Of the three sources at cpdl.org, two follow the ficta in the example above. Personally, I think the performance gets it right. The first e natural is just a passing tone, while the 2nd has more harmonic heft and follows the rule of 'una nota supra la' in the transposed dorian mode based on G (which converts it to aeolian). Anyway, if I were thinking of doing this piece, I'd follow the Tallis Scholars approach.
beware of cpdl ficta.. that flat should not occur until the second beat according to most scholars. besides, it's sings and sounds better. try singing that tenor line both ways. it's wonky the way its written above imo..also the text underlay is garbage in this score. what tenor wants to be singing 2 bars on "ee" ?...."oo" is much better with A-le-lu-i-a ...and it sounds better.
It's UA-cam who thinks it's Tallis Scholars, not me. I'm pretty aware it's Alamire and they are mentioned in the description. Alas, I cannot change the lower part of the description
Dr Skinner was introduced to this piece as an Alto Lay Clerk in Christ Church, Oxford. I was a Tenor Academical Clerk there for 3 years then for 1 year a Lay Clerk. We sang this in the stalls in the College where John Taverner was Informator Choristarum from 1526, with the identical forces of men and boys. Once we performed this in around 1987 in St. Bertrand-de-Comminges in the Pyrenees. You can't really beat something like that.
I now have written about the experience of performing this piece as a young man. This is one small chapter of a forthcoming book about the real life experiences of a professional singer. Nobody has written this life up before to my knowledge; though Don Grieg touches upon it in his excellent 2008 novel Time Will Tell
Utterly beautiful, almost painful it’s so beautiful
Ethereal, the voices of angels. The individual voices float so effortlessly over and around the cantus firmus in the 1st bass.
Thank you for sharing this music!
any reason for the tenor seventh at bar four not being flattened?
Of the three sources at cpdl.org, two follow the ficta in the example above. Personally, I think the performance gets it right. The first e natural is just a passing tone, while the 2nd has more harmonic heft and follows the rule of 'una nota supra la' in the transposed dorian mode based on G (which converts it to aeolian). Anyway, if I were thinking of doing this piece, I'd follow the Tallis Scholars approach.
beware of cpdl ficta.. that flat should not occur until the second beat according to most scholars. besides, it's sings and sounds better. try singing that tenor line both ways. it's wonky the way its written above imo..also the text underlay is garbage in this score. what tenor wants to be singing 2 bars on "ee" ?...."oo" is much better with A-le-lu-i-a ...and it sounds better.
This is not the Tallis Scholars, it’s Alamire under David Skinner. Please change description
It's UA-cam who thinks it's Tallis Scholars, not me. I'm pretty aware it's Alamire and they are mentioned in the description. Alas, I cannot change the lower part of the description
Dr Skinner was introduced to this piece as an Alto Lay Clerk in Christ Church, Oxford. I was a Tenor Academical Clerk there for 3 years then for 1 year a Lay Clerk. We sang this in the stalls in the College where John Taverner was Informator Choristarum from 1526, with the identical forces of men and boys.
Once we performed this in around 1987 in St. Bertrand-de-Comminges in the Pyrenees.
You can't really beat something like that.
It took me a while to figure it out. It sounds more modern than the 83 Scholars reading, yet less hysterical than the 2013 disc
I now have written about the experience of performing this piece as a young man. This is one small chapter of a forthcoming book about the real life experiences of a professional singer. Nobody has written this life up before to my knowledge; though Don Grieg touches upon it in his excellent 2008 novel Time Will Tell
This is the theme of the ocean tribe when the dolphins are gathering ...
Υπεροχο!!!!
Bar 23 sop b natural? 1:20
Ficta Police?
5:10