Performers: Rebecca Outram (soprano), Sally Dunkley (soprano), Helen Groves (soprano), Lisa Beckley (soprano), Janet Coxwell (soprano), Emma Brain-Gabbott (soprano), Carolyn Sampson (soprano), Clare Seaton (soprano), Patrick Craig (alto), Stephen Taylor (alto), Michael Lees (alto), David Clegg (also), Lucy Ballard (alto), Robin Tyson (alto), James Bowman (alto), Fergus McLusky (alto), Stephen Carter (alto), James Gilchrist (tenor), Nicholas Todd (tenor), Andrew Carwood (tenor), Daniel Norman (tenor), Benedict Coldstream (tenor), Nicholas Smith (tenor), Julian Stocker (tenor), Matthew Beale (tenor), Ashley Catling (tenor), Steven Harrold (tenor), Tom Raskin (tenor), William Clements (baritone), Richard Lea (baritone), Robert Rice (baritone), Eamonn Dougan (baritone), Neil Bellingham (baritone, bass), Edward Wickham (baritone), Alistair Hamilton (baritone), Christopher Hodges (baritone), Julian Walker (bass), Robert Macdonald (bass), Benjamin Bevan (bass), Michael McCarthy (bass), Jonathan Arnold (bass), Matthew Brook (bass), Francis Brett (bass), Paul Grier (bass)
Playing time: 67'
Recording dates: November 1995, June 1997 (Hampstead), January 2000 (Buckland)
Together with William Byrd, Tallis was the first composer to begin publishing music in England (1575). The majority of his choral music is set in a relatively simple syllabic style, making frequent use of imitation. However, Tallis also wrote several unusual pieces in different forms.
His 40-part motet Spem in alium is his most widely known composition, and certainly his most unusual. His setting of the Lamentations of Jeremiah is his most sophisticated contrapuntal piece, and the most widely admired among specialists.
The collection for the true Tallis enthusiast:
There are several other significant recordings devoted to Tallis. A selection:
For an assortment of other recordings, please see the Tallis selective discography.
Tallis also wrote a handful of keyboard and consort pieces, sometimes in elaborate styles. The following recording summarizes these instrumental styles, along with some secular songs:
A recent recording, featuring several of the largest-scale Renaissance choral pieces:
The purpose of that disc (which includes "Spem in alium") is to present choral pieces with large numbers of parts, including the Striggio motet which reportedly motivated Tallis.
Some recordings devoted to other interesting English composers of Tallis' generation, Robert White (c.1538-1574), John Merbecke (c.1505-c.1585), Robert Parsons (c.1530-1572), and William Mundy (c.1530-c.1590):
Finally, other recordings by the present ensemble:
To purchasing information for this disc.
To FAQ references to this recording.
To FAQ CD index page.Todd M. McComb