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Copyright
1999-2014
Texas Early
Music Project
 
The Cry of Many Voices: An Illuminated Renaissance
Color us Smooth Blue.

Cry of Many Voices

Saturday, March 29, 2014, 8PM at St. Mary Cathedral, 203 East 10th Street
Free parking is available behind St. Mary Cathedral at Capitol Towers Parking Garage
    Click to purchase tickets for Saturday now!

Sunday, March 30, 2014, 3PM at First Presbyterian Church, 8001 Mesa Drive
Free parking is a available at First Presbyterian Church and at the shopping center across the street.
    Click to purchase tickets for Sunday now!

General Admission: $25; $20 seniors 60+; $15 students (advance sales)
$5 students with valid ID (at the door only)
Tickets available online by clicking on the links above, or by cash, check,
     or credit card at the door.
For more information, email the Box Office or call (512) 377-6961 and leave a message.


The cry of many voices, 24 a cappella voices in this case, sing both as individuals and as members of a unit while performing some of the most sublime, moving, and exhilarating music imaginable: the ultimate effect is greater than the sum of its parts. There is magic in the interweaving voices, in the hypnotically static harmonic rhythms alternating with florid vocal lines full of subtle virtuosity, in the dissonances (both artfully prepared and unexpected), and in the architecture of starkly transparent solo lines alternating with thickly colorful choral sections. This is the world of the Eton Choirbook in England, the Franco-Flemish composer Antoine Brumel, and the Scottish composer Robert Carver.

Salve Regina

Compiled between c.1490 and c.1510, during the transition from the late Medieval to the early Renaissance in England, the music of the exquisitely illuminated Eton Choirbook is filled with intricate textures, the frequent cross-relations that are a distinctive part of early Tudor polyphony, and richness of sonority that all lead to a shimmering beauty. TEMP will perform Marian and Lenten music for 4 and 5 parts by composers Richard Davy and William Cornysh, as well as Robert Wylkynson’s Salve Regina for nine voice parts, last performed by TEMP in 2007.

Antoine Brumel, colleague and compatriot of Josquin des Prez, composed the other featured selection of the concert around 1497. His Missa Et ecce terrae motus (“Earthquake Mass”) for 12 parts uses some of the same architectural techniques as the Eton Choirbook, from the very slow harmonic movement in the tutti sections to the tuneful imitative passages that connect the tutti sections; but Brumel’s unique methods of using short, separate melodic and rhythmic motifs to imitate the roiling chaos of the earthquake are unique and mesmerizing. TEMP will perform the Kyrie, Gloria, and Benedictus/Osanna sections; only the “Gloria” has been performed in Austin before, by TEMP in 2012.

Scottish composer Robert Carver worked in the generation after the composers of the Eton Choirbook, and many of his works are obviously strongly influenced by them, but none is so demanding and passionately creative as his “O bone Jesu,” composed for 19 parts. The sheer monumental effect of 19 parts spread over three octaves is acoustically compelling of course, but the subtle manipulations of mode and motifs make it devastatingly exquisite. This will be its Austin premiere.

Visit the Sacred: Music of the Divine from Medieval to Baroque page for information on our related new CD, available for purchase online and at our concert venues.

Special Guest Artists and TEMP Performers

Tenor Christopher LeCluyse, a founding member of TEMP, returns from Salt Lake City for this program, along with frequent guests Temmo Korisheli (baritone/tenor from Santa Barbara) and Erin Calata (mezzo-soprano from Seattle). They will be joining TEMP regulars Jenifer Thyssen, Gitanjali Mathur, Meredith Ruduski, Stephanie Prewitt, Cayla Cardiff, Jeffrey Jones-Ragona, Paul d’Arcy, Gil Zilkha, Brett Barnes, Brent Baldwin, and many more. Twenty-four singers, each a soloist in his or her own right, will help create an unforgettably beautiful experience, whether in the visually and acoustically magnificent space of St. Mary Cathedral or in the much more intimate (and acoustically renovated) First Presbyterian Church.

Download the Cry of Many Voices program notes to read in advance of the performances!

Join us for a beautiful and moving concert that will illuminate the passage from the late Medieval to the early Renaissance with passion and beauty.



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Last updated:
Tue Mar 25 2014