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Views from the Choir Loft

Singing with Peter Philips

Andrew Leung · October 26, 2017

CTL Peter Philips AST WEEK, I had the opportunity and privilege to sing in a concert with the Tallis Vocalis under the direction of Peter Philips, the founder and director of The Tallis Scholars. Being able to work with Peter was really “a dream come true” for me and many of my colleagues. Peter and The Tallis Scholars have inspired so many musicians in the past forty years and they have successfully reintroduce the Renaissance polyphony to the world. I founded my first choir (a small liturgical choir) in college after listening to Peter’s choir, and realizing how one can produce this powerful and beautiful sound even with a small chamber choir. Since then, I have started similar groups in Atlanta, Macau, and now in Hong Kong.

One of the things that impressed me the most over the week was Peter’s extraordinary memory. After so many years of conducting polyphony, it is not surprising that he knows the music very well from his memory and can pick on the details without looking at the scores. What impressed me the most was that he had all the singers’ names memorized in a short period of time. He met half of the choir at dinner on the night he landed in Hong Kong and we each did a brief introduction of ourselves at the table. On the second evening, we had our first rehearsal and he was able to greet us with our names, the singers he met on the previous evening; he met the rest of the choir there (26 of us all together). By the second rehearsal, he knew exactly, by names, who were missing or late to the rehearsal. I think this is a very useful skill for conductors. It allows us to engage our singers and to maintain a friendly relationships. As a singer, I felt my importance in the group as I was treated with respect by the leader.

On the musical aspects, Peter is a very disciplined musician. He takes a pretty straight approach on the tempo and rhythm of the pieces. Instead of the more romantic approach, he asked the choir not to make long pauses after cadences and not to rit too early at the end of a piece. For example, in Byrd’s “Ave Verum Corpus“, he preferred the altos and tenors to pick up right away the “miserere mei” phrase without pausing after the cadence of “O Jesu Fili Mariae”; there was also no ritardando until the second-to-the-last measure, which is when everyone sing “-men” of the “Amen”.

Regarding singing with vibrato in Renaissance pieces, he doesn’t think that polyphonies have to be sung with absolute straight tone. He says that vibrato is a natural thing and it helps the singers to express the melodies and texts more fully. However, he did point out that it can be overdone, especially in the top voice, and consequently can affect the tuning.

Here is a video of Peter Philips talking about Renaissance music:


Last week was a very fruitful week! I am blessed to be able to work with Peter and to learn from him. If you are interested to know more about Peter Philips and The Tallis Scholars, you can read his book, or watch this video on Youtube where he talks about the origins of his choir.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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Quick Thoughts

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    During the season of Pentecost, you might consider using this 2-page Piece “for the season of Pentecost.” Rehearsal videos are available at #40691, but the lyrics are different. Therefore, make sure your choir members understand that one can rehearse songs that have different lyrics (“CONTRAFACT”).
    —Jeff Ostrowski
    Introit • (This Coming Sunday)
    Our volunteer choir appreciates training videos, so here's my attempt at recording “Exáudi Dómine Vocem Meam,” which is the INTROIT for this coming Sunday. This coming Sunday is Dominica Post Ascensionem (“Sunday after the feast of the Ascension”). It is sung according to the official rhythm of the Catholic Church.
    —Jeff Ostrowski
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    My volunteer choir attempted the polyphonic KYRIE that will be sung at this year's Sacred Music Symposium. If you're interested, you can listen to the live recording from last Sunday. The piece is based on the ancient plainchant hymn melody: Ave Maris Stella. Polyphony like this is truly intricate and wonderful. It reminds me of the quote by Artur Schnabel: “music that's greater than it can be performed.”
    —Jeff Ostrowski

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“For the Pharisees, and all the Jews, except they wash their hands, eat not, holding the tradition of the elders”—is that English idiom? “For the Nazis, and all the Germans, except they say Heil Hitler! meet not in the street, holding their lives valuable”—is that English idiom?

— Monsignor Ronald Knox

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