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Track(s) taken from CDGIM006

Salvator mundi I

composer
Cantiones quae ab argumento sacrae vocantur (1575)
author of text
Antiphon at Matins on the Feast of the Exaltation of the Cross

The Tallis Scholars, Peter Phillips (conductor)
Recording details: Unknown
Merton College Chapel, Oxford, United Kingdom
Produced by Steve C Smith & Peter Phillips
Engineered by Mike Clements
Release date: September 1985
Total duration: 2 minutes 20 seconds
 

Other recordings available for download

St Paul's Cathedral Choir, John Scott (conductor)
The Cardinall's Musick, Andrew Carwood (conductor) May 2016 Release
Winchester Cathedral Choir, David Hill (conductor)
Westminster Cathedral Choir, James O'Donnell (conductor)
Magnificat, Philip Cave (conductor)
Chapelle du Roi, Alistair Dixon (conductor)
Contrapunctus, Owen Rees (conductor)
Salvator mundi was published in the 1575 Cantiones sacrae, the joint venture with William Byrd and the attempt to make a significant statement on the health and quality of music in England. It is placed first in the collection, as befits Tallis’ senior position and the exquisite nature of the piece. It begins in imitative fashion, with the superius and contratenor in canon at the octave, but quickly moves into a style which is more free and more expressive.

from notes by Andrew Carwood © 2016

Salvator mundi fut publiée dans les Cantiones sacrae de 1575, projet en commun avec William Byrd et tentative visant à montrer la santé et qualité de la musique en Angleterre. Elle est placée en premier dans le recueil, comme il convient à la position d’aîné de Tallis et à la charmante nature de cette pièce. Elle commence de manière imitative, avec le superius et le contratenor en canon à l’octave, mais passe rapidement à un style plus libre et plus expressif.

extrait des notes rédigées par Andrew Carwood © 2016
Français: Marie-Stella Pâris

Salvator mundi wurde in den Cantiones sacrae von 1575 herausgegeben, ein Gemeinschaftsprojekt mit William Byrd, mit dem der Rang und das Wohlergehen der englischen Musik demonstriert werden sollte. Es steht in der Sammlung an erster Stelle, wie Tallis’ Vorrangstellung als Komponist und die vorzügliche Qualität des Stücks es verlangen. Es beginnt im imitativen Stil, wobei die Superius-Stimme und der Contratenor im Oktavkanon miteinander singen, geht dann aber bald in eine freiere und ausdrucksvollere Technik über.

aus dem Begleittext von Andrew Carwood © 2016
Deutsch: Viola Scheffel

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