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Home , Caroline Trevor, John Taverner, The Tallis Scholars, Thomas Tallis

Saturday, April 9, 2016, 8pm First Congregational Church

Director Peter Phillips

Soprano Amy Haworth Emily Atkinson

Alto Patrick Craig

Tenor Steven Harrold Christopher Watson Guy Cutting Simon Wall

Bass Tim Scott Whiteley Simon Whiteley

PROGRAM (1543-1623) Laetentur coeli (1490-1545) Missa Western Wynde INTERMISSION Richard DAVY (1465-1507) Salve regina BYRD Salve regina (a 5) (c. 1505-1585) Lamentations I Alfonso FERRABOSCO , Lamentations the Elder (1543-1588) BYRD Vigilate

Cal Performances' 2015-2016 season is sponsored by Wells Fargo. PROGRAM NOTES

Tonight’s program explores the extraordinary continent. Taverner took an English tune— flowering of sacred choral music that took perhaps one favored at court—but instead of place in in the 16th century. The using it as a , as continental various religious upheavals associated with composers did, used it as the basis for a series of the Tudor dynasty forced English composers variations. This means one can always hear the to learn flexibility and adapt to rapidly melody, most often in the top voice, and marvel changing circumstances. The most successful at the virtuosity with which the composer became experts at securing patronage, elaborates around it, continuously varying the being in the right place at the right time, texture and rhythm. Perhaps inspired by the and even—as with one of this evening’s ingenuity of the work, Taverner’s contempo - com posers—trafficking in information as raries Sheppard and Tye would also go on to inter national men of mystery. compose Western Wind masses. If making a living as a composer in Tudor Often a comparison of two composers’ England was a matter of playing one’s cards settings of the same text can illuminate the right, Thomas Tallis and William Byrd must gradual evolution of styles in music. Such is the have thought themselves in possession of a full case with the Salve regina s of Byrd and Richard house when, in 1575, they secured from Queen Davy, who was active in the late 15th century. Elizabeth a monopoly on printed music. In Davy worked at Magdalen College in Oxford, gratitude, they used it to publish a volume of where he was Informator Choristarum in 1491. sacred music dedicated to the monarch—a His music must have been highly regarded, as collection that includes Byrd’s Laetentur several of his works are found in the lavish Eton coeli . The words look with joy towards the Choirbook, an important source of early Tudor coming of the Lord, a sense conveyed by the music. His setting of the Marian Salve optimistic opening motif, which rises and regina largely follows the standard pattern for proceeds into scales and runs as if bursting with music of this era. It is mostly in five parts, excitement, and is then picked up and imitated though a grandiose effect is achieved at the by the other voices in turn. opening of the piece by dividing and further John Taverner’s hold on musical patronage dividing the highest part in a technique known was less secure. Initial success led to his as gymel . Grand sections for full alternate appointment as Informator Choristarum at with more intimate trios and duets, which use Cardinal Wolsey’s brand new educational a florid, highly ornamented style. establishment in Oxford. Wolsey, a chief advisor By the time William Byrd came to publish to King Henry VIII, wished his new college to his setting nearly 100 years later, times had reflect his magnificence, and endowed it with changed. In particular, the influence of considerable resources, including a large choral continental models had pervaded English foundation replete with “clerkes skilled in composition. Close imitation between voices is .” Nevertheless, when Wolsey fell rife, and after the opening trio, the texture dramatically from the King’s graces, so too did remains full throughout. his college, and Taverner was forced to find Some sacred texts came into vogue at work elsewhere. During his years at Cardinal particular times and were set by multiple College, however, he made significant contri- composers. The Lamentations of Jeremiah butions to church music, including many |were a popular subject later in the 16th compositions that are still sung today at what is century, perhaps because of the Elizabethan now Christ Church, Oxford. “fashionable melancholy” that would later Among these was the Mass Western Wynde , bequeath the doleful lutenist to a pioneering work in England, in that it was the world. The text laments the destruction of based not on a sacred model but a secular tune. Jerusalem, and while it was appointed to be This may have been in conscious emulation of read during Holy Week, musical settings such a style that had become popular on the as those by Tallis and Alfonso Ferrabosco were

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more likely intended for private performance verse. Both Tallis and Ferrabosco follow this in secular contexts. convention, which allowed composers to Though less famous than his contemporary indulge in a sort of “pure polyphony,” where Tallis, Ferrabosco was highly regarded in his melismas conjure a sensation that has been time, and not only as a composer. Born in described as “ritualized weeping in music.” England to Italian parents, he became a court Tallis demonstrates restraint and an austere musician and was favored by Queen Elizabeth. beauty, while the Italian Ferrabosco allows He seems to have been adept at gaining the himself a more piquant harmonic style. confidence of powerful people, and was The program concludes with Byrd’s powerful entrusted with diplomatic as well as musical Advent motet, Vigilate . Each successive musical responsibilities. Indeed, a Vatican emissary point is sharply defined in an almost asserted that Elizabeth “made much use of him madrigalian manner, as when the falling lines for spying and scheming,” activities that of “sero”(“in the evening”) are interrupted by frequently landed the composer in hot water. the crowing of the cock at “an gallicantu.” Yet The original Hebrew from which the despite this, the motet always feels unified, Lamentations are drawn is in the form of an periodically returning to that central injunc - acrostic poem, and it became conventional to tion, “vigilate”—“Watch!” set the Hebrew letters to music to preface each —James M. Potter, 2015 TEXTS & TRANSlATIONS

Laetentur coeli William Byrd Laetentur coeli et exultet terra; Rejoice, heavens, and let the earth rejoice. jubilate montes laudem Rejoice, hills, quia Dominus noster veniet; for our Lord will come et pauperum suorum miserebitur. and show mercy to his poor people. Orietur in diebus tuis justitia Justice and abundance of peace et abundantia pacis. will rise up in those days.

Missa Western Wynde John Taverner

Gloria in excelsis Deo, et in terra pax Glory be to God on high, and in earth peace, hominibus bonae voluntatis. Laudamus te; goodwill towards men. We praise thee; we benedicimus te; adoramus te; glorificamus te. bless thee; we worship thee; we glorify thee. Gratias agimus tibi propter magnam gloriam We give thanks to thee for thy great glory, tuam, Domine Deus, Rex caelestis, Deus Pater O Lord God, heavenly king, God the Father omnipotens. almighty.

Domine Fili unigenite, Jesu Christe; Domine O Lord the only-begotten Son, Jesu Christ; Deus, Agnus Dei, Filius Patris, qui tollis O Lord God, Lamb of God, Son of the Father, peccata mundi, nobis; qui tollis that takest away the sins of the world, have peccata mundi, suscipe deprecationem mercy upon us; thou that takest away the sins nostram; qui sedes ad dexteram Patris, of the world, receive our prayer; thou that miserere nobis. sittest at the right hand of God the Father, have mercy upon us.

Quoniam tu solus Sanctus; tu solus Dominus; For thou only art Holy; thou only art the Lord; tu solus altissimus, Jesu Christe, cum Sancto thou only, O Christ, with the Holy Ghost, art Spiritu, in gloria Dei Patris. Amen. Most High in the glory of God the Father. Amen.

Credo in unum Deum, Patrem I believe in one God, the Father almighty, omnipotentem, factorem coeli et terrae, Maker of heaven and earth, and of all things visibilium omnium et invisibilium. Et in visible and invisible. And in one Lord, Jesus unum Dominum Jesum Christum, Filium Dei Christ, the only-begotten Son of God, unigenitum, et ex Patre natum ante omnia begotten of his Father before all worlds. God saecula. Deum de Deo; Lumen de Lumine; of God; Light of Light; very God of very God; Deum verum de Deo vero; genitum, non begotten, not made: being of one substance factum; consubstantialem Patri; per quem with the Father; by whom all things were omnia facta sunt. made.

Qui propter nos homines, et propter nostram Who for us men, and for our salvation, came salutem descendit de coelis, et incarnatus est down from heaven, and was incarnate by the de Spiritu Sancto, ex Maria Virgine, et homo Holy Ghost of the Virgin Mary, and was made factus est. Crucifixus etiam pro nobis sub man. And was crucified also for us under Pontio Pilato; passus et sepultus est. Pontius Pilate; he suffered death and was buried.

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Et resurrexit tertia die secundum Scripturas; And the third day he rose again according to et ascendit in caelum, sedet ad dexteram the Scriptures; and ascended into heaven, and Patris; et iterum venturus est cum gloria is seated at the right hand of the Father; and judicare vivos et mortuos; cuius regni non erit he shall come again with glory to judge both finis. the quick and the dead; whose kingdom shall have no end.

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

Sanctus , Sanctus, Sanctus Dominus Deus Holy, Holy, Holy, Lord God of hosts. Heaven Sabaoth. Pleni sunt coeli et terra gloria tua. and earth are full of thy glory. Glory be to Hosanna in excelsis. thee, O Lord most high.

Benedictus qui venit Domini. Blessed is he that cometh in the name of the Hosanna in excelsis. Lord. Hosanna in the highest.

Agnus Dei , qui tollis peccata mundi, miserere O Lamb of God, that takes away the sins of nobis the world, have mercy on us. Agnus Dei, qui tollis peccata mundi, miserere O Lamb of God, that takes away the sins of nobis. the world, have mercy on us. Agnus Dei, qui tollis peccata mundi, dona O Lamb of God, that takes away the sins of nobis pacem. the world, grant us thy peace .

Salve regina Richard Davy Salve Regina, Mater Misericordiae, Hail, Holy Queen, Mother of mercy, Vita, dulcedo, et spes nostra, Salve! our life, our sweetness and our hope! Ad te clamamus, exsules filii [H]evae, To thee do we cry, poor banished children of Eve, Ad te suspiramus, gementes et flentes, to thee do we send up our sighs, In hac lacrimarum valle. mourning and weeping in this valley of tears. Eja ergo, Advocata nostra, Turn, then, most gracious advocate, Illos tuos misericordes oculos ad nos converte thine eyes of mercy toward us, Et Jesum, benedictum fructum ventris tui, and after this, our exile, Nobis, post hoc exilium, ostende, show unto us the blessed fruit of thy womb, Jesus. O clemens, O pia, O dulcis Virgo Maria. O clement, O loving, O sweet Virgin Mary.

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Salve regina William Byrd Salve, Regina mater misericordiae Hail, Queen, mother of pity; vita dulcedo et spes nostra, salve. our life, sweetness, and hope, hail. Ad te clamamus, exules filii Evae. To thee we cry, the exiled sons of Eve. Ad te suspiramus, gementes et flentes To thee we sigh, lamenting and weeping in hac lacrimarum valle. in this vale of tears. Eia ergo advocata nostra, illos tuos Therefore, our advocate, misericordes oculos ad nos converte. turn thy pitiful eyes upon us. Et Jesum, benedictum fructum ventris tui, And, show us this exile, Jesus, nobis post hoc exsilium ostende. the blessed fruit of thy womb. O clemens, O pia, O dulcis Virgo Maria. O merciful, O holy, O sweet Virgin Mary.

Lamentations I Thomas Tallis Incipit lamentatio Jeremiae prophetae Here begins the lamentation of the prophet Jeremiah

Aleph: Quomodo sedet sola civitas plena Aleph: How desolate lies the city that was populo once full of people: Facta est quasi vidua Domina gentium The Queen of nations has become a widow Princeps provinciarum facta est sub tributo The ruler of provinces is now subject to others

Beth: Plorans ploravit in nocte et lacrimae Beth: By night she weeps in sorrow and tears euis in maxillis eius: run down her cheeks: Non est qui consoletur eam ex omnibus caris There is none to console her, of all who love her; eius; Omnes amici eius spreverunt eam et facti sunt All her friends have betrayed her and have ei inimici become her enemies.

Jerusalem, Jerusalem, convertere ad Jerusalem, Jerusalem, turn to the Lord your Dominum Deum tuum God.

Lamentations Alfonso Ferrabosco De lamentatione Jeremiae Prophetae. From the Lamentation of Jeremiah the Prophet.

Daleth. Daleth. Viae Sion lugent, eo quod non sint qui veniant The streets of Zion mourn; for there are none ad solemnitatem; omnes portae eius to attend her ceremonies. All her gates are destructae, sacerdotes eius gementes; virgines ruined; her priests sigh and groan. Her virgins eius squalidae, et ipsa oppressa est are afflicted, and she is overwhelmed with amaritudine. bitterness.

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Lamed. Lamed. O vos omnes qui transitis per viam, attendite All you who pass this way. look and see of et videte si est dolor similis sicut dolor meus. there is any sorrow like my sorrow

Jerusalem, Jerusalem, convertere ad Jerusalem, Jerusalem, turn to the Lord, your Dominum Deum tuum. God.

Vigilate William Byrd Vigilate, nescitis enim quando dominus Watch ye therefore (for you know not when domus veniat, the lord of the house cometh, sero, an media nocte, an gallicantu, an mane. in the evening, or at midnight, or at the cock crowing, or in the morning): Vigilate ergo, ne cum venerit repente, inveniat Watch therefore, lest coming on a sudden, he vos dormientes. find you sleeping. Quod autem dico vobis, omnibus dico: And what I say to you, I say to all: Watch. vigilate.

ABOUT THE ARTISTS

The Tallis Scholars , founded in 1973 by In the current season, the group tours the director Peter Phillips, have established world extensively and gives its 2,000th concert themselves as the leading exponents of at St John’s Smith Square in London. In a sacred music through out the departure for the group, last spring, The Tallis world. Phillips has worked with the ensemble Scholars released a disc of music by Arvo Pärt to create, through good tuning and blend, the called Tintinnabuli, which has received acclaim purity and clarity of sound he feels best serve from audiences and critics alike. the Renaissance repertoire, allowing every The Tallis Scholars’ history includes a tour of detail of the musical lines to be heard. It is the China in 1999 and 2014, and the honor of resulting beauty of sound for which the group performing in the Sistine Chapel in 1994 to has become so widely renowned. mark the final stage of the complete restoration The ensemble performs in both sacred and of the Michelangelo frescoes, broadcast on secular venues, usually giving around 70 Italian and Japanese television. The ensemble concerts each year across the globe. In 2013, the has commissioned many contemporary com- group celebrated its 40th anniversary with an posers during its history; in 1998 the group international tour, performing 99 events in 80 celebrated its 25th anniversary with a special venues in 16 countries. The musicians kicked concert in London’s , premier - off the year with a spectacular concert in St ing a Sir work written for the Paul’s Cathedral, London, including a per - group and narrated by Sting. (A further formance of Thomas Tallis’ 40-part motet Spem performance was given with Sir Paul McCart - in alium and the world premieres of works ney in New York in 2000.) Composers who written for them by Gabriel Jackson and Eric have worked with the ensemble recently include Whitacre. Their recording of John Taverner’s , Nico Muhly, Gabriel Jackson, Missa Gloria tibi Trinitas was released on the and Matthew Martin. anniversary of their first concert in 1973 and Much of the ensemble’s reputation for its enjoyed six weeks at the top of the UK specialist pioneering work has come from its association classical album chart. with Gimell Records, founded by Peter Phillips ABOUT THE ARTISTS and Steve Smith in 1980 solely to record the ensembles, already experimenting with the musicians. In 1994, Phillips and The Tallis rarer parts of the repertoire. He founded The Scholars performed on the 400th anniversary Tallis Scholars in 1973, with whom he has now of the death of Palestrina in the Basilica of Santa appeared in over 2,000 concerts and made over Maria Maggiore, Rome, where Palestrina had 60 discs. As a result of his work, Renaissance trained as a and later worked as music has come to be accepted for the first time Maestro di Cappella. The concerts were re - as part of the mainstream classical repertoire. corded by Gimell and are available on both CD Apart from The Tallis Scholars, Phillips and DVD. continues to work with other specialist Recordings by the group have won ensembles. He has appeared with the BBC numerous awards throughout the world. In Singers, the Collegium Vocale of Ghent, and the 1987, its recording of Josquin’s Missa La sol fa re Netherlands Chamber Choir, and is currently mi and Missa Pange lingua was named working with the Choeur de Chambre de Gramophone magazine’s Record of the Year, the Namur, Intrada of Moscow, Musica Reservata first recording of ever to win this of Barcelona, and El Leon de Oro of Orviedo. coveted award. In 1989, the French magazine He gives numerous master classes and choral Diapason gave two of its Diapason d’Or de workshops each year, and in 2014, he launched l’Année awards for recordings of music by the London International A Cappella Choir Lassus and Josquin. Other awards include: Competition in St John’s Smith Square. Gramophone ’s Early Music Award (1991) for In addition to conducting, Phillips is well- Palestrina’s Missa Assumpta est Maria and Missa known as a writer. For 32 years, he has Sicut lilium ; the Early Music Award (1994) for a contributed a regular music column to The recording of music by ; and Spectator . In 1995, he became the owner and the same distinction again, in 2005, for a disc of publisher of The Musical Times , the oldest music by John Browne. The ensemble was continuously published music journal in the nominated for Grammy awards in 2001, 2009, world. His English Sacred Music 1549–1649 , was and 2010. In 2012, its recording of Josquin’s published by Gimell in 1991, while his What Missa De beata virgine and Missa Ave maris We Really Do , an unblinking account of what stella received a Diapason d’Or de l’Année and touring is like, alongside insights about the in its 40th anniversary year, the group was make-up and performance of polyphony, was welcomed into the Gramophone “Hall of Fame” published in 2003 and again in 2013. by public vote. Phillips has made numerous television and These accolades and achievements are radio broadcasts. Besides those featuring The continuing evidence of the exceptionally high Tallis Scholars, he has appeared several times standard maintained by The Tallis Scholars, and on the BBC’s Music Weekl y and on the BBC of their dedication to one of the great World Service , Kaleidoscope (BBC Radio 4), repertoires in Western . For the Today (BBC Radio 4), National Public Radio in latest opportunities to hear the group in the US, and German, French, Italian, Spanish, concert, or for more information on how to and Canadian radio. purchase CDs, downloads, or DVDs of the Phillips has recently been appointed a Reed group, please visit www.thetallisscholars.co.uk Rubin Director of Music and Bodley Fellow at and www.gimell.com Merton College, Oxford, where the new choral foundation he helped to establish began singing Peter Phillips has dedicated his life’s work to the services in 2008. In 2005, Phillips was made a research and performance of Renaissance Chevalier de l’Ordre des Arts et des Lettres by polyphony. Having won a scholarship to Oxford the French Minister of Culture, a decoration in 1972, Phillips studied intended to honor individuals who have with David Wulstan and Denis Arnold, and contributed to the wider understanding and gained experience in conducting small vocal appreciation of French culture.

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