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Home , Caroline Trevor, Missa La sol fa re mi, Thomas Tallis

CAL PERFORMANCES PRESENTS PROGRAM NOTES

Friday, December 4, 2009, 8pm Beata Virgine this mass; from examining the many sources, it First Congregational Church is apparent that Josquin wrote it—and that it was h e t e r m “ ” is applied distributed—as separate movements and not as a Tto an enormous amount of different kinds of group of five. Unlike most mass settings written music. Of course, we only have other terms, such in the Renaissance which were based on a single as “Baroque” or “Romantic,” to compare it with, model—either a melody drawn from plainchant or Peter Phillips, director but it is the great breadth and variation of style, a secular song or an entire polyphonic framework aesthetic and, of course, historical and cultural taken from a —this “ paraphrase” mass Soprano background exhibited by different types of “po- takes as its inspiration the collection of plainsong Janet Coxwell Amy Haworth lyphony” when compared with other, later styles melodies associated with the Mass Ordinary texts. Alto that makes the term only a blunt categorization The movements lack the characteristic unity of me- Patrick Craig tool at best or a colloquialism at worst. During lodic theme and sonority found in later masses but the last 150 years of the Renaissance, the pace of because of this they stand on their own as indi- Tenor cultural change, and the intensity of the cultural vidually conceived and performed works. The ab- Christopher Watson Simon Wall George Pooley Will Balkwill conflicts which resulted, increased remarkably and solute clarity so characteristic of Josquin’s music is Bass the musical manifestations of these changes and apparent from the start, imitative passages worked Donald Greig Rob Macdonald conflicts necessarily reflected this. so thoroughly that it is often difficult for the lis- was one of the most famous tener to distinguish imitation from canon. Strict composers of his day. Today, he overshadows com- canon, a favorite of Josquin, does indeed appear in pletely his contemporaries from the final third of the Credo, Sanctus and Agnus Dei movements of Beata Virgine the 15th century and is mentioned in the same this work. Austerity, logic and Josquin’s complete breath as Palestrina or as one of a command of compositional form and contrapuntal handful of composers who defined “Renaissance symmetry permeate this music, suggesting a purity PROGRAM polyphony.” Born in the early 1450s, however, he of conception meant to please God in its perfec- lived most of his life free from the religious turmoil tion, not excite the passions of men. Josquin des Prez (c.1450–1521) Missa de Beata Virgine of the 16th century which would have such a great There is a good chance that John Nesbett was influence on later music. He brought late-Medie- older than Josquin. However, so little is known of Kyrie val music very much up to date, pioneering most his biography, other than that he was an English Gloria of the major genres which followed and bringing composer active in in the 1470s and Credo both an intense clarity and passionate humanity to 1480s, that any meaningful description of his Sanctus music in a way unknown to his predecessors. His temporal or musical relation to the Flemish com- Agnus Dei Missa de Beata Virgine displays all of these charac- poser is impossible. Only two pieces of music by teristics; it appears, either whole or in part, in no Nesbett survive, but his survives in INTERMISSION fewer than 69 different sources—in manuscripts the two most famous musical sources of the first originating in 5 countries, 8 printed publications decade of the 16th century in the British Isles, the spanning nearly 30 years, 2 theory treatises and Carvor Choirbook compiled in Scotland and the John Nesbett (d.1488) Magnificat 15 tablatures. Compared with his contemporar- much more important compiled ies, this is an enormously varied and thorough at Eton College in Berkshire, . As a mem- (c.1505–1585) Tunes for Archbishop Parker’s Psalter distribution, indicating that Josquin’s fame had ber of the Eton Choirbook composers, Nesbett is spread completely throughout Europe by the be- considered part of a unique musical tradition, the William Byrd (c.1540–1623) Ye sacred muses ginning of the 16th century and that both his in- “florid English style,” identified as a self-contained dividual reputation and that of this piece in par- musical movement which differed greatly from Byrd Tribulationes civitatum ticular continued long after his death. The regular continental music written at the time. This con- singing of the Ordinary of the Mass (the Kyrie, trast is immediately obvious here when comparing Byrd Vigilate Gloria, Credo, Sanctus and Agnus Dei movements Nesbett’s Magnificat with the Josquin mass which with which we are familiar) to a polyphonic set- precedes it on tonight’s program. This music blasts ting was only just becoming commonplace dur- sound at the listener, rhythmically overwhelming Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. ing Josquin’s lifetime and that fact is reflected in the Josquin in terms of exuberance and flare. The

4 CAL PERFORMANCES CAL PERFORMANCES 5 PROGRAM NOTES PROGRAM NOTES pre-meditated predictability of the Josquin is no- perhaps a . The intimacy and simplicity of the the final punctuation to a chapter describing the watching! The forthright, energetic, and powerful where to be found here; this music impresses and top line, colored with slight madrigalian touches cultural degredation, falsity and—specifically— setting of these words makes Byrd’s intentions shines with an energetic pomp and swagger. giving each individual word attention and care, oppression and strife preceeding the triumphal clear. Watch out! Your time is coming. Although Thomas Tallis’s earliest music does displays the deep, tender and personal connection return of of the Messiah, who would judge the evil Comparing this tortured, passionate and vivid not quite reach these heights of exuberance, he Byrd felt with this text. Byrd’s ability to wrap woe doers and restore righteousness. The subtext here is music with the serenity and undisputed confidence wrote much which can easily be traced to its Eton and misery in such beautiful polphonic packages is that Byrd implies to his listeners that the Protestant of Josquin’s mass highlights precisely the sort of Choirbook influences. Tallis, however, is the per- here displayed with poignancy and sincerity. political climate in England, and the oppression of contrasts in “Renaissance polyphony” which make fect example of a composer caught in cultural If Ye sacred muses represented a personal ex- the Catholic failthful, are precisely what was being listening to and understanding this music and its chaos. Born around 1505, living 80 years, and al- pression of grief for a lost friend, Tribulationes proficied. Byrd warns both his Catholic bretheren culture so richly rewarding. most always employed by the English crown, Tallis civitatum is much more like what we are accusto- and English society at large that their judgment is sang and wrote music under four monarchs and— med to from Byrd; a politically charged lament for just around the corner and that a vengeful God is © 2009 Greg Skidmore crucially—two warring religious ideologies. His the state of Protestant England. Byrd remained a Tunes for Archbishop Parker’s Psalter were included Catholic throughout his life and the large number in a book published in 1567 of all 150 psalms trans- of anguished works bemoaning the plight of the lated and versified in English by , Catholic recusancy in England has come to vir- the first Archbishop of Canterbury appointed by tually summarise for many Byrd’s entire life and . These versified psalm books were com- work. It is indeed impossible to truly understand mon in Elizabethan England, but a remarkable fea- Byrd’s music without understanding his political ture of Parker’s book was that he divided the psalm affiliations and the real oppression he no doubt -ex texts into eight groups, based on the emotional perienced in his life and that of his friends. Byrd’s moods of their texts, said to be inherent in each of political audacity is sometimes overlooked, howe- the eight musical modes. Tallis wrote a simple tune ver, as he would choose specific and often obscure for each of these eight groups. Printed in the book texts, such as Tribulationes civitatum—drawn from are the words sung tonight, but it is clear that many four responsories of the old Sarum rite, the English different psalms could be sung to each tune, de- Catholic liturgy—tailor them as he saw fit to exag- pending on the emotional character of the words. gerate their political significance (the term civita“ - The ninth tune was written to provide a musical tum” and all the derivations of civic imagery that setting for a few other texts which appear after the occur in this collection and his work as a whole psalm texts in the volume. These include trans- are largely believed to refer to England as a state), lations of the , Benedictus, Magnificat, set them to music, and then publish them using Nunc Dimitis and other service texts. This ninth the monopoly on music printing granted to him by tune, as well as the eighth, are popular hymn tunes Queen Elisabeth herself! Both Tribulationes civita- today, and the third tune, “Why fumeth in fight,” tum and Vigilate come from his first published col- was immortalized by in lection of music after Tallis’s death, his Cantiones his Fantasia on a Theme by Thomas Tallis. Sacræ of 1589. Indeed, this was his musical debut, The relationship between Tallis and William in a way, showing to the wider musical world (the- Byrd, some 35 years his junior, was a remarkable se publications were largely intended for a conti- one. Byrd was very close personal friends with nental audience) that Byrd was no longer Tallis’s Tallis, undoubtedly his life-long mentor; they were protégé, that he had firmly grasped the torch from constant musical colleagues and business partners his mentor. and Tallis was godfather to Byrd’s son Thomas. In Byrd’s political audacity is perhaps best sum- 1583, Byrd witnessed Tallis’s will. It is no surprise, med up in the character and mood of Vigilate. then, that when Tallis died on November 23, 1585, Here, Byrd abandons his usual pleas to God for Byrd wrote a lament on his mentor and friend’s mercy and instead goes on the offensive. This piece death. Ye sacred muses is a short piece, originally sets a passage from Mark’s gospel in which Jesus conceived as a consort song—a simple melody charges his disciples to keep watch for the coming sung by one singer, in this case the soprano, and End Times. All who knew this passage, as all of his accompanied by instruments, usually or liteners would have done, would know it comes as

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Josquin des Prez Et unam sanctam catholicam et apostolicam Ecclesiam. And I believe in one holy, catholic and apostolic Church. Missa de Beata Virgine Confiteor unum baptisma in remissionem peccatorum. I acknowledge one baptism for the remission of sins. And Et exspecto resurrectionem mortuorum, et vitam venturi I look for the resurrection of the dead, and the life of the Kyrie sæculi. Amen. world to come. Amen.

Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, have mercy. Sanctus

Gloria Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni Holy, Holy, Holy, Lord God of hosts. Heaven and Earth sunt cæli et terra gloria tua. Hosanna in excelsis. are full of thy glory. Glory be to thee, O Lord most high. Gloria in excelsis Deo, et in terra pax hominibus bonæ Glory be to God on high, and in earth peace, goodwill voluntatis. Laudamus te; benedicimus te; adoramus te; towards men. We praise thee; we bless thee; we worship Benedictus qui venit Domini. Hosanna Blessed is he that cometh in name of the Lord. Hosanna glorificamus te. Gratias agimus tibi propter magnam thee; we glorify thee. We give thanks to thee for thy in excelsis. in the highest. gloriam tuam, Domine Deus, Rex cælestis, Deus Pater great glory, O Lord God, heavenly king, God the Father omnipotens. almighty. Agnus Dei Domine Fili unigenite, Jesu Christe; Domine Deus, O Lord the only-begotten Son, Jesu Christ; O Lord God, Agnus Dei, Filius Patris, qui tollis peccata mundi, mis- Lamb of God, Son of the Father, that takest away the Agnus Dei, qui tollis peccata mundi, nobis O Lamb of God, that takes away the sins of the world, erere nobis; qui tollis peccata mundi, suscipe depreca- sins of the world, have mercy upon us; thou that takest have mercy on us. tionem nostram; qui sedes ad dexteram Patris, miserere away the sins of the world, receive our prayer; thou that Agnus Dei, qui tollis peccata mundi, miserere nobis. O Lamb of God, that takes away the sins of the world, nobis. sittest at the right hand of God the Father, have mercy have mercy on us. upon us. Agnus Dei, qui tollis peccata mundi, dona nobis pacem. O Lamb of God, that takes away the sins of the world, grant us thy peace. Quoniam tu solus Sanctus; tu solus Dominus; tu solus For thou only art Holy; thou only art the Lord; thou altissimus, Jesu Christe, cum Sancto Spiritu, in gloria only, O Christ, with the Holy Ghost, art Most High in Dei Patris. Amen. the glory of God the Father. Amen. John Nesbett Credo Magnificat

Credo in unum Deum, Patrem omnipotentem, factorem I believe in one God, the Father almighty, Maker of Magnificat anima mea Dominum My soul doth magnify the Lord: and my spirit hath cæli et terræ, visibilium omnium et invisibilium. Et in heaven and earth, and of all things visible and invisible. Et exultavit spiritus meus in Deo salutari meo. rejoiced in God my Saviour. unum Dominum Jesum Christum, Filium Dei uni- And in one Lord, Jesus Christ, the only-begotten Son of Quia respexit humilitatem ancillæ suæ: ecce enim ex hoc For he hath regarded: the lowliness of his handmaiden. genitum, et ex Patre natum ante omnia sæcula. Deum God, begotten of his Father before all worlds. God of beatam me dicent omnes generationes. For behold, from henceforth: all generations shall call de Deo; Lumen de Lumine; Deum verum de Deo vero; God; Light of Light; very God of very God; begotten, me blessed. genitum, non factum; consubstantialem Patri; per quem not made: being of one substance with the Father; by Quia fecit mihi magna qui potens est, et sanctum no- For he that is mighty hath magnified me: and holy is omnia facta sunt. whom all things were made. men eius. his Name. Et misericordia eius a progenie in progenies And his mercy is on them that fear him: throughout Qui propter nos homines, et propter nostram salutem Who for us men, and for our salvation, came down timentibus eum. all generations. descendit de cælis, et incarnatus est de Spiritu Sancto, ex from heaven, and was incarnate by the Holy Ghost of Fecit potentiam in bracchio suo, dispersit superbos He hath showed strength with his arm: he hath scattered Maria Virgine, et homo factus est. Crucifixus etiam pro the Virgin Mary, and was made man. And was crucified mente cordis sui. the proud in the imagination of their hearts. nobis sub Pontio Pilato; passus et sepultus est. also for us under Pontius Pilate; he suffered death and Deposuit potentes de sede et exaltavit humiles. He hath put down the mighty from their seat: and hath was buried. exalted the humble and meek. Esurientes implevit bonis et divites dimisit inanes, He hath filled the hungry with good things: and the rich Et resurrexit tertia die secundum Scripturas; et ascendit And the third day he rose again according to the he hath sent empty away. in cælum, sedet ad dexteram Patris; et iterum venturus Scriptures; and ascended into heaven, and is seated at the Suscepit Isræl puerum suum recordatus misericordiæ suæ, He remembering his mercy hath holpen his servant est cum gloria judicare vivos et mortuos; cuius regni non right hand of the Father; and he shall come again with Sicut locutus est ad patres nostros, Abraham et semini Israel: as he promised to our forefathers, Abraham and erit finis. glory to judge both the quick and the dead; whose king- eius in sæcula. his seed, forever. dom shall have no end. Gloria Patri, et Filio, et Spiritui Sancto: Glory be to the Father, and to the Son, and to the Holy Ghost; Et in Spiritum Sanctum, Dominum et vivificantem, And I believe in the Holy Ghost, the Lord, and giver of Sicut erat in principio, et nunc, et semper, et in sæcula As it was in the beginning, is now, and ever shall be, qui ex Patre Filioque procedit; qui cum Patre et Filio life, who proceeds from the Father and the Son; who sæculorum. Amen. world without end. Amen. simul adoratur et conglorificatur; qui locutus est with the Father and the Son is worshipped and glorified, per prophetas; who spoke by the prophets.

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Thomas Tallis Expend, O Lord, my plaint of word Tunes for Archbishop Parker’s Psalter In grief that I do make. My musing mind recount most kind; Man blest no doubt who walk’th not out Give ear for thine own sake. In wicked men’s affairs, O hark my groan, my crying moan; And stand’th no day in sinner’s way My King, my God thou art, Nor sit’th in scorner’s chairs: Let me not stray from thee away, But hath his will in God’s law still, To thee I pray in heart. This law to love aright, And will him use, on it to muse, Why brag’st in malice high, To keep it day and night. O thou in mischief stout? God’s goodness yet is nigh Let God arise in majesty All day to me no doubt. And scattered be his foes. My tongue to muse all evil Yea, flee they all his sight in face, It doth itself inure. To him which hateful goes. As razor sharp to spill, As smoke is driv’n and com’th to naught, All guile it doth procure. Repulse their tyranny. At face of fire, as wax doth melt, God grant we grace, he us embrace. God’s face the bad must fly. In gentle part bless he our heart. With loving face shine he in place. Why fum’th in fight the Gentiles spite, His mercies all on us to fall. In fury raging stout? That we thy way may know all day, Why tak’th in hand the people fond, While we do sail this world so frail. Vain things to bring about? Thy health’s reward is night declared, The Kings arise, the Lords devise, As plain as eye all Gentiles spy. In counsels met thereto, Against the Lord with false accord, Come Holy Ghost, eternal God, Against His Christ they go. Which dost from God proceed; The Father first and eke the Son, O come in one to praise the Lord On God as we do read. And him recount our stay and health. All hearty joys let us record To this strong rock, our Lord of health. His face with praise let us prevent; William Byrd His facts in sight let us denounce, Ye sacred muses Join we, I say, in glad assent. Our psalms and hymns let us pronounce. Ye sacred Muses, race of Jove, whom Music’s lore delighteth, Even like the hunted hind Come down from crystal heav’ns above The waterbrooks desire, to earth where sorrow dwelleth, E’en thus my soul, that fainting is, In mourning weeds, with tears in eyes: To thee would fain aspire. Tallis is dead, and Music dies. My soul did thirst to God, To God of life and Grace. It said e’en thus: when shall I come To see God’s lively face?

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Byrd concerts in Beijing; and the privilege of perform- Tribulationes civitatum ing in the Sistine Chapel in April 1994 to mark the final stage of the complete restoration of the Tribualtiones civitatum audivimus We have heard of the trials which the cities have suffered, Michelangelo frescoes, broadcast simultaneously quas passæ sunt, et defecimus. and have lost heart. Domine ad te sunt oculi nostri, ne pereamus. Our eyes are fixed on thee O Lord, and do not wander. on Italian and Japanese television. The ensemble have commissioned many contemporary compos- Timor et hebetudo mentis Fear and confusion ers during their history: in 1998, they celebrated cecedir super nos, et super liberos nostros: have fallen upon us, and upon our children: their 25th anniversary with a special concert in ipsi montes nolunt recipere fugam nostram. even the mountains offer us no refuge. London’s National Gallery, premiering a Sir John Domine, miserere. Lord, have mercy. Tavener work written for the group and narrated by Sting. A further performance was given with Nos enim pro peccatis nostris hæc patimur. For it is because of our sins that we are suffering these Sir Paul McCartney in New York in 2000. The Aperi oculos tuos Domine, et vidi afflictionem nostram. things. Open thine eyes O Lord, and behold our affliction. Tallis Scholars are broadcast regularly on radio (including performances from the BBC Proms at the Royal Albert Hall in both 2007 and 2008) and Byrd have also been featured on the acclaimed ITV pro- Vigilate gram, The Southbank Show. Eric Richmond Much of The Tallis Scholars’ reputation for Vigilate, nescitis enim quando Dominus domus veniat, Watch ye alway, for that ye know not at what hour the The Tallis Scholars were founded in 1973 by their pioneering work has come from their associa- sera an media nocte an gallicantu, an mane. Vigilate Lord will come again: eventide, or haply at midnight, or their director, Peter Phillips. Through their re- tion with Gimell Records, set up by Mr. Phillips ergo, necum venerit repente, inveniat vos dormientes. at the cockcrow, or morning. Watch ye therefore alway, Quod autem dico vobis omnibus dico: Vigilate. lest if suddenly he cometh he findeth you then sleep- cordings and concert performances, they have and Steve Smith in 1980 solely to record the ing. What then I say unto you, I say unto all: Watch ye established themselves as the leading exponents of Scholars. In February 1994, Mr. Phillips and The alway. Renaissance sacred music throughout the world. Tallis Scholars performed on the 400th anniversa- Peter Phillips has worked with the ensemble to ry of the death of Palestrina in the Basilica of Santa create, through good tuning and blend, the purity Maria Maggiore, Rome, where Palestrina had and clarity of sound which he feels best serve the trained as a and later worked as Maestro Renaissance repertoire, allowing every detail of the di Cappella. The concerts were recorded by Gimell musical lines to be heard. It is the resulting beauty and are available on both CD and DVD. of sound for which The Tallis Scholars have be- Recordings by The Tallis Scholars have attract- come so widely renowned. ed many awards throughout the world. In 1987, The Tallis Scholars perform in both sacred and their recording of Josquin’s Missa La sol fa re mi and secular venues, giving around 70 concerts each received Gramophone’s Record year across the globe. In 2009–2010, the group of the Year award, still the only recording of early will tour the United States twice and appear at music ever to win this coveted award. In 1989, the festivals and venues across the United Kingdom French magazine Diapason gave two of its coveted and Europe, including in their own Choral Series Diapason d’Or de l’Année awards for recordings of at Cadogan Hall. In 2011, the group will be re- a mass and by Lassus and of Josquin’s two turning to Japan, and plans include a return visit masses based on the chanson L’Homme armé. Their to Australia. The Tallis Scholars team up with the recording of Palestrina’s Missa Assumpta est Maria National Centre for and the BBC in a and Missa Sicut lilium was awarded Gramophone’s now annual nationwide composition competition, Early Music Award in 1991; they received the designed to encourage young people to write for 1994 Early Music Award for their recording of unaccompanied voices. The winning entry will music by ; and the same distinc- be part of the concert which will open the 2010 tion again in 2005 for their disc of music by John Chester Festival, alongside Palestrina’s spectacular Browne, which was also nominated for a Grammy Missa Papae Marcelli. Award. Their most recent disc, featuring the music The Tallis Scholars’ career highlights have of Josquin, received exceptional reviews and was included a tour of China in 1999, including two awarded a further Diapason d’Or.

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These accolades are continuing evidence of the of Renaissance choral music, and developing a per- exceptionally high standard maintained by The formance style appropriate to it as pioneered by The Tallis Scholars, and of their dedication to one of Tallis Scholars. Mr. Phillips was recently appoint- the great repertoires in Western . ed Director of Music at Merton College, Oxford, where he established a new Choral Foundation Peter Phillips has made an impressive if unusual in 2008. reputation for himself in dedicating his life’s work In addition to conducting, Mr. Phillips is well to the research and performance of Renaissance known as a writer. For many years, he has con- polyphony. Having won a scholarship to Oxford tributed a regular music column (as well as one in 1972, Peter Phillips studied Renaissance mu- on cricket) to The Spectator. In 1995, he became sic with David Wulstan and Denis Arnold, and the owner and publisher of The Musical Times, gained experience in conducting small vocal en- the oldest continuously published music journal sembles, already experimenting with the rarer in the world. His first book, English Sacred Music parts of the repertoire. In 1973, he founded The 1549–1649, was published by Gimell in 1991, while Tallis Scholars, with whom he has now appeared his second, What We Really Do, an unblinking ac- in 1,450 concerts and made over 50 discs, encour- count of what touring is like, alongside insights aging interest in polyphony all over the world. As about the makeup and performance of polyphony, a result of his work, through concerts, recordings, was published in 2003. magazine awards, publishing editions of the music Mr. Phillips has made numerous television and and writing articles, has come radio broadcasts. Besides those featuring The Tallis to be accepted for the first time as part of the main- Scholars (which include live broadcasts from the stream classical repertoire. 2001 and 2003 Proms, the Aldeburgh Festival, the Apart from The Tallis Scholars, Mr. Phillips Bath Festival and the Cheltenham Festival), he has continues to work with other specialist ensem- appeared several times on the BBC’s Music Weekly bles. Among others, he has appeared with the and on the BBC World Service, on Kaleidoscope Collegium Vocale of Ghent, broadcasting live and Today (Radio 4) and on German, French, on French radio from the Saintes Festival; the Canadian and North American radio. Vox Vocal Ensemble of New York; and Musix In 2005, Peter Phillips was made a Chevalier of Budapest. He also works extensively with the de l’Ordre des Arts et des Lettres by the French BBC Singers, with whom he has broadcast live on Minister of Culture, a decoration intended to hon- BBC Radio 3. Mr. Phillips gives numerous master- or individuals who have contributed to the under- classes and choral workshops every year around the sta nding of French culture in the world. In 2006, his world, and is also Artistic Director of The Tallis song cycle for contralto, Four Rondeaux by Charles Scholars Summer School—U.K.- and U.S.-based d’Orleans, was premiered in the Guggenheim choral courses dedicated to exploring the heritage Museum, New York, to critical acclaim.

Sightlines

Friday, December 4, 2009, 7pm First Congregational Church

Pre-performance conversation with Tallis Scholars Artistic Director Peter Phillips and Professor , UC Berkeley Department of Music.

This Sightlines event is free to all concert ticket holders.

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