May 3, 2007
Harry Christophers conducts 18 choral voices, no orchestra, at this sold-out programme of work by renowned Papal composers of the 16th century in the high-vaulted Gothic University Church of St Mary’s. The pieces selected offer an insight into Theological history as much as an evening of pure unadulterated delight. This celebrated group of singers performs the contrapuntal technique, where two distinct lines of music are performed at the same time, effortlessly. Religious compositions employ two lines of melody so that on one line the words of the mass are clearly audible and on another the Liturgical composers have the freedom to embellish. It is irresistible to close ones eyes during the performance and let the beauty of these embellishments or ‘abbellimenti’ intensify. The Sixteen build virtual cathedrals and grand churches around your ears with their superb tonal quality with a programme that continues to tour architectural treasures around the globe.
The evening starts with a plainsong hymn, ‘Decora lux aeternitatis’. This is typical of the Gregorian chant that would have inspired the later polyphonic compositions. The intense solemn impact of a following piece, Gregorio Allegri’s ‘Miserere’ (Psalm 50/51), is such that the Papal singers kept the simple chords a secret until allegedly copied from memory by Mozart. Tonight is no exception, the rendition is a sensation and there is a feeling of awe amongst the audience. ‘Miserere’ was traditionally sung every year at the end of Holy Week during the existence of a choir at the Sistine Chapel as the Pope and Cardinals knelt at the altar in the dark. The very nature of tradition means a ritual is handed down and inevitable embellishments are likely to have been made to the piece over the years. It is priceless to hear a work of genius that is still moving on its journey today. The soaring rise and fall of this deceptively simple composition is evocative of the Jesuit tradition of championing beautiful music in church to attract pilgrims and regular church-goers. At the same time, Church reformers of mid 16th century call for ‘la musica intelligible’ where nothing gets in the way of the words of the liturgy. This preference fits with the clarity and refinement of Palestrina’s style. We are treated to ‘Gloria’ from Palestrina’s Missa Papae Marcelli; a rich tapestry of voices woven into a composition to celebrate the election of Pope Marcellus. ‘Gloria’ evokes a serene and joyous feeling as does a stroll around a cloistered quadrangle.
Originally performing as a group of 16, The Sixteen perform music taken from the 16th century; a time when composer Felice Anerio is a choir boy at St Maria Maggiore. Anerio is later named as a successor to fellow Roman Palestrina and completes tonight’s trio of Papal composers. Anerio’s beautifully flowing polyphonic compositions have rousing shifts from duple to triple time that make his work fascinating. ‘Magnificat’, ‘Stabat Mater’ and ‘Ave Regina caelorum’ are performed as The Sixteen present these thrilling compositions by Anerio, some of which may be new to us. The printed programme makes a collectible souvenir and hints at the plethora of manuscripts held in the Vatican library, untouched by modern musical scholars. This makes the evening of ‘Music from the Sistine Chapel’ all the more precious. Thankfully, The Sixteen’s own recording label CORO offers a means of extending the beauty of the heavenly choir into our mundane regiment of everyday life. CD titles such as ‘Love’s Goddess Sure was Blind’, ‘The Pillars of Eternity’ and ‘The Flower Of All Virginity’ are evocative of the music recorded. This is particularly useful for those who are unable to attend any of the remaining dates on this highly popular Choral Pilgrimage. The Antiphon for 2nd Vespers ‘Assumpta est Maria’ ends the evening and clears the head like raw eucalyptus, so one wonders who said the devil has the best music?
The evening starts with a plainsong hymn, ‘Decora lux aeternitatis’. This is typical of the Gregorian chant that would have inspired the later polyphonic compositions. The intense solemn impact of a following piece, Gregorio Allegri’s ‘Miserere’ (Psalm 50/51), is such that the Papal singers kept the simple chords a secret until allegedly copied from memory by Mozart. Tonight is no exception, the rendition is a sensation and there is a feeling of awe amongst the audience. ‘Miserere’ was traditionally sung every year at the end of Holy Week during the existence of a choir at the Sistine Chapel as the Pope and Cardinals knelt at the altar in the dark. The very nature of tradition means a ritual is handed down and inevitable embellishments are likely to have been made to the piece over the years. It is priceless to hear a work of genius that is still moving on its journey today. The soaring rise and fall of this deceptively simple composition is evocative of the Jesuit tradition of championing beautiful music in church to attract pilgrims and regular church-goers. At the same time, Church reformers of mid 16th century call for ‘la musica intelligible’ where nothing gets in the way of the words of the liturgy. This preference fits with the clarity and refinement of Palestrina’s style. We are treated to ‘Gloria’ from Palestrina’s Missa Papae Marcelli; a rich tapestry of voices woven into a composition to celebrate the election of Pope Marcellus. ‘Gloria’ evokes a serene and joyous feeling as does a stroll around a cloistered quadrangle.
Originally performing as a group of 16, The Sixteen perform music taken from the 16th century; a time when composer Felice Anerio is a choir boy at St Maria Maggiore. Anerio is later named as a successor to fellow Roman Palestrina and completes tonight’s trio of Papal composers. Anerio’s beautifully flowing polyphonic compositions have rousing shifts from duple to triple time that make his work fascinating. ‘Magnificat’, ‘Stabat Mater’ and ‘Ave Regina caelorum’ are performed as The Sixteen present these thrilling compositions by Anerio, some of which may be new to us. The printed programme makes a collectible souvenir and hints at the plethora of manuscripts held in the Vatican library, untouched by modern musical scholars. This makes the evening of ‘Music from the Sistine Chapel’ all the more precious. Thankfully, The Sixteen’s own recording label CORO offers a means of extending the beauty of the heavenly choir into our mundane regiment of everyday life. CD titles such as ‘Love’s Goddess Sure was Blind’, ‘The Pillars of Eternity’ and ‘The Flower Of All Virginity’ are evocative of the music recorded. This is particularly useful for those who are unable to attend any of the remaining dates on this highly popular Choral Pilgrimage. The Antiphon for 2nd Vespers ‘Assumpta est Maria’ ends the evening and clears the head like raw eucalyptus, so one wonders who said the devil has the best music?