Two Deaths and One Burial

Queen Mary I, England's first and only Catholic Queen Regnant, and the last Catholic Archbishop of Canterbury, Reginald Cardinal Pole, both died on November 17, 1558.

Also on that date Hugh Aston, the composer and chorister, was buried in St. Margaret's Church, Leicester. According to HOASM, Aston or Ashton or Assheton is

the most important of the less famous composers represented in the Forrest-Heyther and Peterhouse partbooks. He graduated Bachelor of Music at Oxford in 1510. It was fitting therefore that the choirmaster's post at Cardinal College, Oxford which Taverner was persuaded to take was first offered to him. Aston may have been in London and associated with the royal court from 1510 to 1525.Aston was master of the choristers at St Mary Newarke College, Leicester in 1525, and remained there until the College was dissolved in 1548. Drew a pension in Newarke granted in 1544 until Nov. 17, 1558. He was not the eponymous Archdeacon of York (d. 1522) or Canon of St. Stephen's, Westminster (d. 1523).

He has 'A Hornepype' for keyboard in a MS in the British Museum; he may also have composed My lady Careys dompe and The short mesure off my lady Wynkfyld's rownde.

Much of Aston's music is in fact very vigorous and forceful, sometimes rather in the manner of Taverner, but with a fondness for tiny florid touches which sometimes produce rather rough unessential dissonances. Some of the imitative writing for full choir in the Mass Videte manus meas (cantus firmus an antiphon from Vespers of Easter Tuesday) is similar in its energetic quality to parts of Taverner's Gloria tibi Trinitas, especially at 'rex coelestis' or 'descendit de coelis'; but in general there is a far more mechanical handling of less interesting shapes.

The best of Aston is probably to be found in the antiphons Gaude virgo mater Christi and Ave Maria divae matris Annae. The melodic style here occasionally points ahead quite strikingly to that of later composers in the new boldness of outline of some important melodic phrases; in particular one notes in several places a new kind of melodic expansion in which an important interval is enlarged when imitated to help create a sense of growth and climax.

The Blue Heron vocal ensemble has recorded three of Aston's Marian Antiphons on their first of five CDs devoted to the music of the Peterhouse Partbook. Stile Antico also included Gaude Virgo Mater Christi on their Music for Compline CD.

The Peterhouse Partbooks

I am always thrilled to find someone who has a project that means so much to them when it may seem so obscure to anyone else. Herewith, Blue Heron, a group engaged in bringing the Peterhouse Partbooks from the early 16th century age of English Cathedral music to our attention:

Peterhouse’s Henrician partbooks are the most important extant source of English church music on the eve of the Reformation. The repertory of five-part polyphony that they contain is both large and varied, consisting of seventy-two compositions in the standard forms of the day—Mass, Magnificat, votive antiphon, ritual plainchant setting, and one or two pieces whose function is debatable—and more than half of these works do not survive in other sources. The composers represented (twenty- nine, plus one anonymous) range from those widely admired both at the time and also today, such as Robert Fayrfax and John Taverner, whose careers are relatively well documented and whose music is ubiquitous in sources of the period, to the most obscure, such as Hugh Sturmy, whose careers have yet to be traced and whose music survives nowhere else. The musical quality of the collection is generally very high, and many pieces (by no means only those by well-known composers) show not only skilled craftsmanship but also marked imagination and strong character.

The cover above is for the first of five cds of music from the Peterhouse Partbooks, containing the titular Three Marian Antiphons by Hugh Aston, a Magnificat by Robert Jones and Quales sumus O miseri by John Mason. You can read the complete CD liner notes here.

Their second cd, cover (?) above contains:

Music from the Peterhouse Partbooks, Volume 2

Nicholas Ludford (c1490-1557): Missa Regnum mundi

Sarum plainchant · Proper for the Feast of Saint Margaret

Richard Pygott (c1485-1549): Salve regina

Restored by Nick Sandon

The second installment in Blue Heron’s 5-CD series of Music from the Peterhouse Partbooks features Nicholas Ludford’s radiant Missa Regnum mundi, sung in a musical context like that of its probable original occasion, a festal mass for St Margaret, with plainchant items from the Proper according to the Use of Salisbury. The disc concludes with Richard Pygott’s extraordinary Salve regina, one of the longest votive antiphons extant and a marvel of rhetorical expression.

This is the world premiere recording of all the music on the disc.

More on ordering the discs from the Blue Heron website here.