The obscure origins of “Spem in alium” are strongly linked with the former Nonsuch Palace in Surrey

Detailed view of Georg Hoefnagel’s 1568 watercolor illustration depicting the southern facade of Nonsuch Palace

Nonsuch Palace was an impressive Tudor royal residence commissioned by King Henry VIII in 1538, situated on the former site of the village of Cuddington in Surrey. Renowned for its elaborate Renaissance-style stucco and slate adornments, it earned the nickname “Nonsuch” due to its uniqueness and grandeur. The palace was dismantled in 1682–83 under the orders of King Charles II’s mistress to settle gambling debts. Today, only archaeological remains and foundational structures can be observed within the designated area known as Nonsuch Park.

Oh, how shrouded in mystery and whispering with the echoes of the past does this magnificent work lie! Its origins veiled in the deepest shadows, yet hints—a flicker of light—illuminate where it may have first soared into the world’s soul! Imagine, if you will, a majestic catalogue within the hallowed halls of Nonsuch Palace—once a regal sanctuary, now a silent witness to history’s transient dance.

There, amid the regal treasures, it was etched as “a song of forty parts, crafted by the genius of Mr. Tallys”—a cryptic yet fiery testament to its glorious birth! And oh, the raw emotion surges when we discover the earliest surviving manuscripts—crafted in 1610, bearing witness to a moment so monumental: the investiture of Henry Frederick as the Prince of Wales, a shining star in the royal firmament, son of James I! Can you feel the pulse of history pounding through these words? This is not mere parchment; it is the heartbeat of a legend—passionate, mysterious, alive with the promise of eternity!

Within the hallowed pages of a 1611 commonplace book, penned by the fervent and eager law student Thomas Wateridge himself, lies a tale so profound, so charged with the raw intensity of human experience, that it transcends mere words—an eternal testament to the spirit of youthful curiosity and unyielding pursuit of knowledge!

Wateridge’s letter, dated a staggering 40 years after Elizabeth’s reign—a epoch of upheaval and intrigue—keeps silent on the names of Striggio and the duke, as if their fates are hidden behind a shroud of mystery, waiting for us to uncover their secrets. Some have boldly suggested that if this duke was indeed a Norfolk—perhaps the third Duke—then he was a living, breathing witness to Mary I’s tumultuous rule, when Nonsuch Palace belonged to the Norfolks—sold to them by Mary herself, a symbol of political whispers cloaked in silence.

Imagine, if you will, the possibility that the mere number “30” was nothing more than an innocent mistake—a faint whisper of confusion in the grand tapestry of history! And yet, what epic, soul-stirring masterpiece is truly being sought? Could it be the divine, celestial 40-part motet Ecce beatam lucem. Its text, first published in 1595, formed part of a Pindaric ode written by the neo-Latin poet and Calvinist Paul Schede Melissus (1539–1602). Its subject matter – a Calvinist vision of the New Jerusalem pulsating with the radiant light of eternity? Or perhaps the magnificent, awe-inspiring 40–60-voice mass Missa sopra Ecco sì beato giorno, composed by the legendary Alessandro Striggio—whose genius transcended borders and time itself!

Picture this brilliant mind, Striggio, a visionary who journeyed through the grandeur of Europe, arriving in London in June 1567—bringing with him not just music, but a symphony of the heavens! He painstakingly arranged performances of his sacred works, pouring his soul into each note, each harmony, echoing the very voice of divine inspiration. And this tale—so rich, so potent—perfectly aligns with the historic record at Nonsuch Palace: the opulent residence of Henry FitzAlan, the 19th Earl of Arundel, nestled in the heart of regal splendor.

Envision Nonsuch’s majestic octagonal banqueting hall, a marvel of grandeur, with four magnificent balconies soaring above the ground, majestic platforms where music could soar into the heavens! Could it be—oh, could it be—that Tallis, the masterful composer himself, envisioned his divine music not merely to be sung in solemn stillness, but to burst forth in a swirling, passionate round? To be sung across the balconies by four glorious five-part choirs—each voice a voice of the angels—filling the space with an explosion of sound and emotion so powerful it could move mountains?

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This is no mere spectacle—this is an act of divine genius, a cosmic convergence of architecture, sound, and soul! The very idea ignites a blazing fire in the heart, a testament to the unending human longing for the sacred, the sublime, the eternal

Behold! The sacred corridors of knowledge echo with the divine whispers of history, trembling with the raw, uncontainable passion of discovery! Within the hallowed walls of the Cambridge University Library, amidst the ancient, venerable MS Dd.5.14, f.73v—an artifact of immense celestial significance—lies a testament to human ingenuity and spiritual devotion! This fragile parchment, captures the very soul of an era when music was a divine gift, a heavenly language trembling with emotion and transcendence, etched in time for eternity!

And oh, how this miraculous anecdote first burst forth from the depths of history—transcribed in the passionate words of Henry Fleetwood Sheppard, born amidst the bustling heart of London on that cold winter’s day, February 5th, 1824, was not merely an English clergyman—he was a soul set aflame by divine fervor! With every heartbeat, he poured out his passions, his hopes, and his unwavering faith into the sacred craft of hymnody. As he poured his soul into recounting the legendary tale of Tallis and his awe-inspiring “Song of Forty Parts,” he dared to touch the very hem of the divine, kindling a fire in our hearts that still burns fiercely today.

Let us not forget Suzanne Cole’s unwavering dedication—her journey into the depths of Victorian England’s fascination with Tallis—an unquenchable quest fueled by love and reverence for the genius that transcends time! Through her pages, the spirit of Tallis breathes anew, stirring our souls with the passion of a thousand stars!

This is not mere history—this is a sacred symphony of human emotion, a testament to the eternal power of music and the unbreakable spirit of those who dare to preserve it!

During Queen Elizabeth I’s reign, the only existing dukedom was that of Norfolk. Therefore, the duke referenced in the letter can be identified as Thomas Howard, the 4th Duke of Norfolk. Consequently, if the anecdotal account is accurate, his execution in 1572 provides the latest possible date for the composition of the work. Some scholars believe that the Duke of Norfolk commissioned Tallis to compose “Spem in alium” for a performance at Nonsuch Palace, and that this inaugural performance took place there. Of course, the English couldn’t tolerate an Italian besting them at anything, so Norfolk challenged English composers to write something similar but even better!

Conversely, other historians, questioning the validity of this anecdote, propose that the first performance occurred in celebration of Queen Elizabeth I’s 40th birthday in 1573. Another popular theory suggests that Tallis wrote this forty-part motet in honour of Elizabeth’s fortieth birthday. Forty voices for forty years.

A third hypothesis proposes that Catholic Tallis may have composed this work in honor of Queen Mary I, given his previous employment under her reign and the possibility that he held her in high regard. It is conceivable that he may have harbored ongoing admiration for Queen Mary during Elizabeth I’s reign. However, this idea appears to be somewhat speculative and less probable.

The above represents the most widely accepted views—yet they are riddled with complexities, riddled with doubts that shake the very foundations of certainty! This sacred text originates from a response within the revered Matins order of the Sarum rite—a rite that once illuminated our spiritual lives but has been cruelly cast aside by the advent of the Book of Common Prayer!

I have never put my hope in any other but in Thee, God of Israel
who canst show both wrath and graciousness, and who absolves all the sins of man in suffering
Lord God, Creator of Heaven and Earth Regard our humility

Regarding the original text—its vivid depiction of Judith’s courageous act of defeating Holofernes and restoring her honor—parallels the harsh reality faced by the Duke of Northumberland, who challenged Queen Mary’s legitimate throne through his alliance with Lady Jane Grey. Could it be that Tallis, despite his artistic mastery, incorporated this compelling imagery not solely in reference to Elizabeth, but as a covert expression of political dissent—a subtle call for justice hidden within his music?

The composition itself significantly differs from Striggio’s arrangement. His version was written for ten four-voice choirs; in contrast, Tallis’s arrangement involves eight five-voice choirs. The reference to ’30’ in Wateridge’s correspondence may not be a typographical error; rather, the specific work mentioned might simply be unrecognized or undocumented. Based on these considerations, it has been suggested that Tallis composed the work for Mary, the predecessor of Elizabeth. Additionally, there has been speculation that Striggio may have adapted Tallis’s work; however, there is no supporting evidence for this claim.

An awe-inspiring testament to the birth of this masterpiece! One of its earliest scores, a sacred fragment of its soul, finds eternal sanctuary within the hallowed halls of the Bodleian Library, Oxford—where history whispers and creativity breathes life! And yet, the story of this extraordinary work does not end there!

Another precious, early score—a shimmering jewel of its very essence—resides within the illustrious British Library in London, prominently displayed in the Sir John Ritblat Treasures Gallery, a wondrous treasure trove of mankind’s greatest artistic triumphs! Truly, these sacred manuscripts are monuments to human passion, devotion, and the unquenchable flame of inspiration that fuels the soul of artistry itself!

Behold the majestic masterpiece set forth for eight glorious choirs, each comprising five voices — soprano, alto, tenor, baritone, and bass — a symphony of human emotion and divine transcendence! Imagine Tallis’s divine vision: his singers standing in a sacred horseshoe, a living, breathing circle of celestial devotion, ready to pour out their souls. It begins with a single, delicate voice—fragile yet profound—piercing the silence like a whisper from eternity. One by one, other voices catch aflame, imitating, echoing, building a tapestry of sound that swells with yearning and sacred fire. As the music swirls around the eight choirs, each note a heartbeat, each silence an ache, the tension mounts.

At bar 40, All forty voices explode into existence at once—an overwhelming, thunderous flood of sound that shatters the silence with a staggering, soul-stirring climax! It’s a moment so electrifying, so utterly breathtaking, that it feels as if the heavens themselves have opened in glorious, roaring celebration!

And then—just as suddenly—the music begins to weave its majestic path, flowing backward through the choirs in a glorious, reverent cascade. This “tutti” section isn’t just a change; it’s an emotional earthquake—a monumental rupture from the delicate, intimate melody that came before, leaving us breathless and trembling with anticipation. It’s a triumphant, soul-piercing moment of pure, uncontainable passion—where every voice, every note, bursts forth in a fierce, unchained declaration of musical love and power!

HOMOPHONIC HARMONY!!! The pure, soul-stirring, heart-throbbing MAGNIFICENCE of homophonic harmony! It’s the divine symphony that bursts forth with breathtaking unity, weaving melodies so beautifully intertwined, so passionately intertwined, that every note aches with longing and every chord screams with uncontainable emotion!

It’s the celestial embrace of voices soaring together, a fervent testament to the wondrous power of musical love and perfect concord! OH, how it ignites the depths of our very souls, making our hearts race and our spirits soar into euphoric ecstasy!

For ten, sometimes twelve minutes, it ignites a fire of countless musical ideas, each more passionate and daring than the last!

This work is nothing short of a dramatic, pulsating battlefield of contrasts, a living, breathing testament to emotion itself. The voices—oh, the voices!—they sing with glorious fervor, then fall silent with aching silence, only to erupt anew—sometimes solitary, sometimes united in triumphant chorus. They call out and answer with the urgency of a heartbeat, sometimes all voices roaring together like thunder, other times whispering secrets only the soul can hear.

Far from mere uniformity, this creation shimmers with relentless change, with fresh, electrifying ideas bursting forth at every moment—an eternal dance of chaos and beauty, a symphony of life in all its unpredictable, glorious complexity!

The original Latin text of the motet is from a responsory (at Matins, for the 3rd Lesson, during the fifth week of September), in the Sarum Rite, adapted from the Book of Judith (Judith 9)

There is no early manuscript source that reveals the profound foundation, the very soul beneath the Latin words! The 1610 copies, in all their fragile glory, present only the fiery underlayer of the English contrafactum—an inspiring, heart-stirring melody sung at the monumental 1610 investiture of Henry Frederick, Prince of Wales! This sacred chant, “Sing and glorify,” echoes through the ages, its Latin words graciously etched at the bottom—standing as a testament to the fervent devotion, the majestic celebration that once ignited the hearts of all who witnessed it!

Behold! The motet erupts like an celestial explosion of divine sound, a triumphant symphony of pure, unadulterated soul! It is meticulously crafted for eight mighty choirs, each brimming with five majestic vocal parts—soprano, alto, tenor, baritone, and bass—creating a heavenly chorus that defies mortal comprehension! I can envision Tallis himself, with tear-brimmed eyes and heart ablaze with inspiration, arranging his singers in a sweeping horseshoe of transcendental harmony, a sacred embrace of voices reaching out to the heavens!

And then it begins—oh, how it begins! A solitary voice, a fragile spark of divine fire, emerges from the first choir, trembling with anticipation! Like a whisper of eternity, subsequent voices leap into imitation—each note a divine echo, each pause a sacred breath—circulating among the eight choirs in a divine dance that pulses with the heartbeat of the cosmos! And at the mighty measure 40, the heavens roar as all forty voices unite in a glorious, thunderous symphony—an overwhelming wave of sound that crashes upon the soul, interminable and awe-inspiring!

But the soul’s journey does not end there! No, it reverses—flipping the sacred pattern—voice after voice passing from choir eight back to choir one, as if time itself bends before this celestial will! Soon after, a glorious, shimmering section erupts where every choir sings together—a unison of divine love pouring forth in luminous harmony! Then, in an astonishing display of divine mastery, the choirs strike antiphonal pairs, their voices weaving and intertwining like celestial lovers in a stereophonic tapestry that blankets the very space with pure, radiant sound!

And finally, after all the celestial chaos and harmonious wonder, the piece reaches its divine climax—an explosion of unity! Every voice, every part, joins together in one breathtaking crescendo—an ultimate act of sacred communion that seals the heavens’ promise—this motet is not just music, but a rapturous, soul-shattering odyssey to the divine