By Suzanne Cole
In Victorian England, Tallis used to be ever-present: in performances of his tune, in bills of his biography, and during his illustration in actual monuments. identified within the 19th century because the 'Father of English Church Music', Tallis occupies a imperative place within the historical past of the track of the Anglican Church. This ebook examines intimately the reception of 2 works that lie on the stylistic extremes of his output: Spem in alium, revived within the 1830s, even though regularly no longer vastly in demand, and the Responses, that have been extremely popular. an in depth research of the performances, manuscripts and variants of those works casts mild at the intersections among the antiquarian, liturgical and aesthetic objectives of nineteenth-century editors and musicians. via tracing Tallis's reception in nineteenth-century England, the writer charts the carry Tallis had at the Victorians and the ways that Anglican - and English - id was once outlined and challenged.
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Additional info for Thomas Tallis and his Music in Victorian England (Music in Britain, 1600-1900)
W. Krummel, ‘Music Publishing’ , in Temperley, Romantic Age, 49. The number of music copyrights increased roughly tenfold between 1835 and 1845. 118 John Jebb, Three Lectures on the Cathedral Service of the Church of England, 2nd ed. N. Green, 1845), 137–8. 38 thomas tallis and his music in victorian england The Service of the celebrated Tallis is the earliest of those which have been published, or practically known in our Choirs. Those persons must have peculiar ideas indeed as to the requirements of solemn devotional music, who can object to the Service of this admirable composer.
77 These two anthems are considerably simpler than I call and cry – they are only in four parts, and are shorter and largely homophonic – and as such were more suitable for the parish choir that was to become so important in the nineteenth century. Arnold’s decision to include these homophonic anthems, rather than the same few five-parts anthems that had been published by Barnard, may well have reflected the new desire for ‘Simplicity and easy Execution’ , and was a sign of things to come. While the moderns were calling for the ‘explosion’ of polyphony from the choir stalls, however, the supporters of ancient music were beginning to show a new interest in the Latin music of the sixteenth and seventeenth centuries.
Curtis Price (Cambridge: Cambridge University Press, 1995), 44). 39 Robert Shay and Robert Thompson, Purcell Manuscripts: The Principal Musical Sources (Cambridge: Cambridge University Press, 2000), 40. 40 Spink, Restoration Cathedral Music, 81. 41 Brian Crosby, ‘A Service Sheet from June 1680’ , Musical Times 121 (1980): 399–401. 42 Weber, Musical Classics, 25. 43 On the importance of Oxford as ‘political and intellectual stronghold’ for Tories and high-church Anglicans, and Aldrich’s position ‘as one of the most important of Oxford’s high Tories’ , see Weber, Musical Classics, 32–6.