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Thomas
Tallis: The Complete Works
Chapelle du Roi
This sixth volume of Chapelle du Roi’s recording of
the Complete Works is devoted to music which Thomas Tallis (d.1585)
composed for use during the reformed services promulgated in The booke
of the common prayer, which came into effect on Whitsunday (9 June)
1549 following the passage of An Act for the Uniformity of service
by both Houses of Parliament earlier that year. This statutory
introduction of services in the vernacular brought to an end the
fifteen-year period of liturgical and musical experimentation which
followed Henry VIII’s formal break with Rome in 1534. Little of the music on this recording can be reliably dated. Very few printed or manuscript music sources have survived from the period of Tallis’s lifetime, while the two music sources which are known to have been copied during the brief reign of Edward VI (1547-1553)—the ‘Lumley’ partbooks (British Library, London, Royal Appendix Mss. 74-76) and the ‘Wanley’ partbooks (Bodleian Library, Oxford, Mss. Mus. Sch. e. 420-422)—contain only a handful of pieces by the composer. The difficulty of dating these works is exacerbated by the fact that musical style is a precarious criterion on which to distinguish between music composed during Edward’s reign and that written during the sustained period of liturgical stability which followed Queen Elizabeth’s accession in 1558. Much of the music recorded here may well have been composed for performance at the Chapel Royal, to which Tallis was appointed a Gentleman at some time probably in the late 1530s or early 1540s. He retained this prestigious post until his death, having dutifully served four monarchs in the varying capacities of singer, organist and composer. His considerable wealth at the time of his death almost certainly reflects the favour and esteem in which he was held at Court. During the years immediately following the introduction of the 1549 Prayer Book the standard choral texture was that of a four-part choir (MATB) without soloists, a disposition which was both practically convenient and wholly in keeping with the new desire for economy of texture and directness of expression. By the mid-Elizabethan period, however, the standard choral texture for English sacred music included a fifth voice type, that of the ‘treble’ (i.e. a boy’s voice with a range lying approximately a fourth above that of the standard boy or ‘mean’). Although Tallis is known to have written only one anthem ostensibly making use of the treble voice (the anthem O give thanks, of which only the organ accompaniment survives), he occasionally made excursions into a five-part texture with divided countertenors (MAATB)—a texture which was to become established as the norm by the end of the sixteenth century, and which was to remain so until the cessation of services at the Civil War. A significant corpus of the Anglican church music composed in the Edwardian and early Elizabethan periods may have been conceived for performance by men’s voices, probably CCTB. Indeed, much of the repertory contained in the Wanley and Lumley collections and in John Day’s Certaine notes (1560/5) is of such restricted compass that performance by men’s voices would have been a viable option. Although some of Tallis’s anthems (e.g. A new commandment give I unto you, Hear the voice and prayer and If ye love me) may well have been intended for men’s voices, none of the compositions included on this recording appears to have been intended for—or is here performed by—men’s voices. The surviving music for the early Anglican rite consists primarily of canticles and anthems for use at Matins and Evensong (Morning and Evening Prayer), together with music for selected sections of Holy Communion. The canticles normally sung at Matins comprised Venite, Te Deum and Benedictus; while those for Evensong were Magnificat and Nunc Dimittis (the 1552 Prayer Book introduced alternative canticles at both Matins and Evensong, though relatively few composers chose to set them to music). In November 1547 the Mass Ordinary had been sung in English at Westminster Abbey to mark the opening of Parliament and Convocation, and by early 1548 English translations of sections of the Mass Ordinary were already available in print. The sections usually set to music were Kyrie (i.e. responses to the commandments) and Credo. Tallis’s rather austere ‘First’ or ‘Short’ Service, familiarly known today as the ‘Dorian’ Service, provides all seven standard canticles for Matins (Venite/Te Deum/Benedictus), Holy Communion (Kyrie/Credo) and Evensong (Magnificat/Nunc Dimittis). It is one of several services of the period to include settings also of Sanctus and Gloria. The Offertory Sentence associated in some sources with this service—Not every one that sayeth unto me—is possibly spurious, since it is absent from the most authoritative sources. It survives only in a set of manuscripts used in the chapel of Chirk Castle, near Wrexham, in about 1630. The Dorian Service is predominantly homophonic with little verbal repetition, resulting in a concise form in which the text is delivered with clarity and economy. Tallis’s unpretentious and mainly chordal anthem Verily, I say to you is included here within the service of Holy Communion not for any liturgical rationale but because of the clear eucharistic nature of its text. Tallis was one of the earliest composers to provide choral settings of the Preces (‘O Lord, open thou our lips’ etc.) and the ‘Responses after the Creed’ (‘The Lord be with you’ etc.) for use at Matins and Evensong. Such settings are usually found in contemporary sources in conjunction with settings of the Proper psalms for major church festivals, and it may safely be assumed that the use of polyphony for these parts of the service was mainly restricted to such festivals. The three psalm settings recorded here are those for Evensong on the 24th day of the month, and comprise the second, third and fourth sections of Psalm 119 (Tallis’s setting of the first section of this psalm survives in too incomplete a state to permit reconstruction). This psalm setting was clearly intended for use on Christmas Eve, since Tallis also composed similar settings for Evensong for Christmas Day and for the 26th day of the month (presumably intended specifically for 26th December, St Stephen’s Day). Unfortunately, these two sets, also, are incomplete. The three sections of Psalm 119 which are recorded here are strictly functional, comprising chant-like harmonisations of the traditional Sarum tones which are placed in the tenor voice. The Matins and Holy Communion sections of Tallis’s First Service and the Festal psalm settings recorded here all incorporate antiphony, i.e. the exploitation of spatial effect through the performance of selected passages by opposite sides of the choir, Decani and Cantoris. This practice was condemned by some contemporary commentators. In 1572 a London cleric, John Field, observed that singers ‘... tosse the psalmes in most places like tennice balles’, and about a decade later (1583) the Separatist Robert Browne similarly observed that ‘Their tossing to & fro of psalms and sentences is like tenisse plaie’). Even so, antiphony had the undoubted merit of providing some relief from unremitting homophony and from the functional repetitiousness of much Elizabethan festal psalmody. However, none of the surviving sources of Tallis’s First Service or Festal psalms was copied during the composer’s lifetime, and the antiphony may well be a result of seventeenth-century scribal interference. Sometimes the antiphony is confined to selected sources only, reinforcing suspicions that local musicians occasionally ‘improved’ earlier compositions in this way. The text of Christ rising again from the dead is that of the ‘Easter Anthems’, which were set out in the 1549 and 1552 Prayer Books to be sung or said at Matins on Easter Day. In the 1549 Prayer Book the anthems are directed to be used immediately prior to Matins, as soon as the congregation has assembled in church. In the 1552 Prayer Book, however, they are decreed to be used during Matins itself, as a substitute for Venite. There is some doubt over the authenticity of this setting. It survives in three sources, all of which date from some forty years or more after Tallis’s death. One of the three sources is anonymous, and the second more plausibly attributes it to William Byrd. Only a post-Restoration organ-book now at Berkeley, California, ascribes it to Tallis. Neither the 1549 nor the 1552 Prayer Books makes explicit reference to the singing of anthems, although their performance undoubtedly figured prominently in early Anglican services, since anthems are to be found in both the Lumley and Wanley collections. It was not until 1559, in the Royal Injunctions, that Elizabeth provided that, at Morning or Evening Prayer, ‘... for the comforting of such that delight in music ... there may be sung an hymn, or such-like song, to the praise of Almighty God, in the best sort of melody and music that may be conveniently devised, having respect that the sentence [sense] of the hymn may be understanded and perceived’. The 1662 Prayer Book is the first in which the location of the anthem immediately following the third collect at Matins and Evensong was formalised in the famous rubric that ‘In Quires and Places where they sing, here followeth the Anthem’. Tallis was one of a small group of identifiable composers (including Robert White, John Sheppard and Christopher Tye) who composed some of the earliest English anthems. Most of these composers had served their apprenticeship during the currency of the Latin rite, and all would have approached with some trepidation the task of providing music in the vernacular which would conform to the spirit of the Lincoln Cathedral Injunctions (1548), which required ‘... a plain and distinct note for every syllable one’. It is hardly surprising, then, that the quality of the English church music by some of these composers falls somewhat short of that which they wrote for the pre-Reformation liturgy. Although Tallis has been credited with as many as 40 anthems, this figure represents a highly misleading picture of his genuine output, since a significant proportion of these are contrafacta of Latin compositions. When contrafacta, loosely sacred (or spiritual) compositions for domestic performance, and incomplete and misattributed works are discounted, a nucleus of only about a dozen works remains. The inclusion of the texts of several of these in James Clifford’s The Divine Services and Anthems (1663/4) suggests that they retained their popularity at the Restoration. Tallis’s authorship of Out from the deep is open to some doubt. It survives only in seventeenth-century sources, some of which attribute it to William Parsons (fl. 1545-63). The words are from an otherwise unknown metrical version of Psalm 130. In common with O Lord, give thy Holy Spirit and Purge me, O Lord it is cast in the popular ABB mould (i.e. two sections, the second of which is repeated) favoured by many Edwardian and early Elizabethan anthem composers. The splendidly fluid O Lord, give thy Holy Spirit is a setting of a text from Lidley’s Prayers (1566), and is characterised by a more relaxed attitude to textual repetition than many of Tallis’s other anthems. It, too, is structured in ABB form, although as in several works of the period (including Tallis’s O Lord, in thee is all my trust) the repeat of the B section is not found in all sources. Purge me, O Lord, also in ABB format, is a setting of an unidentified penitential metrical text. It exists also as a partsong with the secular words ‘Fond youth is a bubble’, and is one of relatively few examples from this period of a composition surviving with secular and sacred texts both in English. It is evident from the word-setting that the sacred version heard here is the earlier of the two, although Paul Doe has suggested that the secular version may date from the Henrician period. Remember not, O Lord God is a setting of a text from The King’s Primer (1545) based on verses from Psalm 79. This must be one of Tallis’s earliest anthems, since it survives in two versions, the earlier and shorter of which (in the Lumley partbooks) dates from about 1547. The version recorded here is the later of the two surviving versions, and probably dates from about 1560. It is notable for its more elaborate cadences, and for its greater use of repetition of material. O Lord, in thee is all my trust was printed in John Day’s Certaine notes set forthe in foure and three partes ... (1560/5), the only collection of English church music to be published during Tallis’s lifetime. Although Day’s print carries the date 1560, it would seem that publication was actually deferred until 1565, when it appeared as Mornyng and Evenyng prayer and Communion, set forth in foure partes. Day’s anthology provided undemanding music to accommodate the basic Prayer Book requirements for the three principal services of the Anglican rite. In about 1567 the Elizabethan music printer John Day issued The whole psalter translated into English metre, containing psalms in metrical translations by Matthew Parker, the first Anglican Archbishop of Canterbury (1559-75). The nine items which Tallis contributed are unlikely to have been intended for liturgical use, since such settings were generally regarded as more suited to domestic devotional use. In style Tallis’s settings are reminiscent of the harmonisations which his contemporary Christopher Tye provided in his Actes of the Apostles (1553), although Tallis’s settings, unlike those of Tye, avoid almost all suggestion of imitation, melisma or cadential elaboration. Tallis’s settings are of Psalms 1, 68, 2, 95, 42, 5, 52 and 67, to which is added a setting of Come, Holy Ghost (‘Tallis’s Ordinal’), which may have been sung at services of ordination. Tallis’s settings are preceded by Parker’s description of the characteristics of Tallis’s eight tunes:
The first is meek, devout to see, For reasons of space Tallis’s setting of the English version of the Litany is included in a subsequent volume in this series. Although not strictly liturgical it is nevertheless worth including in a discussion of Tallis’s music for the Anglican service. Written by Thomas Cranmer, Archbishop of Canterbury from 1532-1553, the Litany was intended for use in procession on church festivals. It received authorisation in 1544, thus becoming one of the earliest parts of the Anglican rite to receive official approval. Tallis’s setting incorporates the 1544 tones in the highest voice part. In addition to the five-part version recorded here, an adaptation for four voices, with Tallis’s two original countertenor parts conflated for a single voice, was already in established use at Peterhouse Chapel, Cambridge, and Durham Cathedral by the 1630s. John Morehen, February 2003 [1] Christ rising again from the dead Christ rising again from the dead now dieth not. Death from henceforth hath no power upon him. For in that he died, he died but once to put away sin; but in that he liveth, he liveth unto God. And so likewise, count yourselves dead unto sin, but living unto God in Christ Jesus our Lord.
Christ is risen again, the first fruit of them that sleep. For as by Adam all men do die, so by Christ all men shall be restored to life. Alleluia. [2 & 12] Preces
V. O Lord, open thou our lips. [3] Venite
O come let us sing unto the Lord; let us heartily rejoice in the strength
of our salvation. [4] Te Deum
We praise thee, O God: we ‘knowledge thee to be [5] Benedictus
Blessed be the Lord God of Israel; for he hath visited and redeemed his
people; [6] Responses and Collects for Easter Matins
V. The Lord be with you.
Almighty God, which through thine only begotten son Jesus Christ hast
overcome death, and opened unto us the gate of everlasting life: we humbly
beseech thee, that as by thy special grace, preventing us, thou dost put
in our minds good desires; so by thy continual help, we may bring the same
to good effect, through Jesus Christ our Lord: O God, which art the author of peace, and lover of concord, in knowledge of whom standeth our eternal life, whose service is perfect freedom: defend us, thy humble servants, in all assaults of our enemies, that we, surely trusting in thy defence, may not fear the power of any adversaries: through the might of Jesus Christ our Lord. Amen.
O Lord, our heavenly Father, almighty and ever living God, which hast
safely brought us to the beginning of this day: defend us in the same with
thy mighty power; and grant that this day we fall into no sin, neither run
into any kind of danger, but that all our doings may be ordered by thy
governance, to do always that is righteous in thy sight: [7] Commandments
1. God spake these words, and said; I am the Lord thy God: thou shalt have
none other gods but me.
4. Remember that thou keep holy the sabbath day. Six days shalt thou
labour and do all that thou hast to do, but the seventh day is the sabbath
of the Lord thy God. In it thou shalt do no manner of work, thou and thy
son and thy daughter, thy man servant, and thy maid-servant, thy cattle,
and the stranger that is within thy gates: for in six days the Lord made
heaven and earth, the sea, and all that in them is, and rested the seventh
day. Wherefore the Lord blessed the seventh day, and hallowed it.
5. Honour thy father and thy mother, that thy days may be long in the land
which the Lord thy God giveth thee.
6. Thou shalt do no murder.
7. Thou shalt not commit adultery.
8. Thou shalt not steal.
9. Thou shalt not bear false witness against thy neighbour.
10. Thou shalt not covet thy neighbour’s house. Thou shalt not covet thy
neighbour’s wife, nor his servant, nor his maid, nor his ox, nor his ass,
nor any thing that is his. [8] Credo
I believe in one God the Father almighty, maker of heaven and earth, and
of all things visible and invisible: And I believe in the Holy Ghost, the Lord and giver of life, who proceedeth from the Father and the Son, who with the Father and the Son together is worshipped and glorified; who spake by the prophets. And I believe one holy Catholic and Apostolic church; I acknowledge one baptism for the remission of sins: and I look for the resurrection of the dead, and the life of the world to come. Amen. [9] Offertory sentence Not every one that saith unto me Lord, Lord, shall enter into the kingdom of heaven, but he that doeth the will of my Father which is in heaven. [10] Sanctus Holy, holy, holy, Lord God of hosts, heaven and earth are full of thy glory: glory be to thee, O Lord most high. [11] Gloria
Glory be to God on high, and on earth peace, goodwill towards men. We
praise thee, we bless thee, we worship thee, we glorify thee, we give
thanks to thee for thy great glory, O Lord God, heavenly King, God the
Father almighty. [13] Wherewithal shall a young man
Wherewithal shall a young man cleanse his way? Even by ruling himself
after thy word. [14] O do well unto thy servant
O do well unto thy servant; that I may live, and keep thy word. [15] My soul cleaveth to the dust
My soul cleaveth to the dust; O quicken thou me according to thy word. [16] Magnificat
My soul doth magnify the Lord; and my spirit hath rejoiced in God my
Saviour. [17] Nunc dimittis
Lord, now lettest thou thy servant depart in peace: according to thy word. [18] Responses and collects for Christmas Eve evensong Responses as track 6
O Lord, raise up (we pray thee) thy power, and come among us, and with
great might succour us; O God, from whom all holy desires, all good counsels, and all just works do proceed; give unto thy servants that peace, which the world cannot give; that both our hearts may be set to obey thy commandments, and also that by thee we being defended from the fear of our enemies, may pass our time in rest and quietness: through the merits of Jesus Christ our Saviour. Amen. Lighten our darkness, we beseech thee, O Lord, and by thy great mercy, defend us from all perils and dangers of this night, for the love of thy only Son, our Saviour, Jesus Christ. Amen. [19] O Lord, give thy Holy Spirit O Lord, give thy Holy Spirit into our hearts, and lighten our understanding, that we may dwell in the fear of thy name all the days of our life, that we may know thee the only true God, Jesus Christ whom thou hast sent. [20] Purge me, O Lord
Purge me, O Lord, from all my sin, [21] Verily, verily I say unto you
Verily, verily, I say unto you: except ye eat the flesh of the Son of man,
and drink his blood ye have no life in you. [22] Remember not, O Lord God
Remember not, O Lord God, our old iniquities,
We be thy people, and the sheep of thy pasture. {23] O Lord, in thee is all my trust
O Lord, in thee is all my trust.
No, no, not so! Thy will is bent
Haste now, O Lord, haste now, I say, [24] Out from the deep
Out from the deep I call to thee, O Lord hear my invocation. Tunes for Archbishop Parker’s Psalter: [25] Man blest no doubt
Man blest no doubt who walk’th not out in wicked men’s affairs, [26] Let God arise in majesty
Let God arise in majesty and scatter’d be his foes. [27] Why fum’th in fight
Why fum’th in fight the gentiles spite, in fury raging stout? [28] O come in one to praise the Lord
O come in one to praise the Lord and him recount our stay and health. [29] E’en like the hunted hind
E’en like the hunted hind the waterbrooks desire, e’en thus my soul, that
fainting is, to thee would fain aspire. [30] Expend, O Lord, my plaint
Expend, O Lord, my plaint of word in grief that I [31] Why brag’st in malice high
Why brag’st in malice high, O thou in mischief stout? [32] God grant with grace
God grant with grace, he us embrace, [33] Ordinal
Come Holy Ghost, eternal God, |
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