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LRCD1041
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LRCD1041
- Gentle Words
The Tudor Choir is a professional mixed-voice choir
which maintains a flexible membership of between 10 and 30 singers.
Founded by Artistic Director Doug Fullington in 1993, the choir
specializes in Renaissance polyphony and also sings Baroque, early
American and 20th century music. The Tudor Choir has sung under guest
conductors Stephen Cleobury, Martin Haselböck, Paul Hillier, Andrew
Parrott and Peter Phillips. In addition to an annual subscription series
presented in the Seattle area, where they are Artists in Residence at St
Mark’s Cathedral, The Tudor Choir has performed with Pacific Northwest
Ballet and the Mark Morris Dance Group. The choir has also performed in
conjunction with Seattle Opera, recorded for Seattle Symphony
Orchestra’s “Musically Speaking” series and performed live on
NPR’s “A Prairie Home Companion” broadcast.
Gentle Words is The Tudor Choir’s third compact disc
recording and their first on the Loft label. Other recordings include The
Shapenote Album, a collection of American shapenote tunes, and Fair with
her firstborn, English chant, polyphony and carols for Christmas, both on
the Pelican label (available through Loft Recordings).
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Soprano
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Alto
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Tenor
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Bass
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Jennifer
Fanning
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Penni Ferraris (c)
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Jody Franich
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Mark Powell
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Ann
Glusker (a)
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Gretchen Hubbert
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Richard Greene
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Cullen Stephenson
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Jennifer
Hrachovec
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Linda Sabee (d)
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David Stutz (e)
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Manard Stewart
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Lisa
Cardwell Pontén (b)
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A specialist in Tudor English and early American music,
Doug Fullington is a conductor, singer and dance historian. He received
undergraduate and graduate degrees in Historical Musicology and Law from
the University of Washington. Doug founded The Tudor Choir in 1993 and
conducts the choir's subscription series in Seattle, including annual
performances of Handel’s Messiah with the Seattle Baroque Orchestra. He
also frequently conducts singers in studio sessions for film soundtracks
and made-for-TV programs. Active as a freelance singer, Doug performed
with The Tallis Scholars on their December 2000 tour of the United States.
As a dance historian, he is a fluent reader of the Russian notation system
developed by Vladimir Stepanov in the 1890s. His writings on the Stepanov
notations have been published in Ballet Review, Dancing Times, Dance View
and Ballet Alert! He is also currently a principal researcher for The
George Balanchine Foundation's Popular Balanchine project.
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