre natum ante omnia saecula.
Deum de Deo, lumen de lumine,
Deum verum de Deo vero,
genitum, non factum,
consubstantialem Patri,
per quem omnia facta sunt.
Qui, propter nos homines,
et propter nostram salutem,
descendit de caelis.
Et incarnatus est de Spiritu Sancto
ex Maria virgine,
et homo factus est.
Crucifixus etiam pro nobis
sub Pontio Pilato;
passus et sepultus est.
Et resurrexit tertia die,
8
secundum scripturas;
et ascendit in caelum,
sedet ad dexteram Patris.
Et iterum venturus est cum gloria
iudicare vivos et mortuos,
cuius regni non erit finis.
Et in Spiritum Sanctum
Dominum et vivificantem,
qui ex Patre Filioque procedit;
qui cum Patre et Filio simul
adoratur et conglorificatur;
qui locutus est per Prophetas.
Et unam sanctam catholicam
et apostolicam ecclesiam.
Confiteor unum baptisma
in remissionem peccatorum.
Et expecto resurrectionem mortuorum
et vitam venturi saeculi. Amen.
7
according to the scriptures;
and ascended into heaven,
and sitteth at the right hand of the Father.
And He shall come again with glory
to judge both the quick and the dead;
Whose kingdom shall have no end.
And I believe in the Holy Ghost
the Lord and giver of life,
Who proceedeth from the Father and the Son;
Who with the Father and the Son together
is worshipped and glorified;
Who spake by the prophets.
And I believe in one holy, Catholic and
Apostolic Church.
I acknowledge one Baptism
for the remission of sins.
And I look for the resurrection of the dead
and the life of the world to come. Amen.
Sanctus/Benedictus
Sanctus, Sanctus, Sanctus
Dominus Deus Sabaoth.
Pleni sunt caeli et terra gloria tua.
Hosanna in excelsis.
Holy, Holy, Holy
Lord God of hosts.
Heaven and earth are full of Thy glory.
Hosanna in the highest.
Benedictus qui venit
in nomine Domini.
Hosanna in excelsis.
Blessed is he that cometh
in the name of the Lord.
Hosanna in the highest.
9
Missa Regina
Caeli a 8
pro Defunctis
CARDOSO
Agnus Dei
MANUEL
8
Agnus Dei, qui tollis peccata mundi:
1
miserere nobis.
Agnus anima
Dei, qui
tollis
Sitivit
mea
adpeccata
Deum mundi:
dona
pacem.
fortemnobis
vivum:
Sitivit anima mea
quando veniam et apparebo
ante faciem Dei mei,
quis dabit mihi pennas sicut columbae
et volabo et requiescam?
Lamb of God, who takest away the sins of the world,
have mercy on us.
LambMy
of soul
God,hath
whothirsted
takest away
sins of the world,
after the
God,
grantwho
us peace.
is great and living:
when I come and appear
before the face of my God,
who will give me wings as of a dove
and I will fly and be at rest?
DUARTE LÔBO
9
2
bl
3
Kyrie
Introitus
Kyrie
eleison.
Requiem
aeternam dona eis Domine;
Christe
eleison. luceat eis.
et lux perpetua
Kyrie
eleison.
Te decet
hymnus Deus in Sion
Et tibi reddetur votum in Jerusalem:
exaudi orationem meam,
ad te omnis caro veniet.
5
Lordthem
have mercy
us.Lord,
Grant
eternalupon
rest, O
Christ
haveperpetual
mercy upon
us.upon them.
and
let light
shine
have
mercybecometh
upon us. Thee in Sion,
ALord
hymn,
O God,
and a vow shall be paid to Thee in Jerusalem:
give ear to my supplication, O Lord,
unto Thee shall all flesh come at last.
Gloria in excelsis Deo.
Et in terra pax
hominibus
bonae voluntatis.
bn
Laudamus te, benedicimus te, adoramus te,
Kyrie
eleison.te.
glorificamus
Christe
Gratias eleison.
agimus tibi
Kyrie eleison.
propter
magnam gloriam tuam.
Domine Deus, Rex caelestis,
Deus Pater omnipotens.
Domine Fili unigenite, Iesu Christe.
bo
Domine Deus, Agnus Dei, Filius Patris.
Qui
tollis aeternam
peccata mundi,
Requiem
dona eis Domine,
miserere
nobis. luceat eis.
et lux perpetua
Qui
tollis peccata
mundi,
In memoria
aeterna,
erit justus;
suscipe
deprecationem
ab auditione
mala nonnostram.
timebit.
Qui sedes ad dexteram Patris,
miserere nobis.
Quoniam tu solus Sanctus,
tu solus Dominus,
Glory be to God on high.
And on earth peace
to men of good will.
We praise Thee, we bless Thee,
Lord
have mercy
we glorify
Thee.upon us.
Christ
have
mercytoupon
We give
thanks
Theeus.
Lord
havegreat
mercy
upon us.
for Thy
glory.
Gloria
Kyrie
Audivi
de caelo
Tuleruntvocem
lapides
Audivi vocem de caelo, dicentem mihi:
Tulerunt lapides ut iacerent in eum:
Beati mortui, qui in Domino moriuntur.
Iesus autem abscondit se
et exivit de templo.
4
bm
I heard a voice from heaven saying to me:
They took up stones to throw at Him:
Blessed are the dead who die in the Lord.
Jesus however concealed Himself
and went out from the temple.
Lord God, heavenly King,
God the Father almighty.
O Lord, the only-begotten Son, Jesu Christ.
Lord God, Lamb of God, Son of the Father.
Thouthem
that takest
sins of the world,
Grant
eternalaway
rest, the
O Lord,
have
upon us. shine upon them.
and
letmercy
light perpetual
Thou
theinsins
of the everlasting:
world,
The
justthat
mantakest
shall away
remain
memory
ourheprayer.
ofreceive
ill report
shall not be afraid.
Thou that sittest at the right hand of the
Father, have mercy upon us.
For Thou only art holy,
Thou only art the Lord,
Graduale
Pater
peccavi
Non mortui
Pater
peccaviqui
in sunt
caelum,
Father,
I have
sinned
against
heaven,
Non mortui
in inferno,
They
are not
dead
who are
in hell,
et
coramspiritus
te;
quorum
acceptus est a visceribus suis; and before
whose you;
souls have passed from their flesh;
iam
nonhonorem
sum dignus
vocari filius tuus.
therefore
am not
be justification
called your son.
dabunt
et iustificationem
Domino.
they Ishall
giveworthy
honourtoand
to
Sed anima quae tristis est
the Lord. But the soul that is sad over the
super magnitudinem mali
magnitude of its wrongdoing
et incedit curva et infirma,
and treads a path crooked and weak,
dat tibi gloriam et iustitiam Domino.
gives Thee glory and justice, O Lord.
10
6
7
11
are perhaps the two pieces by Cardoso that come
bp
closest
to Lôbo's imposing serenity.
The Missa
taken from the
Domine
Iesu Regina
Christecaeli
Rex isgloriae
second book of Masses, printed in Lisbon in
libera animas omnium fidelium defunctorum
1636 by Lourenço Craesbeeck, and which has
poenis inferni,
de profundo
lacu.John II
ade
dedication
to theetDuke
of Bragança,
Libera
eas 1625
de orevolume).
leonis, As is the case with
(as
did the
ne absorbeat
eas in
tartarus,
the
other Masses
the collection, its model is
nec cadant ininobscurum,
monophonic,
this case the chant for the Marian
sed signifer
sanctus
Michael
antiphon
Regina
caeli.
Cardoso's treatment of his
model
is veryeas
free;initlucem
is never
quoted in full, the
repraesentet
sanctam,
composer
to use sections of it as
quam olimpreferring
Abrahae instead
promisisti,
aetmotivic
It becomes, in fact, a series
semini scaffolding.
eius.
of melodic tags which function as imitative points.
The outstanding characteristic of this Mass is its
joyfulness, presumably occasioned by the fact that
Regina
caeli is the antiphon for Eastertide. As if to
bq
underline this point, Cardoso makes reference in
Sanctus,
Sanctus,
Sanctus
the
Et resurrexit
section
of the Credo to the phrase
Dominus sicut
Deusdixit
Sabaoth.
Resurrexit
from the chant. The tonality
isPleni
another
thisgloria
celebratory
suntreason
caeli etfor
terra
tua. feeling; like
its
chant model,
the Mass is, to modern ears, in the
Hosanna
in excelsis.
key of F major (at source pitch), which imparts to
qui venit
itBenedictus
a very tangible
brightness.
in Duarte
nomineLôbo
Domini.
was the most widely known of
Portuguese
Hosanna incomposers,
excelsis. and as one might expect,
his music appears not only all over Portugal, but
in Spain, the Spanish Netherlands, and South
America. Like Cardoso, he studied at the Cloister
School in Évora under Manuel Mendes. The
greater part of his life was spent as mestre de capela
at Lisbon Cathedral, and he also taught in the
Cloister School. He was unique among the Évora
Offertorium
Sanctus/Benedictus
4
12
composers in having his works published by
Plantin in Antwerp: this certainly helped greatly
in theJesus
dissemination
of his
Lord
Christ, King
of music
glory, abroad.
There exist two austerely beautiful settings
deliver the souls of all the faithful departed
of the Missa pro Defunctis by Lôbo, one for six
from the
pains
of hell and
fromand
thethe
deep
voices
which
appeared
in 1639,
onepit.
for
Deliver
themrecorded
from the
lion’s
eight voices
here
andmouth,
published in the
lest the
jaws of hell
swallow
them,
Liber
Missarum
of 1621.
In comparison
with
lest they fall
intoharmony
everlasting
darkness.
Cardoso,
Lôbo's
is plainer,
though
But let
the leader ofof
hosts,
this
is atSaint
leastMichael,
partly a consequence
writing
for
so them
many forth
voices,into
even
though
the work is not
bring
Thy
holy light,
properly
polychoralbefore
(multi-choir
works by Lôbo
as Thou promised
to Abraham,
do
- the Opuscula of 1602 - though one of
andsurvive
to his seed.
the tenor parts is missing). The harmony of the
six-voice Requiem is more 'colourful', but even
so, the Iberian tradition of monumental, relatively
plain harmony for musical exequies is what is
important (contrary to what is often claimed,
Holy, Holy,
Holy Defunctorum was far from
Victoria's
Officium
Lord God
of hosts.
being
the origin
of this style, as a glance at funeral
music
de la
Torre,
or Vázquez
Heavenbyand
earth
areMorales
full of Thy
glory. would
prove).
Comparison
of Lôbo's settings of the
Hosanna
in the highest.
Ordinary of the Mass with Cardoso's prove him to
Blessed
is he
that
have
been
quite
ascometh
imaginative: the differences are
in theof
name
of the Lord.
those
personality.
It was common practice to
append
to publications of Requiem
Hosannafuneral
in themotets
highest.
Masses at this period, and Lôbo's 1621 book is
no exception. Audivi vocem de caelo and Pater
peccavi are two of his most beautiful pieces; their
haunting melodic style and harmonic sobriety are
deeply moving. A 'voice from heaven' indeed.
ivan moody
Agnus Dei
MANUEL CARDOSO (1566-1650)
br
1 Sitivit anima mea
Agnus Dei, qui tollis peccata mundi:
2
Tulerunt
lapides
miserere
nobis.
Agnus
qui tollis peccata mundi:
3
NonDei,
mortui
dona nobis pacem.
MISSA REGINA CAELI
4 Kyrie
5 Gloria
bs
6 Credo
LuxSanctus/Benedictus
aeterna luceat eis, Domine
7
cum
sanctisDei
tuis in aeternum,
8 Agnus
quia pius es.
Requiem aeternam dona eis Domine
DUARTE
LÔBO
et
lux perpetua
luceat c15651646
eis
cum
sanctis
tuis
in
aeternum,
9 Audivi vocem de caelo
quia pius es.
bl Pater peccavi
Lux aeterna
3.56Lamb of God, who takest away the sins of the world,
1.37have mercy on us.
4.23Lamb of God, who takest away the sins of the world,
grant us peace.
5.38
5.23
8.46
3.38Let light perpetual shine upon them, O Lord,
2.08in the company of Thy saints for evermore;
because Thou art merciful.
Grant them eternal rest, O Lord,
THE
SIXTEEN
and let light perpetual
shine
upon them
SOPRANO
in the company of Thy saints
for evermore,
2.29
Clarke, Libby Crabtree
because ThouFiona
art merciful.
2.20
Ruth Dean, Harriet Goodwin
Carys Lane, Rebecca Outram
MISSA PRO DEFUNCTIS a 8
bm Introitus
bn Kyrie
5.27
bo Graduale
bp Offertorium
3.09
bq Sanctus/Benedictus
br Agnus Dei
2.17
bs Lux aeterna
2.36
Total playing time
ALTO
2.09
Andrew Giles, Michael Lees
Philip Newton, Christopher Royall
3.05
TENOR
Andrew Carwood, Neil MacKenzie
David Roy, Matthew Vine
2.30
BASS
Simon Birchall, Matthew Brook
Robert Evans, Michael McCarthy
62.51
13
5
There are two people, in particular, who have fired my
enthusiasm for the music of Portugal; one is Rui Nery of the
Calouste Gulbenkian Foundation in Lisbon and the other is
Martyn Imrie of Mapa Mundi. Over the years I have made
frequent visits to Lisbon where I have always found Rui to be
a constant source of new editions, wonderful anecdotes about
The Sixteen Edition
musical life in renaissance Portugal and, above all, an enthusiast
for the music of his beloved country. Martyn is the inspiration
behind his music publishing
company,
Mapa
Mundi,
“As time goes by, I find Harry Christophers’
CORO
is the
lively
and which is
second to none in the world
of early choral
music.
and
successful
record
labelMartyn
of
music making more and more captivating.”
his team of excellent editors and researchers, of which he is
The Sixteen, The Symphony
BBC RADIO 
principal, ensure that we have performing editions that are not
Harmony and Invention
only accurate but also well of
documented.
Over
people each
year
hear our
and Harry
Christophers.
We,30,000
as performers,
rely on
practical
editions which are thoroughly
researched
and faithful to the
concerts
and
so have their
livesofenriched
by to this disc who wish to programme any of these
composer’s
intentions.
For those
you listening
works
with your chamber
ensemble
or church choir, I stronglyFormed
recommend
you contact
the
music-making
of Harry
Christophers,
in 2001,
COROMapa
is
Mundi.
I know
that
will be delighted
by its presentation and
musical
accuracy.
Th
e Sixteen
and
Thyou
e Symphony
of Harmony
re-mastering, re-packaging
so to the Many
music itself;
Cardoso
and enjoy
Lôbo are the figureheads of the two centres of musical
andAnd
Invention.
thousands
more
and re-issuing recordings
excellence in Portugal, Lisbon and Évora. Although both had studied the polyphonic works by the
our CD recordings and radio broadcasts.
of ThPortuguese
e Sixteen that
great masters of Italy and Spain, there is, nevertheless, a distinctive
voicewere
to be found in
for
a
short
time
available
their music, either in the prayerful simplicity of Lôbo’s Requiem Mass – just listen
to the end of the
Th
ere are
to the
support
The Sixteen.- or in the more
on Collins
Agnus
Deimany
at the ways
entry of
word sempiternam
complex Classics,
daring of Cardoso – the
Ifverse
youfor
would
like to help
two sopranos
andby
twocontributing
tenors in the to
Credo section Etand
resurrexit
is quite
an new
extraordinary
making
brand
its
work,
or would
like information
aboutof the Convent ofrecordings
piece
of writing.
Cardoso
was Chapelmaster
Carmo for every
more than
year.sixty years.
The Convent of
Carmo ispatronage,
now a ruin;specifi
once the
membership
schemes,
c largest
church inorLisbon,
it was
half destroyed
by the
projects
business
sponsorship,
please
seeearthquake
of 1755. Today it has a different and haunting beauty.
CORO
The Sixteen
Supporting The Sixteen
www.thesixteen.com
2
14
FreiThe
Manuel
Cardoso (1566-1650)
Sixteen
Duarte
Lôbo
(c1565-1646)
HARRY
CHRISTOPHERS
virtually all the multi-choir music written by these
same masters of contrapuntal polyphony was
destroyed in the earthquake of 1755.
Cardoso came from Fronteira, in the Alentejo
oth Frei Manuel Cardoso and Duarte
region, where he was born in 1566, and professed
fter twenty-five years of world-wide performance
Lôbo, two of Portugal's most important
as a monk in Lisbon in 1589, having studied
and recording, The Sixteen is recognised as
composers,
spent most
of their
under
'Grammar and the art of Music' in Évora (an
one
of the world’s
greatest
vocal lives
ensembles.
Spanish
ironically,
theearly
period
in
important city at this time, both the University
Its
specialrule;
reputation
for precisely
performing
English
which Poruguese
music of
began
to enjoy its 'golden
and Cathedral enjoying considerable renown
polyphony,
masterpieces
the Renaissance
and a
age'. Philip
II of century
Spain, inmusic
spite is
ofdrawn
his treatment
as centres of musical education) from the age
diversity
of 20th
from the
of Portugal
as a province
his ownHarry
country
in
of nine.Recording
The connections
withBrown
royal patrons
passions
of conductor
andof
founder,
Christophers.
Producer: Mark
economic
political many
terms,prize-winning,
proved to be areflect in Cardoso's
case
are particularly
evident. He
Over
eightyand
recordings,
Recording
Engineer:
Antony Howell
generous
promoter
composers,
andthe dedicated
CD mastering:
Julian of
Millard
The
Sixteen’s
quality of
in Portuguese
a range of work
spanning
his 1631 book
Masses to Philip IV,
Recorded at
St. Jude's
on the Hill,
music
six hundred
years.
neitherofwere
aristocratic
patrons lacking at home.
was connected
with
the Bragança
family while
Garden Suburb in June 1993
The
has touredofthroughout
Europe,
Japan,
AfterSixteen
the restoration
the monarchy
in 1640,
a he wasHampstead
at the Carmelite
Priory in Lisbon, and it
Originally
released
on
the
Collins
label in 1994
Australia
and the Americas
andtohas
sense of national
identity had
begiven
foughtregular
for once is probable
that thesupport
future from
King John IV was his
with generous
performances
at
major
concert
halls
and
festivals
again. The only unbroken line in cultural terms
pupil as
well 94
as Capital
his patron.
Lisboa
Europeia da Cultura
worldwide,
including
the Barbican
Sydney
was the power
and influence
of theCentre,
Church,
and by
TheCover
motets
on this
come from
image:
Domrecording
Christophers
Opera
House,
and
Vienna
Musikverein;
also
the
BBC
extension Latin liturgical polyphony. Composers
two sources:
and
Non mortui
Design:Sitivit
Richardanima
Boxallmea
Design
Associates
Proms, and the festivals of Salzburg, Granada, Lucerne
such as Cardoso, Magalhães, Lôbo, and Brito
were published
theProductions
Missa pro Ltd.
Defunctis in
P 2005 Thewith
Sixteen
and Istanbul. The vigour and passion of its performance
urge one to think again about such conventional
bookThe
of Sixteen
Masses,
and Tulerunt
© 2005
Productions
Ltd. lapides
win new fans wherever it performs. At home in the UK,the 1625
labels
as 'Renaissance'
and 'Baroque';
conservative
Sunday)
is fromabout
the The
LivroSixteen
de Vários
For further
information
the
group
promotes A Choral
Pilgrimage,
a tour of our (for Passion
contrapuntal
writing,
prima
prattica,
was
basis Motetesrecordings
of 1648.on
They
areortypical
of Cardoso's
CORO
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finest
cathedrals
bringing
music
back to
thethe
buildings
+44
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999
forwhich
this golden
which carried on until after
style inand
thetours,
way call
they
combine
counterpoint
of
for
it wasage
written.
or email
[email protected]
theThe
death
of Monteverdi
in 1643.
It is a genuine
Palestinian
rigour
with a very un-Palestrinian
choir
is enhanced by
the existence
of its
www.thesixteen.com
continuation
of a style founded
that of the
own
period instrument
orchestra,upon
The Symphony
richness
of harmony, but one could say as much
earlier
Spanish
course,
of
Harmony
andcomposers
Invention, (themselves,
and through of
it Harry
of a great deal of Iberian music at this period.
Christophers
brings
fresh insights
tothe
music
popularly seen
as catching
up with
restincluding
of
In fact, Cardoso's motets never really do sound
that
of Purcell,
Monteverdi,
JS Bach and
Handel.
T H any
E V other
O I C E Scomposer;
OF
the world
rather
late), in particular
Morales
and2004 quite like
his counterpoint
witnessed
of thea thorough
group's annual
Handelof is almost always a great deal more complicated
Guerrero,the
andlaunch
also upon
knowledge
in
Oxford Festival,
a weekend
of concerts
and events
Palestrina.
It should
be pointed
out, however,
that
and idiosyncratic in its harmonic ramifications
dedicated
to composers
the life of this
Portuguese
didgreat
writecomposer.
polychoral music; than his contemporary Lôbo's, for example, even
our view of this period is distorted by the fact that though both Non mortui and Sitivit anima mea
B
A
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