Spem in Alium

Spem in alium
nunquam habui
A motet
for 40 voices
by
Thomas Tallis
(c.1505 1585)
Edited by Philip Legge
Notes
Fortypart motets from the sixteenth century are an exceedingly
rare species. In July 1561 Cardinal Ippolito dEste was
ceremonially welcomed to Florence, probably the occasion for
which the composer and diplomat Alessandro Striggio (senior)
composed a 40part motet, Ecce beatam lucem, which was rst
performed beneath the vast cupola of Santa Maria della Fiore, with
the singers probably arrayed in a semi-circle. Striggio visited
London on diplomatic business in the summer of 1567, bringing
with him the Latin motet; Striggio had taken a similarly vast mass
(also reputed to be in 40 parts, with a 60voice Agnus Dei; now
lost) around Europe, but which would have been inappropriate to
perform in Protestant England.
It seems very likely that Striggio performed the motet in London,
and that he and Thomas Tallis met. In 1981 Jerome Roche re-
discovered a 1611 account by one Thomas Wateridge, a law
student at the Temple. According to his account, after hearing the
40part motet a nobleman:
asked whether none of our Englishmen could sett as good a songe [...]
Tallice beinge very skilfull was felt to try whether he would undertake ye
Matter, wch he did and made one of 40 partes wch was songe in the
longe gallery at Arundell house.
Arundel House was the London home of Henry Fitzalan, the 12th
Earl of Arundel. However his country residence, Nonsuch Palace,
possessed an octagonal banqueting hall, and a catalogue of music
in the library at Nonsuch, drawn up in 1596, reveals the existence
of a score of Spem in alium. In addition to its octagonal layout the
banqueting hall had four rst-oor balconies, so that it is possible
Tallis designed for the music to be sung not only in the round, but
with four of the eight choirs singing from the balconies.
No manuscripts of the original Latin motet are known to exist; the
earliest copies preserved were made in the early 17th Century
during the reign of James I, when an English contrafactum of the
motet was performed, rstly for the investiture of Henry, Prince of
Wales, in 1610; and after his decease, the ceremony and the motet
were repeated in 1616 for his younger brother, the future King
Charles I. The text sung was:
Sing and glorify heavens high Majesty,
Author of this blessed harmony;
Sound divine praises
With melodious graces;
This is the day, holy day, happy day,
For ever give it greeting,
Love and joy, heart and voice meeting:
Live Henry [Live Charles] princely and mighty,
Harry live [Charles live long] in thy creation happy.
The editors of Tudor Church Music in the 1920s did not have
access to the earliest source, Egerton MS 3512, but used a later
manuscript from the Gresham College Library (now in the
Guildhall Library, G. Mus. 420). A collation of the two
manuscripts indicate the Gresham MS was copied from the
Egerton MS. The parts in the MS are not copied in choirs, but rst
all of the sopranos, numbered by the scribe 1, 6, 11, 16, 21, 26, 31,
36; then the altos, numbered 2, 7, 12, 17, 22, 27, 32, 37; and so on
for the other voices, suggesting eight identically-formed choirs of
ve voices. The ve voices (soprano, alto, tenor, baritone, bass)
possess similar ranges in each choir and are notated in the G2, C2,
C3, C4, and F4 clefs. There are several noteworthy additions in the
MS: on the rst page the scribe copied out the original Latin words
(taken from the Sarum Breviary); after the 20th voice there is an
ungured thoroughbass, denoted for ye Organ; at the end of the
33rd voice the scribe wrote This song was rst made to a lattin
Copyright 2004 Philip Legge, for the Choral Public Domain Library: http://www.cpdl.org/
Edition may be freely distributed, duplicated, performed, or recorded.
Please send comments, suggestions, or emendations by electonic mail to phi1ip AT netscape DOT net
ditty by Mr. Tho: Tallis; but who put in the English ditty I ame
altogether ignorant off. On the last page was inscribed Mr.
Thomas Tallis, Gentleman of King Henry the Eyghts Chapel, King
Edward, Queen Mary & of her Maiesties that now is, Queen
Elizabeth, the maker of this Song of fourty parts. which suggests
the earlier Egerton MS was copied from a manuscript dating to
Tallis own lifetime.
For the text underlay Tudor Church Music used another manuscript
(Royal Music MS 4 g. I) bearing the Latin text, but as this dates
from the eighteenth century it probably does not preserve the word
placement of Tallis original; the editors themselves noted the
underlay is in places so perverse that it appears like an attempt on
the part of an unknown editor to t the Latin words to the English
adaptation. Hence the editor of this new edition has dispensed
with this text underlay and supplied his own. Text aside, the music
is a direct transcription of the Tudor Church Music version, which
as described above used the Gresham MS as a principal source; the
collation of the two manuscripts indicate the scribe of the Gresham
MS attempted to add some accidentals according to the rules of
musica cta. Though the earliest manuscript has many fewer
accidentals than this edition, it is not inconceivable that the work
was indeed sung with many more than are included here. Similarly
the organ bass line cannot be shown to have originated with Tallis
or the author of the English adaptation, and may be included or
omitted in modern-day performances.
Musically, the motet is a tour de force on many levels, not least for
Tallis masterful exploitation of his choirs spatial distribution. If
the choirs are arranged in circular fashion sequentially by number,
then the music rotates through the opening points of imitation on
Spem in alium nunquam habui (choirs I to IV) and Prter in te,
Deus Israel (choirs V to VIII). After a short interjection from
choirs III and IV (which functions antiphonally as decani to the
cantoris of choirs VII and VIII) Tallis completes the circle with
the entry of the nal bass voice of Choir VIII; shortly afterwards,
at the fourtieth breve of the work, all forty voices enter in the rst
of a series of massive welters of sound, which has been described
as polyphonic detailism. The next imitative section which
follows at qui irasceris et propitius eris reverses the direction of
rotation as new voices enter against varied countersubjects in the
parts already established.
Tallis also manages to combine the exchanges between choirs in
four different antiphonal arrangements, by amalgamating the
singers in four groups of two choirs (as hinted at above), so
antiphony can pass back between both north and south, but
also between east and west), but also as two groups of four
choirs (ie one massive 20voice choir against another) which can
be arranged in two different ways (north and west versus east and
south, or north and east versus south and west).
After the most intricate chordal passage so disposed between the
various choirs, Tallis contrives the entire choir of 40 voices to enter
as one after a pause, upon a magical change of harmony. With
the words respice humilitatem nostram Tallis ends with the most
strikingly unhumble polyphonic passage yet heard, framed by
strong harmonic rhythms of the ensemble. The view that this might
be Tallis opus magnus is intriguingly suggested by Hugh Keytes
observation of a possible numerological signicance in the works
duration being exactly 69 long notes: in the Latin alphabet,
TALLIS adds up to 69.
Philip Legge, Melbourne, November 2004
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Spem in alium nunquam habui
Thomas Tallis
(c.15051585)
Soprano I
Alto I
Tenor I
Baritone I
Bass I
Soprano II
Alto II
Tenor II
Baritone II
Bass II
Soprano III
Alto III
Tenor III
Baritone III
Bass III
Soprano IV
Alto IV
Tenor IV
Baritone IV
Bass IV
Soprano V
Alto V
Tenor V
Baritone V
Bass V
Soprano VI
Alto VI
Tenor VI
Baritone VI
Bass VI
Soprano VII
Alto VII
Tenor VII
Baritone VII
Bass VII
Soprano VIII
Alto VIII
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Baritone VIII
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6
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9
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10
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11
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et
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mni
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mi

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ta

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num,
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num,
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ca
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num,
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&

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et
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num,
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num,

pec
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o
w.
mni
pec
ca
ta
12
73
I
II
III
IV
V
VI
VII
VIII
&
ca

ta

ho

mi
num
in
tri
.
bu la
J

ti

ne,

&

pec
ca
ta
ho
.
mi num
in
tri
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ne,

&
ca
ta
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ho
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in
tri
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la
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ti o
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ne,

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mi
num,
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tri
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bu
la
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ne,

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mi
num
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in
tri
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bu
la
ti

ne,

&

pec
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ho mi num,

in
tri
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j

ti
o
.
ne,

&

pec
ca
ta
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w
in
tri
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la
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ne,

&
ca
ta

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num,

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in
tri
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ne,

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pec
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in
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ne,

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.
num
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ti
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mni
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&

pec
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num,
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num

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tri

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num,
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ne,

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j
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num,
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&
pec
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num

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ti

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ne,
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num
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tri
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ne
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mit
tis,

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&
o
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mni a
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mi
num
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tri
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la
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di
mit
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in
tri
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&
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&
num,

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num

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num,
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ca
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&

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num
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mit tis,
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mit

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num
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num
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&

pec
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num
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tri
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mit
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tri
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la
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.
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mit

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tis,
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mi
w
num
w

in
tri
bu
la
ti
o
w
ne
di
mit
.

tis,
w

13
79
I
II
III
IV
V
VI
VII
VIII
&

in
tri
.
bu
la
ti

ne

di
.

mit

tis,
&

in
tri
bu
la
ti
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w
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.
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mit

tis,
di
<#>
mit
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?

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mit
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w

&

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tri
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mit
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&

in
tri
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ne
di
mit
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in
tri
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ti o
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j

ne
&

in
tri
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ne

di
mit

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di
mit

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tis,

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in
tri
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J
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ti o
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mit
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tis,
in
tri
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la
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o ne
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di
mit
tis,
?

in
tri
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la
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ne di
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mit
tis,
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&

di
mit
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&

di
mit
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?

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mit
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&

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mit
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&

di
mit
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&

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mit
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&
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mit
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tis,
w

&
bu
la
ti
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mit
.

j
.
tis,
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w

&
la
ti
o
.

ne
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mit
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tis,
w

?
ti
o
.
J

ne
di
mit
.
J

tis,
di
mit
.

tis,

?
la
ti
o
w
ne
di
mit
w
tis,
w

&

ti

ne
di
mit
w

tis,
w

&

ti
ne
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mit
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#
tis,

&
ti
o
.
J

ne
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mit

tis,
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tis,

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.
J

ne
.

di
mit
tis,

&

&

&

?

?

&

&

&

?

?

14
85
I
II
III
IV
V
VI
VII
VIII
&

di
mit
w
tis,
di
mit
.
tis.
J
w

&

di
mit
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di
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mit
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w

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.
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mit
J
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tis,
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mit
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&
tis,
w
di
mit
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di
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.
tis.

Do
.
mi
ne
De
us,

Do
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mi
ne
&

tis,
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mit

tis.
w
Do
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De
us,

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tis.

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ne

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us,

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Do
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us,

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mit
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tis,
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mit
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Do
.
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De
us,

Do
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tis,
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mit
.

tis.
w

Do
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De
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mi
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&

di
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tis.
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us,

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mit
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mit tis.
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De
us,

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mit
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tis.

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mit
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mit
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tis.
w

&

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mit
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tis.
w

Do
.
mi
ne
De
us,
&

di
mit
tis,

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mit
.
tis.

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.
mi ne
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De
.

us,
&

di

mit
tis,

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mit
tis.

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De

us,

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mit
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mit

tis.

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mit
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mit
.
tis.

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mit
.
tis,
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mit
.

j

tis.

Do
.
mi
ne
De
us,
&

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mit
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mit
.
tis.

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ne
De
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mit

tis.

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mi
ne
De
us,

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mit
tis,
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mit
.
tis.

Do
.
mi
ne
De
us,
?

di
mit
w
tis.

15
91
I
II
III
IV
V
VI
VII
VIII
&

Do
.
mi
ne
De
us,

Cre
tor
li
et
ter
r,

&

Do
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mi
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r,
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a
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et ter
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r,
16
97
I
II
III
IV
V
VI
VII
VIII
&

Cre
tor
&

Cre
tor,
Cre
tor

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r,
&

Cre
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17
103
I
II
III
IV
V
VI
VII
VIII
&
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18
109
I
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19
115
I
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20
121
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21
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22
133
I
II
III
IV
V
VI
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