Absalom and Prince Henry; David and King James

This new recording by The Sixteen and Harry Christophers includes four versions of "When David Heard that Absalom was Slain" by Thomas Weelkes, Robert Ramsey, Michael East, and Thomas Tomkins. The lyrics:

When David heard that Absalom was slain, 
he went up to his chamber over the gate and wept; 
and thus he said: 

O my son, Absalom, my son, my son, Absalom, 
would God I had died for thee! 
O Absalom, Absalom, my son, O my son.

As the liner notes explain:

The verse in slightly modified form proved irresistible to a generation of English composers, yielding over a dozen settings of "When David heard that Absalom was slain". Scholars have conjectured that such an extraordinary proliferation of pieces was triggered by the death in 1612 of Henry Frederick Stuart, Prince of Wales and heir to his father’s kingdoms. While little direct evidence supports their theory, we know that contemporary authors often described James I as David and that a few, one of the king’s counsellors among them, associated his precocious eldest son with Absalom. Prince Henry was certainly critical of his austere father’s reign and, for a time before his premature death, displayed impressive leadership skills. The many poems and mourning songs written in Henry’s memory, including works by Sir Walter Ralegh, John Donne and Thomas Campion, contain more favourable biblical references to the prince, comparing him, for example, to Abner, the mighty cousin of Saul and eventual ally of David. And yet it is possible that 2 Samuel 18:33, with its unequivocal expression of grief, offered composers a strong rhetorical device to carry their reflections on Henry’s death.

The choral group Gallicantus released a CD of  many other compositions written upon Prince Henry's death:

In 1612, Prince Henry Frederick, son of James I and heir to the thrones of England and Scotland, died from a suspected bout of typhoid fever. His untimely death inspired a massive outpouring of artistic tributes in both verse and music, reflecting the mood of a nation mourning the loss of this popular future king at just 18 years of age. 

Prince Henry was James I's heir, but there was a rivalry between father and son. One reason for Prince Henry's popularity was that he was absolutely Protestant--he would not consider marriage to a Catholic princess; his court at St. James was more chivalrous, highly cultured, and the prince insisted on clean language and attendance at chapel services. The English people had high hopes of King Henry IX as he would reign upon his father's death, but Henry Frederick, the Prince of Wales died of typhoid fever on November 6, 1612. His younger brother Charles, took his place in the line of succession, but his uncertain health led to concerns that the Stuart Dynasty was in danger:

The unexpected death at the age of eighteen of the heir to the thrones of England and Scotland was a major blow to the Stuart dynasty, just as the equally sudden death of the fifteen year old Arthur, Prince of Wales in April 1502 had been to the first of the Tudors, Henry VII. James’s dynastic hopes now rested on the shoulders of a single surviving son, Charles, Duke of York, just as Henry VII’s focus had necessarily shifted to Arthur’s only brother. However, whereas the future Henry VIII had been a robust young man, Charles was a physically poor specimen: his legs and ankles were so weak that as an infant he preferred to crawl, and as a child he had been required to wear specially made reinforced iron boots. His condition was almost certainly hereditary, since his father had not learned to walk until he was five. Many contemporaries clearly expected that Charles, who was not quite eleven when his brother died, would not survive to reach manhood let alone marry and produce heirs of his own. . . .

In the wake of Henry’s death, the Stuart dynasty was faced with the frightening prospect of imminent extinction in the immediate male line. Were James and Charles to die within the next few years, the thrones of England and Scotland would pass to James’s sole surviving daughter Elizabeth, whose marriage at the age of sixteen in February 1613 to the Elector Palatine Frederick V raised the prospect of a foreign succession. . . .

Extinction in the immediate male line was not the only possibility which confronted James in the aftermath of the death of Prince Henry. There was also the possibility that James, who did not enjoy the best of health, would die while Charles was still a minor, necessitating the formation of a regency government.

Alternative history speculations include the conjecture that King Henry IX would have dealt more effectively with Parliament and thus averted the English Civil War.

A Wedding of England & Spain: Philip and Mary

On July 25, 1554, Mary of England and Philip of Spain were married in Winchester Cathedral; their nuptials were witnessed by Stephen Gardiner, the Archbishop of Winchester and Mary's Chancellor. Author Conor Byrne offers some details about the celebration of "A Marriage of England & Spain":

 . . .the queen was attired magnificently in 'rich apparel', including a golden robe and a gown of rich tissue embroidered upon purple satin (purple being the colour of royalty) set with pearls and lined with purple taffeta, and a kirtle of white satin embroidered with silver. Mary was accompanied by loyal members of the nobility. Her soon-to-be husband was also splendidly attired in gold. The earl of Derby carried the sword of state before her, while her train was borne by the marquess of Winchester. Notable attendees included the bishops of Winchester, London, Ely, Durham, Chichester and Lincoln.

The wedding was attended by vast numbers of observers, who 'gave a great shout' of joy upon witnessing their sovereign's marriage. The queen's absence of close male relatives meant that she was given away by the marquess of Winchester and the earls of Derby, Bedford and Pembroke. Following a nuptial mass, Philip and Mary proceeded to the bishop's palace under the canopy of state. The couple spent several joyous days in Winchester following their summer wedding. They then departed for Windsor and then to London, in order for the capital's inhabitants to welcome their queen and new king.

Harry Christophers and The Sixteen made a recording of music that might have been performed at the first Christmas Mary and Philip celebrated together, when Mary and her physicians thought she might be pregnant. It includes music by both Spanish and English composers--most especially, Thomas Tallis Puer natus est Mass. The cover image is from the National Archives, Kew.

William Byrd and Arvo Part from The Sixteen (and Thomas Tallis too)

This new CD from Harry Christophers and The Sixteen will be out soon in the U.S.A. (April 1, no fooling):

Whilst coming from very different eras, William Byrd and Arvo Pärt are both considered masters of sacred music despite having faced considerable persecution for their work. This programme presents six of William Byrd’s works from the Cantiones Sacrae including the monumental "Tribue, Domine", and the mighty eight-voice motet "Ad Dominum cum tribularer". The three works by Arvo Pärt speak in his unmistakable voice, with its unique blend of ancient and modern, and include his mesmerising "Nunc dimittis" which is crafted in his bell-like ‘tinitinnabuli’ style.

In 2016 The Sixteen’s Choral Pilgrimage will take The Deer’s Cry programme to 33 towns and cities across the UK including London, Oxford, Cambridge, York, Manchester, Cardiff and Edinburgh.

The title "The Deer's Cry" refers St. Patrick's prayer also called the Lorica or Breastplate of St Patrick. More about it here from the Irish Chaplaincy in Ireland.

The program consists of:

Byrd- Diliges Dominum

Byrd- Christe qui lux es et dies

Arvo- Pärt The Deer’s Cry

Byrd- Emendemus in melius

Arvo- Pärt The Woman with the Alabaster Box

Byrd- Miserere mihi Domine

Byrd- Ad Dominum cum tribularer

Tallis/Byrd- Miserere nostri

Tallis- When Jesus went

Byrd- O lux beata Trinitas

Arvo- Pärt Nunc dimittis

Byrd- Laetentur coeli

Byrd- Tribue, Domine



Here's a review!

Reports on the Hampton Court Chapel Vespers

I cannot access The Catholic Herald website now because of Malware warnings, but they have a story posted on the Hampton Court Vespers. The Guardian and The Telegraph reported on the service and the conversation that took place before the Vespers.

From The Telegraph, John Bingham reports on the discussion between the Anglican bishop and Catholic cardinal archbishop before Vespers:

All practising Christians are now a "minority" in Britain like persecuted Roman Catholics during the Reformation, according to two of Britain's most senior Anglican and Catholic clerics.

The Bishop of London, the Rt Rev Richard Chartres, and Cardinal Vincent Nichols, the leader of the Catholic Church in England and Wales, said the churches must set aside centuries of division and recognise they have a "common agenda" in a more secular age.

The two prelates were speaking at a unique event at Hampton Court Palace, which served as the backdrop to the tumultuous events of Henry VIII's break with Rome.

In a step hailed as hailed as a landmark in reconciliation between Anglicanism the Catholicism, they joined in a service of vespers in the Chapel Royal.

The service, sung mainly in Latin, was the first Roman Catholic act of worship in Henry's former chapel in more than 450 years.

The Guardian story, by Harriet Sherwood, leads off with a description of the service:

About 15 miles from Hampton Court Palace in south-west London, Henry VIII may have turned in his grave. Almost half a millennium after the Act of Supremacy, which declared the Tudor king as the supreme head of the Church of England and formalised the break with Rome, England’s most senior Catholic cleric celebrated Vespers in the palace’s Chapel Royal on Tuesday evening.

The scent of incense filled the air beneath the chapel’s magnificent blue and gold ceiling as a small procession made its way towards the altar. Vincent Nichols, the Catholic archbishop of Westminster, in a gold mitre and brocade robe, walked a few steps behind Richard Chartres, the Anglican bishop of London and dean of the royal chapels, in a symbolic gesture of reconciliation.

The first Catholic service in the chapel for more than 450 years was hailed as “one for the history books” by John Studzinski of the Genesis Foundation, which jointly organised the event with the Choral Foundation. “Dialogue between faiths is much needed and welcomed in these turbulent times. We need to recognise that we have more in common than not.”

About 300 people attended the service, which was largely conducted in Latin and featured hauntingly beautiful choral music from the 15th and 16th centuries. It concluded with the national anthem.

The comments to The Guardian story are sad reading, ranging from anti-Catholicism, fear of Latin, and rejection of all organized religion. I'll update this story once The Catholic Herald website warnings are off.

Vespers at Hampton Court with Cardinal Archbishop Nichols

These events appear in the news every so often, when Catholic services (the Mass, the Divine Office, etc) are celebrated in formerly Catholic churches and chapels at the invitation of Anglican officials. From the Hampton Court Chapel website:

History will be made on the evening of Tuesday 9 February when the Genesis Foundation and the Choral Foundation bring together leaders of the Catholic Church and the Church of England for the first service according to the Latin Rite of the Catholic Church to be celebrated since the 1550s at Hampton Court Palace’s Chapel Royal. 

This historic service of Vespers in King Henry VIII’s chapel will be celebrated by His Eminence Cardinal Vincent Nichols and will include a sermon from The Rt Revd and Rt Hon Dr Richard Chartres, KCVO, Bishop of London and Dean of Her Majesty’s Chapels Royal – an unprecedented coming together of the Catholic and Anglican churches on such an historically important site.

Celebrated mostly in Latin, another first in over 450 years, Vespers will be dedicated to St John the Baptist as the Chapel Royal was built by Cardinal Wolsey on the site of a chapel of the Knights of St John Hospitaller, dedicated to that Saint. 

Members of the public will have the chance to attend this service through a free ballot. 

The musical element of the service has been chosen and will be performed by Harry Christophers and his ensembles The Sixteen and Genesis Sixteen. Paying tribute to the rich and turbulent religious history of the Chapel Royal, the ensembles will sing ThomasTallis’ Magnificat, William Cornysh’s Salve Regina and John Taverner’s ‘Leroy’ Kyrie. 

The composers chosen are historically significant according to the news release:

Both Cornyshe and Tallis were Gentlemen of the Chapel Royal. 

William Cornyshe in 1509 became Informator Choristarum of the Chapel Royal and led the Chapel Royal’s ceremonies at the Field of the Cloth of Gold in June 1520. 

Thomas Tallis was a Gentleman of the Chapel Royal and served in the royal household under Henry VIII, Edward VI, Mary Tudor and Elizabeth I. Tallis avoided religious controversies, though he stayed an "unreformed Roman Catholic" under four consecutive monarchs. 

John Taverner was Henry VIII’s chief minister and in 1538 Taverner supervised the demolition and burning of the rood screen in Boston parish church as a result of reformation activities. His Leroy Kyrie takes its name from a tune called “Leroy” which appears in many Tudor manuscripts. It is most likely that one of the C15th kings composed it, most probably Henry IV or V being “Le Roi”. 

I'm not sure what the reference to John Taverner as "Henry VIII's chief minister" means: he was a choirmaster and a lay clerk, according to the Encyclopedia Britannica:

In 1526 Taverner went to the University of Oxford to become master of the choir in the chapel of Cardinal College (later Christ Church). He left Oxford in 1530 to serve as a lay clerk in St. Boltoph choir in Boston, England, where he may have taken up the position of chorister instructor. However, by 1537 he had ended his association with the choir, at which time he may have retired from employment in church music altogether. The allegation that he served as a paid agent of Thomas Cromwell in Henry VIII’s suppression of English monasteries cannot be verified.

Taverner’s church music, which is printed in Tudor Church Music, volumes 1 and 3 (1923–24), shows a variety, skill, range, and power that represent the climax of pre-Reformation English music. It includes 8 masses (e.g., The Western Wind), a few mass movements, 3 Magnificats, a Te Deum, and 28 motets. Taverner’s adaptation of the musical setting of the words In nomine Domini from the Benedictus of his mass Gloria tibi Trinitas became the prototype for a large number of instrumental compositions known as In nomines, or Gloria tibi Trinitas.

John Foxe reported years after Taverner's death that he had regretted wasting his time with Catholic church music.

More about the history of Hampton Court here: it was Thomas Cardinal Wolsey's great palace before he turned it over to Henry VIII in 1527 after he fell from favour for failing to make the way clear for Henry VIII to marry Anne Boleyn. Before Anne's apartments at the Palace were finished, however, Henry had her executed: neither Wolsey nor Anne had much time to enjoy the pleasures of Hampton Palace.

The Original Miserere from the Sistine Chapel

The new album from the Sistine Chapel Choir contains a different version of Allegri's Miserere than we are used to, as this site explains:

The Deutsche Grammophon-recorded album even includes a world premiere, but it's not one you’d expect. Allegri’s Miserere may have been topping the classical charts for years, but the Sistine Chapel’s performance of the work in its original form (from the Sistine Codex of 1661) is, unbelievably, the first of its kind. Hardly anyone alive today will have heard the Miserere as Allegri originally conceived it. The version that most of us know – below, with its thrilling high C in the semichorus – is from a much later transcription.

‘The version of the Miserere that most people are familar with is based on a later transcription, most probably the one made by [former choir director] Lorenzo Perosi at the beginning of the 20th century,’ says Palombella [the current choir director]. ‘That version has the additions of many Vatican singers, but we have now recorded the true, Renaissance Miserere.

'It’s very simple, very clear, and we are singing it as authentically as possible, given what we know about the choir’s history. The soloist on the recording sings from the Salla Regia next to the Sistine Chapel, and we have also used two male cantuses [countertenors] in the semi-chorus rather than boy singers, because this is most probably how it was done in the past.’

The article also addresses the story of Mozart's secretive transcription of the music:

Allegri’s famous setting of Psalm 51 is already the stuff of legend – not least because of the widely-circulated tale about Mozart allegedly defying papal law by smuggling it out of the Vatican using memory alone. According to the story, the 14-year-old Mozart heard the Miserere during Mass on a visit to Rome in 1770 and wrote it down from memory that evening. Is it true?

‘I can believe the Mozart story is true,' says Palombella, 'but mostly because it’s very easy to transcribe the Miserere! The harmony is always the same, and it’s repeated many times. But the part about the music not being allowed to leave the Vatican is probably a myth. It is true that music was written specifically for the Sistine Chapel, and that there was a sort of copyright, but if a pope was asked to have the scores sent somewhere else, generally he accepted.’

The story I've linked includes two versions of the Miserere: one by The Sixteen (the one with the high C) and the one by the Sistine Chapel Choir. More background on the composition here. 

BBC and the Sixteen (Harry Christophers) on Sacred Music

Over the past couple of weeks, my husband and I have watched this DVD set from the BBC/CORO: Sacred Music, hosted by Simon Russell Beale, with musical excerpts and commentary by The Sixteen and Harry Christophers. Note the words "musical excerpts"; The Sixteen perform parts of the works under discussion as examples. These are not complete performances.

The four episodes are:

Episode 1: The Gothic Revolution
Episode 2: Palestrina & the Popes
Episode 3: Tallis, Byrd & the Tudors
Episode 4: Bach & the Lutheran Legacy

The only one I did not enjoy as much as the others was Palestrina & the Popes, mainly because Simon Russell Beale presented the Renaissance/Reformation popes so unfairly. What do I mean by that? First he speaks of one pope as being totally corrupt and reprehensible--and that's very bad. Then Beale speaks of another pope as being devout and and ready to impose reforms and improve morals--and that's even worse! 

The first episode I love because it's set in Paris and Notre Dame with a trip to St. Denis, and because of its fascinating explanation of the development from plainchant to polyphony. The episode on Tallis and Byrd offers the great insight into how much William Byrd focused on the words of the sacred texts of the Mass and the Holy Bible to write his music. Byrd was not using plainchant forms or models to adapt them to the words, but beginning with the words to create the most beautiful and appropriate music he could to elucidate their meaning.

The fourth episode focuses on Luther's changes to liturgical prayer to include congregational singing, the vernacular, and the organ -- and how those changes influenced Bach. Johann Sebastian Bach created more than a thousand works of music, most of them for the Lutheran church. We had recently started listening to Actus Tragicus, a CD of early cantatas from Harmonia Mundi, so we were glad to learn more about Bach's choral music.

I recommend the DVD set, with the warning that the discs do not present complete performances and my discontent with the second episode noted.

Sheppard, Davy, and Mundy from The Sixteen

On their new CD and in their 2014 Choral Pilgrimage:

The Sixteen returns to its grass roots and revisits the golden age of Renaissance polyphony in England for the repertoire of its latest disc. In this new programme the award-winning ensemble presents a stunning selection of music by Richard Davy, John Sheppard and William Mundy.

Little is known about the life of Richard Davy. He is, however, the second most represented of all the composers in the Eton Choirbook and wrote in the beautifully florid style so characteristic of 1490s English music. The mere fact that his music survived the Reformation is nothing short of a miracle. He was a scholar of Magdalen College, Oxford, where he acted as choir master and organist and it is believed that he wrote the monumental O Domine caeli terraeque creator in the span of a single day during his time at the college.

John Sheppard's musical style contains all the grandness and idiosyncrasies of English harmonic invention, as is aptly displayed on this new recording which includes one of the gems of Tudor music - the glorious seven-part Trinity antiphons Libera nos with their ethereal combination of upper voices balanced with an even-note cantus firmus in the bass, as well as one of the most grandiose of Sheppard’s responsories, Gaude, gaude, gaude Maria, a magnificent setting of the responsory and prosa for Second Vespers for the Feast of the Purification.

William Mundy was one of the few composers whose career bridged the Reformation and allowed him to develop his style through a variety of important periods. His Votive antiphon,Vox patris caelestis, probably written for the Feast of the Assumption of the Blessed Virgin Mary in the reign of Mary Tudor, can be considered as the culmination of the great antiphon tradition with its elaborate and virtuosic vocal writing and daunting extended range.

The track listings are:

John Sheppard (c.1515-58/9)
1. Gaude, gaude, gaude Maria
William Mundy (c.1530-before 1591)
2. Adolescentulus sum ego
Richard Davy (c.1465-c.1521)
3. O Domine caeli terraeque creator
Sheppard
4. Libra nos I & II
5. In manus tuas I
Davy
6. Ah, mine heart, remember thee well
Sheppard
7. In manus tuas III
Mundy
8. Vox patris caelestis

While enduring withdrawal symptoms from the football season Sunday night, I watched the first episodes of Music and Monarchy again--with performances from Eton College, King's College, Cambridge, et al. I enjoyed again how David Starkey and his experts demonstrated the arrangements of College choirs around the huge choir book; then showed the changes made in the composition of music and the membership of the choir during the Tudor Reformation transitions, etc.

Something I did not comment on when I posted my review of Music and Monarchy is the other gradual transition Starkey demonstrates. From the Tudors to the Stuarts to the Hanoverians to the Windsors, the purpose of music at Court, Chapel Royal, and Cathedral changed. First, as Starkey showed particularly with the example of Henry V and Henry VI, the purpose was worship of God. Then, with the Restoration of Charles II and particularly the coronation of James II, the purpose was supporting the monarchy and king, which Purcell continued with the odes to Mary, for example, during the reign of William and Mary. After William curtailed music at Court, English music was revived during the Hanoverian dynasty by the German Handel--and George III supported his music and talent so much that the focus of the musical performance for the monarchy became recognition of the composer. With the Windsors, the purpose of music for the monarchy was patriotism or even nationalism: "Land of Hope and Glory", the Proms, the processional hymn by Ralph Vaughn Williams at Elizabeth II's coronation, "All People That On Earth Do Dwell", the focus was on the people and the glories of being English!

From God, to the King, to the composer, to the people.

A July Wedding in 1554--and Christmas in July

Queen Mary of England and Wales married King Philip of Naples and Jerusalem at Winchester Cathedral on July 25, 1554. This website provides official details of the ceremony and event:

First, the said chnrch was richly hanged with arras and cloth of gold, and in the midst of the church, from the west door unto the rood, was a scaffold erected of timber, at the end whereof was raised a mount, covered all with red say, and underneath the roode-loft were erected two traverses, one for the queen on the right hand, and the other for the prince on the left, which places served very well for the purpose. The quire was allso richly hanged with cloth of gold, and on each side of the altar were other two rich traverses as aforesaid, for the queenes majestie and prince.

The queen made her entry into the city of Winchester very richly in apparell, on saturday the 21st of July, and was lodged in the bishop's palace, and prince Philip made his entry into the said city on munday after, being the 23d of July; at whose entry the mayor delivered him the keys of the city, which he received, and delivered them back again, being lodged at the dean's house.

On wensday the 25th of July, being St. James's day, the prince, richly apparelled in cloth of gold, embroidered, [1] with a great company of the nobles of Spayne, in such sort as the like hath not been seen, proceded to the church, and entered in at the west door, and passed to his traverse, all the way on foot; and to the church he had no sword borne before him.

Then came the queenes majesty, accompanied with a great number of the nobility of the realm, the sword being borne before her by the earl of Derby, and a great company of ladyes and gentlewomen very richly apparelled; her majesty's train was borne up by the marquesse of Winchester, [2] assisted by sir John Gage her lord chamberlayne; and so she proceeded to the church; the kinges and herauldes of arms in their coates going before her from her lodging on foot to the church, where entering at the west door she passed on till she came to her traverse. Then the bishop of Winchester, lord chancellor of England, which did the divine service, assisted by the bishopes of London, Duresme, Chichester, Lyncoln, and Ely, all with their crosiers borne before them, came out of the quier to the mount.

Read the rest here.

The illustration is the CD cover of The Sixteen's Philip & Mary - A Marriage of England & Spain including music by Thomas Tallis, Francisco Guerrero, John Sheppard, Pierre de Manchicourt, purporting to document the Mass celebrated on Christmas Day later that year, when Mary was thought to be pregnant:

On Christmas Day 1554 the Spanish Armada was a long way off on the horizon. Mary Tudor had married Prince Philip of Spain, and in celebration of her pregnancy Tallis had composed the Mass Puer natus, which may well have been performed in St Paul's Cathedral on this special day. For this splendid ceremony the English Chapel Royal and choir of St Paul's were joined by Prince Philip of Spain's Capilla Flamenca to sing music by great composers from both countries. This recording presents a number of works which were likely to have been performed by these choirs on this special occasion.

In due time it had to be accepted that the Queen had suffered a phantom pregnancy. Three years later Philip was King of Spain; Mary died the following year.

Track listing:

Pierre De Manchicourt (c.1510-1558)

1. Jubilate Deo
John Sheppard (c.1500-1558)
2. Reges Tharsis

Pierre De Manchicourt
3. Reges terrae

Thomas Tallis (c.1505-1585)
4. Suscipe quaeso

Francisco Guerrero (1528-1599)
5. Ave virgo sanctissima
6. Ave Maria
7. Pastores loquebantur

Thomas Tallis: Mass 'Puer Natus'
8. Gloria
9. Sanctus
10. Benedictus
11. Agnus Dei

John Sheppard
12. Libera nos