Thomas Tallis: Blessed are those that be undefyled (c.1550) with Synthesizer V

The period in which Tallis' composed this English language realization of Psalm 118 remains a mystery. The only surviving copy of the full score was found in the Ludlow Parish Church Partbook which has been dated to around 1565-1570 (the early years of Queen Elizabeth I's reign). It is an early hybrid of older Anglo-Catholic tradition and newer English Protestant innovation. It is in some ways emblematic of Tallis himself who was an ardent Catholic adjusting to and thriving in the newly Anglican nation.

The words of the anthem were lifted from Myles Coverdale's English translation (1535) of the Latin Bible: a product of Henry VIII's theological revolution. The structure of Tallis' music, however, is more reminiscent of pre-Reformation repertoire -- similar to the works of John Taverner, John Shepphard and Christopher Tye. One can hear a rich, imitative polyphonic exchange between boy chorister and adult male voices interspersed with occasional high notes that pierce the ether. It finally concludes with the Trinitarian doxology familiar to all Christian traditions, but written in the straightforward, homophonic style of the new English order. The melismatic and dramatic "amen" at the final cadence adds the unique touch of Tallis' mastery in the art of high choral writing.

Having been written in the English vernacular, this music was certainly intended for use in the Chapel Royal under King Edward VI or Queen Elizabeth I. The text of this piece can also be found in the first English language Book of Common Prayers (1549) for use by Anglican priests for the First Service after Trinity Sunday.

I used a MIDI file created by James Gibb and uploaded to CPDL.org . Instead of the Vocaloid voice encoder, I employed Synthesizer V with the Solaria (soprano) and Kevin (alto, tenor I, tenor II and bass) voice banks. Reverb and echo were added using Audacity. I adjusted the default phoneme set to approximate Elizabethan pronunciation as outlined by Professor David Crystal. For example, I dropped the "h" sounds from the beginnings of words like "heart" "hast" "him" and "holy" but not from "whole."

Text in Modern English:

Blessed are those that be undefiled in the Way
and walk in the law of the Lord.
Blessed are those that keep his testimonies
and seek him with their whole heart
For they that do no wickedness
walk in his ways
Thou hast charged us O Lord
that we shall diligently keep thy commandments
O that our ways were made so direct
that we might keep thy statutes
So shall we not be confounded
while we have respect unto all thy commandments.

Glory be to the Father and to the Son
and to the Holy Ghost.
As it was in the beginning and ever shall be
world without end.
Amen.

Description of Photos:

1. "Blessed are those" Psalm 118 (Psalm 119 in later translations), Myles Coverdale translation of the Bible, 1535; this is the original text that Tallis used in this anthem.
2. Choir of Canterbury Cathedral where Thomas Tallis had his first directorship.
3. Cover page of the first Book of Common Prayer in the English language, 1549, mostly assembled by Thomas Cranmer. Another version of the text for Psalm 118 appears in this psalter as well.
4. King Edward VI of England, son of Henry VIII and Jane Seymour, and patron to the young Thomas Tallis. Edward issued the official approval for membership to Tallis as Gentleman of the Chapel Royal.
5. Waltham Abbey gateway and bridge, the last two remaining structures from the original Abbey which was destroyed during Henry VIII's Dissolution of the Monasteries. Tallis was employed at Waltham just before its demise.
6. Interior of the Chapel Royal, Hampton Court, London where Tallis was a member under King Edward VI, Queen Mary I and Queen Elizabeth I.
7. An early portrait of Queen Elizabeth I, c1560
8. Chapel Royal choir, Hampton Court, the venue for many musical performances by England's greatest masters including Thomas Tallis.

[donnaj]

That Solaria/Kevin combination is exquisite! I never heard anything by Tallis that I didn't love, but this piece stands very high in the list indeed. Thank you!

[polymath]

What is your view on vibrato in these early music pieces? Do you perhaps consider that it should be banned utterly?