Music of the Reformation

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Music of the Reformation Era ORIGINAL ENGLISH TEXT If ye love me, keep my commandments, October 18, 2020 and I will pray the Father, Anthems of Anglicanism and he shall give you another comforter, that he may ‘bide with you forever, In 1521, Pope Leo X conferred upon King Henry VIII of England the e’en the spirit of truth. title of Fidei Defensor (Defender of the Faith) as a reward for his pamphlet Assertio septem sacramentorum adversus Martinum Lutherum (“Declaration of the Seven Sacraments Against Martin Luther”). A mere 12 years later, he was stripped of this title for breaking away from the Roman Catholic Church because the Pope refused to grant him a divorce from Catherine of Aragon. Henry ordered the Archbishop of Canterbury to grant the divorce, which he did. The Church of England remained Catholic in doctrine under Henry VIII with a few exceptions. One such exception was the replacement of Latin services with English. This brought forth a new style of sacred composition, called the anthem (from Latin “antiphon”). An anthem is a polyphonic work (multiple voices moving independent of each other) in English. Thomas Tallis (ca. 1505 – 1585) was a prominent composer of English choral music. He is considered one of England’s greatest composers. Little is known of Tallis beyond his music. Even the only portrait of him in existence, by Gerard Vandergucht, was painted around 150 years after Tallis’ death (so this picture probably NEXT WEEK’S PRELUDE does not look like him). CHORALES OF LUTHERANISM Tallis’ anthem, If ye love me, exemplifies Ein feste Burg the early Anglican anthem as it balances the demands of the Anglican by Martin Luther Church for clear, comprehensible setting of the text with the musical qualities of beauty and variety. The words, derived from John 14:15- 17 (see reverse), held an important place in the new Book of Common Prayer and were the beginning of the Gospel reading on Pentecost, Whit Sunday, the exact day in June 1549 when the new rites of the Church of England were officially put into effect. .

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The English Anthem Project the Past Century and a Half, St
Special thanks to St. John’s staff for their help with promotions and program printing: Mair Alsgaard, Organist; Charlotte Jacqmain, Parish Secretary; and Ministry Coordinator, Carol The Rev. Ken Hitch, Rector Sullivan. Thanks also to Tim and Gloria Stark for their help in preparing the performance and reception spaces. To commemorate the first Episcopal worship service in Midland, MI 150 years ago, and in appreciation for community support over The English Anthem Project the past century and a half, St. John's and Holy Family Episcopal Churches are "Celebrating In Community" with 16th and 17th Centuries events like today’s concert. We hope you are able to share in future sesquicentennial celebration events we have planned for later this summer: www.sjec-midland.org/150 Exultate Deo Chamber Choir Weekly Worship Schedule SUNDAYS Saturday, June 24, 2017 8:00 AM - Holy Eucharist Traditional Worship, Spoken Service 4:00 p.m. 10:00 AM - Holy Eucharist Traditional Worship with Music, St. John’s Episcopal Church Nursery, Children's Ministry 405 N. Saginaw Road WEDNESDAYS Midland, MI 48640 12:00 PM - Holy Eucharist Quiet, Contemplative Worship 405 N. Saginaw Rd / Midland, MI 48640 This concert is offered as one of (989) 631-2260 / [email protected] several ‘Celebrating in Community’ www.sjec-midland.org events marking 150 years of All 8 Are Welcome. The Episcopal Church in Midland, MI The English Anthem Project William Byrd (c1540-1623) worked first in Lincoln Cathedral then became a member of the Chapel Royal, where for a time he and Tallis 16th and 17th Centuries were joint organists.
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14. Suspension Tallis
SUSPENSION: A SERIES OF MUSICAL REFLECTIONS No:14 Time for a little bit more choral music! As many of our previous SUSPENSIONs have been, this piece is a setting of a liturgical text, namely John 14:15-21, which is one of this Sunday’s lessons. In this instance, the gorgeous setting is by English composer Thomas Tallis, and is called ‘If Ye Love Me’. This piece is another example of a motet (see SUSPENSION 10), this time featuring four voice parts. In this case the motet is comprised of what we call ‘homophony’, meaning that all four voice parts move at the same time, save for a few instances of imitation. This differs from previous motets discussed in this series, which feature the more heavily imitative, ‘contrapuntal’ style which was also popular. In the history of English choral music and indeed, English music more widely, Tallis was just about as influential as it gets. Serving in the Chapel Royal for over 40 years, Tallis navigated his was through one of the most turbulent times in the Church’s history, through four monarchs, and multiple changes in lectionary, worship and music. Many music historians have analysed how all of those changes can be easily seen reflected in Tallis’ output through his life. In some ways that’s quite a comforting thought at this time. Christians have lived through all sorts of difficult and troubling times, and have always managed to find creative and beautiful ways to express their devotion and admiration for God, his word, and his creation. Maybe Christians of the future will look to the music of our times for comfort and inspiration.
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IF YE LOVE ME By
SYMPHONIC REPERTOIRE SERIES IF YE LOVE ME by RALPH HULTGREN DURATION: 4’40” LEVEL: 4 INSTRUMENTATION 1 - Score 4 – Trumpet 1 3 – Flute 1 4 – Trumpet 2 3 – Flute 2 2 – French Horn 1 SAMPLE2 – Oboe 2SCORE – French Horn 2 2 – Bassoon 2 – Trombone 1 3 – Clarinet 1 2 – Trombone 2 3 – Clarinet 2 1 – Bass Trombone 3 – Clarinet 3 2 – Euphonium 2 – Bass Clarinet 1 – Euphonium TC 2 – Alto Saxophone 1 4 – Tuba 2 – Alto Saxophone 2 1 – Double Bass 2 – Tenor Saxophone 1 – Timpani 1 – Baritone Saxophone 1 – Glockenspiel 1 – Triangle Band Music by Australian Composers Published and printed in Australia by the BROLGA MUSIC PUBLISHING COMPANY Copyright Brolga Music 2020 CAT NO. BMC134 ISMN 9790 902250825 IF YE LOVE ME After Thomas Tallis – For Julie Ralph Hultgren Duration: 4’38” Level: 4 Program Notes: If Ye Love Me is a paraphrase setting of the Thomas Tallis four-part motet of the same name. Published in 1565 during the reign of Elizabeth the First, it incorporates new musical material woven around the beautiful yet simple motet Tallis composed for the Church of England. At the time Tallis composed the work, the Church of England decreed that all choral music must be sung in English, doing away with the Latin text commonly used. Tallis chose his text from Jesus’ words to His disciples in the Gospel of John, where He said: “If ye love me, keep my commandments. And I will pray the Father, and he shall give you another comforter, that he may 'bide with you forever; E'en the sp'rit of truth.” (John 14: 15-17, from the Tyndale translation) This setting strives to keep the comfort alluded to in the words of Christ, with a transparent setting giving the original music ‘room’ to speak and the new music a chance to embrace it.
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Sixth Sunday of Easter + “If You Love Me…”
Sixth Sunday of Easter + “If you love me…” Read: John 14:15-21 Reflection The sixteenth-century church music composer Thomas Tallis lived in turbulent times. During his lifetime, the national religion of England went from Catholic to Protestant, then Catholic again, and finally more moderately Protestant, when the Elizabethan settlement established the Anglican Communion more or less as we know it today. Very little is known about Tallis’ life and character, but we can glimpse a few clues from his music. We know he was adaptable and willing to compromise, as he varied his style according to the liturgical requirements of the times. But it is also clear that he maintained his personal, catholic faith even when it was dangerous to do so. One of Tallis’ most famous anthems sets the words that we heard in today’s Gospel. It uses the 1539 translation by William Tyndale: “If ye love me, keep my commandments, and I will pray to the Father, and he shall give you another comforter, that he may abide with you forever, e’en the spirit of truth.” As this was written during the reign of the strongly Protestant Edward VI, one can’t help but wonder how Tallis felt as he composed music for these words. In the midst of religious turmoil, when many of those who kept to the old faith were persecuted, did he feel the need for reassurance that, as long as he loved Jesus, the Holy Spirit, the “Spirit of truth”, would be there to comfort him? Today’s Gospel is part of Jesus’ farewell speech to his disciples at the Last Supper, just after Judas has gone out to betray him.
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Download CD Booklet
TREASURES OF ENGLISH CHURCH MUSIC 46 anthems and motets sung by The Cambridge Singers 2 CD directed by John Rutter Treasures of English Church Music The Cambridge Singers directed by John Rutter Total playing time: 141' 38" Note: words credits are given at the end of each text. Disc 1 Music of the Latin rite 1 Ave Maria (4' 25") Robert Parsons (d. 1570) 2 Loquebantur variis linguis (3' 53") Thomas Tallis (c. 1505–1585) 3 Miserere mei (3' 46") William Byrd (1543–1623) 4 Haec dies (2' 23") William Byrd 5 Ave verum corpus (3' 39") William Byrd Music of the Reformation 6 If ye love me (2' 08") Thomas Tallis 7 Hide not thou thy face (1' 15") Richard Farrant (c. 1525–1580) 8 Lord, for thy tender mercy’s sake (1' 53") Richard Farrant 9 O clap your hands (4' 36") Orlando Gibbons (1583–1625) 10 Bow thine ear (4' 08") William Byrd 11 Hosanna to the Son of David (2' 33") Orlando Gibbons Music of the Restoration 12 Lord, how long wilt thou be angry (4' 08") Henry Purcell (1659–95) 13 Thou knowest, Lord (2' 05") Henry Purcell 14 Hear my prayer, O Lord (2' 28") Henry Purcell 2 3 The Anglican revival and the twentieth century 10 O vos omnes (5' 25") Ralph Vaughan Williams 15 Beati quorum via (3' 21") Charles Villiers Stanford (1852–1924) Alto solo: Frances Jellard 16 This joyful Eastertide (2' 17") Dutch carol, arranged by Charles Wood (1866–1926) 11 Factum est silentium (3' 00") Richard Dering (c. 1580–1630) 17 Sing lullaby (3' 06") Herbert Howells (1892–1983) 12 Justorum animae (3' 30") Charles Villiers Stanford 18 A spotless Rose (2' 45") Herbert Howells Settings of hymns and other poetry 19 What cheer? (1' 18") William Walton (1902–83) 13 Hail, gladdening Light (3' 42") Charles Wood 20 O taste and see (1' 16") Ralph Vaughan Williams (1872–1958) 14 A Hymn to the Mother of God (2' 42") John Tavener (b.
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Choral Evensong February 2, 2020 5:00 P.M
Choral Evensong February 2, 2020 5:00 p.m. WELCOME TO FIRST PRESBYTERIAN CHURCH Grace and peace to you as we gather for worship! Here in this place, the seasons of our lives are marked: the children of God of every age are baptized, marriages are celebrated, and when one grieves, the whole body grieves together. We are a family of faith. And just as Christ Jesus has welcomed each person to this church for over three hundred years, we extend our word of welcome in his name. Christ loves all, calls all, and welcomes all, and so whether this is your ﬁrst time here, or you have worshipped here for years, everyone enters this place with the profound welcome of Jesus Christ. This congregation is steeped in history – three members of the church signed the Declaration of Independence. We are a part of the history of this city from its earliest days. But make no mistake about it: this is a living, breathing congregation seeking in real and tangible ways to make the grace of God known to our very modern world. We would love to know you, and for you to know us. Please stay after the service and join in our fellowship time together where we enjoy refreshments, and most importantly, share our lives together. And if in getting to know us, you feel God is calling you to join together with us in living God’s grace in this place, it would be our joy for you to become a part of this community. Baron Mullis, Pastor Choral Evensong has a long history, dating back to the time of the Reformation.
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Thomas Tallis the Complete Works
Thomas Tallis The Complete Works Tallis is dead and music dies. So wrote William Byrd, Tallis's most distinguished pupil, capturing the esteem and veneration in which Tallis was held by his fellow composers and musical colleagues in the 16th century and, indeed, by the four monarchs he served at the Chapel Royal. Tallis was undoubtedly the greatest of the 16th century composers; in craftsmanship, versatility and intensity of expression, the sheer uncluttered beauty and drama of his music reach out and speak directly to the listener. It is surprising that hitherto so little of Tallis's music has been regularly performed and that so much is not satisfactorily published. This series of ten compact discs will cover Tallis's complete surviving output from his five decades of composition, and will include the contrafacta, the secular songs and the instrumental music - much of which is as yet unrecorded. Great attention is paid to performance detail including pitch, pronunciation and the music's liturgical context. As a result new editions of the music are required for the recordings, many of which will in time be published by the Cantiones Press. 1 CD 1 Music for Henry VIII This recording, the first in the series devoted to the complete works of Thomas Tallis, includes church music written during the first decade of his career, probably between about 1530 and 1540. Relatively little is known about Tallis’s life, particularly about his early years. He was probably born in Kent during the first decade of the sixteenth century. When we first hear of him, in 1532, he is organist of Dover Priory, a small Benedictine monastery consisting of about a dozen monks.
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Choral Evensong
CHORAL EVENSONG July 26, 2020 5:00 P.M. WELCOME TO CHORAL EVENSONG The American Cathedral of the Holy Trinity welcomes all people. Wherever you are on your spiritual journey, whatever your questions, whatever your situation, we are glad you are here and invite you to find out more about our life together. The American Cathedral in Paris 23, Avenue George V 75008 PARIS CHORAL EVENSONG Choral Evensong (Evening Prayer/Vêpres Chantées) is one of the real jewels of the Anglican tradition, and has been so for over 400 years. A service of timeless beauty and heritage, it dates from the English Reformation, when the medieval Latin monastic offices of Vespers and Compline were translated into English to be used in all parish and cathedral churches. Along with sung Mattins (Morning Prayer), Evensong was one of the principal Sunday services of the Anglican Church until the late nineteenth-century, when the Eucharist became increasingly prevalent. The service as we have it today is essentially unchanged from Archbishop Thomas Cranmer’s 1549 Book of Common Prayer -- from which the current Episcopal Prayer Book draws its origins. The style of English language (Rite I) used is similar to the language of Shakespeare, dating from the sixteenth century. Much of Evensong is sung by the choir -- giving the congregation the opportunity to listen to the fine Anglican choral tradition of music, and to be inspired and uplifted in worship. It is a musical offering of praise to God. The text of Evensong is taken almost entirely from the Scripture. A portion of the psalter is beautifully chanted by the choir.
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The Compositions of Thomas Tallis: How the English Reformation Informed His Style
Musical Offerings Volume 11 Number 2 Fall 2020 Article 1 9-30-2020 The Compositions of Thomas Tallis: How the English Reformation Informed His Style Joshua L. Gore Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Fine Arts Commons, Musicology Commons, and the Music Theory Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Gore, Joshua L. (2020) "The Compositions of Thomas Tallis: How the English Reformation Informed His Style," Musical Offerings: Vol. 11 : No. 2 , Article 1. DOI: 10.15385/jmo.2020.11.2.1 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol11/iss2/1 The Compositions of Thomas Tallis: How the English Reformation Informed His Style Document Type Article Abstract Thomas Tallis, known by some as the "Father of English Church Music," accomplished one of the most impressive feats in the history of musical service: surviving in the Chapel Royal through the reigns of vastly different monarchs during one of the most volatile political climates in the country's history. A clear streak of pragmatism shines through this stability and success, but exactly how did that pragmatism demonstrate itself within his compositional style? Through exploration and analysis of Tallis's musical style in different political and religious periods, one discovers the answer to how he managed to navigate the winds of change that led to ostracization and demise for so many leaders in the flux of power.
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Grace Church Cathedral in the City of Charleston the Diocese of South Carolina
Grace Church Cathedral in the City of Charleston The Diocese of South Carolina The Sixth Sunday of Easter May 17, 2020 11:00 a.m. Choral Eucharist page 4 Today’s Readings Acts 17:22-31 ready to make your defense to anyone who de- On his second missionary journey, Paul has crossed mands from you an accounting for the hope that is Asia Minor (modern Turkey) and has arrived in Athens, a in you; yet do it with gentleness and reverence. city known for its interest in the divine and for its open- ness to discussion of philosophies and religions. He now Keep your conscience clear, so that, when you are tells the good news to those gathered at the edge of the maligned, those who abuse you for your good con- marketplace. duct in Christ may be put to shame. For it is better aul stood in front of the Areopagus and said, to suffer for doing good, if suffering should be P “Athenians, I see how extremely religious you God’s will, than to suffer for doing evil. For Christ are in every way. For as I went through the city and also suffered for sins once for all, the righteous for looked carefully at the objects of your worship, I the unrighteous, in order to bring you to God. He found among them an altar with the inscription, was put to death in the flesh, but made alive in the ‘To an unknown god.’ What therefore you worship spirit, in which also he went and made a proclama- as unknown, this I proclaim to you.
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A Selected Survey of Sacred and Secular Music from the English
James Madison University JMU Scholarly Commons Senior Honors Projects, 2010-current Honors College Fall 2015 A selected survey of sacred and secular music from the English Reformation, with emphasis on pedagogical applications for the high school choral classroom Caroline Morse James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/honors201019 Part of the Educational Assessment, Evaluation, and Research Commons, and the Secondary Education and Teaching Commons Recommended Citation Morse, Caroline, "A selected survey of sacred and secular music from the English Reformation, with emphasis on pedagogical applications for the high school choral classroom" (2015). Senior Honors Projects, 2010-current. 242. https://commons.lib.jmu.edu/honors201019/242 This Thesis is brought to you for free and open access by the Honors College at JMU Scholarly Commons. It has been accepted for inclusion in Senior Honors Projects, 2010-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. A Selected Survey of Sacred and Secular Music from the English Reformation, with Emphasis on Pedagogical Applications for the High School Choral Classroom _______________________ A Project Presented to the Faculty of the Undergraduate College of Visual and Performing Arts James Madison University _______________________ in Partial Fulfillment of the Requirements for the Degree of Bachelor of Music _______________________ by Caroline Marie Morse December 2015 Accepted by the faculty of the Department of Music, James Madison University, in partial fulfillment of the requirements for the Degree of Bachelor of Music. FACULTY COMMITTEE: HONORS PROGRAM APPROVAL: Project Advisor: Jo-Anne van der Vat-Chromy, Ph.D.
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SPEM in ALIUM: PROGRAM NOTES December 12 & 13, 2015
SPEM IN ALIUM: PROGRAM NOTES December 12 & 13, 2015 Spem in Alium Thomas Tallis (c. 1505-1585) Puer Natus in Bethlehem Michael Praetorius (c. 1571-1621) Anna Roberts, Emilie Bishop, Ken Short / Sarah Hunter, Ali Kramer, Ben Schroeder Lo How a Rose E'er Blooming (audience) HYMNAL 81, vs. 1 & 2 (Praetorius) Spes Mea, Christe Deus Heinrich Schütz (1585-1672) Es Flog ein Täublein Weiße Johannes Brahms (1833-1897) Oseh Shalom Nurit Hirsh (b. 1942), arr. Elaine Ginsberg (b. 1962) Welcome the King viola Michael Glasgow (b. 1977) Carol of the Magi cello, organ John Rutter (b. 1945) Ted Roper Pilgrim Jesus organ Stephen Paulus (1949-2014) INTERMISSION Da Pacem Domine Arvo Pärt (b. 1935) Gaude Virgo, Mater Christi Josquin des Prez (c. 1450-1521) Chamber Singers Rejoice, Rejoice Believers (audience) HYMNAL 68 (Welsh tune - Llangloffan) Hope Oliver Holden (1765-1844) Glorious, Glorious premiere commission Dale Trumbore (b. 1987) I Wonder as I Wander Fenno Heath (1926-2008) Alice Allen, Mark Hewitt Rise Up, Shepherd Heath Robert Bowden, Margaret Erath Blow, Blow Thou Winter Wind Matthew Harris (b. 1956) Tähed Taevas Estonia Urmas Sisask (b. 1960) Dižie Ziemassvētki Latvia Uģis Prauliņš (b. 1957) Laura Quinn, Caitlyn Roper INSTRUMENTALISTS: Rebecca Harris-Lee, Laura Smith, violin; Maggie Speier, viola Terrence Thornhill, cello; Joshua Stafford, organ Jen DeChene, Mark & Mia Hewitt, Mickey McGrath, Diane Pivarnik, Michael Sutcliffe, John Lamb, percussion It is truly a mark of genius that Thomas Tallis could so excel in the grand and the simple that two of his most famous works – Spem in Alium (40 separate parts, in Latin) and If Ye Love Me (simple, beautiful SATB motet in English, sung by my friends at my wedding!) – are both so perfect.
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