Tallis Scholars

TEN VOICES AS ONE IN TALLIS SCHOLARS CONCERT

The Tallis Scholars graced the Weill Hall stage Dec.8, ten singers (five women and five men) raising their voices to transform the marvelous hall into a sanctified place. The entire program consisted of sacred works by renaissance and contemporary composers.

The first piece was a double-choir Magnificat by the Spanish composer Vivanco and every note could be heard with great clarity. The Tallis Scholars, from the United Kingdom, are famous for the exquisite blend of their voices, with complete dynamic control, harmonic richness and perfect intonation. The Magnificat began with a clear high soprano, singing in an absolutely straight even tone on one note. The entire choir’s contrapuntal verses were contrasted by sections of unison chant with the male voices.

Alto Craig Patrick’s fine high voice contrasted with the ethereal female soprano voices.

The Gloria was especially moving, with soaring voices filling the hall. Director Peter Phillips had a quiet, restrained conducting manner, never drawing attention to himself. During the Orlando de Lasso's Missa Osculetur, each time there was a long pause between sections, someone in the audience would begin to clap. If there had been texts provided in the program, this would not have been a problem. In the wonderful Lassus Missa Osculetur me, women were put on both ends of the ensemble to create an antiphonal effect. The Qui tolis pecata mundi ended on a long sustained high note, leaving the audience holding its breath.

Two works by Estonian composer Arvo Pärt - “I am the true vine” and “Tribute to Caesar” - followed, offering an interesting and compelling contrast to the early music works on the program. Pärt was able to achieve a renaissance sensibility in these finely wrought songs, with a homophonic purity and simplicity of texture. At one point in “I am the true vine” two basses held the same low note throughout a very long phrase, creating musical tension as the other voices moved toward the final cadence. In “Tribute to Caesar” ascending dissonances were used to great affect, contrasting sections with the full chorus.

As an early music enthusiast I was intrigued to find these contemporary songs so moving and soulful. Their leaner and more transparent structure still embodied the essence of the renaissance motet, and took it to another level.

The last work on the program gave the audience the chance to hear two familiar carols: “Joseph lieber" and “In dulci jubilo” incorporated ingeniously into a Magnificat by Hieronymus Praetorius (who shared his name with the more famous Michael Praetorius -- no relation). The Tallis divided into two choirs, one of women, one of men. The piece began with the beautiful gently lilting lullaby “Joseph lieber” with antiphonal choirs. Somewhere in the middle of the piece “In dulci jubilo” appeared, with many joyous variations and flights of fancy and endless rhythmic variety.

The work ended with a reiteration of “Joseph lieber’s” sweet and soothing lullaby and the Magnificat was a tapestry of textures.

One rarely encounters a vocal ensemble of such refined quality. Being able to hear them in Weill Hall made the evening a special experience. The audience of 1,000 seemed to agree, and in spite of some members who were obviously not familiar with this kind of music, they gave the Tallis a standing ovation.