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Tallis Scholars voted numero uno by R&B audiences!

Tallis Scholars

The Spanish High Renaissance

Saturday, October 18, 2008 8:00 pm Calvary Episcopal Church

Vocal ensemble

The early music scene in Spain was not all castanets and roses.  The crystal-clear voices of the Tallis Scholars illuminate the rich musical heritage of late 16th-century Spain.  Sacred choral works of Victoria, Lobo, and Guerrero will inspire and transport you to new heights.

The Tallis Scholars

Sopranos
Janet Coxwell
Amy Haworth
Amanda Morrison
Cecilia Osmond


Altos
Patrick Craig
Caroline Trevor


Tenors
Mark Dobell
George Pooley


Basses
Donald Greig
Robert Macdonald




PROGRAM


The Spanish High Renaissance

Francisco Guerrero

(1528-1599)

Maria Magdalene

Alonso Lobo

(c. 1555-1617)

Missa Maria Magdalene

 

~ Interval ~

 

 

Tomas Luis de Victoria

(c. 1549-1611)

Dum complerentur

Tomas Luis de Victoria

(c. 1549-1611)

3 Lamentations for Holy Saturday

Francisco Guerrero

(1528-1599)

Ave Virgo sanctissima

Francisco Guerrero

(1528-1599)

Regina caeli

 

 

 

In North America, The Tallis Scholars are managed by:                                                                                     International Arts Foundation, Inc.

121 West 27th Street, Suite 703

New York ,New York 10001-6262

info@internationalartsfoundation.org

 

                                                                                        

  Please visit their newly designed website at www. gimell.com


PROGRAM NOTES

This evening’s concert by the Tallis Scholars gives us an insight into a remarkable musical partnership, a true mentor-student relationship that existed between Francisco Guerrero and Alonso Lobo. Their music is contrasted with that of Tomás Luis de Victoria who knew but most likely never met these two men. These three composers did more to establish the enduring characteristics of late-Renaissance Spanish polyphony than any of their contemporaries.

Guerrero was the mentor. Born in Seville in 1528, he received most of his training as a boy at Seville Cathedral, although spent time in Toledo under the tutelage of Cristóbal de Morales. His relationship with Seville would last his entire life. His only job outside the city was secured at the age of 17 at Jaén Cathedral but his relationship with the authorities in Jaén can’t have been a healthy one; he was given leave to visit Seville only a little over a year later, in 1549, and never returned. Guerrero’s life in Seville was much more stable and he rose from being a singer in the choir to associate maestro de capilla and finally took over as maestro in 1574. He remained in this post until his death in 1599.

Alonso Lobo, the student, was born in Osuna, 55 miles east of Seville. In 1566, at age 11, Alonso began singing as a chorister at Seville, under the direct care and tutelage of Guerrero. Lobo returned to Osuna to complete his university education and remained there for some time but returned to Sevillle in 1591 to take on the job Guerrero himself had when he was a young man, acting as Guerrero’s assistant. Lobo was less stable in Seville, however, and spent 11 years as maestro at Toledo Cathedral, again following in his teacher’s footsteps, before returning to Seville in 1604. He spent the final 13 years of his life in his mentor’s old job.

Thomás Luis de Victoria is a name much more familiar to modern audiences and he enjoyed a healthy reputation in his own day as well. Unlike Guerrero and Lobo, he spent more than 20 years in Rome and then was in the private employ of the Dowager Empress Maria, daughter of Charles V, in Madrid. His reputation now both as a composer of great genius but also as one who codified and perfected a style vastly overshadows both Guerrero and Lobo, perhaps slightly disproportionately.

The music chosen for this evening spans a range of liturgical functions but can be grouped into three categories. The first half, consisting of Guerrero’s motet Maria Magdalene and the mass based on it written by his pupil, centers on the Easter story, the motet being a setting of the passage from St. Mark’s gospel describing the moment when the women discover the empty tomb. The joy of the post-resurrection story continues with Victoria Dum complerentur, a Pentecost motet. Three of Victoria’s great Lamentation settings follow, in an echo of the great musical and liturgical solemnity of Holy Week which precedes Easter Day, and two Marian antiphon settings used throughout the year in the continual praise of the Virgin round out the concert.

Guerrero’s motet Marie Magdalene is a joyous work, bursting with Eastertide energy. This sort of work is a mini-genre in itself, as many composers wrote in a similar jubilant style for texts relating to the resurrection. The accentuation and repetition of the world ‘Alleluia’ at the end of each section is a hallmark of this style. Much of the work merely narrates the story but at ‘Qui dicit illis: Jesum quem quaeritis’ (Who said to them: Jesus, whom you seek...) the texture becomes first homophonic and then elongated note values bring out the word ‘Jesum’ and new b-flat sonorities are introduced to set the word ‘crucifixum’ (who was crucified). This is contrasted with a strong return to the predominant sonority of c-major for ‘surrexit, non est hic’ (he is risen, he is not here) making this a particularly effective passage. Lobo, in his mass based on this motet, uses the same technique at the end of the Gloria to set the words ‘Jesu Christe, Cum Sancto Spiriu...’ and in the Credo to draw attention to the words ‘ex Maria Virgine’ and later to set ‘mortuorum’ before a triumphant return to ‘Et vitam venturi saeculi’.

Victoria Dum complerentur is another buoyant, joyful work. Like Guerrero’s Maria Magdalene, florid passages set the many repeated ‘Alleluia’ passages in this text with inventiveness and exuberance. These are blended with passages of homophony that act in places both as pictorial representations of the meaning of the text (‘in unum discipuli’) but also to highlight certain passages, making the text audible (‘et subito’). What is perhaps most striking about this piece is its similarity with Palestrina’s famous setting of the same text, published only 3 years earlier. Victoria’s setting was a very early work, written while he was living in Rome most likely under the influence of Palestrina, and is perhaps one of the very best examples of the profound influence of the Roman style on Victoria’s work.

It was in writing music for Holy Week that Victoria displayed his unique, mature, and very personal voice. Holy Week is perhaps one of the busiest times liturgically of the church year. The triduum in particular – Maundy Thursday, Good Friday, and Holy Saturday – are marked with a special liturgical event known as Tenebrae which occurs at Matins during those three days. Tenebrae consists of readings from the Lamentations of Jeremiah and associated responsories, antiphons, and psalms that express the anguish and pain of Passiontide. Many composers wrote polyphonic settings of both the responsories and lessons for Tenebrae and Victoria’s extensive work in the genre is well known and loved. The selections on tonight’s programme are settings of the first three readings from the book of Lamentations designated to be sung on Holy Saturday. Victoria published these in a dedicated Holy Week volume in 1585, just two years before he returned to Madrid from Rome. Having now matured as a composer, these works contain his characteristic emotional intensity, brought about through profound simplicity and clarity.

To compliment the intense feeling of these Victoria Lamentations settings, we only need look to Guerrero’s most famous piece today, Ave virgo sanctissima. The strict canon at the unison in the top two voices is barely noticeable because of its subtlety and how it interacts with the other three voices and the recognisable 4-note opening of the plainsong hymn ‘Salve Regina’ is introduced and builds to a spectacular climax in one of the finest moments in this entire repertory.

The final piece on tonight’s programme, Guerrero’s 8-voice Regina caeli, is a fantastic example of thorough 8-part counterpoint, making use of luxurious scalar passages in the inner voices and subtly varying vocal textures to produce a work of sublime beauty, flowing energy, and, in places, power and exuberance. While some of the canonic compositional techniques mastered to such a high level by his student are hinted at by Guerrero in this piece, he proves that it is not just mathematical complexity that makes Renaissance polyphony magical. The creativity of this master, well acknowledged by his best pupil and in evidence tonight, whether working within strict self-imposed rules or more freely allowing melodies to flow, cannot be questioned. Guerrero, Lobo, and Victoria surely deserve to stand as equals among the great late-Renaissance polyphonists.

Program notes by Greg Skidmore ©2008




TEXTS AND TRANSLATIONS

Francisco Guerrero

 

Maria Magdalene et altera Maria emerunt aromata ut venientes ungerent Jesum. Et valde mane una sabbatorum veniunt ad monumentum orto iam sole. Et introeuntes in monumentum viderunt iuvenem sedentem in dextris coopertum stola candida et obstupuerunt. Jesum quem quaeritis Nazarenum, crucifixum: surrexit, non est hic: ecce locus ubi posuerunt eum.  Alleluia.

Maria Magdalene

 

Mary Magdalene and the other Mary had bought spices that they might come and anoint him. And very early on the first day of the week, they came unto the sepulchre, at the rising of the sun. Alleluia. And they entered into the sepulchre and saw a young man sitting on the right side, clothed in a long white garment; and they were affrighted. And he said unto them: ye seek Jesus of Nazareth, crucified: he is risen; he is not here: behold the place where they laid him. Alleluia.

 

 

Alonso Lobo

 

Kyrie eleison.
Christie eleison.
Kyrie eleison.

 

Gloria 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.

 

Credo in unum Deum, Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula.Deum de Deo; Lumen de Lumine; Deum verum de Deo vero; genitum, non factum; consubstantialem Patri; per quem omnia facta sunt.

 

 

Qui propter nos homines, et propter nostram salutem descendit de caelis, et incarnatus est de Spiritu Sancto, ex Maria Virgine, et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato; passus et sepultus est.            

 

 

Et resurrexit tertia die secundum Scripturas; et ascendit in caelum, sedet ad dexteram Patris; et iterum venturus est cum gloria judicare vivos et mortuos; cuius regni non erit finis.                       

            

            

Et in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoratur et conglorificatur; qui locutus est per prophetas;

 

 

Et unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.

 

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.

 

Benedictus qui venit in nomine Domini. Hosanna in excelsis.      

 

Agnus Dei, qui tollis peccata
mundi, miserere nobis
Agnus Dei, qui tollis peccata
mundi, miserere nobis.
Agnus Dei, qui tollis peccata
mundi, dona nobis pacem.

Missa Maria Magdalene

 

Lord, have mercy.
Christ, have mercy.
Lord, have mercy.

 

Glory be to God on high, and in 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, Jesu 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.

 

I believe in one God, the Father almighty, Maker of heaven and earth, and of all things visible and invisible. And in one Lord, Jesus Christ, the only-begotten Son of God, begotten of his Father before all worlds. God of God; Light of Light; very God of very God; begotten, not made: being of one substance with the Father; by whom all things were made.

 

Who for us men, and for our salvation, came down from heaven, and was incarnate by the Holy Ghost of the Virgin Mary, and was made man. And was crucified also for us under Pontius Pilate; he suffered death and was buried.  

 

And the third day he rose again according to the Scriptures; and ascended into heaven, and is seated at the right hand of the Father; and he shall come again with glory to judge both the quick and the dead; whose kingdom shall have no end.

 

And I believe in the Holy Ghost, the Lord, and giver of life, who proceeds from the Father and the Son; who with the Father and the Son is worshipped and glorified, who spoke by the prophets.

 

And I believe in one holy, catholic and apostolic Church. I acknowledge one baptism for the remission of sins. And I look for the resurrection of the dead, and the life of the world to come.  Amen.

 

Holy, 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.

 

O Lamb of God, that takes away the sins of the world, have mercy on us.
O Lamb of God, that takes away the sins of the world, have mercy on us.
O Lamb of God, that takes away the sins of the world, grant us thy peace.

 

 

 

Tomas Luis de Victoria

 

Dum complerentur dies Pentecostes, erant omnes pariter dicentes alleluia. Et subito factus est sonus de caelo, alleluia, tamquam spiritus vehementis, et replevit totam domum, alleluia.

Dum ergo essent in unum discipuli congregati propter metum judaeorum, sonus repente de caelo venit super eos, tamquam spiritus vehementis, et replevit totam domum, alleluia.

 

Dum complerentur

 

While the days of Pentecost were being fulfilled, they were all with one accord saying alleluia. And suddenly there came a voice from heaven, alleluia, as of a rushing mighty wind, and it filled the whole house. Alleluia.

While therefore the disciples were gathered together secretly for fear of the Jews, suddenly there came a voice from heaven, like a rushing mighty wind, and it filled the whole house.  Alleluia.

 

Tomas Luis de Victoria

 

Lamentation I

 

Heth.
 
Misericordiae Domini
quia non sumus consumpti:
quia non defecerunt miserationes eius.
 
Teth.
 
Bonum est vivo, cum portaverit iugum
ab adolescentia sua.
 
Ierusalem, Ierusalem,
convertere ad Dominum Deum tuum.

Lamentation II

 

Aleph.
 
Quomodo obscuratum est aureum,
mutatus est color optimus,
dispersi sunt lapides sanctuarii
in capite ominum platearum?
 
Beth.
 
Filii Sion inclyti,
et amicti auro primo:
quomodo reputati sunt in vasa testea,
opus manuum figuli?
 
Ierusalem, Ierusalem,
convertere ad Dominum Deum tuum.

Lamentation III

 

Incipit Oratio
Hieremiae Prophetae
 
Recordare Domine
qui acciderit nobis:
intuere, et respice opprobium nostrum.
Haereditas nostra versa est ad alienos:
domus nostrae ad extraneos.
Pupilli facti sumus absque patre,
matres nostrae quasi viduae.
Aquam nostram pecunia bibimus:
ligna nostra pretio comparavimus.
Cervibus nostri minabamur,
lassis non dabatur requies.
 
Ierusalem, Ierusalem,
convertere ad Dominum Deum tuum.

3 Lamentations for Holy Saturday

 

Lamentation I

 

Heth.
 
By the mercies of the Lord
we are not consumed,
because his kindnesses have not failed.
 
Teth.
 
It is good for a man that he hath borne the yoke from his youth.
 
Jerusalem, Jerusalem,
return to the Lord thy God.

 

Lamentation II

 

Aleph.
 
How the gold is dimmed,
the finest colour is changed,
the stones of the sanctuary are poured out at the head of every street.
 
Beth.
 
The nobles sons of Zion
that were clothed in the finest gold:
how they are steemed as earthen pitchers, the work of the hands of the potter!
 
Jerusalem, Jerusalem,
return to the Lord thy God.

 

Lamentation III

 

Here beginneth the Oration
of the Prophet Jeremiah.
 
Remember, O Lord,
what is come upon us:
consider, and behold our reproach.
Our inheritance is turned to strangers,
our houses to aliens.
We are orphans and fatherless,
our mothers are as widows.
We have drunken our water for money,
our wood is sold unto us.
Our necks are under persecution:
we labour and have no rest.
 
Jerusalem, Jerusalem,
return to the Lord thy God.

 

 

 

Francisco Guerrero

 

Ave Virgo sanctissima,
Dei mater piissima,
maris stella clarissima.
Salve semper gloriosa,
margarita pretiosa,
sicut lilium formosa,
nitens, olens velut rosa.. 

 

Ave Virgo sanctissima

 

Hail, holy Virgin,
most blessed mother of God,
bright star of the sea.
Hail, ever glorious,
precious pearl,
beautiful as the lily,
shining and giving perfume like the rose.
.

 

 

 

Francisco Guerrero

 

Regina caeli laetare, alleluia,
Quia quem meruisti portare, alleluia
Resurrexit sicut dixit, alleluia.
Ora pro nobis Deum, alleluia.                 

 

Regina caeli

 

Queen of heaven, rejoice, alleluia,

For he whom thou wast worthy to bear, alleluia,

Hath risen as he said, alleluia.

Pray for us to God, alleluia.

 




PETER PHILLIPS

PETER PHILLIPS has made an impressive if unusual reputation for himself in dedicating his life's work to the research and performance of Renaissance polyphony. Having won a scholarship to Oxford in 1972, Peter Phillips studied Renaissance music with David Wulstan and Denis Arnold, and gained experience in conducting small vocal ensembles, already experimenting with the rarer parts of the repertoire. He founded the Tallis Scholars in 1973, with whom he has now appeared in over 1500 concerts and made over 50 discs, encouraging interest in polyphony all over the world. As a result of his work, through concerts, recordings, magazine awards, publishing editions of the music and writing articles, Renaissance music has come to be accepted for the first time as part of the mainstream classical repertoire.

Apart from the Tallis Scholars, Peter Phillips continues to work with other specialist ensembles. Amongst others he has appeared with the Collegium Vocale of Ghent, broadcasting live on French radio from the Saintes festival; the Tudor Choir of Seattle; and Musix of Budapest. Peter also works extensively with the BBC Singers with whom he gave a Promenade concert, in collaboration with the Tallis Scholars, from the Royal Albert Hall in July 2007, which was broadcast live and attended by over six thousand people. He gives numerous master-classes and choral workshops every year around the world and is also Artistic Director of the Tallis Scholars Summer School - UK and USA based choral courses dedicated to exploring the heritage of renaissance choral music, and developing a performance style appropriate to it as pioneered by The Tallis Scholars. January 2007 marked the first Summer School in Sydney, Australia. Peter has recently been appointed Director of Music at Merton College, Oxford, where he will set up a new Choral Foundation in 2008.

In addition to conducting, Peter Phillips is well-known as a writer. For many years he has contributed a regular music column (as well as one on cricket) to The Spectator. In 1995 he became the owner and Publisher of The Musical Times, the oldest continuously published music journal in the world. His first book, English Sacred Music 1549-1649, was published by Gimell in 1991, while his second, What We Really Do, an unblinking account of what touring is like, alongside insights about the make-up and performance of polyphony, was published in 2003.

Peter Phillips has made numerous television and radio broadcasts. Besides those featuring The Tallis Scholars (which include live broadcasts from the 2001, 2003 and 2007 Proms, the Aldeburgh Festival, the Bath Festival and the Cheltenham Festival), he has appeared several times on the BBC's Music Weekly and on the BBC World Service, on Kaleidoscope (BBC Radio 4), on Today (BBC Radio 4), National Public Radio in the US and on German, French and Canadian radio. In 2002 The Tallis Scholars made a special television documentary for the BBC about the life and times of William Byrd.

In 2005, Peter Phillips was made a Chevalier de l'Ordre des Arts et des Lettres by the French Minister of Culture, a decoration intended to honor individuals who have contributed to the understanding of French culture in the world. In 2006, his song-cycle for contralto 'Four Rondeaux by Charles d'Orleans' was premiered in the Guggenheim, New York, to critical acclaim.


www.peterphillips.info   www.tallisscholars.co.uk   www.tsss.co.uk

201 West 54th Street, #1C
New York NY 10019
T: 212-581-5197 F: 212-581-4029 E: info@franksalomon.com www.franksalomon.com




THE TALLIS SCHOLARS
Director: Peter Phillips

‘Anyone familiar with Renaissance music knows that this group has attained superstardom among its ilk’ (Boston Globe)
‘The rock stars of Renaissance vocal music’ (New York Times)


The Tallis Scholars were founded in 1973 by their director, Peter Phillips. Through their recordings and concert performances, they 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. In April 1994 the group enjoyed the privilege of performing in the Sistine Chapel to mark the final stage of the complete restoration of the Michelangelo frescoes, broadcast simultaneously on Italian and Japanese television. In 1998 they celebrated their 25th Anniversary with a special concert in London's National Gallery, premiering a John Tavener work written for the group and narrated by Sting. A further performance was given with Sir Paul McCartney in New York in 2000.

Tallis Scholars’ performances are recurring favorites on many series throughout the US. Their 2007-08 season includes returns to UC Berkeley/Cal Performances, The Da Camera Society in Los Angeles, Chamber Music Northwest in Portland, Oregon, The Miller Theater in New York, University Musical Society in Ann Arbor, Michigan, The Boston Early Music Festival, Middlebury College, University of Maryland, University of Chicago and the Kansas City Friends of Chamber Music, among other prestigious presenting organizations.

In recent years, they have performed in Germany, Spain, Italy, the Concertgebouw in the Netherlands, the Cite de la Musique in Paris, throughout North America, Japan, China, Australia, Singapore, and at many UK venues including Symphony Hall, Bridgewater Hall, Wigmore Hall, London's South Bank Centre and the Royal Albert Hall for the BBC Proms, where they appeared in July 2007 before an audience of more than five thousand people. 2007 also marked their debut at the Edinburgh Festival as well as a return to Moscow. Concerts in 2006 included their debuts in Iceland, at R avinia and Tanglewood Festivals, alongside their second appearance at the Mostly Mozart Festival in New York.

The group continues to commission living composers and gave the world premieres of two works written for 40 voices, I have thee by the hand, O Man by Robin Walker and When the wet wind sings by Errollyn Wallen. In January 2006, they premiered Sir John Tavener's Tribute to Cavafy (the full realization of In the Month of Athyr, the work he wrote for their 25th anniversary), narrated by Vanessa Redgrave.

Much of The Tallis Scholars reputation for their pioneering work has come from their association with Gimell Records, set up by Peter Phillips and Steve Smith in 1981 solely to record the Scholars. In February 1994 Peter Phillips and the Tallis Scholars performed on the 400th anniversary of the death of Palestrina in the Basilica of Santa Maria Maggiore, Rome, where Palestrina had trained as a choirboy and later worked as Maestro di Cappella. The concerts were recorded by Gimell and are available on both CD and DVD.

Two of their most recent discs, featuring the music of John Browne and Francisco Guerrero, have received exceptional reviews, the former winning the Early Music nomination at the annual GRAMOPHONE Awards in 2005. It was also nominated for a Grammy. Their latest disc presents the last word in embellishing Allegri's Miserere.

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 magazines Record of the Year award, still the only recording of early music ever to win this coveted award. In 1989, the French magazine DIAPASON gave two of its coveted Diapason d'Or de lAnnée awards for recordings of a mass and motets by Lassus and of 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. These accolades are continuing evidence of the exceptionally high standard maintained by the Tallis Scholars, and of their dedication to one of the great repertoires in Western classical music. The group's second DVD/Video was released in 2003; made in collaboration with BBC television and entitled Playing Elizabeth's Tune, it focuses on the life and works of William Byrd and features performances of the sacred music of Elizabeth I's favorite composer, filmed in the beautiful surroundings of Tewkesbury Abbey. This has recently received a unique five-star listing in the French music magazine, DIAPASON.


www.thetallisscholars.co.uk   www.peterphillips.info   www.gimell.com


Frank Salomon Associates
201 West 54th Street, #1C
New York NY 10019

T: 212-581-5197 F: 212-581-4029 E: info@franksalomon.com www.franksalomon.com

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