This fifth volume of the complete works illustrates to perfection Tallis’s fondness for the practice of alternatim. His use of it is fairly exhaustive: in addition to settings of polyphonic hymns and responds, he composed alternating organ or choral versions of antiphons and even sections of Mass propers. Alternatim was a practice that was extremely popular in the 16th century and beyond. In fact, this intriguing recording could almost be said to provide enough material for an illustrated lecture on the subject.

Chapelle du Roi demonstrate the various possibilities of interweaving, in a single hymn, successive verse-settings in chant, organ, vocal polyphony and faburden (originally created through improvising two parts around a cantus firmus, here realised by John Caldwell). They also show two ways of alternating polyphonic sections with chant in responds. These singers race through the longer chant sections rather too eagerly, as if they wanted to get them quickly out of the way, forgetting that they are an integral part of the structure. They sing both chant and organ versions of the little Christmas antiphon Natus est nobis hodie, and of the Trinity antiphon Gloria tibi trinitas, famous as the basis of a popular musical form, the In nomine.

Three organ versions of the antiphon Clarifica me pater illustrate how imaginatively an organist can add solemnity to a Vespers Magnificat. The organ from Knole used in this recording is one of the earliest existing organs of the period in Britain and Andrew Benson-Wilson warns us of its somewhat arthritic joints. Their creakings – and, I would add, the flatness of some of the flutes – are the price we pay for ‘authenticity’.