Search results
Results from the WOW.Com Content Network
Tallis's pupil William Byrd. Tallis was an eminent figure in Elizabeth's household chapel, but as he aged he became gradually less prominent. [20] In 1575, Elizabeth granted Tallis and Byrd a 21-year monopoly for polyphonic music [22] and a patent to print and publish "set songe or songes in parts", one of the first arrangements of its kind in ...
Tallis", [10] and a reference in the Cantiones sacrae, published by Byrd and Thomas Tallis in 1575, tends to confirm that Byrd was a pupil of Tallis in the Chapel Royal. [11] If he was—and conclusive evidence has not emerged to verify it [ 12 ] —it seems likely that once Byrd's voice broke, the boy stayed on at the Chapel Royal as Tallis's ...
Ye Sacred Muses is William Byrd's Musical elegy on the death of his colleague and mentor, Thomas Tallis, in the form of a secular madrigal.It is scored for 5 voices (usually four viols and countertenor), though the vocal part is scored for treble voice, or a cappella SATTB choir.
The Mass for Four Voices is a choral Mass setting by the English composer William Byrd (c.1540–1623). It was written around 1592–1593 during the reign of Queen Elizabeth I, and is one of three settings of the Mass Ordinary which he published in London in the early 1590s.
January 22 – Thomas Tallis and William Byrd are granted a 25-year monopoly for printing and selling part-music and manuscript paper by Queen Elizabeth I of England. The first performance of a mixed consort takes place in the court of Queen Elizabeth I of England. [citation needed] First appearance of the dulcian in Nuremberg. [citation needed]
Examples of the genre include compositions by Christopher Tye (the most prolific composer of In Nomines, with 24 surviving settings), Thomas Tallis, William Byrd, John Bull, Orlando Gibbons, Thomas Tomkins, William Lawes, and Henry Purcell, among many others. They can vary in mood from melancholy to serene, exultant, or even playful or hectic ...
The British chapels royal have played a significant role in the musical life of the nation, with composers such as Tallis, Byrd, Bull, Gibbons, and Purcell all having been members of the choir. [4] The choir consists of gentlemen of the chapel royal singing the lower parts alongside the boy choristers known as the children of the chapel.
Thomas Tallis set the first lesson, and second lesson, of Tenebrae on Maundy Thursday between 1560, and 1569: "when the practice of making musical settings of the Holy Week readings from the Book of Jeremiah enjoyed a brief and distinguished flowering in England (the practice had developed on the continent during the early 15th century)".