The Choral Pilgrimage 2021

The Call of Rome

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 The power and wealth of the Catholic church
during the Renaissance centred on Rome. The
papacy was supreme, and naturally it attracted
the greatest composers from all over Europe.
Our 2021 tour concentrates on that call of
Rome which was irresistible for the Flemish
composer Josquin and the Spaniard Victoria.
Here they sit alongside Felice Anerio and

© Marco Borggreve
Gregorio Allegri who spent their lives in Rome
in the service of the Papal chapels.

Collectively they span well over 100 years of

musical excellence but whereas the Italians,
Anerio and Allegri, very much wrote under the
influence of the ‘Prince of Music’ Palestrina,
Josquin (many years their predecessor)
and Victoria maintained a unique voice in

© Marco Borggreve
sacred music. They both achieve brilliance in
sometimes the most economical ways, be it
the imitative duets at the start of Josquin’s
Illibata Dei virgo or the stillness of Victoria’s
O vos omnes where nothing really happens on Although born around the same time as
the page, yet a searing intensity of emotion is Allegri, Anerio died relatively young, but
created. The latter is one of the responsories for he left us a wealth of splendid double-choir
Tenebrae. Here we concentrate on the set for motets. His setting of Regina caeli laetare
Holy Saturday; Christ has died and we reflect on and the Litaniae Beatissimae Virginis Mariae
his death and the sealing-up of his tomb. are brilliantly crafted and, at times, break
with tradition with just a hint of the Baroque.
Allegri’s Miserere is quite possibly the single In fact, I think many of you listening will be
most famous piece of sacred music ever surprised by the contrapuntal skills that
written. However, mythology surrounds it and Allegri displays in the ‘Gloria’ of his Missa In
here we shed light on its complicated history. lectulo meo, a far cry from the simplicity of the
Sadly, nothing survives from Allegri’s lifetime, Miserere.
and what we usually hear today is the result
of scribal errors and fanciful interpretation. This is quite simply glorious music; it is
As a result of Ben Byram-Wigfield’s extensive timeless and I have no doubt it will enrich all
research on the work and by making use of our lives just as it did for people centuries ago.
the many sources, we here show how the
piece has evolved over the centuries into the
version audiences know and love today.

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The Call of Rome

Programme for summer concerts Programme for autumn concerts

Plainsong De Lamentatione Plainsong De Lamentatione Josquin Gaude virgo mater Christi
Victoria Tenebrae Responsories for Holy Saturday 1, 2 & 6 Victoria 
Tenebrae Responsories for Allegri ‘Gloria’ from Missa In lectulo meo
1. Recessit pastor noster Holy Saturday 1-3 Josquin Illibata Dei virgo
2. O vos omnes 1. Recessit pastor noster
6. Sepulto Domino 2. O vos omnes Allegri Miserere (its evolution)
Josquin Gaude virgo mater Christi 3. Ecce quomodo moritur iustus F. Anerio Regina caeli laetare a8
Allegri Gloria from 'Missa In lectulo meo' Josquin Pater noster / Ave Maria Victoria Salve Regina a8
F. Anerio Regina caeli laetare a8 Victoria 
Tenebrae Responsories for
Holy Saturday 4-6
Allegri Miserere (its evolution) 4. Astiterunt reges
Josquin Illibata Dei virgo 5. Aestimatus sum
6. Sepulto Domino
Victoria Salve Regina a8
F. Anerio Litaniae Beatissimae
Virginis Mariae
INTERVAL

© Firedog
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 The Sixteen Tour dates and locations
Box office: thesixteen.com / 0333 010 2850
Harry Christophers Alto Bass
conductor Daniel Collins Ben Davies 5 June, 4.30 & 7.30pm 18 September, 7.30pm
Eamonn Dougan Edward McMullan Eamonn Dougan St Mary's Church, Warwick Tewkesbury Abbey
associate conductor Elisabeth Paul Tim Jones
18 June, 7.30pm 20 September, 7.30pm
Simon Ponsford Rob Macdonald
Winchester Cathedral Croydon Minster
Soprano Kim Porter Stuart Young
Sam Cobb 19 June, 2.30 & 8pm 29 September, 7.30pm
Julie Cooper Tenor In preparation for this tour, Christ Church Cathedral, Oxford Rochester Cathedral
Katy Hill Simon Berridge 25 singers are rehearsed,
Kirsty Hopkins Jeremy Budd of whom 18 (six sopranos, 25 June, 7.30pm 30 September, 7.30pm
Alexandra Kidgell Joshua Cooter four altos, four tenors and Liverpool Metropolitan Cathedral Southwell Minster
Victoria Meteyard Mark Dobell four basses) perform in each
26 June,7.30pm 1 October, 7.30pm
Charlotte Mobbs Steven Harrold concert.
Hereford Cathedral Blackburn Cathedral
Emilia Morton George Pooley
Ruth Provost 1 July, 7.30pm 7 October, 7.30pm
Kings Place, London St James's Church, Spanish Place, London

2 July, 7.30pm 13 October, 7.30pm
Derby Cathedral Carlisle Cathedral

3 July, 7.30pm 14 October, 7.30pm

Peterborough Cathedral Lancaster Priory

15 September, 7.30pm 15 October, 7.30pm

Llandaff Cathedral Durham Cathedral

16 September, 7.30pm 16 October, 7.30pm

Truro Cathedral Greyfriars Kirk, Edinburgh

17 September, 7.30pm
Exeter Cathedral
Concert not promoted by The Sixteen.
See website for booking details

Conducted by Eamonn Dougan

Performances take place by kind permission of the Dean and Chapter of each church and
cathedral. Photography or any recording of this concert is strictly prohibited. Please ensure all
personal electronic devices are switched off.

With grateful thanks to the following tour supporters:

Band Trust The John Armitage Charitable Trust

Foyle Foundation

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The Call of Rome Josquin’s trademark duets and use of imitation
between the voices are very much to the fore
The Spanish composer Tomás Luis de Victoria’s
call to Rome was initially to study for the
in his later Marian motet, Gaude virgo mater priesthood, but he became heavily involved
The call of Rome was heard by many in the light as a result of restoration. Although having with two confraternities for immigrant
Christi which celebrates the joys experienced
early modern period: pilgrims and clerics, independent means, he still coveted a church Spaniards, as well as with the newly founded
by Mary. Here the words of Luther are well
artists and craftsmen, cooks and courtesans – position in his native Condé-sur-l’Escaut (now Oratorian congregation of the charismatic Saint
illustrated: ‘[Josquin] is the master of the
and musicians. This last group came for various in Northern France) which his period in Rome Philip Neri (with whom he shared lodgings),
notes, which do as he wills; other composers
reasons: in the early Renaissance period a helped him obtain. Josquin had a strong sense and he ended up staying for 20 years. Although
must do as the notes will’. Hear how the music
Rome-centred bureaucracy controlled church of his own worth, illustrated by his Marian he was not a member of the papal choir, its
matches the words ‘Christo ascendente’
appointments throughout Europe. Singers motet Illibata Dei virgo which survives in a library holds an early version of his music for
(Christ ascending) with rising scales, the lively
- usually clerics - found that a period in the papal chapel manuscript. The text of the first Holy Week, revised for publication in 1585 just
syncopations at ‘ubi fructus ventris tui’ (where
papal choir, or working for a cardinal, helped part is an acrostic, where the initial letter of before he returned to Spain. His settings of the
the fruit of your womb) and the joyous Alleluia
them obtain such appointments. Beyond that, each line spells out the name ‘Josquin Desprez’. Holy Saturday responsories are among his most
ending. Josquin’s six-voice setting of two
opportunities for employment in the expanding The tenor part has a recurring three-note motif, emotionally-charged music, particularly 'O vos
linked well-known prayers, Pater noster and
city were many. From the time of its return from solemnised as ‘la-mi-la’ (A-E-A), standing for omnes', one of his iconic works.
Ave Maria, is recognised as one of his finest
Avignon in the early 15th century, the papacy ‘Ma-ri-a’. There are 29 repetitions, with one achievements. He clearly thought highly of it
sought to transform Rome into both the capital final note added to make a total of 88 in the While in Rome, Victoria helped pioneer the
himself, since he left money for the motet to
of a princely state and the foremost pilgrimage tenor part; this is also the result of adding up polychoral style for two or more separate
be sung outside his house during processions
centre in Western Christendom. Building the number equivalents of the letters which choirs. This expanded the possibilities for
after his death. Based on a canon between
programmes, aimed at renewing churches, make up ‘Desprez’ (a=1, b=2 etc, with i and j textural variety while ensuring that the words
the two tenor parts, it has a rather sombre
palaces and houses, attracted workmen and both=9 and u and v both=20). Josquin has thus were clearly heard. His eight-voice Salve
character with little dissonance and lots of
artists; service industries expanded and the embedded his own name with that of the Virgin Regina is a prime example of this early Roman
hypnotic repetitions.
city was totally refashioned. Musicians were Mary in a piece which celebrates her various style, favouring long phrases for individual
required by the papal court, by an increasing attributes. Although an early work, Illibata Dei Holy Week was a period of particular religious choirs and reserving the double-choir tutti for
number of churches (including those of foreign virgo shows the composer’s mastery of musical intensity in Rome, when pilgrims crowded particular effects. After four verses for single
nationalities), by cardinals and aristocratic structure. The first part uses lengthy duets, the streets and confraternities organised choir, our patience is rewarded when both
families, bankers and diplomats. In the second alternating between higher and lower pairs of processions which included floats, flagellants, choirs ring out gloriously on ‘Eia ergo’. Here
half of the 16th century there were new voices, with occasional tuttis; later, the speed groups of chanting friars and singers of Victoria exploits to the full his three soprano
seminaries and colleges, as well as hospitals quickens and the texture becomes denser, with polyphony. Churches and oratories hosted parts and an unusually wide three-octave
and a burgeoning lay confraternity movement. more frequent occurrences of the ostinato the Tenebrae offices, pared-down versions choral range. Even more effective is the final
Singing and instrumental playing accompanied figure. After a lively triple-time section, the pace of Matins and Lauds which were dramatised verse ‘O clemens…’,which contains some of his
church services, processions, banquets, jousts slows again for the final ‘Ave Maria’ peroration. by gradually extinguishing candles and lights, most sublime music. He clearly thought so too,
and other entertainments. It is therefore not and ended with the singing of the Miserere since he repeats the final ‘O dulcis Virgo Maria’
surprising that musicians flocked to Rome, from (Psalm 51) in total darkness. The lessons, taken section, with its soaring high notes and closely
Northern Europe initially, but also from Spain, from the Lamentations of Jeremiah, were packed descending scales.
Germany and other Italian states. sung to a special tone, heard at the opening
of this programme. Each was followed by one Felice Anerio was born in Rome to a musical
Josquin Desprez, the best-known European family: his father played trombone in the papal
of a series of responsories telling the story
composer of the early 16th century, spent five wind band while his younger brother Giovanni
of Christ’s Passion: those for Holy Saturday
years (1489-94) as a member of the papal choir Francesco was also a successful composer (the
describe the repose of his body in the tomb
which had been expanded in the 1470s by two are often confused!). Felice trained as a
while he harrowed Hell ('Recessit pastor
Pope Sixtus IV, who also built the Sistine Chapel choirboy with Palestrina at St Peter’s Basilica
noster', 'Aestimatus sum', 'Sepulto Domino');
for papal liturgies. Like other singers, Josquin and subsequently held positions as choirmaster
they also highlight his role as the wronged
carved his name on the wall of the chapel’s at a number of the city’s institutions. When
and suffering Saviour ('O vos omnes', 'Ecce
choir-loft; these graffiti have recently come to Palestrina died in 1594, Felice was appointed
quomodo moritur iustus', 'Astiterunt reges').
Josquin's name carved into the Sistine Chapel Choir loft composer to the papal choir in his place; this

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was due to the intervention of his patron, the
papal nephew Cardinal Pietro Aldobrandini,
Allegri’s Miserere. For a century and a half
it was the preferred setting for Holy Week, Allegri’s Miserere:
Everything you know is wrong!
and was not welcomed by the members, who achieving the status of star tourist attraction
would have preferred a new singer – they by the mid-18th century. The basic composition
already had a number of composers in their was actually very simple: two choirs, one
ranks. Anerio’s double-choir Regina caeli of four soloists, the other in five parts, sang Gregorio Allegri’s setting of the Miserere is be forgiven for demanding their money
laetare shows how the polychoral idiom had alternate verses interspersed with plainchant. one of the most famous, widely performed back. The version of Allegri’s Miserere
developed by the early 17th century: the text The writing used simple chordal textures and frequently recorded pieces of sacred there is... well, bland. None of the legendary
is now much more fragmented between with lightly ornamented cadences; the choral music. It is probably one of your abbellimenti – the very ornamentations that
the choirs, with lots of quick-fire exchange. whole pattern was repeated six times. What favourite pieces of music. There is only made the work so special – were included.
Slower sections based on plainchant alternate excited those who heard it, though, were the one problem with this: the entire piece is a This edition was no Protestant firework
throughout with bouncy Alleluias celebrating abbellimenti, the ornaments which the singers work of fiction! Very little of what is usually under papal authority: it was a veritable
the joy of Easter. increasingly added over time, spinning out performed today bears any similitude to damp squib. But it did open the floodgates
the music in an ever more elaborate filigree. the music that Allegri wrote and that was to hundreds of copies of the work, all for
Litanies were a staple item of processions but None of this was formally written down - it was performed in the Sistine Chapel by the sale in the markets of Rome, all of which
Anerio’s double-choir Litaniae Beatissimae famously guarded as a papal secret - until after
papal choir. are curiously different from what Burney
Virginis Mariae is more likely to have been sung the Napoleonic wars, but naturally everybody
published, though broadly consistent with
indoors, by professional singers in front of an tried to get a copy; the young Mozart notably The mythology of the work is often each other.
image of the Virgin. It shows tremendous skill transcribed it from memory and others left repeated: it was an excommunicable
in ensuring that a repetitive text, which might attempts. This performance provides a special offence to make a copy of the score, and Let’s look at the music that we now
have become tedious, is continually energised opportunity to follow the work’s development. hearing it sung was the desire of every call Allegri’s Miserere. The work is a
through endlessly varied choral textures and With the help of Ben Byram-Wigfield, who gentleman on the Grand Tour through falsobordone – alternating verses of
rhythms. There is a beautiful moment at the has done a special study of the piece, Harry Italy. The papal choir ornamented the work plainsong chant with choral polyphony
start of the final section when the two soprano Christophers has put together a version which with abbellimenti – secret musical devices melody. There is one further alternation:
parts alone sing ‘Regina angelorum’, before mirrors its historical progress. Starting with the known only to the choir. The precocious the choral verses themselves take turns
the full might of the heavenly choirs brings the simple Allegri original, layers of ornamentation
talent of the 12-year-old Mozart was between one choir of five voices and a
piece to a resounding close. are added to successive verses, taken from a
evident when he wrote out the music after second choir of four voices. The first verse
few surviving sources or imitating their style.
Our fourth featured composer, Gregorio Allegri, hearing it in 1770. The English musicologist is written for the five-part choir. This music
Note the chromatic steps in the first half of the
was also born in Rome. He served for 23 years Charles Burney laid his hands on a copy and was written by Mozart. It is close, but
solo verse which were a typical feature of the
in the papal choir, where he was particularly published it in 1771, at which time the papal not identical to the music he heard, and it
late-18th-century version. The performance
regarded for his contrapuntal skills, carrying on monopoly was lost forever. bears all the hallmarks of a more modern,
ends with the well-known high-C version,
the tradition which went back to Josquin. His Mozartian arrangement. It was of course
though not quite the familiar one; this top Once again, reality tarnishes the myth’s
double-choir Missa In lectulo meo owes more Mozart’s version that Burney published
note first appeared in the 20th century Kings glister. No papal edict has ever been found
to Anerio’s style than to Victoria’s. Reworking a College, Cambridge version. in 1771. Next comes the plainsong. This
on the subject (and they’re quite keen on should be the chant on which the music is
motet by the Liège-born Pierre Bonhomme (one
These four composers represent all that record-keeping in the Vatican). The young based, the tonus peregrinus (wandering
of the last musicians from Northern Europe
was best about the music written for the Mozart heard the piece twice, taking his tone), but it has frequently been heard with
to answer the call of Rome), Allegri breaks
papal choir and in early modern Rome more score in his hat for correction the second all sorts of other plainsong tones, and has
up the 'Gloria' text into short phrases which
bounce between the choirs like an extended generally: a passionate commitment to the text, time; as the music is based on a plainsong also been sung to just one note.
tennis volley. There are some bouncy rhythms, and to compositional and improvisational skill. chant and repeats the same two short
particularly towards the end, and a very This music helped attract pilgrims and tourists harmonic sequences five times, the task Finally, we have the real ‘jigsaw’ puzzle
beautiful tutti setting of the words ‘Jesu Christi’ historically, and continues to weave its magic of recording it to paper or memory is not of the four-part second choir. This starts
towards the end of the first section. on us today. so astounding as it might seem. And finally off as the most accurate and authentic
we come to Burney’s publication. Anyone section of the entire piece. We hear the
The most renowned of all the pieces composed Noel O’Regan © 2019 buying Burney’s collection of music sung first half of the verse, complete with the
for the Sistine Chapel was undoubtedly in the Sistine Chapel at Holy Week might abbellimenti, all the way to a cadence. The
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music starts up again, and after two chords: So what should the music be? Allegri So it wasn’t just the notes; it was how The version of Allegri’s Miserere that
what’s this? A complete key change from wrote his original music in around 1638, they were sung. Alfieri’s record of the The Sixteen performs on its 20th Choral
G minor to C minor. Now here’s the funny at the age of 56. Some 23 years later, the abbellimenti shows that the underlying Pilgrimage tour aims to portray the
thing: the music is exactly the same as music was written in a volume of settings music was slowed down, lengthened evolution of this famous work. It draws
the first half of the verse, but up a fourth! of the Miserere by successive composers to give the soprano space to sing the heavily on Ben Byram-Wigfield’s research,
So the top G for the soprano a few bars at the Sistine Chapel. The format of two embellishment. The trick was for the which is summarised in the article above
earlier is now repeated as a testing top C. choirs alternating between plainsong had other three parts to change chord at the but explained in full in his essay ‘Allegri’s
The error is thought to have occurred by already been long established. The first right time, all together. However it was Miserere: A Quest for the Holy Grail?’
misinterpreting the clefs used. The most choir of five voices is written for two tenors done, the result of the embellishment and (available to download free from www.
accurate section is the final half-verse, when instead of two sopranos (as well as one the way it was performed made Allegri’s ancientgroove.co.uk). Byram-Wigfield’s
all nine voices sing together. alto and bass), and the music is a simple work one of the highlights of sacred music research resulted in an ‘authentic edition…
progression of chords. In 1731, another throughout the 18th century. But there was to show in modern notation how the work
How did this happen? Vatican manuscript shows a transformation no modulation to the subdominant, and no would have been sung’ during Allegri’s day,
of the first choir. One of the tenor parts has top C either. and it is this edition that Harry Christophers
The first edition of Grove’s Dictionary of
been transposed up an octave to provide a used as the inspiration and starting point for
Music and Musicians was published in 1880, If the Miserere were a painting, its
second soprano, and the music ‘exploded’ creating the version you hear tonight.
and included an article by William Rockstro monetary value might be diminished by
to provide more independent movement.
that used Allegri’s Miserere as an example its somewhat dubious provenance and
No such treatment is found for the second
of ornamentation. However, in assembling whimsical reconstruction. But that need
choir. However, the second choir is where
the example, he somehow congealed the not stop us from admiring it. There are
the abbellimenti were added by the singers
correct music with a transcription in which many paintings and musical works that
to the existing music. These were not
the whole work was transposed up a fourth. are not what they appear to be (portraits
improvised ad libitum; they were set pieces,
This transcription came from an account by attributed to Vermeer, or Albinoni’s Adagio,
well-rehearsed phrases to be applied to
Mendelssohn, who heard the papal choir in for example). They are still things of beauty,
any suitable cadence. They were already in
1831 (at St John Lateran in the summer). with the capacity to inspire and to evoke.
existence in Palestrina’s day, well before the
The musicologist Robert Haas created a Miserere was written. Allegri would have
We may not ever know exactly how or what
version in the 1930s using the same mistake, composed his simple structure with these
the Sistine Chapel choir sang: but we do
and Sir Ivor Atkins, Organist at Worcester phrases in mind.
have music – sweet music – even if it’s not
Cathedral, came up with an English-language the right music.
We do have a reasonably accurate record of
edition in the 1950s, using the first choir
the abbellimenti themselves. Pietro Alfieri
from Burney’s publication of 1771, combined © Ben Byram-Wigfield 2013
published them in 1840, and Mendelssohn’s
with the second choir as it appeared in the
transcription, when read correctly, also
edition by Haas. Atkins also used plainsong
details them. Other manuscripts and
Tone VII, which was the chant used at that
records also show the correct details. So
time in the Roman Catholic liturgy for this
what was the reason for the mystique of
psalm on Good Friday.
the Miserere? Leopold Mozart puts his
The rest, as they say, is history. Unlikely as it finger on it in a letter of 14 April 1770 to his
may seem, this Frankenstein pastiche found wife: ‘Wolfgang has written it down and we
favour with audiences for its serene and would have sent it to Salzburg in this letter,
mystical quality, transcending the musical if it were not necessary for us to be there to
rules that it disobeys. perform it. But the manner of performance
contributes more to its effect than the
composition itself.’

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Music, Mystery and Meaning The sacred music in this evening’s programme
is suffused with Catholic religious doctrine.
Whether we listen to the glorious sounds
of this evening’s sacred music, sung by The
Josquin’s pre-Reformation devotion is Sixteen, in a secular or religious space, whether
In the late-medieval Europe that witnessed generations. However, in the 21st century and complimented by Anerio’s and Victoria’s post- we are confessional believers, seeking religious
the genius of Josquin Desprez, aesthetic an age of post-modernity and post-secularism, Tridentine passionate intensity and Allegri’s meaning in the sacred words, or have a less
experience was a gateway to the numinous even when commitments to the life and sublime vision. Yet, in today’s post-secular definite sense of the divine or spirituality, we
and transcendent. Continental Christianity doctrine of some religious institutions are west, the music reaches beyond the bounds can all find meaning in the numinous mystery
was characterised by the belief that there was waning, the search for spiritual encounter and of doctrinal and institutional propositional of the music. No art form better conveys
a sense of abundance in the generosity of the relationship is as strong as ever. The work of belief and out to the world hungry for spiritual meaning and, in the words of George Steiner,
heavens, which flowed out through the world the evolutionary psychologist Robin Dunbar nourishment, because music that speaks ‘… communicates to our senses and to our
in nature and the arts, allowing people to be and others shows us that music, and especially deeply into the human condition, promotes reflection what little we can grasp of the naked
open to the divine. In today’s multi-faith and singing, is not ‘auditory cheesecake’ as human flourishing and evokes spiritual wonder of life.’
partly secularised society, the arts, and music Professor of Psychology at Harvard University meaning, appeals to believers and non-
in particular, still offer an important way into Steven Pinker would have it, a kind of sweet believers alike. It relates to the experience, © Jonathan Arnold, 2019
finding a path that can expand and enhance extra to life that has no evolutionary function. encounter and relationality that transcend
our experience of the world and help us to It is rather a fundamental part of our make up us and the world around us. Beauty can help
perceive the reality and truth of something as human beings. This was as much understood us to intuit a truth beyond the confines of our
beyond individualistic materialism. Through by Josquin in the 15th century as it was a materialist existence and lead us to the source
relationships we may perceive a spark of millennium earlier by the great medieval music of all truth, which is ultimately love, a truth that
divinity, or sprit, and in art and music we might theorist Boethius, who was aware of music’s some call ‘God’.
take that experience one stage further and essential nature to the human experience:
intuit a deep knowledge of the spiritual life ‘Music is so naturally united with us that we
that cannot be found by reasoned argument or cannot be free from it even if we so desired.’
deductive thinking.
This phenomenon is just as true today, whether
There are good evolutionary reasons for this. we have religious belief or not. As English
Music, and in particular singing, played an political philosopher John Gray has written, ‘A
important part in early human development, godless world is as mysterious as one suffused
social interaction and ritual practice. Singing with divinity, and the difference between the
as a primary form of communication pre-dates two may be less than you think.’ The physical
speech and language itself, as the psychiatrist and neurological experience of music, whether
and writer Iain McGilchrist has shown: ‘... the composing, performing or listening, helps us
control of voice and respiration needed for to order our world. In the words of English
singing came into being long before they
would ever have been required by language
psychiatrist, psychoanalyst and author
Anthony Storr: ‘Music exalts life, enhances life, A new book to mark
… intonation, phrasing and rhythm develop
first; syntax and vocabulary come only later’.
and gives it meaning. Great music outlives the
individual who created it. It is both personal
four decades of The Sixteen
Therefore ‘our love of music reflects the and beyond the personal. For those who love
ancestral ability of our mammalian brain it, it remains as a fixed point of reference in
to transmit and receive basic emotional an unpredictable world. Music is a source of Out now!
sounds.’ This love of music, which developed reconciliation, exhilaration, and hope which
largely in the right hemisphere of the brain, never fails … It is irreplaceable, undeserved,
was concerned with communication, social transcendental blessing’. Such a blessing
cohesion and harmony and helped bond people helps us to find a greater optimism for the
together in community. In the age of modernity, future. Through this experience we approach,
from the 16th to the 20th centuries, language with meaning, the awesome mystery of our
and the printed word dominated society for existence.
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 Allegri’s Miserere –
which version will you hear tonight?
Allegri’s Miserere is one of the most famous line of verse 19 (the penultimate verse). You
pieces of choral music ever written, evolving will hear one of these new versions tonight, but
through many different versions since its first only our conductor knows which one it will be,
performances in the Sistine Chapel. so you’ll have to wait until the concert to find
out! The two lines that have been rewritten are
To celebrate the return of our Choral highlighted in red in the texts and translations
Pilgrimage, we decided to ask three of today’s so you’ll know when to expect it!
most eminent composers – Bob Chilcott,
Gabriel Jackson and Roxanna Panufnik – to
compose their own versions of the soprano

© Simon Jay Price

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16 17
Texts and Translations III. Ecce quomodo moritur iustus
Ecce quomodo moritur iustus, et nemo percipit Behold how the just man meets his death, and no
corde, one takes it to heart,
et viri iusti tolluntur, et nemo considerat. and just men are swept away, and no one has a care.
Plainsong De Lamentatione A facie iniquitatis sublatus est iustus: The just man has been removed from the sight of
et erit in pace memoria eius. iniquity, and his memory shall be in peace.
De Lamentatione Jeremiae Prophetae. From the Lamentation of Jeremiah the Prophet.
Tamquam agnus coram tondente se obmutuit, Like a lamb before the shearer he was mute,
et non aperuit os suum: and opened not his mouth:
HETH. Misericordiae Domini, quia non sumus HETH. It is thanks to the Lord’s mercy that we are
de angustia, et de iudicio sublatus est. he has been taken away from distress and from
consumpti; not consumed,
judgement.
quia non defecerunt miserationes eius. for his mercies are never lacking.
HETH. Novi diluculo, multa est fides tua. HETH. With each dawn I witness how great is
Pars mea Dominus, dixit anima mea; your faithfulness. Josquin Desprez Pater noster / Ave Maria
propterea exspectabo eum. HETH. The Lord is my portion, my soul has Pater noster, qui es in caelis, Our Father, who art in heaven,
TETH. Bonus est Dominus sperantibus in eum, declared; sanctificetur nomen tuum. hallowed be thy name,
animae quaerenti illum. therefore I will hope in him. Adveniat regnum tuum. thy kingdom come, thy will be done
TETH. Bonum est praestolari cum silentio TETH. The Lord is good to those who wait for him, Fiat voluntas tua, sicut in caelo et in terra. on earth as it is in heaven.
salutare Dei. to the soul that seeks him. Panem nostrum quotidianum da nobis hodie, Give us this day our daily bread,
TETH. Bonum est viro cum portaverit iugum ab TETH. It is good to wait in silence for the salvation et dimitte nobis debita nostra, and forgive us our trespasses,
adolescentia sua. of God. sicut et nos dimittimus debitoribus nostris. as we forgive those who trespass against us.
JOD. Sedebit solitarius, et tacebit, TETH. It is good for man to bear God’s yoke from Et ne nos inducas in tentationem And lead us not into temptation,
quia levavit super se. his youth. sed libera nos a malo. but deliver us from evil.
JOD. Ponet in pulvere os suum, si forte sit spes. JOD. Then will he sit in solitude and in silence Ave Maria, gratia plena, Dominus tecum: Hail Mary, full of grace, the Lord is with thee;
JOD. Dabit percutienti se maxillam, saturabitur when the Lord fixes it upon him benedicta tu in mulieribus, blessed art thou among women,
opprobriis. JOD. To put his mouth to the dust, in hopeful trust, et benedictus fructus ventris tui Jesu. and blessed is the fruit of thy womb, Jesus.
Jerusalem, Jerusalem, convertere ad Dominum JOD. And to offer his cheek to the striker, Sancta Maria, regina caeli, dulcis et pia, Holy Mary, queen of heaven, sweet and faithful,
Deum tuum. and be overwhelmed with insults. o mater Dei, ora pro nobis peccatoribus, O mother of God, pray for us sinners,
Jerusalem, Jerusalem; turn again to the Lord your God. ut cum electis te videamus. that among the chosen we may behold thee.

Tomás Luis de Victoria Tenebrae Responsories for Holy Saturday 1-3 Tomás Luis de Victoria Tenebrae Responsories for Holy Saturday 4-6
IV. Astiterunt reges
I. Recessit pastor noster
Astiterunt reges terrae, The kings of the earth have risen up,
Recessit pastor noster, fons aquae vivae, Our shepherd, the fount of the living water, et principes convenerunt in unum and the princes have gathered together
ad cuius transitum sol obscuratus est. is gone, adversus Dominum, et adversus Christum eius. against the Lord, and against his Christ.
Nam et ille captus est, at whose passing the sun was darkened.
qui captivum tenebat primum hominem. For he himself is taken, Quare fremuerunt gentes, Why are the nations in uproar,
Hodie portas mortis et seras pariter Salvator noster who held captive the first man. et populi meditati sunt inania? and the peoples cherishing vain thoughts?
disrupit. Today our Saviour has burst the gates of death
V. Aestimatus sum
Destruxit quidem claustra inferni, broken their locks.
Aestimatus sum cum descendentibus in lacum: I am reckoned among those who go down to the pit;
et subvertit potentias diaboli. Indeed he has destroyed hell’s prison,
Factus sum sicut homo sine adiutorio, I have become like a man without help,
and overthrown the might of the devil.
inter mortuos liber. a man free only among the dead.
II. O vos omnes Posuerunt me in lacu inferiori, They have laid me in the lower pit
O vos omnes, qui transitis per viam, attendite, et O all you that pass by the way, attend and see, in tenebrosis, et in umbra mortis. in darkness, and in the shadow of death.
videte si est dolor similis sicut dolor meus. if there be any sorrow like my sorrow.
VI. Sepulto Domino
Attendite, universi populi, et videte dolorem meum. Look, all you peoples, and see my sorrow.
Sepulto Domino, signatum est monumentum, Once the Lord was buried, they sealed up the tomb,
volventes lapidem ad ostium monumenti, and rolled a stone before the entrance to the
ponentes milites, qui custodirent illum. sepulchre,
Accedentes principes sacerdotum ad Pilatum, placing soldiers to guard it.
petierunt illum. The chief priests went to Pilate
18 and petitioned him. 19
Felice Anerio Litaniae Beatissimae Virginis Mariae Josquin Desprez Gaude virgo mater Christi
Kyrie eleison. Lord, have mercy on us. Gaude virgo mater Christi, Rejoice, virgin Mother of Christ
Christe eleison. Christ, have mercy on us. quae per aurem concepisti, who conceived through your ear,
Christe audi nos. Christ, hear us. Gabriele nuntio. by the messenger, Gabriel.
Christe exaudi nos. Christ, graciously hear us. Gaude quia Deo plena Rejoice, for full of God
Pater de caelis, Deus: miserere nobis. God the Father of Heaven, have mercy on us. peperisti sine poena, you gave birth without pain,
Fili Redemptor mundi Deus: miserere nobis. God the Son, Redeemer of the world, have mercy on us. cum pudoris lilio. retaining the lily of modesty.
Spiritus Sancte Deus: miserere nobis. God the Holy Ghost, have mercy on us. Gaude quia tui nati Rejoice, for your Son,
Sancta Trinitas unus Deus, miserere nobis. Holy Trinity, one God, have mercy on us. quem dolebas mortem pati, whose death you mourned,
Sancta Maria: ora pro nobis. Holy Mary, pray for us. fulget resurrectio. shines in his resurrection.
Sancta Dei Genitrix: ora pro nobis. Holy Mother of God, pray for us. Gaude Christo ascendente, Rejoice, for as Christ ascends,
Sancta Virgo virginum: ora pro nobis. Holy Virgin of virgins, pray for us. Et in caelum te vidente, and sees you in heaven,
Mater Christi: ora pro nobis. Mother of Christ, pray for us. motu fertur proprio. he is borne up by his own power.
Mater purissima: ora pro nobis. Mother most pure, pray for us. Gaude quae post ipsum scandis, Rejoice, you who ascend after him,
Mater castissima: ora pro nobis. Mother most chaste, pray for us. et est honor tibi grandis, for great honour awaits you
Mater inviolata: ora pro nobis. Mother inviolate, pray for us. in caeli palatio. in the courts of heaven.
Mater misericordiae: ora pro nobis. Mother of mercy, pray for us. Ubi fructus ventris tui, There may the fruit of your womb
Mater creatoris et salvatoris: ora pro nobis. Mother of our Creator and Saviour, pray for us. nobis detur per te frui, through you be given to us to enjoy
Virgo prudentisima: ora pro nobis. Virgin most prudent, pray for us. in perenni gaudio. in everlasting happiness.
Virgo potens: ora pro nobis. Virgin powerful, pray for us. Alleluia. Alleluia.
Virgo clemens: ora pro nobis. Virgin merciful, pray for us.
Virgo fidelis: ora pro nobis. Virgin faithful, pray for us.
Sedes sapientiae: ora pro nobis. Seat of Wisdom, pray for us. Gregorio Allegri ‘Gloria’ from Missa In lectulo meo
Causa nostra laetitiae: ora pro nobis. Cause of our joy, pray for us. Gloria in excelsis Deo Glory be to God on high,
Rosa mystica: ora pro nobis. Mystical rose, pray for us. et in terra pax hominibus bonae voluntatis. and on earth peace to men of good will.
Turris Davidica: ora pro nobis. Tower of David, pray for us. Laudamus te, benedicimus te. We praise you, we bless you,
Ianua caeli: ora pro nobis. Gate of heaven, pray for us. adoramus te, glorificamus te. we adore you, we glorify you.
Stella matutina: ora pro nobis. Morning star, pray for us. Gratias agimus tibi We give you thanks for your great glory.
Salus infirmorum: ora pro nobis. Health of the sick, pray for us. propter magnam gloriam tuam. Lord God, heavenly King,
Regina Angelorum: ora pro nobis. Queen of Angels, pray for us. Domine Deus, Rex caelestis. God the Father almighty.
Regina Prophetarum: ora pro nobis. Queen of Prophets, pray for us. Deus Pater omnipotens. Lord, only-begotten Son, Jesus Christ,
Regina Apostolorum: ora pro nobis. Queen of Apostles, pray for us. Domine Fili unigenite, Jesu Christe. Lord God, Lamb of God, Son of the Father.
Regina Martyrum: ora pro nobis. Queen of Martyrs, pray for us. Domine Deus, Agnus Dei, Filius Patris. You take away the sins of the world,
Regina Confessorum: ora pro nobis. Queen of Confessors, pray for us. Qui tollis peccata mundi, have mercy upon us.
Regina Virginum: ora pro nobis. Queen of Virgins, pray for us. miserere nobis. You take away the sins of the world,
Regina Sanctorum omnium: ora pro nobis. Queen of all Saints, pray for us. Qui tollis peccata mundi, receive our prayer.
Intercede pro nobis Dominum. Intercede with the Lord for us. suscipe deprecationem nostram. You are seated at the right hand of the Father,
Qui sedes ad dexteram Patris, have mercy upon us.
miserere nobis. For you alone are Holy,
Quoniam tu solus sanctus, you alone are the Lord,
tu solus Dominus, you alone are the Most High, Jesus Christ,
tu solus Altissimus, Jesu Christe, with the Holy Spirit
Cum Sancto Spiritu in the glory of God the Father. Amen.
in gloria Dei Patris. Amen.

20 21
Josquin Desprez Illibata Dei virgo Cor mundum crea in me, Deus: Turn your face away from my sins
et spiritum rectum innova in visceribus meis. and do away with all my misdeeds.
Illibata Dei virgo nutrix, Inviolate mother, nurse of God,
Ne proiicias me a facie tua: Make me a clean heart, O God,
Olympi tu regis o genitrix, O you, mother of Olympus’s ruler,
et spiritum sanctum tuum ne auferas a me. and renew an upright spirit within my heart.
Sola parens verbi puerpera, Who alone gave birth to the Word,
Quae fuisti Evae reparatrix, Who made good the sin of Eve, Redde mihi laetitiam salutaris tui: Do not cast me away from your presence
Viri nefas tuta mediatrix, And are the advocate for man in his wickedness et spiritu principali confirma me. nor take your holy spirit from me.
Illud clara luce dat scriptura. As the scriptures clearly tell us, Docebo iniquos vias tuas: Give me again the joy of your salvation
Nata nati alma genitura, Nurturing daughter who would bear your own Son; et impii ad te convertentur. and strengthen me with the spirit that leads.
Des ut laeta musarum factura Grant that this hymn, the happy work of muses, Libera me de sanguinibus, Deus, Then I will teach the wicked your ways,
Prevaleat hymnus et sit Ave, May work its power and be an ‘Ave’ Deus salutis meae: and sinners will be converted to you.
Roborando sonos ut guttura, To give strength to sound, as our voices et exaltabit lingua mea iustitiam tuam.
Efflagitent laude teque pura Make their earnest prayer of praise and cry ‘Ave’ Deliver me from blood-guiltiness, O God,
Zelotica arte clament Ave. To you with chaste and fervent art. Domine, labia mea aperies: the God of my salvation:
et os meum annuntiabit laudem tuam. and my tongue will exalt your righteousness.
Ave virginum decus hominum Hail, crown of all human virginity
caelique porta. and gateway to heaven. Quoniam si voluisses sacrificium Open my lips, Lord,
Ave lilium, flos humilium, Hail, lily, flower of humility, dedissem utique: and my mouth will declare your praise.
virgo decora. beautiful virgin. holocaustis non delectaberis. For if you had wanted sacrifices
Vale ergo, tota pulchra ut luna, Hail, then, all beautiful as the moon, Sacrificium Deo spiritus contribulatus: I would have offered them to you,
electa ut sol clarissima gaude. and rejoice, chosen one, brilliant as the sun. cor contritum et humiliatum, but you take no pleasure in burnt-offerings.
Salve tu sola consola amica Hail to you alone, who alone bring loving comfort Deus, non despicies. The sacrifice God wants is a spirit that has been tried:
'la mi la' canentes in tua laude. to those who sing ‘la mi la’ in your praise. Benigne fac, Domine, in bona voluntate tua Sion: a contrite and humbled heart, O God,
Ave Maria, mater virtutum, veniae vena. Hail Mary, mother of virtues, rich vein of pardon. ut aedificentur muri Jerusalem. you will never despise.
Ave Maria, gratia plena, dominus tecum. Hail Mary, full of grace, the Lord is with you.
Amen. Amen. Tunc acceptabis sacrificium iustitiae, Show kindness to Sion in your great goodwill
oblationes et holocausta: and build up the walls of Jerusalem.
tunc imponent super altare tuum vitulos. Then you will accept the rightful sacrifice,
the burnt-offerings and oblations:
Gregorio Allegri Miserere - Its Evolution then will they offer young bullocks on your altar.
Miserere mei, Deus: Have mercy upon me, O God,
secundum magnam misericordiam tuam. according to the greatness of your mercy.
Et secundum multitudinem miserationum And according to the multitude of your mercies, Felice Anerio Regina caeli laetare a8
tuarum, dele iniquitatem meam. cancel out all my sins.
Regina caeli laetare. alleluia: Queen of Heaven, rejoice. alleluia:
Amplius lava me ab iniquitate mea: Wash me more and more from my wickedness Quia quem meruisti portare. alleluia: For he whom you were worthy to bear. alleluia:
et a peccato meo munda me. and cleanse me of my sin. Resurrexit, sicut dixit. alleluia: He has risen, as he foretold. alleluia:
Quoniam iniquitatem meam ego cognosco: For I acknowledge my faults, Ora pro nobis Deum. alleluia: Pray for us to God. alleluia:
et peccatum meum contra me est semper. and my sin counts always against me.
Tibi soli peccavi, et malum coram te feci: Against you alone have I sinned
ut iustificeris in sermonibus tuis, and done what is evil in your sight: Tomás Luis de Victoria Salve Regina a8
et vincas cum iudicaris. so that you are justified when you judge,
and clear when you pass sentence. Salve Regina, mater misericordiae: Hail, Queen, Mother of mercy:
Ecce enim in iniquitatibus conceptus sum:
vita dulcedo, et spes nostra, salve. our life, our sweetness and hope, hail.
et in peccatis concepit me mater mea. For look, I was conceived in wickedness,
Ad te clamamus, exsules filii Evae. To you we cry, banished children of Eve.
Ecce enim veritatem dilexisti: and in sin my mother carried me in the womb.
Ad te suspiramus, gementes et flentes To you we send up our sighs,
incerta et occulta sapientiae tuae And see, you delight in the truth, in hac lacrimarum valle. mourning and weeping in this vale of tears.
manifestasti mihi. and have revealed to me the hidden mysteries of Eia ergo, advocata nostra, Therefore, our advocate,
Asperges me hyssopo, et mundabor: your wisdom. illos tuos misericordes oculos ad nos converte. turn your merciful eyes towards us,
lavabis me, et super nivem dealbabor. You will sprinkle me with hyssop, and I shall be clean: Et Jesum, benedictum fructum ventris tui, and after our exile here
Auditui meo dabis gaudium et laetitiam: you will wash me, and I shall be made whiter than nobis post hoc exsilium ostende. show us Jesus, the blessed fruit of your womb.
et exultabunt ossa humiliata. snow. O clemens: O pia: O kind, O merciful,
You will make me hear of joy and gladness O dulcis Virgo Maria. O sweet Virgin Mary.
Averte faciem tuam a peccatis meis:
et omnes iniquitates meas dele. and the bones which were broken will rejoice.

22 23
The Sixteen
Images of audiences queuing to hear early Tudor first broadcast in 2015. In 2020, The Sixteen Following the success of the inaugural Choral group won the prestigious Royal Philharmonic
polyphony or contemporary choral compositions reunited once again with Simon Russell Beale to Pilgrimage, The Sixteen launched its own record Society award for best ensemble.
belonged to the world of fantasy before The produce a specially commissioned series entitled label in 2001. CORO has since cultivated an The Sixteen’s commitment to the future of
Sixteen and Harry Christophers brought them A Choral Odyssey. award-winning catalogue of 170 titles, albums choral music is clearly reflected in its extensive
to life. The UK-based ensemble, hallmarked ‘No praise would be too high for the range of of choral works by Francis Poulenc, Purcell’s outreach programme, using the power of music
by its tonal richness, expressive intensity and The Sixteen, from seraphic notes on the brink welcome songs for James II, and the world to engage and inspire new and existing audiences
compelling collective artistry, has introduced of audibility to a richness of which a Russian premiere recording of MacMillan’s Stabat mater as well as transforming music education. Genesis
countless newcomers to works drawn from choral ensemble would be proud,’ concluded recent among them. The Sixteen’s substantial Sixteen, supported by the Genesis Foundation,
well over five centuries of sacred and secular one reviewer following the world premiere discography for CORO and other labels has offers the UK’s first fully funded choral training
repertoire. The Sixteen’s choir and period- performance of Sir James MacMillan’s Stabat attracted many prestigious international prizes, programme for singers aged 18 to 23. It has
instrument orchestra stand today among the mater, commissioned for The Sixteen by the including a Gramophone Award for Early Music been specially designed to help participants
world’s greatest ensembles, peerless interpreters Genesis Foundation. The work, first performed and a Classical Brit Award for Renaissance, navigate the testing transition from student
of Renaissance, Baroque and modern choral at London’s Barbican in October 2016, was recorded as part of the group’s contract with status to life as professional performers.
music, acclaimed worldwide for performances later streamed live from the Sistine Chapel Universal Classics and Jazz. In 2009 The Sixteen
delivered with precision, power and passion. For more information on The Sixteen,
and recently received its US premiere at the was named as Classic FM Gramophone Artist
Harry Christophers and CORO, please visit
Celebrating its 40 anniversary in 2019, The
th
Lincoln Center, New York. Their long-standing of the Year and received the Gramophone
thesixteen.com.
Sixteen arose from its Founder and Conductor relationship with James MacMillan has continued Best Baroque Vocal Award for its recording
Harry Christophers’ formative experience to flourish with the group recently performing of Handel’s Coronation Anthems. In 2018 the
as cathedral chorister and choral scholar. His the world premiere of his Fifth Symphony at the
enterprise, launched in 1979, built on the best 2019 Edinburgh International Festival.
of the British choral tradition while setting new International tours are an essential part of life for
standards of virtuosity and musicianship. The The Sixteen. The ensemble makes regular visits
Sixteen’s professional female and male voices to major concert halls and festivals throughout Patron Genesis Sixteen Manager Board of Trustees
create a distinctive sound of great warmth and Marquess of Salisbury Jess Haig Robin Barda (chair)
Europe, Asia, Australia and the Americas. It gave
clarity. Although refined over four decades, that Season Patrons Box Office & Marketing Sir Ian Blatchford
its first tour of China in October 2017, followed
sound has remained remarkably consistent, Alexander Armstrong Coordinator Lord Briggs
soon after by debut concerts in Estonia and Oliver Doyle Harry Christophers CBE
always responsive to the emotional content of John Studzinski CBE
Lithuania. The Sixteen’s touring credits include Michael Watt ONZM Develpoment & Office Mary Deissler
words and music, ever alert to subtle nuances of performances at the Cité de la musique in Paris, Lady (Anne) Heseltine
colour and shading. Founder & Conductor Coordinator
Amsterdam’s Concertgebouw and Vienna’s Naomi Nikolajsen
Harry Christophers CBE Isabel Crawley Keith Parker
The Sixteen has widened its reach at home Musikverein, together with appearances at the
Associate Conductor Media Relations Richard Price
in recent years as ‘The Voices of Classic FM’, BBC Proms and the Edinburgh, Hong Kong,
Eamonn Dougan RDMR Adam Singer
Associate Artists of The Bridgewater Hall and Istanbul, Lucerne, Prague and Salzburg festivals.
Chief Executive Lord (Chris) Smith
Artistic Associates of Kings Place, and with an The Sixteen’s period-instrument orchestra, The Sixteen Productions
ongoing Artist Residency at Wigmore Hall. Since Marie-Sophie Willis The Sixteen Ltd
central to the ensemble’s ambitious continuing CORO Label Manager
2000 its annual Choral Pilgrimage has brought Development Director Quadrant House
series of Handel oratorios, has drawn critical Cath Edwards
the ensemble to Britain’s great cathedrals and Carol McCormack 10 Fleet Street London
acclaim for its work in semi-staged performances Label Administrator EC4Y 1AU
abbeys to perform sacred music in the spaces Concerts & Artistic Katie Bank
of Purcell’s Royal Welcome Songs in London,
for which it was conceived. Appearances in the Planning Manager
a production of Purcell’s King Arthur in Lisbon Directors 020 7936 3420
Emily Crewe info@thesixteen.com
BBC television series Sacred Music, presented and new productions of Monteverdi’s Il ritorno John Bickley
by Simon Russell Beale, have also helped grow Marketing Manager Andrew Gummer (chair) thesixteen.com
d’Ulisse at Lisbon Opera House, The Coronation Jessica Tomkins Chris O'Reilly
The Sixteen’s audience. The most recent edition,
of Poppea at English National Opera, and Education & Outreach Adam Singer The Sixteen Ltd
an hour-long programme entitled Monteverdi Registered in England No. 1930741
Handel’s Belshazzar at Grange Festival. Manager Marie-Sophie Willis Registered Charity No. 326917
in Mantua: The Genius of the Vespers, was Booklet information correct at time
Amanda MacLeod of going to press.
24 25

21
Harry Christophers CBE Eamonn Dougan
Founder and Conductor Associate Conductor
Harry Christophers stands among today’s Away from the recording studio, he has assisting Sir Mark Elder for the world premiere
great champions of choral music. In partnership recently collaborated with BBC Radio 3 concert and recording of Puccini’s Le Villi with
with The Sixteen, he has set benchmark presenter Sara Mohr-Pietsch to produce Opera Rara and the London Philharmonic
standards for the performance of everything a book entitled A New Heaven: Choral Orchestra and conducting the off-stage
from late medieval polyphony to important
new works by contemporary composers. Eamonn Dougan
Conversations in celebration of the group's
40th anniversary.
chorus for Berlioz L’Enfance du Christ with
The Hallé, Britten Sinfonia Voices and Genesis

Under his leadership The Sixteen has Associate

Harry Christophers was awarded a CBEConductor
in
Sixteen for BBC Proms 2019 at the Royal
Albert Hall. In 2019 he directed The Sixteen’s
established its hugely successful annual the Queen’s 2012 Birthday Honours list. He tour of Australia and Singapore, Messiah
Choral Pilgrimage, created the Sacred Music Eamonn
is an Honorary Fellow Dougan isCollege,
of Magdalen an inspirational conductor
with Orquesta Sinfónica de Castilla y León
series for BBC television, and developed and
Oxford, as well as therenowned baritone.
Royal Welsh CollegeHe is Associate
and Cappella Amsterdam, made his Spanish
an acclaimed period-instrument orchestra. Conductor
of Music and Drama, and hasofHonorary
The Sixteen and founding
debut with the Bilbao Orkestra Sinfonikoa
Highlights of their recent work include an Director
Doctorates in Music fromofthe
Britten Sinfonia Voices. Informed
Universities and Real Orquesta Sinfónica de Sevilla, and in
Artist Residency at Wigmore Hall, a large- by his singing,
of Leicester, Canterbury ChristEamonn
Church,is an engaging
communicator with a particular passion for Paris at the La Seine Musicale with renowned
scale tour of Monteverdi’s Vespers of 1610, Northumbria and Kent. ensemble Accentus. With Britten Sinfonia
the world premiere of James MacMillan’s
Bach, the French Baroque and 16th– and
20th– President
century English Voices he has conducted several world
Stabat mater, including a live-streamed In 2020 he was made of the repertoire.
premieres including Sir John Tavener’s Flood
performance from the Sistine Chapel and Cathedral Music Trust.
Forthcoming conducting engagements Eamonn Dougan is an inspirational of Beauty, Esenvalds’ Aqua, Nico Muhly’s
the world premiere of his Fifth Symphony at include his debut with the Danish National communicator with a wide-ranging repertoire, Looking Forward for Britten Sinfonia’s 20th
the 2019 Edinburgh International Festival. VokalEnsemblet and return visits to work andhasis a directed
renowned vocalorchestras
coach andand baritone. birthday and the choral premiere of Jóhann
He many
Their future projects, meanwhile, comprise a with the KoncertKor and Danish National choirs including Orchestra of the Age
Eamonn is Associate Conductor of Theof Jóhannsson’s Orphée at the Barbican.
new series devoted to Purcell and an ongoing Symphony Orchestra. Further collaborations Enlightenment,
Sixteen, founding Irish Baroque
Director Orchestra,
of Britten Sinfonia
survey of Handel’s dramatic oratorios. with violinist Harriet McKenzie include a new Corinthian
Voices, Music Chamber
Director Orchestra, Royal Tallis
of the Thomas Eamonn’s developing opera work has included
commission by Julian Joseph and a specially Northern
Society, and Sinfonia, Trondheimfor
Chief Conductor Barokk,
Jersey Opera Dido and Aeneas, Mozart’s La finta giardiniera
Harry Christophers has served as Artistic curated programme, Sun, Moon and Sky, for and Cosi fan tutte with Ryedale Festival Opera.
Rara,
Chamber BBCOrchestra.
Singers, and Wroclaw Philharmonic
Director of the Handel and Haydn Society Salisbury Festival. Return visits to Coro de Programming highlights have included a
Choir (Poland). With Britten Sinfonia Voices
since 2008, is Principal Guest Conductor la Comunidad, Madrid, the Jersey Chamber Forthcoming conducting specially curated programme, Sun, Moon and
he has conducted severalengagements
world premieres
of the City of Granada Orchestra and has Orchestra and chamber opera for Ryedale including Sir John Tavener’s
include performances as partFlood of Royal
of the Beauty, Sky, for Salisbury Festival with violinist Harriet
worked as guest conductor with, among Festival beckon, alongside his continued Esenvalds Aqua, Nico Muhly’s Looking
Academy of Music’s Bach European series, McKenzie and the London Chamber Orchestra.
others, the London Symphony Orchestra, work with The Sixteen, Britten Sinfonia and Forward and the choral premiere of Jóhann
return visits to the Cumnock Tryst Festival,
the BBC Philharmonic, the San Francisco educating choral groups across the world Jóhannsson’s Orphée National
BBC Singers, Danish at the Barbican.
Symphony Eamonn has a highly successful five-disc Polish
Symphony Orchestra and the Deutsches including conducting his own Thomas Tallis Orchestra, VokalEnsemblet and KoncertKor, Baroque series with The Sixteen which includes
Kammerphilharmonie. Christophers’ Society and Genesis Sixteen. Eamonn
Orquestahas a highly
y Coro de lasuccessful
Comunidad five-disc
de Madrid music by Bartlomiej Pekiel, The Blossoming
extensive commitment to opera has embraced Polish Baroque series with The Sixteen. The Vine, music by Gorczycki, Helper and Protector
Eamonn recently conducted the world (ORCAM), Ryedale Festival Opera, and Jersey
productions for English National Opera and first disc, music by Bartlomiej Pekiel, was and music by Marcin Mielczewski..
premiere of Sir James MacMillan’s All the Hills Chamber Orchestra.
met with widespread critical acclaim and
© Firedog

Lisbon Opera and work with the Granada,

and Vales Along at the Cumnock Tryst Festival, was shortlisted
Buxton and Grange Park festivals. Recent highlightsfor a Gramophone
have Award.
included the world Eamonn Dougan is managed worldwide by
Messiah with Orquesta Sinfónica de Castilla Subsequent discs in the series include The Percius. www.percius.co.uk
premiere of James MacMillan’s All the Hills
y León and Capella Amsterdam, and made Blossoming Vine, music by Gorczycki, and
and Vales Along at the Cumnock Tryst Festival,
his Paris debut at the La Seine Musicale with Helper and Protector. The fifth disc, music by
renowned ensemble Accentus. He recently Marcin Mielczewski, was released in 2017.
26 27
assisted Sir Mark Elder for Opera Rara’s next
recording and its premiere performance at the Eamonn Dougan is managed worldwide by
 The Sixteen Club offers the opportunity to •
invest in our future, hear about our plans rehe
as they come to fruition, and celebrate the

Supporters Become a Patron of The Sixteen

special relationship that we nurture with • Prior
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The Sixteen’s 2021 season Handel Circle Andy Chilton Alison Purser Pilgri
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without the generosity of Robin Barda Richard Cockram & Sue Perry Ms Marie Rabouhans can include priority booking, complimentary advance Call Carol to of
copies hear more about
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29
and activities
 Leave a Legacy to The Sixteen
Having reached its 40th birthday in 2019, The Sixteen has dedicated its existence to keeping
the great choral tradition alive and thriving. As it contemplates the future, it recognises that the
continuance of its work is the single most important element to secure for generations to come.
The handing down of the craft of choral singing and conducting and enabling audiences to discover
choral music of the past, present and the future is more than a life’s work. Please help us to ensure
that The Sixteen remains an enduring voice in years to come by leaving a legacy in your Will.

How to leave a legacy to Suggested wording for

The Sixteen in your Will Wills and Codicils:
There are a number of ways that you can give: Residuary Legacy
A residuary gift: the residue (or a proportion “I give (the residue) / (—% of the residue) of my
of the residue) of an estate after all other gifts, estate absolutely to The Sixteen (registered
debts and expenses have been paid charity number 326917) of Quadrant House,
A pecuniary gift: a fixed sum of money 10 Fleet Street, London, EC4Y 1AU and I
direct that the proceeds may be used for the
A specific gift: an identifiable asset such as a
general purposes of The Sixteen. I further
property or an investment.
direct that the receipt of the treasurer or
If you have already made a Will, or have other proper officer of The Sixteen for the
updated it recently, you can add a legacy or time being shall be full and sufficient discharge
bequest to The Sixteen by drafting a codicil. for the said legacy.”
We have suggested wording below but
Pecuniary Legacy
recommend that you consult a solicitor to
ensure that the Will or codicil is valid and your “I give to The Sixteen (registered charity
Legacy
wishes are realised. number 326917) of Quadrant House, 10
You can play your part in preserving the future of The Sixteen and Fleet Street, London, EC4Y 1AU, (the sum of
If you leave
its choral musica Legacy
tradition toa gift
by leaving The Sixteen
in your will.
£—)/(all my share and interest in— absolutely)
(registered
A gift in your will is acharity 326917)
very personal matter. it
Please contact will
Carol not be
McCormack,
If you are interested in leaving a legacy, of Development Director
and I direct that such money may be used for
subject toyourinheritance
any kind, to The Sixteen then we invite
you to discuss plans with us in tax. Therefore,
on 020 7936 3420 or
carol@thesixteen.com for further a legacy
information. general purposes. I further direct that the
giftAlternatively,
madeif to The Sixteen will be deducted from
you have already
receipt of the treasurer or other proper officer
thewevalue ofhearthe estate
remembered The Sixteen in your will then
would love to from you and thank before tax liability is
you for your special gift. of The Sixteen for the time being shall be full
calculated.
and sufficient discharge for the said legacy.”
Please contact Development Director,
Carol McCormack on 07711 527 662
or email carol@thesixteen.com if you need
further information. Also, we would love to
hear from you if you have already entered a
clause in your Will in respect of The Sixteen.
© Adrian Myers

Adrian Myers
© Adrian Myers

30 30
©
‘Exceptional quality, reinforcing
The‘ ItSixteen
takes a lot
as to stay
one ofatthe
thefinest
head
of the
choirs of choral pack
our day.’ for as long as
Gramophone
Harry Christophers and
Celebrate Christmas with The Sixteen
The Sixteen.’
The Arts Desk
Song of the Nativity The Complete Traditional
Christmas Carols Collection
AVAILABLE AT TONIGHT’S
CONCERT

The Call of Rome

All the music
from tonight’s
COR16146

COR16136
concert available
on one
Christus disc Est
Natus Handel Messiah
COR16178

CONCERT OFFER
Visit the CD counter for our special concert offers including two for £20
on all single CDs (normally £13 each).

Also available
COR16027

COR16062

EXCLUSIVE CONCERT OFFER

Buy any two single CDs at tonight’s concert for just £20 (normally £13 each).
COR16179 COR16180 COR16184 COR16187
Special offer only available at The Sixteen’s Christmas concerts.

www.thesixteen.com
thesixteen.com 32