Contenido del derecho fundamental al debido proceso

Tye was most likely born in the vicinity of Cambridge and Ely, where the family name was com-mon at the beginning of the sixteenth century. Nothing is known of his youth or training before his completion of a bachelor’s degree in music from Cambridge University in 1536. In 1537 he became a lay clerk at King’s College, and in about 1541 he was appointed Magister choristarum (Master of the Choristers) and organist at Ely Cathedral. This was at the time when Richard Cox (ca.1500–1581), one of the chief proponents of religious reform, was named Archdeacon of the cathedral. In 1545 Tye received a doctorate in music from Cambridge, and during the next sev-eral years, while maintaining his positions at Ely Cathedral, he likely had a significant presence at the royal court; this is assumed to be the case because Cox was tutor to Prince Edward, who wrote a poem about Tye and who regularly referred to Tye as “our music’s lecturer.” Further-more, in the preface to his The Actes of the Apostles, dedicated to Prince Edward (i.e., King Ed-ward VI in 1553 when The Actes were published), Tye called himself one of the “Gentylmen of hys grace’s most honourable chappell.” Tye was also listed as one of the “gentylmen of our chapel” at Mary Tudor’s coronation in 1553. In the late 1550s he took holy orders, and in 1560 he was ordained a priest. He resigned his positions at Ely Cathedral in 1561 and was succeeded by Robert White, and for the remainder of his life he served as a cleric at Doddington-cum-Marche in the Isle of Ely.

Tye composed three mass cycles, one mass movement, two Magnificats and a Te Deum that survive in only one voice part, fourteen Latin motets (nine of which are complete), one Angli-can Service, and sixteen anthems plus the collection of pieces entitled The Actes of the Apostles.

The mass cycles are typical of the time in having no Kyrie and in being based on preexisting ma-terial. Missa Euge bone is most likely based on a lost chant antiphon of the same name, used as cantus firmus material in the soprano voice part and as a head motif at the beginning of the Glo-ria, Credo, Sanctus, and Agnus Dei. The mass also incorporates a phrase from Tye’s motet Quae-sumus omnipotens: music for the motet phrase “militamus miseri” is quoted exactly at the “Jesu Christe” segment of the mass phrase “Domine fili unigenite, Jesu Christe.” This mass is also distinctive in having six successive fermatas over the opening six chords of the Sanctus—one each for the six syllables of “Sanctus, sanctus, sanctus.” The Mean Mass (also called the Peterhouse Mass because the partbooks of the mass are housed in Peterhouse College at Cam-bridge University) has no identifiable cantus firmus model, but it is assumed that one is used in the highest voice part (the mean) of the mass. The Western Wynd is Tye’s best-known mass and is comparable in scoring (four voices) and style (short imitative duet and trio passages within an overall nonimitative polyphonic texture) to the masses set to the same tune by John Taverner

and John Sheppard. Tye pays homage to Taverner by emulating Taverner’s downward scalar pas-sages at the beginning of the Sanctus and by inserting a virtuosic passage in the tenor part of the Benedictus. Otherwise, Tye quotes the tune only in the mean voice part, quoting it there twenty-nine times, while Taverner quoted it thirty-six times in the mean, tenor, and bass parts.

The one separate mass movement is a Kyrie based on the chant Orbis factor.

The motets include several settings of Psalms, which during the reign of Mary Tudor re-placed the votive antiphons of her father Henry VIII and brother Edward VI. Miserere mei Deus (Psalm 51) is a long work with varied scoring (e.g., a central section for ATB) and an imitative texture; Cantate Domino (Psalm 96) is also a long imitative work but without varied scoring (it is SAATTB throughout); and Omnes gentes plaudite manibus (Psalm 47) is shorter and more syl-labic. Other notable motets are Gloria, laus et honor, which is relatively syllabic except for a short melismatic and virtuosic contratenor passage, and Peccavimus cum patribus, which, with fer-matas at the ends of major sections of music, resembles the votive antiphons of Taverner.

The anthems are divided between large-scale works that resemble motets and small-scale pieces that are syllabic and homophonic. The former style is represented by Christ rising again from the dead; Give alms of thy goods; To father, son, and holy ghost; From the depth I called to thee;

and I will exalt thee, O Lord. This latter anthem is divided into two major sections, each of which consists of imitative phrases that alternate with brief passages of homophony. Examples of the homophonic style are seen in Blessed are all they that fear the Lord, O Lord of hosts and in the four-teen anthems contained in the collection The Actes of the Apostles. This collection contains syl-labic, strophic (from ten to twenty verses), and mostly homophonic settings of metrical poetry derived from the first fourteen chapters of the New Testament. The settings were meant for pri-vate devotional use, and, as was described by Tye in the collection’s preface, they were “to synge and also to play upon the Lute, very necessarye for studentes after theyr studye . . . and also for all Christians that cannot synge, to read the good and Godlye Storyes of the lyves of Christ hys Appostles.” The comment regarding the lute most likely indicated accompaniment of one or more voices singing only the top voice part or accompaniment colla parte with voices on multiple parts.

masses and motets

selected and listed according to familiarity

Western Wynd Mass – SATB chorus – 27 minutes.

Missa Euge bone – SSAATB chorus – 26 minutes.

Mean Mass (also called Peterhouse Mass) – SAATB chorus – 26 minutes. The tenor part of the mass was lost and has been reconstructed by modern-day editors.

Kyrie Orbis factor – SATB chorus – 3:30 minutes.

Gloria, laus et honor – SSAT chorus – 3 minutes.

Miserere mei Deus – SATTB chorus – 9 minutes.

Quaesumus omnipotens – SSAATB chorus – 6:30 minutes.

Omnes gentes plaudite manibus – SSATB chorus – 4 minutes.

Peccavimus cum patribus – SAATTBB chorus – 9 minutes.

In pace in idipsum – SATB chorus – 4:30 minutes.

Cantate Domino – SAATBB chorus – 8 minutes.

Ad te clamamus exules (Salve regina) – ATTBB chorus – 3 minutes.

anthems

selected and listed according to familiarity

The Actes of the Apostles – SATB voices – 1 to 7 or 8 minutes per anthem, depending upon the number of verses sung.

Give alms of thy goods – SATB chorus – 2 minutes.

Blessed are all they that fear the Lord – SATB chorus – 3:30 minutes.

Deliver us, good Lord – SATB chorus – 3:30 minutes.

To Father, Son, and Holy Ghost – SSATB chorus – 3 minutes.

I will exalt thee, O Lord – SATB chorus – 6 minutes.

Christ rising again from the dead – SATTBB chorus – 4:30 minutes.

From the depth I called to thee – SATB chorus – 5:30 minutes.

O God, be merciful unto us – SATB chorus – 2 minutes.

My trust, O Lord, in thee is grounded – SSATB chorus – 4 minutes.

Thomas Tallis

Tallis was probably born in Kent, the region of his family ancestors, and he also probably re-ceived his early musical training there. His first employment was as organist at the Benedictine priory in Dover beginning in 1530 and as organist and singer at the church of St Mary-at-Hill in London beginning in 1537. From 1538 to 1540 he served as a singer at Waltham Abbey in Essex, and for the next three years he was a singer at Canterbury Cathedral. Then in 1543 he entered the Chapel Royal as a Gentleman, where he served as singer, organist, and composer for the re-mainder of his long life. This service was under the final four years of Henry VIII’s reign, the entire reigns of Edward VI and Mary Tudor, and a little more than half the forty-five-year reign of Elizabeth I. While the length of this service is notable, his success at meeting the expectations of the royalty’s fluctuating religious aªliations and musical desires is impressive. Tallis was also successful in achieving the first-ever exclusive license in England to print and publish music.

This was granted in 1575 by Elizabeth I to the partnership of Tallis and William Byrd, who to-gether soon thereafter published an anthology of thirty-four Latin motets (seventeen by each composer) entitled Cantiones, quae ab argumento sacrae vocantur (Songs which are called sacred on account of their texts), generally referred to simply as Cantiones sacrae.

Tallis composed two masses, one Magnificat, two sets of Lamentations, forty Latin motets, three Anglican Services (plus portions of other Services), twenty-four English anthems, and four

part songs. The masses represent the two major styles of composition during the middle years of the sixteenth century. Missa Puer natus est nobis for seven voices, composed in 1554 for Mary Tudor, is in the mold of older Latin works. It is based on a Gregorian chant that is used as a can-tus firmus in long notes, and the cancan-tus firmus is set forth in rhythmic values according to a no-tational puzzle and is scored as a canon in the Agnus Dei. The particular chant, the Introit for Christmas Day from Isaiah 9:6—“Puer natus est nobis, et filius datus est nobis cujus imperium super humerum ejus” (A boy is born to us, and a son is given whose government is upon his shoulder)—was most likely chosen because Mary Tudor was believed to be pregnant at the time of the mass’s composition. The other mass, an untitled work for four voices, is syllabic, homo-phonic, and freely composed (i.e., it is not based on preexisting material).

The Magnificat, like the larger of the two masses, is in a traditional Catholic style—alterna-tim, with polyphony set to the even-numbered verses. It is unique in being scored only for men’s voices (TTBB). The Lamentations are also scored for men’s voices and, following traditional practice, are settings of the lessons for Maundy Thursday at Matins that include the Hebrew let-ters of the alphabet. The first set begins with a section of music to the text “Incipit lamentatio Jeremiae prophetae” (Here begins the lamentation of Jeremiah the prophet), followed by sec-tions set to Aleph (verse one), Beth (verse two), and the closing text, “Jerusalem, Jerusalem, con-vertere ad Dominum Deum tuum” (Jerusalem, Jerusalem, return to the Lord your God). All of the six sections of music are basically imitative statements of the single words or phrases of text, with the verses receiving extended treatment and containing passages of homophony. The sec-ond set of Lamentations, similar in style, begins with the text “De lamentatione Jeremiae prophetae” (The lamentation of Jeremiah the prophet) and continues with sections of music de-voted to Ghimel (verse three), Daleth (verse four), He (verse five), and the closing text from the first set. The two sets of Lamentations, while consecutive in terms of verses, are separate works and in di¤erent tonalities.

The Latin motets, which span Tallis’s entire career, are in a variety of styles. The very early works such as Ave Dei patris and Salve intemerata are votive antiphons like those of Robert Fayr-fax, William Cornysh, and John Taverner: they are in two movements and scored overall for five voices, with sections of music for varying forces and with long polyphonic phrases. The motets composed under Mary Tudor’s reign, such as Loquebantur variis linguis and Gaude gloriosa Dei mater, are large-scale multimovement works based on Gregorian chant and characterized by continuous imitative polyphony. Gaude gloriosa Dei mater, Tallis’s most famous motet from the Mary Tudor period, is divided into three large sections—the first devoted to verses one and two of text, the second to verses three and four, and the third to verses five through nine. Most of the verses are scored for a di¤erent grouping of voices (only verses three and four are the same), and the final verse is the only one that begins with all six voice parts simultaneously. Te lucis ante terminum is in alternatim style, with the even-numbered verses of text set homophonically. The later motets, those composed for Elizabeth I and published in Cantiones sacrae of 1575, are gen-erally shorter and are characterized by varying degrees of syllabic or melismatic text setting and also varying degrees of imitative polyphony or homophony. Salvator mundi, the first motet in the publication, is almost entirely imitative and is divided between melismatic and syllabic textures;

In manus tuas is more vertically conceived and is almost entirely syllabic; In ieiunio et fletu be-gins homophonically and syllabically but ends with imitative and melismatic phrases; and O nata lux de lumine is entirely homophonic and syllabic. Later motets also include large-scale

set-tings of Psalms such as Laudate Dominum (Psalm 117) and Domine quis habitabit (Psalm 15)—

both characterized by lengthy points of imitation.

Tallis’s most famous motet, his forty-voiced Spem in alium, was apparently inspired by Alessandro Striggio’s forty-voiced motet Ecce beatam lucem, performed during Striggio’s visit to the royal court in 1567. According to an apparent eyewitness, Thomas Wateridge, “it was won-dered whether none of our Englishmen coud sett as good a song. Tallice beinge very skilful was felt to try ye Matter, wch he did and made one of forty partes wch was songe in the longe gallery at Arundell house.” This account is most likely true, since the court of Arundell had a rich mu-sical establishment at the time and since a manuscript copy of Spem in alium is in the Arundell library. Moreover, the balconies at Arundell lend themselves to Tallis’s arrangement of forty voices distributed into eight five-voiced choirs and to the likelihood that the singers encircled the audience. The particular nature of the motet’s structure, with points of imitation moving from the first to last of the eight choirs, followed by the same procedure in reverse and then cori spezzati e¤ects, makes performance in the round probable or at least credible. The manuscript parts of the motet include a basso continuo part (which may not have been prepared by Tallis) that is designated “for ye organ” and that is in the form of a melodic bass line with figures un-derneath indicating chords to be realized.

Of the three Anglican Services, the most comprehensive and best known is called the Dorian Service or the Short Service. Its constituent sections, all scored for SATB and a basso continuo part with figures, include the Venite, Te Deum, Benedictus, Responses, Creed, O¤ertory, Sanctus, Agnus Dei, Gloria, Magnificat, and Nunc dimittis. Most of the sections are homophonic, with indications for cantoris and decani performance, and several of the sections (the Te Deum, Creed, and the Gloria) begin with a chant incipit.

A few of the anthems (e.g., Blessed are those that be undefiled) are motet-like, with somewhat lengthy phrases of imitative polyphony o¤set by brief passages of homophony. However, most of the anthems are small-scale pieces with polyphony and homophony reversed in priority (i.e., the homophony prevails). These shorter anthems, composed according to the ideals of text clar-ity, are also often in an AAB format. Examples include If ye love me; O Lord, give thy holy spirit;

Hear the voice and prayer; and Purge me, O Lord. Other anthems such as O Lord, in thee is all my trust and Verily, verily, I say unto you are entirely homophonic and through-composed.

sacred works in latin

selected and listed according to familiarity

O nata lux de lumine – SSATB chorus – 1:30 minutes.

Spem in alium – eight SATTB choruses – 9:30 minutes.

Gaude gloriosa Dei mater – SATTBB chorus – 16 minutes.

Lamentacio Jeremiae (Lamentations of Jeremiah) First Lectio – ATTB chorus – 8 minutes.

Lamentacione Jeremiae (Lamentations of Jeremiah) Second Lectio – ATTB chorus – 13 minutes.

Loquebantur variis linguis – SSAATBB chorus – 4 minutes.

Salvator mundi – SAATB chorus – 4 minutes.

Derelinquit impius – SATTB chorus – 4:30 minutes.

In manus tuas – SATTB chorus – 2:30 minutes.

Te lucis ante terminum – SAATB chorus – 2 minutes.

O sacrum convivium – SAATB chorus – 4:30 minutes.

Euge caeli porta – SATB chorus – 1:30 minutes.

sacred works in english

selected and listed according to familiarity

If ye love me – ATTB chorus – 2 minutes.

O Lord, give thy holy spirit – SATB chorus – 2 minutes.

Hear the voice and prayer – AATB chorus – 3 minutes.

Verily, verily I say unto you – SATB chorus – 1:30 minutes.

Purge me, O Lord – SATB chorus – 1:45 minutes.

A new commandment – TTBB chorus – 2 minutes. The lowest bass part was lost and has been reconstructed by modern-day editors.

Blessed are those that be undefiled – SAATB chorus – 5 minutes.

O Lord, in thee is all my trust – SATB chorus – 3 minutes.