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Track(s) taken from CKD233

Te lucis ante terminum I

5vv ATTBarB; Festal tone; Cantiones, quae ab argumento sacrae vocantur, 1575
author of text
Hymn at Compline

Magnificat, Philip Cave (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: November 1995
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: July 2008
Total duration: 2 minutes 39 seconds

Cover artwork: Adoration of the Trinity (1511) by Albrecht Dürer (1471-1528)
AKG London

Other recordings available for download

Westminster Cathedral Choir, Martin Baker (conductor)
The Cardinall's Musick, Andrew Carwood (conductor)
Winchester Cathedral Choir, David Hill (conductor)
The Cambridge Singers, John Rutter (conductor)
Chapelle du Roi, Alistair Dixon (conductor)


'This is quite the best performance of Tallis's 40-part Spem in alium that I have heard. Sung by a constellation of singers, many of them familiar names from other well-established choral groups, it is a gripping realisation' (Gramophone)

'Fine voices and steady nerves always work in favour of Spem in alium … Magnificat's cast list is about as good as it gets' (BBC Music Magazine)» More
Thomas Tallis wrote two settings of the compline hymn Te lucis ante terminum, both of which were published in the 1575 Cantiones sacrae. This first setting—like the second—sets only the middle of the three verses in polyphony. The treble part replicates the pitches of the pre-existent chant melody note for note (with the addition of a single ornamental leading note at the final cadence) in a lilting triple-time rhythm, and the accompanying harmonization is a model of economy and placid beauty, nowhere more so than at the delicately handled Picardian cadence at the end of the third phrase.

from notes by Jeremy Summerly © 2013

Thomas Tallis fit deux mises en musique de l’hymne de complies Te lucis ante terminum. Toutes deux figurent dans les Cantiones sacrae de 1575; comme la seconde, cette première ne met en polyphonie que la deuxième des trois strophes. La partie de treble reproduit note pour note les hauteurs de son de la mélodie grégorienne préexistante (avec l’ajout d’une unique sensible ornementale à la cadence finale), sur un allant rythme ternaire, et l’harmonisation d’accompagnement est un modèle d’économie et de beauté placide, qui n’apparaît nulle part mieux qu’à la cadence picarde, subtilement manipulée, à la fin de la troisième phrase.

extrait des notes rédigées par Jeremy Summerly © 2013
Français: Hypérion

Thomas Tallis schrieb zwei Vertonungen des Komplet-Hymnus Te lucis ante terminum, die beide in den Cantiones sacrae von 1575 veröffentlicht wurden. Hier liegt die erste Version vor, in der—ebenso wie in der zweiten—nur der mittlere der drei Verse polyphon vertont ist. Die Treble-Stimme gibt die bereits bestehende Melodie des Cantus planus Ton für Ton wieder (wobei der Schlusskadenz ein Leitton zur Verzierung hinzugefügt ist), die in einen beschwingten Dreierrhythmus eingepasst ist. Die begleitende Harmonisierung ist ein Vorbild an Ökonomie und friedlicher Schönheit, insbesondere bei der behutsam gesetzten Kadenz mit Picardischer Terz am Ende der dritten Phrase.

aus dem Begleittext von Jeremy Summerly © 2013
Deutsch: Viola Scheffel

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