Wednesday 6 June 2007
Just Call it Spem
The 40 voice part motet Spem In Alium by Thomas Tallis tends to be known in the choir world simply as Spem. As if maybe reducing it to this familiar level makes it somehow easier to get a handle on it and perform it. There is nothing else quite like it, certainly in English repertoire. This cd by the group Magnificat directed by Philip Cave is called Spem In Alium - Lamentations - Mass & Motets. Apart from Spem, which despite its' grandeur is only nine minutes long, there are as the title suggests settings of other liturgical texts as well as a full mass for four voices ( to contrast with Spem's 40 ) The peacefulness and serenity of the music contrasts with the turbulent times in which Tallis was writing. He wrote for four monarchs of varying religious persuasions at a time when religion was the main cause of conflict and to be on the wrong side courted disaster. Thought to probably have Catholic allegiances, he nevertheless managed to walk the tightrope and please his Church of England masters too.
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About a year ago at the Museum of Modern Art in NYC, they had an installation that consisted of 40 identical speakers all positioned roughly at ear height and playing Spem.
When you stood in the middle of the room it sounded like you were hearing a live version of it surrounding by the choir. However, when you put your ear near to any one speaker, you would hear one single voice singing one single part of the motet. You could hear a little of the ambient sound (the rest of the choir) coming from each speaker, but the focus on the individual singer really singled out that person's part. The voices all sounded rather exposed and alone with your ear up against a speaker. And some of the voices were not very good or strong. But the overall effect of all 40 speakers was stunning.
It was one of those experiences I wish I could have again. But I somehow doubt it is still in place at MOMA.
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