In this, the penultimate
volume of the Chapelle du Roi's performance
of Tallis's works, the high standard
of the previous volumes is more than
maintained. From an admirably performed
though restrained rendering of the Lamentations
through to a most interesting and well
sung collection of the anthems, given
English words, these are excellent and
noteworthy additions to the complete
works of a most intriguing composer
of Tudor music. The music here dates
from a fascinating period in the development
of the English church, with latin masses
and motets being supplanted by English
canticles and anthems. No album I have
come across before has illustrated this
so well.
But first to the Lamentations;
these are well-known works of Tallis,
and were also the subject of pieces
by many other composers. Latin texts
were used, preceded by the letters of
the alphabet in the Hebrew, in the various
verses. I had long possessed and enjoyed
the version by the Deller Consort, both
on LP and then on CD (Vanguard 08.2026
71 - nla). At the time the Deller version
offered singing that no-one else could
emulate, particularly in this style
of music; nowadays, it is much more
performed, thank goodness. The Chapelle
du Roi have shown their expertise and
love for the Tallis settings in the
previous discs. They do not fail here
to give a most professional though restrained
performance. At times I should have
liked a bit more "beef" in the singing,
but overall it is well measured and
beautifully sung. Of the other and generally
comparable versions, The Theatre of
Voices under Paul Hilliard (Harmonia
Mundi HMU907154) take 21'28", and The
King's Singers (RCA 09026 68004-2) are
the quickest (though still smooth) in
19'46". All give eminent and individual
concerts. I should not like to choose
a "favourite".
The other items on
the disc are quite a revelation. After
the Reformation, Latin texts were definitely
persona non grata in the Establishment.
Thus, English words were substituted
and here in Tallis's works are termed
contrafacta. Many, if not most,
were written after Tallis's demise and
can make the language sound stilted.
I have annotated above the Latin motets
to which the English words were applied
(these are not shown on the cover, but
are mentioned in the excellent booklet,
written by John Moorhen). In many ways,
this disc is a companion of Volume 7
where the Latin versions of these anthems
are given as motets. Whichever preferences
one may have, the singing is marvellous,
the ambience ideal. and the whole production
lives up to the standard of its predecessors.
Sing and glorify is the only
instance with which one could take issue,
being the English version of Spem
in alium. Here the sound is "muddied",
but with 40 parts this is almost inevitable.
This series is approaching
its end, and while one looks forward
to the final discs, one cannot help
regretting the termination of such excellent
performances. Leaving aside Byrd (being
well served by The Cardinall's Musick)
there is a crying need for a library
of the rich treasury available in more
Tudor music, particularly madrigals.
Would some enterprising company be prepared
to give either of these two very accomplished
groups a carte blanche for, say,
the works of Morley for a beginning?
John Portwood
Early
Music
Chapelle du Roi/Alistair Dixon 
