Sheppard & Byrd
November, 2007 | Presented by the Episcopal Church of the Ascension
In the ensemble's first performance as a non-profit organization, the Renaissance Singers presented an exciting and powerful concert of Renaissance vocal music from England with twelve of the most exceptional singers in Seattle. The program featured elegant compositions by English masters John Sheppard (1515-1558) and William Byrd (1540-1623), accompanied with light and humorous songs, or 'catches,' about life in the Renaissance.

German & Italian Polyphony: Bach, Palestrina and Isaac
April, 2007 | Presented by the Renaissance Singers
This program featured German and Italian vocal music in the historic ambience of Trinity Parish Church in Seattle. The first half of the program centered around German composers and featured Heinrich Isaac's (1450-1517) Virgo prudentissima, and Tota pulchra es. J.S. Bach‚s (1685-1750) Jesu, meine Freude and Cello Suites, played by Seattle cellist Richard Eckert, represented the Baroque period. The second half featured Italian composer. G. P. Palestrina’s (1525-1594) brilliant Stabat Mater for double choir, Assumpta est Maria and Alma Redemptoris Mater. Tomás Luis de Victoria’s (1548-1611) Alma Redemptoris Mater and Antonio Lotti’s (1667-1740) famous Crucifixus concluded the program.

Lament & Rejoice
October, 2006 | Presented by Seattle University Campus Ministry
This program explored the powerful emotional content in vocal music from the Renaissance. Featuring the works of William Byrd (1543-1623), Thomas Tallis (1505-1585), Robert White (1538-1574) and John Sheppard (1515-1558), the program contrasted solemn, penitential works with exuberant, post-Reformation pieces. Included were Byrd's Ne irascaris, Nunc dimitis and Magnificat (Great Service).

English Renaissance Masterpieces
March, 2006 | Presented by Early Music Guild
This program featured composers William Cornysh (c.1465-1523), John Sheppard (c.1520-1560) and Thomas Tallis (c.1505-1585). The centerpiece of the first half was Cornysh's Salve regina, a spectacular piece from the Eton Choirbook written in a highly ornate style. Contrasting this florid style was Cornysh's beautiful, but simple Ah, Robin. The second half featured Sheppard's Sacris Solemniis, a hymn from Vespers at Corpus Christi that alternates chant and polyphony. Accompanying Sheppard's brilliant work was his In manus tuas setting for Compline. Tallis' In manus tuas, unlike Sheppard's setting is more active and demonstrated the dissonant but beautiful style of Thomas Tallis.

Voices of the Renaissance: The English Heritage
April and May, 2005 | Presented by Tudor Choir
Renaissance motets by John Sheppard (c.1515-1559), Thomas Tallis (c.1505-1585) and John Taverner (c.1490-1545) were set to contrast the lighter madrigals composed by the next generation of composers, William Byrd (c.1539-1623) and Thomas Morley (c.1557-1602). The modern folk song arrangements by Gustav Holst (1874-1934) and John Rutter (b. 1945) demonstrate a continued interest in the ideals of unaccompanied choral singing.

The Renaissance Singers at Mary Gates Hall
March, 2005 | Benefit presented by the Renaissance Singers
This promotional concert featured masterful works of Renaissance polyphony by English composer Thomas Tallis (1505-1585) and Spanish composers Tomas Luis de Victoria (1548-1611) and Juan Esquivel (1560-1613). The second half of the program included 20th century English folk song arrangements by John Rutter and Gustav Holst.

Voices of the Renaissance: Medieval to Modern
January, 2005 | Presented by Music Northwest
This program contrasted medieval and modern vocal works. The medieval selections featured French composers Perotin (c. 1160) and Guillaume de Machaut (c. 1300-1377), and English composer John Dunstable (c. 1390-1453). One of the cornerstone works in the program was Perotin's Viderunt. Composed in the School of Notre Dame in Paris, Viderunt employs rhythmic variation in long mellismatic (melodies on one vowel) phrases, a compositional technique that contributed to the development of polyphonic music from organum. Machaut's setting of Le Messe de Notre Dame (Mass of Notre Dame) (c. 1364) for four voices also contains rhythmic variations and is based on chant sung in the tenor line. Machaut was a leader in the Ars Nova movement - a development of rhythm, meter, harmony, and counterpoint that assisted the new interest in secular themes. Machaut's Rose Liz, printemps is a secular work that exemplifies this development. Composed using the discussed rhythmic variation, English composer Dunstable use of consonant harmonies in Veni Sancte Spritus contrast the more dissonant French style.

The modern works featured composers Arvo Part (b. 1935) and John Tavener (b. 1944). Part's, I am the true vine was composed in 1996 for the 900th anniversary of Norwich Cathedral, England. Written in Part's characteristically contemplative style, the work is an English setting of St. John 15:1-14, in which Jesus likens himself to "the true vine" and commands his followers to love each other. Tavener's Funeral Ikos (1981), is a musical setting of the words from the service for the burial of priests. His compositional style reflects influences from the Russian Orthodox Church and Gregorian chant. The program also included Igor Stravinsky's (1882-1971) setting of Ave Maria and The Lord's Prayer with Tavener's setting of the Lord's Prayer. Although the medieval and modern selections yield many stylistic differences, they are all contemplative and posses more similarities when performed.

Voices of the Renaissance: The English Heritage
November, 2004 | Presented by the Tudor Choir
The popular medieval Marian antiphon chants framed this program of chant, motets and modern choral works. The first half featured the chants Alma redemptoris mater and Ave regina caelorum, plus related motets, Descendit angelus and Gaude Maria virgo, by Spanish Renaissance composer Tomas Luis de Victoria, and modern carols by Arvo Part, Igor Stravinsky and John Tavener. The second half of the program included the chants Regina caeli laetare and Salve regina, plus Part's "I am the true vine" and two additional Victoria motets: Dum complerentur and a brilliant 6-part setting of Salve regina.

Machaut to Rutter
April, 2004 | Presented by Music Northwest
This performance featured a variety of vocal works from Machaut to Rutter.