CORO CORO

We would like to thank the President and Fellows of Magdalen College, Oxford for all their help and assistance with this project.

All music edited by Bernard Rose and his pupils: plainsong edited by David Hiley (1965-68) Davy in MS edited Bernard Rose and Harry Christophers Mason in MS edited Bernard Rose Sheppard published Oxenford Imprint edited David Wulstan (1960-63, Lecturer 1968-78) except Sheppard Magnificat and O happy Dames edited Roger Bray (1962-65)

Text translations by: Recording Producer: Gregory Rose (1967-70) Colin Hardie (Fellow 1936-73) Recording Engineer: Geoff Miles (Floating Earth) Oliver Taplin (Fellow 1973- ) Recorded at Magdalen College, Oxford, 3-5 January 1997 Music from Magdalen Susan Hitch (Fellow 1996-2002) Fiona Hodges JOHN SHEPPARD RICHARD DAVY JOHN MASON

Cover image: Iain Anstess 2007 The Sixteen Productions Ltd. Design: Andrew Giles © 2007 The Sixteen Productions Ltd. N THE MAGDALEN COLLECTION HARRY CHRISTOPHERS cor16049 On three very cold days in January 1997, I brought MUSIC FROM MAGDALEN together twenty ex-Academical Clerks of Magdalen College, Oxford. The friendship generated by the assembled singers, which spanned 30 years of students, 1 PLAINSONG Magnificat antiphon: Inclita sancte (Mode 1) 1.13 was electric. Old friends were reunited and new friends 2 JOHN SHEPPARD (d.1559) Magnificat a4 (Mode 1) 9.35 were made. 3 JOHN SHEPPARD O happy dames 2.02 The purpose was to preserve a very unique Magdalen solo: Robin Blaze (alto1), William Purefoy (alto 2), sound and put down on disc, for posterity, the music of David Roy (tenor), Peter Harvey (bass) Magdalen organists from the C16th. These composers all had claim to the honourable title of Informator 4 JOHN MASON (d.1548) Vae nobis miseris 11.43 Choristarum (Master of the Choristers) from a period verse: David James (alto 1), Angus Davidson (alto 2), of English music which was so prolific. As luck would James Oxley (tenor 1), David Roy (tenor 2), Peter Harvey (bass) have it, a lot of the music of these composers survived the Reformation and so we were able to present works 5 JOHN SHEPPARD Laudem dicite Deo 7.39 by three successive Magdalen composers, Richard 6 RICHARD DAVY (d.1507) Joan is sick and ill at ease 5.37 Davy, John Mason and the amazing John Sheppard, verse: Angus Davidson (alto), David Roy (tenor), whose three sublime settings of In manus tuas are set Peter Harvey (bass) alongside the joy and exhilaration of Laudem dicite Deo 7 JOHN SHEPPARD In manus tuas I 3.35 Bernard Rose 1916 –1996 and Spiritus sanctus. This is truly great music from a character whose waywardness at Oxford is legendary. 8 JOHN SHEPPARD In manus tuas II 3.47 For us all to return to Magdalen and perform this 9 JOHN SHEPPARD In manus tuas III 3.12 music in the chapel in which it was first heard 500 years ago was in itself inspirational; to bl JOHN SHEPPARD Spiritus sanctus I 7.56 dedicate our performances to the man who had been our Informator Choristarum, our tutor and master of music, was an added honour. Bernard Rose had died at the end of the bm PLAINSONG Magnificat antiphon: In diebus illis (Mode 7) 1.51 previous year and it was him we must all thank for our love of Tudor music. He devoted his bn RICHARD DAVY Ah, mine heart, remember thee well 5.08 life not only to detailed scholarship, but also to performance; more than all of that, however, verse: Robin Blaze (alto), Stuart Beer (tenor), it was his inspiration and loyalty to his students for which we are eternally grateful. Jonathan Arnold (bass) This is a very special recording, performed by singers committed to their art and their bo JOHN MASON Quales sumus 10.54 love of Magdalen. verse: Robin Blaze (alto 1), William Purefoy (alto 2), James Oxley (tenor 1), David Roy (tenor 2), Jonathan Arnold (bass)

2 3 Magdalen Music and Musicians and Eton) who founded Magdalen College, THE MAGDALEN COLLECTION Oxford in 1458, with 4 chaplains, 8 clerks, 16 he lavishness of choral provision in choristers and an informator. The importance Alto: Robin Barda (clerk 1967-70) T educational institutions founded in of this increase in musical provision cannot the late fourteenth and fifteenth centuries be overstated, for it provided many places Robin Blaze (chorister 1981-84, clerk 1989-92) was of crucial importance to the music Angus Davidson (clerk 1982-85) for singers and laid great emphasis upon composed for them to sing, making it the boys; musical training as well as their Peter Hayward (clerk 1973-76) possible for composers to write music for general education. It also led in due course David James (clerk 1969-72) ever larger forces, as we may see from this to an outpouring of polyphonic music for William Purefoy (clerk 1986-89) music for Magdalen written in the early years these new choirs to sing, a new kind of John Saunders (clerk 1967-70) of the sixteenth century. This stems from music reflecting the size of the choirs and William of Wykehams's music establishment the rapidly increasing skill of the singers. Tenor: Stuart Beer (clerk 1971-74) at New College, Oxford (founded 1379) Accepting that much of the music composed Paul Elliott (clerk 1969-72) and Winchester College (1382), 3 clerks, 16 around 1500 must have been lost, we can choristers in either case, with an informator still see that the musicans associated with Mark Milhofer (clerk 1987-90) choristarum (choirmaster) added at New James Oxley (clerk 1984-87) these new collegiate institutions are the College from 1394/5 and at Winchester predominant influence of the period. Keith Parker (clerk 1973-76) from 1396/7, which started a trend in other Richard Price (clerk 1968-71) establishments founded or influenced by Magdalen College Chapel was begun in David Roy (clerk 1966-67) those connected with these two institutions: 1474 and finished in about 1480, in 1476 Henry Chichele, who founded All Souls we find the first record of the appointment Bass: Jonathan Arnold (clerk 1989-92) College, Oxford in 1438, with 3 clerks and 6 of musicians to serve in it, presumably at Roger Bray (clerk 1962-65) choristers, and Robert Beckington, who was first a temporary structure; in 1481 we find James Gowings (clerk 1969-72) secretary to Henry VI who founded Eton the first record of the existence of an organ, and King's College, Cambridge in 1440/1, and in 1484 the first record of payment for Peter Harvey (clerk 1978-81) each with 10 clerks and 16 choristers. music copied (30 shillings for copying and William Robinson (chorister 1956-58, clerk 1966-69) This was precisely the time when music paper 'de sett sont'). When finished the Francis Steele (clerk 1972-75) was developing from performance by one chapel obviously set a new standard and Lawrence Wallington (clerk 1975-78) voice per part to choral (many voices per certainly impressed the Fellows of Merton, part) This influence continued in the hands because in 1486 they decided to build a Conductor: Harry Christophers (clerk 1973-77) of William of Wayneflete (of Winchester new rood-loft in Merton Chapel; this is the

4 5 screen between the chapel and the ante- incidentally, how the Merton scribe captures featured on this disc, John Mason (informator musicians as musicological and historical chapel above which a large cross ('rood') the pronunciation of 'Magdalen' even at this 1509-10), Thomas Appleby (1539-41) and scholarship developed. Stainer was an early was sometimes suspended, on which the early date, however flexible his spelling. John Sheppard (various periods between exponent of this early musicology with organ was placed, and from which parts of 1542 and 1548). Choirmaster/organists/ his edition (1901) of music by Dufay from All the Magdalen repertoire of this early some services were sung or declaimed, or, as composers of the seventeenth century manuscripts housed in the Bodleian Library. period is lost, though it is likely that the the building specification for King's College include Richard Nicolson (1595-1639), So, through nearly five and a half centuries newly refounded Christ Church, Canterbury Chapel, Cambridge stated, 'be hynde the the first Heather Professor of Music at since the foundation of the College, many (Canterbury Cathedral) in 1540 used Provostes stall unto the qwere dore vi fote, Oxford University in 1626 and composer of of its choirmasters and organists have also the Magdalen repertoire as the source for a wey into the Rodelofte for redying madrigals, instrumental music and anthems been composers, scholars and editors. of parts for the new collection it had to and syngyng and for the organs and other including a well-known setting of a text build up rather rapidly after dissolution This disc was conceived as a tribute, and manere observance there to be had after associated with St Mary Magdalen, 'When and refoundation. Some of the works in became a memorial, to Bernard Rose the Rewles of the Churche of Salesbury'. Jesus sat at meat', Benjamin Rogers (1665- its collection (in what are now known as (informator 1957-81), who followed The competitive Merton Fellows specified 86) and Daniel Purcell (1688-95), brother the Peterhouse part-books), including the energetically in this tradition, for he was a loft 'to be made lyke unto the Rodeloft of Henry and himself a composer. Most of works by Mason, appear to have a Magdalen organist, choir-trainer, composer, scholar and of Mawdelen College in Oxford', but 'to the eighteenth century is covered by the connection. A Magdalen College inventory editor par excellence. The contents of this be made in the seide Rodeloft ferre better father and son, William and Philip Hayes of c.1522 lists a huge and magnificent disc represent and celebrate Dr Rose's dorys then ther be in Mawdelyn College (repectively 1734-77 and 1777-97), both collection of masses, antiphons, psalms and scholarly activities, represented by the two aforesaid'. The Magdalen organ also appears composers and both Professor of Music magnificats. Mason works, both of which he edited in to have impressed them, for we find in 1488 in the University. From the nineteenth the early 1970s (he also edited music by a contract that 'Wylliam Wotton off the The fabric has not been the only benchmark century we may include Sir John Stainer Dufay and his contemporaries and is best seyde Town off Oxefforde organmaker... for others to aim at; Merton may have (appointed at the age of nineteen, 1859-72), known as the editor of the Complete schall make or cawse to be made a good acquired 'ferre better dorys', but throughout Walter Parratt (1872-82), who succeeded Sacred Music of Tomkins), his teaching (for and suffycyent payr of organs lyke on to the its history Magdalen has had 'ferre better Sir Charles Hubert Hastings Parry as the other music on the disc has been edited new payr off organs wych he promysyd to clerkys', and the College's choir has been Professor of Music in the University in by his pupils), and his role as choirmaster make and sett up withyn Maudelene College led by musicians of the front rank, many of 1908) and John Varley Roberts (1882-1919), (for all the singers are former members of off Oxfforde aforesayde'. This is in imitation whom have regarded as part of their duties and from the early part of this century H. C. the Magdalen choir, most of them from his of Wotton's great organ at Magdalen, built in the provision of new music for the chapel Stewart (1919-38, who resumed his duties tenure as informator choristarum). 1486-7; the cost, £28, was the same in each choir to sing, of whom the first known to us while his successor William McKie served in case, but the canny Fellows of Magdalen is Richard Day (informator 1490-2). From the the RAF during the war). In the latter part It also celebrates perhaps the most important paid Wotton £14 in part payment in 1486 first half of the sixteenth century came three of the nineteenth century a new strand was aspect of his tenure: the esprit de choeur, and the balance upon completion. Note, more composers, including the other two added to the many skills required of the friendly and hospitable atmosphere 6 7 created by Bernard and his wife Molly, and etc., and one (Music at Magdalen 1976) 1492; he next appears as a clerk at Exeter at Magdalen that Davy would have written the affection, fully reciprocated, which they exclusively devoted to Davy, Appleby, Cathedral in 1497, and it is quite possible that these two songs, when devotional songs of showed to academical clerks and pupils. Preston and Mason. In the late 1960s and he was at Magdalen until this date. He was Christ's Passion, or of general contrition, Why else would eighty former clerks and early 1970s he pursued research into them - at Exeter certainly until 1506 and had left such as Ah, mine heart bn , gave way as the pupils foregather at his retirement in 1981, it was at this time that he edited the Mason by 1509. Whether he was able to carry out evening wore on, to songs appropriate for and a similar number at his 80th birthday in pieces - and it is partly from his notes that these duties in plurality with being chaplain a male society in its post-prandial state; the 1996, or a choir of twenty singers get itself these notes are derived. However, even to Sir Thomas Boleyn, grandfather of Queen rather more overt double entendre found together at two days' notice to sing at the before this he was a key figure in the early Anne Boleyn, a post held by a Richard Davy slightly later at Court, in music by composers Thanksgiving Service following his funeral? stages of the revival of interest in early between 1501 and 1516, is unclear; perhaps such as Cornysh, is not found here in Joan Why else would this group get together, Tudor church music. The Magdalen Choir we have two different men. The men's is sick 6, and the text appears to refer including two barristers, one general provided the nucleus for the Clerkes of voices format of this disc prevents us from simply to pangs of love, love that the final practitioner, the managing director of a Oxenford (including David Wulstan, their selecting any of Davy's antiphons, for they verse makes clear is to remain unrequited public relations business, a professor of voice director, a member of the choir and also a are all for full choir including trebles. One for some little time to come. The oath to in the US university system, a professor of pupil of Bernard's) in the 1960s, and, since of them, O domine caeli terraque (on the St Denis does not help, either to confirm or music in the UK system, not to mention the this was at first a men-only choir, the earliest CORO label as COR16022), is recorded deny one's suspicions about Joan's condition; professional performers and current or past experiments with the high treble sound in the Eton Choirbook as having been he is the patron saint of France, but I can find members of many of the most important in the full six-part works by Sheppard, as composed in one day at Magdalen ('hanc no accounts of particularly wondrous actions choral groups of the lasty thirty years, such proposed by Wulstan, used the Chapel Choir. antiphonam composuit Ricardus Davy uno that might make him worth invoking in an as the Clerkes of Oxenford, the Hilliard In helping to experiment with the choral die collegio Magdalene Oxoniis'). However, oath. His martyrdom by decapitation was Ensemble, and The Sixteen? forces and their colour, Bernard and the the songs that he wrote must reflect the characterised by his picking up his head and Magdalen Choir were also rediscovering and occasions on which secular music was walking six miles (into Paris) to his selected During his own tenure of office Bernard promoting the music of their predecessors, performed in the college hall. The founding resting place, but I cannot link this with the Rose's early recordings in the 1950s with Davy and Sheppard and their choirs; he statutes of many Oxford and Cambridge mood of our two interlocutors. Ah, mine the Bodley singers for the History of Music performed Davy's St Matthew Passion and collegiate foundations also imitated those of heart is a straightforward song of penitence in Sound were important and influential a good deal of Sheppard in the chapel for Winchester in their reference to recreational typical of the devotional songs of the period. in their day, but he was equally important which the music had almost certainly been activities in hall. On major feasts the fellows Both these songs make use of a modified in the more recent revival of 'authentic' written over 400 years earlier, a feature and scholars were allowed to have a fire in carol form, with a refrain/verse alternating performance, starting in the early 1960s. which gave us a good deal of satisfaction. hall and to remain after supper singing songs structure, the refinement in comparison He took a keen interest in the work of his and reciting poems. to the early fifteenth-century carol being predecessors, producing many recordings Richard Davy is recorded as informator that each verse is newly-composed. which included music by Sheppard, Nicolson choristarum, at first jointly, between 1490 and It would have been for such an occasion

8 9 The high seriousness of the verse (highlighted it likely that Mason was attached to the Salve Regina, Ave Maria, Stabat Mater etc.); seven clerks and a few choristers remained by the mock high seriousness of the third Chapel Royal on leaving Magdalen, when at Magdalen on Saturdays it took place to take their chance. verse of Joan is sick) is an important feature he took orders, for his various livings in in Hall with the whole College singing Mason's two antiphons on this disc very of the part-song of the period around 1500, plurality in include from 1523 one of the plainsong from specially-painted boards, but probably date from his Magdalen period; and is echoed in the middle of the century Mortimer chantries at Chichester Cathedral on other days comprised polyphony in it is by no means clear that Chichester by Sheppard's setting of Surrey's poem (a Crown appointment) which he vacated in Chapel. By the times of the refoundation had enough male voices for their five-part O happy Dames 3 . This song, in this guise, 1524, probably because it was not allowed to of the cathedrals of the new foundation texture, and anyway his role at Chichester survives only in a keyboard arrangement (in be held in plurality, after which he reverted in c.1540, the practice continued but the was not primarily musical. The Mary- the Mulliner Book) but, as Denis Stevens to his other livings which included some in stipulation now usually required 'an Anteme antiphon Quales sumus bo is laid out in the showed in the 1950s, the text is not difficult the diocese of Hereford, and was appointed in prycksong immediately that complayn traditional style, with solo and full passages to reunite with the music. This version is Treasurer of Hereford Cathedral in 1545. be fully done' within the context that the alternating, but it proceeds with far fewer probably the original, but the music also He had died by February 1548. One of the establishment was fostering the devotion final cadences than earlier works (or than survives to two further texts, 'I will give antiphons in the Peterhouse part-books is of the laity to the Virgin and now also to Vae nobis 4 for that matter, while its use of thanks unto the Lord' and 'O happy man if ascribed to 'Mason Cicesteriensis'. the name and Passion of Jesus. Thus the a snatch of pre-existing plainsong is strikingly thou repent', showing the adaptability and Jesus-antiphon increased in vogue as the Mason's votive antiphons are of very great modern. Mason's text refers to, but does flexibility of composers and performers cult of the Virgin declined, during the reign interest, quite apart from their striking not precisely quote, Psalm 42 ('Sicut cerbus around 1550. Because of the choice of of Henry VIII. Jesus-antiphons tend to be originality and beauty of sound. All collegiate desiderat ad fontes aquarum / Like as the poet, the courtly Surrey (Henry Howard, more modern works, shorter and with chapels, and increasingly the monasteries hart desireth the water-brooks'; the text is Earl of Surrey, 1517-47) it is more likely to more homophony, than Mary-antiphons and secular cathedrals, sang an antiphon to also the Tract for the Easter Vigil on Holy date from Sheppard's London period than of c.1500. It seems that at Magdalen the Virgin Mary every evening after Vespers Saturday), and so he picks up the reference his Magdalen period, i.e. after 1548 or so, in the Jesus-Mass was sung by men only; and Compline (these two services usually by quoting imprecisely part, but not all, of which case the devotional texts in English elsewhere this took place on Fridays. being continuous). This was an observance, the plainsong, and moreover in the bass, must be from Elizabeth's reign and therefore Perhaps on that day the Jesus-antiphon incidentally, that after the Reformation itself unusual. posthumous. after Compline was also sung by men brought about the anthem, once Vespers, only. Men also sang the evening antiphon Vae nobis, on the other hand, is a Jesus- It was Bernard Rose himself who clarified Compline and this Evening Antiphon service (and everything else besides) when Oxford antiphon but using the format and scale the biography of John Mason, who was a had been compacted together to become was visited by plague (which happened of the earlier Mary-antiphons. Here the clerk at Magdalen in 1508, proceeded to Anglican Evensong. At Eton this took place frequently) and most of the College striking modern gestures include the fast- the BMus in 1508-9 and was informator in the chapel before her image, and the removed to the country; for example in moving stepwise point of imitation in choristarum in 1509-10 (and therefore must Eton Choirbook contains the music for this 1507 for twelve weeks only four chaplains, unison between all five voices at 'currimus have been born c1480/5). He considered occasion (notably settings of texts such as

10 11 et festinamus' ('we run and we hurry'), dalmaticis et albis, per bursarios emptis burial is recorded as having taken place on of the cantus firmus part, restricting as it and the curious ornamental figure shortly ad festum Paschae'). That he was present 21 December. does the composer's freedom of action, afterwards in both alto parts, together at Magdalen supplying books at Easter makes the elaborate polyphony all the more with the two-in-one canon at 'obsecramus may indicate that he was beginning a new His early death (probably at the age of no accomplished. These two works set the te igitur'. In their combination of old tenure and therefore informator 1547-8; more than 45) is a profound loss to music, respond in the more modern way, using and new gestures therefore, these works certainly he was paid five shilling 'pro libris for the importance and brilliant quality of his the polyphonic choir for the sections of show Mason to represent an interesting musicalibus' in 1548, while Mr Games was music is now fully accepted - brilliant in both the chant that would otherwise have been transitional position between Fayrfax and paid five shillings 'pro inscribendis canticis' sound and conception. In the early 1960s sung by the plainsong choir. Earlier responds Taverner. Both these antiphons lack their in 1549. It is thought that Sheppard went the Magdalen Choir and the Clerkes of had set to polyphony the soloist's sections tenor part because the tenor parts book of to London soon after 1548, where he Oxenford gave the first performance for 400 of the chant, and Sheppard composed one the Peterhouse set is missing; Bernard Rose, is recorded as a member of the Chapel years of several Sheppard works, especially of his three setting of In manus tuas 7 in his editions, punctiliously and modestly Royal in 1552. In 1554 he supplicated responds, including the five-part Spiritus in this way, the other two (marked 'corus'), labelled his editorial tenor part 'conjectural', unsuccessfully for the oxford DMus degree sanctus procedens bl and Laudem dicite Deo 8 and 9 , being set in the more modern but his tenor parts work so well and are so and rekindled his contacts with Magdalen, 5 . They are both excellent examples of his way. His Magnificat 2 in four parts, sets typically musicianly that they must be close being paid twenty shillings on 15 December remarkable ability to fit five tightly-written alternate verses in the conventional way for to the original. 1555 'pro quibusdam canticis'. However, parts within the restricted compass of the the period; it is remarkable for the assured he was certainly based in London by this men's voice choir (16 notes), and to delight way in which he throw the voices around, Sheppard was informator choristarum in time, for his first wife, Jane, died and was the ear with a constant stream of points especially the two alto parts. Curiously 1542-3, and again in 1545 and 1547 (perhaps buried there on 9 April 1555. The colourful of imitation, sometimes extremely close to enough, as Mason did in Quales sumus, 1547-8: see below), though he appears stories about boys being dragged through each other, sometimes at unexpected places Sheppard introduces the plainsong in the to have alternated with other colleagues the Wiltshire and Oxfordshire countryside and pitches. Like the Peterhouse part- bass (in the last verse). The plainsong (Preston in 1543 and Games in 1547). The in June 1555 are now generally agreed to books, from which the Mason works come, antiphon is appropriate for St Mary College records of 1547 show a payment refer to Richard Shepper, a Fellow of the John Baldwin's part-books of the 1580s, Magdalen's Day, 22 July. of £8 'Sheppard Instituori Choristarum College, even though the College scribe calls which are the sole source for the Sheppard pro stipendio suo hoc anno' ('To Master him 'Mr Sheparde'. Despite being issued responds, lack their tenor book; but in Sheppard for his stipend this year'), and in with livery for Elizabeth's coronation on both these cases Sheppard wrote the work © Roger Bray (clerk 1962-65) the same year he was reimbursed for books, 17 January 1559, from which it has always around the plainsong cantus firmus which vestments and organ repair (thirty shillings been assumed he lived until at least that moves in slow equal notes in the tenor 'pro 12 libris, et reparanti organorum date, it is now known that he died during voice, and can therefore be reunited with vitia', and three pounds 'pro tribus cappis the first half of December 1558 and his the polyphony very easily. The presence

12 13 TEXTS and TRANSLATIONS Sicut erat in principio, et nunc, et As it was in the beginning, is now, and ever semper, et in saecula saeculorum. Amen. shall be, world without end. Amen. 1 Magnificat antiphon: Inclita sancte (Mode 1) Plainsong Inclita sante Marie Magdalene Glorious Saint Mary Magdalen, 3 O happy Dames (Earl of Surrey) John Sheppard sollemnia suscipiat alacriter pia may holy mother church accept mater ecclesia. our devotions. O happy Dames that may embrace In ship, freight with remembrance Ave sancta deo digna, Hail saint, worthy of God, The fruit of your delight, Of thoughts and pleasures past ave dulcis et benigna, hail sweet and gracious; Help to bewail the woeful case He sails, that hath in governance optime nobis gaudia obtain for us the joys and glory And eke the heavy plight My life while it will last que possides cum gloria. which you have in your gift. Of me, that wonted to rejoice With scalding sighs for lack of gale, The fortune of my pleasant choice, Furth'ring his hope that is his sail Good ladies, help to fill my mourning voice, Toward me the sweet port of his avail. 2 Magnificat a4 (Mode 1) John Sheppard Magnificat anima mea Dominum et My soul doth magnify the Lord, and my spirit exultavit spiritus meus in Deo salutari hath rejoiced in God my Saviour. For He hath 4 Vae nobis miseris John Mason meo. Quia respexit humiltatem ancillae regarded the lowliness of his handmaiden: for Vae nobis miseris quia quum ad Woe to us wretches, since we have no small suae: ecce enim ex hoc beatam me behold, from henceforth all generations shall peccata commissa inspicimus et fear when we consider the sins that we have dicent omnes generationes. call me blessed. For He that is mighty hath supplicia intelligimus quae pro his pati committed, and understand the punishments Quia fecit mihi magna qui potens est: magnified me; and holy is his Name. And debemus non parvum timorem habemus. that we must suffer for them. et sanctum nomen ejus. Et misericordia his mercy is on them who fear him from Quid ergo remanebimus quasi desperati? Why then, shall we remain almost in ejus a progenie in progenies timentibus generation to generation. He hath shewed sine consilio sine adiutorio? desperation, without advice, without help? eum. Fecit potentiam in bracchio suo: strength with his arm; He hath scattered the Non. Sed ad te fontem pietatis et No! But we run in haste to Thee, dispersit superbos mente cordis sui. proud in the imagination of their hearts. He misericordiae Iesu Christe currimus Jesus Christ, the fount of pity and mercy, in Deposuit potentes de sede, et exaltavit hath put down the mighty from their seat and et festinamus in quo iam tot et whom we have seen and acknowledge so humiles. Esurientes implevit bonis: hath exalted the humble and meek. He hath tantos peccatores absolutos vidimus many and such great sinners absolved. We et divites dimisit inanes. filled the hungry with good things, and the rich et agnoscimus. Obsecramus te igitur therefore beseech Thee, our Lord and God, Suscepit Israel puerum suum, recordatus He hath sent empty away. He remembering Domine Deus noster da nobis gloriam give us thy glory so that, rising from our misericordiae suae. Sicut locutus est ad his mercy hath holpen his servant Israel, as He tuam ut a vitiis et a morte animae vices and from the death of the soul, we patres nostros, Abraham et semini ejus promised to our forefathers Abraham and his resurgentes in virtutibus semper may ever flourish in virtues and walk in the in saecula. Gloria Patri, et Filio et seed for ever. Glory be to the Father, and to floreamus et in soliditate firmness of faith, that we may seek and Spiritui Sancto. the Son and to the Holy Ghost.

14 15 fidei ambulemur ut quae sursum sunt savour the things that are above, not the 6 Joan is sick and ill at ease Richard Davy quaeramus et sapiamus non quae things that are on earth. We render thanks super terram. Tibi gratias agimus to Thee, good Jesus, for the gifts of thy grace Burden: bone Iesu pro inceptis in nobis that Thou hast begun in us, and we beg that Joan is sick and ill at ease; She is my little pretty one; gratiae tuae donis quae deprecamur Thou shouldst mercifully perfect them in us, I am full sorry for Joan's disease. What should I say? My mind is gone. ut misericorditer perficias nosque in and guide us into the way of salvation. By Alack, good Joan, what may you please? If she and I were together alone, viam salutis dirigas per tuae claritatis virtue of thy brightness cleanse our souls I shall bear the cost, by sweet Saint Denys. I wis, she will not give me a boon. virtutem purga animas nostras a from the darkness of sins, and by that same tenebris peccatorum. Et per eandem virtue may our flesh rise again to glory on It is so pretty in every degree; Alas, good Joan, shall all my moan virtutem in die universalis resurrectionis the day of the universal resurrection, so that Good Lord, who may a goodlier be Be lost so soon? I am a fool; caro nostra resurgat ad gloriam. Ut in in the future resurrection we may joyfully In favour and in fashion (lo, will ye see?) Leave this array! Another day futura resurrectione delicatam tuam hear thy tender summons amongst thine But it were an angel of the Trinity? We shall both play, when we are sole. invocationem gaudenter in electis tuis elect as Thou sayest 'Come, ye blessed ones Her countenance with her lineation, audiamus te dicente: Venite benedicti of my Father, receive the Kingdom which has To him that would of such recreation patris mei percipite regnum quod vobis been prepared for you from the beginning That God hath ordent in his first formation, paratum est ab origine mundi. Amen. of the world.' Amen. Might well be called a conjuration.

5 Laudem dicite Deo John Sheppard 7 - 9 In manus tuas I - III John Sheppard Laudem dicite Deo nostro omnes Speak praise to our God, all ye who are In manus tuas, Domine, commendo Into thy hands, O Lord, I commend my sancti eius, et qui timetis Deum, his saints, and all who fear God, spiritum meum. Redemisti me Domine, spirit. Thou hast redeemed me Lord, pusilli et magni; quoniam regnavit both small and great; for our Deus veritatis; commendo spiritum meum. God of truth; I commend my spirit. dominus Deus noster omnipotens. Lord God Almighty is King. Gaudeamus et exultemus et demus Let us rejoice and exult and give Him glory. gloriam ei. Genus electum, gens O chosen race, O holy nation, O ye people bl sancta, populus acquisitionis, memores who are his, be mindful of God and praise Spiritus sanctus I John Sheppard memorum laudate Deum. Gloria Patri et Him. Glory be to the Father, and to the Spiritus sanctus procedens a throno The Holy Spirit coming forth from on high Filio et Spiritui Sancto. Son and to the Holy Spirit. apostolorum pectora invisibiliter entered the hearts of the apostles unseen penetravit novum sanctificationis with a new sign of his grace, that there signum, ut in ore eorum omnium might come forth from their mouths all genera nascerentur linguarum. Alleluia. manner of tongues. Alleluia.

16 17 Advenit et ignis divinus non comburens The divine fire came down not to burn but bo Quales sumus John Mason sed illuminans et tribuit eis carismatum to give light, and it endowed them with the dona. Gloria Patri et Filio et gifts of grace. Glory be to the Father, and Quales sumus, O miseri, properantes O wretches, what manner of men are Spiritui Sancto, sicut erat in pricipio to the Son, and to the Holy Ghost, as it was ad portas inferi quatriduam fetentes we, hastening to the gates of hell, stinking et nunc et semper et in saecula in the beginning, is now and ever shall be, ut te laudare praesumamus, O Maria, after four days, that we may presume to seculorum. Amen. world without end. Amen. quum sciamus non audiri delinquentes. praise thee, Mary, since we know that Sed in arcto constituti in labore sinners are heard. But set in narrow lateris et luti insudantes gemiscimus bounds, sweating over toil at brick and bm Magnificat antiphon: In diebus illis (Mode 7) Plainsong consolatricem miserorum et refectricem clay, we groan, we beg thee, the consoler laborum te deposcimus. Ut oculos of the wretched and refresher of labours, In diebus illis: mulier quae erat in In those days, there was a woman in the misericordes ad nos convertas et sordes to turn thy merciful eyes on us and the civitate peccatrix, ut cognovit quod Iesus city who was a sinner, and when she knew peccatorum demoneas scelerumque devilish squalor of sins, and not to despise accubuisset in domo Symonis leprosi, that Jesus was a guest in the house of soluto vecte lesum sequentes recte the worms who follow Jesus rightly when attulit alabastrum unguenti: Simon the leper, she brought an alabaster vermiculos ne despicias. Israel caelum the bar of crime is loosed. Israel has et stans retro secus pedes Domini Iesu, jar of ointment: and she stood at the feet non respicit nam terrena pulvis perficit no concern for Heaven, for dust works lacrimis coepit regare pedes eius, of the Lord Jesus, and began to wash his hinc desperans confunditur. Quare pro earthly things, and hence is confounded et capillis capitis sui tergebat: feet with her tears and wipe them with the nobis deprecare ad hunc qui lapides in desperation. Therefore intercede for et osculabatur pedes eius, hairs of her head; and she kissed his feet mutare in Abraham filios dicitur ut us with Him who is said to change stones et unguento ungebat. and anointed them with the ointment. Israel oculos erigat ad coelum et Deum into sons of Abraham, so that Israel may sitiat sicut cervus aquarum fontes ut raise her eyes to Heaven and thirst for de Pharaonis imperio erepti tandem God 'as the hart pants after the water- bn durissimo mare transeamus insontes. brooks', and, snatched from the power of Ah, mine heart, remember thee well Richard Davy Et licet hostes saeviant nos maria Pharaoh, we may cross unharmed by even Burden: non operiant O Domina sed sevitiam the harshest sea. But may they divert Ah, mine heart, remember thee well, With weeping tears most lamentable removeant ut ereptos nos deleant their cruelty so that the gates of hell may And think on the paines that bin in hell. To God above I call and cry, claustra tunc infernalia. snatch away and destroy them, and thus I will ask grace while I am able Et sic virtutibus secundi ad coelestia may we, on the favouring tide of virtues, Ah, mine heart, remember thee well, I have offended so grievously, mente mundi properemus O Maria ut cleansed in mind, hasten to the things of How greatly thou art bound indeed, Me to amend I will me hie. post finem vitae jocundi Christo iuncti Heaven, O Mary, so that after life's end in Thou thinkest on him never a deed For all my life-days I have mispent, letabundi una cantemus joy, joined to Christ, in happiness we may That helps thee ever at thy most need, I cry God mercy I will amend. Alleluia. sing together, Alleluia. Alas, for sorrow mine heart doth bleed, To think how grievously I have offended.  18 19