Lamentations and Strepitus: Tenebrae

Today is the Wednesday of Holy Week, and is sometimes called "Spy Wednesday" in reference to Judas Iscariot plotting with the Sanhedrin to turn Jesus in for 30 pieces of silver. Liturgically, the Masses for the Monday, Tuesday, and Wednesday of Holy Week are unexceptional. The office of Tenebrae, the vigil/Matins celebration of darkness uses extinguished candles, the Lamentations of Jeremiah, and the strepitus, loud noises to represent the earthquake mentioned in the Gospels after Jesus died on the cross, to prepare for the Holy Triduum.

Thomas Tallis famously set the Lamentations in two versions, while the versions of Robert White and William Byrd are less well known.

Unfortunately (lamentably?), there does not seem to be a CD with the Tallis, Byrd, AND White versions for comparison. Magnificat recorded Byrd and White on Where late the sweet birds sang, while the Oxford Camerata recorded Talls and White on their disc of Lamentations! Dating on these compositions places them in Elizabeth's reign--yet they are written in Latin. Humanist that she was, the queen allowed Latin to be used in the liturgy at Court, at Oxford, and at Cambridge, since it would be understood in those venues.

Here is a recording from Magnificat of part one Thomas Tallis's setting of the Lamentations:

And here is a recording of the strepitus at the end of Tenebrae:

Tudor Church Music and the Carnegie Trust

According to the review in The Guardian:

Stile Antico never disappoints. This disc of Tudor church music, sung by the small, conductor-less ensemble, doubles as a well organised programme of Byrd, Tallis, Gibbons and others, and a condensed history of the early music revival in the first half of the last century. Until OUP published the 10-volume Tudor Church Music, between 1922 and 1929, little of this vocal repertoire was known. In a philanthropic gesture which transformed the musical landscape, the project was funded by the Carnegie UK Trust, which marks its centenary this year. Stile Antico honour the endeavour with their customary clean lines, pure tone and precise articulation. If all that sounds a bit efficient, I'm struggling to say only that it is music making at the highest level.

1. Ave verum corpus by William Byrd  
2. Mass for 5 Voices by William Byrd  
3. O clap your hands by Orlando Gibbons  
4. Almighty and everlasting God by Orlando Gibbons  
5. Nolo mortem peccatoris by Thomas Morley 
6. Salvator mundi by Thomas Tallis   
7. In jejunio et fletu by Thomas Tallis
8. O splendor gloriae by John Taverner
9. Portio mea by Robert White
10. Christe qui lux es IV by Robert White

You may listen to samples here. I bought my copy yesterday and enjoyed listening to it before and after Mass on Sunday.

According to the Catholic Encyclopedia, Robert White was an

English composer, b. about 1530; d. Nov., 1574; was educated by his father, and graduated Mus. D., at Cambridge University, 13 Dec., 1560. In March, 1561, he succeeded Dr. Tye as organist and master of the choristers at Ely cathedral, continuing in that office till 1566. He accepted a similar post at Chester cathedral in 1566, and took part in the Whitsuntide pageants during the years 1567-69. Such was his repute as a choir trainer that in 1570 he was appointed organist and master of the choristers of Westminster Abbey. Though an avowed Catholic he retained his post at Westminster Abbey from 1570 until his death. It is worth recording that during the same period, under Elizabeth, the musical services of the Chapel Royal, Westminster Abbey and St. Paul's Cathedral were directed by three Catholics, namely Farrant, White, and Westcott. White made his will on 5 Nov., 1574, and in it he describes his father Robert White as still living. He left each of the choristers four pence. The high estimation in which he was held by his contemporaries may be judged by the distich which a pupil (in 1581) inscribed in the manuscript score of White's "Lamentations":
"Non ita moesta sonat plangentis verba prophetae
Quam sonat authoris musica moesta mei."

Fortunately quite a large number of White compositions have survived, and of these his Latin motets are sufficient to place him in the front rank of English composers of the Elizabethan epoch. His contrapuntal writing is very fine, though stilted. However, his "Lamentations", set for five voices, have a flavour far in advance of his period, as also his motet "Peccatum peccavit Jerusalem" and "Regina Coeli". It is to be observed that he wrote his English anthems ex officio, but his Latin services reveal the full genius of White, and give him a place with Tallis, Byrd, Shepherd, and Taverner. Strange to say, though he stood so high among mid-sixteenth century musicians, his compositions were almost utterly neglected till unearthed by Dr. Burney. In recent years he has come into his own, thanks to the zeal of Mr. Arkwright, Dr. Terry, and others. Dr. Earnest Walker regards White "fairly to be reckoned — even remembering that Palestrina and Lassus were contemporaries — as among the very greatest European composers of this time".

Indeed, the Oxford Camerata recorded a "lamentable" CD of White's Lamentations, with Palestrina's, de Lassus', and Thomas Tallis', too!