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>>Archived Press Releases           >>Critical Acclaim for The Tudor Choir

PRESS INQUIRIES to Doug Fullington, please. High resolution photos are available in vertical and horizontal format.

William Stickney Photography
2006 Horizontal 2006 Vertical 2005 2004 Vertical
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“...Its sound was bright and focused with each member of the chorus contributing his or her potential, giving the impression of something greater than actual numbers would suggest.” — Seattle Post-Intelligencer


In March 2015, the Tudor Choir announced the end of its subscription series and regular performance schedule at the close of the 2014-2015 season.


"Its sound was bright and focused with each member of the chorus contributing his or her potential, giving the impression of something greater than actual numbers would suggest." — Seattle Post-Intelligencer

"...characterized by a seamless blend across the ranges and a marvelous clarity of texture." — Crosscut


"... the nearest thing one can imagine to a tapestry in sound, with all the intricate interweaving of pitches, colors, shading and density. The performances were superb. The audience was enthusiastic." — Seattle Post-Intelligencer

"So it was as though I'd died and gone to heaven ... to hear the performance by the Tudor Choir under its director, Doug Fullington ..." — Seattle Weekly

"The Tudor Choir knows this music intimately. A final highlight came with 'Salve Regina' by William Cornysh, who died in 1502. What began as flickers of sound when the sopranos wound their way up a scale ended in a relative blaze of affirmation ..." — The Oregonian

"The lovely shaping of beginnings and endings, the tenderness of unison chant sung as this was sung, touched more than the intellect in the listening ear; whether it was the sublimity of sound achieved by the men's voices alone in 15th-century John Dunstable's Magnificat, or with the added, soaring voices of the sopranos in the contemporary Robert Fayrfax's Magnificat 'Regale.'" — Seattle Post-Intelligencer

"There is a lot of fine music to choose from in Seattle, but one simple rule should be a guide: Never miss this group!" — Seattle Weekly

"Smooth, well-coordinated and well-blended, the choir (led by Doug Fullington) performed remarkably well, with both style and polish." — The Seattle Times

"Everything the Tudor Choir sang was given impeccable musical manners and a thorough sense of preparation." — Seattle Post-Intelligencer


"The singers raised their voices in lusty, not to say almost raucous, four-square harmonies, and pursued the sturdy hymn tunes with passionate directness." — Seattle Post-Intelligencer

"In this folk tradition (over two centuries old), the words are comprehensible, while the voices are unbridled and free of excessive, word-disfiguring vibrato. In good a cappella ensembles like the Tudor Choir, the fun and camaraderie are palpable. Shapenote tunes themselves are undiluted Americana: plaintive melodies, sung without accompaniment, that never leave your ears once you hear them." — The Stranger




"Savage Altars is itself worth the price of admission, propounding musical ideas, withdrawing them and finally weaving into a tapestry of sound that is abruptly cut off at its height." — Anne Midgette, The New York Times, May 7, 2006

"Everything comes together perfectly … in Savage Altars, [Marshall's] 1991 work for chamber choir, electronic tape, and violin and viola obbligato. Savage Altars alternates rather abruptly between spooky and harrowing sections of rhythmic choral chanting and drop-dead gorgeous interlocking scalar passages that almost seem to float in suspended bliss. …The ancient Roman and Latin texts used as source material … are freely intermingled and sung in a pure, non-vibrato, almost-Medieval choral style. … Overall, a real sense of wonder, timelessness, and stark (okay, "savage") beauty is achieved in this striking work. …Savage Altars may very well be Ingram Marshall's [masterpiece]." — Stephen V. Funk, Blog Critics, May 2006

"The work itself unfolds gracefully as a polyphonic tapestry, with cascading voices weaving intricately alongside sparse instrumental accompaniment (strings solo briefly and taped electronic sounds make distinctive interjections). Also incorporating the Magnificat hymn and the "Sumer is icumen in" canon (supposedly the oldest notated polyphonic music in the West), Marshall's work flows through multiple episodes, some elegiac and serene, others more spirited and rambunctious. …Savage Altars … [is] a superb representation of his always-compelling work." — Textura, July 2006 (also, Signal To Noise, issue 43)

"Ingram Marshall's Savage Altars is an important addition to the chamber choir repertoire. With a text from Tacitus, the Marian Magnificat and others (including two different versions of Sumer is icumen in) this is a complex conception which repays the closest study. …[I]t is superbly realised in a live performance at St Mark's Cathedral in Seattle." — Peter Grahame Woolf, Musical Pointers

"Marshall's music is always complex but accessible, and the performances are very good." — CD HotList, May 2006

"[The CD Savage Altars is a] collection of chamber works that continues Marshall's unique journey in a spiritual musical language through visiting medieval, sacred and world sources. The effect of his music acts as a prayer of offering in a highly personal fashion which, because of it, allows the listener a more universal experience." — Forced Exposure

"Savage Altars, from a concert performance by the Tudor Choir, derives its title from the Roman historian Tacitus' Annals Book I, which chronicles the Roman campaigns against the German tribes. They suffered a devastating defeat by the Cheruscan soldiers in the Teutobugian forest. Six years later, the remains, bleached out bones, splintered spears and debris, of three Roman Legions, were found, the whole of which was named "barbarae arae" – savage altars. Elements of the hymn Magnificat, and the canon "Sumer is icumen in" are also interwoven in melodic and textual contributions. This was written on the eve of the first Gulf War." — Ingram Marshall


"A superb choir makes a splendid debut with works of ecstatic beauty." — Gramophone

"I can't say enough about these performances by The Tudor Choir. Known for their sublime discs of American music (shape-note hymns and Shaker songs), here they tackle repertoire that's been viewed as the eminent domain of European ensembles. They possess all the hallmarks of fine choral singing – blend, articulation, tonal beauty – but more importantly, they bring a palpable sense of humanity to every note they sing." — Early Music America

"To these classic works of Clemens...The Tudor Choir brings an unusually bright and vibrant sound. Their approach to the idiom is vital and rich, dispelling the idle notion that "early music" is dull and cerebral. Intonation and phrase sense are superlative; blend and phrasing are simply great." — Journal of the Association of Anglican Musicians

"Although something of a protege of Peter Phillips, Doug Fullington cultivates a harder-edged sound than that familiar from The Tallis Scholars. Rhythms and counterpoint are clearer and the mystic glow of the music is to a large extent allowed to take care of itself – something it does admirably." — Gramophone

"Few recordings are perfect, but Loft Recordings' Jacob Clemens non Papa: Requiem & Motets, at least to these ears, seems to be. Even if one may not wholly agree, chances are excellent that one will be unlikely to find a disc of Renaissance music as immediately appealing, yet satisfying in the long term also, as The Tudor Choir's Jacob Clemens non Papa: Requiem & Motets. It is superb." — All Music Guide


"This is our favorite disc this Christmas. Both EB [Elaine Bartlett] and I like it. We were very pleased to be given this magnificent successor to the choir's The Shapenote Album (see EMR 49) when we met Doug Fullington in Seattle earlier this year, and it has been played often in our household. He manages to get a balance between the sing-songy shape-note style, which can be powerful but which has also become routine, with the sophisticated sound of a professional choir, though keeping a bit nearer the style than Psalmody [Peter Holman's group] does to the English equivalents. I like the way they sing some tunes through to the shape-note syllables as introductions. The disc includes the best-known Christmas pieces of the repertoire and is supported by an excellent booklet. This is my Christmas recommendation." — Clifford Bartlett, Early Music Review (UK)

"The vigorous beauty of shape-note singing seems apt for Christmas. Most traditional carols come from Germany and Victorian England, but these New England and Appalachian songs were once as familiar to rural Americans as "Silent Night." I love the barrel-chested tunes such as "Emanuel for Christmas" and "Redemption S.M." for their gusto and open harmonies. The unvarnished sound of Seattle's Tudor Choir is thrilling in this palate cleanser." —David Stabler, The Oregonian

"Seattle's Tudor Choir doesn't just sing English Renaissance music; Doug Fullington's well-trained chorus also was a well-received subspecialty in Americana, and this new CD draws on that tradition. It's subtitled "Shapenote Carols from New England and Appalachia," many of them unfamiliar to today's listeners, but charming all the same with their open intervals and rustic harmonies." — The Seattle Times

"Fascinating, truly unusual music for modern ears. It is not just for holiday listening." — The News Tribune


"This recording triumphs on every level. If you care about American music or the art of sublime choral singing, I implore you to buy this recording." — Fanfare


"The selection is refreshingly different, with new compositions containing traces of familiar melodies but generally steering clear of the routine. The execution is of a high order ... The recording captures a warm and reverberant space, and the booklet is elegant. This is an unusual and rewarding Christmas program quite distinct from the run of the mill." — Fanfare


Click any link to see archived .pdf

Handel's Esther review for American Handel Festival:
A big final weekend for Handel in Seattle — Seattle Times, March 28, 2011

Songs of War and Heaven preview:
Tudor Choir performs Songs of War and Heaven at the Moore Theater 10/16 — Broadway World, September 2, 2010

Mark Morris Dance Group with Tudor Choir and Seattle Symphony review:
Mark Morris Dance Group — Good not Great — Seattle Post-Intelligencer, May 22, 2010

Mark Morris Dance Group preview with link to Doug Fullington interview with Mark Morris:
Mark Morris Dance Group, Seattle Symphony Storm the Paramount — The Seattlest, May 18, 2010

Mark Morris Dance Group preview with Mark Morris interview:
Mark Morris and Seattle Symphony to collaborate at Partamount — The Seattle Times, May 15, 2010

Tallis Scholars Summer School USA Opening Concert review:
The Tallis Scholars and The Tudor Choir sing ageless music — The Gathering Note, July 27, 2009

December concerts preview and interview with Doug Fullington:
Seattle choirs raise their voices in holiday song — The Seattle Times, December 19, 2008

Carol concert review:
A top-notch performance by Tudor Choir — Seattle Post-Intelligencer, December 29, 2008


Handel's Messiah preview
Best reason to get excited for Handel's Messiah five months early — Seattle Weekly, August 4, 2009

Messiah review:
Handel would approve — Crosscut, December 22, 2008

December 27, 2007 – Seattle Post-Intelligencer,
Celebrate Seattle Festival was just one of many high notes

December 24, 2007 – Crosscut
Messiah becomes a tradition revived

December 23, 2007 – Seattle Post-Intelligencer
Even Town Hall shone in Messiah

December 21, 2007 – The Seattle Times
Tudor's Messiah makes a comeback

December 20, 2007 – Seattle Post-Intelligencer
Seattle Baroque Orchestra and Tudor Choir revive period performances of Messiah

December 19, 2007 – Capitol Hill Times
Tudor Choir and Seattle Baroque Orchestra team up for the Messiah

December 19, 2007 – Seattle Weekly
Tudor Choir/Seattle Baroque Orchestra: A second coming for this Messiah


January 12, 2009 The Tudor Choir opens new 2009 series performing chant, Renaissance, and contemporary music in atmospheric, candlelit concert inspired by the medieval feast of Candlemas (pdf)

10 September 2008 The Tudor Choir presents a carol concert of traditional carols and songs for the holidays (pdf)

4 September 2007
Tudor Choir to perform Taverner's Western Wind Mass

22 March 2007
Tudor Choir to discontinue series, continue performing

19 January 2007
The Tudor Choir performs "Songs of Devotion"

30 December 2006
Choral fireworks with the Tudor Choir!

28 October 2006
The Tudor Choir celebrate A German Renaissance Christmas

28 October 2006
The Tudor Choir, with Dave Beck, perform Victorian carols

22 August 2006
The Tudor Choir opens 14th season with music from The Golden Age of Polyphony

2 June 2006
The Tudor Choir announces its 2006-2007 concert season

May 2006
The Tudor Choir to perform with members of The Tallis Scholars

17 March 2006
The Tudor Choir to perform Lily Among the Thorns

9 February 2006
The Tudor Choir to sing Simple Gifts at Town Hall

20 January 2006

20 October 2005
Christmas in Olde England

4 October 2005
American Folk Holiday

8 September, 2005
Arnie Millan featured at VINUM BONUM, the Tudor Choir's annual benefit.

15 August, 2005
The Tudor Choir performs "Brother Sun, Sister Moon", a musical legacy for St. Francis of Assisi.

26 May, 2004
The Tudor Choir announces its 2004-2005 Season to include encore performance of Tallis' 40-part Spem in alium

16 August, 2004
The Tudor Choir performs Medieval English songs of love, chivalry and devotion

22 November, 2004
The Tudor Choir and Players offer classic English holiday fare

3 January, 2005
The Tudor Choir explores early German vocal music culminating in Bach's genius

4 March, 2005
The Tudor Choir performs the 40-part motet Spem in alium on Tallis 500th birthday concert

June 2005
The Tallis Scholars' first "academy" in Seattle, WA