Interestingly, Tallis has embraced Archbishop Cranmer’s injunction that music should not be ‘full of notes, but, as near as may be, for every syllable a note, so that it may be sung distinctly and devoutly’-a feature of the attractive miniature compositions from the reign of Edward VI.
#Puer natus est nobis full#
Not only is there no juxtaposition of solo and full sections but there is no official use of triple time, the piece being in duple metre throughout.
There are no sections for soloists and the Mass movements are not broken up by as many caesuras as one would expect.
Using such large forces would have attracted the description ‘festal’ in the pre-Reformation period but Tallis does not follow other conventions associated with this form. Tallis’ composition is for seven voices (AATTBarBB) without the once-common high treble part. Most pre-Reformation Masses were scored for five voices (SATBarB), the exception being Ludford’s ravishing Missa Videte miraculum for six voices (SSATTB). Also like his predecessors, Tallis uses a head-motif, where the same music is used as the starting point for each movement. Tallis chooses a Mass Proper as his melody- Puer natus est nobis (‘Unto us a boy is born’)-rather than one from Divine Office this is unusual and with its strict liturgical role (the Introit at third Mass on Christmas Day) it strongly suggests that the Mass was written for one of the Christmases during the time of Queen Mary. Certainly Taverner in his later Masses was either using as the starting point for his Mass-settings one of his own motets ( Missa Mater Christi sanctissima, Missa Sancti Wilhelmi devotio) or a secular tune ( The Western Wynde Mass), or indeed no model at all ( The Meane Mass). In the later years of Henry VIII this idea had become rather old fashioned. He takes a plainsong tune as a cantus firmus, harking back to the Masses of Robert Fayrfax, Nicholas Ludford and the early John Taverner, and sets it in long slow notes in the baritone part. In common with English Mass-settings of the past Tallis does not set the Kyrie he may well also have shortened the text of the Credo as his forebears had done but this we cannot tell as only the final few bars of this movement remain. The miracle that is the Missa Puer natus est nobis is a Janus-like composition which undoubtedly dates from the time of Mary I. Music was once again required in Latin and they were able to use more voices and write longer pieces. Slawomir Dave Szarata, James, Maggie sweet,Tito James Francis, Wiktora Zatorski, Eric Montes, Owhotwaterohno, GrayKing, Mason Goodwater, Jason Breed, Battle Brother, DJ, William Fiedor, Patrick McCormick, Mobius, Dominique Blouin, Ryan Magoon, Brendon Wade, Dimitrije Ratkov,Joseph moustaky Ross ketter, Piotr Klasa, Enrique Montes, t, Christopher, Christian Ramos, James A Panter, Joseph Blain, SPUD, Lord Funkicus, GKPoshChapĮt vocabitur nomen eius, magni consilii angelus.Most composers seem to have found Mary’s arrival as Queen a stimulating and empowering period. This chant was performed by the Chœur de l'abbaye Notre-Dame d'Argentan
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