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Track(s) taken from SIGCD029

Derelinquat impius

composer
Thomas Tallis (c1505-1585)
Cantiones quae ab argumento sacrae vocantur (1575)
author of text
Anonymous - liturgical
Fifth Respond at Matins on the First Sunday in Lent

Chapelle du Roi, Alistair Dixon (conductor)
Recording details: November 2000
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Edward Wickham
Engineered by Limo Hearn
Release date: April 2004
Total duration: 3 minutes 49 seconds
 

Other recordings available for download

The Tallis Scholars, Peter Phillips (conductor)
The Cardinall's Musick, Andrew Carwood (conductor)

Reviews

'Listening to it in the context of Tallis' other contemporary settings of Latin texts makes it all the more enjoyable and it provides a breath-taking climax to the present recording, The Tallis complete works is one of the most exciting projects currently underway on any early music label, and Signum are to be warmly congratulated on the inspiring results. Thoroughly recommended' (Early Music Scotland)» More

'Thomas Tallis lived through tempestuous political changes that directly affected how he was allowed to compose. Under Queen Mary he was yoked to Roman Catholic orthodoxy. It must have pleasantly surprised him that on Elizabeth I's accession he was free to continue setting Latin texts, albeit with modifications to his former opulent style. This disc includes 16 works of this second period. The simplicity of a moving penitential piece for Lent, In Ieiunio et Fletu—given in two versions—is balanced by the brilliant double canon of Miserere Mei Nostri and the intense polyphony of the confessional motet Absterge Domine. The climax is Tallis's most celebrated work: the 40-part motet, Spem in Alium. Conductor Alistair Dixon paces and balances the voices of his vocal group Chapelle du Roi beautifully, making the very most of the work's amazing textural and spacial contrasts' (The Evening Standard)

It is possible that Derelinquat impius, a plea for the sinful to return to the Lord, was one of the last pieces written by Tallis. He appears to be almost in experimental mode, defying any tonal centre from the outset so that the cadence in A major at bar 17 feels surprising and unsettling because of the peregrinations of the opening bars. There are eyebrow-raising melodic moments also, like the upward leap of a seventh at the word ‘misericors’ (‘merciful’) and some wonderful textural effects throughout.

from notes by Andrew Carwood © 2005

Derelinquat impius, qui supplie les pécheurs de revenir vers le Seigneur, fut peut-être l’une des dernières pièces composées par Tallis, que l’on sent presque sur le ton de l’expérimentation, opposé d’emblée à un quelconque centre tonal, si bien que la cadence en la majeur, à la mesure 17, paraît surprenante et troublante au regard des pérégrinations des mesures d’ouverture. S’ajoutent à cela des moments mélodiques qui étonnent, tel le bond ascendant d’une septième au mot «misericors» («miséricordieux»), sans oublier de merveilleux effets de texture, omniprésents.

extrait des notes rédigées par Andrew Carwood © 2005
Français: Hypérion

Es ist möglich, dass Derelinquat impius, eine Bitte, dass die Sünder zum Herrn zurückkehren mögen, eines der letzten Stücke Tallis’ war. Er zeigt sich hier fast experimentell und entzieht sich von Anfang an jeglicher Tonalität, so dass die Kadenz in A-Dur in Takt 17 aufgrund der Ausflüge in den ersten Takten überraschend und verunsichernd wirkt. In der melodischen Stimmführung passiert ebenfalls Unerwartetes, so etwa der nach oben gerichtete Septsprung bei dem Wort „misericors“ („gnädig“). Zudem sind im gesamten Stück wunderbare textliche Effekte zu beobachten.

aus dem Begleittext von Andrew Carwood © 2005
Deutsch: Viola Scheffel

Other albums featuring this work

Tallis: Gaude gloriosa & other sacred music
The Cardinall's Musick, Andrew Carwood (conductor)
CDA67548
Tallis: Lamentations of Jeremiah
The Tallis Scholars, Peter Phillips (conductor)
CDGIM025Download only

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