# Deprofundis revisited Tallis Scholars an herald them as gold medalist ensemble of era



## deprofundis (Apr 25, 2014)

Let's face it now: Tallis Scholars has been around since a long time now, the 80'' & 90'', as well as the second millenniums occurred, there was not flawless ensemble I.e, I did not get into the Gombert's Magnificats vol. 1-2 by them. But there: Cardoso offerings, there Lobo offering(Duarte and especially Alonso), not related one Spanish one Portuguese, may I says both Iberic in the end to simplify.

Other triumphs of this ensemble included: Clemens Non Papa, Robert White, Josquin Desprez, John Taverner (they did 3 CDs his music). I could go on and on, their catalog makes someone blush at first glimpse, if in polyphony worship back than.

Anyone has been heavily into: Tallis Scholars have all of there catalog releases but just revisited them?

They did emphasis on Tenors more than bassus or soprano, I think as final casual verdict, there sound is criticized on this mather, I personally don't mind, cheer fellaws.

Deprofundis contribution to T.C for the night.

:tiphat:


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## Mandryka (Feb 22, 2013)

I have only read one article by Peter Philips, "Beyond Authenticity" (in Tess Knighton and David Fallows, _Companion to Medieval Music _(Dent, London 1992)) There he makes it very clear that his performance objectives are to create something which is fresh in each performance, something which is expressive and something which is acceptable to modern ears. He is not primarily concerned about historical accuracy, in the sense of giving a performance which is like the sort of thing we can reasonably believe the composer probably expected. For this reason questions about, for example, believing in written pitch, about dynamic contrasts, about pulse fluctuations, about the combination of voices in the music's creation etc. are not of primary concern for him.


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