English Sacred Music: SATB Choral Book

This collection captures Tallis at his most direct and rewarding to rehearse. The pieces balance technical interest (particularly the weaving of four independent lines) with texts that sit naturally in English, avoiding the awkwardness sometimes found in literal translations. Jeremy Summerly's selection and editing give you genuine performance-ready scores from a composer who deserves far more regular programming than he currently receives.

English clarity and directness combined with the harmonic richness of the Renaissance. These pieces never obscure their texts or their emotional intent, yet the counterpoint remains sophisticated and occasionally startling. There's a quality of spiritual earnestness here, particularly in the penitential and supplicatory anthems, without the grandeur of later English cathedral music.

Choirs with solid sight-reading skills and experience navigating Renaissance polyphony. These works suit both church programs and secular concert repertoire, appealing to directors seeking repertoire that challenges singers without requiring the vast resources of a full liturgical service.

• Sing the text naturally within the polyphony rather than treating each voice as rhythmically independent. Tallis's lines breathe together even when they move at different rates.
• Pay attention to the underlay in pieces like 'I Call and Cry to Thee, O Lord,' where a single syllable can span several notes. Committing fully to the word painting makes the emotional architecture audible.
• In works with eight parts or dense polyphonic sections, consider sectional rehearsal by voice pair before bringing all four lines together. The relationships between soprano-alto and tenor-bass are the foundation.
• Let the piano part guide you in less familiar passages, but remember these pieces were written without keyboard accompaniment. Use it as a rehearsal tool, then trust the voices to balance and support each other in performance.

Use these pieces as anchors for a sacred music concert or as substantive fillers in a mixed program; they stand confidently alongside almost any era. 'Why Fumeth in Sight' works beautifully as a bridge piece between Renaissance and modern music programming when paired with Vaughan Williams's 'Fantasia on a Theme by Thomas Tallis.' For church use, the anthology provides enough variety to serve as both processional music and meditation pieces throughout the year.

• Reading and balancing four independent contrapuntal lines
• Historical text underlay and word-painting in Renaissance music
• Sustaining long phrases while maintaining ensemble clarity
• Tuning major and minor sonorities in close harmony
• Interpretation of unfamiliar but phonetic English texts