Three Settings of "In Nomine/Gloria tibi Trinitas" by Blitheman

William Blitheman (ca. 1525-1591) and Tallis were the two most significant English organ masters active in the second half of the 16th century. And as mentioned in the prior upload, the Trinity antiphon “Gloria tibi trinitas” occupies a special place in the liturgical organ repertoire of the period. Also mentioned in a prior upload was the fact that Blitheman avoided excesses that Tallis indulged in. Altogether, we know of six different settings of the Gloria tibi trinitas by Blitheman. I found three on ISMLP to upload here which illustrate the above ideas.

The third setting I found in a collection of music by the title “The Progress of Music for Keyed-Stringed Instruments.” I thought I might play that on the harpsichord and the other two on the organ, but it didn’t sound “right” on a harpsichord because the cantus firmus dies out before you’re done playing a measure. So all three settings are presented as organ specimens today; moreover, this makes sense because Blitheman was an organist first and foremost. Whereas in the prior upload, Gibbons was especially adept as a virginalist.

The three settings here share several similarities:
They are in three parts.
They use the antiphon as a cantus planus in long notes.
The other two voices are decorative.
Two are multi-sectional with contrasting changes in the figurations.

Blitheman’s In Nomine 1 (0:00), I used 8’ and 2’.
Blitheman’s In Nomine 2 (2:16), I used 8’, 4’, 2’.
Blitheman’s In Nomine 3 (4:22), I used 8’ and 4’.