Sine Nomine Renaissance Choir

Sine Nomine Renaissance Choir


Magdalen Weeping
Lament and Rejoice:
Renaissance Music for the Modern Soul

Sunday, March 15, 2015, 3:00 pm
Trinity Parish Church, 609 Eighth Ave. (at James St.), Seattle

Admission by donation.
Free parking available in the Skyline garage.

“Lament and Rejoice” includes a broad collection of a cappella Renaissance works that focus on the contrasting passions of loss and of celebration. Works by Gesualdo and Cornysh depict the despair of lost love. Lugebat David Absalon by Gombert and the famed Crucifixus by Lotti reflect losses from the sacred world. The concert features joyous masterpieces by Byrd, including his monumental, celebratory motet Tribue Domine. Works by Tallis, Weelkes, and Josquin round out the program.

Byrd: Haec dies
Byrd: Ne irascaris, Domine
Tallis: Hear the voice and prayer
Weelkes: Thule, the period of cosmography
Gombert: Lugebat David Absalon (yes, again… because it’s amazing)
Lotti: Crucifixus [a 8]
Cornysh: Ah Robin, gentle Robin
Gesualdo: Ahi, disperata vita
Josquin: El grillo
Byrd: Tribue, Domine


The Renaissance choir Sine Nomine is a Community Collegium program under the direction of the Early Music Guild. 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 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.

For more information about Sine Nomine, to be placed on the mailing list, or to request an audition, please contact

Gary Cannon


Interim Directors for the 2015-16 season
Anne E. Lyman: Fall 2015
Rebekah Gilmore: Spring 2016

Gary D. Cannon (Founding Conductor, 2008-2015) is one of the Northwest’s most dynamic choral personalities, active as a conductor, singer, composer, and musicologist. In 2008, the Early Music Guild invited him to found and direct Sine Nomine. Also in 2008 he became Artistic Director of the Vashon Island Chorale and Cascadian Chorale, a chamber choir based in Bellevue. He has been Principal Conductor of Vashon Opera (2009–11) and Chorusmaster of the Northwest Mahler Festival (2001–10). Equally comfortable with amateur and professional ensembles, Cannon has conducted Anna’s Bay Chamber Choir, Choral Arts, Earth Day Singers, Kirkland Choral Society, and several ensembles at the University of Washington. As a tenor soloist, he has appeared with Pacific Northwest Ballet, Seattle Philharmonic, and the Auburn, Eastside, Rainier, and Sammamish Symphony Orchestras. He also sings regularly with The Tudor Choir. Cannon holds degrees from the University of California at Davis and the University of Washington.


—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 Marien-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 2012: “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.


Sine Nomine singers“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.


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