Album insights
John Taverner, born in Lincolnshire, likely near Tattershall in 1525, was recorded as a clerk at the collegiate church. His early career possibly included time in London, as seen with his appointment as the Informator Choristarum at Cardinal College, Oxford, in November 1526. Taverner briefly associated with a group sympathetic to Lutheran ideas at the university in 1527, narrowly avoiding imprisonment. He later worked as an agent for Thomas Cromwell, tasked by the King to assess smaller monasteries before dissolution. Despite claims of fanaticism, evidence shows Taverner executed his duties with care and empathy.
Taverner passed away on October 18, 1545, in Boston, where he was buried beneath the church's renowned tower. Music from Taverner's era, such as the grand Magnificats in the "Eton Choirbook," showcased an insular culture evident in major choral institutions of the 15th century. Taverner's compositions reflected elements of late medieval tradition while embracing evolving continental musical trends, evident in his structured use of imitation and simplified rhythms.
One notably forward-thinking piece by Taverner is "O Wilhelme, pastor bone," characterized by straightforward notation and alternating choral groups. Originally referencing Archbishop William, the text likely evolved to include a prayer for Cardinal Wolsey and later a prayer for Queen Elizabeth. Taverner's approach to the Easter Respond Dum transisset Sabbatum inverted usual methods by focusing on the polyphonic sections sung by the choir while unifying congregational singing in equal-value notes.
Taverner's Mass Sancti Wilhelmi included elements from the Antiphon O Wilhelme, pastor bone, demonstrating his innovative yet balanced approach within a consistent style and structure. The five-part Mass skillfully employed contrasting high and low groupings with clear structures and rich imitation, offering a distinctively modern musical expression. His setting of the Matins Respond ex eius tumba showcased elaborate variations in polyphony and melodic sequences, underscoring Taverner's skill in crafting intricate yet melodious compositions within medieval traditions.