What would singing be without words? When you combine wonderful poetry with exquisite music, the result is magical. In a rare break from the sacred collections they are famed for, this album from The Sixteen features a whole program of secular music devoted to English partsongs. From Stanford’s cycle of Eight Partsongs based on the sparing yet infectious poetry of Mary Elizabeth Coleridge to Bridges’ lyrically descriptive writing in Finzi’s Seven Poems of Robert Bridges and Imogen Holst’s six idyllic partsongs Welcome Joy and Welcome Sorrow using verses by John Keats, each setting captures the mood of the poem brilliantly.

Coronation – Music for Royal Occasions spans 500 years of royal music – for celebration, for prayer and for commemoration – varying in scale from private devotion to full state coronation. The collection, featuring Tallis, Byrd, Gibbons, Purcell, Tippett and Britten, looks forward to the coronation of Charles III, and back to the ancient rituals of royal ceremonial. It also presents a new work, commissioned by the Genesis Foundation, from celebrated composer Cecilia McDowall commemorating the life of Queen Elizabeth II and celebrating her remarkable reign. Of course no such collection would be complete without examples from the four anthems Handel wrote for the coronation of George II at Westminster Abbey in 1727, of which Zadok the Priest has been performed at the coronation of every British monarch since. Much has changed since their first performance almost 300 years ago. Yet their dramatic impact and grandeur, underlined by mighty choral acclamations and regal trumpets and drums, remains supremely fit for the coronation of a new king.

The music of Monteverdi is revolutionary, heralding in the Baroque era. For the first time, with Monteverdi’s compositions, deep personal emotion was being heard in sacred vocal works. This collection was released after the composers death as the Messa a Quattro voci et salmi, and was composed during Monteverdi’s time serving as director of music at St. Mark’s in Venice. The Sixteen has gained critical acclaim for their previous recordings of Monteverdi’s work, including a Grammy nomination for the ensemble’s 2014 recording of Monteverdi’s Vespers of 1610.

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REVIEW:

There is no shortage of first-rate music here, dispelling any notion that the Messa et Salmi only consists of pieces that Monteverdi himself did not think were worthy of preserving for posterity. The Sixteen’s performances have the group’s usual unfussy directness; the sound has no churchy over-resonance about it, either, so that the intricacies of the writing are always perfectly clear.

­– Guardian (UK)

This spectacular collection comprises The Sixteen’s five acclaimed Polish recordings with the group’s Associate Conductor, Eamonn Dougan. Masters of the Polish Baroque such as Bartlomiej Pekiel, Grzegorz Gerwazy Gorczycki and Marcin Mielczewski are celebrated alongside Italian maestri Giovanni Francesco Anerio, Vincenzo Bertolusi, Luca Marenzio and Asprilio Pacelli. These composers flourished at the court of King Sigismund III marking a new dawn for sacred music in Poland. “The Sixteen luxuriate in textures and sonorities, offsetting serene, arching lines with more urgent declamatory passages...basses plummet while sopranos soar into the stratosphere in a swirl of all-embracing sound.” (BBC Music Magazine)

Monteverdi’s sacred vocal compositions introduced the expression of powerful and personal emotions to the world of church music. While it took him a number of years to find fulfillment in his work, Monteverdi was a revered composer within his lifetime and his music is regarded as revolutionary, marking the change from the Renaissance style to that of the Baroque. This album includes some of the finest works from Monteverdi’s years as director of music at St Mark’s in Venice, published posthumously in 1650 as the ‘Messa a quattro voci et salmi.’ “Pure- and vintage- Monteverdi, starting with a Dixit Dominus and ending, grandly with a version of Beatus Vir, using material we know from the familiar one. Ideal consort singing.” (The Sunday Times) “As always with The Sixteen, we get superb tuning, balanced ensemble work and a lively pace.” (BBC Music Magazine)

There are certain texts which inspire composers more than others but there is one in particular that has provided us with sublime music ever since it appeared centuries ago—the Agnus Dei. This collection from The Sixteen celebrates some of the finest settings from the Renaissance through to the 20th century. Let time stand still whilst listening to the arching melismas and subtle imitation of settings by Tye and Sheppard; delight in the genius of Bach’s setting in the Mass in B minor; and revel in Poulenc’s soaring soprano solo at the opening to his Agnus Dei—so poignant, ethereal and effortlessly beautiful. Of course no collection of this type would be complete without Samuel Barber’s Agnus Dei—probably one of the most famous settings ever written, certainly in recent times, and which rarely leaves a dry eye. From Tallis to Scarlatti and Rubbra to Britten, the variety of settings and musical language featured here is quite astounding and you may even discover an Agnus Dei that you haven’t heard before!

William Byrd was one of the greatest composers of the Renaissance. He was widely admired in his own time both at home and abroad and the influence he had on future generations of composers was immense. This programme explores the music of his influences, his colleagues and his pervading faith. In his 400th anniversary year, Byrd’s legacy is marked by the commission of two new pieces from acclaimed composer Dobrinka Tabakova, bringing his musical heritage firmly into the modern day. The two premieres, Arise Lord into thy rest and Turn our captivity, highlight the beauty of modern polyphony and showcase The Sixteen in a new light. The programme also features works by Van Wilder, de Monte, Clemens Non Papa and, of course, Byrd himself.

The five new choral works on this album – by James MacMillan, Will Todd, Anna Semple, Eoghan Desmond and Lisa Robertson – all grew from a meditation by St John Henry Newman. Newman was a theologian of towering stature and broad influence and his meditation resonates with great clarity in our present age of the re-evaluation of what we can and cannot do without, and of the profound human need for a sense of meaning and purpose. Canonized in October 2019, Newman's writings represent a rich and thought-provoking legacy and, alongside the new works presented, are immortalized in three well-known hymns and Sir Edward Elgar’s exquisite elegy 'They are at rest'. Also included are two of Elgar’s psalm settings – Great is the Lord and Give unto the Lord. These are monumental works for choir and organ, full of grandeur and drama, but also inherently simple. The album ends with a ’Bonus’ track by Bob Chilcott - also a Genesis Foundation commission - based on Psalm 139.

Conducted by The Sixteen’s Associate Conductor, Eamonn Dougan, this release is the fourth volume in this critically acclaimed series. This installment explores the music of Italian composers who lived and worked within the Polish court during Sigismund III Vasa’s reign. When Sigismund III began to reorganize his music ensembles in 1594, he modeled his new structure after the chapels of Rome, and thus brought in several highly esteemed Italian musicians. Some of these notable musicians included Luca Marenzio, Asprillo Pacelli, and Vincenzo Bertolusi. The arrival of these composers heralded a new age of sacred Polish music. Most notable on this release is Marenzio’s magnificent Missa super Iniquos odio habui. While the Kyria and Gloria movements remained, the other parts of the Mass went missing after World War II, and have only been rediscovered since the fall of the Berlin Wall. This is the world premiere recording of the Mass in its entirety.

The Eton Choirbook is famous – and important – because it uniquely preserves some of the most spectacular music composed in Britain before the age of Purcell and Handel. Had this book not survived, literally dozens of superb pieces would have been irretrievably lost; among them would have been the ones by Walter Lambe, William Cornysh and Robert Wylkynson on this album. Whilst the book itself is of huge historic significance, its legacy is immeasurable, informing and influencing scores of composers and performers for more than 500 years. This unique recording emphasizes that legacy with the premiere of four new works by contemporary composers all commissioned by the Genesis Foundation and all inspired by the works from the Eton Choirbook alongside which they sit. This album also features Stephen Hough’s stunning exploration of faith worldwide- Hallowed- which was commissioned for The British Museum’s ‘Living with Gods’ exhibition. “… the singing of The Sixteen under Harry Christophers was wonderful beyond words.” (Church Times) “Wonderful music, wonderfully performed… sit back and let these glorious sounds fill your ears and lift your spirits.” (Gramophone)

The Sixteen and Harry Christophers releases The Deer’s Cry, an intriguing mix of pieces written by composers who lived four centuries apart. Both William Byrd (c. 1540-1623) and Arvo Part (b. 1935), whose work is featured here, are considered masters of sacred music, and both received significant persecution for their work. Compositions of Byrd’s presented here come from the Cantiones Sacrae, and include Tribue, Domine, and Ad Dominum cum tribularer, among others. The pieces on this album by Arvo Part display his unique compositional voice, blending ancient and modern, and include his entrancing Nunc dimittis. The Sixteen’s Choral Pilgrimage tour will take place in 2016, and will bring this programme to 33 cities across the UK, including Oxford, London, Cambridge, York, Cardiff, Manchester, and Edinburgh.

Few living composers communicate with the emotional directness of Sir James MacMillan and his belief that "beauty is at the heart of our Christian faith" is profoundly present in his new setting of the Stabat mater. Arguably one of the most powerful poems in the liturgy, only a small number of composers have tackled the Stabat Mater in the last 30 years and the musical world has waited a long time for a substantial setting. In James MacMillan's version we are witness to a new and intensely personal work which encapsulates the power of the poem in a way no other composer has done to date. Harry Christophers writes: "James digs deep underneath the surface of this 13th century Marian hymn meditating on Mary's suffering as she stands at the foot of the cross. He speaks of 'a painful world of loss, violence and spiritual desolation' and the score is packed to the full with those intense feelings. Our collaboration with the Britten sinfonia on this project has been a marriage made in heaven - both groups have had long associations with James's music and both give of their all in bringing this score to life." Sir James MacMillan writes: "It was a great delight and honour to respond to The Sixteen...I regard Harry Christophers' choir as one of the great choirs of the world and their standards of vocal brilliance and blend are unsurpassed."

Purcell’s genius abounds in this, the fourth volume in The Sixteen’s series devoted to the composer. Henry Purcell grew from young childhood to established professional adulthood in the service of Charles II. He identified strongly with the court, but he was well aware of Charles’s unreliability as a patron. Wisely, Purcell made an early decision to diversify, flaunting his court connections while building up the largest possible client base beyond the court. This programme shows that strategy in action and celebrates a diversity of writing for both professional Court musicians as well as amateur enthusiasts. “Christophers creates a vivid sense of celebration and occasion, conjuring blustering trumpet fanfares and drum-rolls from his ensemble.” (Gramophone)

The music of British composer Edmund Rubbra (1901-1986) has an unmistakable style. His sense of tonality, his frequent use of counterpoint, and his clever melodies set his works apart from those of his contemporaries. While he is most remembered for his orchestral compositions, Rubbra also wrote choral music consistently throughout his career. For this release, The Sixteen explores some of Rubbra’s lesser-known choral works such as his Tenebrae Nocturns and his Missa Cantuariensis. “…exceptional works by Edmund Rubbra… The performances are beautiful and brilliant.” (New York Times)

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REVIEW:

Harry Christophers and The Sixteen, with their signature balance and textual care, make articulate advocates for a composer who is much more than a late echo of Holst of Vaughan Williams.

­– Gramophone

Harry Christophers balances the soaring soprano solo of Julie Cooper caressingly against the ensemble singers, in a performance which achieves ecstasy without any element of overstatement. This is a disc which anybody remotely interested in Rubbra will want to purchase.

­– BBC Music Magazine

Harry Christophers and The Sixteen continue their exploration of Purcell’s stunning music written for royal occasions on the second album in their new series. Charles II’s formal Restoration in 1660 marked both an end and a beginning: the end of England’s republican experiment and the beginning of a long process of monarchical reconstruction; and with a politically accident-prone king on the throne, Charles’s public relations machine could never rest. Purcell joined its small team of composer operatives just as the wave of Stuart propaganda swelled massively, and he surfed the wave with breathtaking panache, from his first court ode – the simple but rousing Welcome, Vicegerent of the mighty King – to the ambitious Fly, bold rebellion involving verse settings in up to seven parts and a six-part chorus.

Spain's Siglo de Oro, the Age of Gold, gave rise to some of the greatest sacred choral music of the Renaissance. Lead, Kindly Light is devoted to the music of two outstanding Spanish composers, exploring majestic works by Cristóbal de Morales, famed throughout Europe and in the New World, and the exquisite polyphony of Sebastián de Vivanco, whose intricately crafted counterpoint adorned services at the cathedrals of Ávila and Salamanca during the late 1500s. Contrasting and complementing these 16th-century masterpieces are spellbinding settings of words by Saint John Henry Newman: Sir James MacMillan's Nothing in Vain for soloists and double choir, and the world premiere of Kerensa Briggs' Lead, kindly light, specially commissioned for this album.

Christmas simply wouldn't be Christmas without the iconic voices of The Sixteen providing a soundtrack to the season. Celebrated for collections that provide an alternative to the customary festive offerings, this new album from the world-renown choir is no exception. No other festival in the Christian year has inspired so many composers and such a variety of musical styles as Christmas. The Wise Men and the Star features a veritable cornucopia of yuletide music from the premieres of three new works to traditional carols including Away in a manger and In the bleak midwinter, and modern classics such as Eric Whitacre's Lux aurumque and Mykola Leontovich's Carol of the bells. This new album promises something for everyone.

Handel's Messiah needs no introduction. This mighty yet majestic masterpiece is the most popular oratorio ever written and includes, arguably, the most famous chorus of all time-the iconic Hallelujah! Handel was a master chorus writer and for Messiah he certainly pulled out all the stops, placing the choir front and centre throughout. Although it has become synonymous with Christmas, Messiah was originally written as an Easter offering, bursting onto the stage of the Musick Hall in Dublin in April 1742. Taken from it's Award-winning 2008 complete recording of Messiah (COR16062), this collection from The Sixteen celebrates the wonderful choruses that have given so many singers, both amateur and professional, such joy and inspired an enduring love for this epic work.

Imitation is the ultimate compliment. To take inspiration from someone else’s work, to borrow and rework it to form another piece…what could be more flattering? This technique, known as ‘parody’, was hugely popular in late 16th-century Europe and Orlande de Lassus was one of its most famous advocates. The Sixteen’s programme showcases the master of parody at work and also features a new commission from the extraordinarily inventive composer Bob Chilcott parodying one of Lassus’ finest secular madrigals.

Also included are two mini masterpieces by Maddalena Casulana - the first female composer to have had a whole book of her music printed and published in the history of western music and whose work was widely admired, not least by Lassus.

Despite being written for the celebration of royal occasions, Purcell’s Royal Welcome Songs were penned during a time of immense disillusionment with the monarchy. Filled with humour as well as an ironic detachment from the politics of the time, Ye tuneful muses and Sound the trumpet fizz with the dramatic energy which characterized his later operas and mark a crucial turning point in Purcell’s career. This programme showcases the variety and diversity of Purcell’s writing, opening with the Chacony in G minor, which is among the great glories of music for strings, and including When on my sick bed I languish- an amazingly impassioned piece in which he bares his soul… quintessential Purcell! “It’s a delicious 72 minutes of Restoration wit and lyrical charm, performed gracefully by Harry Christophers ‘The Sixteen.’” (The Times on Purcell: The Indian Queen) “A performance like this shows dimensions of Purcell’s genius that are all too rarely heard on disc.” (Gramophone on Purcell: The Fairy Queen)

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REVIEW:

Harry Christophers and the Sixteen bring to life the composer's Welcome Songs, composed, like the birthday odes, for special, mainly royal, occasions. Christophers coaxes virtuosic performances from eight members of the Sixteen, with a fine band of period instrumentalists reveling in the glories of Purcell’s unique harmonic palette. Recommended.

– Guardian (UK)

Francis Poulenc is considered one of the greatest melodists of the 20th century but it is his individual and immediately recognizable harmonic language that makes his music so distinctive. Often overlooked in his lifetime and in the years after his death, his sacred music was an expression of his more serious side and, following the death of his close friend, Pierre-Octave Ferroud, a re-awakening of his religious faith. The Sixteen’s new recording centers around the themes of conflict and atonement, reflecting both Poulenc’s intense internal struggles and the turbulence of life in France during the mid-20th century. “Some choirs of high renown aim for a kind of robotic perfection in sync with the digital age. Christophers’ troupe contains human beings coloring lines with individual hues, yet still acting and breathing as one.” (The Times)

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REVIEW:

The sacred music of Francis Poulenc would seem somewhat off the regular path of the popular British choir The Sixteen, but they show themselves to be sensitive and skillful Poulenc interpreters. The Mass in G is perfectly controlled, but somehow radiant.

– All Music Guide

Does music add substance to words or is music inspired by them? Songs of departure and farewell are deeply rooted in the great tradition of British choral music, nourished by ancient myths of testing journeys, wayside transformations and homecomings. The transcendent nature of music and the power of poetry to challenge and alter perceptions of reality – harnessed by English composers over many centuries – flow through a programme that invites contemplation of life and death, of love and loss, creation and eternity. In a journey covering six centuries of musical history, The Sixteen performs a cappella anthems with powerful texts by writers as varied as Edmund Spenser, Christopher Fry and W.H. Auden.

On this release, Harry Christophers and The Sixteen continue their exploration of Purcell’s stunning music written for royal occasions on the third album in their acclaimed series. King Charles II liked to project a strong, stable, divinely legitimated image. Whilst that image had no basis in reality, the scale of his deception and financial skulduggery did not emerge until 19th-century historians discovered secret treaty documents between Charles and King Louis XIV of France. Purcell had no idea of course, and so all of the music on this album celebrates the political triumphs that he and his colleagues thought they had witnessed. It includes the quite brilliant Welcome Songs 'Welcome to all the pleasures' (with its superb six-part fanfares to St Cecilia in the final chorus) and 'From hardy climes'.

PALESTRINA Missa Hodie Christus natus est. Hodie Christus natus est. Christe Redemptor omnium Ex Patre. Magnificat 5 toni. Tui sunt caeli. Reges Tharsis. O magnum mysterium. Song of Songs: Excerpts • Harry Christophers, cond; The Sixteen • CORO COR 16105 (67:34 Text and Translation)


This is the second issue in the recently announced series of Palestrina works ( Fanfare 35:2). In what is clearly a pattern, this disc also offers a Mass with its related motet, additional motets related to the theme of the Mass, and three more sections of the Song of Songs. Just as the first disc added Marian motets to the Mass for the feast of the Assumption, this Mass is filled out with Christmas motets. The hymn Christe Redemptor omnium is an alternatim setting, as is the Magnificat. The Mass is one of four double-choir Masses first published together in 1601, the only such settings among the composer’s 105 Masses. This is at least the seventh recording of the Mass but the first in almost two decades. The most recent were directed by Jeremy Summerly with a large choir (18:1) and by Paul McCreesh with a vocal ensemble (not reviewed in the States); earlier examples were mostly choral renditions. Christophers’s tempos fall midway between those two versions. The most notable difference among the three versions comes in the Agnus Dei, which I presume was set once by the composer; McCreesh surrounds the single invocation with chant from Mass XVII for the first and last invocations, Summerly renders the music twice, supplying the altered text for the final invocation, as I would expect a Renaissance-era choir to do, and Christophers simply provides the single invocation as printed.


The promise of the first disc is fulfilled here with an exquisite rendition of the Mass and a fine collection of related motets. While many will appreciate the warmth of Summerly’s larger choir, the broad tempos, and the attractive price of a disc that couples it with a much-duplicated Lassus Mass for double choir, there is much to be said for the new disc in addition to its intelligent programming. Christophers explains in the notes that hymns composed as alternatim settings can be difficult to sing because the chant found in modern editions does not correspond to the melody used in the polyphonic verses. But the chant of this Christe Redemptor omnium can be deduced from the polyphony and confirmed from Victoria’s setting, which was published with the same chant printed out completely. He also notes how singers may have added unwritten accidentals to the chant in the same way the accidentals were written in the polyphony. He cites the superb volume of 68 offertories for the liturgical year that Palestrina published at the end of his life (Lassus published a similar set), for two of them are included here for Christmas and Epiphany. These two sets were the first to offer something to replace the chants that had always been sung at this place in the Mass. Richard Marlow (31:1) gave us one of the most extensive collections of these pieces. I look forward to the continuation of this series, impatient with the prospect of one disc per year. How long will this go on?


FANFARE: J. F. Weber

The perfect gift for Christmas – three of The Sixteen’s most celebrated festive CDs in a Boxset. From medieval carols with fiddles, harps and drums to the traditional carols we know and love, this collection includes favourite twentieth century English carols.

Palestrina had a vast impact on the development of music. Hugely famous in his day, his reputation and influence grew even more following his death and his work can be seen as a summation of Renaissance polyphony. His musical legacy is prodigious even by the standards of the time—he wrote over 100 masses—and he was the first Renaissance composer to have a complete edition of almost his whole output published in modern notation. The eighth recording in The Sixteen’s celebrated series focuses on the Last Supper and the sacrifice of Christ on the Cross at the first Easter and includes the Missa Fratres ego enim accepi. Three settings from the Song of Songs also feature.

Welcome to The Sixteen's 40th anniversary album. Can it really be 40 years since a fledgling group of singers gave their first concert in May 1979? To celebrate this milestone, we have chosen 40 tracks which have defined this acclaimed ensemble over the last four decades and which display it's incredible versatility, as well as the sheer range of music and styles it has covered. Featuring music from the last 600 years and with personal recommendations from The Sixteen's members both past and present, as well as the longest-serving members of the administrative team, this beautifully packaged album promises to be the must-have collection for all fans of choral music. "Forty years on, The Sixteen's supple, fastidiously nuanced soundworld continues to serve 'ancient' and 'modern' with aplomb." (BBC Music Magazine)

The Sixteen has long been hailed for it's championing of Tudor music, especially that of the Eton Choirbook, as well as for choral treasures of 20th century and it's work with 21st centuries composers. And so to mark it's 40th year the group has return to it's grass roots in a album that celebrates those passions. An Enduring Voice brings together some of the most glorious music from the past and present. It contrasts a new commission by award-winning composer Sir James MacMillan with music from the 15th and 16th centuries by Fayrfax, Wylkynson and Sheppard. These fine examples of English polyphony are juxtaposed with stunning music by Tavener, Gabriel Jackson and Eric Whitacre.

The fifth volume in this highly acclaimed series, conducted by The Sixteen’s Associate Conductor, Eamonn Dougan, celebrates the music of Polish composer Marcin Mielczewski. Together with Bartlomiej Pekiel, Mielczewski was amongst the most notable of 17th-century Polish composers and was recognised as a leader among his contemporaries. Influenced by the many Italian composers who graced the Polish courts in the 1600s, Mielczewski was a prolific composer. The cross-section of works recorded here shows an exceptionally accomplished musician at work, one whose music deserves a wider audience and who can confidently stand alongside the maestri who came before him and from whom he learnt his craft.

Despite only living until the age of 36 Purcell is undoubtedly one of the most remarkable musical geniuses of all time. The Sixteen continues its exploration of his music written for royalty illuminating two more of Purcell's Welcome Songs - Swifter, Isis, swifter flow and The summer's absence unconcerned we bear. In his music for Nathaniel Lee's tragedy Theodosius we witness the young Purcell displaying his playhouse wares in strokes of astonishing versatility some ten years before he made a serious impact as a master of music for the stage.