In nomine revised connects to the English polyphonic In nomine viol consort tradition of the 16th century, where the plainchant melody Gloria Tibi Trinitas (from John Taverner’s six-voice mass from 1530) was used as a cantus firmus (often played by alto), while the other voices produced imitative, typically highly complex counterpoint.
In Virtaperko’s adaptation this cantus firmus is placed in the bass line. Written for “a broken consort” – a mixed instrumental ensemble – In nomine revised combines the elements of the fantasia and the prelude with the cantus firmus-based melodic counterpoint. Multiphonics, glissandos, flageolets and occasional strict dissonances bring contemporary reflections to the texture that is essentially diatonic in its nature.
Tenor recorder (in D)