Renaissance music thomas tallis biography

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    Thomas Tallis
    by
    Kerry McCarthy
    • LAST REVIEWED: 30 July
    • LAST MODIFIED: 30 July
    • DOI: /obo/

  • Doe, Paul. Tallis. 2d ed. Oxford Studies of Composers. London: Oxford University Press,

    Originally published in (London: Oxford University Press). The only published book dedicated to the life and works of Tallis. The book was written as part of a series of brief composer studies. In keeping with the format of the series, the work has fewer than seventy pages and makes no attempt to deal exhaustively with individual pieces of music. Amply illustrated with musical examples. Includes a catalogue of Tallis’s surviving works.

  • Doe, Paul, and David Allinson. “Thomas Tallis.” Grove Music Online. Edited by Deane L. Root. New York: Oxford University Press.

    An extensive and well-researched article that should be the first resource for people who want to begin exploring Tallis’s life and works. Offers a detailed summary of Tallis’s biography, taking more recent research into account and linking it to his musical development. Each genre of music is discussed at length, with special attention given to his Latin-texted polyphony. Available by subscription.

  • Milsom, John Ross. “English Polyphonic Style in Transition: A Study of the Sacred Mu

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    Thomas Tallis

    English Reawakening composer (died )

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    Life

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    Youth

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  • renaissance music thomas tallis biography

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    Thomas Tallis (c) - A short biography

    Despite his stature as one of the great composers of English sacred music, little is known about the personality of English composer Thomas Tallis (ca. - ). The last two lines of his epitaph - "As he did live, so also did he die, in mild and quiet sort (O happy man!); To God full oft for mercy did he cry, wherefore he lives, let death do what it can." - allude to a quiet, pious man, but little else.

    Tallis' music, however, suggests much more. The composer lived in an England whose political and religious landscape was much more volatile than that of its 21st century counterpart. As monarchs changed - and Thomas Tallis saw four of them - so did the national faith. The pendulum swung from Catholic to Protestant to Catholic, and back to Protestant again. Both religions claimed numerous martyrs in defence of the "One True Faith;" kings and queens demanded different loyalties. And they also demanded liturgical music to fit the prevailing order of the day. Thus at least two conclusions can be drawn, reliably, about Tallis' personality from his work: first and most obvious, his creativity, and second, his adaptability. His output, for the most part, did not display the floridity of composers like Cornysh; nor did he compose