Turning forty is to say at least, a real stage of life. Artistic director Lionel Meunier takes the opportunity to present Media Vita of Sheppard, extremely moving music here flanked by two pieces written for 40 a capella voices. Tallis and Alessandro Striggio probably met in London in 1567. Tallis’s monumental 40-voice work, Spem in alium, was probably inspired by the example of Striggio. Whereas Striggio’s composition Ecce Beatam lucem was probably designed for semicircular performance, Tallis had designed his music to be heard ‘in the round’, with the listener seated within the circle of performers. The music seems as such to ‘rotate’ around a circle. For decades after his death Josquin’s works continued to be sung; yearly the choir of the Cappella Sistina was still singing Josquin’s setting of Psalm xc, Qui habitat, on the second Sunday in Lent.

Towards the end of this unprecedented season, ensemble in residence Vox Luminis puts Thomas Tallis’ monumental Spem in alium in the fridge until another occasion. It opts instead for an intimate programme full of joy and comfort, with some of the most exquisite pages of the English Renaissance, such as Tallis’ O nata lux, In manus tuas by John Sheppard and Ave verum corpusby William Byrd. At the end of the journey from the darkness towards the light, the Funeral sentences of Thomas Morley, one of the absolute stars in Elizabeth I’s London, will resonate in our majestic Concert hall.

Turning forty is to say at least, a real stage of life. Artistic director Lionel Meunier takes the opportunity to present Media Vita of Sheppard, extremely moving music here flanked by two pieces written for 40 a capella voices. Tallis and Alessandro Striggio probably met in London in 1567. Tallis’s monumental 40-voice work, Spem in alium, was probably inspired by the example of Striggio. Whereas Striggio’s composition Ecce Beatam lucem was probably designed for semicircular performance, Tallis had designed his music to be heard ‘in the round’, with the listener seated within the circle of performers. The music seems as such to ‘rotate’ around a circle. 

Turning forty is to say at least, a real stage of life. Artistic director Lionel Meunier takes the opportunity to present Media Vita of Sheppard, extremely moving music here flanked by two pieces written for 40 a capella voices. Tallis and Alessandro Striggio probably met in London in 1567. Tallis’s monumental 40-voice work, Spem in alium, was probably inspired by the example of Striggio. Whereas Striggio’s composition Ecce Beatam lucem was probably designed for semicircular performance, Tallis had designed his music to be heard ‘in the round’, with the listener seated within the circle of performers. The music seems as such to ‘rotate’ around a circle.

Turning forty is to say at least, a real stage of life. Artistic director Lionel Meunier takes the opportunity to present Media Vita of Sheppard, extremely moving music here flanked by two pieces written for 40 a capella voices. Tallis and Alessandro Striggio probably met in London in 1567. Tallis’s monumental 40-voice work, Spem in alium, was probably inspired by the example of Striggio. Whereas Striggio’s composition Ecce Beatam lucem was probably designed for semicircular performance, Tallis had designed his music to be heard ‘in the round’, with the listener seated within the circle of performers. The music seems as such to ‘rotate’ around a circle. For decades after his death Josquin’s works continued to be sung; yearly the choir of the Cappella Sistina was still singing Josquin’s setting of Psalm xc, Qui habitat, on the second Sunday in Lent.

Turning forty is to say at least, a real stage of life. Artistic director Lionel Meunier takes the opportunity to present Media Vita of Sheppard, extremely moving music here flanked by two pieces written for 40 a capella voices. Tallis and Alessandro Striggio probably met in London in 1567. Tallis’s monumental 40-voice work, Spem in alium, was probably inspired by the example of Striggio. Whereas Striggio’s composition Ecce Beatam lucem was probably designed for semicircular performance, Tallis had designed his music to be heard ‘in the round’, with the listener seated within the circle of performers. The music seems as such to ‘rotate’ around a circle.