The Cult of St. Thomas of Canterbury in Music

The Cambridge Core website recently announced:

British Catholic History, the journal of the Catholic Record Society, is delighted to announce the winner of its Best Article Prize in 2022:

Katherine Emery, ‘Destruction, Deconstruction, and Dereliction: Music for St Thomas of Canterbury during the Reformation and Counter-Reformation, 1530-1600’

Katherine’s article was described by the judges as follows:

‘This is an impressive piece of innovative and interdisciplinary scholarship at the forefront of the 'sonic turn’ in the study of lived religion. Focusing on music written and performed in honour of St Thomas of Canterbury, this carefully researched article looks back to the pre-Reformation world but concentrates on the Tudor period, offering a new narrative of English cultural and religious history. Interleaving rich manuscript research with the parsing of a substantial historiography on devotion to the saint, it offers an original angle on pre-Reformation and Counter-Reformation music making and liturgical performances. This is an outstanding article from an early career scholar which eloquently attests to, and will further advance, the expansion and diversification of British Catholic studies.

The article is available for free now (don't know how long) and here is the abstract:

Between the late-twelfth and early-sixteenth centuries, much music (both liturgical and non-liturgical) was written in honour of St Thomas of Canterbury. However, in the 1530s his cult became a major target for reformers and, in 1538, Henry VIII (1491-1547) ordered the destruction of his shrine and the obliteration of all music written in his honour. This article will examine how music composed to memorialise St Thomas was treated during the Reformation and Counter-Reformation. It explores the process of self-censorship prompted by Henry’s proclamation on the cult of St Thomas that led to his erasure from liturgical books in England. It analyses the attempts by reformers to discredit music concerning St Thomas, particularly by radical reformer John Bale (1495-1563). Finally, it examines music that was composed by Catholics for St Thomas during the Counter-Reformation and asks what it can tell us about the state of the cult in the late sixteenth century. This approach results in an overview of St Thomas’ cult during the later sixteenth century and contributes to our understanding of changing conceptions of the saint by Catholic communities in the post-Reformation world.

I'm still reading the article now, but one thing we should keep in mind is that St. Thomas of Canterbury was and is not just a saint in England--he was and is a saint honored by the whole Catholic Church (and he is recognized on the Church of England sanctoral calendar)! For example, in 2016 a relic of St. Thomas was brought back to Canterbury from Hungary. As a British Museum article stated in 2019: "In death Becket remained a figure of opposition to unbridled power and became seen as the quintessential defender of the rights of the Church. To this end you can find images of his murder in churches across Latin Christendom, from Germany and Spain, to Italy and Norway. Becket was, and remains, a truly European saint." That's why Pope Paul III finally issued the Bull announcing Henry VIII's excommunication in 1538 after the King ordered the destruction of St. Thomas's shrine and the desecration of his remains. 

So, for example, when Emery writes: "Yet Becket’s paramount cultural position was not to last forever. Although reformer James Bainham was burnt at the stake partly for daring to question Becket’s saintly status in 1532, by the late 1530s the mood had turned decisively against St Thomas.", her comment applies to England at that time--not to the Catholic Church as a whole.

Book Review: Memory, Martyrs, and Mission

This is the book from the Venerable English College, offered through January 29, 2021 as a free ebook.

As the publisher (Gangemi Editore) describes the book:

Essays to Commemorate the 850th Anniversary of the Martyrdom of St Thomas Becket (c. 1118-1170) | Foreword by Mgr Philip Whitmore Rector of the Venerable English College, Rome. Essays by Judith Champ, Peter Davidson, Eamon Duffy, Peter Leech, Peter Phillips, Carol M. Richardson, Nicholas Schofield. Edited by Maurice Whitehead 

The murder on 29 December 1170 of Thomas Becket, Archbishop of Canterbury, sent shockwaves across the Christian world. The combination of his martyrdom, his canonization in 1173, and the creation of a shrine to him at Canterbury in 1220 increased the importance of the Via Francigena – the ancient pilgrim route from Canterbury to Rome: indeed the English Hospice, founded in Rome in 1362 for pilgrims from England and Wales, was dedicated to the Most Holy Trinity and St Thomas of Canterbury. The transformation in 1579 of the English Hospice into a new English College in Rome, preparing future priests to serve on the dangerous post-Reformation mission to England and Wales, engendered further martyrdoms: between 1581 and 1679, forty-four members of the Venerable English College, Rome, were executed for serving as priests on the mission to England and Wales. Exploring three major themes – Memory, Martyrs, and Mission – this volume analyses, on the 850th anniversary of his death, the enduring legacy of St Thomas of Canterbury, expressed in English seminaries in continental Europe through their distinctive spiritual, artistic and literary activities; the resilience of those institutions to radical change over the centuries, in the face of revolution, war and social upheaval; and the challenges and opportunities for the effective formation of priests ready to meet the changing demands of mission in the twenty-first century. The volume concludes by demonstrating how music associated with St Thomas of Canterbury has resonated across the centuries, from soon after his martyrdom down to the present day.

My first comment is that I do not like ebooks and this one compounds my dislike by not having a table of contents with links to the chapters; I also don't like the illustrations being at the back of the book, making it hard to move between them and the chapters they pertain to. Each chapter is well documented with end notes; in those with sections, the end notes appear at the end of each section. Well-illustrated. 

I definitely prefer printed, tangible books.

Contents:

Foreword by Mgr Philip Whitmore, Rector of the Venerable English College, Rome

List of contributors (bios)

List of illustrations

Chapter 1. St. Thomas a Becket (c. 1118-1170): Patron of the Venerable English College Church, Rome and of the English Clergy. --Nicholas Schofield

(each chapter begins with an abstract)

• 'The Holy, Blissful Martyr'
• St. Thomas and the English Catholic diaspora
• 'Thomas Points the Way': The Cult at the Venerable English College
• 'Martyr for the Liberty of the Church': Becket and the Victorians
• A Patron for Modern Times

Chapter 2. The English Colleges of Douai and Rheims, the Venerable English College, Rome, and the Tridentine Seminary. --Eamon Duffy

Chapter 3. The Cultural Life of the English Colleges in Continental Europe: An Overview. --Peter Davidson

Chapter 4. 'No other of Christianity except that which we preach to them': the Venerable Bede and the 1580s Martyrs' Frescoes of the Venerable English College, Rome. --Carol M. Richardson

• The fresco context
• Three conversions
• Peter
• Eleutherius
• Alban and Amphibalus
• Constantine and Helena
• Ursula
• Gregory and Augustine
• Brightness and Englishness

Chapter 5. The Restoration of the English and Welsh Seminaries in the Aftermath of the French Revolution and the Napoleonic Wars. --Peter Phillips

• The final days of the English College, Douai
• The Venerable English College, Rome

Chapter 6. New Wine in Old Wineskins? Harnessing the Power of History to Renew Priestly Formation. -- Judith Champ

• 'Not drowning, but waving' (sic)
• Understanding the past
• Changes of culture: priestly or clerical?
• What kind of Church: what kind of priest?
• The changing nature of vocations to the priesthood
• What kind of formation?
• The role of the parish in formation
• The art of accompaniment
• Seminary and beyond

Chapter 7. Gaudeamus omnes: Catholic Liturgical Music for St. Thomas Becket in the British Isles, Continental Europe, and the Venerable English College, Rome, c. 1170-2020. --Peter Leech

• Liturgical Music for St. Thomas of Canterbury in the British Isles, 1170-c. 1538
• Liturgical Music for St. Thomas of Canterbury outside the British Isles to c. 1570
• Becket Music in Britain, 1533-c. 1800
• Liturgical Music for Becket in Continental Europe, c. 1550-. 1850

The only chapter I found lacking was Chapter 6; the author did not seem to live up to the title of the paper and only tangentially referred to the past or specifically the past formation and mission of priests from the Venerable College and their mission in England during the recusant period. It also raised more issues that it really addressed--although it certainly pertains to the VEC's current mission of training priests from various dioceses of England. Eamon Duffy's paper contained material from Chapter 5 "Founding Father, William, Cardinal Allen" from his 2017 Reformation Divided: Catholics, Protestants, and the Conversion of England.

Father Nicholas Schofield provides an excellent overview of St. Thomas of Canterbury's reputation through the centuries, while Chapters 3 through 5 explore aspects of the art and architecture of the VEC and the internal and external struggles of the English Colleges before, during, and after the French Revolution and the Napoleonic Wars. The last chapter, which includes musical examples in an appendix, provides an excellent survey of the celebration of the feast of St. Thomas a Becket in liturgical music.

By the way, Father Schofield posts on the blog for the Archives of the Venerable English College, Rome, and I've included a link to Tales from the Archives on my blog roll on the right side of this blog.

If you haven't downloaded this free ebook yet, I recommend you do so soon--before January 29!!

Music and Religious Identity in the Reformation

Chiara Bertoglio has written a series of articles about music during the Reformation era for Mercatornet based upon her book Reforming Music. In one article, she notes that Catholics and Protestants used music against each other in public or in parody. During processions, Catholics would sing hymns or litanies and the Protestants would disrupt the gathering by singing their own hymns. They wrote contrafactions--changing the words to a song--against each other, etc.

Her more than 800-page book presents a vast range of information about musical styles, development, and uses among the different religious communities, from Luther's Germany to Calvin's Geneva to Tudor England, and of course Tridentine Catholic liturgical music in Rome:

Five hundred years ago a monk nailed his theses to a church gate in Wittenberg. The sound of Luther’s mythical hammer, however, was by no means the only aural manifestation of the religious Reformations.

This book describes the birth of Lutheran Chorales and Calvinist Psalmody; of how music was practised by Catholic nuns, Lutheran schoolchildren, battling Huguenots, missionaries and martyrs, cardinals at Trent and heretics in hiding, at a time when Palestrina, Lasso and Tallis were composing their masterpieces, and forbidden songs were concealed, smuggled and sung in taverns and princely courts alike.

Music expressed faith in the Evangelicals’ emerging worships and in the Catholics’ ancient rites; through it new beliefs were spread and heresy countered; analysed by humanist theorists, it comforted and consoled miners, housewives and persecuted preachers; it was both the symbol of new, conflicting identities and the only surviving trace of a lost unity of faith.

The music of the Reformations, thus, was music reformed, music reforming and the reform of music: this book shows what the Reformations sounded like, and how music became one of the protagonists in the religious conflicts of the sixteenth century.

Emeritus Pope Benedict's Honorary Degrees and Sacred Music

From Vatican Radio:

Pope-emeritus Benedict XVI received Doctorates honoris causa on Saturday from the Pontifical John Paul II University of Krakow and the Krakow Academy of Music. The motivation for the honors issued by the University’s Academic Senate specifies five contributions Pope Benedict has made to knowledge and culture: his great respect for the musical tradition of the Church and remarkable sensitivity to the music of faith; the life-long and constant demonstration of a special concern for the noble beauty of sacred music and its proper place in the celebration of the sacred liturgical rites of the Church; his constant insistence on the didactic importance of the via pulchritudinis – the way of beauty – which can become a way of knowing and worshiping God for the modern man; his lifelong commitment to Truth, which strengthens the Christian faith in times of spiritual confusion caused by liberalism, postmodernism and relativism, and his tireless efforts to restore the spiritual dimension of Europe; his kind support for the work of transforming the schools of the Pontifical Academy of Theology into the Pontifical John Paul II University.

Father Benedict had some prepared remarks. In The Spectator, Damian Thompson writes:

One of the finest speeches Benedict XVI ever delivered was about sacred music. It is a small masterpiece, in which Benedict recalls his first encounter with Mozart in the liturgy. ‘When the first notes of the Coronation Mass sounded, Heaven virtually opened and the presence of the Lord was experienced very profoundly,’ he said.

Benedict robustly defended the performance of the work of great composers at Mass, which he insisted was necessary for the fulfilment of the Second Vatican Council’s wish that ‘the patrimony of sacred music [is] preserved and developed with great care’.

Then he asked: what is music? He identified three places from which it flowed. First, the experience of love, opening ‘a new grandeur and breadth of reality’ that inspires music. Second, ‘the experience of sadness, death, sorrow and the abysses of existence’. These open ‘in an opposite direction, new dimensions of reality that can no longer find answers in discourses alone’. Third, the encounter with the divine. ‘I find it moving to observe how, in the Psalms, singing is no longer enough for men — an appeal is made to all the instruments: reawakened is the hidden music of creation, its mysterious language.’

Our musical Pope Emeritus changed liturgical music practices at St. Peter's, as this Crisis article notes, and those changes have reverberated throughout the Church:

Cardinal Joseph Ratzinger was different. He had written an entire book on the music issue. He had written another book on the liturgical question. He had spoken about the subject on many occasions. He never feared the subject and this is for two reasons: 1) he understood the goals of Vatican II and saw that they had been seriously distorted, and 2) he was a trained music (sic) of the highest calibre who understood the role of music in the Roman Rite.

When he became Pope, the changes began and they were relentless. We started hearing chant in Papal liturgy, just a bit at first and then more as time went on. With Summorum Pontificum (2007) he took away the stigma that had been attached to traditional chant by granting full permission to the liturgical structure that had originally given rise to chant. This was deeply encouraging for a generation that was ready to move forward. We started seeing chant workshops fill up. Groups began to form at the parish level. New resources started to be published by independent publishers. A real fire had been lit in the Catholic music world. And it all happened without any impositions or legislation.

The musical program of St. Peter’s Basilica began to attract the attention of serious musicians. A new standard came to be applied to visiting choirs: you must know the basics of Gregorian chant or you cannot sing at St. Peter’s. This was a gigantic decision that fundamentally upset the dynamic that had long developed between Rome and traveling choirs. Now choirs had to learn and discover chant if they hoped to take that long-sought pilgrimage to Rome.

Meanwhile, Joseph Ratzinger’s writings on music were selling more than ever, and having an ever larger influence. Benedict XVI spoke about the topic often in homilies and spontaneous remarks following concerts. He worked to elevate high art to a new status on his travels. His team worked hard to encourage groups that sang for liturgy for his trips to embrace chant and polyphonic music of the Renaissance. It didn’t always work but the progress was obvious.

Read the rest there. The issue that Pope Benedict addressed was that the Church, in the wake of the Second Vatican Council, had mistakenly jettisoned our great heritage of beautiful Gregorian chant, Renaissance polyphonic Mass settings, and even high classical Masses, like Mozart's Coronation Mass. The fathers at Vatican II had said positively that Gregorian chant should have pride of place in the celebration of the liturgy, and yet I grew up never hearing chant at all--until it became popular as background music and the different chant discs (for Meditation, Relaxation, etc) came out. 

This reminds me of course of that "Agatha Christie Indult" letter, the one sent from England to Pope Paul VI, descrying the elimination of the traditional Latin Mass. Remember that it was signed by many non-Catholics and several musicians and they were concerned of the loss of so much culture:

The rite in question, in its magnificent Latin text, has also inspired a host of priceless achievements in the arts - not only mystical works, but works by poets, philosophers, musicians, architects, painters and sculptors in all countries and epochs. Thus, it belongs to universal culture as well as to churchmen and formal Christians. In the materialistic and technocratic civilisation that is increasingly threatening the life of mind and spirit in its original creative expression - the word - it seems particularly inhuman to deprive man of word-forms in one of their most grandiose manifestations. The signatories of this appeal, which is entirely ecumenical and non-political, have been drawn from every branch of modern culture in Europe and elsewhere.

Perhaps along with the Anglican Ordinariate, this revival in sacred and liturgical music will be one of Pope Benedict's greatest legacies, God bless him!

St. Benedict of Nursia, pray for us!

My Favorite Hymn: Let All Mortal Flesh Keep Silence

The New Liturgical Movement features two recordings of this hymn--one in Slavonic "from the Liturgy of St James, [which] is sung at the Great Entrance in place of the Cherubic Hymn, when the Divine Liturgy of St Basil the Great is celebrated on the morning of Holy Saturday":

Let all mortal flesh keep silent, and stand with fear and trembling, and in itself consider nothing of earth; for the King of kings and Lord of lords cometh forth to be sacrificed, and given as food to the believers; and there go before Him the choirs of Angels, with every dominion and power, the many-eyed Cherubim and the six-winged Seraphim, covering their faces, and crying out the hymn: Alleluia, Alleluia, Alleluia.

And the other is the English version by Gerard Moultrie set to music by Ralph Vaughn Williams to a French carol tune called Picardy (Stephen Cleobury's arrangement):

Let all mortal flesh keep silence,
And with fear and trembling stand;
Ponder nothing earthly minded,
For with blessing in His hand,
Christ our God to earth descendeth
Our full homage to demand.

King of kings, yet born of Mary,
As of old on earth He stood,
Lord of lords, in human vesture,
In the body and the blood;
He will give to all the faithful
His own self for heavenly food.

Rank on rank the host of heaven
Spreads its vanguard on the way,
As the Light of light descendeth
From the realms of endless day,
That the powers of hell may vanish
As the darkness clears away.

At His feet the six winged seraph,
Cherubim with sleepless eye,
Veil their faces to the presence,
As with ceaseless voice they cry:
Alleluia, Alleluia
Alleluia, Lord Most High!

According to this site Gerard Moultrie was born on Sep­tem­ber 16, 1829 at Rug­by Rec­to­ry, Eng­land and died on Ap­ril 25, 1885 in South­leigh, Eng­land:

Moultrie was ed­u­cat­ed at Rug­by and Ex­e­ter Coll­ege, Ox­ford (BA 1851, MA 1856). Tak­ing Ho­ly Or­ders, he be­came Third Mas­ter and Chap­lain in Shrews­bu­ry School; Chap­lain to the Dow­ager Mar­chion­ess of Lon­don­de­rry, 1855-59; cur­ate of Bright­walt­ham, 1859; and of Brin­field, Berkshire, 1860; Chap­lain of the Don­a­tive of Bar­row Gur­ney, Bris­tol, 1864; Vi­car of South­leigh, 1869; and Warden of St. James’ Coll­ege, South­leigh, 1873. Moultrie’s works in­clude:

• The Primer Set Forth at Large for the Use of the Faith­ful, 1864
• Hymns from the Post Re­form­a­tion Edi­tions, 1864
• Hymns and Lyrics for the Sea­sons and Saints’ Days of the Church, 1867
• The Espousals of S. Dor­o­thea and Other Vers­es, 1870
• The De­vout Com­mun­i­cant, 1867
• Six Years’ Work in South­leigh, 1875
• Cantica Sanc­tor­um, or Hymns for the Black Let­ter Saints Days in the Eng­lish and Scot­tish Cal­en­dars, 1850

Looks like he was pretty High Church! 

The arrangement by Gustav Holst is very effective too.

Tu Es Petrus on September 18, 2010

Martin Baker, the Master of Music at Westminster Cathedral, is featured in the monthly Rewind column in the Christmas issue of BBC Music Magazine, in which "Artists talk about their past recordings". He highlights "My finest moment": the recently released recording of William Byrd's Masses for three, four, and five voices; "I'd like another go at . . .": Victoria's Missa Ave Regina caelorum and other choral works, and "My fondest memory":

James Macmillan's Tenebrae Responsories & other choral works, in which he discusses the great liturgical event of Pope Benedict's visit to Westminster Cathedral for Mass on September 18, 2010. Macmillan's setting of the Introit, Tu es Petrus, was arranged to have maximum impact: the Choir singing from the East, the Organ from the West, "a wall of brass to the North and battery of percussion to the South", so that the "effect in the building was cataclysmic"! Indeed, the Gramaphone review of the subsequent recording highlighted Macmillan's Tu es Petrus: "The combination of Westminster Cathedral Choir and MacMillan is irresistible. We are drawn immediately into their complicity by the jaw-dropping Tu es Petrus … its simultaneous celebratory character and clear rootedness in liturgical tradition make it far more than a one-off firework."

You can hear the original performance at the beginning of Mass during the procession:

Pope Benedict also prepared a homily that reflected on the great occasion while reminding the congregation of eternal verities:

Dear Friends in Christ,

I greet all of you with joy in the Lord and I thank you for your warm reception. I am grateful to Archbishop Nichols for his words of welcome on your behalf. Truly, in this meeting of the Successor of Peter and the faithful of Britain, "heart speaks unto heart" as we rejoice in the love of Christ and in our common profession of the Catholic faith which comes to us from the Apostles. I am especially happy that our meeting takes place in this Cathedral dedicated to the Most Precious Blood, which is the sign of God’s redemptive mercy poured out upon the world through the passion, death and resurrection of his Son, our Lord Jesus Christ. In a particular way I greet the Archbishop of Canterbury, who honours us by his presence.

The visitor to this Cathedral cannot fail to be struck by the great crucifix dominating the nave, which portrays Christ’s body, crushed by suffering, overwhelmed by sorrow, the innocent victim whose death has reconciled us with the Father and given us a share in the very life of God. The Lord’s outstretched arms seem to embrace this entire church, lifting up to the Father all the ranks of the faithful who gather around the altar of the Eucharistic sacrifice and share in its fruits. The crucified Lord stands above and before us as the source of our life and salvation, "the high priest of the good things to come", as the author of the Letter to the Hebrews calls him in today’s first reading (Heb 9:11).

It is in the shadow, so to speak, of this striking image, that I would like to consider the word of God which has been proclaimed in our midst and reflect on the mystery of the Precious Blood. For that mystery leads us to see the unity between Christ’s sacrifice on the Cross, the Eucharistic sacrifice which he has given to his Church, and his eternal priesthood, whereby, seated at the right hand of the Father, he makes unceasing intercession for us, the members of his mystical body.

Read the rest here.

English Recusant Composers in StAR

I mentioned that I would share the cover of the September/October issue of the Saint Austin Review as soon as it was available, and here it is!

But I can do even more, because Joseph Pearce (I presume) chose my article as the one to represent the issue on the StAR website and you may read the article here! What a nice surprise (to me at least).

BTW, please see my updated Other Publications tab.

Samuel Webbe and English Catholics in the Eighteenth Century

I mentioned Samuel Webbe in my post last Sunday about the Mass at Our Lady and St. Gregory, Warwick Street to honor the Portuguese ambassador. He died on May 29 in 1816--25 years after the Catholic Relief Act of 1791 and 13 years before Catholic Emancipation. The Friends of the Ordinariate of Our Lady of Walsingham highlights him on their Music tab:

English composer, born in England in 1742; died in London, 29 May, 1816. He studied under Barbaudt. In 1766 he was given a prize medal by the Catch Club for his O that I had wings, and in all he obtained twenty-seven medals for as many canons, catches, and glees, including Discord, dire sister, Glory be to the Father, Swiftly from the mountain’s brow, and To thee all angels. Other glees like When winds breathe soft, Thy voice, O Harmony, and Would you know my Celia’s charms are even better known. In 1776 he succeeded George Paxton as organist of the chapel of the Sardinian embassy, a position which he held until 1795: he was also organist of the Portuguese chapel. His Collection of Motetts (1792) and A Collection of Masses for Small Choirs were extensively used in Catholic churches throughout Great Britain from 1795 to the middle of the last century. If not of a very high order, they are at least devotional, and some are still sung. He also published nine books of glees, between the years 1764 and 1798, and some songs. His glees are his best claim on posterity.

Lest you are confused, Webbe did not write for the TV show Glee; he wrote English a cappella part songs, scored for three to four voices, although Glee clubs did sing them:

Discord!Dire sister of the slaughtering power,

Small at her birth, but rising every hour,

While scarce the skies her horrid head can bound,

She stalks on earth, and shakes the world around.

But lovely Peace in angel form

Descending quells the rising storm.

Soft ease and sweet content shall reign

And Discord never rise again.

The same site that highlighted Webbe notes that "The penal laws and the persecution of Catholics during the 220 years from 1558 to 1778 prevented any development of music by and for Catholics." 

This intrigues me. William Byrd's great output of liturgical music for all the propers of the Roman Missal dates from the 17th century, and I know that composers like Peter Phillips fled to the Continent to both practice their faith and compose music. Since Catholics were only able to attend Mass secretly in hidden chapels in recusant safe houses, Low Mass, silent and somber, was the rule. According to this presentation by an Oratorian priest, there was little congregational singing, and even when rarely celebrated, Benediction was accompanied by recitation of the great Eucharistic hymns of St. Thomas Aquinas. In the Embassy chapels, the liturgical music, if it represented more modern compositions than Gregorian chant and Renaissance polyphony, was by German, Italian, Portuguese, or Spanish composers, so English Catholics attending those Masses heard international music, not by their own.

Ashgate publishes Roman Catholic Church Music in England, 1791–1914: A Handmaid of the Liturgy? by T.E. Muir that addresses developments after the 1791 Catholic Relief Act until World War I:

Roman Catholic church music in England served the needs of a vigorous, vibrant and multi-faceted community that grew from about 70,000 to 1.7 million people during the long nineteenth century. Contemporary literature of all kinds abounds, along with numerous collections of sheet music, some running to hundreds, occasionally even thousands, of separate pieces, many of which have since been forgotten. Apart from compositions in the latest Classical Viennese styles and their successors, much of the music performed constituted a revival or imitation of older musical genres, especially plainchant and Renaissance Polyphony. Furthermore, many pieces that had originally been intended to be performed by professional musicians for the benefit of privileged royal, aristocratic or high ecclesiastical elites were repackaged for rendition by amateurs before largely working or lower middle class congregations, many of them Irish.

However, outside Catholic circles, little attention has been paid to this subject. Consequently, the achievements and widespread popularity of many composers (such as Joseph Egbert Turner, Henry George Nixon or John Richardson) within the English Catholic community have passed largely unnoticed. Worse still, much of the evidence is rapidly disappearing, partly because it no longer seems relevant to the needs of the modern Catholic Church in England.

This book provides a framework of the main aspects of Catholic church music in this period, showing how and why it developed in the way it did. Dr Muir sets the music in its historical, liturgical and legal context, pointing to the ways in which the music itself can be used as evidence to throw light on the changing character of English Catholicism. As a result the book will appeal not only to scholars and students working in the field, but also to church musicians, liturgists, historians, ecclesiastics and other interested Catholic and non-Catholic parties.

The article I cited from Newman's foundation, the Oratory of St. Philip Neri in England, points out that there were exceptions to the rule of secret and silent Masses, looking again at the Embassies in London and the outlet they offered to some Catholic composers, like Samuel Webbe, George Paxton--and Thomas Arne, arranger of "God Save the King/Queen" and composer of "Rule, Britannia". There is definitely more to this story.

William Cornysh and Our Sorrowful Mother

That's not William Cornysh on the cover of The Tallis Scholars CD of music by William Cornysh: that's King Henry VII. Cornysh the younger's music--and possibly that of his father of the same name, who died in 1502--is one of the highlights of what remains of the Eton Choirbook. The  younger Cornysh was employed by Henry VII and continued to serve as musician and composer for Henry VIII. According to the notes for this 1988 CD:

William Cornysh (d.1523) lived at a crucial moment in the development of English music. On the one hand he contributed to the last and most florid style to be found in the Eton Choirbook; and on the other he must have realised that this style could go no further, beginning to simplify his music and thus setting a technique for the future. There is therefore considerable variety in his small output and this recording, which contains all the sacred music by him which may be reconstructed and a selection of his secular compositions, reflects it: from the unparalleled complexities of the last phrases of the Magnificat to the naive directness of Ah, Robin.

Cornysh was an early and rare example of what is now called the Renaissance artist. A man of remarkable intelligence, he was well-known in his lifetime not only as an outstanding musician, but also as a poet, dramatist and actor. Unfortunately none of his dramatic writings has survived, though there is a poem by him in the British Library entitled A Treatise bitwene Trouth and Enformacion which was written while serving a jail sentence in the Fleet prison. In this he claimed that he had been convicted by false information and thus wrongfully accused, though it is not known exactly what the accusation was. As an actor he took part in many plays at court, some of which have survived, including The Golden Arbour (1511) and the Triumph of Love and Beauty (1514). But it was within the activities of the court masque that he would have had the ideal opportunity to show off his many talents. In 1501 he is reported as having devised the pageants and 'disguysings' for the marriage festivities of Arthur, Prince of Wales and Katherine of Aragon. More importantly, in June 1520 he led the Chapel Royal's ceremonies at the Field of the Cloth of Gold, which included not only singing but a full-scale pageant. In 1522 the Emperor Charles V visited England to negotiate with Henry VIII and on June 15 the court was entertained with a play by Cornysh which outlined in simple allegory the progress of the discussions and their expected outcome.

This BBC page holds that the father may have written the works in the Eton Choirbook, since the son was better known for Courtly masques and entertainments--but he was Master of the Children of the Chapel Royal for many years. On this Holy Saturday, however, what I am most interested in is the Stabat Mater, the title of the CD and the last work on the CD:

The Stabat mater is a masterpiece which contains frequent contrasts between ornate and simpler passages: these juxtapositions are something of a speciality of Cornysh's. That this setting is less well-known might be because the opening sections survive incomplete, though these have been magnificently reconstructed by Professor Frank Harrison. In general Cornysh's style is less introverted than that of his greatest contemporary John Browne. Cornysh always seemed to be striving for the most brilliant effect, or the most pathetic tone, a way of thinking which would have made him perfectly suited to the madrigal a hundred years later, and makes him reminiscent of Thomas Weelkes.

Cornysh is also the composer of Woefully Arrayed, performed here by Stile Antico, from their 2012 CD Passion and Resurrection:

Gimell Records even has a vinyl recording of the Tallis Scholars' CD of Cornysh music available--carefully preserved from the 20th century.

Anglican Byrd

I just received this CD by The Cardinall's Musick of William Byrd's one great composition of Anglican church music: The Great Service. I listened to it once last night, but have to hear it again. After hearing so much of Byrd's Catholic liturgical music in Latin, this is taking some getting used to. The Great Service includes all the canticles of the Divine Office: The Benedictus, the Magnificat, the Nunc Dimittis, and the Te Deum, plus the Kyrie and the Credo. (The CD uses these Latin (and Greek) titles even though the words for each are in English, of course.) The program also includes four psalm settings and one "Carroll for Christmas Day" ("This day Christ was born").

 

The liner notes conjecture a bit about the composition of this Great Service and the fact that Byrd did not have it published in his lifetime. He wrote it during what Andrew Carwood calls a difficult decade--the 1580's--when England was plunged into fear of plots within and without. Carwood comments that the decade was also a rich creative period for William Byrd, including this work. Carwood states that "The Service is the result of considerable labour and is his only significant foray into the Anglican world. The Great Service is so good, it seems extraordinary that Byrd did not publish it . . ." Carwood believes Byrd wrote The Great Service as a kind of leave-taking from Court and the Chapel, because soon after its composition (although Carwood has no precise date), Byrd moved to Stondon Massey, where he was able to safely worship in the Catholic chapel of his patron, Sir John Petre.

 

In fact, The Great Service wasn't discovered in the modern world until 1922, when one Edmund Fellowes found a manuscript in Durham Cathedral!

 

This site provides some explanation of the use of The Great Service in Anglican public prayer:

 

The Church of England compressed the Daily Office of the Roman (Sarum) rite into two services: Mattins and Evensong. The morning service incorporated the Catholic Matin canticles of the Venite (Psalm 95) and the Te Deum, as well as the canticle sung at Lauds – the Benedictus (Zechariah’s song from Luke). The Jublilate (Psalm 100) was set as an alternative to the Benedictus, but rarely used in the 16th century. During the Communion the Creed may be sung, though more common to sing the Kyrie, Sanctus, and Agnus Dei. Byrd set the Creed and Kyrie. The evening service comprised the Magnificat from the Roman Vespers and the Nunc Dimittis from Compline (song of Simeon also from Luke). Essentially, Anglicanism took a ‘best-of’ approach to the Catholic liturgy and created what has become and remains to this day its morning and evening worship format.

Byrd took this English service, and its restriction to simple word-painting, and created his Anglican masterpiece. He added dimension by playing with text repetition and the possibilities of a flexible double choir. The common choral set-up of Mean-Alto-Alto-Tenor-Bass was used for each choir, named Decani and Cantoris [set-up]. Tactus is organized into two choirs of 8 voices ‘ 2 of S-A-T-B for each. This gives added responsibility to our altos, who when split carry their part individually (but altos like to flex their vocal muscles anyway). But Byrd’s use of these choirs is ingenious as at times he will steal a voice from one choir to add to the texture of the other, e.g. ‘As he promised to our forefather Abraham’ in the Magnificat is sung by A-A-A-T-B, using 2 altos and 1 tenor from Decani and the 3rd alto and bass from Cantoris. He constantly shifts colour, density, and imitation of sound by playing with these possibilities, including sections sung by low voices and others by high, and the alternation of ‘full’ and ‘verse’ (solo) passages. Within the parameters of the new Anglican palate, Byrd’s composition is highly creative. He likely starting composing the work relatively early, before 1580, with the Magnificat and Nunc Dimittis later, as demonstrated by their more mature, confident, and elaborate schemes.

Pope St. Pius X and Frequent Communion

Allow me to draw your attention to an article I wrote last year for the PraytheMass.org website on Pope St. Pius X and his influence on liturgy, the age at which children receive First Holy Communion, and more frequent reception of Holy Communion:

Jansenism, a heretical movement beginning in France during the seventeenth and eighteenth centuries, discouraged frequent Communion. Pope St. Pius X referred to this problem in his “Sacra Tridentina: On Frequent and Daily Reception of Holy Communion,” issued on December 20, 1905:

 

Piety, however, grew cold, and especially afterward because of the widespread plague of Jansenism, disputes began to arise concerning the dispositions with which one ought to receive frequent and daily Communion; and writers vied with one another in demanding more and more stringent conditions as necessary to be fulfilled. The result of such disputes was that very few were considered worthy to receive the Holy Eucharist daily, and to derive from this most health-giving Sacrament its more abundant fruits; the others were content to partake of it once a year, or once a month, or at most once a week. To such a degree, indeed, was rigorism carried that whole classes of persons were excluded from a frequent approach to the Holy Table, for instance, merchants or those who were married.

 

Jansenism required such rigorous standards of preparation because of its overall belief “that there are some commands of God which just men cannot keep, no matter how hard they wish and strive” as stated in one of the five propositions condemned by Pope Innocent X in 1653.

 

Although, as Pope St. Pius X wrote, several of his predecessors made statements against these rigorist views,

 

The poison of Jansenism, however, which, under the pretext of showing due honor and reverence to the Eucharist, had infected the minds even of good men, was by no means a thing of the past. The question as to the dispositions for the proper and licit reception of Holy Communion survived the declarations of the Holy See, and it was a fact that certain theologians of good repute were of the opinion that daily Communion could be permitted to the faithful only rarely and subject to many conditions.

 

The Pope pointed out that others went to the opposite extreme:

 

They held that daily Communion was prescribed by divine law and that no day should pass without communicating, and besides other practices not in accord with the approved usage of the Church, they determined that the Eucharist must be received even on Good Friday and in fact so administered it.

 

(Note that he was writing before the major revision of the Holy Week liturgy, which now includes a Communion service on Good Friday with Hosts consecrated at Mass on Holy Thursday.)
 

So Pope St. Pius X stated unequivocally that the laity were to be encouraged to receive Holy Communion frequently, even daily, as long as they had the correct disposition and were not in a state of Mortal Sin. He called on both factions to unite around this discipline and not place obstacles in the way of the lay faithful. For this document, and his decision on the proper age for First Holy Communion, Pope St. Pius X became known as “the Pope of the Eucharist”.

 

In 1910 he approved a “Decree of the Sacred Congregation of the Discipline of the Sacraments on First Communion” setting the age of discretion or reason at about age seven. Inspired by the verse from the Synoptic Gospels: “Let the little children come to me, and do not hinder them, for of such is the kingdom of God”; he again urged that the Church unite around this discipline because of the sacramental benefits of Holy Communion.

 

Giuseppe Sarto succeeded Pope Leo XIII in 1903 and began his reign at Pope Pius X with the motto “To Restore all Things in Christ” (Ephesians 1:10). Among other liturgical reforms, he also revised the Breviary and issued the motu proprio “Tra le Sollecitudini” in 1903 soon after becoming pope encouraging not only the revival of Gregorian chant in the celebration of Mass, but active participation by the laity in chant. He acknowledged progress in the arts by commending the use of Renaissance polyphony (especially the works of Palestrina), but warned against any “theatrical” or “profane” influences in liturgical music.

 

Pope Pius X died in on August 20, 1914 at the beginning of World War I and was succeeded by Benedict XV. In 1954 he was canonized and his feast is on August 21 (since St. Bernard of Clairvaux’s feast is on August 20).

 

Pope St. Pius X, the Pope of the Eucharist, pray for us!

A Concert Not to Be Missed!--But I'll Miss It!!

The New Liturgical Movement blog highlights this concert:

A concert not to be missed: 'Splendours of Venice' is an opportunity to hear the Choir of Westminster Cathedral join forces with His Majestys Sagbutts and Cornetts in a celebration of choral and instrumental music by composers with strong Venetian associations. Monteverdi, Giovanni Gabrieli, Croce, Merulo, Hassler, Grillo, Frescobaldi and Guami are all represented, and Motets in 4, 8, 12 and 16 parts are interspersed with movements from Monteverdi's Mass (published in 1651), his five-part Beatus vir and eight-part Magnificat. Westminster Cathedral is the perfect setting, its Byzantine styling very much a visual echo of San Marco, and the siting of singers in the galleries and the use of the Cathedral's organs will provide dramatic effect.

Full programme:

Iubilate Deo, Giovanni Gabrieli
Gloria (1651 Mass), Monteverdi
Toccata quarta del secondo tuono (Primo libro), Merulo
Beatus vir, Monteverdi
Canzon Terza à 8, Grillo
In spiritu humilitatis, Croce
Hassler Canzon Duodecimitoni à 8, Hassler
Sanctus (1651 Mass), Monteverdi
Toccata Cromaticha per l'Elevatione (Messa della Domenica - Fiori Musicali), Frescobaldi
Agnus Dei (1651 Mass), Monteverdi
O sacrum convivium, Hassler
Canzon La Lucchesina à 8, Guami
Magnificat a 8, Monteverdi
Canzon Terza à 6, Giovanni Gabrieli
Plaudite omnis terra, Giovanni Gabrieli
Omnes gentes plaudite, Giovanni Gabrieli

Music For Holy Week

Stile Antico has another new CD, which I'll be listening to starting tomorrow, called Passion & Resurrection:

Stile Antico's seventh recording focuses on the dramatic events of Holy Week, retracing in music the journey from Palm Sunday to Easter Sunday. Twelve different composers are represented in an enthralling programme encompassing the English, Flemish and Spanish Renaissance. At the heart of the disc are twin settings of the mediaeval carol Woefully Arrayed: one by William Cornysh (1465-1523), and one commissioned in 2009 especially for Stile Antico by British composer John McCabe (b. 1939) and recorded here for the first time.

The CD contains performances of:

1. Cornysh: Woefully Arrayed
2. Gibbons: Hosanna to the Son of David
3. Tallis: O sacrum convivium
4. Lassus: In monte Oliveti
5. Morales: O crux, ave
6. Victoria: O vos omnes
7. John McCabe: Woefully Arrayed
8. Taverner: Dum transisset
9. Guerrero: Maria Magdalene
10. Byrd: In resurrectione tua
11. Lheritier: Surrexit pastor bonus
12. Gibbons: I am the Resurrection
13. Crecquillon: Congratulamini mihi

The CD folder and booklet are beautifully illustrated, with pictures of the Risen Christ, Christ the Man of Sorrows, and border details from fifteenth century English Books of Hours.

First Things featured William Cornysh's "Woefully Arrayed" yesterday:

Woefully arrayed
My blood, man for thee ran, it may not be nayed;
My body, blo and wan;
Woefully arrayed.

Behold me, I pray thee
with all thy whole reason
and be not hard-hearted,
and for this encheason,
sith I for thy soul sake
was slain in good season,
Beguiled and betrayed
by Judas’ false treason,
unkindly entreated,
with sharp cord sore freted,
the Jews me threated,
they mowed, they grinned,
they scorned me,
condem’d to death as thou may’st see;
Woefully arrayed.

Thus naked am I nailed.
O man, for thy sake;
I love thee, then love me,
why sleepst thou, awake,
remember my tender heartroot for thee brake;
with pains my veins constrained to crake;
thus tugged to and fro,
thus wrapped all in woe,
whereas never man was so entreated,
thus in most cruel wise
was like a lamb offer’d in sacrifice;
Woefully arrayed.

Of sharp thom I have worn
a crown on my head.
So pained, so strained, so rueful, so red,
thus bobbed, thus robbed,
thus for thy love dead;
unfeigned, not deigned,
my blood for to shed,
my feet and handes sore
the sturdy nailes bore;
what might I suffer more,
than I have done, O man, for thee?
Come when thou list, welcome to me!
Woefully arrayed.

John McCabe comments on his version of "Woefully Arrayed" here:

Woefully arrayed is a supreme choral setting by William Cornysh, Junior, who died in 1523, of a text usually regarded as of anonymous composition, though there have been some attributions to John Skelton. It is a thoughtful, powerful meditation on Christ on the Cross, and though Cornysh's setting has remarkable intensity and contrapuntal artistry, I felt a strong wish to add my own response to this fine text. The different versions of it have different verses - that used by Cornysh has three verses (plus the refrain), while there are others with four or even five (one attributted to Skelton has five). I have chosen to restrict myself to the three used by Cornysh, using my own adaptation of the modernised words which yet incorporates some archaisms - a deliberate choice for reasons of rhythm and verbal sound.

Why Use Latin When the Liturgy is in English?

I have this on order from amazon.com:

Where late the sweet birds sang: Latin Music from Tudor England by Magnificat directed by Philip Cave frrom Linn Records

Per the "liner" notes, Magnificat is exploring a little mystery--why was church music written to Latin texts when the official liturgical language was English? Of course, Latin was still an important diplomatic and scholarly language in the sixteenth century, but music for the Church of England's Book of Common Prayer should have been set for English texts.

The early Elizabethan years present a fascinating period of stylistic transition in vocal music to sacred Latin texts, as well as posing some intriguing questions about context. For whom was this Latin music written, given that one of the first pieces of legislation in the new Queen's reign was the Act of Uniformity, which specified that church services should be held in English rather than in Latin, in all but a few places? And what was the practical impact of the new religious laws on composers such as Thomas Tallis, Robert Parsons, Robert White and William Byrd?

While Byrd's lifelong commitment to the Catholic faith is well documented, little is known for certain about the religious convictions of the other composers. The debate continues on whether they favoured Latin texts because they were writing for institutions where some of these texts were still permitted, because they retained loyalty to the Catholic faith, alternatively that they had in mind domestic or devotional music-making, or simply because they had an enduring affection for the old ways. Whatever its intended destination, the music's structure shows a move away from the ritual plainchant cantus firmus-based hymns and responds of Mary's chapel towards freely composed imitative polyphony in which text and music are much more closely connected. It seems to have taken noticeably longer for composers of English-texted sacred music to move on from the artistic constraints of Edwardian Protestantism to produce works of comparable musical interest (though there are, of course, a few notable exceptions to this generalisation, such as Tallis's miniature masterpiece "If ye love me"). 

We are lucky to have this music and to have Magnificat record it:

Much of the music presented here is known to us not through sources compiled for use in church - hardly any have survived - but because it was included in one or other of the largely retrospective manuscript collections now in the library of Christ Church, Oxford, assembled by Robert Dow (Mss.984-88, c.1581 - 88) and John Baldwin (Mss.979-83, c.1575 - 81). Although dating individual works with certainty is rarely possible, most of the music chosen for this recording is thought to come from the 1560s and 70s. . . .

Considering and compiling this recording is something that has occupied my thoughts over several years. Both in content and performing style it represents the fruits of a personal journey that started at a time when most of this music was not at all widely known. None of us dared to dream then that it could ever be shared with the thousands of people who have now come to value it. Time moves on, and witnessing that positive progress gives cause for some satisfaction.

Overall, the mini-trend of performing groups like the Tallis Scholars, Stille Antico, Magnificat, The Tudor Consort, The Byrd Ensemble, and others, reflecting on the religious conflict during the sixteenth and seventeenth centuries is fascinating to me.

You might notice the Shakespearean reference in the CD title:

That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
In me thou see'st the twilight of such day
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire,
That on the ashes of his youth doth lie,
As the death-bed, whereon it must expire,
Consumed with that which it was nourish'd by.
This thou perceiv'st, which makes thy love more strong,
To love that well, which thou must leave ere long.

Eamon Duffy parsed that line, "Bare ruined choirs, where late the sweet birds sang" to identify William Shakespeare with a sort of nostaglia for the monasteries and lost Catholic culture, in his book Saints, Sacrilege, and Sedition last year. This reviewer Professor David J. Davis, thinks it too much a throwaway:

Finally, the chapter, almost whimsically, speculates about the bard himself, seeking to include him in this expanding cabal of conservative voices. Despite Duffy's disclaimer that he is not arguing ‘that Shakespeare was a Catholic’, he does interpret Sonnet 73 as one that ‘decisively aligns Shakespeare against the Reformation’ (pp. 253, 250). Assuming this is true, that a single sonnet captures Shakespeare’s views of the Reformation, which is a grand and hasty assumption, Duffy does not propose what this means for the Stratford dramatist’s religious creed. Duffy’s argument is little more than a playful suggestion, based upon a single line in a single poem, but it is, in the end, more a scholarly flight-of-fancy than the kind of historical nuance we have come to expect from Duffy’s analysis. Moreover, it is a somewhat limp method of wrapping up the entire book, leaving readers with something much more akin to a sigh than a bang.

More Music from the Tudor Era--and Beyond!

I just can't keep up with all the groups exploring and performing the music of the Tudor era! It seems that every new release I find exemplifies the religious conflicts of that dynasty, with composers like the Catholic William Byrd, who attempted to maintain their career and their faith or like John Merbercke, who stopped composing Catholic church music because he became a Protestant, even arrested in March of 1543 for "having written against the Mass" according to the CD booklet from The Byrd Ensemble's recording of music from the Peterhouse Partbooks, "Our Lady", which I've been listening to often this Christmas season:

Now the December issue of BBC Music Magazine contains an advert for a recording by The Marian Consort, An Emerald in a Work of Gold: Music from the Dow Partbooks, with music by Byrd, Thomas Tallis, Robert Parsons, etc:

 

For their second Delphian recording, The Marian Consort have leaved through the beautifully scripted pages of the partbooks compiled at the close of the sixteenth century by the Elizabethan scholar Robert Dow, to present a sequence of some of their brightest jewels. Sumptuous motets, melancholy consort songs and intricate, harmonically daring viol fantasies are seamlessly interwoven, all brought to life by seven voices and the robust plangency of the Rose consort of Viols in the chapel of All souls College, Oxford – where Dow himself was once a Fellow.

• William Mundy Sive Vigilem
• Nicholas Strogers A doleful deadly pang, In Nomine a 5 No. 2, Non me vincat, Deus meus
• (?) Robert Mallory Miserere a 5
• Nathaniel Giles Vestigia mea dirige
• Robert White In Nomine a 5, Justus es, Domine
• William Byrd O Lord, how vain, La verginella
• Christopher Tye In Nomine ['Follow me']
• Thomas Tallis O salutaris hostia
• Robert Parsons Retribue servo tuo, Ave Maria
• Anon. Come, Holy Ghost
• Vincenzo Ruffo La Gamba
• Anon. ['Roose'] Dum transisset Sabbatum
• Jean Maillard Ascendo ad Patrem meum
• (?) Philippe Verdelot Madonna somm’acorto
• Philip van Wilder Je file quand Dieu me donne de quoy, Pour vous aymer j’ay mis toute ma cure

According to their website, The Marian Consort:

Taking its name from the Blessed Virgin Mary, a popular focus of religious devotion in the sacred music of all ages, The Marian Consort was formed at Oxford in 2007 to explore the repertoire of the Renaissance and early Baroque, combining academic insight with the highest levels of performance practice.

Then I go to the website for Delphian Records in Scotland and see this recording from the Choir of Caius and Gonville College:

The Choir of Gonville & Caius College, Cambridge explores the fascinating relationship between 16th- and early 20th century music as understood by the pioneers of the Tudor revival in England. Centred on Byrd’s Mass for Five Voices – revelatory and inspirational listening for a whole host of composers – this mosaic of reworkings, reimaginings and lovingly-crafted homages is brought to life with all the scholarly acumen and full-throated fervour that are the hallmarks of one of Britain’s finest choirs. Caius College Choir is one of the UK's leading collegiate choirs. Its members are almost all undergraduates of the College who have been elected into Choral Exhibitions. The twenty-three singers and two organ scholars, under the direction of Dr Geoffrey Webber, perform a wide range of sacred and secular choral music ranging from the fourteenth century to the present day, and have developed a niche for reviving neglected repertoires.

Track listing 1. Ralph Vaughan Williams: Whitsunday Hymn (1930) 2. William Harris: Eternal Ruler (1930) 3. Gustav Holst: Man born to toil (1927) 4. Thomas Tallis arr. M. & G. Shaw: Funeral Music (1915) 5. Percy Whitlock: O living Bread, who once didst die (1930) 6. Gerald Finzi: Up to those bright and gladsome hills (1925) 7-11. William Byrd: Mass for Five Voices 12. William Byrd arr. J.E. Borland: Fantasia in C (1907) 13. Benjamin Britten: A Hymn to the Virgin (1930) 14. Herbert Howells: Haec dies (1918) 15. Robert Pearsall: Tu es Petrus (1854) 16. Arnold Bax: Lord, thou hast told us (1931) 17. Herbert Howells: Master Tallis’s Testament (1940)   Nicholas Kenyon noted in The Observer last year: As concept albums go this is interesting, juxtaposing William Byrd's great five-part mass with a range of 20th-century British works that draw on Tudor sources. There are fairly straight arrangements, like the version of Tallis's "third tune" that Vaughan Williams also used, and the William Harris anthem Eternal Ruler using a magnificent Orlando Gibbons melody. A lovely Robert Pearsall anthem from the 1840s is the bridge to the world of Howells, Bax, Holst and Finzi, where the prize is taken by Britten's little teenage masterpiece, A Hymn to the Virgin. The later works feel more idiomatically sung than the Byrd, which is too ample, but the sonorously rich sound of the recording will appeal to all choral music enthusiasts.

Both are interesting albums, and both are available from Amazon.com as MP3 downloads only.

Advent Hymns

The Advent season in the Catholic Church today is dedicated to preparing for the threefold coming of Jesus Christ: His coming at the end of time in Glory, His coming to each of us (in our earthly life and at the moment of death), and His coming as a little baby. The Second Divine Person of the Holy Trinty becomes Incarnate, taking on our human nature and He lived among us in time, in history. In the last weeks of Advent, that Coming becomes the focus. One of the hymns commonly sung in this season is "On Jordan's Bank the Baptist's Cry", referencing St. John the Baptist as the forerunner of Christ, announcing His coming. The original Latin of the hymn's lyrics, composed by Charles Coffin for the Paris Breviary is:

Jordanis oras prævia
Vox ecce Baptistæ quatit:
Præconis ad grandes sonos
Ignavus abscedat sopor.

Auctoris adventum sui
Tellus & æther & mare
Prægestiente sentiunt,
Et jam salutant gaudìo.

Mundemus & nos pectora:
Deo propinquanti viam
Sternamus, & dignam domum
Tanto paremus hospiti.

Tu nostra, tu, Jesu, salus;
Tu robur & solatium:
Arens ut herba, te sine
Mortale tabescit genus.

Ægris salutarem manum
Extende: prostratos leva:
Ostende vultum, jam suus
Mundo reflorescet decor.

Qui liberator advenis,
Fili, tibi laus maxima
Cum Patre & almo Spiriiu
In sempiterna secula.
Amen.

Charles Coffin was born in Northern France and in 1701 would become a faculty member of the College of Beauvais, and later the principal of the same. In 1718 he became rector of the University of Paris for a short time before returning to the College. An avid scholar and Latin author, poet, and hymn writer, Coffin published a number of his Latin poems in 1727 and in 1736 published his Hymni Sacri Auctor Carolo Coffin, a collection of one hundred of his own hymns, many of which were also published in the Paris Breviary. Following the styles of Ovid and Horace, “he was the outstanding Latin author France has produced.” In 1736, the Archbishop of Paris commissioned Coffin, along with several other French writers, to create the Paris Breviary, with the intention of replacing the “…ancient Latin hymns with more modern ones.” In the preface to his Hymni Sacri, Coffin writes:

In his porro scribendis Hymnis non tam poetic indulgendum spiritui, quam nitore et pietate consulendum esse existimavi. Pleraque igitur, argumentis convenientis e purissimis Scripturs Sacra fontibus deprompsi quae idoneis Ecclesiae cantui numeris alligarem.
[In composing the hymns which follow, I have judged it right not so much to give rein to a poetic spirit, as to have regard to elegance and piety. For the most part, therefore, I have drawn their themes from the purest sources of Sacred Scripture, and have incorporated these in verses fitted for the Church's song.]

The dissemination of a number of Coffin’s hymns occurred in great part thanks to the Rev. James Chandler (1806-76), a Vicar in the Anglican Church of Witley. Chandler’s translations resulted from his desire to “…see the ancient prayers of the Anglican Liturgy accompanied by hymns of a corresponding date of composition.”

Rev. Chandler's translation:

1. On Jordan’s bank, the Baptist’s cry
Announces that the Lord is nigh;
Awake, and hearken, for he brings
Glad tidings of the King of kings!

2. Then cleansed be every breast from sin;
Make straight the way for God within;
Prepare we in our hearts a home
Where such a mighty Guest may come.

3. For Thou art our Salvation, Lord,
Our Refuge, and our great Reward.
Without Thy grace we waste away,
Like flowers that wither and decay.

4. To heal the sick stretch out Thine hand,
And bid the fallen sinner stand;
Shine forth, and let Thy light restore
Earth's own true lovliness once more.

5. Stretch forth thine hand, to heal our sore,
And make us rise to fall no more;
Once more upon thy people shine,
And fill the world with love divine.

6. All praise, eternal Son, to Thee
Whose advent sets Thy people free,
Whom, with the Father, we adore,
And Holy Ghost, forevermore.

Read more about the hymns of Charles Coffin and his translator, Rev.James Chandler, here.

Advent Hymns and Christmas Carols

The liturgical background of our traditional hymns during Advent and carols during the Christmas season, according to Christopher O. Blum in Crisis Magazine:

It is from the medieval Church and from her very life, the liturgy, that the custom of singing songs to the Christ child descends. The earliest noëls sprang directly from such chants as the Carolingian anthem Puer natus est and the O antiphons sung before the Magnificat at vespers during the octave leading up to Christmas. The word noël itself derives from the Latin natalis and appears in the form of the salute Noé! in Christmas Masses in the 12th century, meaning approximately “Hail, newborn one.” In the 13th century, the O antiphons emerged from the monastic choirs and took to the streets in the form we still know and love as Veni, veni Emmanuel. Many of the earliest Christmas songs that survive today are similarly bound to the liturgy and its language, often taking the form of what is called macaronic verse, in which Latin lines alternate with vernacular, with Bl. Heinrich Suso’s In Dulci Jubilo and the anonymous Célébrons la Naissance Nostri Salvatoris being particularly fine examples of the type.

It was the holy audacity of Saint Francis of Assisi that made the occasional pious work of creative clerics into one of the most popular manifestations of Christian piety, the carol and caroling. In 1223, Francis transformed the tiny village church at Greccio into the first living manger scene, complete with ox and ass and straw. Francis was granted a vision of the Christ child that night while the Little Brothers stood around singing their songs of praise. The grace of that midnight Mass multiplied like the loaves and fishes as the friars traveled throughout Europe carrying with them their new songs and their custom of reenacting the shepherds’ joyous march to the crèche. From these processions comes the word carol, which appears in the 13th century and comes from the old French name of a type of dance.

Towards the end of the medieval period, the invention of the printing press led to the preservation of many early carols and noëls. Back when England was still Merry, the publisher Winken de Woorde produced an edition of English carols (1520), and French, Spanish, and German publishers were not slow to follow suit. Thanks to Martin Luther’s own love of singing, the custom of celebrating Christmas with song survived in Lutheran Germany and Scandinavia, and even enjoyed a new flourishing with such hymns as Es ist ein Ros’ entsprungen by Michael Praetorius (flourished ca. 1600) and the immortal Cantatas of Johann Sebastian Bach.

Read the rest here.

Just Another Catholic in Exile: Composer Peter Philips

Now whirling in my CD player, this recording of works of Peter Philips, contemporary of William Byrd, "Cantiones Sacrae Quinis Vocibus". The Tudor Consort and Peter Walls performing on the Naxos Early Music label:

Peter Philips (1561-1628) stands with William Byrd (1543-1623) among the greatest composers of the Counter Reformation. These two English Catholic recusants composed sacred polyphony which is unsurpassed in sophistication and interest. Unlike Byrd, who remained in England, protected from serious legal harassment for his beliefs largely by official recognition of his remarkable gifts as a musician, Philips chose to live in exile on the continent.

Philips’ career was determined by his religious convictions. He is first heard of as a fourteen-year-old choirboy at St Paul’s in London. The person responsible for him there was Samuel Westcote, who was frequently in trouble with the authorities for his recusancy. In 1582, shortly after Westcote’s death, Philips fled England - and we are told that he did so "pour la foy Catholique". He went first to the English College at Douai where, at that very time, the Catholic English translation of the Bible, an answer to Protestant translations, was under way. (The Douai/Rheims New Testament appeared in 1582; the Old Testament was to follow in 1609). He then went on to the English College in Rome, which at that time provided refuge for a number of religious exiles. Philips remained at the English College for three years and was appointed organist. He was, therefore, in Rome at the height of Palestrina’s fame. Moreover, in 1585 Felice Anerio, Palestrina’s successor at the Papal Chapel, was appointed maestro di cappella at the English College, and so worked with Philips. Philips included music by Palestrina and Anerio in some of his own publications. In other words, he was thoroughly conversant with the riches of late-sixteenth-century Roman polyphony.

In 1585 Philips left Rome in the service of another English Catholic, Lord Thomas Paget. Together they travelled through Spain, France, and present-day Belgium. Paget died early in 1590, and Philips settled in Antwerp, where he married and "mainteyned him self by teachinge of children of the virginals being very cunning thereon". In 1593 he visited Amsterdam "to sie and heare an excellent man of his faculties" (Sweelinck). On his way back from Amsterdam, he was taken to The Hague for interrogation, on suspicion of plotting against Queen Elizabeth.

Four years later, he became a member of the household of the Archduke Albert, the regent of the Spanish Netherlands, and there he spent the rest of his working life. Thus, in this final and longest stage of his career, he illustrates quite literally the charge, made in 1630, that ‘Though all our Recusants be the King of Englands subjects, yet too many of them be the King of Spaines servants’.

Read the rest here. Thomas Paget had been the Third Baron Paget until 1589, when he was attainted of treason for supposedly plotting against Elizabeth I. His title was forfeit and he returned to Spain as an exile. Try to imagine Philips's terror at being arrested and questioned in Amsterdam--evidently he was able to present some facts that convinced Elizabethan authorities that he had not conspired against her. Becoming part of the household of the Archduke Albert provided more protection; not even exile guaranteed safety from Elizabeth I's "police state".