", On the residential side, as cities grow denser, the need increases for thoughtful acoustic design and sufficient sound isolation. 2020 most likely marks the 450th anniversary of the piece, and to celebrate this event, ORA Singers, in partnership with Oxford Festival of the Arts, is planning a two-day interdisciplinary symposium to take place on 19th and 20th June 2020, at which a group of British and international academics and scholar-performers will meet to share insights arising from their engagement with Tallis’ motet. Maybe it is collectively about hope that the orange imbecile will no longer be part of our lives in 45 days. How did you narrow down the list of songs? And Simon tells of giving Nick Maurice a signed copy of the score. I’ve been spending some time on this over the years. That was during the time that I was going to Black Lives Matter protests in Nashville and trying to get more engaged in the community, as I still am. 1 May, 2020. All future cities are music cities. The event was postponed with the galleries closed during lockdown and was originally conceived to … The conference is also open to receiving proposals in alternative formats. It is motet, a composition for forty singers in eight groups of five singers, conveying complex, ever-in-motion eight-part harmony. I think we decided early on that we had to only choose songs we both felt really strongly about and both really loved. A headmaster at the school where Sandy was for 26 years sang on this recording. The safety measures, which were compiled through interviews and conversations with recording studio owners, engineers and other professionals around the country, cover a range of concerns and precautions related to limiting the spread of the coronavirus in a studio setting, including: social distancing in recording studios, complexes and rooms; protective gear, like face coverings and disposable gloves; limitations to studio access, control rooms and/or performance spaces for personnel and visitors; routine cleaning and disinfections of frequently touched surfaces, such as workstations, and commonly used and shared equipment, like microphones; and more. "Well balanced recording in a beautiful space. I have never put my hope in any other I drove by downtown and you feel like half the people aren't wearing masks. Thomas Tallis (1505-1585), Spem in Alium, Gaechinger Cantorey, director Hans-Christoph Rademann. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. We have designed this infographic to show how music ecosystems work and impact cities, towns and places: https://t.co/0DIUpN1Dll, — Sound Diplomacy (@SoundDiplomacy) August 14, 2019, Diversity, inclusion, health and well-being also factor into the reports comprehensive look at how music and culture are every bit as important as conventional business, ergonomic and environmental considerations in Future Cites. It also gives a composition date of 1556/1570, which put it in the reign of either Mary or Elizabeth I. I’ve chosen various renditions, the first being a graphical score. TALLIS Spem in Alium. We sang the Tallis at several venues: in the chapel at Marlborough College, at Salisbury, at Magdalen College in the ante-chapel after Evensong, and I think at St. John’s Church in London. The first performance is likely to have been in the octagonal banqueting hall of Nonsuch Palace in Surrey, now destroyed. New video release: ‘Spem in Alium’ in lockdown. We’re talking here of Elizabethan surround sound. Tuttle: Yeah. It is a game-changing milestone for today." I was following the score this morning when listening to it and then looked up and found that it was also a special rendition of the normal layout of the choirs one to eight, with one on the left. ● Spem in Alium over the centuries: why has the work been so greatly admired, and why are we still so fascinated by it today? Their composers range from the recognised names of Byrd and Tallis to others that are currently less well-known but worthy of note, such as van Wilder, Gerarde and Ferrabosco, with some works recorded for the very first time. who canst show both wrath and graciousness, Her next album, I would like for her writing to be the focus of all of it, because that's where she really would excel. I was like, "Oh, my God." Suzi Digby, (Lady Eatwell) OBE, the founder, conductor and artistic director of ORA, formed ORA by handpicking its members from the best of British choral singers. SPEM IN ALIUM. Berg: We heard wonderful things back from [The National’s] Matt Berninger, whom I know pretty well and I have huge respect for, so that was a relief. But perhaps the key to this progress is in changing how we approach the use of space itself, as the answer to supporting music may be found in how we look at the spaces we inhabit. It's the interaction of players and the discussion of ideas and contacts and to be denied face-to-face, in-the-room experience, I found it a little daunting initially. Tuttle: It's really bizarre. Tuttle: I really trusted Tony and I trusted all the musicians because the people he asked to play on it were so wonderful. Using the Queensland Chamber of Arts and Culture as a reference, it declared, "A Chamber of Culture is as important as a Chamber of Commerce.". This is the outside of the Chapter House, which is still roofed. Tuttle: Tony and I had been talking about making a record and then once quarantine started, we had this idea to do it remotely and choose these cover songs. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. The performance will be approximately 1 hour 30 minutes in duration, without an interval. She kept in touch with Berg, whose most recent production credit was Phoebe Bridgers’ 2020 standout Punisher, and they figured out a new project: an album where Tuttle would home-record cover songs that had special meaning to her at various points in her life.
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