The Annual

 Glebe Music Festival

In conjunction with The Glebe Society Inc

Coro Innominata
Musical Director David Vivian Russell
with Concertato in association with
The Glebe Music Festival presents

STABAT MATER

Domenico Scarlatti

Coro Innominata
Musical Director David Vivian Russell
with Concertato in association with
The Glebe Music Festival presents

STABAT MATER

Domenico Scarlatti

Saturday 17 November 7.30 PM 2001
Saint Scholastica's Chapel, Glebe

PROGRAM

We wait for thy loving kindness  William McKee (1901-1984)

Greater, love hath no man   John Ireland (1879-1962)

0 taste and see     Ralph Vaughan Williams (1872-1958)

If ye love me     Thomas Tallis (1505-1585)

Set me as a seal upon thy heart  William Walton (1902-1983)

I am the true vine    Arvo Prt (born 1935)

Interval

Sonata      Giovanni Battista Bassani (1657-1716)

Stabat mater     Domenico Scarlatti (1685-1757)

Sicut cervus     Giovanni da Palestrina (1525-1594)

PROGRAM NOTES

Many waters cannot quench love; neither can the floods drown it.' Tough stuff this love - bobbing up like some kind of flotsam or jetsam riding the dark, destructive waters. And further to this - 'Love is strong as death!' - what can this love not do?

But what is this love that so occupies Walton, Ireland and Pärt? It is not the love of sentimentality nor is it the love that can be 'enjoyed'. It seems that the love we sing about this evening is the love of sacrifice: dutiful love.

The Australian organist, William McKee sets the scene for us in his anthem for the wedding of Princess Elizabeth and Prince Phillip Mountbatten. The key word for this anthem is loving kindness' - where the supplicants hope that the gifts from God will be delivered to the righteous. But who are these righteous that they should receive gifts from God without some sort of quid pro quo?

The works which follow (primarily by English composers whose compositions reflect the renaissance of English music in the post-First World War period) are influenced by love and loss and speak of acceptance. By acceptance I mean that the compositions readily discuss the very expectation of what true, unquestioning love requires - sacrifice. Whether it is The Song of Solomon text 'Set me as a seal...' or the New Testament admonition of Tallis' much earlier If ye love me...' there is no doubt that there is a requirement to be met before any gifts can be lovingly' bestowed. All these works were written under the shadow of war and schism - and the mention of love thus has a poignant attribute - with each compositional voice calling for loyalty, unity and spiritual strength.

The interest for us here is not only chat these texts have had a lasting linguistic impact down the years but that they have also been a powerful spur upon composers who are confronted by them - particularly those composers of the 20th Century represented this evening.

Why this latter point should be so could be speculated upon over several levels. I would contend however that anxiety has been such a talisman to chose living over the past 50 years, that texts, which mention love and sacrifice in the same breath, engender a special and personally 'anxious' response in such composers - Walton and Part in particular.

The requirement of sacrificial love and an unquestioning adherence to loving direction is a powerful one - and it comes as a no surprise that Part sets these words from St Johns Gospel. His history as a composer is one of struggle, isolation and perseverance in the face of adversity and the one constant for him has been a religiousness that is displayed in music of almost glacial slowness, though respectful and imbued with a simple courage - exactly what is required of in both a saviour and a disciple.

And what of the place of Domenico Scarlatti here? Obviously several of the works in the first half of this evenings programme have their beginnings in the ultimate sacrifice of Christ. Scarlatti, the least well known of the three major composers born in 1685 (Handel and JS Bach being the others), has become known to us more as a keyboard virtuoso much under the control of his father Alexandra (similar to the relationship between Leopold and Wolfing Mozart). Domineers vocal music makes up but a small part of a modest output - however all of Scarlatti's sacred compositions show a dynamic understanding of text and in particular the importance of the Stabat mater poem as a quasi-mystical devotional work.

Domenico's Stabat mater was written (as were the compositions by the earlier Palestrina and the later Pergolesi) for the Brotherhood of Mary and it formed the centrepiece of the brotherhood's Easter vigil. Scarlatti's composition itself is remarkable for its ability to mix Italianate 'High Baroque' compositional gesture with a preparedness to tell a stark and harsh tale in a sparse almost harmonically 'old-fashioned' way. There is a remarkable grace and beauty in this little known work - both characteristics at odds with the story's solemnity and each often act as a foil to the more grievous moments of the story.

Passages of brilliant solo writing are set against dark homophony while brief sections of two or three voices are overwhelmed by an imposing ten-part fugue. This is no minor work by a minor composer - rather it represents one of Italy's greatest Baroque composers responding in a highly sophisticated way to an emotionally charged and at times deeply metaphysical text. And love - in its most striking form - is at the heart of arguably Domenico Scarlatti's greatest vocal work.

The dual presence of love here - a grieving mother at the foot of the cross and a man sacrificing his life for his friends - means that there is much for the listener to contemplate. However, at the same time, we can see (and hear) that the Stabat mater text requires the listener to avoid simple sophistry and to commit to display a willingness for self-sacrifice and a preparedness to feel the same pain as that felt by Christ's mother - almost as a preparation for the believer's final pains of death.

David Vivian Russell
November 2001

Coro Innominata
Director: David Vivian Russell

Sopranos Nicola Bevan** Catherine Borchok Jane Cateris*** Natalie D'Enyar Anna Jacobs Helen Matterson Christine Nettle Bronwyn Robertson Sally Smith Shamistha de Soysa Moira Thompson*

Altos Katherine Day Rachel Dulson Sarah Dunn Melissa Laird Lindsey Paget-Cooke Lucy Turner

Tenors Kevin Cousins Marcus Hodgson*** David Morris**** Mark Nettle**

Basses Michael Davies Francis Dorman* David Fisher Greg Peters

*soloist - Ireland
**soloist - Scarlatti
***soloist - Walton
****organ solo - Basini

Concertato

Cello Kate Morgan
Harpsichord Raymond Harvey

Beginning performance as a chorister at St Paul's Cathedral, Melbourne, David Vivian Russell is now recognised as one of Australia's leading counter-tenors and an expert in Renaissance and Baroque music. A member of The Song Company from 1991 to 2000, he has also worked for Opera Australia and recorded for ABC FM. A regular concert performer throughout Australia, he gave the Australian premiere of Kanchelis Diplipito with the Tasmanian Symphony Orchestra at the 2000 Adelaide Festival. He also last year appeared in Bach's B minor Mass broadcast live on ABC FM and NZFM. He toured Korea earlier this year as part of a cultural exchange program. He has conducted Cow Innominata for five years and in that time, it has developed into one of the few specialist 'early music' choirs in Australia. He currently holds the position of Production
Coordinator for the Publications Unit, Symphony Australia.

Concertato was formed in late 2000 by three long-time colleagues, Fiona Ziegler, Kate Morgan and Ray Harvey, who wished to make something more concrete of their wealth of performing experience together. As the core players of many
early music performances they have a great desire to share their enjoyment of performing together and bring the music they relish to Sydney audiences. Between them they have played with many different groups and orchestras including the Australian Brandenburg Orchestra, the Australian Chamber Orchestra, the Sydney Symphony and the Australian Opera. The performance today will be on period instruments.

Bernard Kirkpatrick received his early music training in Tasmania before moving to Sydney in 1984. In 1991 he graduated with a Bachelor of Music degree from the University of Sydney, where he completed a performance major in organ. During this time he was University Organ Scholar and also Director of Chapel Music at St Johns College. He then pursued further studies in Paris, in improvisation with the celebrated Organise Tutulaire de la Basilique de Sacre-Coeur, Naji Hakim. Bernard has twice been winner of the Sydney Organ Competition and has appeared in concert at the Sydney Opera House, Sydney Town Hall, the Melbourne Autumn Festival as well in broadcasts on radio. He is a regular accompanist to local choirs in Sydney. For the past ten years, Bernard Kirkpatrick has held the position of Assistant Organist at St Mary's Cathedral, Sydney, has been active as a Choral Director and has many years experience in liturgical music. He is currently the Director of Music at St Francis of Assisi, Paddington.

'We wait for thy loving kindness'
William McKie (1901 -1984)

We wait for thy loving kindness, 0 God:
in the midst of thy temple.
Alleluia.
0 God, according to thy Name,
so is thy praise unto the worlds end.
Thy right hand is full of righteousness:
Alleluya.
We wait for thy loving kindness, 0 God
in the midst of thy temple.
0 Lord, send us now prosperity.
Amen.

'Greater love hath no man.'
John Ireland (1879-1962)

Many waters cannot quench love,
neither can the floods drown it. Love is strong as death.
Greater love hath no man than this,
that a man lay down his life for his friends.
Who his own self bare our sins in his own body on the tree,
That we, being dead to sins, should live unto righteousness.
Ye are washed, ye are sanctified,
ye are justified in the name of the Lord Jesus.
Ye are a chosen generation, a royal priesthood, a holy nation;
That ye should show forth the praises of him
who hath call'd you out of darkness into his marvellous light.
I beseech you brethren, by the mercies of God,
that you present your bodies, a living sacrifice, holy,
acceptable unto to God, which is your reasonable service.

'O taste and see'
Ralph Vaughan Williams (1872-1958)

O taste and see how gracious the Lord is:
blest is the man that trusteth in him.

'If ye love me'
Thomas Tallis (c. 1505-1585)

If ye love me, keep my commandments,
And I will pray the father,
And he shall give you another comforter.
That he shall bide with you forever,
E'en the spirit if truth.

'Set me as a seal upon thine heart'
William Walton (1902-1983)

Set me as a seal upon thine heart, as a seal upon thine arm:
For love is strong as death.
Many waters cannot quench love, neither can the floods drown it.

'I am the true vine'
Arvo Part born 1935

I
I am the true vine, and my father is the husbandman.

II
Every branch that beareth not fruit he taketh away:
and every branch that beareth Fruit, he purgeth it, that it may
bring forth more fruit.

III
Now ye are clean through the word which I have spoken unto you.

IV
Abide in me, and I in you. As the branch cannot bear fruit
of itself, except it abide in the vine; no more can ye,
except ye abide in me.

V
I am the vine, ye are the branches: He that abideth in me,
and I in him, the same bringeth forth much fruit:
for without me ye can do nothing.

VI
If a man abide not in me, he is cast forth as a branch,
and is withered: and men gather them, and cast them into the fire,
and they are burned.

VII
If ye abide in me, and my words abide in you,
ye shall ask what ye will, and  it shall be done unto you.

VIII
Herein is my father glorified, that ye bear much fruit;
so shall ye be my disciples.

IX
As the Father hath loved me, so have I loved you:
Continue ye in my love

X
If ye keep my commandments, ye shall abide in my love;
even as I have kept my Father's commandments.
and abide in his love.

XI
These things have I spoken unto you,
that my joy might remain in you, and that your joy might be full.

XII
This is my commandment, that ye love one another,
as I have loved you.

XIII
Greater love hath no man than this,
that a man lay down his life for his friends.

XIV
Ye are my friends, if ye do whatsoever I command you.

From the Gospel according to St John, Chapter 15, vs 1-14.

Stabat Mater
Domenico Scarlatti (1685-1757)

Stabat Mater dolorosa iuxta crucem lacrimosa dum pendebat Filius
The grieving Mother stood weeping beside the cross where her Son was hanging

Cuius animam gementem contristatem et dolentem per transivit gladius
Through her weeping soul, compassionate and grieving, a sword passed

0 quam tristis et afflicca fuit illa benedicta Mater Unigeniti
0 how sad and afflicted was that blessed Mother of the Only-begotten!

Quae moerebat et dolebat Pia Mater dum videbat naci poenas incliti
Who mourned and grieved, the pious Mother, looking at the torment of her glorious Child

Quis est homo qui non fleret Matri Christi si videret in tanto supplicio?
Who is the person who would not weep seeing the Mother of Christ in such agony?

Quis non posset contristari Matrem Christi contemplari dolentum cum filio?
Who would not be able to feel compassion on beholding Christ's Mother suffering with her Son?

Pro peccatis suae gentis vidit Iesum in tormentis et flagellis subditum
For the sins of his people she saw Jesus in torment and subjected to the scourge.

Vidit suum dulcem natum mouriendo desolatum dum emisit spiritum
She saw her sweet offspring dying, forsaken, while He gave up his spirit

†

Eia Mater, fons amoris, me sentire vim doloris fac ut tecum lugeam
0 mother, fountain of love, make me feel the power of sorrow, that I may grieve with you

Fac ut ardeat cor meum in amando Christum Deum ut sibi complaceam
Grant that my heart may burn in the love of Christ my Lord, that I may greatly please Him

†

Sancta Mater, istud agas, crucifixi fige plagas cordi meo valide
Holy Mother, grant that the wounds of the Crucified drive deep into
my heart.

Tui nari vulnerati tam dignati pro me pati poenas mecum divide
That of your wounded Son, who so deigned to suffer for me, I may share the pain

Fac me tecum pie flere crucifixo condolere donec ego vixero
Let me, pious one, weep with you, bemoan the Crucified, for as long as I live

Iuxta crucem tecum stare et me tibi sociare in planctu desidero
To stand beside the cross with you, and to join you in your weeping, this I desire

Virgo virginum praeclara mihi iam non sis amara fac me tecum plangere
Chosen Virgin of virgins, be not bitter with me, let me weep with thee

Fac ut portem Christi mortem passionis fac consortem et plagas recolere
Grant that I may bear the death of Christ, share his Passion, and commemorate His wounds

Fac me plagis vulnerari crucem hac inebriari, Ob amorem Filii
Let me be wounded with his wounds, let me be intoxicated by your Son's love

Inflammatus et accensus, per te, Virgo, sim defensus in die iudicii
Inflame and set on fire, may I be defended by you, Virgin, on the day of judgment

Fac me cruce custodiri, morte Christie praemuniri, confoveri gratia.
Make me a custodian of your cross, and through Christ's death, conferred on me His grace.

†

Quando corpus morietur fac ur animae donetur paradisi gloria. Amen.
When my body dies, grant that to my soul is given the glory of Paradise. Amen.

'Sicut cervus'
Giovanni da Palestrina (1525-1594)

Sicut cervus desiderat ad fontes aquarum,
Ita desiderat anima mea ad te Deus.
As pants the hart for cooling streams,
So longeth my soul after thee oh Lord.

The Glebe Music Festival is now in its 12th year and is pleased to welcome Coro Innominata once again. This concert is the Glebe Society Concert and celebrates the many important contributions made to the community by the Society. Special thanks to the Sisters of Saint Scholastica's for once again allowing the concert to be performed in their beautiful chapel. The Artistic Director of the Festival is Dr E. David G. McIntosh

Coro Innominata and the Glebe Music Festival would also like to thank the following people for their assistance in staging this performance:
Father Les Cashan and St James' Church, Forest Lodge
Sister Bernadette O'Donnell and the Sisters of Saint Scholastica's, Glebe
Barbara Rennison, Daryl Colquhoun, Nicola Bevan, Peter McKee.

Thank you also to the following "Friends of Core Innominata" for their generous support: Mr Rodney Yeomans, Mr Hugh Twaddle, Marilyn Dennes, Mrs Maggie Jenvey, Mr Ross Smith.

Saturday 17 November 7.30 PM 2001
Saint Scholastica's Chapel, Glebe

PROGRAM

We wait for thy loving kindness  William McKee (1901-1984)

Greater, love hath no man   John Ireland (1879-1962)

0 taste and see     Ralph Vaughan Williams (1872-1958)

If ye love me     Thomas Tallis (1505-1585)

Set me as a seal upon thy heart  William Walton (1902-1983)

I am the true vine    Arvo Prt (born 1935)

Interval

Sonata      Giovanni Battista Bassani (1657-1716)

Stabat mater     Domenico Scarlatti (1685-1757)

Sicut cervus     Giovanni da Palestrina (1525-1594)

PROGRAM NOTES

Many waters cannot quench love; neither can the floods drown it.' Tough stuff this love - bobbing up like some kind of flotsam or jetsam riding the dark, destructive waters. And further to this - 'Love is strong as death!' - what can this love not do?

But what is this love that so occupies Walton, Ireland and Pärt? It is not the love of sentimentality nor is it the love that can be 'enjoyed'. It seems that the love we sing about this evening is the love of sacrifice: dutiful love.

The Australian organist, William McKee sets the scene for us in his anthem for the wedding of Princess Elizabeth and Prince Phillip Mountbatten. The key word for this anthem is loving kindness' - where the supplicants hope that the gifts from God will be delivered to the righteous. But who are these righteous that they should receive gifts from God without some sort of quid pro quo?

The works which follow (primarily by English composers whose compositions reflect the renaissance of English music in the post-First World War period) are influenced by love and loss and speak of acceptance. By acceptance I mean that the compositions readily discuss the very expectation of what true, unquestioning love requires - sacrifice. Whether it is The Song of Solomon text 'Set me as a seal...' or the New Testament admonition of Tallis' much earlier If ye love me...' there is no doubt that there is a requirement to be met before any gifts can be lovingly' bestowed. All these works were written under the shadow of war and schism - and the mention of love thus has a poignant attribute - with each compositional voice calling for loyalty, unity and spiritual strength.

The interest for us here is not only chat these texts have had a lasting linguistic impact down the years but that they have also been a powerful spur upon composers who are confronted by them - particularly those composers of the 20th Century represented this evening.

Why this latter point should be so could be speculated upon over several levels. I would contend however that anxiety has been such a talisman to chose living over the past 50 years, that texts, which mention love and sacrifice in the same breath, engender a special and personally 'anxious' response in such composers - Walton and Part in particular.

The requirement of sacrificial love and an unquestioning adherence to loving direction is a powerful one - and it comes as a no surprise that Part sets these words from St Johns Gospel. His history as a composer is one of struggle, isolation and perseverance in the face of adversity and the one constant for him has been a religiousness that is displayed in music of almost glacial slowness, though respectful and imbued with a simple courage - exactly what is required of in both a saviour and a disciple.

And what of the place of Domenico Scarlatti here? Obviously several of the works in the first half of this evenings programme have their beginnings in the ultimate sacrifice of Christ. Scarlatti, the least well known of the three major composers born in 1685 (Handel and JS Bach being the others), has become known to us more as a keyboard virtuoso much under the control of his father Alexandra (similar to the relationship between Leopold and Wolfing Mozart). Domineers vocal music makes up but a small part of a modest output - however all of Scarlatti's sacred compositions show a dynamic understanding of text and in particular the importance of the Stabat mater poem as a quasi-mystical devotional work.

Domenico's Stabat mater was written (as were the compositions by the earlier Palestrina and the later Pergolesi) for the Brotherhood of Mary and it formed the centrepiece of the brotherhood's Easter vigil. Scarlatti's composition itself is remarkable for its ability to mix Italianate 'High Baroque' compositional gesture with a preparedness to tell a stark and harsh tale in a sparse almost harmonically 'old-fashioned' way. There is a remarkable grace and beauty in this little known work - both characteristics at odds with the story's solemnity and each often act as a foil to the more grievous moments of the story.

Passages of brilliant solo writing are set against dark homophony while brief sections of two or three voices are overwhelmed by an imposing ten-part fugue. This is no minor work by a minor composer - rather it represents one of Italy's greatest Baroque composers responding in a highly sophisticated way to an emotionally charged and at times deeply metaphysical text. And love - in its most striking form - is at the heart of arguably Domenico Scarlatti's greatest vocal work.

The dual presence of love here - a grieving mother at the foot of the cross and a man sacrificing his life for his friends - means that there is much for the listener to contemplate. However, at the same time, we can see (and hear) that the Stabat mater text requires the listener to avoid simple sophistry and to commit to display a willingness for self-sacrifice and a preparedness to feel the same pain as that felt by Christ's mother - almost as a preparation for the believer's final pains of death.

David Vivian Russell
November 2001

Coro Innominata
Director: David Vivian Russell

Sopranos Nicola Bevan** Catherine Borchok Jane Cateris*** Natalie D'Enyar Anna Jacobs Helen Matterson Christine Nettle Bronwyn Robertson Sally Smith Shamistha de Soysa Moira Thompson*

Altos Katherine Day Rachel Dulson Sarah Dunn Melissa Laird Lindsey Paget-Cooke Lucy Turner

Tenors Kevin Cousins Marcus Hodgson*** David Morris**** Mark Nettle**

Basses Michael Davies Francis Dorman* David Fisher Greg Peters

*soloist - Ireland
**soloist - Scarlatti
***soloist - Walton
****organ solo - Basini

Concertato

Cello Kate Morgan
Harpsichord Raymond Harvey

Beginning performance as a chorister at St Paul's Cathedral, Melbourne, David Vivian Russell is now recognised as one of Australia's leading counter-tenors and an expert in Renaissance and Baroque music. A member of The Song Company from 1991 to 2000, he has also worked for Opera Australia and recorded for ABC FM. A regular concert performer throughout Australia, he gave the Australian premiere of Kanchelis Diplipito with the Tasmanian Symphony Orchestra at the 2000 Adelaide Festival. He also last year appeared in Bach's B minor Mass broadcast live on ABC FM and NZFM. He toured Korea earlier this year as part of a cultural exchange program. He has conducted Cow Innominata for five years and in that time, it has developed into one of the few specialist 'early music' choirs in Australia. He currently holds the position of Production
Coordinator for the Publications Unit, Symphony Australia.

Concertato was formed in late 2000 by three long-time colleagues, Fiona Ziegler, Kate Morgan and Ray Harvey, who wished to make something more concrete of their wealth of performing experience together. As the core players of many
early music performances they have a great desire to share their enjoyment of performing together and bring the music they relish to Sydney audiences. Between them they have played with many different groups and orchestras including the Australian Brandenburg Orchestra, the Australian Chamber Orchestra, the Sydney Symphony and the Australian Opera. The performance today will be on period instruments.

Bernard Kirkpatrick received his early music training in Tasmania before moving to Sydney in 1984. In 1991 he graduated with a Bachelor of Music degree from the University of Sydney, where he completed a performance major in organ. During this time he was University Organ Scholar and also Director of Chapel Music at St Johns College. He then pursued further studies in Paris, in improvisation with the celebrated Organise Tutulaire de la Basilique de Sacre-Coeur, Naji Hakim. Bernard has twice been winner of the Sydney Organ Competition and has appeared in concert at the Sydney Opera House, Sydney Town Hall, the Melbourne Autumn Festival as well in broadcasts on radio. He is a regular accompanist to local choirs in Sydney. For the past ten years, Bernard Kirkpatrick has held the position of Assistant Organist at St Mary's Cathedral, Sydney, has been active as a Choral Director and has many years experience in liturgical music. He is currently the Director of Music at St Francis of Assisi, Paddington.

'We wait for thy loving kindness'
William McKie (1901 -1984)

We wait for thy loving kindness, 0 God:
in the midst of thy temple.
Alleluia.
0 God, according to thy Name,
so is thy praise unto the worlds end.
Thy right hand is full of righteousness:
Alleluya.
We wait for thy loving kindness, 0 God
in the midst of thy temple.
0 Lord, send us now prosperity.
Amen.

'Greater love hath no man.'
John Ireland (1879-1962)

Many waters cannot quench love,
neither can the floods drown it. Love is strong as death.
Greater love hath no man than this,
that a man lay down his life for his friends.
Who his own self bare our sins in his own body on the tree,
That we, being dead to sins, should live unto righteousness.
Ye are washed, ye are sanctified,
ye are justified in the name of the Lord Jesus.
Ye are a chosen generation, a royal priesthood, a holy nation;
That ye should show forth the praises of him
who hath call'd you out of darkness into his marvellous light.
I beseech you brethren, by the mercies of God,
that you present your bodies, a living sacrifice, holy,
acceptable unto to God, which is your reasonable service.

'O taste and see'
Ralph Vaughan Williams (1872-1958)

O taste and see how gracious the Lord is:
blest is the man that trusteth in him.

'If ye love me'
Thomas Tallis (c. 1505-1585)

If ye love me, keep my commandments,
And I will pray the father,
And he shall give you another comforter.
That he shall bide with you forever,
E'en the spirit if truth.

'Set me as a seal upon thine heart'
William Walton (1902-1983)

Set me as a seal upon thine heart, as a seal upon thine arm:
For love is strong as death.
Many waters cannot quench love, neither can the floods drown it.

'I am the true vine'
Arvo Part born 1935

I
I am the true vine, and my father is the husbandman.

II
Every branch that beareth not fruit he taketh away:
and every branch that beareth Fruit, he purgeth it, that it may
bring forth more fruit.

III
Now ye are clean through the word which I have spoken unto you.

IV
Abide in me, and I in you. As the branch cannot bear fruit
of itself, except it abide in the vine; no more can ye,
except ye abide in me.

V
I am the vine, ye are the branches: He that abideth in me,
and I in him, the same bringeth forth much fruit:
for without me ye can do nothing.

VI
If a man abide not in me, he is cast forth as a branch,
and is withered: and men gather them, and cast them into the fire,
and they are burned.

VII
If ye abide in me, and my words abide in you,
ye shall ask what ye will, and  it shall be done unto you.

VIII
Herein is my father glorified, that ye bear much fruit;
so shall ye be my disciples.

IX
As the Father hath loved me, so have I loved you:
Continue ye in my love

X
If ye keep my commandments, ye shall abide in my love;
even as I have kept my Father's commandments.
and abide in his love.

XI
These things have I spoken unto you,
that my joy might remain in you, and that your joy might be full.

XII
This is my commandment, that ye love one another,
as I have loved you.

XIII
Greater love hath no man than this,
that a man lay down his life for his friends.

XIV
Ye are my friends, if ye do whatsoever I command you.

From the Gospel according to St John, Chapter 15, vs 1-14.

Stabat Mater
Domenico Scarlatti (1685-1757)

Stabat Mater dolorosa iuxta crucem lacrimosa dum pendebat Filius
The grieving Mother stood weeping beside the cross where her Son was hanging

Cuius animam gementem contristatem et dolentem per transivit gladius
Through her weeping soul, compassionate and grieving, a sword passed

0 quam tristis et afflicca fuit illa benedicta Mater Unigeniti
0 how sad and afflicted was that blessed Mother of the Only-begotten!

Quae moerebat et dolebat Pia Mater dum videbat naci poenas incliti
Who mourned and grieved, the pious Mother, looking at the torment of her glorious Child

Quis est homo qui non fleret Matri Christi si videret in tanto supplicio?
Who is the person who would not weep seeing the Mother of Christ in such agony?

Quis non posset contristari Matrem Christi contemplari dolentum cum filio?
Who would not be able to feel compassion on beholding Christ's Mother suffering with her Son?

Pro peccatis suae gentis vidit Iesum in tormentis et flagellis subditum
For the sins of his people she saw Jesus in torment and subjected to the scourge.

Vidit suum dulcem natum mouriendo desolatum dum emisit spiritum
She saw her sweet offspring dying, forsaken, while He gave up his spirit

†

Eia Mater, fons amoris, me sentire vim doloris fac ut tecum lugeam
0 mother, fountain of love, make me feel the power of sorrow, that I may grieve with you

Fac ut ardeat cor meum in amando Christum Deum ut sibi complaceam
Grant that my heart may burn in the love of Christ my Lord, that I may greatly please Him

†

Sancta Mater, istud agas, crucifixi fige plagas cordi meo valide
Holy Mother, grant that the wounds of the Crucified drive deep into
my heart.

Tui nari vulnerati tam dignati pro me pati poenas mecum divide
That of your wounded Son, who so deigned to suffer for me, I may share the pain

Fac me tecum pie flere crucifixo condolere donec ego vixero
Let me, pious one, weep with you, bemoan the Crucified, for as long as I live

Iuxta crucem tecum stare et me tibi sociare in planctu desidero
To stand beside the cross with you, and to join you in your weeping, this I desire

Virgo virginum praeclara mihi iam non sis amara fac me tecum plangere
Chosen Virgin of virgins, be not bitter with me, let me weep with thee

Fac ut portem Christi mortem passionis fac consortem et plagas recolere
Grant that I may bear the death of Christ, share his Passion, and commemorate His wounds

Fac me plagis vulnerari crucem hac inebriari, Ob amorem Filii
Let me be wounded with his wounds, let me be intoxicated by your Son's love

Inflammatus et accensus, per te, Virgo, sim defensus in die iudicii
Inflame and set on fire, may I be defended by you, Virgin, on the day of judgment

Fac me cruce custodiri, morte Christie praemuniri, confoveri gratia.
Make me a custodian of your cross, and through Christ's death, conferred on me His grace.

†

Quando corpus morietur fac ur animae donetur paradisi gloria. Amen.
When my body dies, grant that to my soul is given the glory of Paradise. Amen.

'Sicut cervus'
Giovanni da Palestrina (1525-1594)

Sicut cervus desiderat ad fontes aquarum,
Ita desiderat anima mea ad te Deus.
As pants the hart for cooling streams,
So longeth my soul after thee oh Lord.

The Glebe Music Festival is now in its 12th year and is pleased to welcome Coro Innominata once again. This concert is the Glebe Society Concert and celebrates the many important contributions made to the community by the Society. Special thanks to the Sisters of Saint Scholastica's for once again allowing the concert to be performed in their beautiful chapel. The Artistic Director of the Festival is Dr E. David G. McIntosh

Coro Innominata and the Glebe Music Festival would also like to thank the following people for their assistance in staging this performance:
Father Les Cashan and St James' Church, Forest Lodge
Sister Bernadette O'Donnell and the Sisters of Saint Scholastica's, Glebe
Barbara Rennison, Daryl Colquhoun, Nicola Bevan, Peter McKee.

Thank you also to the following "Friends of Core Innominata" for their generous support: Mr Rodney Yeomans, Mr Hugh Twaddle, Marilyn Dennes, Mrs Maggie Jenvey, Mr Ross Smith.