The second volume is intended to equal voices. It can be performed by male choirs as well as female choirs because of the particular writing. “The 34 ‘Cantiones Sacrae’ composed by Thomas Tallis (1505-1585) and William Byrd (circa 1543-1623) were published in a common booklet in 1575. They both composed 17 motets each for the 17th birthday of Queen Elizabeth I of England. I attempted to do the same by composing 17 ‘Cantiones Sacrae in honorem Thomas Tallis’ (opus 26; 2006-2008). They were spread into three booklets. The first tome is dedicated to Kamiel Cooremans. It is composed of 5 motets for mixed choirs. The incredible female choir ‘Amarylca’ by Noëlle Schepens inspired me the second booklet composed of 7 motets for equal voices (deep or high-pitched ad libitum voices). The third booklet is dedicated to the pianist, choirmaster and great friend Mark Goossens. The texts were chosen for their liturgical side. The major part of the motets can be performed for every mass: baptism, wedding, funerals... The motets can be sung separately, with booklets or with a different and discreet order. The neo-renaissance style becomes more difficult with the second and the third tomes. Each motet is unique, but they have themes in common. The last motet of the third volume “Spem in alium” is a tribute paid to Thomas Tallis and his motet of the same name. It gathers in a single one motet all the important themes of ‘Cantiones Sacrae’ et the main theme of Thomas Tallis’ motet. The last chord is composed of 17 notes and can luckily be performed ad libitum.” Johan Duijck.
(Translated from French)
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