FranciscoGuerrero

SYDNEY CHAMBER CHOIR • ORCHESTRA OF THE RENAISSANCE MICHAEL NOONE DIRECTOR

MISSA SURGE PROPERAAND MOTETS FOR VOICES AND WINDS

MISSA SURGE PROPERAAND MOTETS FOR VOICES AND WINDS

SYDNEY CHAMBER CHOIR • ORCHESTRA OF THE RENAISSANCE MICHAEL NOONE DIRECTOR

476 9236

ANTIPODES is a sub-label of ABC Classics

devoted to the historically informed

performance of music from the Renaissance,

Baroque and Classical periods.

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Francisco GuerreroFrancisco Guerrero1528-1599

1 Tota pulchra es Maria a 6 5’11

2 Ave Virgo sanctissima a 5 3’27

3 Regina caeli a 8 4’08

4 Surge propera amica mea a 6 (Instrumental version) 4’53

Missa Surge propera a 6 [24‘45]5 Kyrie 3’076 Gloria 4’577 Credo 8’158 Sanctus 6’219 Agnus Dei 2’05

0 In exitu Israel a 4 15’55

Total Playing Time 59’01

Sydney Chamber Choir

Orchestra of the Renaissance

Michael Noone director

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Yuste for the emperor, Charles V, only shortlybefore the latter’s death in 1558. In 1561,Guerrero visited Toledo Cathedral, bearing asgifts two sumptuous new manuscriptchoirbooks, one of which (a volume of Magnificatsettings for use at Vespers) is still preservedthere. In 1563 Guerrero introduced most of thesame works to an international audience in hisfirst printed book of Magnificats, issued inLouvain and dedicated to King Philip II. Later, inthe 1580s, his international reputation grewthrough the publication of five major collectionsof his music in Rome, Paris, Madrid and Venice,and through a journey he made to Rome in 1581-82 where he made personal contact withVictoria. (Three years later, in 1585, Victoria paidtribute to Guerrero by including two of the oldercomposer’s motets among the contents of hisown Motecta festorum totius anni.)

Guerrero returned to Italy in 1588, visiting hispublisher in Venice, en route to the Holy Landand such pilgrimage sites as Jerusalem andBethlehem. Returning homeward, again viaVenice (where he spent a month correctingproofs), his ship was twice attacked by piratesoff the coast of France, events recorded in anentertaining and best-selling literary account ofhis travels, Viage de Hierusalem, that hepublished in 1590. In the following year he raninto financial difficulty so serious that the SevilleCathedral authorities had to rescue him from ashort stint in debtors’ prison.

His last major publication, a retrospectivecollection of motets, was published in Venice in1597. It also contained one new mass with thesuitably valedictory title of Saeculorum Amen. Atthe age of 70, Guerrero was planning a secondtrip to the Holy Land, but before he coulddepart, he fell victim to an outbreak of theplague. Guerrero died on 8 November 1599,some 44 years after his first appointment asassociate chapelmaster at Seville. In an award-winning recording on the Glossa Music label,released to mark the 400th anniversary of thecomposer’s death in 1999, Michael Nooneconducted the Orchestra of the Renaissance ina reconstruction of Guerrero’s own Requiem andBurial Service.

In the year of his death, Guerrero was the onlycomposer honoured by Francisco Pacheco (wholater became the painter Diego Velásquez’sfather-in-law) in a collection of engraved portraitshe printed along with short biographical essayson certain of his eminent countrymen. Pachecowrote: “In every respect, [Guerrero] was themost outstanding musician of his epoch. Hiscompositions were so numerous that for everyday of his long life there exist severalhandwritten pages.” Though Guerrero also left asmall number of secular songs and instrumentalworks, he is best known for his Latin liturgicalcompositions. Chief among these are his 19masses (including two Requiems), the bulk ofwhich first appeared in two published

Behold Francisco Guerrero, in whosecompositions are found such elegantcraftsmanship and such graceful counterpoint;whose pen has given us works of such lastingmerit and universal significance, that no futureage may ever produce a master who combinesso many gifts.

So wrote the poet, novelist and musicianVicente Espinel (1550-1624) in his Diversasrimas (1591). With the elder Cristóbal deMorales and the younger Tomás Luis de Victoria,Francisco Guerrero was one of the three greatSpanish priest-composers of the 16th century.Born in the wealthy trading port city of Seville in1528, he served in the cathedral there, as hehimself later reported, “from infancy”. By thelate 1530s, he was presumably one of thecathedral’s boy choristers, the seises. He firststudied music with his brother Pedro, who latermigrated to Rome. In 1542, at the age of 14,Francisco’s voice had broken, and he wasemployed by the cathedral as a contralto singerand junior cleric in training for the priesthood.Michael Noone’s recent discovery of ToledoCathedral’s manuscript choirbook 25 providesconclusive evidence that at the age of 17 or 18Guerrero studied with Morales in Toledo, in late1545 and 1546. In fact, the Toledo manuscriptcontains the earliest compositions we have fromthe pen of the young master, compositions thatreveal his heavy indebtedness to Morales.Morales, also a native of Seville, had recently

returned to Spain after a decade serving in thepapal choir in Rome.

In 1546, Morales personally recommended theteenage Guerrero for the post of maestro decapilla at Jaén Cathedral. Evidently Guerrero’smusical skills were sufficient for the posting.However, his inability to cope with the quotidiandemands of housing, feeding and educating theJaén singing boys led to mutual disaffection, andhe allowed his tenure to lapse in 1549.

By 1550 he was back in Seville, and in thefollowing years the cathedral canons there(among whose number may be counted at leastone eminent musician, the vihuelist-composerAlonso Mudarra) made every effort to retainGuerrero’s services. In 1551, after an attempt byMálaga Cathedral to lure Guerrero to itschapelmastership, the Seville authorities namedthe 23-year-old assistant to the then maestro decapilla, Pedro Fernández, and later, in 1554,granted him the right of succession to thechapelmastership in anticipation of Fernández’sdeath. In the event, although Guerreroimmediately assumed all the chapelmaster’sduties and responsibilities at Seville, the alreadyelderly Fernández lingered on for almost twodecades more, and it was not until 1574 thatGuerrero was finally confirmed in the post.

In the long interim, Guerrero published his firstbook of motets in Seville in 1555, and a fewyears later one of his masses was performed at

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book of masses by Francisco Guerrero”(probably his 1566 volume) specifically for theiruse, a request that suggests they alsoparticipated, along with the cathedral vocalists,as here, in performance of the Ordinary of themass. In this respect documents fromelsewhere in Spain are even more specific; onefrom the cathedral in León, for instance, directsthat the instrumentalists should play in the firstand last Kyrie of the mass. According toPacheco, Guerrero himself was a proficientplayer of the corneta.

Pacheco, the composer’s first biographer, tellsus that Guerrero composed “a great quantity ofmasses, magnificats and psalms – among thelast named an In exitu Israel de Aegypto whichthose who are best informed declare he musthave composed while swept aloft incontemplative ecstasy.” This setting of Psalm113, In exitu Israel, was intended to be sung asthe last of the five psalms of Vespers on theordinary Sundays of the year (those fromEpiphany until Easter, and from the Octave ofCorpus Christi until Advent). Following tradition,Guerrero sets every second verse to polyphony,while the remainder of the psalm is sung to thedistinctive plainsong tone traditionally associatedwith this psalm, known as the tonus peregrinus(or “wandering tone”, a name with at least twoplausible etymologies: one symbolic, concerningthe subject of the psalm itself, the “wandering”Israelites returning to Judea from captivity in

Egypt; the other technical, concerning the“wandering” reciting note of the tone itself,from A in the first half of each verse, to G in thesecond). The setting is sung with its properframing antiphon, Nos qui vivimus benedicimusDomino, as prescribed for it in most pre-Tridentine Spanish breviaries, that in use atSeville included.

If frequency of publication and copying duringthe composer’s lifetime is any guide, Guerrero’ssumptuous motet Ave Virgo sanctissima washighly prized indeed. A solemn minor-modepiece scored for five voices (the uppermost pairof voices beautifully deployed in canon at theunison), Guerrero himself gave it pride of placeat the head of an appendix of three motetsadded to his first book of masses in 1566, andrepublished it in his 1570 and again in his 1597collections. The composite text is made up of anumber of familiar epithets for the Virgin, someof them with specific musical references. Insetting the words “maris stella”, for instance,Guerrero quotes a melodic motif from theplainsong of the hymn Ave maris stella, andlikewise for the word “salve” employs theopening fragment of the plainsong Salve reginato work into the motet’s glorious climax. Thework’s contemporary popularity is attested byPacheco, who, in a discussion of Guerrero’smotets, singles it out for special mention: “AveVirgo sanctissima alone has, whereverperformed in Spain, brought any number of

collections, the Liber primus missarum (Paris,1566) and the Missarum liber secundus (Rome,1582). Guerrero was in Rome in 1582 to overseethe typesetting of the eight masses in thissecond volume, and he himself probably chosethe six-voice Missa Surge propera to head thecollection. (The mass also exists in a manuscriptcopy at Seville.) Just a year later, also in Rome,Victoria likewise published a mass entitled Surgepropera, based in his case on a five-voice motetby Palestrina printed in 1563. Guerrero’s masssimilarly appears to be based upon a motet byanother composer, however his model has notyet been identified. Elsewhere he based so-called “parody” masses upon motets byMorales (Inter vestibulum et altare and Sancta etimmaculata) and Guillaume Le Heurteur(Congratulamini mihi), and on secular works byJanequin (La Guerre: Escoutez tous gentilz,recorded by Michael Noone with The SongCompany for ABC Classics) and Verdelot(Dormend’un giorno a Baia).

As much as a quarter of a century earlier thanhis mass of the same name, Guerrerocomposed his own otherwise unrelated motetsetting of the text Surge propera amica mea.Also scored for six voices, the motet was one of32 included in Guerrero’s first publishedcollection, Sacrae cantiones vulgo motetanuncupata, a beautifully produced set of fivesmall partbooks printed in Seville in 1555 byMartín de Montesdoca (who the previous year

had published Miguel de Fuenllana’s famousvihuela collection Orphénica lyra). Guerrerodedicated the collection to the duke of Arcos,previously a patron of Morales (who had died in1553). Like many motets based upon texts fromthe biblical Song of Songs, this one wasintended for liturgical use on feasts of womensaints. Guerrero set the main text in five of thevoices, while in a sixth he repeated a shortmelodic motif to the text “Veni sponsa mea”(from the Common of Virgins) as an ostinato. Inour recording, it is played by the sopranoshawm. The use of such ostinatos in bothmasses and motets became a favourite deviceof Spanish composers after Morales adopted thepractice in Rome in the 1530s. Later, Guerrero,Vivanco, Victoria and Infantas followed suit.

In this recording, all six voices of Guerrero’smotet are played by wind instruments alone, acommon performance option in mid-16th-century Spain. As early as 1526, the chapter ofSeville Cathedral established a permanent windband there made up of three shawms (treble,tenor and contra) and two sackbuts, and in 1553,only two years before Guerrero’s motet waspublished, the Cathedral chapter offered long-term contracts to the wind musicians, statingthat it was not only “a very useful thing, but alsoconformable with Sacred Scripture, to make useof every kind of instrumental music in thiscathedral”. Later, in 1572, the Seville windplayers asked that the cathedral purchase “a

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musicians fame and approbation.” That suchSpanish composers as Juan Esquivel and PedroRuimonte, as well as the foreigner Géry deGhersem (who served in the Spanish royalchapel), chose to base masses upon it, is furthertestimony to the extraordinary popularity of thisminiature masterpiece.

Guerrero’s eight-voice setting of the final Marianantiphon, Regina caeli, a text recited daily afterCompline during Easter season, was firstpublished in his Liber vesperarum in Rome in1584, a book which caters specifically to theneeds of the post-Tridentine Roman Breviary of1568. Typical of contemporary settings of all thefinal Marian antiphons (which include the Salveregina, Alma redemptoris mater and Ave reginacaelorum, all set by Guerrero in the 1584collection), the basic melodic material for thesetting is drawn from the traditional plainsongmelody associated with the text.

The Song of Songs verse “Tota pulchra es” wasassociated with the feast of the Conception ofthe Virgin (8 December) from as early as the12th century. Guerrero’s six-voice motet setting,Tota pulchra es Maria, based upon it, is in twoseparate parts, the second beginning “Vulnerasticor meum”. It was first published in a volume

entitled Mottecta Francisci Guerreri in HispalensiEcclesia musicorum prefaecti (literally “Motetsby Francisco Guerrero, master of music at SevilleCathedral”) issued from the presses of AntonioGardano in Venice in 1570.

Michael Noone

1 Tota pulchra es Maria

Tota pulchra es Maria, Thou art all fair, Mary,et macula non est in te. and there is no spot in thee.Veni de Libano sponsa mea, Come from Lebanon, my spouse,veni de Libano, veni coronaberis. come from Lebanon, come, thou wilt be crowned.

Vulnerasti cor meum, Thou has ravished my heart,soror mea sponsa, my sister, my bride,vulnerasti cor meum thou has ravished my heartin uno oculorum tuorum, with one of thine eyeset in uno crine colli tui. and with a single hair of thy neck.

2 Ave Virgo sanctissima a 5

Ave Virgo sanctissima, Hail, Holy Virgin,Dei Mater piissima, most blessed Mother of God,maris stella clarissima. bright star of the sea.

Salve semper gloriosa, Hail, ever glorious,margarita pretiosa, precious pearl,sicut lilium formosa, beautiful as the lily,nitens, olens velut rosa. shining and giving perfume like the rose.

3 Regina caeli a 8

Regina caeli laetare, alleluia: Queen of heaven, rejoice, alleluia!Quia quem meruisti portare, alleluia: For he whom you were meet to bear, alleluia!Resurrexit sicut dixit, alleluia: He has risen, as he said, alleluia!Ora pro nobis Deum, alleluia. Pray for us to God, alleluia!

Missa Surge propera a 6

5 Kyrie eleison. Lord, have mercy.Christe eleison. Christ, have mercy.Kyrie eleison. Lord, have mercy.

6 Gloria in excelsis Deo Glory be to God on highet in terra pax hominibus and on earth peace to men bonae voluntatis. of goodwill.Laudamus te. We praise thee,Benedicimus te. we bless thee,Adoramus te. Glorificamus te. we worship thee, we glorify thee.Gratias agimus tibi propter We give thanks to theemagnam gloriam tuam. for thy great glory.Domine Deus, Rex caelestis, O Lord God, heavenly King,Deus Pater omnipotens. God the Father Almighty.Domine Fili unigenite, O Lord, the only begotten Son,Jesu Christe. Jesus Christ.Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father.Qui tollis peccata mundi, Thou that takest away the sins of the world,miserere nobis. have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the world,suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris Thou that sittest on the right hand of the Father,miserere nobis. have mercy upon us.Quoniam tu solus sanctus. For thou only art holy,Tu solus Dominus. thou only art the Lord,Tu solus Altissimus, thou only art the Most High,Jesu Christe. Jesus Christ.Cum Sancto Spiritu With the Holy Spirit,in gloria Dei Patris. Amen. in the glory of God the Father. Amen.

7 Credo in unum Deum I believe in one God,Patrem omnipotentem, the Father Almighty,factorem coeli et terrae, maker of heaven and earth,visibilium omnium et invisibilium. and of all things visible and invisible.Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ,Filium Dei unigenitum. the only-begotten Son of God.Et ex Patre natum ante omnia saecula. Born of the Father before all worlds.

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Deum de Deo, God from God,lumen de lumine, Light from Light,Deum verum de Deo vero. True God from true God.Genitum, non factum, Begotten, not made,consubstantialem Patri, being of one substance with the Father,per quem omnia facta sunt. by whom all things were made.Qui propter nos homines, Who for us menet propter nostram salutem, and for our salvationdescendit de coelis. came down from Heaven.

Et incarnatus est de Spiritu Sancto, And was incarnate by the Holy Spirit,ex Maria Virgine; of the Virgin Mary;et homo factus est. and was made man.Crucifixus etiam pro nobis; He was crucified also for us;sub Pontio Pilato he suffered under Pontius Pilate,passus et sepultus est. and was buried.

Et resurrexit tertia die And on the third day he rose againsecundum scripturas. in accordance with the scriptures.Et ascendit in coelum, And ascended into Heaven,sedet ad dexteram Patris. and sitteth on the right hand of the Father.Et iterum venturus est cum gloria And he shall come again in gloryjudicare vivos et mortuos; to judge both the quick and the dead;cujus regni non erit finis. of whose kingdom there shall be no end.Et in Spiritum sanctum, And [I believe] in the Holy Spirit,Dominum et vivificantem, the Lord and giver of life,qui ex Patre filioque procedit. who proceedeth from the Father and the Son.Qui cum Patre, et Filio Who together with the Father and the Sonsimul adoratur, et conglorificatur: is worshipped and glorified:qui locutus est per prophetas. who spake through the prophets.Et unam sanctam catholicam And in one holy catholic et Apostolicam Ecclesiam. and apostolic church.Confiteor unum Baptisma I acknowledge one baptismin remissionem peccatorum. for the remission of sins.

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Et expecto resurrectionem mortuorum. And I look for the resurrection of the dead.Et vitam venturi saeculi. Amen. And the life of the world to come. Amen.

8 Sanctus, Sanctus, Sanctus, Holy, holy, holy,Dominus Deus Sabbaoth. Lord God of Hosts.Pleni sunt caeli et terra gloria tua. Heaven and earth are full of thy glory.Hosanna in excelsis. Hosanna in the highest.Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord.Hosanna in excelsis. Hosanna in the highest.

9 Agnus Dei Lamb of Godqui tollis peccata mundi, who takest away the sins of the world,dona nobis pacem. grant us peace.

0 In exitu Israel a 4

In exitu Israel de Aegypto, When Israel came out of Egypt, and the houseDomus Jacob de populo barbaro: of Jacob from among a people of an alien tongue:

Facta est Judaea sanctificatio eius, Judah was his sanctuaryIsrael potestas eius. and Israel his dominion.

Mare vidit, et fugit: The sea saw that and fled:Jordanis conversus est retrorsum. Jordan was driven back.

Montes exsultaverunt ut arietes, The mountains skipped like ramset colles sicut agni ovium. and the little hills like young sheep.

Quid est tibi, mare, quod fugisti? What ailest thee, O sea, that thou fleddestEt tu, Jordanis, quia conversus es retrorsum? and thou, Jordan, that thou wast driven back?

Montes exsultastis sicut arietes, Ye mountains, that ye skipped like ramset colles sicut agni ovium? and ye little hills, like young sheep?

A facie Domini mota est terra, Tremble, thou earth, at the presence of the Lord,a facie Dei Jacob: at the presence of the God of Jacob:

Qui convertit petra in stagna aquarum Who turned the hard rock into a standing wateret rupem in fontes aquarum. and the flint-stone into a springing well.

Non nobis Domine, non nobis, Not unto us, O Lord, not unto us,sed nomini tuo da gloriam. but unto thy name give the praise.

Super misericordia tua et veritate tua For thy loving mercy and for thy truth’s sakenequando dicant gentes: wherefore shall the heathen say:Ubi est Deus eorum? Where is now their God?

Deus autem noster in caelo: As for our God, he is in heaven:omnia quaecumque voluit, fecit. he hath done whatsoever pleased him.

Simulacra gentium argentum et aurum, Their idols are silver and gold,opera manuum hominum. even the work of men’s hands.

Os habent et non loquentur: They have mouths and speak not:oculos habent, et non videbunt. eyes have they and see not.

Aures habent, et non audient: They have ears and hear not:nares habent, et non odorabunt. noses they have and smell not.

Manus habent, et non palpabunt, They have hands and handle not,pedes habent et non ambulabunt: feet have they and walk not:non clamabunt in gutture suo. neither speak they through their throat.

Similes illis fiant qui faciunt ea: They that make them are like unto them:et omnes qui confidunt in eis. and so are all such as put their trust in them.

Domus Israel speravit in Domino: But let the house of Israel trust in the Lord:adjutor eorum et protector eorum est. he is their helper and defender.

Domus Aaron speravit in Domino: Let the house of Aaron trust in the Lord:adjutor eorum et protector eorum est. he is their helper and defender.

Qui timent Dominum speraverunt in Domino: Let those that fear the Lord trust in the Lord:adjutor eorum et protector eorum est. he is their helper and defender.

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Dominus memor fuit nostri: The Lord hath been mindful of us:et benedixit nobis. and he shall bless us.

Benedixit domui Israel: Even he shall bless the house of Israel:benedixit domui Aaron. he shall bless the house of Aaron.

Benedixit omnibus qui timent Dominum, He shall bless them that fear the Lord,pusillis cum maioribus. both small and great.

Adjiciat Dominus super vos: The Lord shall increase you more and more:super vos, et super filios vestros. you and your children.

Benedicti vos a Domino, Ye are blessed of the Lord,qui fecit caelum et terram. who made heaven and earth.

Caelum caeli Domino: All the whole heavens are the Lord’s:terram autem dedit filiis hominum. the earth hath he given to the children of men.

Non mortui laudabunt te, Domine: The dead praise not thee, O Lord:neque omnes qui descendunt in infernum. neither all they that go down into silence.

Sed nos qui vivimus, benedicimus Domino, But we who live will praise the Lord:ex hoc nunc et usque in saeculum. from this time forth for evermore.

Gloria Patri, et Filio, Glory be to the Father, and to the Son,et Spiritui Sancto. and to the Holy Ghost.Sicut erat in principio, et nunc, As it was in the beginning, is now et semper, and ever shall be,et in saecula saeculorum. Amen. world without end. Amen.

Nos qui vivimus We who livebenedicimus Domino. shall bless the Lord.

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Michael Noone

Michael Noone, a graduate of King’s College,Cambridge, has made a name for himself as theconductor of a variety of ensembles in Britain,Australia, Hong Kong, the USA and Spain. He isinternationally recognised for his concerts andrecordings of lost masterpieces of the SpanishRenaissance. His four previous recordings withthe Orchestra of the Renaissance on the Glossalabel have attracted awards in France, Spain andthe UK. In 2000 Michael Noone founded,together with Warren Trevelyan-Jones, theEnsemble Plvs Vltra. This London-based group isdedicated to historically-informed performancesof the Spanish polyphonic repertory andperforms regularly in festivals throughout Europe.In March 2006 King Juan Carlos of Spainhonoured Michael Noone with the Royal ToledoFoundation’s Medal of Honour in a ceremony in Toledo.

Orchestra of the Renaissance

Director: Richard Cheetham

The Orchestra of the Renaissance is widelyrecognised as a pioneer in the performance of16th-century sacred music. This repertoire haslong been the exclusive domain of modern a cappella groups, yet recent studies show thatinstrumentalists participated in sacredceremonies throughout Europe during theRenaissance. The Orchestra of the Renaissanceis committed to restoring the role of instruments

to our picture of vocal music from this period.Their recording of Francisco Guerrero’s Requiem,conducted by Michael Noone, was a finalist inthe Gramophone Awards 2000 and theirrecording of Assumption Mass at ToledoCathedral ca. 1580 (2001), also conducted byMichael Noone, was named Choice of theMonth by Gramophone magazine.

Director Richard Cheetham has played sackbutwith many of Europe’s leading early musicensembles during his career, and in particularwith Jordi Savall’s Hespèrion XX. He was also amember of the Chamber Orchestra of Europefor twelve years during the ensemble’s ground-breaking partnership with Nikolaus Harnoncourt.

Jean-Pierre Canihac cornettoBeatrice Delpierre soprano and alto shawmsFrancis Mercet tenor shawm and tenor dulcianWilliam Lyons alto shawm and bass dulcianRichard Cheetham tenor and alto sackbutsPatrick Jackman bass sackbut

Sydney Chamber Choir

Widely recognised as one of Australia’s finestchoirs, Sydney Chamber Choir performs a widerange of choral music from the 12th to the 21stcenturies, including Renaissance and Baroquemusic, well-known masterpieces of recentcenturies, and contemporary Australian works –the latter often commissioned and premiered by

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Executive Producers Robert Patterson, Lyle ChanRecording Producer and Mastering Ralph Lane OAM

Recording Engineer Yossi GabbayEditorial and Production Manager Natalie SheaBooklet Design Imagecorp Pty LtdCover Image Raphael, Madonna of the Fish (detail) © APL/Francis G. MayerPhoto page 3 Dedication of Guerrero’s Missa libersecundus (1582), in which the Missa Surge properawas first published. Photo by Michael NoonePhoto page 15 Alex Noone

Recorded 14-17 June 1998 in St Scholastica’sChapel, Glebe, Sydney.

Sydney Chamber Choir thanks Dario Bicego, Deirdreand Peter Bridgwood, Graeme Skinner, Bruno Turnerfor his edition of In exitu Israel, Don RamónGonzálvez, and Don Ángel Fernández.

� 2006 Australian Broadcasting Corporation. � 2006 Australian Broadcasting Corporation. Distributed in Australia by Universal Music Group, under exclusivelicence. Made in Australia. All rights of the owner ofcopyright reserved. Any copying, renting, lending,diffusion, public performance or broadcast of this recordwithout the authority of the copyright owner is prohibited.

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the Choir. Sydney Chamber Choir has been apioneer in Sydney performances of Bach andHandel using 18th-century instruments andauthentic performing techniques.

Sydney Chamber Choir has performed withOpera Australia, the Australian ChamberOrchestra, the Sydney Symphony and Ku-ring-gaiPhilharmonic Orchestra, toured widely in easternAustralia and given lecture-demonstrations onspecific areas of early music for the University ofSydney’s Continuing Education Program. SydneyChamber Choir has been broadcast many timesby 2MBS-FM and the ABC and has releasedrecordings for Tall Poppies, MBS, ABC, MoveRecords and EMI. The Choir has also recordedsoundtracks for the feature films Paradise Road,Passion and Looking for Alibrandi.

In 2002 Sydney Chamber Choir was invited bySydney Philharmonia Choirs to appear with themin Mahler’s Symphony No.8, conducted by SirSimon Rattle in London’s Royal Albert Hall (aspart of the BBC Proms) and in Birmingham. TheChoir also joined with Sydney Philharmonia toperform Rachmaninov’s Vespers in WorcesterCathedral and a program showcasing Australiancontemporary works in the Chapel of King’sCollege Cambridge, as well as presenting its ownconcerts in Canterbury and Oxford.

The Sydney Chamber Choir was the winner inthe 2003 Pollard Australasian Open ChoralChampionship, part of the McDonald’s

Performing Arts Challenge (City of SydneyEisteddfod). In 2005, the Choir was nominatedfor an APRA–Australian Music Centre Award forLong-Term Contribution to the Advancement ofAustralian Music.

Soprano

Avigail Herman, Katrina Jenns, Karen Lemon,Emily Melville, Belinda Montgomery, Vanessa Olofsson

Alto

Deirdre Bridgwood, Bronwyn Cleworth, Alison Lockhart, Caroline Waller

Tenor

Philippe-Marc Anquetil, Peter Bridgwood,Michael Iglesias, Richard Sanchez, Greg Wadeson

Bass

Peter Alexander, Andrew Bettison, DavidHoffman, Christopher Matthies, Sébastien Maury

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