Gallicantus

Since its formation in 2008, the British vocal sextet Gallicantus (“cock crow”) has produced a name for itself with courses, on recordings and in concert, that explore a particular historical juncture or event in great depth while crafting a nice-looking vocal surface which makes its music pleasurable for general audiences. Although the backdrop of the group people is deeply inserted in the British worlds of early vocal music and cathedral performing, Gallicantus’ roots are partly American: the group’s musical movie director is usually Gabriel Crouch, an alumnus from the Westminster Cathedral Choir’s males’ section, who required motivation from hearing the King’s Performers and became a member of the group for a while from 1996. He relocated from England to consider teaching positions at DePauw University or college and Princeton, and Gallicantus offers prospered partly by giving main American concerts, including one in 2017 at New York’s Carnegie Hall, aswell as with Britain. Crouch helped form the group’s 2009 debut launch, Dialogues of Sorrow, which, he informed The Cross-Eyed Pianist Blog page, “may be the documenting that defines what I’d like our group to become. It involves just a little scholarship or grant and lots of adventure. A lot of the music is totally unheard but it’s all ravishing and I am hoping our love for this results in.” The additional users of Gallicantus, since its inception, have already been Mark Chambers, that has sung with Tenebrae, the Monteverdi Choir, as well as the British Cornett and Sackbutt Outfit; former King’s University, Cambridge, choral scholar (and pc scientist) David Allsopp; Tenebrae, Alamire, The Clerks, and Binchois Consort member Christopher Watson; Baroque opera professional Nigel Brief (also an associate from the Pits!); and William Gaunt, place clerk at Westminster Cathedral and periodic person in Tenebrae, The Sixteen, and additional groups. Documenting for the Signum label, Gallicantus offers earned crucial acclaim not merely for applications of sacred music, also for Queen Mary’s Big Stomach: Expect an Heir in Catholic Britain, which explored how musical repertory interacted with crucial queries of royal succession and spiritual life.