The Tallis Scholars I

A Secrest Artists Series Event 7:30 pm, Thursday , March 29, 2007 Wait Chapel, Wake Forest University secrest artists series Winston-Salem, North Carolina

••• The Tallis Scholars Peter Phillips, director

Soprano Tenor Tessa Bonner Andrew Carwood Janet Coxwell Nicholas Todd Chris Watson George Poo ley

Alto Bass Patrick Craig Dona ld Greig Caro line Trevor Robert Macdonald

Messa a quattro voci da capella ...... ( 1567-1643) Peccantem me quotidie ...... ,.... ,..... Giovanni Pierlu.igi Palestrina {1525-1594) Oum complerentur ...... , ...... G iovanni Pi erluigi Palestrin a

INTERMISSION

Media vit a ...... N icolas Gombert ( 1495-1560) Media vita ...... (1532-1594) Stabat juxt a ...... , ...... John Browne

Magnifi cat IV ...... Nicolas Gombert

In North America, The Tallis Scholars are managed by: International Arts Foundation, Inc. 201 West 54th Street, Suite lC New York, NY 10019 www.internationalartsfoimdation.com The Tallis Scholars record for Gimme ll Records www.gimmell.comwww.thetallisscholars.co.t,k The Tallis Scholars American Tour - 24th March to 1st April GregSkidmore

One of the unique features of the history of music was the variety with which the basic compositiona l idea of vocal was mterpreted in different countries and at different times. Tonight, the Tallis Scholars present music written over a span of over 140 years by compos- ers from varymg national backgrounds, and it will be possible to see both contrasts and similarities m their music. Most consider Claudio Monteverdi to be a Baroque . Even though his introduction of the seconda prattica has long been considered a watershed moment in the , Monteverdi wrote in an older style, called prima prattica, throughout his life. In 1650, a posthu- mous collection of sacred music was published that contained the prima prattica ,mass on tonight's programme. It is a simple piece for four voices, abstract, thorough and transparent. Consciously conservative, Monteverdi harks back to the earlier practice of varying vocal texture and accentuat- ing certam passages of te:x:twith homophonic writing. However, the many long, descending, re- peating sequences are very much indicative of Monteverdi's modern style, as this harmonic device can be seen in many of his and throughout his famous Vespers of 1610. If Monteverdi's mass was written consciously in an older style, Palestrina 's works are the very definition of the purest form of Renaissance polyphony. The clarity and direct simplicity of his music is most noticeable first, but it is nonetheless imbued with emotional feeling and sensitivity. The two pieces chosen for this evening's concert are in stark contrast, highlighting this expressive range in Palestrina's music. Peccantem me quotidie, sets the responsory at Matins for the Office of the Dead in a thick, constant texture, punctuated by near-homophonic declarations of "Timer mortis" (The fear of death) and "Miserere mei Deus" (Have mercy on me, 0 God). It is a perfect example of Palestrina's penitential style, complete with expressive use of harmony and a profound understanding of the text. Dum complerentur, on the other hand, is a burst of energy, making use of largely homophonic rhythmic writing and varying textures in an almost polychoral style blended with florid, scalar blasts of . It sets the first responsory at Matins for Pentecost, a text interspersed with the various "Alleluia" interjections that Palestrina uses to such great effect. Nicolas Gombert, born in approximately 1495, was a major fi.gure in the second generation of famous Flemish . Unfortunately, his biography will forever be mired in controve rsy, as there was a contemporacy rumour claiming Gombert acted improperly with a boy and was sen- tenced to a period of exile on a ship in the Mediterranean. On this ship, the story goes, Gombert wrote eight settings - one in each of the 8 church modes - and these were of such a ••• high quality that they secured his release. Magnificat IV, which closes tonight's conce1.t, highlights his unique and expert use of thick, low and constant textures. It is a marvel of early 16th century Flemish counterpoint, with lengthy sections of dense polyphony, pu nctuated by clearly audible points of imitation . In the last verse, two new voices are introduced within the same ranges out- lined earlier, further thickening the texture and contributing to its powerful conclusion. Gombert's Media vita is another example of his mastery of these thick, rich textures. Written for 6 low voices, including the rare inclusion of a baritone part, it is a relentless complex of thorough counterpoint including, in brief passages, writing which suggests the possibility of false-relation dissonances, a technique most strong ly associated with English composers of the time. Orlande de Lassus, born approximately 40 years after Gombert, was the last major Flemish musician in the Renaissance to achieve international super-stardom. His setting of Media vita dif- fers greatly from Gombert's, however, and is indicative of the development of the Flemish style. Lassus sets up a strict long-note construction for this piece, in a conscious attempt to emulate an older style, but the contrapuntal ingenuity of the other five voices attests to the later style of which Lassus was a master, as each voice loosely imitates the general contour of the chant, sometimes in canon with the tenor, sometimes with freely writte n melodies. In this examination of stylistic variety, we have encountered an early Baroque version of po- lyphony and three quintessential Renaissance masters. It is perhaps fitting to include music from the very beginning of this period from a composer who is perhaps less well known. John Browne lived and wrote as one of the most famous and skilled English composers of his day. Born in the third quarte r of the 15th century, he never held a post in the Chapel Royal. However, the work which appears on tonight's programme, Sta bat juxta, contains as its cantus firmus tenor voice, a secular song composed to commemo rate Prince Arthur taking up his duties as Prince of Wales. The prince died in 1502 and the union of this secular song and the text depicting the Blessed Virgin Mary at the base of the cross suggests that the work was written for Queen Elizabeth, the wife of Henry VII. The piece itself is extraordinary in its use of six men's voices and in this way is similar to the rich style used by Gombert. In the Renaissance, sacred music was written almost exclusively using vocal polyphony. Far from being homogenous, however, its variety in emotional vigour and contrapuntal skill makes it interesting to study and captivating to hear .

••• Tallis Scholars Texts and Translations

Mes sa a quattro voci da capella ...... Claudio Monteverdi (1567-1643) Kyrie elei.son. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, havemercy. Lord, havemercy. Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te; bencdicirnus l te; adoramus te; glorificarnus te. Gratias agimus tibi propter magnam gloriam tuam , Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite , Jesu Christe; Domine Deus , Agnus Dei , Filius Patris, qui. tollis peccata mundi , miserere nobis; qui tollis peccata mundi , suscipe deprecationem nostram; qui sedes ad dexteram Patris , miserere nobis. Quoniam tu solus Sandus; tu solus Dorninus; tu solus altissirnus, Jesu Christe , cum Sancto Spiritu , in gloria Dei Patris. Amen. Glorybe to God on h~·h, and in earthpeace, goodwill towards men. We praisethee; we blessthee; we worshipthee; we glori thee. We give thanks to theefor thy great glory,0 Lord God, heavenlyking, God the Fatheralmig ty. 0 Lord the only-begottenSon, Jesu Christ;0 Lord God, Lamb of God, Son of the Father,that takest away the sins of the world, have mercyupon us; thou that takestaway the sins of the world,receive our prayer;thou that sittestat the right hand of God the Father, have mercyupon us. For thou only art Holy; thou only art the Lord;thou only, 0 Christ, with the Holy Ghost, art Most High in the gloryof God the Father. Amen. Credo in unum Deum , Patrem omnipotentem , factorem caeli et terrae , visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum , Filium Dei unigenitum , ct ex Patre natum ante omnia saecula . Deum de Deo; Lumen de Lumine; Deum verum de Deo vero; genitum , non factum; consubstantialem Patri; per quern omnia facta sunt.

Qui propter nos homines, et propter nostram salutem descendit de caelis, et incarnatus est de ] Spiritu Sancto, ex Maria Virgine, et homo factus est. Crudfixus etiam pro nobis sub Pontio Pilato; passus et sepultus est. Et resurre-x:ittertia die secundum Scripturas; et ascendit in caelum, sedet ad dexteram Patris; et iterum venturus est cum gloria judicare vivas et mortuos; cuius regni non crit finis. Et in Spiritum Sanctum , Dominum et vivificantem, qui ex Patre Filioque procedit; qui cum Patre et Filia simul adoratur et conglorificatur; qui locutus est per prophetas ; Et unam sanctam catholicam et apostolicam Ecclesiam . Confiteor unum baptisma in remis- sionem peccatorum. Et ex:specto resurrectionem mortuorum , et vitam venturi saeculi. Amen. I believein one God, the Father almighty, Maker of heaven and earth, and of all things visibleand invisible.And in one Lord, JesusChrist, the only-begottenSon of God, begottenof his Fatherbefore all worlds. God of God; Light of Light;very God of very God; begotten,not made: beingof one substance with the Father;by whom all thingswere made. Who for us men, and for our salvation, came downfrom heaven, and was incarnateby the Holy Ghost of the VirginMary, and was made man. And was crucifiedalso for us under PontiusPilate; he suffered death and was buried. l And the third day he roseagain accordingto the Scriptures:and ascendedinto hea,,en,and is seatedat the right hand of the Father;and he shall come again with glory to judge both the quick and the dead; whosekingdom shall have no end.

And I believein the Holy Ghost, the Lord, and giverof life, who proceedsfrom the Fatherand the Son; who with the Fatherand the Son is worshippedand glorified, who spoke by the prophets.

And J belie'llein one holy, catholicand apostolicChurch. I acknowledgeone baptismfor the remission of sins. And I lookfor the resurrectionof the dead, and the life of the worldto come. Amen. Sanctu s, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Ho- sanna in excelsis. Holy, Holy, Holy, Lord God of hosts. Heavenand earth arefull of thy glory. Glory be to thee, 0 Lord most high. Benedictus qui venit in nomine Domini. Hosanna in excclsis. Blessedis he that comethin name of the Lord. Hosanna in the highest.

Agnus Dei, qui tollis pcccata mundi, misercre nobis Agnus De i, qui tollis peccata mundi, dona nobis pacem. O Lamb of God, that takes away the sins of the world, have mercyon us. 0 Lamb of God, that takes away the sins of the world,grant us thy peace.

Peccantem me quo ti die ...... Giovanni Pierluigi Palestrina l (l525-1594) Peccantem me quotidie et non pacnitentcm , timor mortis conlurbat me. Miseremini mei, saltem vos amici mei, quia manus Domini tetigit me. Qua re pcrsequimini me sicut Deus, et carnibus meis saturamini ? Sinning daily, without repentance,the fear of death troublethme. Pity me, pity me, ye that are my friends, for the hand of God hath touched me. Why do ye pursueme as God pursuethme? Are ye not sated with my flesh? Dum complerentur ...... Giovanni Pierluigi Palestrina (1525-1594) Dum complerentur dies Pentecostes, erant omnes pariter dicentes alleluia. Et sttbito factus est son us de caelo, alleluia, tamquam spiritus vehementis, et replevit totam dornum, alleluia.

Oum ergo essent in unum discipuli congregati propter metum Judaeorum, sonus repente de caelo venit super eos, tamquam spiritus vehementis, et replevit totam domum, alleluia. While the days of Pentecostwere being fulfilled, they wereall with one accordsaying alleluia. And suddenlythere came a voicefrom heaven, alleluia, as of a rushingmighty wind, and it filled the whole house. Alleluia. While thereforethe discipleswere gathered together secretly for fear of the jews,suddenly there came a voicefrom heaven,like a rushingmighty wind, and it filled the wholehouse. Alleluia.

Media vita in mo rte sum us ...... Nicolas Gombert (1495-1560) Media vita in morte sumus, Quern quaer imus adiutorem nisi te, Domine? Qui pro peccatis nostris iuste irasceris. Sancte Deus, sancte fortis Sancte et misericors Salvator nester Amarae morti ne tradas nos. In the midstof life we are in death Whomshall we ask for help if not you, 0 Lord? Youwho arejustly angryon accountof oursins Holy God, holy stren~th Our Holy and MercifulSaviour Do not band us overto the bitternessof death.

Media vita in mo rte sum us ...... Orlande de Lassus (1532-1594) Media vita in morte sumus, Quern quaerimus adiutorem nisi te, Domine? Qui pro peccatjs nostris iuste irasceris. Sancte Deus, sancte fortis Sande et misericors Salvator nester Amarae morti ne tradas nos. In the midstof life we are in death Whomshall we ask for help if not you, 0 Lord? Youwho are justlyangry on accountof our sins Holy God, holy stren~tb Our Holy and MercifulSaviour Do not band us overto the bitternessof death. Stabat juxta ...... John Browne

Stabat iuxta Christi crucein Besidethe crossof Christshe stood, Videns pati veeram lucem Watchingthe true lightsuffer, Mater regis omnium. The Motherof the King of all. Vidit caput coronatum, She saw his head crowned Spinis, latus perforatum, With thorns,his side pierced. Vidit mori filium. She saw her son die.

Vidit corpus flagellari, She saw his body scourged, Manus, pedes perforari, His hands, hisJeet transfixed, Mitis a crudelibus . That tenderone, by cruelmen. Vidit ca pit inclimatum, She saw his head bowedlo'"~ Totum corpus cruentatum All his body stainedwith blood, Pastoris pro ovibus. The shepherdfor his sheep. In do!ore tune fuisti, Yoursthen the anguish, Virgo pia, cum vidisti Holy virgin,when you saw Mori tuum filium. Yourson perish. Dolor ingens, dolor ille Greatsorrow it was, that sorrow Dicunt sanci plus quaam mille The countlesssaints declare Praecellit martyrium. Surpassesmartyrdom.

Virgo mitis , virgo pia, Gentlevirgin, virginholy, Spes reorum, vitis via, Hope of sinners,way of the ,line, Virgo plena gratia, Virginfull of grace, Tube natum et implora Bid your son, implorehim Servis tuir sine mora That evennow he may grantjoy Nobis donet gaudia. Tous who are your servant.s.

Magnificat text ...... Nicolas Gombert (1495-1560) Magnificat anima Doniinum.

Et exultavit spiritus meus in Deo, Salutary meo.

Quia respex it humil itatem Ancillae suae: Ecce enim ex hoc Beatam me dicent omnes generations.

Quia fecit mihi magna qui potens est: Et snctum nomen eius.

El misericord ia eius a progenie in progenies Timentibus eum. Fecit potentiam in brachio suo: Dispersit superbos Mente cordis sui.

Deposuit potentes de sede, Et exaltavit humiles. Esurientes implevit bonis : Et divites dimisit inanes.

Suscepit Israel, puerum suum, Recordatus misericordiae suae .

Sicut locutus est ad patres nostros , Abraham, et sernini eius in saecula.

Gloria Patri, et Filio, Et Spiritui Sancto.

Sicut erat in princip io, Et nunc , et semper, Et in saecu la saeculorum. Amen.

My soul proclaimsthe greatnessof the Lord.And my spirit rejoicesin God, my saviour.For he has lookedwith favouron the lowlinessof his handmaiden:behold, from henceforthall generationsshall call me blessed.For he that is mightyhas donewondrous things for me:and holy is his name. And his mercyis upon them that fear him throughoutall generations.He has shownthe powerof his arm:he has scatteredthe proud in theirconceit. He has put down the mightyfrom their seat,and has exalted the humbleand the meek.He has filled the hungry-»~th good things:and the rich he has sent empty away. He has sustainedhis servant,Israel, in remembranceof his mercy.As he promisedto ourfore- fathers,Abraham and hissons forever. Glory be to the Father,and to the Son, and to the Holy Spirit. As it was in the beginning,is now, and evershall be, worldwithout end. Amen. ••• Announcing the 2007 /2008 Secrest Series

JasonVieau><, guitar Thursday, September 6 at 7:30pm in Brendle Recital Hall JasonVieaux is e)(pandingthe definition of'ClasstcalGuitarist• and changing the faceof guitar programming,building a solid audience and fan basealong the way.His ever-growing reputation for putting his expressivegifts and virtuosity at the serviceof the musicearns him an active scheduleof solo,chamber and concerto appearancesaround the USand abroad.In addition to severalappearances at internationalguitar festivalsin the US,Mexico and Europe,Mr. Vieaux has recentlyperformed on major seriesin such hallsas the Kimmel CenterIn Philadelphia, Cleveland'sSeverance Hall, Spivey Hall, and NewYork's 92 St.Y and Merkln Hall.Jason Vieaux has eight recordings to hiscredit and many more ro come with his multi-recorddeal with AzicaRecords. hrrp://wwwjasonvieaux.com

Time for Three, string trio Thursday, October 4 at 7:30pm in Brendle Recital Hall A young, dynamic trio of classicallytrained string musicians,Time for Three transcendstraditional performance genres. In concert,a blue-grassstandard like OrangeBlossom Special may be followedby a gypsy-tingedCsardas.Tf3 is equallycomfonable offering their own arrangementsof shorterclassical works and popular hits,whether Brahmsor the Beatles.They continue to write and arrangeall manner of music,and havebegun a major commissioningprogram to expandtheir unique repenolrefor bott\ symphonyorchestras and concert series. Graduatesof Philadelphia'svenerable Curtis Institute of Music,Tf3's members, though still In their late twenties,have performed with manyof the world'spreeminent conductors and orchestras.Playing 150 cancer ts eachyear, Tf3 continues to win over widelydiverse audi· encesacross America, including through their enthusiasticallyreceived school and community outreachprograms, whlch they view asa centralpart of their mission.Tf3 currentlyhas two availableCDs, with a third release,Three Fervent Travelers, scheduled for the sprir1g. http://tf3.com

Top Secret:The Battle for the Pentagon Papers, a radio drama of L.A.Theatre Works Thursday and Friday, January 17 and 18, Wait Chapel (time tbd) . This theatricalevem, swring StaceyKeach, uses original sourcematerlal and the old-fashionedformat of the live radio drar'J'lato tell the story of the epic legal battle between the governmentand tt\e pressin 1971,during the Nixon administration.The play,based on Interviewsand documentsobtained through the Freedomof InformationAct, follows the debate playedout at BenBradlee's home ashis staff sortsthrough the documentsand tries to decide If publishingThe Papersviolates national security. In a political year,this will be a particularlytimely experience.Watch for detailsabout other relatedactivities on campusthat will enhanceand enrich this performance. www.Jacw.org

Dame Evelyn Glennie, percussionist,and the Winston-Salem Symphony Saturday, February 9 at 7:30pm in Wait Chapel. In 1993Ms. Glennie was awa1dedthe OBE(Officer of the BritishEmpire) and It was extendedin 2006to Commander,bestowing the title, for her servicesto rnusic. Not only is DameEvelyn an accomplished.virtuosic musician, she Is the first personin musicalhistory to successfullycreate and sustaina full-time careeras a solo percussionist.She is alsoa composer,teacher, author, political activist,creative collaborator,and Jewelrydesigner. Tt\e programwill featurethe PercussionConcerto of JosephSchwantner. A limited number of ticketsfor the public will be available,but the partnershipwith the Winston-SalemSymphony (Robert Moody, MusicDir.) continues with two additionalperformances at the StevensCenter on Saturdayevening, Feb 9 and Sundayafternoon, Feb 1o. www.eve(yn.co.uk

Apollo's Fire, The Cleveland Baroque Orchestra, with Jennifer Larmore, soprano. Thursday, March 6 at 7:30pm in Wait Chapel. In 1992,Jeannette Sorrell founded this ensembleof specialistsfrom North Americaand Europe. It has since received internationalcritical acclaim for Its recordingsand stunninglyeloquent performances.Apollo's Fire is frequentlybroadcast on NPRand can alsobe heardon Britain'sBBC, Canada's CBC, and EuropeonCommunity Radio. Ms. Sorrell is a WFUgraduate, class of 1986,and was a ReynoldsScholar. She furthered her music studiesat the TanglewoodMusic Festivalunder RogerNorrington and LeonardBernstein, rhe AspenMusic Festival and OberlinCollege. JenniferLarmore's 1986 French debut as'Sesco' In Mozart'sLa Clemenzadi Tlto heraldeda careerthat has grown to include Handel, Mozart,Rossini, Bellini, Donizetti, and she Is still adding to rhe list. Shehas appearedin every major opera city In the world. Her discog- raphyof more than three dozenrecordings includes opera, concert, and recitalrepertoire; and her appearanceat the closingceremony of the 1996Olympic Games In Atlanta,singing the OlympicHymn, was viewed by millionsaround the world. www.apotlosfire.org,www. imgortlsts.com Wake Forest University expresses its deep appreciation to Mrs. Marion Secrest and her husba nd, the late Dr. Willis Secrest for generous ly endowing the Secrest Artist Series .

Ushers for tonight's performance are members of Alpha Phi Omega Service Fraternity.

The Secrest Series would like to extend a special thank you to Professor Brian Gorelick of the Department of Music for his pre-performance talk.

Tickets for all Secrest events are available without charge to all Wake Forest students, faculty, and staff. They are sold, individually and by season subscription to the general public. To purchase tickets, call the Theater Box Office at 336.758.5295 or the Secrest Artist Series at 758.5757 . Master Card and Visa accepted .

Visit the Secrest web site at http://www.wfu.edu/secrestarti.sts

Yourcourtesy In tllmlng off all electronic devicesIs appreciated. Theuse of tape recordersand video equipment is not allowed.

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