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TALLIS, Thomas (c. 1505–85)
The Complete Vocal & Instrumental Music of Tallis《塔利斯声乐与器乐作品全集》:
Vol. 1: Music for Henry VIII (SIGCD 001); Vol. 2: Music at the Reformation (SIGCD 002); Vol. 3: Music for Queen Mary (SIGCD 003); Vol. 4: Music for the Divine Office – 1 (SIGCD 010); Vol. 5: Music for the Divine Office – 2 (SIGCD 016); Vol. 6: Music for a Reformed Church (SIGCD 022); Vol. 7: Music for Queen Elizabeth (SIGCD 029); Vol. 8: Lamentations & Contrafacta (SIGCD 036); Vol. 9: Instrumental Music & Songs (SIGCD 042 (2))
Volumes 1–9 Signum SIGCD 060 (10). Chapelle du Roi, Alistair Dixon, with soloists, instrumentalists & Charivari Agréable
Alistair Dixon and his Chapelle du Roi (plus other contributors) have now completed their distinguished integral coverage of the music of the great Elizabethan composer, Thomas Tallis. The complete series is currently available in a mid-priced box with full documentation, but the discs are all available separately and are discussed individually below.
Just looking at the titles of the individual volumes underlines the dramatic period of English history through which Tallis lived and composed, successfully moving from a Latin liturgy to English settings, then back again. Finally, during the reign of Elizabeth I, in the best spirit of English compromise he created new from the old in setting English words to music originally written to serve Latin texts. Even the famous Spem in Alium was heard anew as Sing and glorify, although generations later it reverted to its original Latin format.
The first disc augurs extremely well for the project. The programme is framed by three Marian votive antiphons, the first two comparatively immature and rather similar. Salve intemerata, however, is masterly in its concisely integrated part-writing (with some soaring treble solos, beautifully sung here). The Mass sharing its name uses much of the same material: the Gloria and Sanctus are particularly fine. The Alleluia and Euge celi porta are less ambitious but still serenely beautiful, four-part plainchant settings used as part of the Ladymass.
Most, possibly all, of the music in Volume 2 dates from the 1540s and reflects the remarkable diversity of musical response that came directly from the profound change in reformed religious procedures that developed in England within a single decade. Much liturgical music was still sung in Latin, notably the splendid Magnificat and the deeply felt Sancte Deus, but already there are settings in English, including three fine early anthems, an extended English Benedictus and a remarkable five-part Te Deum, all very different from the music in Volume 1 of this series. The surprisingly homophonic setting of the Latin Mass is forward-looking, too, and very telling.
Volume 3 returns to the Latin rite, and all the works here date from the reign of Mary Tudor (1553–8). The collection opens with the Psalm setting, Beati immaculati, and includes also the glorious, large-scale votive antiphon, Gaude gloriosa, magnificently sung. The key work here, however, is the seven-part Mass Puer natus est nobis, which is incomplete. Here the Gloria, Sanctus and Agnus Dei are performed with the plainchant Propers for the third Mass of Christmas. As usual the singing is splendid, but there is a good deal of monodic chant here, beautifully phrased certainly, but which will reduce the appeal of this volume for some collectors.
Volume 4 in this ever-rewarding series is the first to concentrate on music for the cycle of eight services, Matins, Lauds, Prime, Terce, Sext, None, Vespers and Compline, sung daily in Latin Christendom. The riches of the polyphony here are unending. Dum transisset sabbatum and the six-part Videte miraculum are particularly fine, while the seven-part Loquebantur variis linguis with its recurring Alleluias spins an even more complex contrapuntal web. Even the simplest of the settings here, Quod chorus vatum, is moving by its comparative austerity.
Volume 5 of Alistair Dixon’s invaluable survey continues the music that Tallis wrote for the Divine Office begun in Volume 4. But the special interest of this CD is the inclusion of the organ music, simply written and based on plainchant melismas. Tallis generally used the organ as a substitute for voices, interchanging instrumental with sung text. In this aurally appealing alternation, the organist played the odd-numbered verses, usually providing – as in Veni Redemptor genitum – a piquant introduction to contrast with the sonorous vocal entry. The organ used for the recordings, in the private chapel at Knole, is the oldest playable organ in England, so its choice seems admirable, and Andrew Benson-Wilson’s contribution to the success of this CD is considerable, since all the organ music is most appealing.
Volume 6 is devoted to music which Tallis composed for use in the reformed services promulgated by The Booke of the Common Prayer, which came into effect in 1549, here presented in the normal liturgical sequence. Much of the music is simple and homophonic, but it has an unadorned beauty of its own. The anthems are richer in the interplay of parts but are still brief, and the collection ends with the nine even briefer psalm-tune harmonizations which Tallis contributed to Archbishop Matthew Parker’s Psalter, published in about 1567.
Elizabeth was the fourth monarch to sit on the throne in Tallis’s lifetime, and Tallis was by then in his sixties. Both composer and monarch appear to have been determined that the new Elizabethan Latin motets should seek new expressive approaches, while drawing on the best of the past. Their success is confirmed by the fact that cathedral musicians fitted English words to much of Tallis’s music. Absterge Domine therefore also becomes Discomfort them O Lord. The two Psalm settings included, Domine, quis habitatbi (Psalm 15) and the shorter but no less impressive Laudate Dominum (Psalm 117), are both memorable. The most celebrated of these motets is of course Spem in Alium, with its incredibly dense part-writing still able to astonish the ear. It is sung gloriously here, its ebb and flow and rich climaxes splendidly controlled.
Tallis’s two richly expressive settings of the Lamentations of Jeremiah are given in Volume 8 in serene and dedicated performances, followed by what are known as contrafacta, English versions by the post-Reformation English Church of Latin motets rewritten by Tallis. The music itself, usually in five parts, seems to adapt very well to its linguistic transformation; the first piece here, Wipe Away my Sins (Absterge Domine), described as ‘A Prayer’, is particularly beautiful. With all our hearts and mouths and the lovely Arise, O Lord both derive from Tallis’s first setting of Salvator mundi, while I Call and Cry to Thee (O sacrum convivium), very popular in its day, was to lay the basis for Tallis’s English anthems.
The fascination of the final volume in Signum’s comprehensive survey is the virtually unknown instrumental music, consisting of a small collection of works for viols and some fine pieces for keyboard, which we hear variously on virginals, harpsichord or organ. In his excellent notes, John Milsom suggests that while Tallis’s official duties involved him only as a church musician, he may have written some of this music for the Tudor Court, and the keyboard pieces could conceivably have been written for Queen Elizabeth I, who was a celebrated amateur performer. Certainly they are attractive enough.
The consort manuscripts give no indication of the instrumentation, but viols (as used here) seem a likely choice, and Tallis’s pair of In nomines are the first known examples of this form (settings using the Gloria tibi Trinitas as a basis). As far as is known, Tallis did not write for the lute, so the impressively complex work based on the plainsong, ‘Felix namque’, is almost certainly an arrangement by an unknown lutenist. This is heard alongside the less virtuosic keyboard version written two years earlier. Mr Tallis’s Lesson (which we hear both on harpsichord and on organ) is a very agreeable pedagogic piece based on a decorated canon, and was no doubt intended as a study for the composer’s choirboy pupils.
As for the songs, they make a wonderful closing section. The very touching When shall my sorrowful sighing slack might well have been composed by Dowland, and Ye sacred muses, a tribute to Byrd, is fully worthy. They are sung most sympathetically by Stephen Taylor (counter-tenor), and the instrumental pieces from Charivari Agréable, Laurence Cummings (virginals and harpsichord) and Andrew Benson-Wilson (organ), are expertly played, while Lynda Sayce gives a virtuoso account of the arrangement of Felix namque.
The bonus disc includes a complete setting of the Litany, omitted from Volume 6, two brief organ Versets, and a further performance of the earlier, less complex version of Felix namque. As with the other organ pieces, Benson-Wilson uses the organ at the private chapel in Knole in Kent (owned during Tallis’s lifetime by both Archbishop Cranmer and Henry VIII). All in all, Volume 9 makes a fitting conclusion to a splendid project, admirably realized, and as before full texts and translations are included.
阿利斯泰尔·迪克森与其"国王礼拜堂"合唱团（及其他合作者）现已完成对伊丽莎白时代伟大作曲家托马斯·塔利斯作品的权威全集录制。这套全集目前以中价盒装形式发行，包含完整文献资料，各唱片亦可单独购买，下文将逐一评述。
仅从各分卷标题即可窥见塔利斯生活与创作的那个英国历史剧变时期——他成功地从拉丁礼仪音乐转向英语作品，而后又回归拉丁语。最终在伊丽莎白一世统治时期，他以典型的英国折衷精神，将原为拉丁经文创作的音乐重新配以英语歌词，推陈出新。就连著名的《Spem in alium》也以《Sing and glorify》的新面貌面世，尽管后世仍恢复了其原始拉丁版本。
首张唱片为整个项目开了极好的头。节目以三首圣母颂祷框架，前两首尚显青涩且风格相近，但《Salve intemerata》以其精炼的声部写作（包含几处高亢的童声独唱，此处演绎极为优美）尽显大师手笔。同名弥撒曲大量沿用相同素材：《荣耀经》与《圣哉经》尤为出色。相对简朴的《Alleluia》和《Euge celi porta》作为圣母弥撒组成部分，四部素歌配置仍显静谧之美。
第二卷作品大多（可能全部）创作于1540年代，反映了英国宗教改革十年间礼仪程序巨变所催生的惊人音乐多样性。拉丁语礼仪音乐仍占主导，如辉煌的《圣母赞主曲》与深沉的《Sancte Deus》，但英语作品已崭露头角，包括三首早期赞美诗、扩展版英语《Benedictus》及非凡的五声部《感恩赞》，与第一卷风格迥异。拉丁弥撒曲出人意料的主调音乐写法亦具前瞻性，效果显著。
第三卷回归拉丁礼仪，所有作品均属玛丽·都铎统治时期（1553-58）。以诗篇《Beati immaculati》开篇，包含气势恢宏的颂祷《Gaude gloriosa》（演唱壮丽）。核心作品是未完成的七声部圣诞弥撒《Puer natus est nobis》，此处搭配圣诞第三台弥撒的专用素歌咏唱《荣耀经》《圣哉经》与《羔羊经》。演唱虽保持高水准，但大量单声部素歌（固然演绎优美）可能降低本卷对部分收藏者的吸引力。
这套持续带来惊喜的全集第四卷，首次聚焦于拉丁基督教每日八次礼拜（晨祷、赞美经、初时经、三时经、六时经、九时经、晚祷、夜祷）的配套音乐。复调瑰宝在此层出不穷：《Dum transisset sabbatum》与六声部《Videte miraculum》尤为精湛，而七声部《Loquebantur variis linguis》以反复出现的"阿肋路亚"编织出更复杂的对位网络。即便最简单的《Quod chorus vatum》也以其朴素动人。
迪克森这项珍贵研究的第五卷延续了第四卷开始的日课音乐，但本辑特殊价值在于收录了基于素歌旋律的管风琴曲。塔利斯通常将管风琴作为人声替代，器乐与声乐交替呈现。在这种听觉享受的轮奏中，管风琴师演奏奇数段落（如《Veni Redemptor genitum》），常以尖锐的前奏对比浑厚的人声进入。录音选用诺尔私人礼拜堂的管风琴（英格兰现存最古老可演奏管风琴），安德鲁·本森-威尔逊对唱片成功的贡献至关重要，所有管风琴曲目都极具魅力。
第六卷专注于塔利斯为1549年生效的《公祷书》改革仪式创作的音乐，按礼仪顺序呈现。作品多为主调风格，却自有质朴之美。赞美诗声部互动更丰富但仍显简短，结尾九首更短小的诗篇和声来自塔利斯约1567年为马修·帕克大主教《诗篇集》的创作。
伊丽莎白是塔利斯生涯经历的第四位君主，当时作曲家已年过六旬。双方似乎都决心让新拉丁经文歌既吸收传统精华又寻求新表达。大教堂音乐家们为塔利斯作品填配英语歌词（如《Absterge Domine》变为《Discomfort them O Lord》）印证了其成功。两首诗篇配乐《Domine, quis habitabit》（诗篇15）与篇幅较短但同样震撼的《Laudate Dominum》（诗篇117）令人难忘。最著名的《Spem in alium》以其难以置信的密集声部仍能震撼听觉，此处演绎辉煌，起伏与高潮控制精妙。
第七卷收录的《耶利米哀歌》两部深刻诠释在第八卷以沉静专注的演绎呈现，后接英国宗教改革后拉丁经文歌的英语改编版（contrafacta）。通常五声部的音乐完美适应语言转换，开篇"祷文"《Wipe Away my Sins》（原《Absterge Domine》）尤为动人。《With all our hearts》《Arise, O Lord》源自塔利斯首版《Salvator mundi》，当时极受欢迎的《I Call and Cry to Thee》（原《O sacrum convivium》）则为英语赞美诗奠定基础。
Signum公司这套全集的终卷魅力在于几乎被遗忘的器乐作品：包括少量维奥尔琴曲与键盘乐精品（分别用维吉纳琴、羽管键琴与管风琴演奏）。约翰·米尔索姆在精彩解说中指出，尽管塔利斯官方职责仅是教堂乐师，这些作品可能为都铎宫廷而作，键盘曲或为擅长演奏的伊丽莎白一世女王创作。这些作品确实足够吸引人。
合奏曲手稿未标注乐器配置，但维奥尔琴（如本辑所用）应是合理选择。塔利斯的两部《In nomine》是该体裁最早范例（以《Gloria tibi Trinitas》为基础）。据现有资料，塔利斯未创作鲁特琴曲，故基于素歌《Felix namque》的复杂作品几乎可确定出自某位无名鲁特琴师之手，此处与两年前创作的键盘版对比呈现。《Mr Tallis's Lesson》（羽管键琴与管风琴双版本）是基于装饰卡农的教学小品，无疑是作曲家为其唱诗班学童所写。
歌曲部分为全集画上完美句点。催人泪下的《When shall my sorrowful sighing slack》堪比道兰德之作，致敬伯德的《Ye sacred muses》亦属上乘。斯蒂芬·泰勒（假声男高音）的演绎极富感染力，"Charivari Agréable"合奏团、劳伦斯·卡明斯（维吉纳琴/羽管键琴）与安德鲁·本森-威尔逊（管风琴）的器乐演奏技艺精湛，琳达·塞斯对《Felix namque》改编版的演绎更显大师风范。
附赠碟包含第六卷遗漏的《连祷文》完整版、两首简短管风琴《小曲》及早期简易版《Felix namque》。与其他管风琴曲目相同，本森-威尔逊使用的是坎特伯雷大主教克兰麦与亨利八世曾拥有的诺尔私人礼拜堂管风琴。总体而言，第九卷为这项出色工程划上圆满句号，一如既往包含完整歌词与译文。
https://115cdn.com/s/swwvvzx3hq9?password=3377&#
Tallis, Thomas - Complete Works - Chapelle Du Roi, Alistair Dixon [Brilliant]
对于比较冷门的中世纪作曲家，Brilliant常常有惊喜。
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发表于 2025-8-14 22:00
