Nico Muhly: No Resting Place The Tallis Scholars & Peter Phillips

• Nico Muhly (b. 1981): A Glorious Creature:
• 1 Muhly: A Glorious Creature 09:12
• Recordare, Domine:
• 2 Muhly: Recordare, Domine 06:25
• Marrow:
• 3 Muhly: Marrow 03:05
• Prosperitie:
• 4 Muhly: Prosperitie 01:45
• Rough Notes:
• 5 Muhly: Rough Notes 09:19
• No Resting Place:
• 6 Muhly: No Resting Place: I. Incipit lamentatio; ALEPH. Quomodo sedet 04:31
• 7 Muhly: No Resting Place: II. BETH. Plorans ploravit 05:23
• 8 Muhly: No Resting Place: III. GHIMEL. Migravit Judas 03:08
• 9 Muhly: No Resting Place: IV. DALETH. Viae Sion lugent 05:45
• 10 Muhly: No Resting Place: V. HE. Facti sunt hostes 05:53
• Total Runtime 54:26

Info for Nico Muhly: No Resting Place

Nico Muhly and The Tallis Scholars present ‘No Resting Place’, a collection of world premiere recordings of works that Muhly wrote for The Tallis Scholars over the last 10 years, by invitation of their director Peter Phillips. Phillips says that Muhly ‘immediately understood our particular sound. A succession of masterpieces followed, each as powerful as the last.’ The title work, No Resting Place, is a setting of Jeremiah’s Lamentations, interspersed with contemporary interviews with people from the Windrush generation. Recordare, Domine also sets texts from Lamentations, while Marrow is a setting of Psalm 63. Rough Notes, using cold textures, austere counterpoint and unstable harmonies, draws from Captain Scott’s diary on his doomed mission to the Antarctic. Prosperitie was written to celebrate Peter Phillips’ 70th birthday, and A Glorious Creature praises the glory of the soul. This album marks the start of a new collaboration between The Tallis Scholars and Linn.

The Tallis Scholars
Peter Phillips,director

The Tallis Scholars
Over five decades of performance and a catalogue of award-winning recordings for Gimell, Peter Phillips and The Tallis Scholars have done more than any other group to establish sacred vocal music of the Renaissance as one of the great repertoires of Western classical music.

They have sought to bring Renaissance works to a wider audience in churches, cathedrals and venues on every continent on the planet except Antarctica! These include the Royal Albert Hall, the Sistine Chapel, the Lincoln Center and Carnegie Hall New York, the Philharmonic Hall Berlin, Saint Mark's Venice, Seoul Arts Centre Korea, Shakespeare's Globe Theatre London, Concertgebouw Amsterdam, Wigmore Hall, Beijing Concert Hall, Megaron Athens and the Opera House Sydney.

The Tallis Scholars continue to develop their exclusive sound, praised by reviewers for its supple clarity and tone, and to bring fresh interpretations to music by contemporary as well as past composers, such as Pärt, Tavener, Whitacre, Muhly and Jackson. ​

"one of the UK’s greatest cultural exports" - BBC Radio 3

Peter Phillips​
I got the polyphony bug when an undergraduate at Oxford in 1973. An ideal choral sound got fixed in my head at that time, and I've spent all the years since then trying to recapture it. Hence The Tallis Scholars. I haven't done much else of creative importance - no novels or films (yet) - just a lot of concerts and recordings, and endless travelling. This in turn has piqued an interest in exploring the cuisines of the world, and even some of the languages, though rarely the right ones. A thorough grasp of Latin would have been good; Arabic has proved of limited value as a tool for promoting Christian sacred music. ​

Other daft things I've done include: starting a choral foundation in Oxford's oldest and most beautiful college chapel; writing a column in the London Spectator on music for over 33 years, and on cricket for one; encouraging my fellow citizens to eat horse; learning to fly small aeroplanes; carrying rare foodstuffs (especially horse) around the world in my luggage, and visiting a restaurant near my house so often that I now have my own table there. The best thing I've done is marry Caroline Trevor and help to bring up three children who, to my lasting relief and delight, have grown into very civilised people.

"Speaking of birds, it was also wonderful to glimpse Peter Phillips’s conducting: hands opening as if setting free a dove, or closing to punctuate with dotting-the-i’s exactitude. I found myself wishing I could get a choir’s-eye view to witness Phillips’ complete – lifelong – inhabiting of this music." - The Observer, September 2015

Booklet for Nico Muhly: No Resting Place