The Tallis Scholars Peter Phillips, Director

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CAL PERFORMANCES PRESENTS

Saturday, March 23, 2013, 8pm First Congregational Church The Tallis Scholars Peter Phillips, director

Soprano Alto Tenor Janet Coxwell Patrick Craig Chris Watson Amy Haworth Caroline Trevor George Pooley Ruth Provost Bass Amanda Morrison Rob Macdonald Tim Whiteley

PROGRAM

Giovanni Pierluigi da Palestrina (1525–1594) Magnificat (for double choir)

Arvo Pärt (b. 1935) Magnificat

John Tavener (b. 1944) The lamb

Tavener As one who has slept

John Taverner (ca. 1490–1545) Quemadmodum

Taverner Mater Christi

INTERMISSION

Gregorio Allegri (1582–1652) Miserere

Eric Whitacre (b. 1970) Sainte-Chapelle (40th anniversary commission)

Pärt Nunc dimittis

Palestrina Nunc dimittis (for double choir)

Palestrina Laudate pueri (a 8)

This performance is made possible, in part, by Patron Sponsors Charles and Helene Linker.

Cal Performances’ 2012–2013 season is sponsored by Wells Fargo.

CAL PERFORMANCES 27 PROGRAM NOTES PROGRAM NOTES

he end of all our exploring will be Although not originally composed as a set, mirrored in the swift musical developments of approached me with an invitation to write a Tto arrive where we started and know the Pärt’s Canticles work naturally together—a the period, developments that would culminate piece in celebration of 40 years of one of the place for the first time.” So writes T. S. Eliot pair of coloristic variations on a spiritual theme. in the music of Byrd and Tallis. Dating possibly Tallis Scholars. At around the time of the in- in his Four Quartets, and so it is with tonight’s Here in his Magnificat he places a solo soprano from Taverner’s latter years, Quemadmodum is a vitation I visited Paris and was captivated by its concert. A program of cycles and circles, of re- voice—less a character than a texture—chant- work of mature skill. Although surviving only in sheer beauty, and particularly Sainte-Chapelle, visions and reinventions, this evening’s perfor- ing on a single pitch against a series of homo- untexted, instrumental sources, the motet’s title the 13th-century ‘Holy’ chapel. Some 6,458 mance finds history repeating in works from phonic choral ensembles, creating a contempo- points us to Psalm 42, “Like as the Hart,” whose square feet of tall stained glass windows lead the Renaissance and the present day. Setting rary take on the Renaissance fauxbourdon tech- text has since been editorially added. Although relentlessly to an intricate rose window within the music of Palestrina against Pärt, Taverner nique of harmonized chant. The Nunc Dimittis, only some five minutes in length, the exquisite this mesmerising, Gothic edifice. I turned to against Tavener, exposes the common musical by contrast, sees Pärt’s voices deployed in rather ingenuity of the imitative counterpoint, and my long-time friend, collaborator, poet, and fabric of two ages, exploring the long shadow more flexible units, sustaining by turns a rock- spacious sonority of the six-part writing give the historian, Charles Anthony Silvestri, to work on cast by the polyphonic masters and the values ing dialogue between upper voices over chanted work a certain grandeur. The psalm-poet yearns the text for the piece, and he crafted the story of clarity, expression and drama they share with men’s-voice pedal notes, and latterly a denser after God, and so too do Taverner’s rising open- of an innocent young girl, hearing angels in the today’s choral composers. chorale-like homophony, collapsing ultimately ing scales, reaching upwards in an impassioned stained glass gently singing the ‘Sanctus’ text.” We open with a classic 16th-century back into the familiar waves of echoing sound pursuit he sustains all the way through the mo- We finish, as we began, in 16th-century Magnificat from the height of Rome’s poly- for the Gloria. tet’s two sections. Rome and the music of Palestrina. The joyous phonic flourishing. Written characteristically Another contemporary composer heavily in- Text is also at the fore in Taverner’s Mater Psalm 112 Laudate Pueri (“Praise the Lord, for double choir, the punchy, dynamic exchang- fluenced by the music of the Russian Orthodox Christi Sanctissima—a short, Marian motet ye Children”) is not entirely typical however. es of Palestrina’s two SATB groups follow the tradition is John Tavener. Not to be confused possibly intended for use during the Mass. The Though written once again for double-choir, conventions of the composer’s later style; each with Renaissance composer John Taverner rather matter-of-fact counterpoint takes heart- Palestrina here rejects antiphonal conventions is heard first in antiphonal isolation before com- (from whom he claims direct descent), Tavener’s felt pause at the first mention of the name “Iesu,” and instead treats his two choirs as fluid units, ing together climactically in the full eight parts. English origins tell only tell half the story of his and voices come together in emphatic chorus dovetailing entries and combining voices from Unremarkable in its harmony, the piece gains distinctive choral writing, which often takes for the invocation “nam precibus nitentes.” For both freely without the customary introductory descriptive subtlety and drama through textural both text and idiom from the East. The Lamb the most part, however, Taverner sets his two exchanges. The effect—if less translucent than manipulation of the vocal forces. The second is a rare exception—an immaculate, organic upper voices in antiphonal opposition to the many polychoral motets—is of far greater flu- choir entry, “omnes generationes,” for example— musical miniature, whose modal harmonies and three lower. But just when we feel as though idity, expressing the text as a single continuous the piece’s first eight-part section—crowds in chant-like refrain hark back to an earlier age, but we have the measure of this motet, the com- musical gesture of celebration. unexpectedly upon choir one, joyously enact- whose daring concision and chromatic shading poser produces an unexpectedly lovely “Amen,” ing the abundant “all generations” described in epitomise the “new simplicity” of his generation. dominated by the trebles, carrying this musical Notes by Alexandra Coghlan the text. Although apparently written in a single after- prayer heavenward. Palestrina’s Nunc Dimittis employs the same noon, The Lamb represents the peak of the com- Of the many settings of Psalm 51 it is techniques to altogether more contemplative poser’s skill, reflecting Blake’s multifaceted text Allegri’s that casts the longest shadow. Said effect. As befits the gentler nature of the text, in all its artful artlessness. to date from 1638, the Miserere was the papal “Lord, now lettest thou thy servant depart in Written like Allegri’s Miserere (heard later choir’s greatest musical triumph, its status and peace,” phrases are longer and more sustained, tonight) for Easter Week, As One Who Has Slept mystique heightened out of all proportion by favoring initially a smooth homophony rather creates a similarly meditative and timeless at- a papal ban preventing any copy from leaving than the rhythmically articulated polyphony of mosphere. Repetition once again is central to the Sistine Chapel. Composed in traditional the Magnificat. the work’s impact, using a very gradual shift fauxbourdon style, it alternates its Holy Week In contrast to Palestrina’s vivid word-set- in dynamics coupled with a series of dramatic psalm text between a full SSATB choir, a solo ting, the music of contemporary Estonian com- key changes to transform the significance of the SSAB group, and a third ensemble of unison poser Arvo Pärt is stark indeed—an exercise in repeated text. The double-choir format is used male voices. While all three vocal groups sing aural simplicity. Derived, mongrel-like, from rather differently here however, with the sec- what is essentially a harmonized psalm chant, his studies of Gregorian chant, Renaissance po- ond choir sustaining a wordless chordal “ah” the music of the solo quartet is embellished with lyphony, and Russian Orthodox music, Pärt’s throughout, underpinning but never sharing the melodic ornaments, including the famous top C signature technique—a reverberant choral ho- melodic movement of the first choir. in the treble part—a 19th-century addition only mophony he terms “tintinnabuli”—places his The career of John Taverner (ca. 1490–1545) adopted as standard as late as the 1930s. voices in a constantly shifting yet strangely static spanned a particularly volatile period of English Eric Whitacre says of his new piece: “I harmonic relationship. ecclesiastical history. Political change was was thrilled and honored when Peter Phillips

28 CAL PERFORMANCES CAL PERFORMANCES 29 TEXTS & TRANSLATIONS TEXTS & TRANSLATIONS

Giovani Pierluigi da Palestrina John Tavener Magnificat (for double choir) The Lamb

Magnificat anima mea Dominum. My soul doth magnify the Lord Little Lamb, who made thee? Et exultavit spiritus meus in Deo salutari meo. and my spirit hath rejoiced in God my Savior. Dost thou know who made thee? Quia respexit humilitatem ancillæ suæ: For he hath regarded: the lowliness of his handmaiden. Gave thee life, and bid thee feed Ecce enim ex hoc beatam me dicent omnes generationes. For behold, from henceforth: all generations shall call By the stream and o’er the mead; me blessed. Gave thee clothing of delight Quia fecit mihi magna qui potens est: et sanctum no- For he that is mighty hath magnified me: and holy is Softest clothing, woolly, bright; mens eius. his Name. Gave thee such a tender voice, Et misericordia eius a progenie in progenie timentibus And his mercy is on them that fear him: throughout Making all the vales rejoice? eum. all generations. Little Lamb, who made thee? Fecit potentiam in brachio suo: dispersit superbos He hath showed strength with his arm: he hath scat- Dost thou know who made thee? mente cordis sui. tered the proud in the imagination of their hearts. Deposuit potentes de sede; et exeltavit humiles. He hath put down the mighty from their seat: and Little Lamb, I’ll tell thee, hath exalted the humble and meek. Little Lamb, I’ll tell thee; Esurientes implevit bonis: et divites dimisit inanes. He hath filled the hungry with good things: and the He is called by thy name, rich he hath sent empty away. For he calls himself a Lamb. Suscepit Israel, puerum suum, recordatus miseri- He remembering his mercy hath holpen his servant He is meek and he is mild; cordiæ suæ. Israel: He became a little child. Sicit locutus est ad patres nostros, Abraham et semini as he promised to our forefathers, Abraham and his I, a child, and thou a lamb, eius in sæcula. seed, forever. We are called by his name. Little Lamb, God bless thee! Gloria Patri, et Filio, et Spiritui Sancto. Glory be to the Father, and to the Son, and to the Little Lamb, God bless thee! Holy Ghost; Sicut erat in principio, et nunc, et semper, et in sæcula As it was in the beginning, is now, and ever shall be, sæculorum. world without end. Tavener Amen. Amen. As One Who Has Slept

As one who has slept, Arvo Pärt the Lord has risen, Magnificat and rising He has saved us. Alleluia. Magnificat anima mea Dominum. My soul doth magnify the Lord Et exultavit spiritus meus in Deo salutari meo. and my spirit hath rejoiced in God my Savior. Quia respexit humilitatem ancillæ suæ: For he hath regarded: the lowliness of his handmaiden. John Taverner Ecce enim ex hoc beatam me dicent omnes generationes. For behold, from henceforth: all generations shall call Quemadmodum me blessed. Quia fecit mihi magna qui potens est: et sanctum no- For he that is mighty hath magnified me: and holy is Quemadmodum desiderat cervus ad fontes aquarum: Like as the hart desireth the waterbrooks: so longeth mens eius. his Name. ita desiderat anima mea ad te Deus. my soul after thee, O God. Et misericordia eius a progenie in progenie timentibus And his mercy is on them that fear him: throughout Sitivit anima ad Deum fortem vivum: My soul is athirst for God, yea, even the living God: eum. all generations. quando veniam et apparebo ante faciem Dei? when shall I come before the presence of God? Fecit potentiam in brachio suo: dispersit superbos He hath showed strength with his arm: he hath scat- mente cordis sui. tered the proud in the imagination of their hearts. Deposuit potentes de sede; et exeltavit humiles. He hath put down the mighty from their seat: and hath exalted the humble and meek. Esurientes implevit bonis: et divites dimisit inanes. He hath filled the hungry with good things: and the rich he hath sent empty away. Suscepit Israel, puerum suum, recordatus miseri- He remembering his mercy hath holpen his servant cordiæ suæ. Israel: Sicit locutus est ad patres nostros, Abraham et semini as he promised to our forefathers, Abraham and his eius in sæcula. seed, forever. Magnificat anima mea Dominum. My soul doth magnify the Lord.

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Taverner Redde mihi lætitiam salutaris tui Give me the joy of your salvation Mater Christi et spiritu principali confirma me. and sustain in me a willing spirit. Docebo iniquos vias tuas I shall teach transgressors your ways, Mater Christi sanctissima, Virgo sacrata Maria, tuis Most holy Mother of Christ, blessed Virgin Mary, et impii ad te convertentur. and sinners shall return to you. orationibus benignum redde Filium, unica spes nos- through you prayers move your Son to kindness, Libera me de sanguinibus, Deliver me from blood-guiltiness, tra Maria; nam precibus nitentes tuis rogare audemus Mary, our only hope, for, depending on your prayers, Deus, Deus salutis meæ, O God, God of my salvation, Filium. Ergo, Fili, decus Patris, Jesu, fons fecundis- we dare to entreat your Son. Therefore O Son, the et exsultabit lingua mea justitiam tuam. and my tongue shall exalt your justice. sime a quo vivæ fluunt aquæ rigantes fida pectora, Father’s glory, Jesus, most plenteous fountain from Domine labia mea aperies, O Lord, open my lips, O Jesu, vitalis cibus te pure manducantibus, salutari which flow living waters refreshing the hearts of the et os meum annuntiabit laudem tuam. and my mouth shall proclaim your praise. potu et cibo pavisti nostra corpora. Tua pasce animam faithful, O Jesus, food of life for those who purely feed gratia; tibi consecratos Spiritu tuo fove munere. Quin on you, you have nourished our bodies with the food Quoniam si voluisses sacrificium For you are not pleased with sacrifices, et nostras, Jesu bone, mentes illustra gratia, et nos pie and drink that brings salvation. Nourish the soul with dedissem utique; holocaustis non delectaberis. else would I give them to you; fac vivere ut dulci ambrosia tuo vescamur in palatio. your grace, support with your gift those who are con- Sacrificium Deo spiritus contribulatus: neither do you delight in burnt offerings. Amen. secrated to you by the Spirit. Even more, good Jesus, cor contritum et humiliatum, The sacrifice of God is a contrite heart: illuminate our minds with grace, and make us live Deus, non despicies. a broken and contrite heart, so piously that we may feast upon the sweet food of Benigne fac, Domine, O God, you will not despise. heaven in your palace. Amen. in bona voluntate tua Sion, Be favorable and gracious unto Sion, O Lord, ut ædificentur muri Jerusalem. build again the walls of Jerusalem. Tunc acceptabis sacrificium iustitiæ, Then you shall be pleased with the sacrifice of righteousness Gregorio Allegri oblationes, et holocausta: oblations and burnt offerings; Miserere tunc imponent super altare tuum vitulos. they shall offer young bulls upon your altar.

Miserere mei Deus, Have mercy upon me, O God, secundum magnam misericordiam tuam. according to your great mercy Eric Whitacre Et secundum multitudinem and according to the abundance Sainte-Chapelle miserationum tuarum dele iniquitatem meam. of your compassion blot out my transgressions. Amplius lava me ab iniquitate mea Wash me thoroughly from my iniquity Castissima virgo An innocent girl et a peccato meo munda me. and cleanse me from my sin. Advenit in capellam; Entered the chapel Quoniam iniquitatem meam ego cognosco For I acknowledge my offence Et angeli in vitro And the angels in the glas et peccatum meum contra me est semper. and my sin is ever before me. Molliter cantaverunt, Softly sang,

Tibi soli peccavi Against you only have I sinned, “Hosanna in excelsis!” “Hosanna in the highest!” et malum coram te feci, and done what is evil in your sight ut justificeris in sermonibus tuis that you may be justified in your sentence Illa castissima The innocent girl et vincas cum judicaris. and vindicated when you judge. Susurravit, Whispered, Ecce enim in iniquitatibus conceptus sum Behold, in guilt was I conceived et in peccatis concepit me mater mea. and in sin did my mother conceive me. “Sanctus! Sanctus! Sanctus!” “Holy! Holy! Holy!” Ecce enim veritatem dilexisti: Behold, your delight in sincerity of heart incerta et occulta sapientiæ tuæ and in my inmost being Lux implevit spatium, Light filled the chamber, manifestasti mihi. you teach me wisdom. Multiformis colore; Many-colored light; Asperges me hyssopo et mundabor; Cleanse me with hyssop and I shall be purified; Et audivit vocem suam She heard her voice lavabis me et super nivem dealbabor. wash me and I shall be whiter than snow. Resonare, Echo,

Auditui meo dabis gaudium et lætitiam Let me hear the sounds of joy and gladness; “Sanctus! Sanctus! Sanctus!” “Holy! Holy! Holy!” et exsultabunt ossa humiliata. the bones which you have crushed shall rejoice. Averte faciem tuam a peccatis meis Avert your face from my sins, Molliter angeli cantaverunt, Softly the angels sang, et omnes iniquitates meas dele. and blot out all my iniquity. Cor mundum crea in me, Deus, Create in me a clean heart, O God, “Dominus Deus sabaoth, “Lord God of Hosts, et spiritum rectum innova in visceribus meis. And renew in me a righteous spirit. Pleni sunt cœli et terra Heaven and earth are full Ne projicias me a facie tua, Cast me not out from your presence, Gloria tua!” Of your glory!” et spiritum sanctum tuum ne auferas a me. and take not your Holy Spirit from me. Hosanna in excelsis! “Hosanna in the highest!” Hosanna in excelsis! “Hosanna in the highest!”

32 CAL PERFORMANCES CAL PERFORMANCES 33 TEXTS & TRANSLATIONS TEXTS & TRANSLATIONS

Vox in lumen se transformat, Her voice becomes light, Palestrina Et lumen canit, And the light sings, Laudate pueri (a 8)

“Sanctus! Sanctus! Sanctus!” “Holy! Holy! Holy!” Laudate pueri Dominum: laudate nomen Domini. Praise, O ye servants of the Lord: praise the name of the Lord. Lumen canit molliter, The light sings softly, Sit nomen Domini benedictum, ex hoc nunc et usque Blessed be the name of the Lord, from this time forth in sæculum. and for evermore. “Dominus Deus sabaoth, “Lord God of Hosts, A solis ortu usque ad occasum laudabile nomen Domini. From the rising of the sun unto the going down of the Pleni sunt cœli et terra Heaven and earth are full same the Lord’s name is to be praised. Gloria tua!” Of your glory!” Excelsus super omnes gentes Dominus, super cœlos The Lord is high above all nations, and his glory above gloria eius. the heavens. Castissima virgo An innocent girl Quis sicut Dominus Deus noster, qui in altis habitat. Who is like unto the Lord our God, who dwelleth on Advenit in capellam; Entered the chapel high. Et angeli in vitro And the angels in the glass Et humilia respicit in cœlo et in terra. Who humbleth himself to behold the things that are Molliter cantaverunt. Softly sang. in heaven, and in the earth. Suscitans a terra inopem, et de stercore erigens pauperem. He raiseth up the poor out of the dust, and lifteth the needy out of the dunghill. Pärt Ut collocet eum cum principibus, cum principibus That he may set him with princes, even with the princ- Nunc Dimittis populi sui. es of his people. Qui habitare facit sterilem in domo matrem filiorum He maketh the barren woman to keep house, and to Nunc dimittis servum tuum, Domine, secundum ver- Lord, now lettest thou thy servant depart in peace: lætantem. be a joyful mother of children. bum tuum in pace: according to thy word. Quia viderunt oculi mei salutare tuum For mine eyes have seen: thy salvation, Quod parasti ante faciem omnium populorum: Which thou hast prepared: before the face of all people; Lumen ad revelationem gentium, et gloriam plebis To be a light to lighten the Gentiles: and to be the tuæ Israel. glory of thy people Israel.

Gloria Patri, et Filio, et Spiritui Sancto: Glory be to the Father, and to the Son: and to the Holy Ghost; Sicut erat in principio, et nunc, et semper, et in sæcula As it was in the beginning, is now, and ever shall be: sæculorum. Amen. world without end. Amen.

Palestrina Nunc Dimittis (for double choir)

Nunc dimittis servum tuum, Domine, secundum ver- Lord, now lettest thou thy servant depart in peace: bum tuum in pace: according to thy word. Quia viderunt oculi mei salutare tuum For mine eyes have seen: thy salvation, Quod parasti ante faciem omnium populorum: Which thou hast prepared: before the face of all people; Lumen ad revelationem gentium, et gloriam plebis To be a light to lighten the Gentiles: and to be the tuæ Israel. glory of thy people Israel.

34 CAL PERFORMANCES CAL PERFORMANCES 35 ABOUT THE ARTISTS ABOUT THE ARTISTS

small vocal ensembles, already experimenting book, English Sacred Music 1549–1649, was with the rarer parts of the repertoire. He found- published by Gimell in 1991, while his second, ed the Tallis Scholars in 1973, with whom he has What We Really Do, a personalized account of now appeared in almost 2,000 concerts and what touring is like, alongside insights about the made nearly 60 discs, encouraging interest in make-up and performance of polyphony, was polyphony all over the world. As a result of his published in 2003 and a revised edition has just work—through concerts, recordings, magazine been released. awards, publishing editions of the music, and Mr. Phillips has made numerous television writing articles—Renaissance music has come and radio broadcasts. Besides those featuring to be accepted for the first time as part of the the Tallis Scholars (which include live broad- mainstream classical repertoire. casts from the 2001, 2003, 2007, 2008, and Apart from the Tallis Scholars, Mr. Phillips 2011 Proms, the 2007 Edinburgh Festival, the

Eric Richmond continues to work with other specialist en- Aldeburgh Festival, and the Bath Festival), he sembles. He has appeared with the Collegium has appeared several times on the BBC’s Music he tallis scholars were founded Much of the Tallis Scholars’ reputation for Vocale of Ghent and the Netherlands Chamber Weekly and on the BBC World Service, on Tin 1973 by their director, Peter Phillips. their pioneering work has come from their as- Choir, and is currently working with the Chœur Kaleidoscope (BBC Radio 4), Today (BBC Radio Through their recordings and concert perfor- sociation with Gimell Records, set up by Peter de Chambre de Namur, Intrada of Moscow, 4), National Public Radio in the United States, mances, they have established themselves as the Phillips and Steve Smith in 1980 solely to record Musica Reservata of Barcelona, and the Tudor and on German, French, and Canadian radio, leading exponents of Renaissance sacred music the group. Recordings by the Tallis Scholars Choir of Seattle. Mr. Phillips also works ex- where he has enjoyed deploying his love of lan- throughout the world. The Tallis Scholars per- have attracted many awards throughout the tensively with the BBC Singers, with whom he guages. In 1990 ITV’s The South Bank Show fea- form in both sacred and secular venues, giving world. In 1987, their recording of Josquin’s gave a Promenade concert in collaboration with tured Mr. Phillips’s “personal odyssey” with the around 70 concerts each year across the globe. Missa La sol fa re mi and Missa Pange lingua re- the Tallis Scholars from the Royal Albert Hall Tallis Scholars; while in 2002 a special television In 2012–2013 the group will tour the United ceived Gramophone magazine’s Record of the in July 2007. He gives numerous master classes documentary was made for the BBC about the States twice and Japan once, as well as visiting Year Award, the first recording of early music and choral workshops every year around the life and times of William Byrd. festivals and venues across the United Kingdom ever to win this coveted award. To celebrate world—among other places, in Rimini, Italy; Mr. Phillips has recently been appointed and Europe. The group celebrates their 40th an- Gimell’s 30th anniversary, the group released Evora, Portugal; and Barcelona, Spain—and a Reed Rubin Director of Music and Bodley niversary in 2013 with two commissions from three four-CD box sets of The Best of the Tallis is also Artistic Director of the Tallis Scholars Fellow at Merton College, Oxford, where the Gabriel Jackson and Eric Whitacre, extensive Scholars, one for each decade. The ongoing proj- Summer Schools: annual choral courses based new choral foundation he helped to establish be- touring, and special CD releases. They also gave ect to record Josquin’s complete cycle of masses, in Uppingham (United Kingdom), Seattle, and gan singing services in October 2008. They gave a unique celebratory performance of Thomas when completed, will run to nine discs. Sydney, dedicated to exploring the heritage of their first live broadcast on BBC Radio Three’s Tallis’s Spem in alium in St. Paul’s Cathedral, These accolades and achievements are con- Renaissance choral music and developing a per- Choral Evensong in October 2011. In 2005, London, on March 7, 2013. tinuing evidence of the exceptionally high stan- formance style appropriate to it as pioneered by Mr. Phillips was made a Chevalier de l’Ordre The Tallis Scholars’ career highlights have dard maintained by the Tallis Scholars, and of the Tallis Scholars. des Arts et des Lettres by the French Minister of included a tour of China in 1999 and the privi- their dedication to one of the great repertoires in In addition to conducting, Mr. Phillips is Culture, a decoration intended to honour indi- lege of performing in the Sistine Chapel in April Western classical music. well known as a writer. For over 30 years, he has viduals who have contributed to the understand- 1994 to mark the final stage of the complete res- contributed a regular music column (as well as ing of French culture in the world. toration of the Michelangelo frescoes. The Tallis Peter Phillips has made one, more briefly, on cricket) toThe Spectator. Scholars have commissioned many contempo- an impressive if unusual In 1995, he became the owner and publisher www.thetallisscholars.co.uk rary composers during its history: In 1998, they reputation for himself in of The Musical Times, the oldest continuously www.tallisman.wordpress.com celebrated their 25th anniversary with a special dedicating his life’s work published music journal in the world. His first www.gimell.com concert in London’s National Gallery, premier- to the research and perfor- ing a Sir John Tavener work written for the mance of Renaissance po- group and narrated by Sting. The Tallis Scholars lyphony. Having won a are broadcast regularly on radio (including per- scholarship to Oxford in formances from the BBC Proms at the Royal 1972, Mr. Phillips studied Albert Hall in 2007, 2008, and 2011) and have Renaissance music with also been featured on the acclaimed ITV pro- Albert Roosenberg David Wulstan and Denis gram The Southbank Show. Arnold, and gained experience in conducting 36 CAL PERFORMANCES CAL PERFORMANCES 37