I

THE

TALLIS SCHOLARS—

ALLEGRI’S MISERERE & RENAISSANCE MASTERPIECES

3II

The Tallis ScholarsPeter Phillips — directorJanet Coxwell, Amy Haworth, Amy Wood & Ruth Provost — sopranoPatrick Craig & Caroline Trevor — altoMark Dobell & Simon Wall — tenorRob Macdonald & Tim Whiteley — bass

Tuesday 29 October 2013 1.30pm & 7.30pm Elisabeth Murdoch Hall Presented by Melbourne Recital Centre

Pre-concert talk by John Weretka 12.45pm Salon & 6.45pm Elisabeth Murdoch Hall

Inspiring and deeply moving — The Telegraph (UK)

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EVENING PROGRAMThomas Tallis (b. Kent, United Kingdom, 1505 – d. Greenwich, United Kingdom, 1585) Loquebantur variis linguis

Giovanni Pierluigi da Palestrina (b. Palestrina, Italy, 1525 – d. Rome, Italy, 1594) Missa Papae Marcelli

Interval: 20 minutes

Gregorio Allegri (b. Rome, Italy, 1582 – d. Rome, Italy, 1652) Miserere

Eric Whitacre (b. Nevada, United States, 1970) Sainte-Chapelle

Arvo Pärt (b. Paide, Estonia, 1935) Nunc Dimittis

Thomas Tallis (b. Kent, United Kingdom, 1505 – d. Greenwich, United Kingdom, 1585) Miserere

William Byrd (b. Lincoln, United Kingdom, 1540 – d. Stondon Massey, United Kingdom, 1623) Tribue, Domine

MATINEE PROGRAMOrlandus Lassus (b. Mons, Belgium, 1532 – d. Munich, Germany, 1594) Omnes de Saba

Hans Leo Hassler (b. Nuremberg, Germany, 1564 – d. Frankfurt, Germany, 1612) Missa Octava (a8)

Heinrich Schütz (b. Bad Köstritz, Germany, 1585 – d. Dresden, Germany, 1672) Deutsches Magnificat

Interval: 20 minutes

Gregorio Allegri (b. Rome, Italy, 1582 – d. Rome, Italy, 1652) Miserere

Eric Whitacre (b. Nevada, United States, 1970) Sainte-Chapelle

Arvo Pärt (b. Paide, Estonia, 1935) Nunc Dimittis

Thomas Tallis (b. Kent, United Kingdom, 1505 – d. Greenwich, United Kingdom, 1585) Miserere

William Byrd (b. Lincoln, United Kingdom, 1540 – d. Stondon Massey, United Kingdom, 1623) Tribue, Domine

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ABOUT THE MUSIC – MATINEE PROGRAMMusic for double choir has become so synonymous with 16th-century Venice that it’s easy to forget that the longest flourishing of this style – possibly even its invention – took place in Germany.

Whether or not it was in Munich and the works of Orlandus Lassus that the Gabrielis first encountered its effects, polychoral music came to define German textures and techniques for over a century. Both apprentices and rivals to their Italian counterparts, composers such as Hieronymus Praetorius, Schütz, Hassler and Scheidt fostered a tradition whose influence would extend all the way to the Baroque motets of J.S. Bach.

Together with the younger Schütz, Hans Leo Hassler (1564-1612) studied with Gabrieli in Venice, cementing the relationship between Italian and German musical traditions by bringing Gabrieli’s traditions back home and integrating them into the vernacular style of church music. Less sensitive in his word-setting than Praetorius, Hassler’s proto-Baroque motets tend to place a declamatory emphasis upon text while establishing (and, sometimes exhaustingly, maintaining) a single musical mood.

His Missa Octava – set, as the title implies, for eight voices in classic double-choir arrangement– is typical of composer’s more conservative writing. Anyone hoping for emotive or evocative word-painting will be disappointed, but those satisfied with accomplished textural effects will enjoy Hassler’s athletic use of his forces. Unusually it is the Credo that offers perhaps the most striking material, with the two choirs batting the text to and fro with spectacular rhythmic impetus, and offering up some appealing motivic ideas for each discrete textual section.

Described by Joshua Rifkin as ‘…the first [German composer] of international stature’, Heinrich Schütz (1585-1672) more than any other composer yoked the traditions of Venice and Protestant Germany together. His last work, the Deutsches Magnificat, is a throwback to his earliest Italian-influenced style. The double choirs of equal voices treat the familiar Magnificat text with the textures of the Italian cori spezzati but the expressive immediacy is pure Schütz – one eye always to description and drama. Here the madrigalian vividness is bound up with the fluid, shifting rhythms and time signatures, with hemiolas adding an additional urgency to this song of praise. From the insistent percussive joy of ‘freuet sich Gottes, meines Heilandes’, this is one of Schütz’s most potent celebrations of faith.

Of the many settings of Psalm 51 it is Gregorio Allegri’s (1582-1652) that casts the longest shadow. Said to date from 1638, the Miserere was the papal choir’s greatest musical triumph, its status and mystique heightened out of all proportion by a papal ban preventing any copy from leaving the Sistine Chapel. Composed in traditional fauxbourdon style, it alternates its Holy Week Psalm text between a full SSATB choir, a solo SSAB group, and a third ensemble of unison male voices. While all three vocal groups sing what is essentially a harmonised psalm chant, the music of the solo quartet is embellished with melodic ornaments, including the famous top C in the treble part – a 19th century addition only adopted as standard as late as the 1930s.

Eric Whitacre (*1970) says of his new piece – ‘I was thrilled and honoured when Peter Phillips approached me with an invitation to write a piece in celebration of 40 years of one of the Tallis Scholars. At around the time of the invitation I visited Paris and was captivated by its sheer beauty, and particularly Sainte-Chapelle, the 13th century 'Holy' chapel. Some 6,458 square feet of tall stained glass windows lead relentlessly to an intricate rose window within this mesmerising, Gothic edifice. I turned to my long-time friend, collaborator, poet and historian, Charles Anthony Silvestri to work on the text for the piece, and he crafted the story of an innocent young girl, hearing angels in the stained glass gently singing the Sanctus text.’

The music of contemporary Estonian composer Arvo Pärt (*1935) is an exercise in aural simplicity. Derived, mongrel-like, from his studies of Gregorian chant, Renaissance polyphony and Russian Orthodox music, Pärt’s signature technique – a reverberant choral homophony he terms ‘tintinnabuli’ – places his voices in a constantly shifting yet strangely static harmonic relationship. The Nunc Dimittis sees Pärt’s voices deployed in flexible units, sustaining by turns a rocking dialogue between upper voices over chanted mens-voice pedal notes, and latterly a denser chorale-like homophony, collapsing ultimately back into the familiar waves of echoing sound for the Gloria.

The Miserere formed as much a part of the Elizabethan musical tradition in England as the liturgy, and it became common practice for composers to use its texts as the basis for canonic settings – settings specifically designed to showcase their technical skills and polyphonic mastery. Both Tallis’ Miserere Nostri and Byrd’s Miserere Mihi fall into this category, and appeared alongside one another in the Cantiones Sacrae of 1575 – the first volume of music ever to be published in England.

Though short and deceptively lyrical, Tallis’ seven-part Miserere Nostri is a double canon of incredibly lightly-worn complexity. The single tenor part provides a freely composed cantus firmus around which the other voices spin their polyphony. Most obvious to the ear is the close canon at the unison between the two soprano parts, but the most interesting writing is found in the lower four parts, who follow the Alto I theme at increasingly elaborate canonic removes from the original.

Also published in Byrd and Tallis’s Cantiones Sacrae, Tribue Domine has been described as ‘the most ambitious composition written by Byrd in his early years’. It sees the young composer harking back to the outmoded genre of the votive antiphon, eager to prove his mastery. Divided into three sections – Tribue Domine/Te deprecor/Gloria Patri – the work is unified by shared motivic material. A gamut of technical processes (both advanced and rather more naïve), the work juxtaposes sections of homophony, polyphony (from two to six voices) and antiphonal sections, all deployed in the service of the lengthy text – a heartfelt plea for faith to shore up mortal weakness.

©Alexandra Coghlan 2013

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ABOUT THE MUSIC – EVENING PROGRAM‘…the end of all our exploring will be to arrive where we started and know the place for the first time.’ So writes T.S. Eliot in his Four Quartets, and so it is with tonight’s concert. A program of cycles and circles, of revisions and reinventions, this evening’s performance finds history repeating in works from the Renaissance and the present day. Setting the music of Palestrina against Pärt, Byrd against Whitacre, exposes the common musical fabric of two ages, exploring the long shadow cast by the polyphonic masters and the values of clarity, expression and drama they share with today’s choral composers.

We open with music from the Tallis Scholars’ namesake, Thomas Tallis (1505-1585) – colleague, collaborator and possibly teacher of the younger William Byrd (1540-1623). With a career spanning the reigns of Henry VIII to Elizabeth I, it is through Tallis’ music that we can trace most clearly the changing liturgical and stylistic conventions of the Tudor Monarchs. The Latin texts used by both of tonight’s early English works reflect the essential contradiction of the age; under not only Mary, but also Elizabeth and the latter years of Henry VIII, the Latin Rite and Latin-texted music quietly persisted – an important focus for Catholic Tallis and the staunchly recusant Byrd.

Few motets capture the ecstatic urgency of Pentecost as vividly as Tallis’ responsory Loquebantur variis linguis. The work may well have been intended for use in the royal chapel of the Catholic Queen Mary, and musically reflects the scale of such festal occasions as well perhaps as the vivid conviction of Tallis’ own faith. The seven-part texture (grounded by the slower-moving plainsong in the tenor) delights in its chattering complexity – a joyous musical Babel, dominated by the pealing imitation of the two soprano parts and coloured by the exuberant false-relations in its harmony. The motet adheres strictly to liturgical form, involving a complex series of repeats each prefaced by a section of chanted plainsong. ‘The apostles spoke in different tongues – alleluia!’ Tallis’ punchy series of imitative entries pronounce with almost trumpet-like clarity the energy of their Pentecostal text.

A whole musical mythology has grown up around Palestrina’s (1525-1594) most famous work, the Missa Papae Marcelli. (Hans Pfizner’s 1917 opera Palestrina offers just one deliciously saccharine example.) Rivalled only by Allegri’s Miserere for sheer ubiquity, it is the work traditionally credited with preserving the fate of polyphony from the draconian reforms of the Council of Trent, when a quest for intelligible text threatened a return to simpler homophonic or even plainsong settings. The scoring of the Mass – SATTBB – gives it a distinctive depth of tone, while maintaining the papal-pleasing simplicity and clarity with just two upper voices. The second Agnus Dei however sees a return to Palestrina’s early contrapuntal exuberance (we have already heard the all-important text once by this point) sustaining a complex canon between three voices, and adopting an entirely new upper-voice dominated scoring.

Eric Whitacre (*1970) says of his new piece – ‘I was thrilled and honoured when Peter Phillips approached me with an invitation to write a piece in celebration of 40 years of one of the Tallis Scholars. At around the time of the invitation I visited Paris and was captivated by its sheer beauty, and particularly Sainte-Chapelle, the 13th century 'Holy' chapel. Some 6,458 square feet of tall stained glass windows lead relentlessly to an intricate rose window within this mesmerising, Gothic edifice. I turned to my long-time friend, collaborator, poet and historian,

Charles Anthony Silvestri to work on the text for the piece, and he crafted the story of an innocent young girl, hearing angels in the stained glass gently singing the Sanctus text.‘

Of the many settings of Psalm 51 it is Gregorio Allegri’s (1582-1652) that casts the longest shadow. Said to date from 1638, the Miserere was the papal choir’s greatest musical triumph, its status and mystique heightened out of all proportion by a papal ban preventing any copy from leaving the Sistine Chapel. Composed in traditional fauxbourdon style, it alternates its Holy Week psalm text between a full SSATB choir, a solo SSAB group, and a third ensemble of unison male voices. While all three vocal groups sing what is essentially a harmonised psalm chant, the music of the solo quartet is embellished with melodic ornaments, including the famous top C in the treble part – a 19th century addition only adopted as standard as late as the 1930s.

The music of contemporary Estonian composer Arvo Pärt (*1935) is an exercise in aural simplicity. Derived, mongrel-like, from his studies of Gregorian chant, renaissance polyphony and Russian Orthodox music, Pärt’s signature technique – a reverberant choral homophony he terms ‘tintinnabuli’ – places his voices in a constantly shifting yet strangely static harmonic relationship. The Nunc Dimittis sees Pärt’s voices deployed in flexible units, sustaining by turns a rocking dialogue between upper voices over chanted mens-voice pedal notes, and latterly a denser chorale-like homophony, collapsing ultimately back into the familiar waves of echoing sound for the Gloria.

The Miserere formed as much a part of the Elizabethan musical tradition in England as the liturgy, and it became common practice for composers to use its texts as the basis for canonic settings – settings specifically designed to showcase their technical skills and polyphonic mastery. Both Tallis’ Miserere Nostri and Byrd’s Miserere Mihi fall into this category, and appeared alongside one another in the Cantiones Sacrae of 1575 – the first volume of music ever to be published in England.

Though short and deceptively lyrical, Tallis’ seven-part Miserere Nostri is a double canon of incredibly lightly-worn complexity. The single tenor part provides a freely composed cantus firmus around which the other voices spin their polyphony. Most obvious to the ear is the close canon at the unison between the two soprano parts, but the most interesting writing is found in the lower four parts, who follow the Alto I theme at increasingly elaborate canonic removes from the original.

Also published in Byrd and Tallis’s Cantiones Sacrae, Tribue Domine has been described as ‘The most ambitious composition written by Byrd in his early years’. It sees the young composer harking back to the outmoded genre of the votive antiphon, eager to prove his mastery. Divided into three sections – Tribue Domine/Te deprecor/Gloria Patri – the work is unified by shared motivic material. A gamut of technical processes (both advanced and rather more naïve), the work juxtaposes sections of homophony, polyphony (from two to six voices) and antiphonal sections, all deployed in the service of the lengthy text – a heartfelt plea for faith to shore up mortal weakness.

©Alexandra Coghlan 2013

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ABOUT THE PERFORMERSPeter Phillips, director

‘The 12 voices of the Tallis Scholars were ideally focused and blended, and Peter Phillips allowed them to trace long arcs of intensification and resolution. Inspiring and deeply moving.’

The Telegraph, August 2011 following a performance of Victoria’s Requiem at the BBC Proms

'The restrained decorations particularly benefited from one of Phillips’ special skills: 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, October 2011 on The Tallis Scholars’ opening performance of the 2011/12 Choral at Cadogan Series

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 almost 2000 concerts and made nearly 60 discs, encouraging interest in polyphony all over the world. As a result of his work, through concerts, recordings, magazine awards and 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. He has appeared with the Collegium Vocale of Ghent and the Netherlands Chamber Choir, and is currently working with the Choeur de Chambre de Namur, Intrada of Moscow, Musica Reservata of Barcelona and the Tudor Choir of Seattle. 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. He gives numerous master classes and choral workshops every year around the world – amongst other places in Rimini (Italy), Evora (Portugal) and Barcelona (Spain) – and is also Artistic Director of the Tallis Scholars Summer Schools: annual choral courses based in Uppingham (UK), Seattle (USA) and Sydney (Australia) dedicated to exploring the heritage of Renaissance choral music, and developing a performance style appropriate to it as pioneered by The Tallis Scholars.

In addition to conducting, Peter Phillips is well-known as a writer. For over 30 years he has contributed a regular music column (as well as one, more briefly, 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, a personalised account of what touring is like, alongside insights about the make-up and performance of polyphony, was published in 2003 and a revised edition has just been released.

Peter Phillips has made numerous television and radio broadcasts. Besides those featuring The Tallis Scholars (which include live broadcasts from the 2001, 2003, 2007, 2008, 2011 & 2013 Proms, the 2007 Edinburgh Festival, the Aldeburgh Festival and the Bath 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, where he has enjoyed deploying his love of languages. In 1990 ITV’s The South Bank Show featured Peter’s ‘personal odyssey’ with the Tallis Scholars; while in 2002 a special television documentary was made for the BBC about the life and times of William Byrd.

Peter has recently been appointed a Reed Rubin Director of Music and Bodley Fellow at Merton College, Oxford, where the new choral foundation he helped to establish began singing services in October 2008. They gave their first live broadcast on BBC Radio Three’s Choral Evensong in October 2011. 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 honour individuals who have contributed to the understanding of French culture in the world.

The Tallis Scholars

‘…The rock stars of Renaissance vocal music.…’

The 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, usually giving around 70 concerts each year across the globe. In 2013 the group celebrates their 40th anniversary with commissions from Gabriel Jackson and Eric Whitacre, extensive touring and special CD releases. They started the year with a spectacular performance in St Paul’s Cathedral, London to an audience of over 2000 people. During the 13/14 season the group will tour the USA twice, Australia, and make their debut in New Zealand – as well as visiting festivals and venues across the UK and Europe. They will continue their association with the Choral at Cadogan series, of which Peter Phillips is Artistic Director, giving two performances in the Hall.

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The Tallis Scholars' career highlights have included a tour of China in 1999, including two concerts in Beijing; and the privilege of performing in the Sistine Chapel in April 1994 to mark the final stage of the complete restoration of the Michelangelo frescoes, broadcast on Italian and Japanese television. The ensemble have commissioned many contemporary composers during their history: in 1998 they celebrated their 25th anniversary with a special concert in London's National Gallery, premiering a Sir 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. The Tallis Scholars are broadcast regularly on radio (including performances from the BBC Proms at the Royal Albert Hall in 2007, 2008 & 2011) and have also been featured on the acclaimed ITV programme The South Bank Show.

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 1980 solely to record the group. 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.

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 recording of early music ever to win the coveted award. In 1989 the French magazine Diapason awarded the ensemble two 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. In November 2012 their recording of Josquin's Missa De beata virgine and Missa Ave maris stella received a Diapason d’Or de l’Année and in their 40th anniversary year they are welcomed into the Gramophone ‘Hall of Fame’ by public vote.

These accolades and achievements 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. For the latest opportunities to hear The Tallis Scholars in concert, or for more information on how to purchase CDs or DVDs of the group, please visit their website at thetallisscholars.co.uk

TEXT & TRANSALTIONS

Omnes de Saba (Lassus) — matinee program only

Omnes de Saba venient,aurum et thus deferentes,Et laudem Domino annuntiantes.Alleluia.Reges Tharsis et insulae munera offerunt.Reges Arabum et Saba dona adducent.Alleluia.

All they from Sheba shall come, bringing gold and incense, and proclaiming the praises of the Lord. Alleluia. The kings of Tarshish and the islands will offer tribute;the kings of Arabia and Saba will bring gifts to the Lord God. Alleluia.

Missa Octava (a 8) (Hassler) — matinee program only

KyrieKyrie eleison. Christe eleison. Kyrie eleison.

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

GloriaGloria 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.

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.

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CredoCredo 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.

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.

BenedictusBenedictus qui venit in nomine Domini. Hosanna in excelsis.

Blessed is he that cometh in name of the Lord. Hosanna in the highest.

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

Holy, Holy, Holy, Lord God of hosts. Heaven and earth are full of thy glory. Glory be to thee, O Lord most high.

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

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.

Deutsches Magnificat (Schütz) — matinee program only

Meine Seele erhebt den Herren, und mein Geist freuet sich Gottes, meines Heilandes.Denn er hat die Niedrigkeit seiner Magd angesehen;siehe, von nun an werden mich selig preisen alle Kindeskind.Denn er hat große Ding’ an mir getan, der da mächtig ist und des Name heilig ist.Er übet Gewalt mit seinem Arm und zerstreuet, die hoffärtig sind in ihres Herzens Sinn.Er stößet die Gewaltigen vom Stuhl, und erhöhet die Niedrigen.Die Hungerigen füllet er mit Gütern, und lässet die Reichen leer.Er denket der Barmherzigkeit und hilft seinem Diener Israel auf,wie er gered’t hat unsern Vätern, Abraham und seinem Samen ewiglich.

Ehre sei dem Vater, und dem Sohn und auch dem Heiligen Geiste.Wie es war im Anfang, jetzt und immerdar und von Ewigkeit zu Ewigkeit,Amen.

My soul doth magnify the Lord, and my spirit has rejoiced in God my Saviour.For he has looked with favour on the lowliness of his handmaiden. Behold, from henceforth all generations shall call me blessed.For he that is mighty has done wondrous things for me; and holy is His name.And his mercy is upon them that fear him throughout all generations.He has shown the power of his arm; he has scattered the proud in their conceit.He has put down the mighty from their seat, and has exalted the humble and meek.He has filled the hungry with good things and the rich he has sent empty away.He has sustained his servant Israel, in remembrance of his mercy; as he promised to our forefathers, Abraham and his seed, for ever.

Glory be to the Father, and to the Son, and to the Holy Ghost. As it was in the beginning, is now, and ever shall be: world without end. Amen.

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Loquebantur variis linguis (Tallis) — evening program only

Loquebantur variis linguis apostoli, alleluia. Magnalia Dei, alleluia. Repleti sunt omnes Spiritu Sancto, et ceperunt loqui magnalia Dei, alleluia. Gloria Patri et Filio et Spiritu Sancto. Alleluia.

The apostles were speaking in different tongues, alleluia. Of the mighty works of God, alleluia. They were all filled with the Holy Spirit, and they began to speak of the mighty works of God, alleluia. Glory be to the Father and to the Son and to the Holy Spirit. Alleluia.

Gloria

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.

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.

Missa Papae Marcelli (Palestrina) — evening program only

Kyrie

Kyrie eleison. Christe eleison. Kyrie eleison.

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

Credo

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.

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.

BenedictusBenedictus qui venit in nomine Domini. Hosanna in excelsis.

Blessed is he that cometh in name of the Lord. Hosanna in the highest.

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

Holy, Holy, Holy, Lord God of hosts. Heaven and earth are full of thy glory. Glory be to thee, O Lord most high.

1918

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

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.

Miserere (Allegri)Miserere mei Deus, secundum magnam misericordiam tuam. Et secundum multitudinem miserationum tuarum dele iniquitatem meam. Amplius lava me ab iniquitate mea et a peccato meo munda me. Quoniam iniquitatem meam ego cognosco et peccatum meum contra me est semper.

Tibi soli peccavi et malum coram te feci, ut justificeris in sermonibus tuis et vincas cum judicaris. Ecce enim in iniquitatibus conceptus sum et in peccatis concepit me mater mea. Ecce enim veritatem dilexisti: incerta et occulta sapientiae tuae manifestasti mihi. Asperges me hyssopo et mundabor; lavabis me et super nivem dealbabor.

Auditui meo dabis gaudium et laetitiam et exsultabunt ossa humiliata. Averte faciem tuam a peccatis meis et omnes iniquitates meas dele. Cor mundum crea in me, Deus, et spiritum rectum innova in visceribus meis. Ne projicias me a facie tua, et spiritum sanctum tuum ne auferas a me.

Have mercy upon me, O God, according to your great mercy and according to the abundance of your compassion blot out my transgressions. Wash me thoroughly from my iniquity and cleanse me from my sin. For I acknowledge my offence and my sin is ever before me.

Against you only have I sinned, and done what is evil in your sight that you may be justified in your sentence and vindicated when you judge. Behold, in guilt was I conceivedand in sin did my mother conceive me. Behold, your delight in sincerity of heart and in my inmost being you teach me wisdom. Cleanse me with hyssop and I shall be purified; wash me and I shall be whiter than snow.

Let me hear the sounds of joy and gladness; the bones which you have crushed shall rejoice. Avert your face from my sins, and blot out all my iniquity. Create in me a clean heart, O God, And renew in me a righteous spirit. Cast me not out from your presence, and take not your Holy Spirit from me.

Miserere (Allegri) continuedRedde mihi laetitiam salutaris tui et spiritu principali confirma me. Docebo iniquos vias tuas et impii ad te convertentur. Libera me de sanguinibus, Deus, Deus salutis meae, et exsultabit lingua mea justitiam tuam. Domine labia mea aperies, et os meum annuntiabit laudem tuam.

Quoniam si voluisses sacrificium dedissem utique; holocaustis non delectaberis. Sacrificium Deo spiritus contribulatus: cor contritum et humiliatum, Deus, non despicies. Benigne fac, Domine, in bona voluntate tua Sion, ut aedificentur muri Jerusalem. Tunc acceptabis sacrificium iustitiae, oblationes, et holocausta: tunc imponent super altare tuum vitulos.

Give me the joy of your salvation and sustain in me a willing spirit. I shall teach transgressors your ways, and sinners shall return to you. Deliver me from blood-guiltiness, O God, God of my salvation, and my tongue shall exalt your justice. O Lord, open my lips, and my mouth shall proclaim your praise.

For you are not pleased with sacrifices, else would I give them to you; neither do you delight in burnt offerings. The sacrifice of God is a contrite heart: a broken and contrite heart, O God, you will not despise. Be favourable and gracious, unto Sion, O Lord, build again the walls of Jerusalem. Then you shall be pleased with the sacrifice of righteousness oblations and burnt offerings; they shall offer young bulls upon your altar.

2120

Nunc Dimittis (Pärt)Nunc dimittis servum tuum, Domine, secundum verbum tuum in pace:Quia viderunt oculi mei salutare tuumQuod parasti ante faciem omnium populorum:Lumen ad revelationem gentium, et gloriam plebis tuae Israel.

Gloria Patri, et Filio, et Spiritui Sancto:Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

Lord, now lettest thou thy servant depart in peace: according to thy word.For mine eyes have seen: thy salvation, Which thou hast prepared: before the face of all people; To be a light to lighten the Gentiles: and to be the glory of thy people Israel.

Glory be to the Father, and to the Son: and to the Holy Ghost;As it was in the beginning, is now, and ever shall be: world without end. Amen

Miserere (Tallis)Miserere nostri Domine. Lord, have mercy upon us.

Tribue, Domine (Byrd)Tribue Domine, ut donec in hoc fragili corpore positus sum laudet te cor meum, laudet te lingua mea, et omnia ossa mea dicant: Domine, quis similis tui? Tu es Deus omnipotens, quem trinum in personis, et unum in substantia deitatis colimus et adoramus: Patrem unigenitum Filium de Patre unigenitum, Spiritum Sanctum de utroque procedentem et in utroque permanentem, sanctam et individuam Trinitatem, unum Deum omnipotentem.

Te deprecor, supplico et rogo, auge fidem, auge spem, auge caritatem: fac nos per ipsam gratiam tuam semper in fide stabiles, et in opere efficaces, ut per fidem rectam, et condigna fidei opera, ad vitam, te miserante, perveniamus aeternam.

Gloria Patri qui creavit nos, Gloria Filio, qui redemit nos; Gloria Spiritui Sancto qui sanctificavit nos: Gloria summae et individuae Trinitati, cuius opera inseparabilia sunt, cuius imperium sine fine manet. Te decet laus, te decet hymnus, tibi debetur omnis honor, tibi benedictio et claritas, tibi gratiarum actio, tibi honor, virtus et fortitudo, Deo nostro, in saecula saeculorum. Amen

Grant, O Lord, that so long as I am put in this fragile body, my heart shall praise thee, my tongue shall praise thee, and all my bones shall say: "Lord, who is like unto thee?" Thou art God almighty, whom we cherish and adore, three persons and one divine essence. The Father unbegotten, the only-begotten son of the Father, the Holy Ghost, proceeding from both and abiding in both, the holy and individed Trinity, one God omnipotent.

I pray, entreat and beseech thee, increase my faith, increase my hope, increase my charity: through grace, make us always steadfast in faith, and successful in works, that through true faith and through works worthy of faith, we may come by thy mercy, to eternal life.

Glory be to the Father who created us: glory be to the Son who redeemed us: glory be to the Holy Ghost who sanctified us: glory be to the highest and undivided Trinity, whose works are inseparable, whose reign abides for ever. Praise is due thee, to thee be all honour, blessing and glory, to thee be thanksgiving, honour, power and might, our God throughout all ages. Amen.

Sainte-Chapelle (Whitacre)Castissima virgo Advenit in capellam; Et angeli in vitro Molliter cantaverunt,

"Hosanna in excelsis!"

Illa castissima

Susurravit,

"Sanctus! Sanctus! Sanctus!"

Lux implevit spatium, Multiformis colore; Et audivit vocem suam Resonare,

"Sanctus! Sanctus! Sanctus!"

Molliter angeli cantaverunt,

"Dominus Deus sabaoth, Pleni sunt coeli et terra Gloria tua!" Hosanna in excelsis! Hosanna in excelsis!"

Vox in lumen se transformat, Et lumen canit,

"Sanctus! Sanctus! Sanctus!"

Lumen canit molliter,

"Dominus Deus sabaoth, Pleni sunt coeli et terra Gloria tua!"

Castissima virgo Advenit in capellam; Et angeli in vitro Molliter cantaverunt.

An innocent girlEntered the chapelAnd the angels in the glasSoftly sang,

“Hosanna in the highest!”

The innocent girlWhispered,

“Holy! Holy! Holy!”

Light filled the chamber, Many-colored light;She heard her voiceEcho,

“Holy! Holy! Holy!”

Softly the angels sang

“Lord God of Hosts,Heaven and earth are fullOf your glory!”

“Hosanna in the highest!”“Hosanna in the highest!”

Her voice becomes light, And the light sings,

“Holy! Holy! Holy!”

The light sings softly,

“Lord God of Hosts,Heaven and earth are fullOf your glory!”

An innocent girlEntered the chapelAnd the angels in the glassSoftly sang.

22

INSPIRED GIVINGWe thank the following patrons whose generosity ensures the Centre can make a real difference in the lives of young artists and reach the broadest possible audience.

Artist Development Leadership Circle Colin Golvan SC & Dr Deborah GolvanPeter Jopling QCThe Vizard FoundationLife-long Learning Leadership Circle Betty Amsden OAMNew Music Leadership CircleNaomi Milgrom AOLocal Heroes Leadership Circle Warwick & Paulette BisleyAndrew & Theresa DyerDr Garry Joslin & Prof Dimity Reed AMMajlis Pty LtdENCORE BEQUEST PROGRAMBetty Amsden OAM Jenny AndersonKen BullenJim Cousins AO & Libby CousinsDr Garry JoslinThe Estate of Beverley Shelton & Martin SchönthalMary Vallentine AOMUSIC CIRCLE PATRONS PROGRAMMagnum Opus Circle ($20,000+)Betty Amsden OAM*Annamila Pty Ltd*Colin Golvan SC & Dr Deborah Golvan*Naomi Milgrom AO*The Playking FoundationVirtuoso Circle ($10,000+)Majlis Pty Ltd*Cathy Lowy & John Price* Mrs Margaret S Ross AM & Dr Ian C Ross*J.A Westacott and T.M ShannonMelbourne Recital Centre Board of Directors

Kathryn Fagg*Stephen Carpenter & Leigh EllwoodDes & Irene ClarkJoseph CorponiMargaret Farren-Price Mr John Higgs & Mrs Betty HiggsJulie Kantor*

Composers Circle ($4000+)Anonymous (1)Warwick & Paulette BisleyAndrew & Theresa DyerGeorge & Laila Embelton Dr Helen Ferguson*Richard Gubbins*Dr Alastair Jackson*Mr Peter Jopling QC*Dr Garry Joslin & Prof Dimity Reed AMMelbourne Recital Centre Senior ManagementMessage Consultants Australia Pty Ltd James OstroburskiThe Vizard Foundation*Janet WhitingLyn Williams AMYouth Music Foundation Australia*

Musicians Circle ($2500+)Anonymous (1)Brian & Esther BenjaminEva Besen AO & Marc Besen AOSarah & Baillieu MyerDr Cherilyn Tillman & Mr Tam Vu*Drs Victor and Karen WaynePrelude Circle ($1000+)Anonymous (4)Adrienne BasserBarbara BurgeJim Cousins AO & Libby CousinsLord Francis Ebury & Lady Suzanne EburyMaggie EdmondThe Leo & Mina Fink FundRosemary Forbes & Ian HockingWilliam J Forrest AMAngela GloverNance Grant AM MBEJan & Robert GreenSue Hamilton & Stuart Hamilton AOJenny & Peter HordernJudith HoyPenelope HughesMichael & Gillian HundDarvell M Hutchinson AMHelen ImberStuart JenningsEd & Margaret JohnsonAlan Kozica & Wendy Kozica Alison & David LansleyDiana Lempriere*Robert MacFarlaneDavid Marr & Sebastian TesorieroMaria MercurioDr Richard Mills AM*Stephen Newton AOProf David Penington AC & Mrs Sonay PeningtonHelen L PerlenDr Robert PiaggioPeter Rose & Christopher Menz Samara, Countess of BeekmanChristine SatherMeredith SchillingKate & Stephen ShelmerdineMaria Sola & Malcolm DouglasBarbara & Duncan SutherlandElisabeth & Peter TurnerSally WebsterIgor Zambelli

*Donations directed to the Elisabeth Murdoch Creative Development Fund

All donations, big or small, directly impact the Centre’s ability to provide transformative music experiences for everyone. Join us in support of one of the world’s great halls.To speak to the Director of Development, Sandra Robertson, please call 03 9207 2641 or email sandra.robertson@melbournerecital.com.au

List of patrons accurate as of 18 Oct 2013

OUR PARTNERSMelbourne Recital Centre acknowledges the generous support of its business and philanthropic partners

Founding PatronDame Elisabeth Murdoch ac dbe

Board of DirectorsKathryn Fagg, Chair Stephen Carpenter Margaret Farren-Price Peter Bartlett Des Clark John Higgs Tommas Bonvino Joseph Corponi Julie Kantor

Founding BenefactorsThe Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family Robert Salzer Foundation Lyn Williams am The Hugh Williamson Foundation

International Airline Partner

Principal PartnerBusiness Partners

Principal Government Partner

Foundations

HUGH WILLIAMSON FOUNDATION

24

MELBOURNE RECITAL CENTRE PRESENTS GREATPERFORMERS

Daniel Hope violin | Karen Gomyo violin & Slava Grigoryan guitar

Julia Lezhneva soprano | Joanna MacGregor piano | Maxim Rysanov viola

Alisa Weilerstein cello | Nicolas Hodges piano | Jean-Efflam Bavouzet piano

Alice Sara Ott & Francesco Tristano piano duo

2014 CONCERT SERIES | LOOK DEEPER INTO MUSIC

PROGRAM PARTNERS

Flexible Ticket

Packages from $255

MELBOURNE RECITAL CENTRE PRESENTS GREATPERFORMERS

Daniel Hope violin | Karen Gomyo violin & Slava Grigoryan guitar

Julia Lezhneva soprano | Joanna MacGregor piano | Maxim Rysanov viola

Alisa Weilerstein cello | Nicolas Hodges piano | Jean-Efflam Bavouzet piano

Alice Sara Ott & Francesco Tristano piano duo

2014 CONCERT SERIES | LOOK DEEPER INTO MUSIC

PROGRAM PARTNERS

Flexible Ticket

Packages from $255

VISIT MELBOURNERECITAL.COM.AU/GREAT