Album insights
In 16th century England, the 1550s undoubtedly stood out as a tumultuous, stimulating, astonishing, and challenging decade. The era witnessed the reign of Edward VI, a monarch influenced by advisers but asserting his own authority, leading the most Protestant regime England had seen. Amidst reforms and religious unrest, Edward's death in 1553 triggered a struggle for power, with Mary, daughter of Henry VIII, successfully ascending the throne. Her Catholic rule sought reconciliation with Rome, though faced difficulties in religion, economy, and diplomacy. Mary's marriage to Philip II of Spain in 1554 marked a controversial alliance, and upon her death in 1558, her half-sister Elizabeth assumed the throne, ending Mary's Catholic regime through parliamentary legislation in 1559.
Arriving during Mary's reign, various composers found inspiration, with music needing Latin language composition, allowing for expanded vocal arrangements and longer pieces. Thomas Tallis' composition, "Missa Puer natus est nobis," likely from Mary's era, showcased innovative use of plainsong cantus firmus and references to earlier composers' works. Departing from earlier trends, Tallis' seven-voice arrangement broke conventions, lacking solos and incorporating consistent duple meter throughout. Noteworthy for its structural uniqueness, the piece hinted at influences from Mary's time and musical shifts toward polyphony and thematic variations.
Tallis' composition techniques extended to multiple seven-voice pieces, suggesting a deliberate choice possibly tailored for Philip II's Chapel Royal during its English presence from 1554 to 1555. The "Missa Puer natus est" likely intended as a Christmas performance further hinted at a celebratory atmosphere, with scholars speculating on its ties to Mary's perceived pregnancy. Through a blend of English and Spanish chapel elements, Tallis' work exhibited rich harmonies and innovative cadences, creating a vibrant tapestry of sound with dramatic nuances uncommon in his other compositions.
In his intricate compositions, Tallis' earliest surviving work, a four-voice Magnificat in Latin, displayed his evolving style and craftsmanship, refining pre-Reformation techniques. Despite some imperfections, such as unconventional tonal ranges, Tallis adeptly balanced structures, harmonies, and applied the Faburden technique to enhance melodic depth. Additionally, his Benedictus and hymn settings showed a mastery of restraint and modesty, adhering to Archbishop Cranmer's directives while presenting elegantly structured compositions with balanced vocal interplays.
Contrasting with the Magnificat, Tallis' forward-thinking works, like his hymn settings and responsories, demonstrated innovative polyphonic approaches, ahead of his time. Collaborating with John Sheppard, Tallis reimagined hymn settings with alternating meters, dynamic shifts, and rhythmic vigor. These compositions showcased Tallis' visionary approach and mastery at blending tradition with emerging styles, earning him high regard among peers like William Byrd, who was deeply influenced by his mentor's legacy.
Andrew Carwood © 2014