Christmas in Puebla - CD Booklet

CHRISTMAS

IN PUEBLA

SIGLO DE ORO PATRICK ALLIES

CHRISTMAS IN PUEBLA Siglo de Oro

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1

Juan García de Zéspedes (c.1619–1678) Convidando está la noche

Introit: 2

Patrick Allies director

Christine Buras, Hannah Ely, Fiona Fraser, Helena Thomson sopranos Francis Gush, Rebekah Jones altos Paul Bentley-Angell, Chris Fitzgerald-Lombard tenors David Le Prevost, Ben McKee, Ben Rowarth basses

4

Juan Gutiérrez de Padilla Missa Joseph fili David – Kyrie

5

Juan Gutiérrez de Padilla

Missa Joseph fili David – Gloria

[4:00]

6

Francisco de Vidales (1632–1702)

Los que fueren de buen gusto

[5:54]

[3:05]

Alleluia: Crastina die

[1:31]

8

Juan Gutiérrez de Padilla

A la xácara xacarilla

[9:39]

9

Juan Gutiérrez de Padilla

Missa Joseph fili David – Credo

[6:50]

Offertorium: Tollite portas

[1:03]

7

Joan Cererols (1618–1680) Marizápalos a lo Divino ‘Serafin que,

con dulce harmonía’

[7:42]

Christine Buras, Hannah Ely, Helena Thomson sopranos Rebekah Jones alto

12

Juan Gutiérrez de Padilla

Missa Joseph fili David – Sanctus

[1:41]

13

Benedictus (mode vii)

[0:30]

14

Francisco López Capillas (1614–1674)

Cui luna, sol et omnia

[2:58]

Giovanni Pierluigi da Palestrina (c.1525–1594)

Missa O Admirabile commercium – Agnus Dei

[5:00]

16

Juan Gutiérrez de Padilla

Christus natus est

[1:56]

17

Gaspar Fernandes (1566–1629)

Tleycantimo choquiliya

[2:16]

15

@ delphianrecords

[4:51]

Christine Buras, Hannah Ely, sopranos, Rebekah Jones alto

11

Booklet editor: Henry Howard Cover: Church of San Francisco Acatepe, Puebla; photo: Arturo Duchateau Photography: Kaupo Kikkas Session photography: Delphian Records Ltd Delphian Records Ltd – Edinburgh – UK www.delphianrecords.com

[2:09]

Juan Gutiérrez de Padilla (1590–1664) Joseph fili David

10

Recorded on 8-10 January 2020 in All Hallows’ Gospel Oak Producer: Paul Baxter Engineer: Matthew Swan 24-bit digital editing: Matthew Swan 24-bit digital mastering: Paul Baxter Design: Drew Padrutt

[4:03]

3

Aileen Henry harp | Toby Carr, Sergio Bucheli guitars | Katie De La Matter organ Tom Hollister percussion | Katie Cowling dulcian | Stephanie Muncey-Dyer sackbut Kate Conway bass viol

Hodie scietis

18

Juan Gutiérrez de Padilla

Christine Buras soprano, Rebekah Jones alto, Paul Bentley-Angell tenor

Deus in adiutorium meum intende

@ delphianrecords

Total playing time

@ delphian_records

Tracks 3-5, 9 & 12 are premiere recordings

[2:21] [67:39]

Notes on the music In around 1620, Juan Gutiérrez de Padilla left his position as maestro de capilla at Cádiz Cathedral and sailed across the Atlantic to seek a career in the Americas. He found work at the cathedral in Puebla, a young but thriving city in colonial New Spain (modern-day Mexico). This recording aims to invoke the spirit of festive music-making in the city during this period, by combining Padilla’s music for a Christmas Eve mass with chant propers, motets, and celebratory villancicos.

The programme features a number of works by Padilla, but there are also contributions by the talented composers who worked alongside him.

This repertoire, which is dance-influenced and often multilingual, is the result of a remarkable interaction of many cultures converging, be they indigenous, immigrant or enslaved. It is one side-effect of devastating imperialism and great suffering. Yet with full acknowledgment of its troubling context, it remains thrilling to the modern listener.

By the time of Padilla’s arrival, New Spain was a century old and had become an important, wealthy outpost of the Habsburg Empire. Padilla’s skills as a music director and composer, combined with his abilities as an instrument-maker, would have set him in demand in a territory that placed a high price on maintaining the religious and musical customs of its mother country. In 1622, Padilla was appointed assistant maestro at Puebla Cathedral, where he remained for the rest of his career, becoming maestro in 1629, and composing prolifically almost up until his death in 1664.

The city of Puebla de los Ángeles had been founded in the 1530s in order to meet the colonists’ need for a settlement on the important route between their capital, Mexico City, to the north-west, and the port of Veracruz to the east, where the arrivals included settlers from Spain, goods from the Caribbean, and slaves transported from Africa. Puebla soon became a substantial metropolis: one seventeenth-century chronicle describes the city’s grid plan as consisting of 28 east–west streets and around 15 running north–south.

Situated in a grand plaza, at the heart of the city, was its cathedral. Writing in the 1620s, Vasquez de Espinosa commented that the edifice ‘can compete with the largest and best of Spain, although it is not finished’. Thus on Padilla’s arrival in Puebla the building would still have been a work-in-progress: it was eventually completed and dedicated in 1649.

While the fabric of the cathedral may have been incomplete, its extensive musical provision had been in place for some time, and by 1620 could rival its European counterparts. The cathedral’s records provide helpful information as to who was on the payroll, and what their responsibilities were. We know for instance that Padilla’s early duties at Puebla (while still assistant maestro) included both singing and teaching polyphony to the choirboys. After his appointment to the top job in 1629, details are given of other musicians who were added to the roster, including sackbut and dulcian players and Nicolás Grinón, a harp virtuoso. In addition, Padilla’s assistant Juan García de Zéspedes

was employed to instruct all choir members in playing the bass viol (including the boys who showed sufficient potential). By 1651, Padilla led an ensemble of fourteen choirboys, and twelve adult staff (many of whom would either sing or play an instrument, depending on the circumstances). While their use is not documented at Puebla, for this recording we have also included guitars, which were listed in the musical inventory at Mexico City Cathedral in 1614, and simple percussion instruments such as the cajón, known to have been common in Latin America by this time.

The fulcrum of this programme is Padilla’s motet Joseph fili David. This is one of a number of works from seventeenth-century Mexico that venerate St Joseph, who held particular honour in Puebla as one of the city’s patron saints. This specific text is for the Vigil of the Nativity, that is to say Christmas Eve. The words, taken from St Matthew, tell of an angel visiting Joseph and persuading him to marry the pregnant Mary, while urging him to remain calm. Padilla’s setting is written for two choirs in the elegant stile antico idiom that epitomises much of his sacred music. The two groups of singers take turns to sing reassuring phrases, with the words ‘noli timere’ crafted into a soothing refrain.

The two most striking moments are when all eight parts unite on the word ‘Jesu’, set to a tantalising harmonic progression that threatens to tip the motet out of its mode.

Padilla’s motet forms the musical model for his Missa Joseph fili David, with many of its

melodies woven into the mass. Although still in two four-voice choirs, the scoring is changed slightly, with the first choir having two sopranos, an alto and a tenor part. This makes it an ethereal counterpart to the conventional voicing of the second choir, such as in the ‘Christe’ section of the Kyrie, which is sung by the first choir alone with angelic grace. The opening ‘Kyrie’ is written in a tranquil style that evokes the beginning of the motet, while the closing ‘Kyrie’ unleashes some fiery counterpoint.

The Gloria opens with an efficient homophonic delivery of text, but this is frequently disrupted by triple rhythms that playfully undermine the metre, almost in the manner of a villancico.

Special care is taken, as one might expect of a Christmas Eve mass, at both mentions of the words ‘Jesu Christe’. In particular, the second iteration is set to a passage of exquisite beauty for the second choir. The Credo is divided into three sections, with each one full of sparkling interplay between the two choirs. Particularly thrilling is the depiction of the text at ‘descendit de caelis’, and the rising quadruple canons at ‘resurrectionem mortuorum’. At the heart of the movement lies the description of Christ’s birth, ‘et homo factus est’, which is presented as a finely crafted polyphonic passage derived from the opening motif of the motet.

The Sanctus is a shorter movement, with long sweeping lines that lead into a fulsome setting of the words ‘Pleni sunt caeli et terra’.

The only shortcoming of the Missa Joseph fili

Notes on the music David is its lack of a Benedictus and Agnus Dei. This seems to be a local tradition; of Padilla’s four double-choir mass settings, only one includes these movements. For this recording a plainsong Benedictus has been included and an Agnus Dei borrowed from a mass by Giovanni Pierluigi de Palestrina. While Palestrina might seem a little remote from seventeenth-century Mexico, his work features extensively among the contemporary manuscripts in the cathedral’s archive. One such choirbook, a collection of six of Palestrina’s masses, including the Missa O admirabile commercium. Like the Missa Joseph fili David, this is an imitation mass based on the composer’s own Christmas motet, and so it seems a worthy choice to be sung alongside the ‘Palestrina of Puebla’.

Accompanying Padilla’s motet and mass are some of the plainsong propers for the Vigil of the Nativity, and three shorter motets.

Cui luna, sol et omnia by Francisco López Capillas is a short but elegant piece for four voices. Its calm outer sections surround a brief burst of triple-time energy to depict the words ‘deserviunt per tempora’. López spent the early part of his career at Puebla as an organist and dulcian player, but went on to earn great renown as a composer.

Padilla’s Deus in adiutorium meum intende, while scored for eight voices, is written in a different idiom to the mass. It is a vibrant and direct call to prayer, together with a switch of time signature at ‘Gloria Patri’. While so much of Padilla’s music pays homage to the

polyphony of Rome and Seville, this motet is straight out of the Venetian playbook.

Finally, Padilla’s Christus natus est serves as something of a link between the Latin motets and the vernacular pieces, as this short work was included in each of Padilla’s villancico collections, to be used as an introduction to the matins service.

We know that villancicos played an important role in the liturgy in seventeenth-century Mexico, where they could be interpolated into the Office or Mass on feast days. In Puebla, chapter records detail Padilla’s requests for funds for commissioning verses of villancico text from skilled writers; one of these archival entries refers to the ‘villancicos which [Padilla] composes … and which are sung in this Holy Church’. At Christmas, the tradition was to present villancicos as part of the Matins service, but this recording offers a suggestion as to how they might have sounded alongside a setting of the Mass.

When Padilla arrived at Puebla he initially worked under the direction of Gaspar Fernandes. Having begun his working life at Évora Cathedral in Portugal, Fernandes seems to have travelled to Central America in the 1590s.

He found work initially in Guatemala, before being appointed maestro de capilla at Puebla Cathedral in 1606. Fernandes’ Tleycantimo choquiliya blends Spanish text with Nahuatl, an indigenous language spoken by the Aztecs. The piece begins and ends with a captivating section

for full chorus, with more intimate verses in between that depict the Nativity scene.

Padilla himself produced nine cycles of Christmas villancicos. These incorporate a vast array of Mexican, Afro-Hispanic and Portuguese musical influences, surely designed to attract and entertain the cathedral’s congregation. For example, A la xácara xacarilla, which is taken from his 1653 collection, draws on the xácara, an energetic Spanish dance. It has an energetic four-part chorus, sung at the beginning and the end, interspersed with coplas (strophes) sung by soloists. The text is an example of a recurring theme in the Christmas villancicos: a blend of earthy commentary on ordinary ‘peasant’ life with a poetic account of the Nativity. Between each solo section the full ensemble urges the music on with cries of ‘vaya, vaya!’

Unlike Fernandes and Padilla, Francisco de Vidales was Mexican by birth. He began his career working at Mexico City Cathedral under Francisco López Capillas, before becoming principal organist at Puebla in 1655. Vidales’ Los que fueren de buen gusto is another xácara, written for three upper voices and continuo. The text opens in a conversational style, grabbing the listener’s attention with agile rhythms and light-hearted repartee. Once the listener is hooked, Capillas smuggles in subtle theological references to the Trinity and to the concept of original sin. The lively rhythmic patterns disturb the metre throughout, generating a breathless momentum.

The outlier to all of these interconnected careers is Joan Cererols. Born in 1618 in Catalonia, he is believed to have spent most of his life at the mountainside monastery of Montserrat. His Serafín, que con dulce harmonía is written in the style of a marizápalos, a Spanish dance with a fixed melody and chord progression. It fits comfortably among the Mexican villancicos with its double-choir scoring, lilting melody and heavy use of hemiola. The text, directed to the angels who sing at Christ’s birth, shares many of the tropes found in its Mexican counterparts: the simultaneous glory and suffering of the infant Christ and the parallel dualities of moon and sun, heaven and earth, laughter and weeping.

The opening villancico belongs to Juan García de Zéspedes, a near contemporary of Cererols.

Zéspedes spent his whole career at Puebla Cathedral, first as a singer under Padilla’s direction and later as de facto deputy to the aging maestro, eventually succeeding him.

His Convidando está la noche is a joyful entreaty to sing, dance and celebrate the birth of the Christ Child. It begins with a thrilling homophonic juguete or prelude, which is followed by sprightly guaracha, an Afro-Cuban dance form. Zéspedes’ villancico captures the essence of this irresistible holiday music, with its power to invigorate even the most reluctant churchgoer. © 2020 Patrick Allies

Texts and translations 1

Convidando está la noche

Chorus: all singers Solo verses: Christine Buras & Ben McKee (1), Chris Fitzgerald-Lombard (2), Rebekah Jones (3), Helena Thomson (4), Paul Bentley-Angell (5), Fiona Fraser (6), David Le Prevost (7), Hannah Ely & Ben Rowarth (8) All instruments except bass viol

Convidando está la noche aquí de músicas varias al recién nacido infante canten tiernas alabanzas alegres cuando festivas unas hermosas zagales con novedad entonaron juguetes por la guaracha.

The night was inviting for all sorts of music to sing tender praise to the new-born babe, when pretty girls sang amusing new verses for the dance of the guaracha.

1. ¡Ay! Que me abraso, ¡ay! divino dueño, ¡ay! en la hermosura, ¡ay! de tus ojuelos, ¡ay!

2. ¡Ay! cómo llueven, ¡ay! ciento luceros, ¡ay! rayos de gloria, ¡ay! rayos de fuego, ¡ay!

3. ¡Ay! Que la gloria, ¡ay! del portaliño, ¡ay! ya viste rayos, ¡ay! si arroja hielos, ¡ay!

4. ¡Ay! Que su madre, ¡ay! como en su espero, ¡ay! mira en su lucencia, ¡ay! sus crecimientos, ¡ay!

5. En la guaracha, ¡ay! le festinemos, ¡ay! mientras el niño, ¡ay! se rinde al sueño, ¡ay!

6. Toquen y bailen, ¡ay! porque tenemos, ¡ay! fuego en la nieve, ¡ay! nieve en el fuego, ¡ay!

7. Pero el chicote, ¡ay! a un mismo tiempo, ¡ay! llora y se ríe, ¡ay! qué dos extremos, ¡ay!

8. Paz a los hombres, ¡ay! dan de los cielos, ¡ay! a Dios las gracias, ¡ay! porque callemos, ¡ay!

Ay! I’m on fire with the beauty of your eyes, Lord!

Ay! A hundred stars pour down rays of light!

Ay! How the rays light up the glory of Bethlehem gate in the frost!

Ay! How his mother watches him grow in light!

Ay! Let’s celebrate the sleepy child in our guaracha!

Ay! Let’s play and dance, for we have fire in the snow, snow in the fire!

Ay! The little lad cries and laughs at the same time!

Ay! Peace to men from heaven, thanks to God, so we can shut up!

Texts and translations

3

Joseph fili David Singers only

Joseph, fili David, noli timere accipere Mariam coniugem tuam: quod enim in ea natum est de Spiritu Sancto est; pariet autem filium (noli timere), et vocabis nomen eius Jesum (fili David).

Joseph, son of David, do not be afraid to take Mary as your wife: for what is born in her is born of the Holy Spirit; and she will bear a son (do not be afraid), and you will call his name Jesus (son of David).

Matthew 1: 20–21

4

Missa Joseph fili David – Kyrie All singers and instruments, except bass viol and percussion

Kyrie eleison.

Christe eleison.

Kyrie eleison.

Lord have mercy.

Christ have mercy.

Lord have mercy.

Texts and translations ¿Cómo qué, cómo qué?

A que só me toca a mí, y el por que yo me lo sé. ¿Cómo qué, cómo qué?

Pues quitémonos de ruidos y cantemos a las tres.

Tres a tres y una a una, ¡vaya, vaya de xácara, pues!

A matar vino a la muerte, picado de que el amor le dió una herida mortal, y fue porque le encarnó.

Que no se caiga el portal es un milagro de Dios.

Bien puede el Jaián haçer cuenta que a naçido oy.

He came to deal out death to death, for love had given him a mortal blow. It was God’s miracle the cradle didn’t fall: well may the Giant tell us that he was born today.

En el mesón de la luna junto a la puerta del sol del cielo de una doncella en tierra un lucero dió.

A ser galán de las almas el Verbo al hielo nació, que lo tomó con fineza pero con poco calor.

In the House of the Moon by the Gate of the Sun a young girl brought a star from heaven into the cold world.

Se anda perdonando vidas, muy preçiado de león, y le suele haçer llorar el más pobre pecador.

El naçer en la campaña es prueba de su valor, y esperarle cuerpo a cuerpo es cosa de confesión.

He goes his way forgiving us for our lives; more precious than a lion, he weeps for sinners. He was born on campaign, a proof of his valour; it’s a matter for confession to long for him flesh to flesh.

Sin duda el Jaián divino que nasça morir de amor, pues cuando se embosa el rostro me descubre el coraçón.

Por ser de la Trinidad vino por la redempçión.

Metióse en Santa María, ya dado en San Salvador.

No doubt it was the will of the Giant of heaven he should die of love, one of the Trinity, our saviour and redeemer.

El sangriento açero esgrime Herodes, que en su región contener mala conçiencia deseaba ver de Dios. ¡Bien aya la xacarilla y el padre que la engendró, y a las que también la cantan buenas Pascuas las dé Dios!

Herod, he wields the bloody steel in his land, trying to control evil notions in the name of God. Good luck to our xácara and those who sing it, and a merry Christmas!

Metióse en cuna de niebe, que no es nuebo en su afiçión dexarse llebar del agua el espíritu de Dios.

Al soberano cupido desde que naçe le hirió la flecha, que en el desnudo hiere más presto el harpón.

He lay in a cradle of snow: there’s nothing new in God’s spirit being carried on water; the sovereign love was wounded by an arrow the moment he was born.

7

Alleluia. Crastina die Christine Buras, Hannah Ely, Rebekah Jones cantors

Alleluia. Crastina die delebitur iniquitas terrae: et regnabit super nos salvator mundi, alleluia.

Alleluia for the Vigil of the Nativity.

Alleluia. Tomorrow the earth’s wickedness will be wiped away: and the world’s saviour will reign over us, alleluia.

Texts and translations 8

A la xácara xacarilla Helena Thomson (6, 12), Hannah Ely (3, 9) sopranos Christine Buras (4, 10), Rebekah Jones (1, 7) altos Paul Bentley-Angell (2, 8), Chris Fitzgerald-Lombard (5, 11) tenors David Le Prevost, Ben McKee basses (number denotes solo verse) Aileen Henry harp, Toby Carr guitar, Katie De La Matter organ, Tom Hollister percussion

A la xácara xacarilla, de buen garbo y lindo porte, traygo por plato de corte siendo pasto de la villa a la xácara xacarilla. de novedad de novedades aunque a más de mil navidades que alegra la navidad. ¡Vaya, vaya de xacarilla!, que el altísimo se humilla, ¡vaya vaya de xácara, vaya! que amor pasa de rraya.

For my little xácarilla, pretty and lively, I’ve brought simple fare from the village, not a courtly dish. Even though it’s been livening up thousands of Christmases, it’s new as new. On with the xácara: the highest has come down and love bursts its bounds.

1. Agora que con la noche se suspenden nuestras peñas y a pagar culpas agenas nace un bello Benjamí, si el Rey me escuchara a mí ¡o! qué bien cantara yo, como ninguno canto del niño más prodigioso.

Night has come, our suffering is on hold, a fair Benjamin is born; if the King would listen to me I’d sing so well; I sing like none other of that amazing baby.

2. Con licençia de lo hermoso rayos desembayna ardientes.

Escúchenme los valientes esta verdadera historia que al fin se canta la gloria y a él la cantan al naçer, general se vió el plaçer que el velo a la tierra embía.

He unsheathes burning rays: listen, brave ones, to the story of his glory.

3. Que en los ojos de María madrugaba un claro sol, con celestial arrebol mostró la aurora más pura muchos siglos de hermosura en pocos años de edad.

Si no sol, era deidad, y el sol es quien la a vestido.

In the eyes of Mary shone a glorious morning sun: if she’s not the sun, she’s a divinity, and the sun gave her her robe.

4. ¿Quién como ella le ha tenido, quién como ella le tendrá?

Virgen y Madre será de él que es sin principio y fin.

Serrana, y más serafín que serrana y que mujer, porque Dios quiere nasçer, aperçive su jornada.

Who is like Mary to bear him? Virgin and mother, a shepherdess but more an angel, she prepares for her journey.

5. La bella bien maridada, de las más lindas que ví, bien es que se diga aquí de su esposo lo galante: el más verdadero Amante y el más venturoso joben, sin que los yelos la estorven dentro de una Ave María.

This lovely, married lady, her gallant husband: the truest lover, keeping her from the chill within a Hail Mary.

Texts and translations 6. Muerta de amores venía la diosa de los amores; salúdanla rruyseñores y por madre de la vida la daban la bienvenida perla a perla y flor a flor.

A un portal los llevó amor, y en la noche más elada.

The Goddess of love came, dying of love, greeted by nightingales: love led them to the gate of Bethlehem in an icy night.

10. Valentía en el donayre y donayre en el mirar, para empesar a pagar de un criado obligasiones.

Bañando está las prisiones con lágrimas que derrama.

Tiene de campo la cama, del yelo puesto al rrigor.

Valour in his charm, charm in his gaze: bathing his prison with the tears he sheds.

He has the field for a bed, freezing cold.

7. Miran de çierra nevada altos y encumbrados rriscos.

En los grandes obeliscos ya no ay piedra sobre piedra.

Escollo armado de yedra, yo te conoçí edifiçio.

Ya se miran por rresquiçio las glorias a manos llenas.

From the snowy mountains they look on the great pyramids now in ruins. I used to know that building; now its glories can only be seen through the cracks.

11. ¡Ay verdad es que en amor siempre fuistis desgraçiadas las promesas confirmadas!

El más tosco más se afila, y a la gayta baylo Gila que tocaba Antón Pascual.

Dejémosle en el portal con prinçipios de Romançes.

Ay! The truth is in love, the firmest promises are always unhappy. Gila dances to the bagpipe Anton Pascual plays: we will leave him in the gate with our songs’ beginnings.

8. En un rretrete que apenas se divisan las paredes, está para haser merçedes, que en su primer arrebol dividido se vió el sol en breve espaçio de çielo.

Su gloria puso en suelo con la voluntad más viva.

In a dark refuge she rests: the sun is glimpsed in a corner of the sky. His glory came to earth.

12. Y pues no ha de haber más lançes y mi xacarilla vuela, acabóse y acabéla que era de vidrio y quebréla.

Acabéla y acabóse, que estava al yelo y quebróse.

Acabóse y acabéla, questava al yelo y quebréla.

My xácara has flown: it was glass and I broke it; I’m done with it, it was ice and I broke it.

9. Quien liverta descautiva, quien rroba la voluntad, la noche de Navidad la tierra vió su alegría.

Al pie de una peña fría, ques madre de perlas ya, tierno sol mostrando está opuesto al yelo y al aire.

Freed herself, she sets us free: the earth saw her rejoice on Christmas night.

A tender sun opposes the ice and wind.

Texts and translations 9

Missa Joseph fili David – Credo

10

Ben McKee cantor All singers and instruments except bass viol

Credo in unum Deum, Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum 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 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.

Tollite portas Chris Fitzgerald-Lombard, Ben McKee, Ben Rowarth cantors

I believe in one God, the Father almighty, maker of heaven and earth, of all things visible and invisible. And in one Lord Jesus Christ, only-begotten Son of God, begotten of the Father before all ages. God of God, light of light, true God of true God; begotten, not made; consubstantial 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. He was crucified also for us, suffered under Pontius Pilate, and was buried. On the third day he rose again according to the Scriptures, and ascended into heaven. He sits at the right hand of the Father, and shall come again with glory to judge the living and the dead. And his Kingdom shall have no end. I believe in the Holy Ghost, Lord and giver of life, who proceeds from the Father and the Son, who together with the Father and the Son is worshipped and glorified, who spoke through the prophets. I believe in one holy catholic and apostolic Church. I confess one baptism for the remission of sins. And I await the resurrection of the dead, and the life of the world to come. Amen.

Tollite portas principes vestras et elevamini portae aeternales et introibit rex gloriae.

Offertory for the Vigil of the Nativity; text from Psalm 23: 7

Lift up your gates, you princes, and be raised up, you everlasting gates, and the King of Glory will come in.

11 Marizápalos a lo Divino ‘Serafin que, con dulce harmonía’

Christine Buras*, Paul Bentley-Angell, Chris Fitzgerald-Lombard, Ben McKee choir 2 (* denotes soloist) Toby Carr guitar, Aileen Henry harp, Katie De La Matter organ, Kate Conway bass viol

Serafín, que con dulce harmonía la Vida que nace requebrando estás; cántale glorias mirándole en penas, que amante y quejoso, su alivio es un ¡ay! ¡ay, ay, ay!

You angels who are singing to new-born Life, sing his glory, gaze on his suffering, who, loving us, has for comfort an ‘ay!’

Tan fragrantes, lucientes y bellas en cielo y en tierra distantes se ven las estrellas vestir de colores, las flores brillar y las selvas arder.

The stars in far-off heaven, the flowers and woods on earth shine with colours.

En albergue, aunque pobre dichoso en nuevos afectos se mira esta vez una luna que alumbra el empíreo, y un sol que de aljófar guarnece sus pies.

In his lodging, poor but blest, in new affection the moon and sun light him.

Texts and translations En los brazos de alma más pura, picado de amor un hermoso clavel desabrocha el color encarnado del nácar precioso que quiere verter.

In the arms of the purest soul, a carnation wounded by love sheds drops of crimson.

¡Oh! mil veces dichosa la culpa, en cuya sentencia ha llegado a tener por descargo un tesoro infinito: un Dios por padrino y un Niño por juez.

A thousand times blest is that sin that is redeemed by an infinite treasure: God for godfather and a Child for judge.

Llora el sol y la aurora se alegra, la pena y el gozo en sus ojos se ven; que es afecto muy propio del alma llorar y reír al amanecer.

The sun weeps and dawn is joyful: to weep and rejoice is proper for a soul.

Un jazmín entre espinas y abrojos nos da testimonio en metáfora fiel, que entre humanos y graves pesares siempre hay escondido un divino placer.

A jasmine among thorns: a faithful metaphor, witness that amidst human hardship there is always divine joy hidden.

Hoy el hombre suspenso y absorto ignora, cobarde, lo mismo que ve: pues mirar tan divino lo humano es cosa que apenas se puede entender.

Today, man is blind to what he can see: for something so divine to be human is almost more than can be understood.

Una noche de siglos tan largos dobladas las luces habrá menester, y por eso amanecen dos soles que bañan de luz el portal de Belén.

So great a night needs double light: two suns bathe Bethlehem gate in light.

12

Missa Joseph fili David – Sanctus All singers and instruments, except bass viol and percussion

Sanctus, Sanctus, Sanctus.

Dominus Deus Sabaoth: Pleni sunt caeli et terra gloria tua.

Hosanna in excelsis.

13

Holy, Holy, Holy, Lord God of Sabaoth.

Heaven and earth are full of your glory.

Hosanna in the highest.

Benedictus Chris Fitzgerald-Lombard, Ben McKee, Ben Rowarth cantors

Benedictus qui venit in nomine Domini: Hosanna in excelsis.

14

Blessed is he that comes in the name of the Lord: Hosanna in the highest.

Cui luna, sol et omnia Singers only

Cui luna, sol et omnia deserviunt per tempora perfusa caeli gratia, gestant puellae viscera.

Anon.

Him to whom the moon, sun and every thing bows down for all ages, by an outpouring of heaven’s grace a virgin’s womb is bearing.

Texts and translations 15

Missa O admirable commercium – Agnus Dei Singers only

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

16

Lamb of God, who take away the sins of the world, have mercy upon us.

Lamb of God, who take away the sins of the world, have mercy upon us.

Lamb of God, who take away the sins of the world, grant us peace.

Ximoiollali mi rey, ¿tlein miztolinia mi vida?

No se porque deneis pena tan linto cara de rosa, nocpiholotzin niño hermosa, nochalchiuh nasoxena.

I don’t know what the trouble is.

Do not cry, my heart’s Jesus, my dream.

Jesos de mi goraçon no lloreis mi pantasia.

Christus natus est All singers and instruments, except bass viol and percussion

Christus natus est nobis, venite adoremus.

Christ is born to us, O come let us adore him.

18

Opening of the Invitatory at Matins on the Vigil of the Nativity

17

Deus in adiutorium meum intende: Domine ad adiuvandum me festina. Gloria Patri et Filio et Spiritui Sancto: sicut erat in principio et nunc et semper et in saecula saeculorum.

Amen.

Tleycantimo choquiliya Helena Thomson, Hannah Ely sopranos Christine Buras*, Rebekah Jones* altos Paul Bentley-Angell*, Chris Fitzgerald-Lombard tenors David Le Prevost, Ben McKee basses (* denotes soloist)

Dejalto el llando creçida mizalto el mulo y el buey.

O God, hurry to my aid: Lord, hasten to help me. Glory be to the Father and to the Son and to the Holy Spirit: as it was in the beginning, is now and ever shall be. Amen.

Introductory response to every hour in the Roman breviary; text: Psalm 69: 1 with doxology

Aileen Henry harp, Toby Carr guitar, Katie De La Matter organ, Tom Hollister percussion

Tleycantimo choquiliya, mis prasedes, mi apission.

Alleloya, alleloya, alleloya.

Deus in adiutorium meum intende

All singers and instruments, except bass viol and percussion

The Virgin Mary sings to her new-born baby: My passion, don’t cry: My beautiful boy, my lily, why do you cry?

Translations © Delphian Records Ltd

Siglo de Oro is one of the leading vocal ensembles of its generation, praised for its golden tone and innovative programming. The group made its professional debut in 2014 at the Spitalfields Festival, of which the Financial Times said: ‘Siglo de Oro, under the assured direction of Patrick Allies, performed with vivacity and poise.’ This was followed by Siglo de Oro’s first recording, with Delphian Records (DCD34184); Drop down, ye heavens, which blended early music with new works for choir and saxophone, was hailed by Gramophone as ‘so invigorating … Professional London start-ups can sound frustratingly generic but this one hits you with its character and depth.’

Acknowledgments the Werrecore disc as ‘a hugely impressive disc in both programming and performance’. BBC Music Magazine made the Praetorius recording its Choral and Song Album of the Month, declaring ‘Siglo de Oro has struck gold!’

The ensemble’s performance schedule in recent years has included concerts at St John’s Smith Square, Stour Music and the Barber Institute, as well as regular appearances on BBC Radio 3’s In Tune. Further afield, the group has taken up invitations to give concerts in Belgium, the Netherlands, Finland and Malta. Siglo de Oro’s upcoming plans include debuts at Tage Alter Musik Regensburg in Germany and London’s Wigmore Hall, and the ensemble’s first US tour.

The mission of Siglo de Oro is to bring to life music Siglo de Oro also maintains a commitment to new music. The group has commissioned and that would otherwise remain unheard. To that premiered numerous pieces, including works by end the group has since made groundbreaking recordings of works by Renaissance composers Kerensa Briggs, Richard Allain, Owain Park and Josephine Stephenson. In 2016 the ensemble Hieronymus Praetorius (Delphian DCD34208) collaborated with Emily Hall for her site-specific and Matthias Werrecore (Music for Milan opera Found and Lost, set in a London hotel.

Cathedral, DCD34224). Gramophone described

Zulfiya Wilde

Biographies Patrick Allies, Siglo de Oro’s Artistic Director, began his musical education as a chorister at the Temple Church in London, under Stephen Layton. He sang in Gloucester Cathedral Choir before taking up a Choral Scholarship to study Music at King’s College London. Patrick went on to postgraduate study at the University of Cambridge where he was a member of Jesus College Choir.

After graduating, Patrick worked as a musician in London, holding positions as a choral director at Morley College and with Wokingham Choral Society, and as Director of Music at All Saints’ Church, Putney. Since 2018 Patrick has been based in Washington DC, where he is a PhD student in Musicology at the University of Maryland, working on fifteenth-century music and architecture.

Patrick is also a staff singer at St Paul’s Episcopal Church, K Street, and a professional singer with Washington Master Chorale.

Language and Performance Advisor: Juan Carlos Zamudio Continuo Organ by Klop Orgelbouw Gedackt 8’, Principal 8’, Octave 4’, Octave 2’ All pipes made from wood

Organ provided by Peter McCarthy Tuned to 1/5 comma meantone by Keith McGowan Siglo de Oro would like to thank the following for their generous sponsorship of this project: Steve Brosnan; The Friends and Patrons of Siglo de Oro; the GEMMA Classical Music Trust (Registered Charity No. 1121090) for a grant; an anonymous donor; and the following supporters who sponsored tracks: Morgan Rousseaux (Los que fueren de buen gusto); Maurits Dolmans (motet: Joseph fili David); Jill Franklin and Bob Allies (Missa Joseph fili David – Credo); Melissa Scott (Marizápalos a lo Divino).

Thanks also to: Francis Bevan, Malcolm Greenhalgh, Hal Hutchison, Martyn Imrie and Mapa Mundi Music, Lewis Jones, the Chaplaincy of King’s College London, and Fr David Houlding and All Hallows’ Gospel Oak.

Hieronymus Praetorius: MissaTulerunt Dominum meum Siglo de Oro / Patrick Allies

Music for Milan Cathedral Werrecore – Josquin – Gaffurius – Weerbeke Siglo de Oro / Patrick Allies

DCD34208 (CD) / DCD34303 (blu-ray)

DCD34224

Though less well known than his namesake Michael, Hieronymus Praetorius was part of a German musical dynasty, and as organist at Hamburg’s Jacobikirche he was one of the city’s most important cultural figures. So it is remarkable that his magnificent mass for Holy Week, the Missa Tulerunt Dominum meum, has until now remained unrecorded. Siglo de Oro present it as it might have been heard in seventeenth-century Hamburg, weaving in motets for Easter from some of Praetorius’s most gifted contemporaries.

Bavarian Hans Leo Hassler, Netherlandish Orlande de Lassus, Venetian Andrea Gabrieli, and the itinerant Jacob Handl – each lends a motet to complement the unfolding liturgical journey, from the quiet solemnity of Maundy Thursday through to the exultant joy of Easter Day.

In the fifteenth and sixteenth centuries, Milan Cathedral acted as a magnet to many of the finest composers of the time. Yet the Cathedral’s maestro di cappella for almost thirty years, Hermann Matthias Werrecore, is almost completely unknown to us today. In this first recording of any of his sacred music, six motets are presented alongside works that Werrecore knew, drawn mostly from the holdings of the Milan library during his tenure there. Siglo de Oro’s act of rediscovery – hot on the heels of their premiere recording of a mass

by Hieronymus Praetorius – reveals the exceptional quality of the music, and Patrick Allies directs them in performances of extraordinary flair.

‘To portray effectively such ranges of polyphonic textures is really exciting: this is a hugely impressive disc in both programming and performance’ — Gramophone, February 2020

‘Here is a choir in which all the elements are held in perfect equilibrium.

Patrick Allies ponders every note before moulding lines whose suppleness in turn coalesces into a breathing, organic whole … A beautifully recorded, aristocratically executed disc’ — BBC Music Magazine, May 2018, *****/*****, CHORAL & SONG CHOICE

Pater peccavi: music of lamentation from Renaissance Portugal The Marian Consort / Rory McCleery

Drop down, ye heavens: Advent antiphons for choir & saxophone Siglo de Oro / Patrick Allies; Sam Corkin DCD34184

DCD34205

Siglo de Oro’s recording debut highlights the saxophone’s natural kinship with the human voice, as well as the endless expressive possibilities which this versatile instrument stimulates in the imaginations of modern composers.

Its athletic vigour launches Will Todd’s O Wisdom, the first of eight newly commissioned settings of the Advent antiphons in English which form the backbone of this recording. Elsewhere the instrument soars above the voices’ urgent prophecy and imploration, while the choir is heard unaccompanied in glowing renditions of sixteenth-century polyphony – works by Pierre Certon, Antoine de Mornable, Michael Praetorius and Josquin des Prez, whose music complements the atmosphere of quiet expectancy proper to Advent.

Biblical texts of lamentation were embraced by composers of the late Renaissance for their artistic and expressive potential. But in Portugal – a kingdom without a king, its people governed by a foreign power – such settings gave life, as well, to a rich expression of covert political commentary. Rory McCleery’s ongoing interest in this field of polyphony bears fruit for the first time in a groundbreaking programme – a clarion call for music that deserves, and with his advocacy should now receive, far wider recognition.

‘Invigorating … hits you with its character and depth’ — Gramophone, December 2016

Editor’s choice

‘as richly expressive as it is politically poised … This beautiful new album from The Marian Consort is surely one of the best one-to-a-part ensemble recordings of this repertoire’ — Gramophone, December 2018, EDITOR’S CHOICE

DCD34238