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Introduction from Nigel Short The timeless beauty of the simple melodic and rhythmic inflections of chant captivated me even 1 Hymn for Passiontide: Pange lingua gloriosi Plainchant 3.12 as a young chorister, and singing it during Lent or Advent always represented something of a treat. Compline for Passiontide Plainchant Its calming, reflective and almost hypnotic effect 2 Deus in adiutorium 0.53 is particularly powerful heard within the context 3 Antiphon: Miserere – Psalms: Cum invocarem; 10.57 of our highly-charged lives, yet it has been sung by In te Domine speravi; Qui habitat in adiutorio; monks for around a thousand years in churches, Ecce nunc benedicite cathedrals and abbeys throughout the world. 4 Chapter: Tu in nobis es – Respond: In manus tuas 1.21 most poignant and intense polyphonic settings of 5 Hymn: Cultor dei memento 3.53 During the Renaissance period, composers used sacred texts used in Passiontide. These settings for 6 Versicle & Response: Custodi nos 0.23 certain melodies as a linchpin for their settings five lower voices prove not only the depth of Tallis’ 7 Antiphon: O Rex gloriose – Canticle: Nunc dimittis 4.28 of the Mass, a single line repeated through each devotion to the ‘old faith’ and the Catholic rites but 8 Preces – Collect – Benedicamus 5.23 movement (cantus firmus) while several other also his mastery of the polyphonic art, and cements vocal strands are wrapped around it, resulting in 9 Lamentations of Jeremiah I Thomas Tallis 8.27 his rightful place as one of the greatest composers a wonderful polyphonic texture. More recently, of the English Renaissance. 10 Respond: In monte Oliveti Plainchant 2.19 composers have also used chant as the basis for their choral works, building more and more 11 Lamentations of Jeremiah II Thomas Tallis 13.35 Much of the chant sung on this recording is heard elaborate harmonies around the melodies in Tenebrae’s concerts as the choir (or groups from 12 Respond: Tristis est anima mea Plainchant 2.54 including Maurice Duruflé in his atmospheric within the choir) moves around a venue, often setting of the Requiem and Quatre motets sur 13 Respond for Compline in Passiontide: In manus tuas I John Sheppard 3.43 singing by candlelight, embracing the different des thèmes grégoriens. effects on the senses to enhance the aural, visual 14 Litany after Lauds for Maundy Thursday Plainchant 3.45 and spiritual experience. We hope that this music Total Timing 65.23 We draw our music for this recording from the brings you a moment of calm and beauty. Salisbury Cathedral tradition - renowned for its ritual excellence, observation and performance - in the centuries before the Reformation. This recording of Compline sung during Holy Week is www.tenebrae-choir.com enhanced with Tallis’ Lamentations - some of the Nigel Short 2 3 Chant for Passiontide from the Salisbury The psalms which Benedict prescribes for collegiate and cathedral communities, the shape of the Salisbury tradition it is the text for the choral Cathedral tradition Compline are three in number. Cum invocarem Compline was generally expanded in various ways. response to the short reading at Compline for (Psalm 4), is a short text of 10 verses, concluding: There were, and are, many various Complines, Passiontide, and as such features on this recording Compline almost as many differing forms as there are houses twice: firstly in its original chant form during Compline marks the completion of the day’s work In peace - in that same - I will sleep, and I will rest: where it is part of the diurnal round. For example the service itself, and secondly in its setting by in a monastic context. In some communities it was For you, Lord, alone have established me in hope. the hymn may be changed to mark a feast day, or John Sheppard, the first of three such settings even recited at the bedside in the dormitory. to be seasonally appropriate. In most places there he composed. St. Benedict in his ‘Rule’ stipulates three Psalms This text is familiar as In pace in idipsum, set in was an introductory reading, and extra prayers. recited straight through without antiphons; then polyphony as a Compline respond for Lent by the The psalms were frequently elaborated with an Tudor polyphonic settings for Compline the hymn which is appropriate for the ‘Hour’, the Tudor composers Tallis, Sheppard and Taverner. antiphon; and the canticle Nunc dimittis was part of As well as Sheppard, both Thomas Tallis and John lesson, the versicle, Kyrie eleison, the blessing and many Complines. Taverner made polyphonic settings for performance the Collect. Unlike the other six daytime services, Qui habitat in adjutorio Altissimi (Psalm 90 - Latin, during elaborated recitations of compline during Benedict’s Compline is invariable, and is recited 91- English) is one of protection from physical The present recording represents that used at the Tudor years. They are invariably wedded to the throughout the year in the same way. The choice and spiritual assault. “God will cover you with his Salisbury Cathedral in the centuries before the chant from which they derive, and the liturgical of texts by Benedict speak of the night, and of wings, you will not fear night terrors, or assault by Reformation. Salisbury was renowned across structure of solo cantor and choral response is a desire to be protected both physically and day. It is God himself who is your refuge, and his Europe as a centre of ritual excellence, both in marked by alternation of chant with polyphony. spiritually whilst asleep, and thus off-guard. angels will take you in their hands and guard you.” various embellishments to the basic Roman liturgy, In addition to the composers already mentioned, This is the source text for the liturgical texts for the and in the care of its observation and performance. William Byrd, Robert Whyte, and John Mason Psalms first Sunday in Lent, and is quoted by Christ in the In addition to the basic Benedictine items, composed polyphonic alternatim versions of The core of monastic prayer is the recitation of context of his long meditation in the desert. Compline at Salisbury in common with other Compline texts, mostly for use during Passiontide. the psalter “taking care that the whole Psalter of traditions adds the first six verses of the Psalm In te The short reign of Mary and the revival of the a hundred and fifty Psalms be recited every week, The final of Benedict’s three compline psalms Domine speravi (Psalm 30, Latin, 31 English). God pre-Henrician liturgy at court provided the and always begun afresh at the Night Office on is Ecce nunc benedicite Dominum (Psalm 133 - is invoked as a carer, and as protector. The extract context for many of these compositions. Sunday. For those monks would shew themselves Latin, 134 - English). This is one of the short and concludes with the verse: very slothful in the divine service who said in the delightful group of fifteen Songs of Degrees, or Mason’s setting of the Nunc dimittis antiphon O course of a week less than the entire Psalter, with Ascent. The performers lift up their hands at night Into your hands I commend my spirit: you have rex gloriose lasts approaching twelve minutes, and the usual canticles; since we read that our Holy in the Temple, praising God. redeemed me, O Lord God of truth. Sheppard’s setting of Media vita lasts more than Fathers resolutely performed in a single day what I twenty minutes, giving an idea of the elaboration pray we tepid monks may achieve in a whole week” Other Complines This is the verse spoken by Christ from the cross, of the small-scale service of Compline in a Tudor (Benedict: Rule, Chapter 18). In other traditions, both in monastic and and therefore of huge resonance, although equally ceremonial context. mendicant orders, in the Roman version, and in appropriate to preparing for sleep. Moreover in 4 5 Thomas Tallis Lamentations, with two chant Hymn for Passiontide: Pange lingua gloriosi 1. Hymn for Passiontide : Pange lingua gloriosi versions of Responds for Holy Week The words of the hymn are by Venantius Pange, lingua, gloriosi proelium certaminis, et Sing, my tongue, the victory in that glorious combat, Tallis composed the two settings of Lamentations Fortunatus, the sixth century Italian poet, who super crucis tropaeum dic triumphum nobilem: and, of the trophy of the Cross, sing a noble song of for texts which accurately duplicate the first two became the confidant of St. Radegund, and Bishop qualiter redemptor orbis immolatus vicerit. triumph, recounting how the Redeemer of the world, lessons (of nine) for the Night Office on Maundy of Poitiers. The first four verses of Pange lingua when immolated, conquered. Thursday. It is confidently believed that these are part of the Passiontide liturgy, as the hymn settings by Tallis were for private performance on Passion Sunday itself for the Night Office. De parentis protoplasti fraude facta condolens, Deeply grieved by the infidelity of the first-created as devotional music, and not as liturgical pieces Fortunatus also composed Vexilla regis prodeunt, quando pomi noxialis morte morsu corruit, ipse man, when by the eating of the fatal fruit he rushed for use in church. Nonetheless, what would have the hymn at Vespers the previous evening. Pange lignum tunc notavit, damna ligni ut solveret. headlong to death, the Creator Himself then chose been the appropriate choral Responds to these lingua in full forms part of the Good Friday liturgy, the tree that would undo the harm wrought by the two lessons are performed here, as examples of when it is sung to a different melody, with the verse former tree.

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