Scan 33
Groves Dictionary of Music and Musicians Vol.5, 1925
22 lines. Read by computer on 12 September 2026. Printed page 11. See the scan on archive.org.
1TAILLE. Originally the French name for the tenor voice, Basse-taille being applied to the baritone; but most frequently employed to designate the tenor viol and violin. It properly denominates the large tenor, as distinguished from the smaller contralto or haute-contre: but is often applied to both instruments. The tenor violoncello clef was originally appropriated to the Taille. [See VIOLA.] E. J. P.
3TAILOUR, ROBERT. 'One of Prince his Highnes Musicians' in 1618. Author of 'Sacred Hymns, consisting of Fifti select Psalms of David and others, Paraphrastically turned into English Verse [by Sir Edwin Sandys] and by Robert Tailour set to be sung in 5 parts, as also to the Viol and Lute or Orpharion. Published for the use of such as delight in the exercise of music in his original honour,' London, 1615. W. H. C.
5TALEXY, ADRIEN, a pianist and voluminous composer, born about 1820; produced between 1872 and 1878 six one-act operettas at the Bouffes-Parisiens and other Paris theatres, none of which met with any special favour. He was the author of a Méthode de Piano; twenty 'Etudes expressives,' op. 80 (with Colombier); and of a large number of salon and dance pieces for piano solo, some of which enjoyed great popularity in their day. In 1860 M. Talexy conducted a series of French operas at the St. James's Theatre, London, for F. B. Chatterton, beginning with 'La Tentation,' May 28, which did not prove successful. He died at Paris in February 1881. G.
7TALISMANO, IL. Grand opera in three acts; music by Balfe. Produced at Her Majesty's Opera, June 11, 1874. The book, founded on Walter Scott's Talisman, was written by A. Mattheson in English, and so composed; but was translated into Italian by Sig. Zaffira for the purpose of production at the Italian Opera. The work was left unfinished by Balfe, and completed by G. A. Macfarren. [It was given to the original English words by the Royal Carl Rosa Opera Company at Liverpool on Jan. 15, 1891.] G.
9TALLIS, THOMAS, the father of English cathedral music, is supposed to have been born in the second decade of the 16th century. It has been conjectured that he received his early musical education in the choir of St. Paul's Cathedral under Thomas Mulliner, and was removed thence to the choir of the Chapel Royal; but there is no evidence to support either statement. The words 'Child there' which occur at the end of the entry in the Cheque-book of the Chapel Royal recording his death and the appointment of his successor, and which have been relied upon as proving the latter statement, are ambiguous, as they are applicable equally to his successor, Henry Eveseed, and to him. It is however highly probable that he was a chorister in one or other of the metropolitan choirs. He became organist of Waltham Abbey, which appointment he retained until the dissolution of the abbey in 1540, when he was dismissed with 20s. for wages and 20s. for reward.1 It is probable that soon after that event he obtained the place of a Gentleman of the Chapel Royal. His celebrated Preces, Responses and Litany, and his Service in the Dorian mode, were most probably composed soon after the second Prayer Book of Edward VI. was issued in 1552. [In 1560, five anthems by Tallis were included in John Day's 'Certaine Notes,' etc.; two of them were reprinted in Day's 'Whole Book of Psalms,' 1563, and all of them in 'Morning and Evening Prayer,' 1565. Eight tunes were written for Archbishop Parker's 'Psalter,' 1567, and another, the famous tune for 'Veni Creator,' is of the same period. Dict. of Nat. Biog.] On Jan. 21, 1575-76, he and William Byrd obtained Letters Patent giving them the exclusive right of printing music and ruled music paper for twenty-one years; the first of the kind. The first work printed under the patent was the patentees' own 'Cantiones quae ab argumento Sacrae vocantur, quinque et sex partium,' containing thirty-four motets, sixteen by Tallis, and eighteen by Byrd, and dated 1575. In the patent the grantees are called 'Gent. of our Chappell' only, but on the title-page of the 'Cantiones' they describe themselves as 'Serenissimae Reginae Maiestati à priuato Sacello generosis, et Organistis.' The work is a beautiful specimen of early English musical typography. It contains not only three laudatory poems, one 'De Anglorum Musica' (unsigned), and two others by 'Richardus Mulcasterus' and 'Ferdinandus Richardsonus,' but also at the end a short poem by Tallis and Byrd themselves:—
11AUTORES CANTIONUM AD LECTOREM
12Has tibi primitias sic commendamus, amice
13Lector, ut infantem depositura suum
14Nutrici fidei vix firma puerpera credit,
15Queis pro lacte tuae gratae frontis erit
16Hac etenim fretae, magnam promittere messem
17Audebunt, cassae, falcis honore cadent.
19[Tallis had enjoyed for twenty-one years from 1557 a lease of the manor of Minster in Thanet, holding it jointly with Richard Bowyer, and the monopoly above referred to, which he shared with Byrd, was represented by them in 1577 as having left them out of pocket. Queen Elizabeth then granted them lands to the value of £30 a year without fine, in possession or reversion. They also received various tithes in Warwickshire, Gloucestershire, Northamptonshire, Essex, and Somerset. Dict. of Nat. Biog.] Tallis, like the Vicar of Bray, conformed, outwardly at least, to the various forms of worship which successive rulers imposed, and so retained his position in the Chapel Royal uninterruptedly
211 This fact was made public by Dr. W. H. Cummings in Musical Times, Nov. 1876.
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