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Christ Church Cathedral
April 20, 2024
The revival of early music and historical performance practices can be traced back at least as far as the late years of the nineteenth century, but something remarkable happened in the 1970s. Prior to that decade, with a few notable exceptions, the early music movement was the domain of enthusiastic amateurs, often distained by professional mainstream musicians. But that all changed in the 1970s, which saw the foundation of distinguished professional ensembles such as the Academy of Ancient Music, (1973), the Amsterdam Baroque Orchestra (1979), Collegium Vocale Gent (1970), English Consort (1972), Huelagas Ensemble (1971), La Petite Bande (1970), Les Arts Florissants (1979), Musica Antiqua Köln (1973), Sequentia (1977), Tafelmusik (1979), and many other leading ensembles. Of the early music ensembles established in that decade, none has proved more successful than the Tallis Scholars. Under the direction of Peter Phillips since its inception, the Tallis Scholars set new standards for the performance of Renaissance polyphony and transformed the reputations of many fifteenth- and sixteenth-century composers. The ensemble's many recordings have been hailed as masterpieces and they have travelled the world to great acclaim.
The reputation of the Tallis Scholars has clearly spread through Victoria. (This is their second appearance in Victoria under the auspices of the Early Music Society of the Islands.) I arrived forty-five minutes before the announced kickoff time, only to find that the central nave was already packed. Fortunately, I could squeeze in beside an old friend. The concert was sold out.
The announced plan of this evening's performance was to trace the drama of Lent and Easter, beginning with Lamentations of Jeremiah the Prophet, originally performed on Maundy Thursday, and proceeding through the Crucifixion and Resurrection of Christ. In practice, the second half of the programme was composed of joyful pieces, some of them with a rather tenuous connection to Easter.
The programme began with Part II of Robert White's setting of the Lamentations. It was immediately apparent that Phillips has an over-arching conception of each piece, but, at the same time, a careful attention to detail. While a haunting desolation was spread over the whole, the singing was, by turns, expressive of pleading, harrowing, complaining and even an exquisite agony. It was completely delightful and as perfect an illustration of the paradox of sad music as I have heard. The music was all the more poignant for being so timely. As the choir sang "all her people sigh and search for bread" I could not help thinking of the sufferings of the people of Gaza.
The next piece by White, "Exaudiate te", had a completely different character and provided some relief from the two sets of Lamentations. The work begins with the words "May the Lord hear thee". White and Phillips seem to agree that the Lord is going to hear. Phillips imparted a march-like, almost a dance-like, pulse to the music and this pulse gave the music a kind of confidence in the mercy of the Lord.
Then it was back to desolation with another setting of Lamentations II, this time by the eponymous Thomas Tallis. The music was successively complaining, wailing, and suffering — sometimes patiently, sometimes hopelessly. The brilliant use of dynamic variation ensured that the singing never felt dirge-like. In Phillips' capable hands, the music had a narrative arc. The final cadence was perfectly executed and came as a wonderful release from tension. I was left feeling hollowed-out, but in the best possible way. Again, I could not help but be reminded of Gaza: "her servitude beyond endurance". "Her children are led captive before the face of her oppressors" could remind listeners both of Palestinian children and the sufferings of the Israeli hostages.
The joyful half of the programme began with two pieces by Robert Parsons, "O bone Jesu" and "Ave Maria". "O bone Jesu" was initially prayerful and adoring, before rising to a rapt enthusiasm. Ave Maria was given a reverent reading. Parsons' works were followed by a "Regina caeli" by White. Sung one to a part, it was reassuring and comforting.
The concert closed with a performance of William Byrd's Easter Propers. The highlights included the charmingly joyful opening of the "Resurrexit": it had an almost madrigal-like quality. I would not have been surprised if the choir had burst into some fa-la-la's. Also impressive was the "Timete Dominum". The singing of "I will refresh you" sparkled like a fountaion and was refreshing indeed. "Beata Mundo" was sung as a kind of benediction and I could not help but thinking that peacemakers are blessed and, these days, alarmingly few in number.
All in all, the first part of the programme, with the larger-scale and profounder works, was more rewarding. These works gave Phillips more scope to work his magic. Still, even the smaller-scale pieces of the second half were well-constructed and detailed. This was a remarkable evening of dynamic and emotionally rewarding music-making. After half a century of living with this repertoire, Phillips knows how to make the most of it. Here is to the next half century!
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