In the years following Parliament's approval of the Act of Supremacy in 1534, strong restrictions were placed on composers of Latin music in England. This obstacle may have encouraged many musicians to focus their attention on instrumental music. Even though John Taverner never composed any instrumental music, his Missa Gloria tibi Trinitas had a strong effect on the rise of consort music in England in the second half of the sixteenth century. The Mass is based on the antiphon Gloria tibi Trinitas, which is heard in the medius voice throughout each of the four movements. The opening of each movement also contains a head motive. This motive begins with a rising minor third, which refers to the opening interval of the original plainsong. Transcriptions of one section of the Sanctus appear in many manuscripts, with different instrumentation. This In Nomine section, named after the text of the original passage in Taverner's Mass, can be found in arrangements for keyboard, viols, and voice and lute. The Mulliner Book, for example, includes a keyboard arrangement from Taverner's Mass as well as compositions by Allwood, Johnson, and others, which were derived from Taverner's setting.

Works: John Taverner: Missa Gloria tibi trinitas (218-22).

Sources: Antiphon: Gloria tibi Trinitas (218-22).

Index Classifications: 1500s

Contributed by: Randy Goldberg