SECOND PERFORMANCE

For a cappella SATB Double Choir, with SSA and SA Soloists:
SATB Choir 1: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage left side) +
SATB Choir 2: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage right side) +
Gallery/Offstage Soloists 1: 2xS (for divisi) + 1xA (3) (SSA) (at a distance or offstage, and set antiphonally to:)
Gallery/Offstage Soloists 2: 1xS + 1xA (2) (SA) (in a high and more distant gallery or offstage)

= 1. SSAATTBB + 2. SSAATTBB + 3. SSA + 4. SA; or minimum of 21 singers: 7 sopranos; 6 altos; 4 tenors, 4 basses
(* But ideally at least double these forces: 16 per choir, or 32 for the two choirs + 5 soloists = 37 singers)

This a cappella setting for SATB double choir and soloists of the first section of the traditional Latin Mass – “Kyrie eleison” – is based around permutations of one central motif. The eight main vocal lines are sometimes further divided for fullness of texture and motivic completeness. At least 21 voices are required to perform the work (choir: SSAATTBB, SSAATTBB + soloists: SSA, SA). The short central section of this ternary form composition (“Christe eleison”) features high C's in both treble parts, and requires extra soprano and alto soloists to be present offstage (or situated in a gallery), a little removed from the main body of the choir.

Kyrie was first sketched out in 1985 – and only completed, published, and recorded, two decades later. It was first performed in November 2005, during the historic Thomas Tallis 500th anniversary concerts held at Waltham Abbey, Essex (where Tallis worked) and St. Alfege, Greenwich (his burial place). It is appropriate, perhaps, that this work should first have been heard alongside such grand, 40-part polychoral motets as Tallis’s Spem in alium and Striggio’s Ecce beatam lucem.

Kyrie eleison.
Christe eleison.
Kyrie eleison.