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Home , Duarte Lobo, Manuel Cardoso, The Tallis Scholars

AN INTERVIEW WITH PETER PHILLIPS DIRECTOR OF by Dennis Shrock

DUCATED AT OXFORD UNIVERSITY IN who are struck by the beauty and power of the Great Britain, Peter Phillips has dedicated sound. Thegroup derives its name from the 16th­ his life's work to the research and century English composer . While the performance of sacred music. music of Tallis and other well-known English, Through his nearly 100 performances Franco-Flemish, and Italian composers forms the annually with the Tallis Scholars, and basis of their repertoire, the Tallis Scholars embrace numerous recording projects with Gimell the whole of sacred vocal ; they Records (which he co-founded in 1981), Mr. Phillips uncover and perform the works of lesser-known has the opportunity to Renaissance masters of the explore Renaissance Spanish,Portuguese, and polyphony to its fullest. He Russian schools. can frequently be heard on The Tallis Scholars have radio broadcasts throughout over two dozen recordings the , Canada, on the Gimelliabei. The and worldwide; his first group's recording of Missa book, English Sacred Music Pange lingua and Missa La 1549-1649, has been sol fa re mi of Josquin Des published by Gimell; and he Prez won Gramophone's continues to contribute a 1987 Record of the Year regular column to the award the first ever in its London Spectator. category to win The Tallis Scholars, hailed that distinction. Since Peter as "a cappella superstars," Phillips founded the Tallis have performed to standing Scholars in 1978, they have room only crowds across the toured throughout western United States ever since their Europe, , Israel, American debut tour in the Far East, and North 1987. The London based America. The Tallis Scholars ensemble, under the broadcast regularly on direction of Phillips, appeals international radio and were not only to early music recently featured in an hour­ enthusiasts who search for long documentary produced musical and vocal purity, by the British public TV but also to first-time listeners network, lTV......

SHROCK: Tell us about the Tallis sity. This was from 1972 to 1975. I Anglican chapel services - so I Scholars - their inception, was an organ scholar at St. John's branched out, so to speak, and began development, and makeup. College and, as part of my scholar­ to put on concerts with some of the ship, I was required to conduct the members of the chapel choir and PHILLIPS: The group started from a chapel choir. I wanted to perform other fine singers in the area. I did chapel choir I conducted when I was large works with Latin texts this until about 1979. Then, with a an undergraduate at Oxford Univer- which obviously weren't suitable for difficult union situation at that time

May 1992 Page 7 in England, we were forced to make It took years. The early 80s were actually paid for it to be made in a decision to be completely amateur quite rough, but we believed in what 1980. We had a five-year contract or completely professional. It was a we were doing. that EMI wanted to renew, but we very difficult decision to choose the The introduction of the compact wouldn't do this. We took the tape professional route. However, we had disc helped us considerably, since we back, and now it is available to; it was the only way forward. recognized right from the start that it worldwide on Gimell. By 1986-87, After we became a professional would suit our type of music. It gives we had started to make five to seven group, we suddenly cost a lot of such a lovely, clear representation of records a year, and by 1990, we had money and immediately lost quite a a cappella voices. You can hear begun to accumulate a pile of few of our regular concerts. In 1982 I everything, or, put another way, if unreleased material. Just now we thought we would have to disband. have eight discs recorded that haven't But, we had made some records, two been edited or released. of which were on EMI, and we Consequently, we won't start concentrated our efforts there. One of recording again until 1993 when all the recordings was of the Allegri I think people are often the previous recordings will have "," which sold 100,000 confused or simplistic in come out. copies on black vinyl between 1980-1985. Since we had this sort of how they approach SHROCK: Tell us about the repertoire support from the record pitching Renaissance music, you choose for performances and away in the background, and since recordings. we really wanted a proper series of thinking that all the great Renaissance masterpieces to polyphony sounds like PHILLIPS: I have a particular fondness be recorded, I set off, full of for Renaissance polyphony and for missionary zeal, to the big record Palestrina. Only Palestrina· the sound of unaccompanied voices. labels and said, here it is, you can't sounds like Palestrina. The intellectual challenge that's ignore this music, and we are the best contained in part writing intrigues at it. I was quite arrogant and me - even in music of later eras; I'm confident. But, no one was interested not terribly interested in music which apart from EMI, and all EMI would consists simply of chords. I remember do was the Allegri - and, with a lot it's there to be heard, you can hear it. several experiences of my youth, of arm-twisting, some madrigals We borrowed money and took risks hearing performances of great which we didn't want to do anyway. (all that sort of thing) and the Renaissance polyphonic music and There was no question of doing a business really got going about 1985. being thrilled - you might say proper series, so we started our own It helped a lot that we had only converted. One such experience was label, Gimell. It was the only way leased the Allegri disc to EMI; my when I was 15 or so years old. I was out, and it took forever to get going. partner at Gimell, Steve Smith, singing in the chapel choir of Winchester College, which has a fine choral heritage (Thomas Weelkes was THE GRINNELL COLLEGE employed there in the late 16th DEPARTMENT OF MUSIC PRESENTS century and Samuel Sebastian Wesley was organist in the 19th century). We were singing Gibbons' "Oh clap Na zemli mir your hands," which as you know is an eight-part piece of quite SACRED CHORAL MUSIC OF THE astonishing detail and complexity. I remember looking down the line of RUSSIAN "SILVER AGE" choristers, each having such a good time singing his own line. It was PERFORMED BY terribly exciting. I couldn't believe it, THE GRINNELL COMMUNITY CHORUS AND really. On another occasion, later, THE GRINNELL SINGERS while I was at Oxford, I remember hearing a Clerkes of Oxenford concert conducted by my tutor, David DIRECTED BY JOHN STUHR-ROMMEREIM Wulstan. They sang Tallis' "Gaude Gloriosa" in such a way that my RECORDED AT HERRICK CHAPEL, GRINNELL COLLEGE, GRINNELL, IOWA head was ringing with the sound for weeks afterwards. That was the other moment of conversion. With the To ORDER CDs SEND $8.95 PLUS $2.00 SHIPPING: Clerkes concert it was partly the CHORAL CD, MUSIC DEPARTMENT music - it is a huge piece - butit GRINNELL COLLEGE, GRINNELL, IOWA 50112 was also partly the way they sang it. They could have sung anything and I

Page 8 CHORAL JOURNAL would have been entranced. The SHROCK: You obviously select singers the singers sing and enjoy the music, basic sound was so beautiful. who will manifest your ideals of the performance will have some Consequently, as I said earlier, I sound. Can you speak about those power. formed an amateur group to perform ideals? the large Renaissance sacred Latin SHROCK: Tell us about your rehearsal, pieces. These works seemed to PHILLIPS: It is difficult to describe performance, and recording schedule. represent the finest achievements of sound in words; however, I think composers, such as Tallis and Byrd, that I strive for a clear sound so that PHILLIPS: We rehearse when there is and the repertory wasn't familiar to the details of the counterpoint can be a job to do, otherwise we don't meet. most members of the concert-going heard; that's the first requirement This has been the case for our entire public. People needed to be exposed affecting Renaissance polyphony. In history; we never did the weekly to the music, and the music needed an eight-part piece, for instance, if rehearsal routine. However, since this to be heard. you can't hear the second alto or first year we will be singing close to 100 tenor part - one of those middle concerts, we will be meeting most of ...... parts - then the writing is the time. unbalanced, the polyphony is Renaissance sacred music compromised. So it's essential to SHROCK: Basically, how many create a set of circumstances between rehearsals do you have before each deals with the most the singers and the manner of performance? profound sentiments, so performance which preserves the clarity of the counterpoint. In PHILLIPS: Well, as you may know, profound that it is useless combination with this, I want the English are particularly quick at to try to express them in performances to live; I want them to sight reading, so we don't need to come alive. It's no good, therefore, spend too much time getting the obvious interpretative having little fluty voices that sound notes. Also, as our group has ways. rather white. I want bright, exciting developed, we haven't needed to human voices with character. spend much time getting a good This comes to the problem of blend and tuning. There is no fixed vibrato, which of its nature is out of number of rehearsals; however, I tune and therefore in theory would say that we don't rehearse SHROCK: In terms of size and unsuitable for polyphony. But, if more than six hours for a balance, what is the makeup of the there is no vibrato, then the sound performance. Tallis Scholars? loses a lot of human warmth. So, I try to maintain a very delicate SHROCK: Do you mind telling us how PHILLIPS: We generally perform with balance between some vibrato and much the singers are paid? two singers per part: two high the tuning not being seriously sopranos, two mezzo-sopranos, two disturbed. I believe that the secret of PHILLIPS: They are not salaried, but altos, two tenors, and two basses. it actually is not to be dogmatic are paid by the concert. Many of the about one or the other, but to let singers sing in several professional SHROCK: Are the four sopranos all some vibrato come into the voices. If groups or are developing careers as "female adults?

PHILLIP!?: Yes. We don't use any boy trebles. July 20-25, 1992 SHROCK: What about the altos? Are they male or female SUMMER WORKSHOPS altos? IN MUSIC

PHILLIPS: At first we had two at San Francisco Theological Seminary countertenors, but recently rve mixed a with a contralto, one Sue Mitchell-Wallace, Organ and one. rve never used two women lloyd Pfautsch, Choral Conducting on the alto line. Martha Wall, Bells and "Potpourri: A Cutting Edge Sampler for Dynamic Worship"

SHROCK: Has the personnel remained Presented by San Francisco Theological Seminary in cooperation relatively consistent, or has there been with the Presbyterian Association of Musicians and the Fellowship considerable change? of United Methodists in Worship, Music, and Other Arts.

PHILLIPS: Fortunately, in recent For information write: Dr. Wilbur F. Russell, years, the group has not changed very SFTS, 2 Kensington Road, San Anselmo, CA 94960 much.

May 1992 Page 9 soloists. For their Tallis Scholars Lamentations and some lovely late of this great composer. Finally, we work, they receive approximately like "0 nata lux" and will release an extraordinary Mass by $400 per concert. This varies "Absterge Domine." The next release Jacob Obrecht called the Missa Maria depending upon many factors, such will be the 12-part Mass, Missa Et zart. This recording is only half as the number of rehearsals we may ecce terrae motus, by Antoine finished because I seriously need to have. On our present tour we Brumel, known as the Earthquake underestimated its length. It lasts 67 have nine concerts and only one Mass. This involved 24 singers, minutes, the longest setting of the rehearsal, so each singer makes $400 employing our principle of two voices Ordinary rve ever come across. It is for each concert. per part. After that will be the three, difficult music very oblique but I hope, Western Wind masses by I feel it's something we ought to do. I SHROCK: Tell us about the recordings Tye, Taverner, and Sheppard; it hope people will like it. that will be released in the future. remains to be seen whether we can get all three onto a single CD. The SHROCK: Do you perform from PHILLIPS: In the second half of 1991 next recording after that will be manuscript? we released two recordings, one of another Portuguese record of music Thomas Tomkins and one of Heinrich PHILLIPS: No. We always use modern Isaac. The Tomkins recording is of editions, either already published or the complete Great or Third Service prepared for us by selected scholars. (i.e., the canticles for Matins and Evensong). The Isaac repertory SHROCK: Do you ever alter the level includes the six-voiced Missa De Make the singing sound of pitch in the published editions, or Apostolis and about five Latin easy, let the music seem to do you consult with editors regarding motets, including two large the pitch level of editions they are ceremonial motets for Maximilian I come straight out of you in preparing? and the Medici family. Our most an unaffected way, and recent disc, available just this spring, PHILLIPS: I consult the singers is our third Thomas Tallis recording. the words and music concerning pitch levels. In our basic This one has both sets of the practice of striving for authenticity, together will touch the we adhere to written pitch levels as hearts of your listeners. much as possible, altering them only as necessary for the comfort of the Konstanz Festival Chorus singers. I wouldn't dream of doing something at a pitch that was Beijing Festival Chorus uncomfortable for the singers just for Jerusalem World Harmony Festival Chorus the sake of a theory. by . There were two England & Wales Festival Chorus Lobo's of fame in the Renaissance SHROCK: How do you deal with the period, the Portuguese Duarto and issue of text underlay? French Festival Chorus the Spaniard Alonso. Inconveniently, in away, we recorded both on two PHILLIPS: I leave that to the scholars separate discs. The D. Lobo includes to sort out. The sources are often ~~lW~ the six-part Requiem, which is conflicting or not at all clear. CULTURAL AND PERFORMING ARTS obviously in the same mold as the Composers! copyists did not seem to Cardoso Requiem we recorded about have bothered very much about text. two years ago now, and which is This is an interesting anomaly. Many being very well received. After that people have a view of late Musical Heritage Tours • will come a record of music by Renaissance music which is based Artist Management Ciprano de Rore, the great Franco­ upon the madrigal; they think that • Flemish composer who was employed the text was crucial to the music. In Festival Choruses in Venice and is perhaps better point of fact, that's only sometimes • known now for his madrigals. His true in the music that we do. The Performing Arts Festivals sacred music, full of canons and text was a peg on which to hang • clever contrapuntal mathematical abstract musical sounds. Performance Opportunities & Customized Tours devices, is quite different from the madrigals. Weve included his Mass SHROCK: How about musica ficta? Praeter Rerum Seriem and the great Josquin upon which it is based. PHILLIPS: That is a subject that is A Division of PleasureBreak, Inc. Then comes music of Robert White, argued about a lot in the group. I 1350 East Touhy Avenue the English composer, including a have the last word and generally Des Plaines, Illinois 60018 Magnificat and a setting of the decide not to add too much ficta. I (708) 297-5738 • (800) 777-1885 Lamentations. I hope this recording believe there is too much of it will help to establish the reputation around.

Page 10 CHORAL JOURNAL SHROCK: Do you mean that too many SHROCK: You said you've changed nearby - which costs less than we present-day performers make too your mind. In what direction has this do. In addition, like many other many alterations? been - fewer solos and more full nationalities, the British think that it sound throughout? is only worth spending money on PHILLIPS: Yes. The tendency is to foreigners. Our opera houses, for make the music sound familiar to us PHILLIPS: Yes.· There is normally a instance, seem to spend a phenom­ today and therefore to base decisions solo section to be found somewhere in enal sum of money on foreign soloists. on harmonic thought. But to be longer works-as in the Crucifixus of Some of the famous cathedral or completely consistent with early the Creed. If this section is, say, a college choirs, such as King's, may music is almost impossible unless you reduction to four voices from a full appear on concert programs, and simply cut out all ficta, which would texture of six, then we would use British audiences will pay for this; certainly not be an authentic thing to soloists for the four-voiced section. but in other countries, especially do. The weight of evidence is that at However, if the lines are very long, those that don't have the British choir cadences the leading note should be and it proves difficult for a single tradition, festivals are very interested raised. So we do that much, and we singer to breathe effectively, then I in the kind of work we do. In some have a basic set of other circum­ would go back to having two singers countries, France for instance, people stances where we normally apply to the part. turn out in very substantial numbers. ficta. As for our tours in 1992, well SHROCK: You mentioned earlier that travel to the United States three SHROCK: What are your views about you will perform some lOO concerts times. These concerts will represent expressive factors variations of this year. Where will they be - approximately 25 percent of our tempo and dynamics? where will your tours take you - total. [For information about the and do you sing much in England? tours, contact Harmonia Mundi USA, PHILLIPS: Of course, the manuscripts 3364 South Robertson Boulevard, Los don't contain any expressive PHILLIPS: We sing relatively little in Angeles, CA 90034, telephone (3lO) indications. Nevertheless, our aim is England. I think the reason for this is 559-0802.] Well also travel to Japan to be expressive without imposing that every city has its own first-rate for about 15 percent of our touring anything inappropriate on the music. group - whether it's a cathedral schedule. The Japanese come to hear As we have become more familiar choir or an offspin from a cathedral us in remarkable numbers and write with the Renaissance style of writing, which many of us have grown up with, I have had to do less announcing that somebody should alter dynamics here or change tempo a bit there. It seems to happen now quite naturally, especially with the dynamics. However, when I'm conducting amateur groups who are obviously not familiar with the repertoire and how it ticks, it may be necessary to give specific instructions in order to give the singers a sense of shape.

SHROCK: On what do you base your decision to perform with a full choral texture, albeit only two singers per part, or a solo texture with one singer per part? • Perform abroad at unique locations. • 35 years of international experience. PHILLIPS: Weve changed our minds • Careful attention to detail. about this. The manuscripts contain a • Custom itineraries, festivals, certain amount of indication; they competitions, exchanges, and home stays. don't actually use the word "solo," A superior value! INTERNATIONAL but they have other ways of putting CONCERT it, and one has the impression that it Call today for more TOURS was customary in the Renaissance to information change the texture. I think it's quite ~~li'I---- A WORLD OF MUSIC interesting and useful to do this, 1·800· 227 . 2966 because it gives the listener a change of basic texture, and it helps make Fax 1-215-861-7791 ·528 North New Street, Bethlehem, Pennsylvania the final effect more varied.

May 1992 Page 11 very intelligently about what they things developed of their own SHROCK: What advice would you give hear. I particularly liked one review, tradition. I have attempted to discuss to conductors who wish to start a which, in describing our sound, every piece of music of the period, group similar to the Tallis Scholars? compared it to a rainbow. Next year putting each into some sort of we happen also to be going to context. I really want people to get to PHILLIPS: Any conductor needs to Australia for the second time; that's a know how much good music there is examine very carefully what his or big tour - another 10 concerts. tucked away there, not just the few her repertory will be and whether he Otherwise, it's Europe, all around, famous pieces like "If ye love me" by or she wants to stick to just one including six times to France where Tallis. Besides, I want people to thing, like we have. rve stuck to we tend to do two or three concerts understand style and development. Renaissance sacred music because I on each short tour. Many of the Consequently, I describe the impact felt this was the one repertory with French concerts are in provincial of the piece musically and which I could do something original. abbey chapels away from emotionally as an aesthetic There are obvious stylistic advantages metropolitan areas - lovely historical experience. that accrue from specializing. Beyond buildings, seemingly in the middle of this, whatever the repertory, nowhere. People drive along mud SHROCK: Do you have plans to write conductors need to demand the same tracks and park in the fields to hear more? basic disciplines in any choral us. Also, next year we'll sing in singing - good tuning, blend , and in Poland for the first PHILLIPS: Yes. I would like to write a between the voices, and the time. handbook! description of all the production of a beautiful sound. This Renaissance repertoires illuminating, last item has to be of primary SHROCK: Tell us about your recently for instance, the difference between a concern. If the basic sound is published book, English Sacred Spanish composer and a Franco­ beautiful, from the very first note, A1umc, 1549-1649. Flemish composer. I think people are people say, ab, yes. It's not easy to often confused or simplistic in how achieve it, but it's well worth trying. PHILLIPS: It's an encyclopedic survey, they approach Renaissance music, Also, conductors dealing with choral containing information about every thinking that all polyphony sounds repertory don't want to make what I English text piece that can be like Palestrina. Only Palestrina call "heavy weather" of singing. reConstructed from the Renaissance sounds like Palestrina. The Spanish Heavy weather is the method of period. None of the Latin music is pieces don't; the Franco-Flemish sort opera singers who often work hard at included. It traces the invention and of do, but not exactly. The English reading and memorizing, then have the development of the Anglican style definitely don't. rve already started to psyche themselves up to a massive of music the English Protestant to write. this book: two chapters so presentation of often very trite style - until the Commonwealth far, setting out the basic consider­ sentiments. That's the opposite of came in 1649 and put a stop to it all. ations - music based on chant, what's required in our repertory. It's a convenient 100 years and a music that is fully imitative, music Renaissance sacred music deals with convenient microcosm showing how using sham counterpoint, etc. the most profound sentiments - so profound that it is useless to try to express them in obvious interpretative ways. This will surely overload the writing. Make the singing sound easy, Hew- let the music seem to come straight out of you in an unaffected way, and Vocal Connections the words and music together will making the transition from touch the hearts of your listeners. Ear to Voice to Music Reading A unique cmd innovative method which allows students to learn: VO~L Tallis Scholars Discography • solfege syllables (movable "do") CONNECTIONS • tonal patterns common to 90% of songs BY RUTH WHmOCK they sing Allegri, A1iserere; Mundy, Vox Patris • tonal relationships in Major and minor caelestis; Palestrina, A1issa Papae • aUdiation - "inner hearing", essential to music A1arcelli. Compact Disc, CDGIM reading and high level of performance 339. Chrome Cassette, 1585T-39.

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Page 12 CHORAL JOURNAL "Music Featured on the South Bank nos I & II, Gaude gloriosa, garde; the Coventry carol: Lullay Show" - Allegri, Miserere; Miserere nostri, and Loquebantur I saw, Lully lulla thou little tiny Clemens non Papa, Pater peccavi; variis linguis. Compact Disc child, and Lullaby (William J osquin, Agnus Dei III from Missa CDGIM 006. LP(DMM Teldec) Byrd); Settings of Ave Maria: L'homme arme sexti toni; Tallis, 1585-06. Chrome Cassette Josquin (4 voices), Philippe Gaude gloriosa, and Salvator 1585T-06. Verdelot (7 voices), Victoria mundi I; Tunes for Archbishop (4 voices), and Victoria (double Parker's Psalter; Taverner, Dum Thomas Tallis, If ye love me, Hear choir); German chorales: Es ist ein transisset Sabbatum; Cornysh, the voice and prayer, A new Ros' entsprungen (M. Praetorius), Salve Regina; Byrd, Agnus Dei commandment, 0 Lord give thy In dulci iubilo (H. Praetorius), from Mass for four voices and 0 holy spirit, Purge me 0 Lord, Wachet aUf (Verses 1 & 2, M. Lord, make thy servant. Compact Verily verily I say unto you, Praetorius; Verse 3, J. S. Bach). Disc CDGIM 999. Chrome Remember not 0 Lord God, Compact Disc CDGIM 010. Cassette 1585T-999. Tunes for Archbishop Parker's LP(DMM Teldec) 1585-10. Psalter, Out from the deep, 0 Chrome Cassette 1585T-I0. "Palestrina Masses" - plainchant, Lord in thee is all my trust, Christ Benedicta es; J osquin Des Pres, rising again, and Blessed are those , The Great Service motet Benedicta es; Palestrina, that be undefiled. Compact Disc (Venite, Te Deum, Benedictus, Missa Benedicta es. Compact Disc, CDGIM 007. LP(DMM Teldec) Creed, Magnificat & Nunc CDGIM 001. Chrome Cassette, 1585-07. Chrome Cassette dimittis) with 3 English Anthems 1585T-01. 1585T-07. o Lord make thy servant Elizabeth, 0 God the proud are "Russian Orthodox Music" - Anon. "Palestrina Masses" - Palestrina, risen, and Sing ioyfully unto God. 12-part motet, Izbavlenie posla; Missa Brevis and Missa Nasce la Compact Disc CDGIM 011. Tsar Ivan the Terrible, Kuimi gioia mia; Primavera, madrigal LP(DMM Teldec) 1585-11. pokhalienui mi; Anon. 6 medieval Nasce la gioia mia. Compact Disc Chrome Cassette 1585T-l1. motets, Budi imya Gospodnie, Ot CDGIM 008. LP(DMM Teldec) yunosti moieya, Y vsyu Krotost, 1585-08. Chrome Cassette Tomas Luis de Victoria, Requiem (6 Blagoviernomu Tsariu, Svyatui 1585T-08. part), funeral motet Versa est in Bozhe, and Izhe khieruvimui; luctum; , funeral Anon. 8-part motet, "Josquin" plainchant, Pange motet Versa est in luctum. V Chiermniem Mori; Stravinksy, lingua; Josquin Des Pres, Missa Compact Disc CDGIM 012. Otche nash (Our Father) and Pange lingua and Missa La sol fa LP(DMM Teldec) 1585-12. Bogoroditsie Dievo (Ave Maria); re mi. Compact Disc CDGIM 009. Chrome Cassette 1585T-12. Rachmaninov, Lord's Prayer; John LP(DMM Teldec) 1585-09. Tavener, Great Canon of St. Chrome Cassette 1585T-09. Clemens non Papa, Missa Pastores Andrew of Crete; Bortniansky quidnam vidistis with the motets (arr. Phillips), Mnogaya lieta. "Christmas Carols & Motets" - Pastores quidnam vidistis, Compact Disc, CDGIM 002. medieval carols: Angelus ad Tribulationes civitatum, Pater Chrome Cassette 1585T-02. virginem, Nowell sing we, There is Peccavi, and Ego flos campi. no rose, and Nowell Dieu vous Compact Disc CDGIM 013, "Palestrina Masses" - plainchant, Nigra sum; Palestrina, Missa Nigra sum; motets on Nigra sum by Lheritier, Victoria, and DeSilva. For Next Fc~llf\\ Compact Disc, CDGIM 003. Advent Chrome Cassette 1585T-03. and! Christmas"'II" " Exquisite choral tJ,orks' 6yijJac;ks~n.:~erkey , Missa Gloria tibi Trinitas, Leroy Kyrie, and Dum of the Grammy AWard-Winning transisset Sabbatum. Compact Mannheim Steam'roller:f,,' ' " '" , Disc CDGIM 004. LP(DMM Teldec) 1585-04. Chrome Cassette Order ~REE pe""sj~fi~pi~s~~~~~.c=c.:;;,;l 1585T-04. contactmg SDG LPre~.~: .. ",\':,,): "T~;: P;>: • Glory of His Majesty New octavo size for ~ltl!'~rli"SY"""2'ifz":'s~"f' ..C!'" John Tavener, Ikon of Light, Funeral • Magnificat Ikos, and The Lamb. Compact • Lullaby Disc CDGIM 005. Chrome' • Above All Names • The Eternal We Cassette 1585T-05. " • God's Priceless Gift (402) 341 ... 2599 Fax.(402j'341 ... 9381 • Glory to God phone Thomas Tallis, , • Glory in Excelsis Oeo SOG Press • 3402 Woolworth Avenue Omaha, NE 68 I 05 Sancte Deus, Salvator mundi salva

May 1992 Page 13 LP(DMM Teldec) 1585-13. LP(DMM Teldec) 1585-16. CDGIM 019. LP(DMM Teldec) Chrome Cassette 1585T-13. Chrome Cassette 1585T-16. 1585-19. Chrome Cassette 1585T-19. William Cornysh, Salve regina, Ave "Sarum Chant" -,- Missa in gallicantu Maria mater Dei, Gaude virgo (Mass at Cock-crow). Hymns: "Palestrina Masses" - plainchant, mater Ch1'i8ti, Magnificat, Ah Ch1'i8te Redemptor omnium, Veni Assumpta est Maria; Palestrina, Robin, Adieu my heartes lust, Redemptor gentium, Salvator Missa Assumpta est Maria and Adieu courage, Woejully arrayed, mundi Domine, and A solis ortus Missa Sicut lilium; motets and Stabat Mater. Compact Disc cardine. Compact Disc CDGIM Assumpta est Maria and Sicut CDGIM 014. LP(DMM Teldec) 017. LP(DMM Teldec) 1585-17. lilium I. Compact Disc CDGIM 1585-14. Chrome Cassette Chrome Cassette 1585T-17. 020. LP(DMM) 1585-20. Chrome 1585T-14. Cassette 1585T-20. Orlandus Lassus, Music for Double Frei , Requiem and Choir: Missa Osculetur me with Carlo Gesualdo, motets: Non mortui, Sitivit anima the motets Osculetur me, Alma Responsories for Holy Saturday mea, Mulier quae erat, Nos autem with 4 Marian motets Ave Redemptoris Mater, and Salve gloriari, and Magnificat (Secundi dulcissima Maria, Precibus et Regina. Motets: Hodie completi Toni 5vv). Compact Disc CDGIM sunt, Timor et tremor, Ave Regina mentis, Ave Regina caelorum, and 021. Chrome Cassette 1585T-21. Maria Mater gratiae. Compact caelorum, and Regina caeli. Disc CDGIM 015. LP(DMM Compact Disc CDGIM 018. Tomas Luis de Victoria, Tenebrae Teldec) 1585-15. Chrome Cassette LP(DMM) 1585-18. Chrome Responsories. Compact Disc 1585T-15. Cassette 1585T-18. CDGIM 022. Chrome Cassette 1585T-22. , Media vita, Ch1'i8te "Josquin" - chanson: L'homme Redemptor omnium, Reges arme; Josquin Des Pres, Missa Heinrich Isaac, Missa de Apostolis Tharsis, Sacris solemniis, In manus L'homme arme super voces (6vv); Motets: Optime pastor, tuas I, II, and III, and Verbum musicales and Missa L'homme Tota pulchra es, Regina caeli caro. Compact Disc CDGIM 016. arme sexti toni. Compact Disc laetare, Resurrexi et adhue tecum sum and Virgo prudentissima (6vv). Compact Disc CDGIM 023. Chrome Cassette 1585T-23. Thomas Tomkins, Third or Great Service (Te Deum, Jubilate, Magnificat, and Nunc dimitiis), Anthems: When David heard, acfea Then David mourned, Almighty Tour Consultants God the fountain of all wisdom, Performing ArtsTours Since 1955 Woe is me, Be strong and of a good courage, 0 sing unto the Lord a new song, and 0 God the proud are risen again,st me. MEXICO Compact Disc CDGIM 024. Another exciting destination from ACFEA Chrome Cassette 1585T-24. Ii!I

• Great performance opportunities • Enthusiastic audiences from $25.95 • Magnificent historical and scenic attractions , 'Professionally tailored gowns of • Joint concerts with local ensembles lasting beauty." • Valuable educational benefits FREE • Exposure to a richly diverse culture eatalogand • Outstanding value at affordable rates Ifo:bIile samples. Write today. Since 1955 ... LYRIC for more information please contad: Tel: 800 886-3355 120 Second Ave. South Edmonds, WA 98020 U.S. offices in: Denver, San Francisco, Seattle, New York

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