Hyperion Records

Miserere nostri
composer
7vv MMTTBarBB; Cantiones, quae ab argumento sacrae vocantur, 1575
author of text
Psalm 122

Recordings
'Renaissance Radio' (CDGIM212)
Renaissance Radio
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £11.75 CDGIM212  2CDs for the price of 1  
'Tallis: Spem in alium' (CDGIM006)
Tallis: Spem in alium
'Tallis: Spem in alium & other sacred music' (CKD233)
Tallis: Spem in alium & other sacred music
MP3 £8.00FLAC £10.00ALAC £10.00 Studio Master: FLAC 24-bit 96 kHz £18.00ALAC 24-bit 96 kHz £18.00 CKD233  Download only   Studio Master FLAC & ALAC downloads available
'Tallis: The Tallis Scholars sing Thomas Tallis' (CDGIM203)
Tallis: The Tallis Scholars sing Thomas Tallis
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £11.75 CDGIM203  2CDs for the price of 1  
'Sacred Music in the Renaissance, Vol. 1' (GIMBX301)
Sacred Music in the Renaissance, Vol. 1
MP3 £15.99FLAC £15.99ALAC £15.99 GIMBX301  Boxed set (at a special price) — Download only  
Details
Track 6 on CDGIM006 [2'31]
Track 6 on CDGIM203 CD1 [2'31] 2CDs for the price of 1
Track 7 on CDGIM212 CD2 [2'31] 2CDs for the price of 1
Track 6 on GIMBX301 CD2 [2'31] Boxed set (at a special price) — Download only

Miserere nostri
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Taken from the Cantiones sacrae of 1575, the publication which Tallis undertook jointly with his friend William Byrd, the exquisite canonic Miserere nostri uses the same scoring as the Missa Puer natus est nobis and Suscipe quaeso Domine (which might imply it was written with Philip II’s Chapel Royal in mind) and it follows a tradition found on the Continent of complex canonic writing. The two highest voices are in canon at the unison separated by just one beat. Four other voices are involved in this technical tour de force. The discantus and contra tenor parts have the same music at the same pitch but the notes in the contra tenor part are four times longer. The two bassus parts are also in canon at the unison with the discantus part but ‘per Arsin et Thesin’ which means that for every upward interval in the tenor part, the basses have a downward interval and vice versa. In bassus I the notes are eight times longer than in the discantus part, and in bassus II the note values are doubled. There is one free voice!

from notes by Andrew Carwood © 2015

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