See also:

• TALLIS (TALLYS, TALYS, or TALLISIUS), THOMAS (c. 1515-1585)

TALLIS (TALLYS, TALYS, or TALLISIUS), See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

THOMAS (c. 1515-1585)  , justly styled " the See also:

• FATHER

father of See also:

• ENGLISH

English See also:

• CATHEDRAL

cathedral See also:

• MUSIC

music," was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born about 1515 . It has been conjectured that, after singing as a chorister at old See also:

• SAINT (lat. sanctus, " holy ")

Saint See also:

• PAUL
• PAUL (PAULUS)

Paul's under See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas Mulliner, he obtained a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place among the See also:

• CHILDREN, LAW RELATING TO

children of the See also:

• CHAPEL

chapel royal . He is known to have become organist at See also:

• WALTHAM

Waltham See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

abbey, where, on the See also:

• DISSOLUTION (from Lat. dissolvere, to break up into parts)

dissolution of the monastery in 1540, he received, in See also:

• COMPENSATION (from Lat. compensare, to weigh one thing against another)

compensation for the loss of his preferment, 20s. for See also:

• WAGES (the plural of " wage," from Late Lat. wadium, a pledge, O. Fr. wagier, gagier)

wages and 20S. for See also:

• REWARD

reward . In the library of the See also:

• BRITISH

British Museum there is preserved a See also:

• VOLUME

volume of MS. See also:

• TREATISES

treatises on music, once belonging to the abbey, on the last See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page of which appears his autograph, " Thomas Tallys "—the only specimen known . Not See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long after his dismissal from Waltham, See also:

• TALLIS (TALLYS, TALYS, or TALLISIUS), THOMAS (c. 1515-1585)

Tallis was appointed a See also:

• GENTLEMAN (from Lat. gentilis, " belonging to a race or gens," and " man "; Fr. gentilhomme, Span. gentil hombre, Ital. gentil huomo, in its original and strict signification, a term denoting a man of good family, the Lat. generosus (its invariable transl

gentleman of the chapel royal; and thenceforward he laboured so zealously for the See also:

• ADVANCEMENT

advancement of his See also:

• ART

art that the English school owes more to him than to any other composer of the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . One of the earliest compositions by Tallis to which an approximate date can be assigned is the well-known Service in the Dorian Mode, consisting of the See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, Te Deum, See also:

• BENEDICTUS

Benedictus, See also:

• KYRIE (in full kyrie eleison, or eleeson, Gr. Kvpte MEssvov; cf. Ps. cxxii. 3, Matt. xv. 22, &c., meaning " Lord, have mercy ")

Kyrie, Nicene Creed, Sanctus, Gloria in Excelsis, Magnificat and Nunc Dimittis, for four voices, together with the Preces, Responses, Paternoster and See also:

• LITANY

Litany, for five, all published for the first See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, in the Rev . See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• BARNARD, FREDERICK AUGUSTUS PORTER (1809–1889)
• BARNARD, GEORGE GREY (1863— )
• BARNARD, HENRY (1811-1900)
• BARNARD, JOHN
• BARNARD, LADY ANNE (1750–1825)

Barnard's First See also:

• BOOK

Book of Selected See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church Music, in 1641, and reprinted, with the exception of the Venite and Paternoster, in See also:

• BOYCE, WILLIAM (1710-1779)

Boyce's Cathedral Music in 1760.1 That this See also:

• WORK

work was composed for the purpose of supplying a pressing need, after the publication of the second See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

prayer-book of See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King See also:

• EDWARD

Edward VI. in 1552, there can be no doubt . Written in the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style known among See also:

• ITALIAN

Italian composers as lo See also:

• STILE

stile famigliare, i.e. in See also:

• SIMPLE

simple See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint of the first See also:

• SPECIES

species, nota contra notam, with no See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt at learned complications of any See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind—it adapts itself with equal dignity and clearness to the expression of the verbal See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text it is intended to illustrate, bringing out the sense of the words so plainly that the listener cannot fail to interpret them aright, while its pure See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich harmonies tend far more surely to the excitement of devotional feeling than the marvellous combinations by means of which too many of Tallis's contemporaries sought to astonish their hearers, while forgetting all the loftier attributes of their art . In self-See also:

• RESTRAINT (from " to restrain," Lat. restringere, to hold back, prevent)

restraint the Litany and Responses See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear a See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close See also:

• ANALOGY (Gr. avaXo-yLa, proportion)

analogy to the Improperia and other similar See also:

• WORKS

works of See also:

• PALESTRINA, GIOVANNI PIERLUIGI DA (1526-1594)

Palestrina, wherein, addressing himself to the See also:

• HEART
• HEART, LUNG

heart rather than to the See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear, the princeps musicae produces the most thrilling effects by means which, to the superficial critic, appear almost puerile in their simplicity, while those who are able to look beneath the See also:

• SURFACE

surface discern in them a subtlety of style such as none but a highly cultivated musician can appreciate . Of this profound learning Tallis possessed an inexhaustible See also:

• STORE (from O. Fr. estor or estoire, Late Lat. staurum or instaurum, stock, provisions, supply, from the late use of instaurare, to provide, properly to construct, renew, restore)

store; and it enabled him to raise the English school to a height which it had never previously attained, and which it continued to maintain until the See also:

• DEATH

death of its last representative, Orlando See also:

• GIBBONS, GRINLING (1648-1721)
• GIBBONS, JAMES (1834– )
• GIBBONS, ORLANDO (1583-1625)

Gibbons, in 1625 . Though this school is generally said to have been founded by Dr Tye, there can be no doubt that Tallis was its greatest See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master, and that it was indebted to him alone for the infusion of new See also:

• LIFE

life and 'vigour which prevented it from degenerating, as some of the earlier Flemish See also:

• SCHOOLS

schools had done, into a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere vehicle for the display of fruitless erudition . Tallis's ingenuity far surpassed that of his most erudite See also:

• CON

con-temporaries; and like every other See also:

• GREAT

great musician of the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, he produced occasionally works .confessedly intended for no more exalted purpose than the See also:

• EXHIBITION

exhibition of his stupendous skill .

In his See also:

• CANON

canon See also:

• MISERERE (the imperative of Lat. misereri, to have mercy or pity)

Miserere nostri (given in See also:

• HAWKINS, CAESAR HENRY (1798-1884)
• HAWKINS, or HAWKYNS, SIR JOHN (1532-1595)
• HAWKINS, or HAWKYNS, SIR RICHARD (c. 1562-1622)
• HAWKINS, SIR JOHN (1719-1789)

Hawkins's See also:

• HISTORY

History of Music) the intricacy of the contrapuntal devices seems little See also:

• SHORT, FRANCIS JOB (1857– )

short of miraculous; [yet the resulting See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony is smooth and normal, and only the irregular complexity of the See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm betrays the artificiality of its structure . The famous See also:

• FORTY

forty-See also:

• PART

part See also:

• MOTET

motet, Spem in alium, written for eight five-part choirs, stands on a far higher See also:

• PLANE

plane, and the tour de force of handling freely and smoothly so many See also:

• INDEPENDENT

independent parts is the least remark-able of its qualities . An excellent See also:

• MODERN

modern edition of it was produced by Dr A . H . See also:

• MANN, HORACE (1796-1859)

Mann in r888 (See also:

• LONDON

London, Weekes & Co.); and, when the reader has overcome the difficulty of See also:

• READING

reading a See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score that runs across two pages, he finds himself in the presence of a living classic . The art with which the climaxes are built up shows that Tallis's See also:

• OBJECT

object in See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing for forty voices is indeed 'Boyce's unaccountable omission of the very beautiful Venice is a misfortune which cannot be too deeply deplored, since it has led to its See also:

• CONSIGNMENT (from consign, Fr. consigner, Lat. consignare, to affix a signum, seal; whence, in Late Lat., to hand over, transmit)

consignment to almost hopeless oblivion.to produce an effect that could not be produced by See also:

• THIRTY

thirty-nine.] These See also:

• TOURS

tours de force, however, though approachable only by the greatest contrapuntists living in an See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age in which counterpoint was cultivated with a success that has never since been equalled, serve to illustrate one phase only of Tallis's many-sided See also:

• GENIUS (from Lat. genere, gignere)

genius, which shines with equal brightness in the eight See also:

• PSALM (from the Gr. word * hXAew, to play the harp)

psalm-tunes (one in each of the first eight modes) and unpretending little Veni Creator, printed in 1567 at the end of See also:

• ARCHBISHOP (Lat. archiepiscopus, from Gr. apxceatorcoros)

Archbishop See also:

• PARKER, JOHN HENRY (1806-1884)
• PARKER, JOSEPH (183o-1902)
• PARKER, MARTIN (c. 1600-c. 1656)
• PARKER, MATTHEW (1504-1575)
• PARKER, SAMUEL (164o-1688)
• PARKER, SIR GILBERT (1862— )
• PARKER, SIR HYDE, BART
• PARKER, THEODORE (1810-186o)

Parker's First Quinquagene of Metrical See also:

• PSALMS, BOOK
• PSALMS, BOOK OF, or PSALTER

Psalms, and many other compositions of like simplicity . In 1575 Tallis and his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• BYRD, WILLIAM (1543-1623)

Byrd—as great a contrapuntist as himself—obtained from See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth royal letters patent granting them the exclusive right of See also:

• PRINTING (from Lat. imprimere, O. Fr. empreindre)

printing music and ruling music-See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper for twenty-one years; and, in virtue of this See also:

• PRIVILEGE

privilege, they issued, in the same See also:

• YEAR

year, a See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint work, entitled Cantiones quae ab argumento Sacrae vocantur, quinque et See also:

• SEX (Lat. sexes; possibly connected with secure, to cut)

sex partium, containing sixteen motets by Tallis and eighteen by Byrd, all of the highest degfee of excellence . Some of these motets, adapted to English words, are now sung as anthems in the See also:

• ANGLICAN

Anglican cathedral service . But no such See also:

• TRANSLATIONS

translations appear to have been made during Tallis's lifetime; and there is strong See also:

• REASON (Lat. ratio, through French raison)

reason for believing that, though both he and Byrd outwardly conformed to the new See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion, and composed music expressly for its use, they remained Catholics at heart . Tallis's contributions to the Cantiones Sacrae were the last of his compositions published during his lifetime . He did not live to See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness the expiration of the patent, though Byrd survived it and published two more books of Cantiones on his own See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account in 1589 and 1591, besides numerous other works . Tallis died See also:

• NOVEMBER (Lat. novem, nine)

November 23, 1585, and was buried .in the See also:

• PARISH (Gr. irapouda, district, neighbourhood; 7r&poucos, one dwelling near or beside, from crap&, OtKOS, house; Lat. paroecur, Late Lat. parochia; cf. Fr. paroisse)

parish church at See also:

• GREENWICH

Greenwich, where a See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint rhymed See also:

• EPITAPH (Gr. it oa¢cos, sc. X/yos, from bri, upon, and ra¢os, a tomb)

epitaph, preserved by See also:

• STRYPE, JOHN (1643-1737)

Strype, and reprinted by See also:

• BURNEY, CHARLES (1726-1814)

Burney and Hawkins, recorded the fact that he served in the chapel royal during the reigns of See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry VIII., Edward VI., See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary, and Elizabeth .

This was destroyed with the old church about 171o; but a copy has since been substituted . Portraits, professedly See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic, of Tallis and Byrd, were engraved by Vandergucht in 1730, for See also:

• NICOLAS
• NICOLAS, SIR NICHOLAS HARRIS (1799–1848)

Nicolas See also:

• HAYM, RUDOLF (1821-1901)

Haym's projected History of Music, but never published . One copy only is known to exist . Not many works besides those already mentioned were printed during Tallis's lifetime; but a great number are preserved in MS . It is to be feared that many more were destroyed, in the 17th century during the spoliation of the cathedral See also:

• LIBRARIES

libraries by the Puritans . (W . S .