Sine Nomine Renaissance Choir
Palestrina: Protector of Polyphony
16th century sacred polyphony featuring Palestrina’s Missa Papae Marcelli
Sunday, November 6, 2016 | 3:00pm
Trinity Parish Church, 609 Eighth Ave. at James St., First Hill, Seattle
Free will offering | Free parking in the Skyline parking garage.
This concert features the sacred music of Palestrina, including his magnificent ‘Missa Papae Marcelli’. Other works include Arcadelt’s ‘O pulcherrima mulierum’, de Wert’s ‘Gaudete in Domino’, and de Rore’s ‘Descendi in hortum meum’.
The program details the evolution of Italian-influenced sacred choral music throughout the 1500s, highlighting the changes brought about by the Council of Trent in the middle part of the century. The century’s earliest years were marked by transparent, balanced works for 4 or 5 voices, perfected by Franco-Flemish composers such as Willaert and Arcadelt. As the century progressed, and composers traveled to Italy, choral music became more unwieldy: voices were added, and the individual words of the liturgy were obscured by thick textures and elaborate melodies, as reflected in the music of de Wert and de Rore.
The anchor of this program is Palestrina’s famed ‘Pope Marcellus Mass’. Palestrina composed the work in the wake of the Council of Trent, whose task was, in part, ensuring that the words of the sung mass could be clearly understood and not obscured by the weighty musical elaboration of previous decades. This monumental work, the best-known of Palestrina’s 100+ surviving masses, has been studied for centuries as a principal example of refined, high Renaissance polyphony. As legend states, Palestrina may very well have saved polyphony from the rulings of the Council, preserving the musical language of the Renaissance that is so loved by audiences and performers today.
Giaches de Wert: Gaudete in Domino
Adrian Willaert: O magnum mysterium
Giovanni Pierluigi da Palestrina: Tu es petrus
Jacques Arcadelt: O pulcherrima mulierum
Cipriano de Rore: Descendi in hortum meum
G.P. da Palestrina: Missa Papae Marcelli (Kyrie/ Gloria/ Credo)
Philippe de Monte: Super Flumina Babylonis
G.P. da Palestrina: Surge illuminare
Uniquely English: Gibbons, Tomkins, and Purcell
17th century sacred and secular English music
Sunday, April 9, 2017 | 4:30pm
Trinity Parish Episcopal Church | Free Will Offering
ABOUT SINE NOMINE
The Renaissance choir Sine Nomine, directed by Dr. Anne Lyman, is a Community Collegium ensemble, part of the community outreach program of the Early Music Guild (EMG) of Seattle. Founded in 2008 by conductor Gary D. Cannon and singer/manager Pamela Silimperi, Sine Nomine is a mixed-voice chamber choir specializing in the fine performance of early music, including sacred and secular works from all regions. The ensemble’s repertoire ranges from the late Medieval to the Baroque, with special emphasis on Renaissance works of the 15th and 16th centuries. Most of the participants in Sine Nomine also sing in other choruses, ranging from church choirs to semi-professional ensembles. Listen to Sine Nomine on SoundCloud.
Sine Nomine is a proud member of the Greater Seattle Choral Consortium (GSCC).
For more information about Sine Nomine, to be placed on the mailing list, or to request an audition, please contact SineNomineSeattle@gmail.com.
Anne E. Lyman, 2016-
Interim Directors for the 2015-16 season
Anne E. Lyman: Fall 2015
Rebekah Gilmore: Spring 2016
Founding Music Director and Conductor
Gary D. Cannon, 2008-2015
Anne Lyman, DMA, serves as Artistic Director of Sine Nomine, Director of Choral Activities at Tacoma Community College, Artistic Director of the Seattle Bach Choir, and Director of Music at Skyline Presbyterian Church in Tacoma. She is the founding and artistic director of Canonici, a Tacoma-based professional early music ensemble which has performed throughout the Puget Sound region and hosts the annual Tacoma Early Music Workshop. Dr. Lyman’s primary musical and scholarly pursuits include the Franco-Flemish school of Josquin Desprez, the vocal works of Peter Philips and other English recusant musicians, and early 17th-century German sacred music. Her performance and research have been generously supported by grants through the Fulbright Foundation, the Stanley Foundation, the Belgian American Education Foundation and the Tacoma Arts Commission. Dr. Lyman has conducted choirs throughout the United States and holds degrees from The College of Wooster, the University of Cincinnati, the University of Iowa and the Katholieke Universiteit in Leuven, Belgium. Dr. Lyman lives in Tacoma, WA with her husband Zach, son Milo and daughter Eleanor.
—March 2016: “Aus Tiefer Not– Out of the Depths: Music for Lent and Passiontide in 16th & 17th c. Germany”
Rebekah Gilmore, Guest Conductor; Exploring the Passiontide texts of Protestant Germany and the northern introduction of the polychoral style of the Venetian school, featuring music of the early baroque by Heinrich Schütz, Hans Leo Hassler, et al. and Renaissance composers who influenced them.
—November 2015: ” ‘Let Me Not Stray’: Thomas Tallis and the Tudors”
Anne Lyman, Guest Conductor; featuring the music of Thomas Tallis, chapel musician to the final four Tudor rulers, and expressing the religious upheaval of the times: highlighting Suscipe qaeso Domine, O nata lux, and Lamentations of Jeremiah 1, plus pieces by Taverner and White
—March 2015: “Lament and Rejoice: Renaissance Music for the Modern Soul”
featuring a cappella works on the contrasting passions of loss and celebration: secular works by Josquin, Cornysh, Gesualdo and Weelkes plus sacred works by Tallis, Gombert, Lotti and Byrd (including his monumental, celebratory motet Tribue Domine)
—November 2014: “Salve Regina”
featuring settings of the Salve Regina by Josquin, Lassus, and Guerrero, plus other Marian-themed works by Ockeghem, Palestrina, Isaac, Morales, and Byrd
—March 2014: “Josquin and the Sexti Toni”
featuring the full Missa ‘L’homme armé’ sexti toni and 3 masterworks by Nicolas Gombert
—November 2013: “Playing with Fire: Gesualdo’s Madrigals”
Anne Lyman, Guest Conductor; featuring a cappella concert music of the high Italian Renaissance: some of Gesualdo’s most appealing and passionate works, and pieces that inspired him by Josquin, de Wert, de Rore, and Luzzaschi
—March 2013: “Monuments of Early Music”
featuring Thomas Tallis’ 40-part motet Spem in alium and works by Pérotin, Palestrina, Cornysh, Gesualdo, and G. Gabrieli
—November 2012: “Bach Magnificat and Motets”
including J.S. Bach’s Magnificat and two motets: Komm, Jesu, komm and Der Geist hilft in collaboration with New Baroque Orchestra
—March 2012: “Homage”
featuring works by Binchois, Ockeghem, Josquin, Obrecht, de Monte, Byrd, and others
—November 2011: “Victoria and Guerrero”
including Victoria’s complete Officium defunctorum and motets by Guerrero
—April 2011: “David and Absalom”
featuring works by Victoria, Josquin, Schütz, Gombert, Weelkes, and others, including local composers Abraham Kaplan and Roupen Shakarian
—November 2010: “L’homme armé: The Armed Man”
featuring Mass movements by Ockeghem, Busnois, Josquin, Palestrina, and Carissimi; Janequin’s La Guerre; and war-themed works by Monteverdi, Dufay, and others
—February 2010: “Purcell and Handel: Music for Baroque Orchestra and Chorus”
featuring Purcell’s Come, ye sons of Art and Handel’s Dixit Dominus in collaboration with New Baroque Orchestra
—November 2009: “The Two O’s: Ockeghem and Obrecht”
including Salve regina settings and other works by both composers
—May 2009: “Master Josquin”
featuring sacred and secular music by Josquin des Prez and his contemporaries
—November 2008: “Long Live Fair Oriana!: Sacred and Secular Music from England, circa 1600”
featuring Byrd’s Mass for Four Voices, plus madrigals and motets by his contemporaries
Sine Nomine performs from scores provided by Patrick Rice of PDR Editions.
“Congratulations on a very beautiful concert. Lifted up my whole day. The music was rich and the harmonies were exquisite. Thank you!” – K.W.
“Seattle is fortunate indeed to have Sine Nomine, an excellent choir dedicated to performing music from the Golden Age of choral music—the Renaissance. Each concert is a delight; each concert celebrates the riches of the Renaissance; each performance is done with a finesse of understanding. Thank you, Sine Nomine and conductor Gary Cannon for the gifts of music you bring to Seattle.” – J.C.C.
“The respective sections of the choir showed sensitivity and fine balance throughout. Guerrero & Victoria were present for everyone to experience; the performers were their perfect servants.” – H.R.
“Thank you for the Guerrero! It all was delicious, especially the ‘Duo seraphim.’” – J.C.
“The performance again showed [conductor Gary Cannon’s] attention to detail and his sense of both choral and historical styles. The group has become a reliable interpreter of early choral music.” – P.S.
Please direct questions to SineNomineSeattle@gmail.com.
Thank you for your interest in Sine Nomine!