Thomas Tallis (10) Cds

Track List :

Disc: 1
01. Ave Dei patris filia, motet (antiphon) for 5 voices, P. 162
02. Ave rosa sine spinis, motet (votive antiphon) for 5 voices, P. 169
03. Alleluia, ora pro nobis, motet for 4 voices, P. 88
04. Euge celi porta, motet for 4 voices, P. 179
05. Work(s): Kyrie: Deus creator
06. Mass ‘Salve intemerata’, for 5 voices, P. 3: Gloria
07. Mass ‘Salve intemerata’, for 5 voices, P. 3: Credo
08. Mass ‘Salve intemerata’, for 5 voices, P. 3: Sanctus & Benedictus
09. Mass ‘Salve intemerata’, for 5 voices, P. 3: Agnus Dei
10. Salve intemerata virgo, motet (antiphon) for 5 voices, P. 144

Disc: 02
01. Magnificat and Nunc Dimittis, for 5 voices, P. 73: Magnificat
02. Magnificat and Nunc Dimittis, for 5 voices, P. 73: Nunc dimittis
03. Sancte Deus, motet (antiphon) for 4 voices, P. 98
04. Work(s): Conditor Kyrie
05. Mass, for 4 voices, P. 31: Gloria
06. Mass, for 4 voices, P. 31: Credo
07. Mass, for 4 voices, P. 31: Sanctus
08. Mass, for 4 voices, P. 31: Benedictus
09. Mass, for 4 voices, P. 31: Agnus Dei
10. Remember not, O Lord God (2 versions), anthem for 4 voices
11. Hear the voice and prayer, anthem for 4 voices
12. If ye love me, anthem for 4 voices
13. A new commandment, anthem for 4 voices
14. Benedictus, for 4 voices
15. Te Deum, for 5 voices

Disc: 03
01. Blessed are those, anthem for 5 voices
02. Work(s): Introit: Puer natus est nobis
03. Work(s): Kyrie: Deus Creator
04. Mass ‘Puer natus est nobis’ (incomplete), for 7 voices, P. 49: Gloria
05. Viderunt omnes, gradual in mode 5 (Liber Usualis, No. 409; GR. 33)
06. Dies sanctificatus, Halleluja (Weihn 9)
07. Celeste organum, sequence
08. Mass ‘Puer natus est nobis’ (incomplete), for 7 voices, P. 49: Sanctus
09. Mass ‘Puer natus est nobis’ (incomplete), for 7 voices, P. 49: Benedictus
10. Mass ‘Puer natus est nobis’ (incomplete), for 7 voices, P. 49: Agnus dei
11. Viderunt Omnes, communion in mode 1 (Liber Usualis, No. 410, GR. 35)
12. Suscipe quaeso, motet for 7 voices, P. 222
13. Gaude gloriosa Dei mater, motet (antiphon) for 6 voices, P. 123

Disc: 04
01. Hodie nobis caelorum Rex, motet for 4 voices, P. 92
02. Salvator mundi Domine (Adesto nunc propitius), motet for 5 voices, P. 242
03. Quod chorus vatum (Haec Deum coeli), motet for 5 voices, P. 261
04. Videte miraculum, motet for 6 voices, P. 293
05. In pace in idipsum, motet for 4 voices, P. 94
06. Dum transisset Sabbatum, motet for 5 voices, P. 257
07. Jesu Salvator saeculi (Tu fabricator omnium), motet for 5 voices, P. 289
08. Semone blando angelus (Illae dum pergunt concitae), motet for 5 voices, P. 193
09. Jam Christus astra ascenderat (Solemnis urgebat dies), motet for 5 voices, P. 285
10. Loquebantur variis linguis, motet for 7 voices, P. 272
11. Magnificat, for 4 voices, P. 64

Disc: 05
01. Audivi vocem, motet for 4 voices, P. 90
02. Candidi facti sunt Nazarei, motet for 5 voices, P. 186
03. Honor, virtus et potestas, motet for 5 voices, P. 237
04. Homo quidam fecit coenam, motet for 6 voices, P. 282
05. Te lucis ante terminum (Procul recedant somnia) (I), motet for 5 voices, P. 214
06. Te lucis ante terminum (Procul recedant somnia) (II), motet for 5 voices, P. 215
07. Natus est nobis, for keyboard
08. Work(s): Veni redemptor genitum
09. Jam lucis orto sidere, for keyboard
10. Ecce tempus idoneum (I), for keyboard
11. Ex more docti myistico, for keyboard
12. Clarifica me pater (I), for keyboard
13. Clarifica me pater (II), for keyboard
14. Clarifica me pater (III), for keyboard
15. Gloria tibi Trinitas, for organ
16. Iste confessor, for keyboard
17. Work(s): Alleluia: per te Dei genitrix
18. Felix namque (II), for keyboard

Disc: 06
01. Christ Rising, anthem for 5 voices (doubtful, probably by W.Byrd)
02. Preces and Responses (I), for 5 voices
03. Short Service (Dorian Service), for 4 voices: Venite
04. Short Service (Dorian Service), for 4 voices: Te Deum
05. Short Service (Dorian Service), for 4 voices: Benedictus
06. Preces and Responses (I), for 5 voices: Responses and collects for Easter Matins
07. Short Service (Dorian Service), for 4 voices: Commandments
08. Short Service (Dorian Service), for 4 voices: Credo
09. Short Service (Dorian Service), for 4 voices: Offertory sentence
10. Short Service (Dorian Service), for 4 voices: Sanctus
11. Short Service (Dorian Service), for 4 voices: Gloria
12. Preces and Responses (II), for 5 voices: Preces (2nd set)
13. Psalm sequence for Christmas, 10 psalms for 5 voices: Wherewithal shall a young man
14. Psalm sequence for Christmas, 10 psalms for 5 voices: O do well unto thy servant
15. Psalm sequence for Christmas, 10 psalms for 5 voices: My soul cleaveth to the dust
16. Short Service (Dorian Service), for 4 voices: Magnificat
17. Short Service (Dorian Service), for 4 voices: Nunc dimittis
18. Preces and Responses (II), for 5 voices: Responses and collects for Christmas Eve evensong
19. O Lord, give thy Holy Spirit, anthem for 4 voices
20. Purge Me, O Lord (also set as partsong: ‘Fond youth is but a bubble’), anthem for 4 voices
21. Verily, verily I say unto you, anthem for 4 voices
22. Remember not, O Lord God (2 versions), anthem for 4 voices
23. O Lord, in thee is all my trust, anthem for 4 voices
24. Out from the deep (doubtful, probably by W.Parsons), anthem
25. Psalm Tunes (9) for Archbishop Parker’s Psalter, for 4 voices: Man blest no doubt
26. Psalm Tunes (9) for Archbishop Parker’s Psalter, for 4 voices: Let God arise in majesty
27. Psalm Tunes (9) for Archbishop Parker’s Psalter, for 4 voices: Why fum’th in fight
28. Psalm Tunes (9) for Archbishop Parker’s Psalter, for 4 voices: O come in one to praise the Lord
29. Psalm Tunes (9) for Archbishop Parker’s Psalter, for 4 voices: E’en like the hunted hind
30. Psalm Tunes (9) for Archbishop Parker’s Psalter, for 4 voices: Expend, O Lord, my plaint
31. Psalm Tunes (9) for Archbishop Parker’s Psalter, for 4 voices: Why brag’st in malice high
32. Psalm Tunes (9) for Archbishop Parker’s Psalter, for 4 voices: God grant with grace
33. Psalm Tunes (9) for Archbishop Parker’s Psalter, for 4 voices: Ordinal

Disc: 07
01. Salvator mundi (I) (also set as ‘Arise O Lord’ and ‘With all our hearts’), motet for 5 voices, P. 216
02. O sacrum convivium (also set as ‘I call and cry to thee’ and ‘O sacred and holy banquet’), motet for 5 voices, P. 210
03. In manus tuas, motet for 5 voices, P. 202
04. O nata lux de lumine, motet (hymn) for 5 voices, P. 209
05. Absterge Domine, motet for 5 voices, P. 180
06. Discomfort them O Lord, for 5 voices (contrafacta of Absterge Domine)
07. Domine, quis habitabit, motet (psalm) for 5 voices, P. 246
08. Laudate Dominum, motet (psalm) for 5 voices, P. 266
09. Miserere nostri, motet for 7 voices, P. 207
10. Salvator mundi (II) (also set as ‘When Jesus went’), motet for 5 voices, P. 219
11. Mihi autem nimis (also set as ‘Blessed be thy name’), motet (Introit) for 5 voices, P. 204
12. O salutaris hostia (also set as ‘O praise the Lord’), motet (antiphon) for 5 voices
13. In jejunio et fletu, motet for 5 voices, P. 198
14. In jejunio et fletu, motet for 5 voices, P. 198
15. Derelinquit impius, motet for 5 voices, P. 189
16. Spem in Alium (also set as ‘Sing and glorify’), motet for 40 voices, P. 299

Disc: 08
01. Lamentations (of Jeremiah), 1st lesson for 5 voices, P. 102
02. Lamentations (of Jeremiah), 2nd lesson for 5 voices, P. 110
03. Work(s): Wipe away my Sins
04. Work(s): Forgive me, Lord, my sin
05. Blessed are those, anthem for 5 voices
06. Salvator mundi (I) (also set as ‘Arise O Lord’ and ‘With all our hearts’), motet for 5 voices, P. 216
07. Salvator mundi (I) (also set as ‘Arise O Lord’ and ‘With all our hearts’), motet for 5 voices, P. 216
08. O sacrum convivium (also set as ‘I call and cry to thee’ and ‘O sacred and holy banquet’), motet for 5 voices, P. 210
09. O sacrum convivium (also set as ‘I call and cry to thee’ and ‘O sacred and holy banquet’), motet for 5 voices, P. 210
10. Salvator mundi (II) (also set as ‘When Jesus went’), motet for 5 voices, P. 219
11. Mihi autem nimis (also set as ‘Blessed be thy name’), motet (Introit) for 5 voices, P. 204
12. O salutaris hostia (also set as ‘O praise the Lord’), motet (antiphon) for 5 voices
13. Spem in Alium (also set as ‘Sing and glorify’), motet for 40 voices, P. 299

Disc: 09
01. In Nomine (I), for 4 viols
02. In Nomine (II), for 4 viols
03. A Solfaing Song, for 5 viols
04. Salvator mundi (I) (also set as ‘Arise O Lord’ and ‘With all our hearts’), motet for 5 voices, P. 216
05. Fantasy, for keyboard
06. Felix namque (II), for keyboard
07. Felix namque (I), for keyboard
08. When shall my sorrowful sighing slake, partsong for 4 voices
09. Like as the doleful dove, partsong for 4 voices
10. O ye tender babes, partsong for 4 voices
11. Purge Me, O Lord (also set as partsong: ‘Fond youth is but a bubble’), anthem for 4 voices
12. Salve intemerata virgo, motet (antiphon) for 5 voices, P. 144: Per haec nos
13. Poyncte for the Virginals (A Point), for keyboard
14. Lesson ‘Two parts in one’ (also atrributed to J.Bull), for keyboard
15. Remember not, O Lord God (2 versions), anthem for 4 voices
16. Salve intemerata virgo, motet (antiphon) for 5 voices, P. 144: Per haec nos
17. Poyncte for the Virginals (A Point), for keyboard
18. Lesson ‘Two parts in one’ (also atrributed to J.Bull), for keyboard
19. Salve intemerata virgo, motet (antiphon) for 5 voices, P. 144: Tu nimirum
20. When shall my sorrowful sighing slake, partsong for 4 voices
21. Like as the doleful dove, partsong for 4 voices
22. O ye tender babes, partsong for 4 voices
23. Ye sacred Muses (elegy for Thomas Tallis), consort song for voice & 4 viols

Disc: 10
01. Litany (O God, the Father of Heaven), for 5 voices
02. Work(s): Verset I
03. Work(s): Verset II
04. Felix namque (I), for keyboard

Thomas Tallis y La Música Sacra en el Renacimiento

En general y sin entrar en detalles, hablamos del Renacimiento en Europa como el período que va de 1400 a 1600.

En esta época, la Iglesia Católica era la fuente y la protectora de las composiciones musicales sacras que ilustraban las ceremonias religiosas. Monasterios e instituciones religiosas se encargaban de copiar, conservar e interpretar una música grandiosa y claramente dirigida a una finalidad: ensalzar la fe católica en sus liturgias.

Aunque existen partituras para los instrumentos de la época, la mayor parte de las piezas de música sacra estaban destinadas al canto a capella en los coros, como extensión del canto gregoriano.

Al igual que éste, también eran interpretadas en latín.

En los casos en que se componía para instrumentos, era básicamente para hacer que éstos acompañaran y reprodujeran fragmentos de lo cantado con la voz y no melodías distintas.

Los grandes compositores del siglo XV son Dufay, Obrecht y Joaquin des Prez, autores de gran número de misas y motetes (composiciones litúrgicas breves). Del siglo XVI son Orlando di Lasso, Giovanni Pierluigi da Palestrina y Tomas Luis de Victoria, aunque sus piezas y estilo son muy poco conocidos, ya que quedaron eclipsados por grandes genios que llegaron después: Johan Sebastián Bach o Claudio Monteverdi. Hacia 1600, en la transición entre Renacimiento y Barroco, el estilo de la música cambió radicalmente, adoptando unas tendencias románticas que son más afines a la cultura actual y, por tanto, más apreciadas y estudiadas hoy día.

No es que no hubiera música sacra antes del Barroco, es que, sencillamente, no es la más acorde al gusto actual y se ha profundizado poco en ella. Para mucha gente, la "música clásica" (sería más adecuado usar el término "música antigua", como hacen algunos estudiosos hoy día) empieza con Bach y parece que no hubiera grandes obras hasta entonces.

En realidad, el estilo de la música sacra renacentista queda muy alejado del gusto actual: sin instrumentos y, aparentemente, sin personalidad... hasta que el oyente se adentra en ella y la "redescubre" en toda su grandeza.

Dentro de todo este pedacito de historia entre el renacimiento y el barroco lo tenemos a:  Thomas Tallis

Sin embargo a lo ya comentado, debo reconocer que hoy conocido como Cantos Gregorianos, logramos apreciar la calidad de cada uno de estos temas que, aunque el oído musical no se encuentre acostumbrado a este tipo de música por nuestra parte.

Siempre encontraremos los seres humanos, el poder de la adaptación para acercarnos aunque más no sea de esta manera, a este Estilo de música que tan gentilmente Thomas Tallis genera, introduciendo en las iglesias Luteranas, con tanto éxito en su época.

Les dejo un video para que logren disfrutar aunque más no sea, el estilo del canto/musical

En este caso esta es una verción Gregorianos & Vangelis

Miguel