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The Friends of Chamber Music | Encore! Encore!

t h e f r i e n d s o f c h a m b e r m u s i c e n d o w m e n t e a r l y m u s i c s e r i e s

PÄRT Seven Antiphons 1. O Weisheit 2. O Adonai 3. O Sproß aus Isais Wurzel 4. O Schlüssel Davids 5. O Morgenstern 6. O König aller Völker 7. O Immanuel

PÄRT Magnificat

SHEPPARD Sacris solemniis

TALLIS Missa Puer natus Gloria

INTERMISSION

TALLIS Missa Puer natus Sanctus

SHEPPARD Gaude, gaude, gaude

PÄRT I am the true vine

TALLIS Missa Puer natus Agnus Dei

Tallis Scholars8 pm Friday, December 11 Cathedral of the Immaculate Conception

This concert is underwritten, in part, by the Neighborhood Tourist Development Fund

The Early Music Series is underwritten, in part, by The Friends of Chamber Music Endowment Funds

Additional support is also provided by:

Amy Haworth, sopranoEmma Walshe, soprano Emily Atkinson, soprano

Molly Alexander, soprano Caroline Trevor. alto

Patrick Craig, alto Guy Cutting, tenor

Christopher Watson, tenor Tim Scott Whiteley, bass

Simon Whiteley, bass

PETER PHILLIPS, DIRECTOR

2015-16: The 40th Season 61

p r o g r a m n o t e s

Just as the chant Puer natus est nobis underpins Thomas Tallis's monumental setting of the mass, proclaiming 'Unto us a boy is born!', so, too, the theme of Christ's birth courses through all of tonight's music. We move through the wonder and mystery of the Annunciation, the expectant hush of Advent, and the joy of Christmas, whilst looking ahead to Christ's sacrifice and the institution of the 'bread of angels' in the Eucharist. Contemporary Estonian composer Arvo Pärt (b. 1930) has become widely celebrated for his choral music, at once spare and richly textured. Its twin focus on the sonority of the triad and the use of silence finds its most perfect outlet in texts for the season of Advent. The Seven Antiphons comprise a setting of what are often referred to as the 'Great "O" Antiphons'. Each piece begins with 'O...' and heralds a particular virtue of Christ as prophesied by Isaiah. In the Catholic tradition, these are sung on either side of the Magnificat at Vespers during the last seven days of Advent. Pärt treats each antiphon as a sort of choral miniature, allowing each its particular character. O Weisheit (O Wisdom) invokes 'the order of all things' in generous, spacious major chords. O Adonai (O Adonai) uses the lower voices only, treating them almost as drones. Voices emerge out of this dark texture to speak of the mystery of the burning bush. O Spross (Oh Scion of Isaiah’s Line) acts as a counterpart to O Adonai, using only the upper voices. It asks that Christ 'delay no longer'...and immediately the central antiphon, O Schlüssel Davids (O David’s Key), arrives in a blaze of A minor. It is followed by O Morgenstern (O Morning Star), whose bitonality – two of the voices arpeggiate in E major, while the other two move melodically in E minor – creates a sense of uncertainty. O König aller Völker (O King of All Nations) builds urgency, as the monotone recitation in the alto part grows ever more insistent. O Immanuel (O Emmanuel) begins quietly, with the upper part climbing an A major chord with each new phrase. The other parts spiral up slowly through the circle of fifths, syncopated against the soprano line, growing in intensity, until finally all come into alignment in the spacious key of A major which brings us full circle with the beginning of O Weisheit.

The Magnificat follows O Emmanuel – just as it would in a service of Vespers on the last day of Advent. Mary's hymn is her response to the Angel Gabriel's foretelling of her destiny, to bear the Son of God. The Magnificat speaks of acceptance and humility in the face of God's word. Pärt's setting manages to find both majesty and mystery in these words, even while remaining always within F minor. His characteristic tintinnabuli style of melodic voices sounding against and within triadic harmony is shown here to haunting effect.

Photo of Arvo Pärt by Kaupo Kikkes


p r o g r a m n o t e s

Alhough composed over four hundred years before Pärt, a similar concern with the interaction of melody with harmony can be found in the music of English composer John Sheppard (1515-1558). In Sacris solemniis he sets a hymn of St. Thomas Aquinas for the feast of Corpus Christi, which celebrates Christ's coming in the form of the bread and wine of the Eucharist. This allows Sheppard to use one of his favourite techniques: constructing an elaborate network of polyphonic voices around a pre-existing chant melody, sounded in long notes. The piece alternates verses of the hymn, sung unadorned, with passages of rich, spacious polyphony built on the same tune. The chant is in the uppermost voice, though Sheppard treats it flexibly, dividing it into two and fragmenting the tune into small units. This essentially renders all the more effective those moments where the voices come together for emphasis in verse 4, at the words 'dicens accipite' – where Christ instructs his disciples to receive the cup of his blood. In the England of 1554, Christmas was an occasion of special celebration. Queen Mary had recently married Philip of Spain, in a union designed to strengthen England's newly-restored bond to Roman Catholicism after the Protestant dalliances of her brother's short reign. In addition, Mary appeared to be pregnant. Accordingly, there is a sense of jubilance in Thomas Tallis's (1505-1585) grand, seven-voice mass, which was likely first performed at this time. It is based on the plainsong ‘Puer natus est nobis' – 'A boy is born to us, and a son is given to us whose government shall be upon his shoulders'. Even though the text of the chant is not used, the allusion encoded into the DNA of the music would have been picked up by those who heard it. It was an expression of hope, that the throne of Catholic England might be granted the security of a male heir.

The unusual original scoring of the work – seven voices at low pitch – can probably be attributed to the presence of Philip's Capilla Flamenca, or 'Flemish Chapel Choir', who would have accompanied their King to England. It is conceivable that the mass was envisaged for joint performance by the two royal choirs together. Philip's choir also contained composers of considerable repute, including Philippe de Monte. It's not inconceivable that Tallis saw an occasion to demonstrate the virtues of English music to his continental rival. Tallis rose to the challenge, demonstrating virtuosic skill in the assembly of the mass. The plainchant is slowed down, and runs in long notes in the tenor voice. It's a technique we have also heard in John Sheppard's music – though by the 1550s, the religious upheavals of the previous decades had led to the practice falling out of favour. Tallis juxtaposes this archaic technique with more modern features which were associated with 'continental' composition, such as close imitation between the other voices. This allows him to maintain musical interest whilst the chant is deployed in such long notes (in the Agnus Dei, one such note sounds for a nearly unbroken stretch of thirty-one bars!). An unusual, even experimental work, the mass must surely have impressed those who heard it in its skilful composition and fervour. Sheppard’s Gaude, gaude, gaude Maria is a text appointed for Candlemas, the Feast of the Presentation, which celebrates Christ being taken to the temple by his parents in accordance with Jewish law. As is common among Marian devotion, the responsory focuses on Mary's chastity, celebrating her 'inviolate' nature as befitting the mother of God. Once again, we find in Sheppard's setting the plainsong sounded in long notes – this time in the tenor – whilst a polyphonic tapestry is weaved above and below it.

In his setting of one of the most important passages from the Gospel of John, I am the true vine, Arvo Pärt eschews micro-expression of the text, preferring to present it in a beautiful frame. The central metaphor of the text – Christ as the vine in which all must abide – is expressed in the form of the piece itself. Like much of the composer's work, it follows a rigid compositional process, while managing to avoid drawing too much attention to its mathematical qualities. In this case, a succession of notes is repeated six times. The voices pass these notes between them, building up chords according to a strict pattern – 1 voice, then 2, 3, 3, 2, 1. The effect is that the text is always in motion, passing from voice to voice, yet with each voice inhabiting – or 'abiding in' – the same pitches. As a result, the piece has the qualities of stasis and timelessness which characterise the composer's finest music, and reflect that quality of faith which former Archbishop of Canterbury Rowan Williams has described as 'silent waiting on the truth, pure sitting and breathing in the presence of the question mark'.

Program Notes by James M. Potter ©2015

Found a word or phrase that you are unfamiliar with? Check out our extensive Glossary beginning on page 118 to discover the meaning.


The unusual original scoring of the work – seven voices at low pitch – can probably be attributed to the presence of Philip's Capilla Flamenca, or 'Flemish Chapel Choir', who would have accompanied their King to England. It is conceivable that the mass was envisaged for joint performance by the two royal choirs together. Philip's choir also contained composers of considerable repute, including Philippe de Monte. It's not inconceivable that Tallis saw an occasion to demonstrate the virtues of English music to his continental rival. Tallis rose to the challenge, demonstrating virtuosic skill in the assembly of the mass. The plainchant is slowed down, and runs in long notes in the tenor voice. It's a technique we have also heard in John Sheppard's music – though by the 1550s, the religious upheavals of the previous decades had led to the practice falling out of favour. Tallis juxtaposes this archaic technique with more modern features which were associated with 'continental' composition, such as close imitation between the other voices. This allows him to maintain musical interest whilst the chant is deployed in such long notes (in the Agnus Dei, one such note sounds for a nearly unbroken stretch of thirty-one bars!). An unusual, even experimental work, the mass must surely have impressed those who heard it in its skilful composition and fervour. Sheppard’s Gaude, gaude, gaude Maria is a text appointed for Candlemas, the Feast of the Presentation, which celebrates Christ being taken to the temple by his parents in accordance with Jewish law. As is common among Marian devotion, the responsory focuses on Mary's chastity, celebrating her 'inviolate' nature as befitting the mother of God. Once again, we find in Sheppard's setting the plainsong sounded in long notes – this time in the tenor – whilst a polyphonic tapestry is weaved above and below it.

In his setting of one of the most important passages from the Gospel of John, I am the true vine, Arvo Pärt eschews micro-expression of the text, preferring to present it in a beautiful frame. The central metaphor of the text – Christ as the vine in which all must abide – is expressed in the form of the piece itself. Like much of the composer's work, it follows a rigid compositional process, while managing to avoid drawing too much attention to its mathematical qualities. In this case, a succession of notes is repeated six times. The voices pass these notes between them, building up chords according to a strict pattern – 1 voice, then 2, 3, 3, 2, 1. The effect is that the text is always in motion, passing from voice to voice, yet with each voice inhabiting – or 'abiding in' – the same pitches. As a result, the piece has the qualities of stasis and timelessness which characterise the composer's finest music, and reflect that quality of faith which former Archbishop of Canterbury Rowan Williams has described as 'silent waiting on the truth, pure sitting and breathing in the presence of the question mark'.

Program Notes by James M. Potter ©2015

Found a word or phrase that you are unfamiliar with? Check out our extensive Glossary beginning on page 118 to discover the meaning.

b i o g r a p h y

Founded in 1973 by their director, Peter Phillips, the Tallis Scholars have established themselves as the leading exponents of Renaissance

sacred music throughout the world. Peter Phillips has worked with the ensemble to create, through good tuning and blend, the purity and clarity of sound which he feels best serve the Renaissance repertoire, allowing every detail of the musical lines to be heard. It is the resulting beauty of sound for which The Tallis Scholars have become so widely renowned. The Tallis Scholars perform in both sacred and secular venues, giving around 70 concerts each year across the globe. The Tallis Scholars' career highlights have included a tour of China in 1999, and the privilege of performing in the Sistine Chapel in 1994 to mark the final stage of the complete restoration of the Michelangelo frescoes. The ensemble has commissioned many contemporary composers during their history. Recordings by The Tallis Scholars have attracted many awards throughout the world. In 1987 their recording of Josquin's “Missa La sol fa re mi” and “Missa Pange lingua” received Gramophone magazine’s Record of the Year award, the first early music recording ever to win this coveted award. In 1989 French magazine Diapason gave two of its critical Diapason d'Or de l'Année awards for the recordings of a mass and motets by Lassus and for Josquin's two masses based on the chanson “L'Homme armé.” Their recording of Palestrina's “Missa Assumpta est Maria” and “Missa Sicut lilium” was awarded Gramophone’s Early Music Award in 1991; they received the 1994 Early Music Award for their recording of music by Cipriano de Rore; and the same distinction again in 2005 for their disc of music by John Browne. Released on the 30th anniversary of Gimell Records in March 2010, The Tallis Scholars’ recording of Victoria’s “Lamentations of Jeremiah” received critical acclaim, and to further celebrate the anniversary, the group released three 4-CD box sets of “The Best of The Tallis Scholars,” one for each decade.

For more information visit www.thetallisscholars.co.uk

Tallis Scholars appear courtesy of Alliance Artist Management and Jon Aaron Artists

Tallis Scholars


Seven Antiphons Arvo PärtO WisdomO Wisdom, proceeding from the mouth of the Most High, Thou encirclest the world from one end to the other, Thou orderest all things with might and mercy. O come to us and reveal the way of wisdom and of understanding, O Wisdom.

O Adonai O Adonai, the Lord and leader of the house of Israel, In the burning bush hast Thou appeared unto Moses and given him the law upon the mountain. O come and deliver us with Thy powerful arm, O come and deliver us with thy powerful arm, Adonai.

O Scion of Isaiah's Line O Scion of Isaiah's Line, predestined to be a sign for the nations, the rulers of the earth fall silent before thee, the Nations cry unto Thee: O come and save us, bestir Thyself, delay no longer.

O David's Key O David's key, sceptre of the house of Israel, that which Thou openest, none can secure, that which Thou securest, no power may open; O come and unlock the prison of darkness and the fetters of death.

O Morning Star O morning star, incandescence of pure light, radiant sun of righteousness, O come and enlighten those who sit there in darkness and in the shadow of death.

O King of All Nations O King of all nations, their expectation and desire, keystone, which holds all things together, O come and save mankind, whom Thou hast formed from clay!

O Emmanuel O Emmanuel, our king and counsellor, Thou hope and saviour of the nations, O come, make haste to help us, Thou our Lord and our God.

t e x t s a n d t r a n s l at i o n s

Seven Antiphons Arvo PärtO WeisheitO Weisheit, hervorgegangen aus dem Munde des Höchsten, die Welt umspannst du von einem Ende zu andern, in Kraft und Milde ordnest du alles: O komm und offenbare uns den Weg der Weisheit und der Einsicht, O Weisheit.

O Adonai O Adonai, der Herr und Führer des Hauses Israel, im flammender Dornbusch bist du dem Moses erschienen, und hast ihm auf dem Berg das Gesetz gegeben. O komm und befreie uns mit deinem straken Arm.

O Sproß aus Isais Wurzel O Sproß aus Isais Wurzel, gesetzt zum Zeichen für die Völker, vor dir verstummen die Herrscher der Erde, dich flehen an die Völker: o komm und errette uns, erhebe dich, säume nicht länger.

O Schlüssel Davids O Schlüssel Davids, Zepter des Hauses Israel, du öffnest, und niemand kann schließen, du schließt, und keine Macht vermag zu öffnen: o komm und öffne den Kerker der Finsternis und die Fessel des Todes.

O Morgenstern O Morgenstern, Glanz des unversehrten Lichtes: Der Gerechtigkeit strahlende Sonne: o komm und erleuchte, die da sitzen in Finsternis, und im Schatten des Todes.

O König aller Völker O König aller Völker, ihre Erwartung und Sehnsucht, Schlußstein, der den Bau zusammenhält, o komm und errette den Menschen, den du aus Erde gebildet!

O Immanuel O Immanuel, unser König und Lehrer, du Hoffnung und Heiland der Völker: o komm, eile und schaffe uns Hilfe, du unser Herr und unser Gott.



Magnificat Arvo PärtMy soul doth magnify the Lord and my spirit hath rejoiced in God my Saviour. For He hath regarded the lowliness of his handmaiden. For behold, from henceforth all generations shall call me blessed. For he that is mighty hath magnified me, and holy is his Name. And His mercy is on them that fear him throughout all generations. He hath showed strength with His arm, He hath scattered the proud in the imagination of their hearts. He hath put down the mighty from their seat, and hath exalted the humble and meek. He hath filled the hungry with good things, and the rich He hath sent empty away. He remembering His mercy hath holpen his servant Israel. as He promised to our forefathers, Abraham and his seed, forever. My soul doth magnify the Lord.

Sacris solemniis John SheppardLet this solemn feast be kept with joy, and let praises sound from every heart; Let all that is old give way, let all be new in heart and hand and voice.We recall that last supper, when Christ, as we believe, gave bread and meat to His brothers, according to the rites laid down by the ancient fathers.And when the ritual meal of the lamb was done, the body of the Lord was given to the disciples, whole to all as whole to each, By His own hands, we here avow.To frail man he gave His body to eat, to wretched man His blood to drink, saying, take this cup I give to you; drink you all from it.This He instituted the sacrifice. Whose celebration He willed to be performed. By priests alone, for whom it is fitting that they should partake, and give to others.The bread of angels becomes man’s food; the heavenly bread ends all symbols. O wonder, that the Lord should be food for the poor man, the slave and the lowly.We pray you, Godhead three and one. As you come to us, and we recall your grace, lead us in your ways, by which we come to that light wherein you dwell. Amen.


Magnificat Arvo PärtMagnificat anima mea Dominum. Et exultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillae suae; ecce enim ex hoc beatam me dicent omnes generationes. Quia fecit mihi magna qui potens est : et sanctum nomens eius. Et misericordia eius a progenie in progenie timentibus eum. Fecit potentiam in brachio suo: dispersit superbos mente cordis sui. Deposuit potentes de sede; et exaltavit humiles. Esurientes implevit bonis: et divites dimisit inanes. Suscepit Israel, puerum suum, recordatus misericordiae suae. Sicit locutus est ad patres nostros, Abraham et semini eius in saecula. Magnificat anima mea Dominum.

Sacris solemniis John SheppardSacris solemniis iuncta sint gaudia, et ex praecordiis sonent praeconia; recedant vetera, nova sint omnia, corda voces et opera.Noctis recolitur cena novissima, qua Christus creditor agnum et azyma dedisse fratribus, iuxta legitima priscis indulta patribus.Post agnum typicum expletis epulis, corpus dominicum datum discipulis, sic totum omnibus quod totum singulis, eius fatemur manibus.Dedit fragilibus Corporis ferculum, dedit et tristibus Sanguinis poculum dicens: accipite quod trado vasculum; omnes ex eo bibite.Sic sacrificium istud instituit cuius officium committi voluit solis presbyteris, quibus sic congruit ut sumant et dent ceteris.Panis angelicus fit panis hominum, dat panis caelicus figures terminum. O res mirabilis, manducat Dominum pauper, servus et humilis.Te trina Deitas unique poscimus, sicut nos visitas, sic te recolimus, Per tuas semitas duc nos quo tendimus ad lucem quam inhabitas. Amen.




Missa Puer natus (Gloria) Thomas TallisGlory be to God on high, and on earth peace, goodwill towards men. We praise thee; we bless thee; we worship thee; we glorify thee. We give thanks to thee for thy great glory, O Lord God, heavenly king, God the Father almighty.

O Lord, the only-begotten Son, Jesus Christ; O Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us; Thou that takest away the sins of the world, receive our prayer; Thou that sittest at the right hand of God the Father, have mercy upon us.For Thou only art Holy; Thou only art the Lord; Thou only, O Christ, with the Holy Ghost, art Most High in the glory of God the Father. Amen.

Missa Puer natus (Sanctus & Benedictus) Thomas TallisHoly, Holy, Holy, Lord God of hosts. Heaven and earth are full of thy glory. Glory be to thee, O Lord most high.Blessed is he that cometh in name of the Lord. Hosanna in the highest.

Gaude, gaude, gaude John SheppardRejoice Mary, you alone have done away with all rival beliefs because you trusted the word of the angel Gabriel. While a virgin, you bore God as a man and after the birth you remained a perfect virgin. We know that the angel Gabriel said that you were divine. We believe that your womb was impregnated by the Holy Spirit. May the unhappy Jew be ashamed that he said that Jesus was born from the seed of Joseph. While a virgin you bore God as a man and after the birth you, Mary, were a virgin pure, inviolate and chaste. You experienced the shining gate of heaven. O dearest kind mother of Christ, accept our prayers of praise and grant that our souls and bodies may be pure, as our hearts and voices sing your praise. Grant to us through your sweet-sounding prayers that we may enjoy perpetual life. O kind lady, who alone has remained a virgin. Glory be to the Father and to the Son and to the Holy Spirit, for even after the birth you remained a virgin.

Missa Puer natus (Gloria) Thomas TallisGloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam, Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe; Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram; qui sedes ad dexteram Patris, miserere nobis.

Quoniam tu solus Sanctus; tu solus Dominus; tu solus altissimus, Jesu Christe, cum Sancto Spiritu, in gloria Dei Patris. Amen.

Missa Puer natus (Sanctus & Benedictus) Thomas TallisSanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Gaude, gaude, gaude John SheppardGaude, gaude, gaude Maria virgo cunctas haereses sola interemisti quae Gabrielis archangeli dictis credidisti. Dum virgo Deum et hominem genuisti et post partum virgo inviolata permansisti. Gabrielem archangelum scimus divinitus te esse affatum. Uterum tuum de spiritu sancto credimus impregnatum. Erubescat Judaeus infelix qui dicit Christum ex Joseph semine esse natum. Dum virgo Deum et hominem genuisti et post partum virgo inviolata integra et casta es Maria. Quae es effecta fulgida coeli porta. O mater alma Christi carissima suscipe laudum pia preconia nostra ut pura pectora sint et corpora quae nunc flagitant devota voxque et corda. Tu da per precata dulcissona nobis perpetua frui vita. O benigna quae sola inviolata permansisti. Gloria Patri et Filio et Spiritui Sancto et post partum virgo inviolata permansisti.

The Beauty of the Vineyard by Lanjee Chee



Missa Puer natus (Agnus dei) Thomas TallisO Lamb of God, who takes away the sins of the world, have mercy on us. O Lamb of God, who takes away the sins of the world, have mercy on us. O Lamb of God, who takes away the sins of the world, grant us thy peace.

Missa Puer natus (Agnus dei) Thomas TallisAgnus Dei, qui tollis peccata mundi, miserere nobis Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

I am the true vine Arvo PärtI am the true vine, and my Father is the husbandman. Every branch in me that beareth not fruit He taketh away: and every branch that beareth fruit, He purgeth it, that it may bring forth more fruit. Now ye are clean through the word which I have spoken unto you. Abide in me, and I in you. As the branch cannot bear fruit of itself, except it abide in the vine; no more can ye, except ye abide in me. I am the vine, ye are the branches: He that abideth in me, and I in him, the same bringeth forth much fruit: for without me ye can do nothing. If a man abide not in me, he is cast forth as a branch, and is withered; and men gather them, and cast them into the fire, and they are burned. If ye abide in me, and my words abide in you, ye shall ask what ye will, and it shall be done unto you. Herein is my Father glorified, that ye bear much fruit; so shall ye be my disciples. As the Father hath loved me, so have I loved you: continue ye in my love. If ye keep my commandments, ye shall abide in my love; even as I have kept my Father's commandments, and abide in His love. These things have I spoken unto you, that my joy might remain in you, and that your joy might be full. This is my commandment, that ye love one another, as I have loved you. Greater love hath no man than this, that a man lay down his life for his friends. Ye are my friends, if ye do whatsoever I command you.

The Beauty of the Vineyard by Lanjee Chee

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