Saturday, Oct 7 at 7:30pm
Trinity Parish Church
609 8th Ave
Seattle, WA 98104
Buy tickets here. $10-20
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Gabriel Jackson (b. 1962) - To Morning (2007)
Thomas Tallis (1505-1585) - Videte miraculum
Jackson - Ave Maria (2004)
John Tavener (1944-2013) - Magnificat and Nunc dimittis (1986)
William Cornysh (1465-1523) - Salve Regina
Jackson - Salve regina 2 (2004)
Jackson - Song (I gaze upon you) (1996)
This program fuses the old with the new, featuring Marian motets by English Renaissance masters Thomas Tallis and William Cornysh placed next to contemporary composers John Tavener and Gabriel Jackson.
Typically an all-English program would suggest an in-depth exploration of a very specific style—not this time. The composers may all have come from England, but their music draws inspiration from outside of Western music. Renaissance greats Tallis and Cornysh are exceptions to this, and their inclusion showcases the epitome of the English choral tradition, a kind of benchmark against which to measure their contemporaries.
|Thomas Tallis (1505-1585)|
|William Cornysh (1465-1523)|
William Cornysh (1465-1523), a true Renaissance man, was a composer, dramatist, actor, and poet. He is known for his contributions to the Eton Choirbook, a collection of English motets compiled between 1500-1505. The beautifully illuminated manuscript contains 93 of the most virtuosic, florid, and complex motets in all the Renaissance. Each motet is substantial, at least 15 minutes in duration, based on text dedicated to the Virgin Mary. The Salve Regina, a Marian antiphon, was one of the most popular texts for musical setting in Tudor England. Cornysh composed the motet for the men and choirboys who sang before the king. Cornysh’s setting for five voices is regarded as one of the best works from the Eton Choirbook, and it is what inspired Gabriel Jackson’s Salve regina 2.
|John Tavener (1944-2013)|
were commissioned by Stephen Cleobury and the Choir of King’s College, Cambridge, and was first performed in King’s College Chapel in 1986. Tavener borrows the use of a drone underneath a melody from Greek Orthodox music. In the Magnificat, an Eastern Orthodox hymn or “troparion” is inserted after each verse of the text, and each iteration of the melody is sung in richer scorings than the previous time, culminating in a sonorous, full-voiced refrain for the troparion. The Nunc dimittis is melodically simpler and mellow in comparison but enjoys the same colorful sound.
|Gabriel Jackson (b. 1962)|