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Tudor Organ Music 570142bk Tudor Organ 8/8/06 3:53 PM Page 1 Carl Smith Carl Smith is on the faculty of the Blair School of Music of Vanderbilt University in Nashville, Tennessee. His interest in early keyboard music led him to Amsterdam to study seventeenth-century organ music with Gustav Leonhardt, and since that time he has focused on the music of English and Italian keyboard composers. He has performed music from the Mulliner Book and other period sources on many occasions and finds in it some of the Also available in the Organ Encyclopedia series loveliest counterpoint in all organ literature. As a composer, he has been intensively involved for many years with settings of the verse of Michelangelo Buonarroti. TUDOR ORGAN MUSIC 8.557184 8.557186 TALLIS REDFORD TOMKINS BLITHEMAN 8.557285 8.557375 Carl Smith 8.570142 5 6 8.570142 570142bk Tudor Organ 8/8/06 3:53 PM Page 2 TUDOR ORGAN MUSIC English organists of the early sixteenth century contributed under Henry VIII, Edward VI, Mary Tudor and eventually central hymn or antiphon tune proceeds only slightly more Editions Used roughly one hundred polyphonic keyboard works based on under Elizabeth I. John Blitheman (c. 1525-1591) too slowly than the surrounding counterpoint. The borrowed John Redford (d.1547) The Mulliner Book. Musica Britannica Vol.1 (Stainer and Bell) – works by Redford and Blitheman. liturgical plainsong which survive in manuscript copy. worked at the Chapel Royal beginning in 1558; he was melody may often be found as an inner voice in the Thomas Tomkins: Keyboard Music. Musica Britannica Vol. V (Stainer and Bell). 1 Exultet celum laudibus 1:15 These settings, typically arrangements of hymns and also associated with Christ Church, Oxford. Thomas texture, but it can be placed in any register, and many Thomas Tallis: Complete Keyboard Works (Hinrichsen). 2 Sermone blando angelus 1:34 antiphons, found their inspiration in the familiar plainsong Preston (d. after 1559) may be the organist found at composers seem to delight in voice crossings where the Old English Organ Music (Bärenreiter) – works by Anonymous. John Blitheman (c.1525–1591) of the day, but the beauty of these works often lies in the Magdalen College, Oxford, in 1543, and might also be slow motion tune is now above and now below the Early Tudor Organ Music (Stainer and Bell) – works by Redford and Anonymous. nuanced turns of melodic line and in the metrical the organist and choirmaster who served Trinity College, nominally accompanying material. The newly crafted 3 Eterne rerum conditor 1:04 sophistication resulting from the build-up of two or three Cambridge, intermittently between 1548 and 1559. He materials necessarily resemble the original in modal (or 4 Christe qui lux 1:31 independent contrapuntal lines. Many of these works may contributed a number of works, possibly including perhaps tonal) implication, but cadences of the cantus The Instruments John Redford have been conceived as contributions to the regular the“Uppon La Mi Re” found anonymously amidst a cluster firmus are not always strictly observed, and composers 5 Angulare fundamentum 2:00 practice of alternatim performance, in which the organist of his other keyboard works in the manuscript London seem to have enjoyed placing the melodic resting points Tracks 1–21 recorded at Tracks 22–30 recorded at 6 Te lucis ante terminum 1:28 and choir would have alternated verses in the presentation Add. 29996. of the “new” voices in places that contrast with the normal Sudekum Chapel Ackerman Auditorium of a single hymn, but the keyboard works appear to have The last member of the organist fraternity to compose phrasing of the original melody. First Lutheran Church Southern Adventist University John Blitheman developed a life of their own both as pedagogical works in this style was Thomas Tomkins (1572-1656), a Above all, the repertory is to be noted for its rhythmic Nashville, Tennessee Collegedale, Tennessee 7–@ Six settings of Gloria tibi Trinitas and as independent keyboard music. Given their origins generational outlier. Tomkins, organist at Worcester displacements. Canonic or imitative writing creates Organ by Helmuth Wolff, 1998 Organ by John Brombaugh, 1986 I. 2:06 • II. 1:57 • III. 1:44 • IV. 2:05 in the world of small vocal works, many of the individual Cathedral from 1596 who eventually succeeded to the post tension in some works (e.g. the anonymous A solis ortus V. 1:46 • VI. 1:52 movements retain the delicacy of the miniature, allowing of organist at the Chapel Royal in 1621, encountered the cardine from London Add. 29996, fol. 163v), but Manual I 8’ Montre (wood) Manual I 8’ Praestant Anonymous the composer the luxury of concentrating on one or two repertoire of liturgical keyboard works late in his life when elsewhere metrical modulation and contrasts of motivic 4’ Prestant 8’ Gedackt # La Mi Re 2:53 elaborative techniques. he acquired a manuscript containing the by then old- material generate the patterns of creative energy that keep 2’ Doublette/Fourniture IV 8’ Oak Principal Perhaps it was this feature of focused elaboration that fashioned repertoire. Always an assiduous student of this repertory moving forward. Redford’s Angulare 2 2/3’ Nasard/Cornet II 4’ Octave Thomas Tallis (c.1505–1585) inspired the English organist, collector and transcriber of music, Tomkins accorded this manuscript, London Add. fundamentum, for example, incorporates several levels of 4’ Spitzpfeife $ Clarifica me Pater (I) 1:10 many of these works, Thomas Mulliner, who flourished in 29996, the same treatment he had given to his personal syncopation before shifting to a triple division in the Manual II 8’ Flûte à cheminée 2’ Octave % Gloria tibi Trinitas 1:34 London in the 1560s, to compile his so-called Mulliner copy of Thomas Morley’s A Plaine and Easie Introduction second half of the setting. This rhythmic variability offers 4’ Flûte à fuseau 3’ Quinte/ Sesquialter II ^ Clarifica me Pater (II) 1:32 Book (London, Add. 30513), one of the central exemplars to Practicall Musicke (1597), annotating and commenting composers a sophisticated array of coloristic choices, 8’ Douçaine V Mixture & Iste confessor 1:41 of this repertoire. Mulliner appears to have had an on the details of the music he had before him. His allowing a good deal of contrast from one setting to the 8’Trumpet * Clarifica me Pater (III) 1:31 aesthetic interest in collecting the very best individual judgements on this music, which he characterized as next. Perhaps this is why some clusters of alternatim Pedal 16’ Soubasse Thomas Tomkins (1572–1656) pieces. He sometimes dismembers alternatim sets, and he “good’ and even “very good”, led Tomkins to undertake settings seem to invite treatment as variation sets; Manual II 8’ Regal ( Miserere 3:52 includes in his anthology a number of works with shifting his own experiments in the genre, and his autograph copies composers such as Blitheman may have systematically couplers 3’ Hohlquinte (treble) metres as well as works involving careful attention to of several of these deliberately archaic pieces are dated linked a series of successive “verses” based on a single ) Clarifica me Pater 2:33 tremulant motivic play. Indeed, the works he chose for inclusion in the period from 1646 to1654. He may have intended cantus firmus as a means to explore longer forms. Pedal 16’ Subbass ¡ In nomine 3:03 temperament after Kellner demonstrate especially well the art of compositional them as didactic works, as John Irving and others have Certainly, there is no liturgical reason for a Gloria tibi 8’ Praestant (trans.) Anonymous planning, and Jane Flynn has argued that the collection as suggested, which would fit these late contributions into Trinitas to be gathered into six related movements; a 8’Trumpet (trans) ™ Felix namque 4:51 a whole mirrors the teaching practices of English choir the same tradition as Mulliner Book from nearly a century broader artistic impulse is almost certainly at work. Anonymous schools during this pre-Reformation era. earlier. To take full advantage of the coloristic nature of this tremulant The composers who contributed to this repertoire The works in this idiom have a propensity towards repertoire, the recording uses two organs suited to both coupler I/Pedal £–§ A solis ortus (four verses) were organists by training. John Redford (d. 1547) was motivic integration. Often, short passages of imitation, the general style of the music and, in some cases, to the meantone tuning I. 1:54 • II. 2:07 • III. 2:06 • IV. 0:57 associated with St Paul’s Cathedral and ascended to the canon or simple repetition either at pitch or in sequence particular requirements of individual pieces. The organs John Redford position of Almoner and Master of the Choristers prior to can be found surrounding the slow motion cantus firmus are of modest size, but both are possessed of surprisingly ¶ Primo dierum omnium 1:14 his death. Thomas Tallis (c. 1505-1585) spent his early (see for example Redford’s settings of Lucem tuam, among full and robust sounds, as well as sounds of great warmth •–º Three settings of Lucem tuam career in a series of church positions, appointed initially the best demonstration of this art). Even the unknowing and clarity. I. 2:19 • II. 2:19 • III. 3:18 as “joculator organum,” and eventually rose to a position pupil would likely have heard and identified the melodies Cynthia J. Cyrus Special thanks to Dean Mark Wait of the Blair School of Music, Ralph Erickson of First Lutheran Church, as a member of the Chapel Royal in 1543, where he served on which these settings were based, however, since the Blair School of Music, Vanderbilt University Nashville, Judy Glass of Southern Adventist University, and Bruce Fowkes of Richards, Fowkes and Company.
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