Taverner was the first Organist and Master of the Choristers at Christ Church, Oxford, appointed by Thomas Cardinal Wolsey in 1526. The college had been founded in 1525 by Wolsey, and was then known as Cardinal College. Immediately before this, Taverner had been a clerk fellow at the Collegiate Church of Tattershall, Lincolnshire. In 1528 he was reprimanded for his (probably minor) involvement with Lutherans, but escaped punishment for being "but a musician".
Wolsey fell from favour in 1529, and in 1530 Taverner left the college. So far as we can tell, he had no further musical appointments, nor can any of his known works be dated to after that time, so he may have ceased composition.
It is often said that after leaving Oxford Taverner worked as an agent of Thomas Cromwell assisting in the Dissolution of the Monasteries, although the veracity of this is now thought to be highly questionable. He is known to have settled eventually in Boston, Lincolnshire where he was a small landowner and reasonably well-off. He was appointed an alderman of Boston in 1545, shortly before his death on 18th October 1545. He is buried under the belltower at Boston Parish Church.
Most of Taverner's music is vocal, and includes masses, Magnificats and motets. The bulk of his output is thought to date from the 1520s. His best-known motet is Dum transisset sabbatum.
His best known mass is based on a popular song, The Western Wynde (John Sheppard and Christopher Tye later also wrote masses based on this same song). Taverner's Western Wynde mass is unusual for the period because the theme tune appears in each of the four parts at different times. Commonly his masses are designed so that each of the four sections (Gloria, Credo, Santus-Benedictus and Agnus) are the about same length, often achieved by putting the same number of repetitions of the thematic material in each. For example in the Western Wynde mass, the theme is repeated nine times in each section. As the sections have texts of very different lengths, he uses extended melisma in the movements with fewer words.
Several of his other masses use the widespread cantus firmus technique, where a plainchant melody with long note values is placed in an interior part, often the tenor. Examples of cantus firmus masses include Corona Spinea and Gloria tibi Trinitas. Another technique of composition is seen in his mass Mater Christi, which is based upon material taken from his motet of that name, and hence known as a "derived" or "parody" mass.
The mass Gloria tibi Trinitas gave origin to style of instrumental work known as an In nomine. Although the mass is in six parts, some more virtuosic sections are in reduced numbers of parts, presumably intended for soloists, a compositional technique used in several of his masses. The section at the words "in nomine..." in the Benedictus is in four parts, with the plainchant in the alto. This section of the mass became popular as an instrumental work for viol consort. Other composers came to write instrumental works modelled on this, and the name In nomine was given to works of this type.
Audivi vocem de caelo
John Taverner Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Venite omnes virgines sapientissime,
Oleum recondite in vasis vestris
Dum sponsus advenerit.
Media autem nocte clamor factus est :
Ecce sponsus venit exite obviam ei.
The lyrics of John Taverner's song "Audivi vocem de caelo" can be interpreted as a call to wisdom and preparation for the arrival of the bridegroom. The phrase "Cudivi vocem de caelo venientem" translates to "I heard a voice coming from heaven." This suggests a divine message or revelation that is being conveyed to the listeners.
The next line, "Venite omnes virgines sapientissime," can be translated as "Come, all you wise virgins." This can be seen as a metaphorical invitation to those who possess wisdom to gather and heed the message from heaven. The mention of virgins could symbolize purity of heart and mind, suggesting that only those who are spiritually prepared and receptive can fully understand and respond to the divine call.
The following line, "Oleum recondite in vasis vestris," translates to "Store oil in your vessels." This line alludes to the parable of the ten virgins in the Gospel of Matthew, where the wise virgins had extra oil for their lamps while the foolish ones did not. The oil here can be interpreted as a symbol of spiritual readiness and preparation for the arrival of the bridegroom, who represents Christ or a heavenly figure.
The last line, "Dum sponsus advenerit," can be translated as "While the bridegroom arrives." This line emphasizes the need to be prepared and vigilant at all times, as one never knows when the arrival of the bridegroom, a metaphorical representation of a divine presence, will take place. The mention of "media autem nocte" or "midnight" suggests the idea of unexpectedness and urgency in being ready.
Overall, these lyrics convey a sense of urgency and the importance of spiritual readiness for the imminent arrival of a divine presence.
Line by Line Meaning
cudivi vocem de caelo venientem
I heard a voice coming from heaven
Venite omnes virgines sapientissime
Come, all you wise virgins
Oleum recondite in vasis vestris
Hide oil in your vessels
Dum sponsus advenerit
Until the bridegroom arrives
Media autem nocte clamor factus est
In the middle of the night, there was a cry
Ecce sponsus venit exite obviam ei
Behold, the bridegroom is coming, go out to meet him
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@altareggo
Wow!! Taverner is one of the Renaissance's most under-rated composers EVAH!! Thanks so much for this.
@lauriethompson740
Heard Stile Antico perform this last night at the Wigmore Hall, and was blown away by its resonant beauty, a master class in 'stunning simplicity' in my view
@vernonwarner7402
Excellent heartfelt performance , thank you
@hudsonbailey674
Absolutely sublime!
@luisortega4991
So beautiful. Thank you!!!