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Thomas Tallis set the first lesson, and second lesson, of Tenebrae on Maundy Thursday between 1560, and 1569: "when the practice of making musical settings of the Holy Week readings from the Book of Jeremiah enjoyed a brief and distinguished flowering in England (the practice had developed on the continent during the early 15th century)".
Thomas Tallis (c. 1505 – 23 November 1585; [n 1] also Tallys or Talles) was an English composer of High Renaissance music. His compositions are primarily vocal, and he occupies a primary place in anthologies of English choral music .
Why Fum'th In Sight (Psalm 2, tune known as the third mode melody, see also Fantasia on a Theme of Thomas Tallis) O Come In One To Praise The Lord ; E'en Like The Hunted Hind ; Expend, O Lord, My Plaint ; Why Brag'st In Malice High ; God Grant With Grace (Psalm 67, tune known as Tallis' Canon) Ordinal (Veni Creator)
1986: Thomas Tallis: The Lamentations of Jeremiah (ECM 1341) 1987: Arbos (ECM 1325) with the Staatsorchester Stuttgart Brass Ensemble under Dennis Russell Davies performing works of Arvo Pärt; 1988: Passio (ECM 1370) performing works of Pärt; 1989: Perotin (ECM 1385) performing works of Perotin; 1991: Tenebrae (ECM 1422–23) performing works ...
In 2012 E. L. James published her best-selling novel Fifty Shades of Grey which referenced Thomas Tallis's 40-part motet Spem in alium. [22] As a direct result, sales of Gimell's 1985 album Spem in Alium "outsold even the tenor Luciano Pavarotti ", putting it at number one in the British UK Classical Charts . [ 23 ]
Spem in alium (Latin for "Hope in any other") is a 40-part Renaissance motet by Thomas Tallis, composed in c. 1570 for eight choirs of five voices each. It is considered by some critics to be the greatest piece of English early music. H. B. Collins described it in 1929 as Tallis's "crowning achievement", along with his Lamentations. [1]
Couperin's Leçons de ténèbres use the Latin text of the Old Testament Book of Lamentations, in which Jeremiah deplores the destruction of Jerusalem by the Babylonians. Musical settings of the Lamentations of Jeremiah the Prophet were common in the Renaissance, famous polyphonic examples being those by Thomas Tallis , Tomás Luis de Victoria ...
In 1567 English composer Thomas Tallis contributed nine tunes for Archbishop Parker's Psalter, a collection of vernacular psalm settings intended for publication in a metrical psalter then being compiled for the Archbishop of Canterbury, Matthew Parker. They are: Man blest no doubt ; Let God arise in majesty