Monday, October 14, 2013
Tudor Church Music and the Carnegie Trust
According to the review in The Guardian:
Stile Antico never disappoints. This disc of Tudor church music, sung by the small, conductor-less ensemble, doubles as a well organised programme of Byrd, Tallis, Gibbons and others, and a condensed history of the early music revival in the first half of the last century. Until OUP published the 10-volume Tudor Church Music, between 1922 and 1929, little of this vocal repertoire was known. In a philanthropic gesture which transformed the musical landscape, the project was funded by the Carnegie UK Trust, which marks its centenary this year. Stile Antico honour the endeavour with their customary clean lines, pure tone and precise articulation. If all that sounds a bit efficient, I'm struggling to say only that it is music making at the highest level.
1. Ave verum corpus by William Byrd
2. Mass for 5 Voices by William Byrd
3. O clap your hands by Orlando Gibbons
4. Almighty and everlasting God by Orlando Gibbons
5. Nolo mortem peccatoris by Thomas Morley
6. Salvator mundi by Thomas Tallis
7. In jejunio et fletu by Thomas Tallis
8. O splendor gloriae by John Taverner
9. Portio mea by Robert White
10. Christe qui lux es IV by Robert White
You may listen to samples here. I bought my copy yesterday and enjoyed listening to it before and after Mass on Sunday.
According to the Catholic Encyclopedia, Robert White was an
English composer, b. about 1530; d. Nov., 1574; was educated by his father, and graduated Mus. D., at Cambridge University, 13 Dec., 1560. In March, 1561, he succeeded Dr. Tye as organist and master of the choristers at Ely cathedral, continuing in that office till 1566. He accepted a similar post at Chester cathedral in 1566, and took part in the Whitsuntide pageants during the years 1567-69. Such was his repute as a choir trainer that in 1570 he was appointed organist and master of the choristers of Westminster Abbey. Though an avowed Catholic he retained his post at Westminster Abbey from 1570 until his death. It is worth recording that during the same period, under Elizabeth, the musical services of the Chapel Royal, Westminster Abbey and St. Paul's Cathedral were directed by three Catholics, namely Farrant, White, and Westcott. White made his will on 5 Nov., 1574, and in it he describes his father Robert White as still living. He left each of the choristers four pence. The high estimation in which he was held by his contemporaries may be judged by the distich which a pupil (in 1581) inscribed in the manuscript score of White's "Lamentations":
"Non ita moesta sonat plangentis verba prophetae
Quam sonat authoris musica moesta mei."
Fortunately quite a large number of White compositions have survived, and of these his Latin motets are sufficient to place him in the front rank of English composers of the Elizabethan epoch. His contrapuntal writing is very fine, though stilted. However, his "Lamentations", set for five voices, have a flavour far in advance of his period, as also his motet "Peccatum peccavit Jerusalem" and "Regina Coeli". It is to be observed that he wrote his English anthems ex officio, but his Latin services reveal the full genius of White, and give him a place with Tallis, Byrd, Shepherd, and Taverner. Strange to say, though he stood so high among mid-sixteenth century musicians, his compositions were almost utterly neglected till unearthed by Dr. Burney. In recent years he has come into his own, thanks to the zeal of Mr. Arkwright, Dr. Terry, and others. Dr. Earnest Walker regards White "fairly to be reckoned — even remembering that Palestrina and Lassus were contemporaries — as among the very greatest European composers of this time".
Indeed, the Oxford Camerata recorded a "lamentable" CD of White's Lamentations, with Palestrina's, de Lassus', and Thomas Tallis', too!