New York Polyphony

25.07 N 08.08

CHAMBERFEST OTTAWA 2013 OTTAWA INTERNATIONAL CHAMBER MUSIC FESTIVAL FESTIVAL INTERNATIONAL DE MUSIQUE DE CHAMBRE D’OTTAWA

TIMES GO BY TURNS

NEW YORK POLYPHONY MONDAY 05 AUGUST 7PM DOMINION-CHALMERS UNITED CHURCH LE LUNDI 05 AOÛT 19H ÉGLISE UNIE DOMINION-CHALMERS

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New York Polyphony

OTTAWA INTERNATIONAL CHAMBER MUSIC FESTIVAL FESTIVAL INTERNATIONAL DE MUSIQUE DE CHAMBRE D’OTTAWA

NEW YORK POLYPHONY TIMES GO BY TURNS Geoffrey Williams, countertenor/haute-contre Steven Caldicott Wilson, tenor/ténor Christopher Dylan Herbert, baritone/baryton Craig Phillips, bass/basse

Mann & Partners LLP generously sponsored this concert.

Mann & Partners LLP a généreusement parrainé ce concert.

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OTTAWA CHAMBER MUSIC SOCIETY SOCIETÉ DE MUSIQUE DE CHAMBRE D’OTTAWA

New York Polyphony

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PROGRAMME

2 HOURS APPROXIMATELY 2 HEURES ENVIRON

Kyrie Cunctipotens Genitor Deus

Andrew Smith (b. 1970)

Flos regalis

Andrew Smith

Flos regalis, from the Worcester Fragments (c. 1300) Flos regalis, à partir Worcester Fragments (c. 1300)

Anon.

Credo in unum Deum, from Missa ‘sine nomine’ Credo in unum Deum, à partir Missa ‘sine nomine’

John Plummer (1410 - 1484)

Stella caeli

Walter Lambe (c. 1451 - 1504)

Credo in unum Deum, from Mass for Four Voices Credo in unum Deum, à partir Mass for Four Voices

William Byrd (1540 - 1623)

Credo in unum Deum, from Mass for Four Voices Credo in unum Deum, à partir Mass for Four Voices

Thomas Tallis (ca. 1505 - 1585)

Ite Missa est

Gabriel Jackson (b. 1962)

INTERMISSION ENTRACTE Taaveti Laalud O Gladsome Light (Svete Tikhi) O dolce notte La nuit froide et sombre A Colloquy with God

Cyrillus Kreek (1889 - 1962) Ivan Moody (b. 1964) Philippe Verdelot (1480 - 1530) Orlande de Lassus (1532 - 1594) Richard Rodney Bennett (1936 - 2012)

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New York Polyphony

Désolé, traduction française n'est pas disponible.

The lopped tree in time may grow again Most naked plants renew both fruit and flower The sorriest weight may find release of pain The driest soil suck in some moistening shower Times go by turns and chances change by course From foul to fair from better happ to worse The first stanza of “Times go by Turns,” a poem by sixteenth-century Roman Catholic martyr Robert Southwell (1561–95), elegantly summarizes the theme of this program. Each of the three mass settings presented here keenly demonstrates the composers' sensitivity to

the temporal forces of the day. On the most basic level, each work is an expression of Roman Catholicism suited to and affected by the religious and political challenges of its time. In the face of movable and at times arbitrary rules and restrictions however, Plummer, Tallis and Byrd each transcend the basic requirements to craft powerful, poignant and deeply personal musical statements.

Despite decades of war and political uncertainty, Roman Catholicism flourished in fifteenth century England. John Plummer composed his Missa sine nomine against this backdrop of relative religious stability. Its extroverted and somewhat eccentric style, reminiscent of his

New York Polyphony

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contemporary John Dunstable, is clearly the product of a liberal artistic climate. Plummer did not live to experience the restrictions and very real dangers faced by religious musicians of the next century; his death roughly coincided

written by a devout Roman Catholic at a time when dissidents were dealt with by cruel means.

In the Credo, Byrd leaves his most personal mark. At the arrival of the words “Et in unum

with the ascension of the House of Tudor, a dynasty that would irreversibly alter religious traditions in England. By the time Thomas Tallis was active in the mid-sixteenth century, the religious climate had changed drastically.

Tallis witnessed firsthand the separation of England from the Roman Catholic Church and with it the destruction of religious institutions and cherished musical traditions. It is unclear during whose reign Tallis wrote his Mass for Four Voices. Regardless, the piece exhibits masterful pragmatism. Its simple lyricism and economic use of polyphony—likely driven by liturgical necessity—result in an understated and demure masterpiece. By the time of William Byrd, the relationship between religion and politics was even more toxic. Only through special dispensations from Queen Elizabeth I was Byrd even able to compose for Catholic liturgies. His Mass for Four Voices, intended for clandestine worship, while intimate in expression, is nonetheless passionate, sensual and at times defiant.

Thomas Tallis and his student William Byrd are rightly considered the foremost composers of the high Renaissance in England. So what sets these two musical geniuses apart? Byrd’s genius lies in his ability to imbue the mechanics of counterpoint with heart and soul. On the page, his Masses for three, four, and five voices appear academic: simple in construction and traditional in form, they adhere to the procedures and practices of the previous one hundred fifty years of polyphonic composition.

But with Byrd, it is always more magic than mathematics. Despite its intended utility—a mass setting to be sung in secret by a few recusant Catholics—the Mass for Four Voices was clearly more than an academic exercise.

His eloquent setting betrays a deeply personal connection to the sacred texts. It is not a leap for the listener to hear it as a work of prayer

Sanctam Catholicam et Apostolicam Ecclesiam” he suspends the imitative texture, calling attention to meaning of the words: “[I believe in] one, holy, Catholic, and Apostolic Church.”

The culmination of this technique occurs in the homophonic repetition of the word “Catholicam.” It is a defiant statement that achieves a complete unification of musical and theological purpose.

When considering the entire output of Thomas Tallis, and the fact that over the course of his professional life he served four different monarchs, it is hard not to marvel at how skillfully he adapted artistically to changes in style, liturgy, and language. His genius lies not only in his shrewd pragmatism, but also in his careful attention to the setting of text. While it is unclear what prompted its composition or for what purpose it was conceived, Tallis' Mass for Four Voices is an inspired marriage of function and beauty. Tallis applies polyphony only in controlled bursts, relying instead on a steady syllabic structure throughout. The effect is efficient, but never pedantic. Texts are set in a beautifully crafted hierarchy of harmony and discord.

In terms of liturgical tradition it is an odd hybrid: Catholic in intent and Anglican in execution. It is not known whether Tallis remained a devout Roman Catholic throughout his life. In the Sanctus however, he displays a love for the liturgy he knew as a young musician. As a possible nod to the elaborate mass settings of the older Sarum rite, Tallis creates a remarkably grand statement. When combined with the Benedictus, it is nearly twice the duration of his concisely syllabic Gloria and Credo.

John Plummer is a relatively unknown precursor to Tallis and Byrd. Like many of his contemporaries, the bulk of Plummer’s music was destroyed during the English Reformation.

The music that survived exists almost exclu-

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New York Polyphony

sively in sources from the European continent.

The isorhythmic nature of fourteenth and fifteenth-century polyphony is still very present in the Missa sine nomine, but Plummer’s gentle lyricism is more Renaissance than Medieval in

by the celebrant and ministers, so the singing of an incomplete text might not have been considered the solecism that it now appears.”

Tallis’ Mass for Four Voices does not include a Kyrie. Perhaps its absence is due to fluctuat-

execution.

Though scored for just three voices, Plummer’s setting possesses a surprisingly full sonority, outlining “harmonies” that challenge the modern ear. Each movement, though built on what is likely a pre-existing motet or chanson, is distinct in its exuberance and rhythmic variety.

It is interesting to note that Plummer omits significant portions of the Gloria and Credo texts. This is also true of Tallis in the Credo of his Mass for Four Voices. In the case of Tallis, the reasons for the omission are unclear. In the Plummer however, the omitted sections of the Gloria and Credo are themes present in the troped text of the Kyrie Omnipotens Pater. The omission may have been an attempt to combat redundancy.

Nick Sandon, the editor of the performing edition used for this performance, suggests that “during a sung (i.e. a Solemn) mass the entire text of every item was meant to be read

ing liturgical practices of the Chapel Royal.

More likely, a remnant of older traditions such as a troped plainsong Kyrie appropriate for the feast day was inserted. Regardless, we offer a modern setting of the troped Kyrie: Cunctipotens genitor Deus, composed for this recording

by Andrew Smith (b. 1970). As further proof that times do, in fact, go by turns, this program concludes with Gabriel Jackson’s (b. 1962) playfully intricate Ite missa est, composed for New York Polyphony in 2012.

After hearing New York Polyphony perform in New York City in February 2012, Sir Richard Rodney Bennett (1936 - 2012) gifted his gorgeous setting of a poem by Sir Thomas Browne, A Colloquy with God. Its gentle lyricism and compact harmonies contribute a welcome warmth to this program. Sadly, Sir Richard passed away before hopes of further collaboration could come to fruition. A Colloquy with God is presented here as a very sincere dedication.

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New York Polyphony

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New York Polyphony

OTTAWA CHAMBER MUSIC SOCIETY SOCIÉTÉ DE MUSIQUE DE CHAMBRE D’OTTAWA BOARD OF DIRECTORS CONSEIL D’ADMINISTRATION

STAFF ADMINISTRATION

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New York Polyphony

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New York Polyphony

WE THANK OUR DONORS NOUS REMERCIONS NOS DONATEURS LEGACY CIRCLE CERCLE DES HÉRITAGES

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New York Polyphony

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* OCMS board members * Membres du conseil d’administration de la SMCO These lists reflect cumulative gifts and pledges to the Ottawa Chamber Music Society of $250 and more, received from January 2012 through July 2013. Please call 613-234-8008 x241 if you wish to notify us of errors or omissions.

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25.07 N 08.08

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