THOMAS TALLIS (c1505–1585)

 

Gaude gloriosa and other choral music

 

The Cardinall’s Musick/ Andrew Carwood

 

1.         Jesu salvator saeculi SATTB

2.         Gaude gloriosa SATTBarB

3.         Sermone blando angelus ATTBarB

4.         Magnificat a5 SATTB

5.         Nunc dimittis a5 SATTB

6.         Mihi autem nimis ATTBarB

7.         Absterge Domine ATTBarB

8.         Derelinquat impius ATTBarB

9.         Loquebantur variis linguis SSAATBB

10.        Suscipe quaeso Domine AATTBarBB

11.        O nata lux SATTB

 

Hyperion’s record of the month for July celebrates the (probable) 500th anniversary of the birth of England’s first superstar composer, Thomas Tallis, and welcomes the signing to the label of The Cardinall’s Musick and Andrew Carwood.

 

In a fifteen-year history The Cardinall’s Musick has progressively built an enviable reputation for excellence. Some twenty recordings on the ASV Gaudeamus label have seen accolades from around the world, including a Gramophone Award and a Diapason d’Or, while in the concert hall and workshop the group has consistently displayed innovation and a freshness of approach, whether tackling contemporary works (many of them commissions) or sharing the fruits of years of research into the music of the English Renaissance.

 

With this first recording for Hyperion, The Cardinall’s Musick turns to the period of its namesake, Cardinal Wolsey, and specifically to the music of Thomas Tallis. Gaude gloriosa takes centre stage. One of a series of monumental and extended motets (each lasting getting on for twenty minutes), this should be regarded as the summation of the genre – whereas Tallis’s earlier attempts such as Salve intemerata or Ave Dei Patris filia can seem to ramble somewhat, in Gaude gloriosa we find a sure-footed and eloquent response to an unusual text in honour of the Virgin Mary, and a work which takes singer and listener alike into a world of unremitting fervour.

 

Other works on this recording include the famous Loquebantur variis linguis and O nata lux settings, the five-voice Latin Magnificat and Nunc dimittis, and Suscipe quaeso Domine – where a particularly gloomy text (thought to have been written to mark England’s reconciliation with Rome on the accession of Mary Tudor) elicits from Tallis some truly extraordinary and rhetorical effects with harmonic shifts which are every bit as shocking today as they must have been at the work’s first performance in 1554.

 

Future plans for The Cardinall’s Musick on Hyperion include the completion of their on-going remarkable series encompassing the complete Latin church music of William Byrd.

This superbly sung selection of some of his finest Latin church music will surely prove to be one of Tallis's very best 500th birthday presents. It is hard to imagine a better performance of the magnificent six-part votive antiphon Gaude gloriosa, probably written for Queen Mary, which forms the focal point of the programme. Its pre-Reformation-style virtuoso vocal writing, including some stratospheric soprano lines, holds no terrors for Andrew Carwood's singers, whose steady tone and distinctive individual vocal timbres make the intricately wrought polyphonic textures wonderfully clear.
This quality also greatly enhances the tragic intensity and dramatic impact of Suscipe quaeso Domine, a deeply felt penitential piece for seven male voices, which also shows the group's skill at fitting phrasing and dynamics closely to the text, and at building up almost overwhelmingly powerful climaxes.
The shorter pieces include the intriguing Derelinquat impius, whose unsettled tonality seems to symbolise the sinner's wanderings, and some hymn settings, including the lovely O nata lux, whose cool simplicity beautifully complements the richness of the main dishes - just as in a perfectly planned birthday banquet.
Elizabeth Roche, Telegraph

 

Hyperion CDA67548