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Kyrie Deus creator

Tallis: Kyrie Deus Creator In early Tudor England, until the abolition of the Latin rite and the introduction of The Booke of the Common Prayer on Whitsunday, 9 June 1549, composers produced four main types of church music: Masses, Magnificats, votive antiphons and smaller liturgical pieces. English Masses, which included large-scale settings intended for major feast days and smaller settings for more general use, usually had four movements—Gloria, Credo, Sanctus with Benedictus, and Agnus Dei—related to each other through shared musical material. The Magnificat was sung during the evening service of Vespers. Votive antiphons were settings of devotional texts sung after Compline, the final service of the day, in front of the image or altar of the saint to whom the text was addressed. The smaller liturgical pieces were fairly miscellaneous, but typically included settings of plainchant items sung in the Lady Mass (the special votive Mass of the Virgin) or on special days such as Easter and Christmas; the plainchant melody to which the text was normally sung was often incorporated into the polyphonic setting. During the 1530s the standard English choral texture consisted of five voices: treble, alto (usually called ‘mean’), high tenor, low tenor or baritone, and bass. Smaller choirs or more modest occasions might call for music in four or even three voices. It seems that the organ did not accompany vocal polyphony, although it sometimes alternated with the choir in a verse-by-verse performance of some polyphonic items; it could also reinforce or replace the choir in the performance of plainchant, and it certainly contributed voluntaries. Other instruments appear to have had no regular role in the performance of church music. Nick Sandon, 15 June 1997

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