a Northumbrian abroad
Posts tagged spem in alium
Last.fm: A life diary, through music
Jul 23rd
Social music service last.fm has been quietly making a note of just about every piece of music which I have played for nearly five years now. I recently realised that the week-by-week view of top tracks tell me as much as any diary, as all of the most popular tracks in my library tend to be played as a soundtrack to particular situations and emotions.
My taste in music is broad. Some would say eclectic. Some might very well say random. Most would say piss poor. It falls in to four broad groups:
- Early music, particularly renaissance polyphony
- Classical and romantic music
- Musical theatre
- Pop music (particularly 70s/80s artists)
When listening to classical music I usually veer towards large, bombastic works – music for jolly times. The same is true of musical theatre (of course).
Early music and pop music are more polarised. Both contain pieces of high elation, and also deep contemplation. Sometimes one piece is suitable for both.
The surprise of Spem in Alium’s sister
Jun 13th
Quite often I find myself driving home in the late evening, listening to Sue Marchant on radio Suffolk. One of her set piece questions is to ask her main guest where in time and space they would choose to travel if they could make a single trip in a TARDIS. It is a question that is simultaneously rather narrow (even geeky), and huge (sometimes inspirational) in scope.
I know what my answer would be. To the Chapel Royal of 1568, and lunch with Thomas Tallis. Like many enthusiasts of Tallis and his incredible composition Spem in Alium, I have questions I’d like to put to him. Not least of which is the piece’s relationship with Allesandro Striggio’s Ecce Beatam Lucem (embedded above).
Historial records indicate that Ecce was composed for a first performance in 1561, possibly a royal wedding. So far as we know, Spem was first performed seven or eight years later at Arundel house. As relatively little is known about the history of Spem a plausible if not definitive theory has gained currency – namely that the Duke of Norfolk, on becoming aware of Striggio’s work, commissioned Tallis to compose a work of equal or greater scale and complexity as a birthday gift to Elizabeth I.
While Tallis’s work makes a more finely developed use of counterpoint and spine-tingling antiphone, has seen greater enduring success, and could be argued to be technically superior, I prefer (on no rational basis whatsoever) to see the pieces as siblings. For example, both use the same technique of building steadily to great tutti moments – Striggio on the “O” of O mel et dulce nectar (oh honey of sweet nectar), and Tallis on the “respice” of respice humilitatem nostram (look upon our humiliation / lowliness).
But the killer commonality is the modesty. For me you will find it in the score of Ecce, and in the story of Spem. At the time he chose the words to use as a basis of Spem in Alium, a plea to the almighty to watch over us in our lowliness, Tallis was at the zenith of his career – a musical giant who had survived numerous seismic shifts in the religious and political fabric of England. He could have been forgiven an inclination towards triumphalism, particularly given his royal audience.
When I listen to Ecce Beatam Lucem it is the last minute which blows me away. The whole piece is a joy on the ears, but as the piece approaches what could be a rousing finale with the words “This delight, this peace, this goal, this mark. Draw us from here straight to Paradise” the dynamics take the deliciously unexpected turn of slipping away from us – ever diminishing until the final word paradisum -paradise – is almost a whisper. There are no such dynamics written in to the scores I have. I would love to know if this is interpretation, or the will of the composer. In either case it’s little short of genius.
Three chances to hear a piece of music that could blow you away
May 30th
Regular readers of my blog will know that I am an enthusiast of Thomas Tallis’s work for fourety voices, Spem in Alium. If you haven’t heard it performed live there is an opportunity coming up in just a few weeks, for those who have no objection to attending evensong.
If you are north of the border you can hear Spem in Scotland on 2 July at the East Neuk festival, I’ll be there at the generous invitation of friends.
Then a week later there is what true artists call “a real humdinger” of a concert at Southwark Cathedral. I’ll be attending this one too – it will be very interesting to hear how the forty individual voices are able to fill a space as cavernous as Southwark.
Tallis’s Spem in Alium: are forty voices enough?
Aug 30th
I had planned to go on a pilgrimage of the significant places in the life of Thomas Tallis this Summer, to add some sense of emotional and geographical connection to my amateur study of his forty-part motet Spem in Alium. If you’re not familiar with the piece you can find a version here, though at 12 minutes long its about 2 mins too long for me.
So far, my pilgrimage hasn’t been possible – the year has been busy, and I’ve been learning more about the piece and its composer at a rate which has lead to a constantly changing stream of thoughts and opinions, each needing further work to understand better. I’d like my thoughts on the piece to have settled down a little before going to the places of Tallis’s life and death. In particular, if there is anyone out there of a historical bent who could make an educated guess as to the probable locations of Court in the years 1568/69, I’d really like to hear from you.
In the meantime, some of you might enjoy sharing this moment i just recorded where I indulge in the idea of an eighty party motet. I should’ve done my hair. I could’ve been less effusive. I shouldn’t peer over my glasses. Singing was a mistake. It could probably have used a script, but I thought I’d just fire up the camera and record this moment of late-night Bank Holiday early music geekery. Enjoy.
Update: I have heard a couple of people be quite sniffy about the King’s Singers version of Spem. They are, whisper it….. populist.
As there are only six singers in the group, they used multi-tracking to produce their recording. I find it one of the most interesting recordings. Fascinated then to see that they made a video when recording it, which gives some sense of the technical complexity (though a minor gripe is that it doesn’t show off the key antiphonal moments well). These guys either have an incredible sense of timing, or a metronome ticking in their headphones!