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Thomas Tallis and his music in Victorian England

Author: Suzanne Cole
Publisher: Woodbridge, UK ; Rochester, NY : Boydell Press, 2008.
Series: Music in Britain, 1600-1900.
Edition/Format:   eBook : Document : Biography : EnglishView all editions and formats
Database:WorldCat
Summary:
In Victorian England, Tallis was ever-present: in performances of his music, in accounts of his biography, and through his representation in physical monuments. Known in the nineteenth century as the 'Father of English Church Music', Tallis occupies a central position in the history of the music of the Anglican Church. This book examines in detail the reception of two works that lie at the stylistic extremes of his  Read more...
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Genre/Form: Electronic books
Additional Physical Format: Print version:
Cole, Suzanne, 1962-
Thomas Tallis and his music in Victorian England.
Woodbridge, UK ; Rochester, NY : Boydell Press, 2008
(DLC) 2008276810
(OCoLC)220001708
Named Person: Thomas Tallis; Thomas Tallis; Thomas Tallis; Thomas Tallis
Material Type: Biography, Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Suzanne Cole
ISBN: 9781846156786 1846156785
OCLC Number: 646841249
Description: 1 online resource (ix, 222 pages) : illustrations, music.
Contents: "It is here that we must look for Tallis" : Tallis's music --
"Such a man as Tallis" : Tallis the man --
"This mistake of a barbarous age" : Spem in alium --
"A solid rock of harmony" : the Preces and Responses --
"The Englishman's harmony" : Tallis and national identity.
Series Title: Music in Britain, 1600-1900.
Responsibility: Suzanne Cole.

Abstract:

In Victorian England, Tallis was ever-present: in performances of his music, in accounts of his biography, and through his representation in physical monuments. Known in the nineteenth century as the 'Father of English Church Music', Tallis occupies a central position in the history of the music of the Anglican Church. This book examines in detail the reception of two works that lie at the stylistic extremes of his output: Spem in alium, revived in the 1830s, though generally not greatly admired, and the Responses, which were very popular. A close study of the performances, manuscripts and editions of these works casts light on the intersections between the antiquarian, liturgical and aesthetic goals of nineteenth-century editors and musicians. By tracing Tallis's reception in nineteenth-century England, the author charts the hold Tallis had on the Victorians and the ways in which Anglican - and English - identity was defined and challenged.

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