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Tune Identifier:"^chant_tallis_12167$"

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[Lord, have mercy upon us]

Appears in 3 hymnals Composer and/or Arranger: Thos. Tallis, c. 1505-85 Tune Key: F Major Incipit: 12167 1 Used With Text: Lord, have mercy upon us

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Text authorities

Lord, have mercy upon us

Appears in 214 hymnals Used With Tune: [Lord, have mercy upon us]

KYRIE

Appears in 63 hymnals First Line: Lord, have mercy upon us Topics: Canticles and other parts of divine service Used With Tune: [KYRIE] TALLIS

Instances

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Published text-tune combinations (hymns) from specific hymnals

KYRIE

Hymnal: The Hymnary of the United Church of Canada #758b (1930) First Line: Lord, have mercy upon us Topics: Canticles and other parts of divine service Languages: English Tune Title: [KYRIE] TALLIS

Lord, have mercy upon us

Hymnal: The Book of Common Praise #C147 (1939) Languages: English Tune Title: [Lord, have mercy upon us]
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Kyrie eleison

Hymnal: The Church Hymnal #C157 (1898) First Line: Lord, have mercy upon us, and incline our hearts to keep this law Topics: liturgical Kyrie Tune Title: [Lord, have mercy upon us] (Ancient Chant)

People

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Authors, composers, editors, etc.

Thomas Tallis

1505 - 1585 Person Name: Thos. Tallis, c. 1505-85 Composer of "[Lord, have mercy upon us]" in The Book of Common Praise Thomas Tallis (b. Leicestershire [?], England, c. 1505; d. Greenwich, Kent, England 1585) was one of the few Tudor musicians who served during the reigns of Henry VIII: Edward VI, Mary, and Elizabeth I and managed to remain in the good favor of both Catholic and Protestant monarchs. He was court organist and composer from 1543 until his death, composing music for Roman Catholic masses and Anglican liturgies (depending on the monarch). With William Byrd, Tallis also enjoyed a long-term monopoly on music printing. Prior to his court connections Tallis had served at Waltham Abbey and Canterbury Cathedral. He composed mostly church music, including Latin motets, English anthems, settings of the liturgy, magnificats, and two sets of lamentations. His most extensive contrapuntal work was the choral composition, "Spem in alium," a work in forty parts for eight five-voice choirs. He also provided nine modal psalm tunes for Matthew Parker's Psalter (c. 1561). Bert Polman