Sine Nomine: Renaissance Choir
– with Director Anne Lyman
THE LONELY CITY–Lamentations
from Renaissance Spain
Concert: Sunday, March 14, 2021 | 3pm
View of Toledo, El Greco (c.1599-1600) Metropolitan Museum of Art, New York, NY.
This virtual singing opportunity is open to EVERYONE who has a love of Renaissance music/polyphony and would like to learn more about the music, history, and culture that makes this music so uniquely beautiful. And you can complete the project all in the comfort of your own home!
PROGRAM (to be selected from the following):
Portions of Lamentations settings by Guerrero, Victoria, Morales and Cardoso.
Encina, Trista Espana sin Ventura
Duarte Lobo, Pater Peccavi
Guerrero, Hei mihi, Domine
Vasquez, Lagrimas de mi Consuelo
Esquivel, In Paradisum
Victoria, O Vos Omnes
Zielenski, Vox in Rama
Morales, Pastores Dicite
DATES: (5 week course) January 17 to February 18, 2021
CONCERT PREMIERE: (YouTube): Sunday, March 14, at 3:00pm PST.
– Music scores, “scrolling score” videos, midi files
– Pre-recorded audio and video lessons – available starting Sunday, January 17, 2021
– Weekly live Zoom meetings on Thursday evenings, 7 – 8:30pm PST starting January 21
– Optional opportunity to contribute individual audio, and possibly video, recordings of some pieces
PERFORMANCE (Virtual): A YouTube premiere will be presented by Anne Lyman on Sunday, MARCH 14, 2021 at 3pm PST.
COST: $80 per participant, with some scholarship funds available
REGISTRATION DEADLINE: Saturday, January 16 at midnight (PST)
PAYMENT DEADLINE: Wednesday, January 20 at midnight (PST)
Additional details are found on the Registration Form: https://forms.gle/TcbNyrCP6SeCbP9VA
If you have questions, please feel free to contact Managing Director, Pam Silimperi at: firstname.lastname@example.org
Art credit: View of Toledo, El Greco (c.1599-1600) Metropolitan Museum of Art, New York, NY.
Sine Nomine Performance Project, Fall 2020 – Now available ‘On Demand’
TOGETHER ALONE WITH WILLIAM BYRD – ENGLISH RENAISSANCE POLYPHONY
Sine Nomine has opened its 2020-2021 concert season with a virtual performance of English Renaissance music composed for small spaces and intimate settings. Singers have met over five weeks to learn about the music, history, and culture surrounding the recusant world of William Byrd. the concert premiered parts of Byrd’s ‘Mass for Four Voices’ as well as music by Morley, Tallis, Wilbye, and others. Hear pre-recorded performances by our singers, view some singer testimonials, and even have the opportunity to sing-along yourself! Take time to also view the pre-concert lecture by Anne Lyman and the concert program.
You will find the concert here: https://youtu.be/MwxCyhmj-AQ (as well as links to the pre-concert lecture and program).
Other direct links here:
Pre-concert lecture: https://www.youtube.com/watch?v=QEzdMgAJKJk&t=639s
Concert program: https://docs.google.com/document/d/1bk-vBUdWAGn4Te4d9utGf4WTtQtAl_YnAn8W4zKLuas/edit
Anne E. Lyman (2016–present) serves as Artistic Director of Sine Nomine, Director of Choral Activities at Tacoma Community College, Artistic Director of the Seattle Bach Choir, and Director of Music at Skyline Presbyterian Church in Tacoma. She is the founding and artistic director of Canonici, a Tacoma-based professional early music ensemble which has performed throughout the Puget Sound region and hosts the annual Tacoma Early Music Workshop. Dr. Lyman’s primary musical and scholarly pursuits include the Franco-Flemish school of Josquin Desprez, the vocal works of Peter Philips and other English recusant musicians, and early 17th-century German sacred music. Her performance and research have been generously supported by grants through the Fulbright Foundation, the Stanley Foundation, the Belgian American Education Foundation and the Tacoma Arts Commission. Dr. Lyman has conducted choirs throughout the United States and holds degrees from The College of Wooster, the University of Cincinnati, the University of Iowa and the Katholieke Universiteit in Leuven, Belgium. Dr. Lyman lives in Tacoma, WA with her husband Zach, son Milo and daughter Eleanor.
Founding Music Director and Conductor
Gary D. Cannon, 2008-2015
The Renaissance choir Sine Nomine, directed by Dr. Anne Lyman, is a Community Collegium ensemble, part of the community outreach program of Early Music Seattle (EMS). Founded in 2008 by conductor Gary D. Cannon and singer/manager Pamela Silimperi, Sine Nomine is a mixed-voice chamber choir specializing in the fine performance of early music, including sacred and secular works from all regions. The ensemble’s repertoire ranges from the late Medieval to the Baroque, with special emphasis on Renaissance works of the 15th and 16th centuries. Most of the participants in Sine Nomine also sing in other choruses, ranging from church choirs to semi-professional ensembles.
Sine Nomine is a proud member of the Greater Seattle Choral Consortium (GSCC).
For questions or to request an audition, please contact us at email@example.com
Sundays, 6:30-9:00 PM
(Time may occasionally change)
Trinity Parish Episcopal Parish
A Desolate Land: Lamentations from Renaissance Spain
Sunday, March 14, 2021, 3:00pm - on YouTube
What’s in a Name? Celebrating Josquin des Prez and the Missa Sine Nomine
Sunday, May 2, 2021, 3:00pm - on YouTube
—April 2017: “Uniquely English: Gibbons and Tomkins, 17th Century Sacred and Secular English Music" // Anne Lyman, Conductor; explores the unique harmonic expressivity and musical rhetoric in the English vocal and choral music of Orlando Gibbons and Thomas Tomkins, as influenced by King James I
—Nov. 2016: “Palestrina: Protector of Polyphony: 16th century sacred polyphony featuring Palestrina’s Missa Papae Marcelli” // Anne Lyman, Conductor; detailing the evolution of Italian-influenced sacred choral music throughout the 1500s, highlighting the changes brought about by the Council of Trent in the middle part of the century – from the transparent, balanced works of Franco-Flemish composers like Willaert and Arcadelt, to the later, more florid works of de Wert and de Rore.
—March 2016: “Aus Tiefer Not– Out of the Depths: Music for Lent and Passiontide in 16th & 17th c. Germany” // Rebekah Gilmore, Guest Conductor; exploring the Passiontide texts of Protestant Germany and the northern introduction of the polychoral style of the Venetian school, featuring music of the early baroque by Heinrich Schütz, Hans Leo Hassler, et al. and Renaissance composers who influenced them.
—November 2015: ” ‘Let Me Not Stray’: Thomas Tallis and the Tudors” // Anne Lyman, Guest Conductor; featuring the music of Thomas Tallis, chapel musician to the final four Tudor rulers, and expressing the religious upheaval of the times: highlighting Suscipe qaeso Domine, O nata lux, and Lamentations of Jeremiah 1, plus pieces by Taverner and White
—March 2015: “Lament and Rejoice: Renaissance Music for the Modern Soul”// Featuring a cappella works on the contrasting passions of loss and celebration: secular works by Josquin, Cornysh, Gesualdo and Weelkes plus sacred works by Tallis, Gombert, Lotti and Byrd (including his monumental, celebratory motet Tribue Domine)
—November 2014: “Salve Regina” // Featuring settings of the Salve Regina by Josquin, Lassus, and Guerrero, plus other Marian-themed works by Ockeghem, Palestrina, Isaac, Morales, and Byrd
—March 2014: “Josquin and the Sexti Toni” // Featuring the full Missa ‘L’homme armé’ sexti toni and 3 masterworks by Nicolas Gombert
—November 2013: “Playing with Fire: Gesualdo’s Madrigals” // Anne Lyman, Guest Conductor; featuring a cappella concert music of the high Italian Renaissance: some of Gesualdo’s most appealing and passionate works, and pieces that inspired him by Josquin, de Wert, de Rore, and Luzzaschi
—March 2013: “Monuments of Early Music” // Featuring Thomas Tallis’ 40-part motet Spem in alium and works by Pérotin, Palestrina, Cornysh, Gesualdo, and G. Gabrieli
—November 2012: “Bach Magnificat and Motets” // Featuring J.S. Bach’s Magnificat and two motets: Komm, Jesu, komm and Der Geist hilft in collaboration with New Baroque Orchestra
—March 2012: “Homage” // Featuring works by Binchois, Ockeghem, Josquin, Obrecht, de Monte, Byrd, and others
—November 2011: “Victoria and Guerrero” // Featuring Victoria’s complete Officium defunctorum and motets by Guerrero
—April 2011: “David and Absalom” // Featuring works by Victoria, Josquin, Schütz, Gombert, Weelkes, and others, including local composers Abraham Kaplan and Roupen Shakarian
—November 2010: “L’homme armé: The Armed Man” // Featuring Mass movements by Ockeghem, Busnois, Josquin, Palestrina, and Carissimi; Janequin’s La Guerre; and war-themed works by Monteverdi, Dufay, and others
—February 2010: “Purcell and Handel: Music for Baroque Orchestra and Chorus” // Featuring Purcell’s Come, ye sons of Art and Handel’s Dixit Dominus in collaboration with New Baroque Orchestra
—November 2009: “The Two O’s: Ockeghem and Obrecht” // Featuring Salve regina settings and other works by both composers
—May 2009: “Master Josquin” // Featuring sacred and secular music by Josquin des Prez and his contemporaries
—November 2008: “Long Live Fair Oriana!: Sacred and Secular Music from England, circa 1600” // Featuring Byrd’s Mass for Four Voices, plus madrigals and motets by his contemporaries
Sine Nomine performs from scores provided by Patrick Rice of PDR Editions.
“Congratulations on a very beautiful concert. Lifted up my whole day. The music was rich and the harmonies were exquisite. Thank you!” – K.W.
“Seattle is fortunate indeed to have Sine Nomine, an excellent choir dedicated to performing music from the Golden Age of choral music—the Renaissance. Each concert is a delight; each concert celebrates the riches of the Renaissance; each performance is done with a finesse of understanding. Thank you, Sine Nomine ... for the gifts of music you bring to Seattle.” – J.C.C.
“The respective sections of the choir showed sensitivity and fine balance throughout. Guerrero & Victoria were present for everyone to experience; the performers were their perfect servants.” – H.R.
“Thank you for the Guerrero! It all was delicious, especially the ‘Duo seraphim.’” – J.C.
“The performance again showed [conductor Gary Cannon’s] attention to detail and his sense of both choral and historical styles. The group has become a reliable interpreter of early choral music.” – P.S.