John Taverner, probably born near Tattershall in Lincolnshire, was recorded as a clerk at the collegiate church there in 1525. He likely began his musical career in London and in November 1526 was appointed Informator Choristorum at the newly founded Cardinal College, Oxford. Following an incident at the university involving sympathizers of Lutheran ideas, Taverner narrowly escaped imprisonment. After Wolsey's dismissal, the college's fate was initially uncertain until Henry VIII re-established it and dismissed Taverner in April 1530. He later settled in Boston, Lincolnshire, and served as Thomas Cromwell's representative, inspecting smaller monasteries and collegiate churches. He acted with sensitivity and prudence in this role.
Taverner died in Boston on October 18, 1545, and was buried beneath the distinctive spire of the local parish church. His compositions stand at the threshold between late medieval tradition and the influences of continental musical developments of his time. The work "O splendor gloriae" is particularly striking for its clear structure and consistent use of imitative techniques.
Votive antiphons were sung after the late service, outside of the liturgy. Originally dedicated to the Virgin Mary, so-called "Jesus" antiphons also emerged from the late 1520s onward. Among Taverner's most beautiful works is "O splendor gloriae," distinguished by its transparency and rich imitation.
The "Te Deum" is one of the oldest hymns of the Church and was sung on special occasions. In his setting of the "Te Deum," Taverner demonstrates his contrapuntal skills and expressiveness. The work follows the liturgical custom of the time, alternating between cantus planus and polyphony.
Taverner's Mass "The Western Wynde" is based on an anonymous secular melody and is among the first English masses of its kind. The melody appears several times in each movement, ensuring unity in structure and melody. In typical English fashion, Taverner omits passages of the Kyrie and Credo.
John Taverner was highly regarded for his outstanding compositions and his significant contribution to the renewal of English church music.