Repertoire and touring projects
“…an uncanny ability to increase emotional intensity so subtly that you don’t realise it’s happening. Then, suddenly, pow! The music’s blazing; so are you…”
The Times
For any enquiry about The Tallis Scholars, the most up-to-date information is available from their general manager at Hazard Chase. In these pages you will find examples of programmes currently available and information on some of The Tallis Scholars' commissions, for which territory premières are still available. The group has a huge repertoire so it's not possible to include an exhaustive list here.
Collaboration
The group is keen to collaborate with promoters and other ensembles in designing programmes and outreach specifically for their audiences; Peter is an engaging presenter and thrives on discussing ideas and liaising with media. If you have a programme idea which is not listed this does not mean it won't be of interest.
‘Metamorphosis’
Palestrina: Magnificat for Double Choir (Latin)
Gibbons: Magnificat (English - 'short')
Pärt: Magnificat (Latin)
Sheppard: Pater noster (English)
Tavener: Pater noster (English)
Stravinsky: Pater noster (Church Slavonic)
Palestrina: Pater noster for Double Choir (Latin)
Interval
Chant: Ave Maria (Latin)
Mouton: Ave Maria (Latin)
Pärt: Ave Maria (Church Slavonic)
Stravinsky: Ave Maria (Church Slavonic)
Josquin: Ave Maria (Latin)
Pärt: Nunc dimittis (Latin)
Gibbons: Nunc dimittis (English - 'short')
Palestrina: Nunc dimittis for Double Choir (in Latin)
For the theme of metamorphosis Peter has chosen to show how composers from three separate traditions interpreted the same texts: Catholic, Anglican and Russian Orthodox. The Catholic and Anglican composers are from the renaissance period, the orthodox are modern. It is interesting to hear how the sacred mood is similar between these composers, yet it is achieved by quite different stylistic means. This different similarity is fascinating, not least because these texts are central to every Christian of every period.
‘Bach to your roots’
Hassler: Missa Octava (a 8)
Schutz: Deutsches Magnificat
Interval
H. Praetorius: Magnificat II
Hassler: Ad dominum cum tribularer
Schutz: Die mit Tränen säen
Schutz: Ich bin eine rufende Stimme
Schutz: Selig sind die Toten
J. S. Bach: Komm, Jesu, komm
This programme is designed to trace the history of German polyphony from Hans Leo Hassler through Praetorius and Schutz to its last exponant, J.S. Bach. It also celebrates the 400th anniversary of death of Hassler in 1612 with a particularly splendid double choir mass rarely performed. With Bach’s unaccompanied motets and especially Komm, Jesu komm one reaches the culmination of the renaissance craft of polyphonic composition in Germany.
‘Love is better than wine’
Vivanco: Magnificat Octavi toni
Lassus: Osculetur me
Lassus: Missa Osculetur me
Interval
Pärt: I am the true vine
Pärt: Tribute to Caesar
Tallis: Sancte deus
Lassus: Timor et tremor
H. Praetorius: Magnificat III
Framed by two brilliant double choir settings of the Magnificat - one Spanish, the other German - this programme features the unforgettable setting of Osculetur me by Lassus. Taken from the Song of Songs, this fragrant and at times erotic text inspired one of Lassus's greatest motets, which in turn inspired the double choir mass of the same title. The Flemish master is at his most persuasive in this music, deploying the eight voices with consummate skill and variation.
The second half of the programme continues The Tallis Scholars' exploration of the contemporary composer Arvo Pärt with two of his finest motets, both to biblical texts. Pärt's particular world of intense simplicity and calm is often said to resemble the mood of some polyphony, and perhaps Tallis' Sancte deus shows this better than many. On the other hand Lassus' Timor et tremor takes one firmly back to the late renaissance with its daring experiments in chromatic harmony and disjointed rhythms. With Praetorius's third tone Magnificat the programme ends in a blaze of proto-baroque excitement.
‘The Field of the Cloth of Gold’
Jean Mouton: Nesciens mater (sung as an introit and from a distance if the building allows)
William Cornysh: Ave Maria
Mouton: Ave Maria
Mouton: Quaeramus cum pastoribus
Browne: Salve regina
Interval
Mouton: “Kyrie” and “Agnus dei” from the Missa Dictes moy toutes vos pensées
Mouton: Salva nos
Cornysh: Ah Robin
Cornysh: Woefully arrayed
Cornysh: Magnificat
Between the 7th and 24th June 1520, in fields near Calais, there took place one of the most spectacular political summit meetings of all time. Henry VIII of England and Francis I of France met to seal a treaty of friendship between their two warring countries, with no expense spared. Everything was carefully prepared to make the surface seem smooth, yet everything had an undercurrent of the most intense rivalry, from the negotiations of high state, to the wrestling, the food, the jousting - and the music.
The two Chapels Royal were of course in attendance, and of course they tried to out-sing each other. As luck would have it the two choirs were led by two exceptional composers of the period, composers to whom the Tallis Scholars have devoted individual recordings: Jean Mouton on the French side, and William Cornysh on the English.
Unfortunately The Tallis Scholars cannot now, by themselves, recreate the seething atmosphere of the original meeting - nor do we know exactly what was sung then - but the group can give an idea of the splendour of the occasion. At least we know that the music on both sides would have been the best each country had to offer - and perhaps it is good to be able to enjoy it now without the threat of a wrong note or some dissonant harmony sparking off an international incident...
‘Love is better than mulled wine’
Christmas 2012
Vivanco: Magnificat Octavi Toni
Lassus: Osculetur me
Lassus: Missa Osculetur me
Interval
Part: Triodion
Part: The woman with the alabaster box
H. Praetorius: Magnificat V (longer version) (17)
H. Praetorius: Joseph lieber (interpolated)
H. Praetorius: In dulci jubilo (interpolated)
Framed by two brilliant double choir settings of the Magnificat - one Spanish, the other German - this programme features the unforgettable setting of Osculetur me by Lassus. Taken from the Song of Songs, this fragrant and at times erotic text inspired one of Lassus's greatest motets, which in turn inspired the double choir mass of the same title. The Flemish master is at his most persuasive in this music, deploying the eight voices with consummate skill and variation.
The second half of the programme continues The Tallis Scholars' exploration of the contemporary composer Arvo Pärt with one of his finest motets, preceded by the sequence known as the Triodion. Pärt's particular world of intense simplicity and calm is often said to resemble the mood of renaissance polyphony, and it is for this reason that The Tallis Scholars have begun to programme the two side by side. The evening ends with another extended sequence, this time of a strongly seasonal nature. Hieronymous Praetorius published his fifth tone Magnificat with two famous Christmas carols, In dulci jubilo and Joseph lieber, interleaved between its verses. The group shall perform them as he intended, bringing the concert to an end in a blaze of proto-baroque glory.
