Composer: Thomas Tallis
Performer: Alamire, Fretwork
Conductor: David Skinner
Format: FLAC (tracks)
Label: Obsidian Records
Catalogue: CD716
Release: 2017
Size: 352 MB
Recovery: +3%
Scan: cover
01. Gaude gloriosa Dei mater
02. When Jesus Went
03. O Lord, give thy Holy Spirit
04. Hear the voice and prayer
05. Purge Me, O Lord
06. A Solfing Song
07. Verily, verily I say unto you
08. If Ye Love Me
09. O Lord, in thee is all my trust
10. Libera
11. Litany
12. O sacrum convivium
13. Se lord and behold
Thomas Tallis was active across the reigns of Henry VIII, Edward VI, Mary I and Elizabeth I. He famously mastered all forms, old and new, as dictated by the changing religious landscape in 16th-century England. He died in 1585, very ancient and celebrated, and today is acknowledged widely as the Father of English Church Music.
This is a recording that not only demonstrates his consummate skills in many genres, but also features new discoveries. Among these is the first recording of an early version of his grand six-part Gaude gloriosa dei mater, but with words by none other than Henry VIII’s last wife, Queen Katherine Parr.
English composer Thomas Tallis witnessed dramatic changes of religion under four monarchs, and his career accordingly represents the development of polyphonic church music in Renaissance England. Along with his student and fellow Roman Catholic, William Byrd, Tallis was one of the earliest composers to publish music under royal patent in England, and his works demonstrated the shifting doctrines and styles of liturgy in the reigns of Henry VIII, Edward VI, Mary I, and Elizabeth I. This 2017 Obsidian release features one piece with a text by Henry VIII’s sixth and last wife, Katherine Parr, which gives the album its title, though the mix of Roman Catholic and Anglican pieces on the program suggests that “songs of Reformation” may be seen as one-sided. In any case, the performances by the vocal ensemble Alamire and the viol consort Fretwork put the emphasis on Tallis and his varied output, rather than on the theological preferences of royalty. The result is a well-balanced portrait of Tallis, and his choral music is given transparent textures and clear diction by the 14-voice choir, which maintains independence of parts while offering an evenly blended tone. Fretwork’s introspective performances reflect the chamber music of the time, typically composed as free fantasias for viol consort, often based on fragments of chant. Tallis’ When Jesus went (Salvator mundi II), the Solfaing Song, and the Fantasia (O sacrum convivium) show Fretwork’s polished and affecting playing, which is particularly striking in passages with plangent cross-relations.