101 – Clarifica me pater II
Thomas Tallis
Neutral Spinet Performance
Organ - delicate
This performance on the bigger organ contrasts with the recording on the chamber organ. While I have still perform this piece as though it were being played as part of service, I’ve chosen a more delicate registration. This delicate registration perhaps better reflects this piece’s overall affect; it is far gentler than Clarifica me pater I. The delicate registration also helps to add clarity for this piece’s contrapuntal elements which would be otherwise lost with in a thicker or louder registration.
Chamber Organ - verset
In this recording I tried to recreate this piece as though it were being performed in a Tudor church service. To accomplish this, I tried to perform this piece as though it were being played in alternatim with the choir singing the unaccompanied chant either side of an organ verset. Rhythmically this performance is quite strict. Likewise, the phrasing is typical of keyboard music. Small rhythmic liberties are taken at moments of strong dissonance, such as around the false relations. The registration helps to provide clarity for this piece’s contrapuntal elements.
Harpsichord - lute
Personally, I think that this rendition of this piece is extremely effective. Perhaps this is due to my love of the harpsichord’s lute stop. The use of this stop really gives this recording an intimate and personal feel; as though I was practising quietly on my own. The intimate affect of this recording is also enhanced by a liberal approach to ornamentation, and a sense of rhythmic freedom. Overall, this recording is a very free and personal rendition of this piece – not everyone will like such a version.
Spinet - added slides
This recording is an interesting reworking of this piece. The main change to the original score I made was the introduction of slides between intervals of a third. I’m not too sure what to think about this technique; I’m not wholly convinced that it works, however, it still sounds nice. The relaxed nature of this recording, in conjunction with a slow tempo and free approach to ornamentation, resulted in an introspective and contemplative affect. Perhaps Thomas Mulliner experimented with this music in a similar way?