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Home , Cappella Romana, Caroline Trevor, Chanticleer (ensemble), Hieronymus Praetorius, Ivan Moody (composer), Nunc dimittis (Pärt)

presents Peter Phillips, director

Cappella Romana 25th Anniversary Season alexander lingas Music Director & Founder

1 Alexander Lingas, music director

The 2017-18 Season is coming soon!

featuring The All-Night Vigil by Peter Tchaikovsky Arctic Light: Sacred Scandinavia A Byzantine Christmas: The Sun of Justice The 12 Days of Christmas in the East The Mass by Guillaume de Machaut The Akáthistos Hymn by in the East: Greeks & Latins in Crete (as performed at the Utrecht Festival, Netherlands) and more!

Official annOuncement with full details cOming sOOn at cappellarOmana.Org

2 Cappella Romana - 25th Anniversary Season presents

The Tallis Scholars

Tuesday, 4 April 2017 at 8:00 p.m. CAPPELLA ROMANA St. Mary's Cathedral, Portland Alexander Lingas Music Director & Founder Wednesday, 5 April 2017 at 7:30 p.m. St. James Cathedral, Seattle (Presented in collaboration with St. James Cathedral) Guest Ensemble The Tallis Scholars Μεταμόρφωσις (Metamorphosis) Director Peter Phillips

Soprano IV Hieronymus Praetorius (1560–1629) Amy Haworth Emily Atkinson Magnificat (‘Short’) Orlando Gibbons (1583–1625) Charlotte Ashley Gwen Martin Magnificat Arvo Pärt (1935–) Our Father (c. 1515–1558) Our Father (1999 version) (1944–2013) Simon Ponsford Џ§е нaшъ (Ótche násh) (1882–1971) Pater noster (a5) Giovanni Pierluigi da Palestrina (c. 1525–1594) Steven Harrold George Pooley Pater noster (a8) Jacobus Gallus (1550–1591)

Bass Tim Scott Whiteley Intermission Simon Whiteley

Ave Maria Chant

Ave Maria – virgo serena Jean Mouton (c. 1459–1522)

Богор0дице Дёво (Bogoród˜ its˜e D˜ evo) Stravinsky Богор0дице Дёво Pärt (‘Short’) Gibbons Maria wallt zum Heiligtum Johannes Eccard (1533–1611) Nunc dimittis Pärt Nunc dimittis Andres de Torrentes (c. 1510–1580) Nunc dimittis Gustav Holst (1874–1934)

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3 Μεταμόρφωσις (Metamorphosis) Anglican rite of , or the Catholic services of Evening Prayer and Compline.

The Ave Maria, Pater Noster, Magnificat and Nunc One of the earliest German to employ Dimittis between them explore the full emotional Venetian polychoral techniques in his music, gamut of the Christian experience. These four core Hieronymus Praetorius (1560-1629) showcased the texts of Christianity take us from birth to death, style at its animated and expressive best in his nine celebrate God as both father and infant, Mary as alternatim Magnificat settings. The Magnificat virgin and mother. There is joyful anticipation here, Quarti Toni embraces the ambiguous tonality of this but also calm acceptance; we find ourselves looking “fourth tone” (the Hypophrygian mode), colouring forward to a life yet to come and backwards over a what we might now think of as a minor key with life already lived. rhythmic energy more suited to the jubilant text. It also boasts perhaps the most striking opening of From simplest plainchant monody to elaborate any Praetorius work – an arresting bit of chromatic polychoral polyphony, composers have responded writing that keeps the ear guessing – as though the to these touchstone texts in their different ways. joy of this text is so great that the cannot Tonight’s programme explores the scope and find adequate expression in conventional harmonic diversity of these responses in works from the gestures. renaissance and 20th century. Although perhaps best-known now for his expressive We open with three contrasting settings of the madrigals, Orlando Gibbons (1583-1625) was an Magnificat – Mary’s song of joy at the Annunciation. accomplished and prolific composer of sacred Each finds echo at the close of the concert in the works. While his Second Service showcases some of corresponding setting of the Nunc Dimittis, framing the finest verse writing of late Tudor England, his the evening with the two familiar of the

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4 earlier Short Service finds its interest in the textural pulsing, dotted rhythms establish a single mood of manipulation of full choral forces. Gibbons the affirmation and spiritual security. madrigalist is quietly evident here in the stylistic articulation of his texts. Contrast, for example, the Affirmation is a little harder-won in two contemporary treatments of the same text. While athletic, dance-like emphasis of the opening of the Magnificat, with the sustained, legato phrase that offering moments of glowing, consonant warmth in begins the Nunc Dimittis. Mary has rarely seemed his four-part setting, John Tavener complicates his prayer with the smudged doubts of passing notes as youthful in her joy as she does in Gibbons’ hands, and suspensions, rooting his setting in the muddy nor Simeon’s rapture (“For mine eyes have seen complexity of human imperfection. This is a work thy salvation”) more simple in its conviction. The that reaches for the divine while never losing touch gradual scalic flowering of the “Amen” of the Nunc with the earthly. Dimittis is surely one of the contrapuntal high-points of its age. After experiencing a miraculous moment of healing Few composers are more texturally aware or in 1925, Igor Stravinsky returned to the Russian demonstrate a greater sense of aural drama than Orthodox Church (also, incidentally, the faith shared contemporary Estonian composer Arvo Pärt. by Tavener) he had abandoned in his youth. The Derived from his studies of Gregorian chant, result was a sequence of liturgical choral works, renaissance polyphony and Russian Orthodox including this miniature four-voice setting of the Ótche násh [Our Father]. The text here is heard in music, Pärt’s signature technique – a reverberant Slavonic, chanted in traditional recitative style, and choral homophony he terms ‘’ – places his voices in a constantly shifting yet strangely static references but never quoting chant melodies. With a harmonic relationship. With any conventional sense limited harmonic palette Stravinsky creates a single- of harmonic trajectory negated, it is through varied mood work of mournful beauty, throbbing with vocal textures that he achieves his meditative musical never-fully-resolved uncertainties. drama.

Here in his Magnificat he places a solo soprano voice chanting on a single pitch against a series of homophonic choral ensembles, creating a contemporary take on the renaissance fauxbourdon technique of harmonised chant. The Nunc Dimittis by contrast sees Pärt’s voices deployed in rather more flexible units, sustaining by turns a rocking dialogue between upper voices over chanted men's- voice pedal notes, and latterly a denser chorale-like homophony, collapsing ultimately back into the familiar waves of echoing sound for the Gloria. We return to the renaissance for the Pater Noster or Lord’s Prayer, heard first in a setting of exquisite delicacy by English composer John Sheppard. With its vernacular text, we can assume that the work dates from the reign of Edward VI with its new demand for music for Protestant liturgy. Clarity IN THE HEART OF PORTLAND’S WEST END DISTRICT of text was paramount – a reaction against the “popish excesses” of the Catholic rite – and led composers to favour the translucent, five-part texture 503.224.3293 | MARKSPENCER.COM heard here. Modal harmonies add interest and colour to a treatment whose rocking imitation and 409 SW 11TH AVENUE, PORTLAND

5 Palestrina’s Pater Noster setting typifies the then repeated tonight in a sequence of polyphonic polychoral style of sixteenth-century . A settings. world away from the ascetic purity of Stravinsky The Marian imagery of the Ave Maria draws the or even Sheppard, Palestrina’s setting delights in smoothest of polyphony from the French renaissance the richness and echoing sonority of his double- forces. Athough reaching an impassioned composer Jean Mouton. Two simple motives (one climax at the contemplation of “debitoribus nostris” rising, the other falling) form the melodic basis of (our sins), the scale and grandeur of the “Amen” this five-part work, giving it a characteristically suggests a certainty of redemption absent from the organic sense of wholeness. Use of upper and lower contemporary settings. voices suffice to create textural contrast within the imitative flow until the text’s climax in a threefold From Rome to Venice, in Jacobus Gallus’s (also address of the Virgin – “O Maria Dulcissima/O known as Jacob Handl) Pater Noster. Marrying Maria Piissima/O Maria Sanctissima” – where the older Franco-Flemish imitative style with the sudden homophony interrupts the flow with an antiphonal writing of the Venetian tradition, Gallus appeal to Mary, all the more touching for its sudden creates a fluid and lovely musical prayer. Upper plainness. voices are pitted against lower, exchanging phrases ˜ that echo, embellish and complete one another. The Texture is also at the fore in Arvo Part’s Bogoródits˜e ˜ work concludes with one of the loveliest Amens of Devo – an unusually rhythmic and jubilant work from the minimalist. Passages of declamatory homophony the period – a florid seal on this elegant . are set against chanted sections of highly rhythmic, The Ave Maria – the second Antiphon hymn during recitative-like accompaniment in this exhilarating the Festival of the Annunciation – was a popular paean to the Virgin. chant among sixteenth-century composers, chiming particularly with the revival in Marian worship The moving underlying parts of Stravinsky’s Bogoród˜its˜e D˜ evo turn this prayer almost into a cradle during the early years of the Counter-Reformation. song. “I can endure unaccompanied singing in Heard first in its plainsong original, the text is BANKER PARTNER NEIGHBOR

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6 For our Seattle Patrons: households, with a long history The Cathedral is also a center for Above all, St. James Cathedral is a WELCOME TO that reaches back to Seattle’s earlymany musical, cultural and ecu- community of prayer. menical events, and a crossroads ST. JAMES CATHEDRAL days. We are an inner-city parish We welcome you to St. James Ca- with an extensive social outreach where ideas and challenges both thedral. Find out more at www. St. James is the Cathedral Church to the homeless and disadvantaged old and new are explored in the stjames-cathedral.org. for the Catholic Archdiocese of of our city. We are a diverse com- light of the Gospel of Jesus Christ. Seattle and its Archbishop, the munity that welcomes, accepts, The Cathedral is a place where the Most Reverend J. Peter Sartain. and celebrates the differencesrich we and ongoing tradition of sa- We are also a parish church for a all bring. cred music and art is treasured and vibrant faith community of 2,500 expanded.

only the most harmonically primitive music,” the thrilling sense of climax to the closing phrase “et composer wrote – a pronouncement amply borne nunc et semper” (now and forever). out here. Any narrative quality in the text is negated by a meditative setting that restricts its harmonic The role of the Nunc Dimittis within the Anglican language and range to the absolute minimum, rite of Evensong has prompted settings by all the creating a deliberately naïve piece of musical major English composers, including an elegant sophistication. double choir treatment from Holst. The gradual building-up of the opening pianissimo chord Johannes Eccard (1533-1611) worked as establishes a contemplative mood that gives way to Kapellmeister to Elector Joachim Friedrich of rather more sprightly polychoral writing, including a Brandenburg in Berlin, and is chiefly known for his rhythmic “lumen ad revelationem”, and the vibrant role in developing the genre of Lutheran Chorale. exchanges of the Gloria that grow into a pealing So influential was his work that the chorales of “Amen”. Bach’s St Matthew Passion owe their form to Eccard, and Brahms was known to revere the composer. Alexandra Coghlan, 2015 Balancing a simple clarity in his polyphony with a sensitivity to word-setting that took Lassus as its Smart. Sturdy. Simple. Portable Displays model, Eccard’s music is represented tonight by a chorale motet.

Maria wallt zum Heiligtum describes Mary’s visit to the temple to present the infant Jesus to Simeon. Despite its six-part texture, the motet’s delicate harmonisation ensures that the words remain the focus, shaded by the composer’s textural manipulations. The climactic moment, when Simeon recognises Jesus as “the light of the world”, is beautifully simple – an octave leap in the soprano line sees it flower expansively above the accompanying voices. A contemporary of Guerrero and Morales, Spanish polyphonist Andres de Torrentes is best known for his large number of . There survive also, Versatile Portable Displays however, two Nunc Dimittis settings, and tonight Smart: gallery style lighting fixtures Sturdy: Super tough aluminum hardware we hear the Nunc Dimittis in the eighth tone. It’s a Simple: Assembles in only a few minutes short work, compressing a some exciting and athletic into the traditional alternatim structure – alternating verses of plainchant and polyphony. Five voice-parts expand to six by the end, giving a www.PosterGarden.com | 630 NW 14th Avenue | Portland, Oregon | 503.297.9982

7 Magnificat

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 Saviour. Quia respexit humilitatem ancillae suae: For he hath regarded the lowliness of his handmaiden. Ecce enim ex hoc beatam me dicent omnes For behold, from henceforth all generations shall generationes. call me blessed. Quia fecit mihi magna qui potens est: et sanctum For he that is mighty hath magnified me: and holy is nomen eius. his Name. Et misericordia eius a progenie in progenie And his mercy is on them that fear him: throughout timentibus eum. all generations. Fecit potentiam in brachio suo: dispersit superbos He hath showed strength with his arm: he hath mente cordis sui. scattered the proud in the imagination of their hearts. Deposuit potentes de sede: et exaltavit 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 He remembering his mercy hath holpen his servant misericordiae suae. Israel: Sicit locutus est ad patres nostros, Abraham et as he promised to our forefathers, Abraham and his semini eius in saecula. seed, for ever. 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 As it was in the beginning, is now, and ever shall be, saecula saeculorum. world without end. Amen. Amen.

Pater noster (Our Father)

Pater noster, qui es in caelis, Our Father, which art in heaven, sanctificetur nomen tuum; hallowed be thy name; adveniat regnum tuum, thy kingdom come; fiat voluntas tua, thy will be done, sicut in caelo et in terra. in earth as it is in heaven. Panem nostrum quotidianum da nobis hodie. Give us this day our daily bread. Et dimitte nobis debita nostra, And forgive us our trespasses, sicut et nos dimittimus debitoribus nostris. as we forgive them that trespass against us. Et ne nos inducas in tentationem; And lead us not into temptation; sed libera nos a malo. but deliver us from evil. Quia tuum est regnum For thine is the kingdom, et potestas et gloria the power, and the glory, in sæcula. for ever and ever. Amen. Amen.

8 Ótche násh (Our Father)

Џ§е нaшъ, и4же є3си2 на нб7сёхъ, Ótchе násh, ízhе yes˜í na ñeb˜es˜éh, да с™и1тсz и4мz твоE: da svyatíts˜ya ím˜ ya tvoyé: да пріи1детъ цaрствіе твоE: da pr˜iídеt tsárstv˜iyе tvoyé: да бyдетъ в0лz твоS, da búdеt vó˜lya tvoyá, ћкw на нб7си2, и3 на земли2. yáko na ñeb˜es˜í, i na z˜eml˜í. хлёбъ нaшъ насyщный дaждь нaмъ днeсь: Hl˜éb násh nasúshchñïy dázhd˜ nám dñés˜: и3 њстaви нaмъ д0лги нaшz, i ostáv˜i nám dólgi náshya, ћкоже и3 мы2 њставлsемъ должникHмъ нaшымъ: yákozhе i mï ostav˜lyáyem dolzhñikóm náshïm: и3 не введи2 нaсъ во и3скушeніе, i ñe vvеd˜í nas vo iskushéñiе, но и3збaви нaсъ t лукaвагw. no izbáv˜i nás ot lukávago.

Ave Maria

Ave Maria, gratia plena, Hail Mary, full of grace, Dominus tecum, the Lord is with thee, benedicta tu in mulieribus, blessed art thou amongst women, et benedictus fructus ventris tui, Iesus. and blessed is the fruit of thy womb, Jesus. Sancta Maria, Mater Dei, Holy Mary, Mother of God, ora pro nobis peccatoribus, pray for us sinners, nunc et in hora mortis nostrae. now and at the hour of our death. Amen. Amen.

9 Ave Maria – virgo serena

Ave Maria, gratia plena, Hail Mary, full of grace, Dominus tecum, Virgo serena. the Lord is with you, serene Virgin. Tu parvi et magni, For lowly and great, leonis et agni, lion and lamb, Salvatoris Christi, our saviour Christ: templum extitisti, you have been his temple, sed virgo intacta. while still a virgin. Tu floris et roris, For the flower and rose, panis et pastoris, the bread and the shepherd: virginum et regina, you queen of virgins, rosa sine spina, a rose without a thorn, genitrix es facta. you became their mother. Tu civitas regis justitiae, You are the royal seat of justice, Tu mater es misericordiae, you are the mother of mercy, de lacu faecis et miseriae, from out of the depths of dregs and misery Theophilum reformans gratiae. hast seen Theophilus to grace. Te collaudat caelestis curia, The heavenly court praises you, tu mater es regis et filia. you the king’s mother and daughter; O Maria dulcissima, O sweetest Mary, per te reis donatur venia. through you the accused is forgiven. O Maria piissima, O most pious Mary, per te reis donatur venia. through you the accused is forgiven. O Maria mitissima, O most gentle Mary, per te justis confertur gratia. through you favor comes to the just. Pro nobis semper Christum exora. Amen. For us always entreat Christ. Amen.

✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢ The Early Music Guild presents: Sine Nomine: Renaissance Choir

Anne E. Lyman, Conductor / Sr. Jo Baim, Organist

Uniquely English: Gibbons & Tomkins 17th-century sacred and secular English music

Sunday, April 9, 2017 4:30 pm Trinity Parish Church (8th & James Sts., Seattle)

Free Will Offering ✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢ ✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢✢

10 Bogoród˜ itse D˜ évo

Богор0дице Дёво, рaдуйсz, благодaтнаz Марjе, Bogoród˜ itse D˜ évo, ráduys˜ya, blagodátnaya Mar˜íe, Госп0дь съ тоб0ю: благословeна ты2 въ женaхъ, Ghospód˜ s tobóyu: blagoslov˜éna ˜tı v zhenáh, i и3 благословeнъ пл0дъ чрeва твоегw2, ћкw Спaса blagoslov˜én plód chr˜éva tvoyegó, yáko Spása родилA є3си2 дyшъ нaшихъ. rod˜ ilá yes˜í dúsh náshïh.

Hail, Virgin Mother of God, Mary full of grace, the Lord is with you. Blessed are you among women, and blessed is the fruit of your womb, for you have given birth to the Saviour of our souls.

Nunc dimittis

Nunc dimittis servum tuum, Domine, secundum Lord, now lettest thou thy servant depart in peace: verbum tuum in pace: according to thy word. Quia viderunt oculi mei salutare tuum, For mine eyes have seen thy salvation, Quod parasti ante faciem Which thou hast prepared before the face of all omnium populorum: people; Lumen ad revelationem gentium, To be a light to lighten the Gentiles: and to be the et gloriam plebis tuae Israel. glory of thy people Israel. Gloria Patri, et Filio, Glory be to the Father, and to the Son: and to the et Spiritui Sancto: Holy Ghost; Sicut erat in principio, et nunc, et semper, et in As it was in the beginning, is now, and ever shall be: sæcula sæculorum. Amen. world without end. Amen.

Maria wallt zum Heiligtum

Maria wallt zum Heiligtum Mary made a pilgrimage to the temple und bringt ihr Kindlein dar, and brought her child there, das schaut der greise Simeon, who was seen by the aged Simeon, wie ihm verheißen war. as the prophets had foretold. Da nimmt er Jesum in den Arm Simeon took Jesus in his arms, und singt im Geiste froh: and joyfully sang:

Nun fahr' ich hin mit Freud, Now I go forth with joy, dich, Heiland, sah ich heut, for today I have seen You, Saviour — du Trost von Israel, das Licht der Welt. comfort of Israel, light of the World.

Hilf nun, du liebster Jesu Christ, O dear Jesus, grant now dass wir zu jeder Frist that we at all times an dir wie auch der Simeon find all our joy in Thee, all uns're Freude han just as Simeon did, und kommt die Zeit, sanft schlafen ein and that, when the time comes, we pass away gently und also singen froh: and thus sing gladly:

Nun fahr' ich hin mit Freud, Now I go forth with joy, dich, Heiland, sah ich heut, for today I have seen You, Saviour — du Trost von Israel, das Licht der Welt. comfort of Israel, light of the World. 11 THE TALLIS SCHOLARS of sound which he feels best serve the Specialist Classical Album Chart. On Renaissance repertoire, allowing every 21st September 2015 the group gave detail of the musical lines to be heard. their 2000th concert at St John’s Smith “…The rock stars of It is the resulting beauty of sound for Square in . Renaissance vocal music.…” which The Tallis Scholars have become The New York Times so widely renowned. The 2016/2017 season will see the group travelling to , China, USA, “…an uncanny ability to The Tallis Scholars perform in both Russia, Japan, South Korea, as well as increase emotional intensity sacred and secular venues, usually extensive touring around Europe and the so subtly that you don’t realise giving around 70 concerts each year UK. it’s happening. Then, suddenly, across the globe. In 2013 the group pow! The music’s blazing; so are celebrated their 40th anniversary with Recordings by The Tallis Scholars have you…” The Times a World Tour performing 99 events in attracted many awards throughout 80 venues in 16 countries and travelling the world. In 1987 their recording of “...one of the UK’s greatest sufficient air-miles to circumnavigate Josquin's Missa La sol fa re mi and Missa cultural exports” BBC Radio 3 the globe four times. They kicked off Pange lingua received Gramophone the year with a spectacular concert in St magazine’s Record of the Year award, Paul’s Cathedral, London, including a the first recording of early music ever The Tallis Scholars were founded in performance of ’ 40-part to win this coveted award. In 1989 the 1973 by their director, Peter Phillips. motet and the world French magazine Diapason gave two Through their recordings and concert premieres of works written specially of its Diapason d'Or de l'Année awards performances, they have established for them by Gabriel Jackson and Eric for the recordings of a mass and themselves as the leading exponents of Whitacre. Their recording of the Missa by Lassus and for Josquin's two masses Renaissance sacred music throughout Gloria tibi Trinitas by , based on the chanson L'Homme armé. the world. Peter Phillips has worked with was released on the exact anniversary of Their recording of Palestrina's Missa the ensemble to create, through good their first concert in 1973 and enjoyed Assumpta est Maria and Missa Sicut tuning and blend, the purity and clarity six weeks at number one in the UK lilium was awarded Gramophone's Early

Don't miss Russian Orthodox choral works from the Cappella Imperial Court Chapel in Saint Petersburg, by the Venetian Classical masters em- Romana’s ployed there under Catherine the Great. Venice First presented by Cappella Romana last 25th Anniversary September at the Utrecht Early Music in the North Festival in the Netherlands. Season friday saturday sunday culmination! 28 April 2017 29 April 2017 30 April 2017 7:30 PM 8:00 PM 3:00 PM st. mark’s st. mary’s st. stephen’s cathedral cathedral cathOlic church cappellaromana.org seattle pOrtland pOrtland

12 Music Award in 1991; they received music and writing articles, Renaissance polyphony, was published in 2003 and the 1994 Early Music Award for their music has come to be accepted for the again in 2013. recording of music by Cipriano de Rore; first time as part of the mainstream and the same distinction again in 2005 classical repertoire. The Tallis Scholars In 2005 Peter Phillips was made a for their disc of music by John Browne. celebrated their 40th anniversary in 2013 Chevalier de l’Ordre des Arts et des The Tallis Scholars were nominated for with 99 concerts, worldwide. Lettres by the French Minister of a Grammy Award in 2001, 2009 and Culture, a decoration intended to honour 2010. In November 2012 their recording Apart from The Tallis Scholars, Peter individuals who have contributed to of Josquin's Missa De beata virgine Phillips continues to work with other the understanding of French culture in and Missa Ave maris stella received specialist ensembles. He has appeared the world. In 2008 Peter was appointed a Diapason d’Or de l’Année and in with the Collegium Vocale of Ghent, a Reed Rubin Director of Music at their 40th anniversary year they were Intrada of , Musica Reservata Merton College, Oxford, where the new welcomed into the Gramophone ‘Hall of Barcelona and El Leon de Oro of choral foundation he helped to establish of Fame’ by public vote. In a departure Orviedo, and is currently working began singing services shortly after. for the group in Spring 2015 The Tallis with the BBC Singers, the Netherlands His involvement included many tours Scholars released a disc of music by Chamber Choir, and Choeur de recordings and broadcasts a particular Arvo Pärt called Tintinnabuli which has Chambre de Namur. He gives numerous highlight being their first live broadcast receive great praise across the board. master-classes and choral workshops on BBC Radio Three’s Choral Evensong The latest recording of Josquin masses every year around the world – amongst in October 2011. Peter is now a patron Missa Di dadi and Missa Une mousse de other places in Rimini (Italy), Evora of the choir and a Bodley Fellow of the Biscaye was released in October 2016. () and Avila (Spain). In 2014 he college. launched the London International A www.thetallisscholars.co.uk PETER PHILLIPS - DIRECTOR Cappella Choir Competition in St John's www.gimell.com Smith Square, attracting from all Peter Phillips has made an impressive over the world, which will be returning “Speaking of birds, it was also if unusual reputation for himself in for its third run in June 2017. wonderful to glimpse Peter dedicating his life’s work to the research Phillips’s conducting: hands and performance of Renaissance In addition to conducting, Peter Phillips opening as if setting free a polyphony. Having won a scholarship is well-known as a writer. For 33 years he dove, or closing to punctuate to Oxford in 1972, Peter Phillips contributed a regular music column (as with dotting-the-i’s exactitude. studied with David well as one, more briefly, on cricket) to I found myself wishing I could Wulstan and Denis Arnold, and gained The Spectator, recently bidding a fond get a choir’s-eye view to witness experience in conducting small vocal farewell to the magazine in May 2016. In Phillips’ complete – lifelong – ensembles, already experimenting with 1995 he became the owner and Publisher inhabiting of this music.” the rarer parts of the repertoire. He of The Musical Times, the oldest founded The Tallis Scholars in 1973, continuously published music journal in The Observer, September 2015 with whom he has now appeared in over the world. His first book, English Sacred 2000 concerts and made over 60 discs, Music 1549–1649, was published by Exclusive North American management: encouraging interest in polyphony all Gimell in 1991, while his second, What Alliance Artist Management over the world. As a result of his work, We Really Do, an unblinking account of 5030 Broadway Suite 812 through concerts, recordings, magazine what touring is like, alongside insights New York, NY 10034 awards and publishing editions of the about the make-up and performance of

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13 CAPPELLA ROMANA Byzantine Chant from Grottaferrata, The Fall Ph.D. in Historical from of , Richard Toensing: the University of British Columbia. Its performances “like jeweled light on the Nativity of Christ, Peter Michaelides: His present work embraces not only flooding the space” Los( Angeles Times), The Divine Liturgy of St. John Chrysostom historical study but also ethnography Cappella Romana is a vocal chamber and The Divine Liturgy in English: The and performance. Formerly Assistant ensemble dedicated to combining passion Complete Service in Byzantine Chant. Professor of Music History at Arizona with scholarship in its exploration of State University’s School of Music, Dr. the musical traditions of the Christian In 2010 it became a participant in the research project “Icons of Sound: Lingas has also served as a lecturer and East and West, with emphasis on early advisor for the Institute of Orthodox and contemporary music. Founded in Aesthetics and Acoustics of , Istanbul,” a collaboration Christian Studies at the University of 1991, Cappella Romana’s name refers Cambridge. His awards include Fulbright to the medieval Greek concept of the between the Center for Computer Research in Music and Acoustics and and Onassis grants for musical studies Roman oikoumene (inhabited world), the Department of Art & Art History at with Lycourgos Angelopoulos, which embraced Rome and Western the British Academy’s Thank-Offering Europe, as well as the Stanford University, where the ensemble also performed in 2013 and returned this to Britain Fellowship, research leave of Constantinople (“New Rome”) and its supported by the Stavros Niarchos Slavic commonwealth. past November with the program Icons of Sound, with the acoustics of Hagia Foundation, and the St. Romanos the Flexible in size and configuration Sophia imprinted upon the performance Melodist medallion of the National according to the demands of the by Cappella Romana. Forum for Greek Orthodox Church repertory, Cappella Romana is based Musicians (USA). Having contributed in the Pacific Northwest of the United articles to The New Grove Dictionary of States of America, where it presents Alexander Lingas, music director Music and Musicians, and The Oxford annual concert series in Portland, & founder Handbook of Byzantine Studies, Dr. Lingas is now completing two monographs: Oregon, and Seattle, Washington. It Alexander Lingas, music director and a study of Sunday Matins in the Rite regularly tours in Europe and North founder of Cappella Romana, is a America, having appeared at venues of Hagia Sophia, and a historical Reader in Music at City University including the Metropolitan Museum introduction to Byzantine Chant for Yale London and a Fellow of the University of Art, Trinity Wall Street and Music University Press. of Oxford’s European Humanities Before 1800 in New York, the J. Paul Research Centre. He received his Getty Center in , St. Paul’s Cathedral in London, the Pontificio Istituto Orientale in Rome, the Sacred Music Festival of Patmos, the University of Oxford, Princeton University, and Yale University. Cappella Romana has released Mark Powell Alexander Lingas over twenty compact discs. Its latest Executive Director Music Director & Founder recordings are Cyprus: Between Greek East and Latin West (released November James J. Bartlett John Michael Boyer 2015), the large-scale Slavonic choral Patron Services Manager Associate Music Director work Passion Week by (1883–1946), a student and Kerry McCarthy Board of Directors 2016-2017 son-in-law of Rimsky-Korsakov and Librarian & teacher of Shostakovich, and Good Friday Programs editor His Eminence Metropolitan in Jerusalem: Medieval Byzantine Chant, +Gerasimos of the Greek Orthodox Metropolis all of which have received multiple of , Honorary Chairman of the Board rave critical reviews and the latter L. Sue Fischer, M.S., President two debuted in the top 10 Classical Nancy Retsinas, J.D., Vice President Recordings on Billboard. Diane Cherry, Secretary Other releases include Tikey Zes: Divine Melanie Downie Robinson, Treasurer Liturgy, Arctic Light: Finnish Orthodox Music, 620 SW Main St Ste 714 Constantine Kokenes, M.D. Mt. Sinai: Frontier of Byzantium, Epiphany: Portland OR 97205 , Ph.D. Medieval Byzantine Chant and Byzantium Telephone 503-236-8202 Stephanie Nonas, M.D. www.cappellaromana.org Martin Nugent 330–1453 (the official companion Email: [email protected] Keith Walters, Ph.D. CD to the Royal Academy of Arts Exhibition), Byzantium in Rome: Medieval 14 Cappella Romana’s 25th Anniversary Season Donors and Volunteers THANK YOU (continued from page 16) advanced scientific investigation reignites teachers’ passion for

scientific discovery. Hopefully, more students Mrs. Michaelscience as Warton a result of their teachers’ experience in theWesley Partners in and Merrilyn Lingren Volunteers and ushers KB Mercer Marjorie Wazeka Carol Ann Link Margaret Murer Rob Weltzien Jr Fr Prof Andrew Louth Mary Ellen Andre Jean Murray John and Joan Whittler White David Lucs Dee Bierschenk Kevin O’Connor Michael &During Stella the Partners Wilson, in Science in program, Paul Steve Bilow Anna Quinn-Smith memory ofpursuing Steve research and with Tasia their mentor, who is usuallyBarbara A Manildi Maria Boyer Nancy Retsinas Voreasmember of the research institution. After the first summer,Susan Martin Kristen Buhler Linda Rickert Sharon Maxey Gracie Campbell Michelle Ritchie with their mentors, partners Jerry Mayer Rebecca Clodfelter Judy Robertson Introit ($35+) on their progress. At these conferences, partners Anonymous (2) Steven Mempa Katie Clope Catherine Schiedler ChristineDuring Ambrose the two-year grant period, the Murdock TrustRod provides and Meg Merrick Trilby Coolidge Charles Shaw Often, the relationship Spyridon Antonopoulos James and Laurie Morgan Marilee Davies Allison SilverbergBart Hadder Sue Armitage and Robert Laurie Munro Bloch Beth Davis Greg Simmons Greene Stephen and Sandra Norcross Photini (Mel) Downie Robinson Wendy and Ross Simmons of scientific discovery Marylea Askelson Markdavin and Margaret and Roger Robinson Christine Liu and Justin Smith Judith M. Bezy and Anyo Obenza Renée Favand-See Jessica Stern , Tillamook, Oregon Domoto Elaine and David Osowski Laura Fay Angela Truby Athanasius and Nektaria Blalock Susan Piepke Paul Fischbach Catherine van der Salm Pirkko Borland Helen E. and Peter Ramatowski Sue Fischer Molly Weaver John Brazel Teri Rowan Mary Forst Ann Wetherell Marilyn Bruya Jason Sabino and Jenn Binkley- Susan Garber Anthony N. Buell Sabino Tim Halloran Thank you! Please call if the office Bryce Butler James Simpson Tarky Hart if you are interested in volunteer Chris and Eva Canellos Eleni Sofos Fran Head opportunities in both Portland and Glenn N. Chinn Zachary and Vasiliki Stoumbos David Hendrix Seattle. Marie Colasurdo, in honor of Valerie Ann Taylor Joyce Hengesbach Carol Beaumier Dr. and Mrs. Roger Torrey Andrea Hess Rev. and Mrs. David Cole Chrysanthe Voreas Don Isaacson William and Meropi Courogen Mr. Les V Vuylsteke Lila Isaacson Dennis and Noelle Cox Jessica and Norman Wakefield Wendy Jackson Mary Ann andMentors Gordon must be academic Dickey scientists or principalElaine Weeks Dorothy Jones investigators who hold an appointment in a natural science High school Dn. Innocentdepartment and Sandyat a college, university, or other qualifiedDon and Karen West Kristan Knapp research institution in Oregon, Washington, Idaho, Duchow-PressleyMontana or Alaska. The investigator also mustDavid have an Weuste and Emily Emily Lau Mary Egan active research program as evidenced by grants Gabehartand/or Lauren Le publications. His or her institution accepts responsibility Jon Garrowfor the administration of the award. Kathleen Worley Christy Lindell Sue Hays High school teachers should possess academic Michelle and Haynes Lund qualifications in appropriate disciplines, in most cases a Michael andbaccalaureate Rochelle degree Henniger or the equivalent in chemistry, Julia MacNeil Gregg Hill physics, or biology. Applicants must have a highYour school tax-deductible gifts help us Carol Manning science appointment and be active in classroom Don Hill teaching. continue our mission, giving you the Cynthia Markum Ronald L. and Lois HInes opportunity to hear exquisite vocal Lynn Matthews Irene J Holroyd programming. Kerry McCarthy

Patricia JohnsonOne of the main goals of PIS is to revitalize Partners’ Sue McDowell Mary Anne teachingJoyce and to help them appreciate the use of inquiry- Marie McKinsey based methods in the teaching of science. Beginning with Bruce M. andthe 2015-2016Connie academic Kelly year, the Murdock Charitable Trust will be partnering with the Van Andel Education Institute to implement the QPOE2 Community of Scientific Jill Tatum Practice Model. M.J. Murdock Charitable Trust As a Partner in Science, you can look forward to: A three- [email protected] day immersion experience in June, weekly summer online 360-694-8415 meetings with the group, mentoring from a QPOE www.murdock-trust.org 2 trained implementation coach, a one-day training at the regional conference in August, school year classroom visit by an implementation coach, and online professional development resources. Cappella Romana's 2016-17 FurtherConcert Impact A supplemental award of up to $7,000 is available by Seasonapplication is to second-year partners to purchase new technology, implement new ideas, or develop new supportedteaching in part programs by for their high school.

15 Cappella Romana’s 25th Anniversary Season Donors - THANK YOU

The Constantinople Beverly and Richard North Ausplund Tooze Family Patrick and Daleana Gilbride Society Dr. Charles and Ruth Foundation, in memory of Adrienne Gillespie Poindexter Mary Tooze Ann Glusker & Peter Hunsberger Taffy Gould ($10,000+) Mark T. and Brigid M. Catherine and Ruud van der Donald Groves Anonymous Kathleen Powell Salm Mia Hall Miller and Matthew Ronni Lacroute Dr. Olympia Tachopoulou Miller Edward & Cyndy Maletis Edward Tenny Antiphon ($250+) Monica Hayes & Bill Slater Leigh Ann Hieronymus and James F. and Marion L. The Wellworth Foundation - Anonymous Cathleen and Michael Amen Lefteris Gjinos Miller Foundation Nancy and David Thacher, Clifford and Theodora Argue David and Maryanne Holman Meyer Memorial Trust Trustees Sally Behel Rev. Carol and Tom Hull The M. J. Murdock Trust Mr. Steve and Dr. Eve Tibbs Cynthia Caraballo-Hunt and Joan Hyland Wendy Beth Oliver Keith Walters and Steve Hunt Cecily Johns Oregon Arts Commission Jonathan Tamez Mrs. Anna Counelis Lawrence Jordan Myron and Marva Dawn- Emily Karr The Oregon Cultural Trust Robert Saler Sandberg Judith Kelley The Regional Arts and Dr. and Mrs. Tikey Zes Kathryn Falkenstern & Joe Myrna Kostash Culture Council, including Ediger Thomas LaBarge support from the City of Trisagion ($500+) Dan Engbretson Suellen Lacey & V. Michael Portland and Multnomah Sue Armentrout Kathryn Falkenstern & Joe Powers Ediger Frank LaRocca County Katharine Babad, in memory Katherine FitzGibbon & Dan George & Elizabeth Lendaris of Shirley Babad Rasay Joan K. Liapes Alleluiarion ($5,000+) Bennett Battaile and Isidoros and Maria Garifalakis Georgia Liapes Anonymous Meenakshi Rao Paul Klemme and Sue Hale Ann and Alexander Lingas Carole Alexander Gene & Theresa Blahato Nicholas Kyrus Judy Lucas Richard M Mahon Steve Benting and Maria Boyer Chris and Krista Panoff Chris and Kristi Maletis Margaret Warton Paula and Bucky Buckwalter George and Diana Plumis Vakare and David Marshall Geoffrey & Edith Gowan Diane Cherry & Sean Ross Ritterman Charlie Martin Constantine Kokenes, MD Crandall Fr. Daniel and Tamara Skvir John B McFarland Romanos Odermatt Michael and Mari Lou Frances N. D. Stearns Kathryn McLaughlin St. Stephen’s Catholic Church Richard E Meade Work for Art, including Diamond Michael Weidemann Deborah Middleton contributions from more Juanita Doerksen and Harold Karin Brookes Woods and Simon Sarah and Richard Munro than 75 companies and Peters Woods James & Jeanette Munyon 2,000 employees Tom and Nancy Doulis Jane Oliver Photini Downie Robinson & Litany ($100+) James Orphanos Anonymous (2) Frances Ousley Prokeimenon ($1,000+) Roger Robinson Aaron and Maria Armstrong Santia and Demetri Susan and Phillip Anderson Sue Fischer Richard Baumann Papachristopoulos Drs. Mel Belding & David Frackelton Richard Berkey Stephen Phoutrides Kate Brostoff Gary and Christina Geist Linda Besant and Martha Linda Rickert The Frank and Margaret Drs. Grace Grant & Dennis Goetsch Daniel B Ritter Fr. Edmond Bliven Leslie Schockner Bitar Foundation Tierney Ava and Henry Brandis Betty Scholten Jeff and Allison Brooks Laura Graser Joyce & David Brewster Ann Richel Schuh Pete Cazacus Timothy & Karyn Halloran Kristen Buhler Gary Shaw Farrar Family Rev. Living John and Emilie John Kathryn Burlingham Leslie Simmons & Nik Walton Trust Maria Koumantaros Dianne Calkins Barbara and Ed Slaughter Drs. Stephen Campbell and Drs. Justin Smith & Christine Liu The Finlandia Foundation Robert Kyr, Ph.D. Cheryl Hanna John Soudas Doug and Marnie Frank Helen L. Lambros Judy Carlisle St Catherine Philoptochos Lynn Gibner Karen Marburger Tom and Irene Christy Rae Stephenson Google Matching Grants Frederick & Anne Matsen Angee and Dennis Cline Neal Stephenson & Ellen Deanna Ballou Jensen Martin Nugent Deborah and James Coonan Lackermann James Cowan Melissa Meacham Stewart John Lingas, MD and Cecilia Paul and Harry F. Rob and Nancy Downie Frederick Thompson Catherine J. Lingas Reinert Anne Draper Matti Totonchy, MD Matthew Miller, for Cappella Nancy & Jim Retsinas Alan and Barbara Ely Tjitske and Pieter Van der Romana and the healing M. Kathryn Thompson and Chris Engbretson Meulen power of music, in honor of William C. Scott Juanita Ewing Kaye van Valkenburg Laura Fay & John Holzwarth Stefanos Vertopoulos Isa Duenas Dr. George and Dr. Thalia WW & EM Fuller Janice Vlahos, in memory of Stephanie Nonas, M.D. Stamatoyannopoulos Lee Anne Furlong Panos Vlahos 16 Continued on page 15