The ‘Earthquake’ Mass | The Tudor Consort

By: Tudor Consort  05-Apr-2012

Saturday 19 May, 7.30 pm

Wellington Cathedral of St Paul
Cnr Molesworth and Hill St
Wellington

For those who enjoyed the dense polyphony of Tallis’ Spem in alium, you must not miss this performance of Brumel’s intricate Missa Et ecce terrae motus. The nickname derives from the melody on which the Mass is based, a small section of a plainsong chant to the words ‘Et ecce terrae motus’ (‘And the earth moved’). Given the obvious association with the Canterbury earthquakes, The Tudor Consort will record this Mass shortly after the concert, with all profits going to the music department of ChristChurch Cathedral.


Other news and updates from Tudor Consort

05-Apr-2012

News | The Tudor Consort

Two world premieres by leading New Zealand composers Ross Harris and Jack Body feature in our upcoming concert – Renaissance Influences IV – Made in New Zealand. The remainder of the home-grown programme includes works by Dame Gillian Whitehead, David Farquhar, Douglas Mews and Tudor Consort choir member Anna Griffiths.


05-Apr-2012

A Britten Christmas | The Tudor Consort

A Ceremony of Carols is a product of Britten’s self-imposed wartime exile to the United States, written in cramped conditions during his crossing of the Atlantic. Written when he was merely nineteen years old, it employs an eight-part choir and a chorus of boys, in this case taken from St Mark’s School. The women of The Tudor Consort will be accompanied by Carolyn Mills, Principal Harpist of the New Zealand Symphony Orchestra.


05-Apr-2012

Renaissance Influences IV | The Tudor Consort

Two world premieres by leading New Zealand composers Ross Harris and Jack Body feature in our upcoming concert – Renaissance Influences IV – Made in New Zealand. The remainder of the home-grown programme includes works by Dame Gillian Whitehead, David Farquhar, Douglas Mews and Tudor Consort choir member Anna Griffiths. Missa Brevis: Kyrie Gillian Whitehead.


05-Apr-2012

Convertere ad Dominum | The Tudor Consort

Victoria’s nine Lamentation settings are taken from his monumental Officium Hebdomadae Sanctae, a comprehensive collection of passion settings, responsaries and hymns for this most important period of the Church year. These anguished texts, concerning the destruction of Jerusalem in the time of the conquest of Nebuchadrezzar, are set with Victoria’s particular subtlety and intensity of expression.