i Introduction ii Acknowledgments

Chapter 1 Byrd - a very brief biography

Chapter 2 The Reformation - Historical Background - Effect on composers - Counter Reformation

Chapter 3 An introduction to the mass

Chapter 4 Some notes on mass settings - plainsong mass - Machaut Messe de Notre Dame - Taverner Missa Gloria tibi trinitas -

Chapter 5 Ave Verum Corpus Commentary

Chapter 6 The and Gloria from the Mass for Four Voices - analytical commentary

Chapter 7 If ye love me commentary

Chapter 8 This is the record of John commentary

Chapter 9 Settings of Services

Bibliography and Discography

1 William Byrd Mass for Four Voices Background, commentary and related works

Support material for teaching OCR A2 Music Historical and Analytical Studies option 4: Music and Belief

Steven Griffin June 2009

2 Chapter 1

Byrd - a very brief biography

William Byrd (c1540 - 1623) is one of the most celebrated English composers of any era. His career spans a time of political and religious upheaval and also the culmination of the musical Renaissance and the beginnings of Baroque style. Byrd’s music influences the new ideas of the Baroque era, particularly his keyboard music and the hints of tonality in his harmony (as opposed to modality). However, he remains a composer of the earlier time unlike Monteverdi, for example, whose religious works (e.g. 1610 Vespers, Beatus Vir etc) are Renaissance in style but whose operas (e.g. Orfeo) introduce Baroque ideas such as recitative.

Byrd studied with Thomas Tallis (1505 - 1585) and is known to have been employed at Lincoln Cathedral before becoming a Gentleman of the Chapel Royal. He, along with Tallis, was granted a royal monopoly on music printing and publishing and was able to publish a great deal of his music during his lifetime though much has been lost or only survives in partbooks with varying discrepancies. The publishing of Byrd’s works, particularly Cantiones Sacrae (three volumes in 1575, 1589 and 1591) and Gradualia (two volumes in 1605 and 1607) are all the more remarkable when one considers that these were, in the main, motets written in Latin for the Catholic church at a time when Catholics were routinely persecuted. More will be said on this when discussing the Reformation in chapter 2.

Byrd had several patrons who were prominent Catholic gentry, including Sir William Petre (c.1505 - 1572) for whom he is thought to have written much music for use in clandestine Catholic services. Byrd’s usual choir for motets was five part (SAATB in modern editions) but two of his Masses, by the necessity of smaller forces available and smaller rooms in which to worship, are for 3 and 4 voices. The Mass for Five Voices is unusual for Byrd in that it is written for SATTB. Perhaps this is a reflection of the voices available for the performance of this piece.

After the Gunpowder Plot (1605) Byrd suffered more anti-Catholic hatred than he had in previous years though not as much as many others of that faith, possibly due to the esteem with which he was held by Elizabeth I.

Byrd died in relative obscurity and is buried in an unmarked grave, much like many Catholics of the era.

I have deliberately not gone into much detail here as Byrd’s life has been well documented and discussed by better writers and scholars than myself. Joseph

3 Kerman’s book The Masses and Motets of William Byrd goes into great detail and plenty of biographical detail can be gleaned from The New Grove Dictionary of Music and Musicians. The students old favourite, Grout’s A History of Western Music will also fill in basic details.

Main points dates c.1540 - 1623 taught by Thomas Tallis publishing monopoly support of monarch Catholic composer in Protestant country usual scoring for 5 part choir SAATB

4 Chapter 2

The Reformation

Historical Background

The Reformation was motivated by a number of factors which are well documented in history text books. In brief, however, the causes are as follows:

a Germany Martin Luther’s 95 Theses nailed to the door of Wittenberg Cathedral complained about the excesses of the clergy who abused their vows of chastity obedience and poverty. Luther also disagreed with doctrinal ideas such as the buying of “indulgences” i.e. forgiveness of sins and guaranteed entry into Heaven in return for hard cash and the need for an intermediary with God i.e. Catholic priest to interpret what the Bible (printed in Latin) said. Luther argued for a direct relationship between God and man, with the truth revealed by an individual reading the Bible in their own language.

b England Henry VIII wanted a divorce and the Pope wouldn’t let him have one. Henry had no male heir. He had married his elder brother Arthur's widow for political reasons, and now wanted to get rid of her after a series of miscarriages. In one place the Bible says it's a duty to marry your brother's widow, in another place it says it's forbidden, the punishment being childlessness. Since the Pope wouldn't allow an annulment or divorce for political reasons (didn't want to annoy Catholic Spain) Henry took matters into his own hands. By becoming Head of the Church in England and giving himself the title of Defender of the Faith he could decide on his marriage doctrine as he chose, and just as important was the fact the the wealth of the Church now went to him!

This is, of course, a very basic analysis but it is essentially the cause of Reformation in these parts of Europe.

The knock on effect for music is huge. To generalise again, there was a move away from polyphonic writing, more use of the vernacular was made and more was made of congregational singing in services which ties in with Luther’s idea of a direct personal relationship with God. In Germany the chorale became a staple of Protestant services. Chorale tunes were initially, like plainsong, single line melodies without harmonisation and, like plainsong, they were eventually set homophonically and polyphonically. Ultimately this leads to the music of Bach.

5 Without chorales there would be no church cantatas, no chorale preludes and no passions, at least not in the format in which we are familiar with them.

While Luther’s reforms were doctrinal, Henry VIII’s reforms were purely political. Most people in England tried to “go with the flow” and accept the new strand of Christianity but it was very difficult. The Latin liturgy continued to be used for a number of years until Edward VI introduced the Act of Uniformity in 1549. This Act established English as the language of the new Anglican church. Catholicism, and, therefore, Latin church music, had a revival during the brief reign of the Catholic Queen Mary (1553 - 1558, known as “Bloody Mary” due to her persecution of Protestants) but this was short lived as her successor, Elizabeth I (reigned 1558 - 1603) reinstated the Anglican faith as the state church and Catholic persecutions began in earnest. Elizabeth passed the anti-Catholic Act of Supremacy in 1559 and reaffirmed the Act of Uniformity, making attendance at the Church of England compulsory. Non-attendance resulted in fines and physical punishments. Those who refused to conform were known as recusants and various laws were passed which made life difficult for “papists” and other non-conformists. Most anti-Catholic laws were repealed in 1829 but the Act of Settlement (1701) is still very much in the news. This Act prevents the monarch of Britain being, or marrying, a Catholic and the law still stands. Other hangovers from Reformation anti-Catholic days include sectarian violence in Northern Ireland. This fermented due to a mixture of religious wars and a political and economic exploitation of Catholics by Protestants. The effect of this is still being felt today despite the progress of the peace process. The hatred and violence at Old Firm matches in Glasgow is another result of this period of history.

Effect on Composers

The young Edward VI had told Lincoln Cathedral in 1548 that the music used there should be set to English texts, “settyng thereunto a playn and distincte note, for every sillable one” (quoted in Grout). This is a clear reference to syllabic, homophonic style which contrasts with the melismatic, richly contrapuntal style of much music written for the Catholic church. The result is that much of the music written for the new church used homophonic texture much more than music in Latin did and new forms of composition were developed to go with the new liturgical requirements.

Masses were not written in English. The services which composers set were Morning and Evening Prayer. These services correspond to the Catholic Matins and Vespers. Like the mass there was an and proper for each day of the year though usually the terms “ordinary” and “proper” pertain only to mass (see chapter 3 for an explanation of the mass). The texts set were called canticles, some of which were biblical and several of which were specific psalms.

6 The canticles for Morning Prayer include: O come, let us sing unto the Lord (Psalm 95) the Te Deum - We praise thee O God (Ambrosian hymn) Benedicite omnia opera - O all ye works of the Lord (text from the Apocrypha the Benedictus - Blessed be the Lord God of Israel (Luke 1:68-79) Jubilate Deo - O be joyful in the Lord (Psalm 100)

The Canticles for Evening Prayer include the Magnificat - My soul doth magnify the Lord (Luke 1:46-55) the Nunc Dimittis - Lord now lettest Thou Thy servant depart in peace (Luke 2:29 - 32)

These collections of canticles were known as services and these settings became very important in English church music. Though “great” services were quite elaborate and could be fairly contrapuntal, the style was, in general, more homophonic than the Latin church music composed a few years earlier by the same composers. “Short” service were less elaborate and usually totally homophonic and syllabic.

Examples include the Byrd’s “Great” and “Short services & Gibbons’ “Short Service in Ab

Anthems replaced motets though their liturgical function was more or less the same as their Latin predecessor. Some anthems were rearrangements of Latin motets with new words in English (which were not necessarily a translation of the original). These were known as contrafracta. Original anthems in English fall into two broad groups, full anthems and verse anthems.

Full anthems were written for a cappella choirs but the verse anthem contrasted a solo voice - usually a treble or countertenor - with the sonority of a full choir. In addition, verse anthems were accompanied by organ or, very occasionally, a viol consort.

Examples of full anthems include Tallis’ “If ye love me”. Examples of verse anthems include Gibbons’ “This is the record of John” and Morley’s ”Out of the deep”

Psalm texts had been set as motets for centuries and continued to be set as anthems. However a type of chanting known as Anglican chanting developed in which the set psalms for the day could be sung to very simple tunes using few notes. The setting was not rhythmic. Half of the first part of the verse would be sung on one reciting chord with the remainder of the first half on maybe two more chords. The harmonic rhythm of the second half of the chant would be more interesting. These psalm settings could be easily sung congregationally in unison though most were performed in four part harmony and antiphonally between two sides of the choir, decani and cantoris. The use of homophonic texture and simple melodies made it very easy for the words of the psalms to be heard and understood. 7 Many examples of these chants exist is psalters

Counter Reformation

The Catholic church needed to react to the end of their monopoly of Christian worship in western Europe. The result is what has become known as the Counter Reformation. One of the most important events was the Council of Trent, a term covering a wide number of meetings of the church hierarchy between 1545 and 1563. The ‘heresy’ of Protestantism was high on the agenda but music also played a prominent role for part of the time. The main issue was that the Pope believed that the use of dense polyphony and paraphrases of secular works was making it impossible to understand the words of scripture used and was also irreverent. The Council said that “impure or lascivious” music was to be avoided “that the House of God may rightly be called a house of prayer”. Legend has it that the Italian composer Palestrina (1525-1594) wrote his Missa Papae Marcellus in order to convince Pope Marcellus II that polyphonic music could enhance the meaning of the text. While this is a legend, it is agreed that Palestrina’s style was the very highest form of Renaissance musical art and this mass does manage to be both understandable and polyphonic.

Main points reformation in Germany was doctrinal but was politically based in England move from polyphonic to homophonic music in general use of vernacular language greater involvement of congregation in singing during services variety of anti-Catholic legislation specifically English formats - services, anthems and psalms Counter Reformation in Catholic church to address some issues including elaborate polyphony masking the meaning of the text

8 Chapter 3

An introduction to the mass

The Latin Mass is one of the most important forms in music history. The history of Western European music, at least, is intimately bound up with the Mass from the earliest origins of music until the 1600s and the Mass text is still relevant to composers today.

Though today musical settings of the Mass are often performed in concerts - and indeed some large scale compositions are meant to be concert pieces - the majority of Mass settings are for liturgical use i.e. to be used as part of a church service celebrating the eucharist.

Mass texts are divided into two groups, the ordinary of the mass and the proper of the mass.

i The ordinary of the mass are those texts which are said or sung at every celebration of the mass, regardless of the church season or saints day. These are the texts that composers set to music when they compose a mass. The Requiem Mass (“mass for the dead” sung at funerals and memorials) has a slightly different ordinary.

The titles of the most used texts for the ordinary of the mass are:

Mass Requiem Mass i Kyrie eleison i Requiem aeternam ii Gloria in excelsis Deo ii Kyrie eleison iii in unum Deum iii Dies Irae iv iv Domine Jesu Christe v Benedictus iv Sanctus vi Agnus Dei v Benedictus vi Agnus Dei

There are some other texts used occasionally, for example a movement entitles “Ite missa est” is sometimes used in the regular mass and “Lux aeterna” and “In paradisum” texts may be added to the requiem mass.

Several later composers have added extra texts to the mass or ignored the mass text altogether, particularly in the requiem mass e.g. Brahms’ Ein Deutsches Requiem is a series of contemplative texts from the Bible, Britten’s War Requiem interpolates the

9 requiem texts with poems by Wilfred Owen and Karl Jenkins’ The Armed Man:a mass for peace has a variety of texts from around the world added to the usual mass words.

ii The proper of the mass are those texts which pertain to specific days in the church year such as the appointed psalms, prayers and readings. For example the last Sunday before Advent is known as “Stir up Sunday” as the collect (prayer) for the day begins “Stir up we beseech Thee O Lord”. This is the only day of the year in which this prayer is said (it is also traditionally the day when people would “stir up” their Christmas pudding mix!!). Music written for the proper of the mass includes items such as psalms and motets. The text chosen, whether biblical or not, would have some relevance to the prayers set for the day, the feast or saint’s day or the church season.

When we discuss the mass we are only referring to the ordinary of the mass i.e. those portions sung or said at every service.

Musical settings of the mass texts have been used more or less since the texts were written. The earliest mass settings were monophonic plainsong i.e. the music was in unison with no harmony at all. Composers made some attempts at adding harmonies in the 800s and 900s but it is generally accepted that harmony as we know it began in Notre Dame, Paris, in the 1100s and 1200s with two composers called Leonin and Perotin who developed organum. At its simplest this is just the same tune in parallel motion a 5th or 4th apart - e.g. in “Monty Python and the Holy Grail” when the monks process singing “Pie Jesu Domine” they are singing in parallel organum.

The next development was to make the notes of the plainchant melody last for slightly longer and allow another part to freely weave another melody around it, coming to rest at the ends of phrases and certainly harmonising on the change of note in the plainchant tune. This was known as free organum. Thus we get the start of polyphony - more than one tune at a time.

The earliest polyphonic masses had the plainsong melody in augmentation in one part, the tenor. The term tenor comes from the Latin verb “tenere” which means “ to hold” as this part held the others together as they weaved contrapuntally around this melody. The tenor part was known as the cantus firmus or fixed song and often a strict rhythmical pattern was applied to the cantus firmus. This technique was known as isorhythm. Masses based on these plainsong melodies in the tenor were known as cantus firmus masses

A later development was the paraphrase mass. A plainsong melody is again as a basis for composition though not as a cantus firmus. In English music in particular composers were fond of using the fauxbourdon technique which had the same 6 musical pattern set in parallel motion as 3 chords.

10 Another way of reusing material was the parody mass. In this style another piece of music such as a motet is quoted and used as the basis for composition - not just a pre-existing melody but all the voice parts.

Byrd does not use any of these three techniques in his masses though many of his continental contemporaries do. It has been argued by Philip Brett, for example (quoted in Harper 1983) that Byrd based his Mass for Four Voices on the Mass for a Meane by John Taverner (c.1490 - 1545) and it is fair to say that the “Sanctus” in particular has a similar melodic shape though this is quite different to the other movements.

Though originally all the melodies used were plainchant tunes or at least liturgical many composers started to use well known secular tunes as the basis of polyphonic church music. For example the tune L’homme Arme was a very popular starting point for polyphonic composition. In addition to the many Medieval and Renaissance settings (e.g. Dufay, Josquin, Obrecht, Ockhegam, Palestrina, Morales) contemporary composer Karl Jenkins (Adiemus) based his The Armed Man:a mass for peace on this famous tune. After the Counter Reformation (see Chapter 2) some composers would use the title Missa Sine Nomine (“Unnamed Mass”) if they used a secular tenor.

Here is a very short list of some of the many hundreds of masses that have been written over the centuries:

Machaut Messe de Nostre Dame Taverner Missa super L’Homme Arme Josquin Missa Pange Lingua Palestrina Missa Aeterna Christi Munera Byrd Mass for Four Voices Bach Mass in B minor Haydn Maria Theresa Mass Mozart Mass in C Schubert Mass in G Bruckner Mass in E minor Stravinsky Mass Britten Missa Brevis Grayston Ives Missa Brevis

It is notable that there are many, many settings in the Medieval and Renaissance eras and far fewer in more modern times. Obviously the list above is far from exhaustive but it is true to say that composers wrote far more liturgical music in earlier eras. There are two broad reasons for this:

11 1 Patronage Composers were employed by church and state to compose for specific choirs, occasions and places for example the Gabrielis and Monteverdi wrote for St Mark’s in Venice, Bach for churches in Cöthen and Leipzig amongst others and Haydn for St Stephen’s in Vienna. Byrd himself was, of course, an employee of Queen Elizabeth as a Gentleman of the Chapel Royal.

2 Belief The Renaissance was also the start of humanism and enlightenment and since then religion, at least in Western Europe, has become less and less important as fewer attend and believe. In the Medieval and Renaissance eras, in some places at least, it was against the law to not go to church a set number of times a month and church officers would look for non-attenders e.g. recusants in Reformation England.

Another thing which is noticeable from the earlier masses is that their names are interesting due to their adaptation of pre-existing material. Most masses from the Baroque era onward are identified by key e.g. Bach’s Mass in B minor, Bruckner Mass in E minor, by the dedicatee or another nickname e.g. Haydn’s Maria Theresa Mass (which was dedicated to the Austrian Empress Maria Theresa) and Mozart’s Coronation Mass (Mass in C which was sung at a coronation) or by the dimensions of the mass e.g. Britten’s Missa Brevis (“brevis” meaning “short”. In some cases Missa Brevis means that the Creed has been omitted as all say it rather than just the choir).

Main points mass very important to development of music as we know it composers set the ordinary of the mass Requiem mass is mass for the dead - it has a different ordinary most Medieval and Renaissance masses based on pre-existing material three formats: cantus firmus; paraphrase; parody tenor part held others together masses named after the tune they were based on

12 Chapter 4

Some notes on mass settings

Plainchant mass

Here we have the opening of a plainsong mass. The top stave gives an indication of how the music is notated and below is a modern representation of this.

This Kyrie is in the dorian mode on D. Plainchant masses were a cappella and in monophonic texture. Note that the text setting is mainly melismatic and that some notes are repeated on the same syllable. This is achieved in performance by a slight glottal stop.

Machaut Messe de Nostre Dame This mass is dedicated to the Virgin Mary and has become one of the most important 14th century mass settings. It is based on the plainchant Kyrie shown above. The notes are put in the tenor part in augmentation. In this particular mass Machaut uses a technique called isorhythm. The plainsong melody is set to a strictly repeating rhythmic pattern called a talea. The example below gives the opening of the Kyrie of Machaut’s Missa de Nostre Dame.

13 The other voices parts weave around this tenor. Isorhythm was used as a compositional technique for masses and motets in the era known as the ars nova (new art) in the late Medieval period. A term used to describe a tenor part (Latin “tenere” - to hold) is cantus firmus (fixed song). The use of cantus firmus technique is very important in Renaissance choral music and can also be found in later music e.g. the opening chorus of Bach’s St Matthew Passion and in many of his cantatas e.g. Wachet Auf. Berlioz even uses one, based on the “Dies Irae” of the plainsong requiem mass, in his Symphonie Fantastique.

The harmony of Machaut’s mass can seem odd to modern ears, particularly at cadence points where, in order to avoid the tritone interval (and end on the consonance of a perfect 5th) some voices move in parallel motion in perfect 4ths.

Taverner Missa Gloria Tibi Trinitas John Taverner is a direct influence on Byrd to the extent that Byrd paraphrases Taverner’s Mass on a Meane in the Sanctus of the Mass for Four Voices. Missa Gloria tibi trinitas is based on a pre-existing plainchant hymn. The melodic outline is given below:

Taverner’s approach is different to Machaut’s. The plainsong is used in augmentation like a cantus firmus for part of the time but, in the Gloria for example, it appears in the alto part and the cantus firmus does not use the whole melody in the way that and isorhythmic setting would. This way of composing is known as a paraphrase.

Palestrina Missa Tu es Petrus This is an example of a parody mass. Palestrina, the Italian Renaissance master, quotes his own motet Tu es Petrus rather than a preexisting plainchant. The opening of the motet is quoted on the next page. Listen to how similar the opening of the mass is in comparison with the motet. The music is quoted but modified, for example the motet begins with upper voices answered antiphonally by lower voices but in the mass the opposite happens.

14 Main points composition of mass traces development of music from monophonic to richly polyphonic texture plainsong the basis of earliest masses isorhythm a compositional device use of cantus firmus, paraphrase and parody to compose mass settings

Follow-up work Look at and listen to two contrasting masses by Palestrina and/or Victoria e.g. Palestrina compared with Palestrina Missa Tu es Petrus or Victoria Missa O Magnam Mysterium Make a note of any differences in word setting, use of choral textures, tonality etc, then compare with the music of Byrd with which you are familiar

15 Chapter 5

Ave Verum Corpus Commentary

Motet Ave Verum Corpus by Byrd SATB a cappella in G minor in modern editions First published as part of Gradualia in 1605

The word motet comes from the French word “mot” meaning “word”. In the Medieval era a form of composition known as clausulae were developed in which a melody was added to a tenor cantus firmus which itself was usually based on a plainchant melody. In later years another voice part was added to this and this often had a different set of words which could be in a different language even. This new part was called “motetus” (“words”). Motets were often based on texts which referred to the proper of the mass or which were devotional prayers to a particular saint, rather than just biblical passages though these were, of course, also used. An example is the prayer “Ave maris stella” and “Ave Maria”, both of which are dedicated to the Virgin Mary. In later years the term motet is used for any short scale choral piece usually in Latin which is used in part of a church service.

Ave verum corpus, natum de Maria virgine, Hail true body, born of the Virgin Mary vere passum, immolatum, in cruce pro Truly suffering, was sacrificed and the cross homine. for mankind Cuius latus perforatum, unda fluxit sanguine From whose pierced side flowed blood Esto nobis praegustatum in mortis examine. Be for us a foretaste of the final judgement O dulcis, O pie, O Jesu fili Mariae, O sweet, O merciful, O Jesus, Son of Mary miserere mei. Amen Have mercy on me. Amen

Ave verum corpus is originally a eucharistic hymn sung at the point of the elevation of the host (the bread and wine representing the body and blood of Christ) during the consecration during a celebration of the mass. In the Catholic church the belief is that the bread and wine do not just represent the bread and wine of the Last Supper and, therefore, Christ’s flesh and blood. Catholics believe that the bread and wine actually become the flesh and blood of Jesus at the point of consecration. This is known as transubstantiation and is one of the major doctrinal differences between Catholic and Anglican churches. As such, this is a very important text for a Catholic composer, living in Anglican England, to set. Other settings include the very famous version by Mozart and those by Elgar and Poulenc.

There are many stylistic similarities between Byrd’s motets and his masses not least of which is the care with which he sets the text. Byrd writes for a four part mixed choir and most modern editions use G minor as the key signature. Though essentially modal (dorian transposed) there are clear signs of key relationships developing, for example the careful preparation of a move to the relative major Bb. 16 This commentary will deal with each line of text as it comes.

Ave verum corpus

Byrd’s setting creates a break between “corpus” and “natum”, thus emphasising the “true body” rather than the virgin birth. Byrd sets his harmonic stall out straight away with a tonic to dominant pattern at the very start but immediately there is a false relation with the F natural in the bass. Tenors have the first preparation, suspension and resolution (PSR). All suspensions are prepared correctly in Renaissance music (and most academic “tonal” harmony). Sopranos have another straight after this and a lower auxiliary decorates the cadence. There is a tierce de picardie at the end of the phrase. The word setting is syllabic and the texture homophonic throughout. Byrd often chose homophonic texture to highlight texts which were of particular doctrinal importance e.g. “gratias agimus” in the Mass (“we give thee thanks”)

Natum de Maria virgine

Immediately the music moves to Bb (the relative major in modern music) very briefly before ending the phrase on D the dominant. F naturals and F# are very close together thus emphasising the modality. Basses have PSR this time and tenors go to the bottom of the range.

Vere passum immolatum

17 Back to Bb and there is an example of Byrd’s use of voice pairing. In the Mass for Four Voices there are many occasions when Byrd uses this textural technique. Here, the altos and tenors sing in homophonic texture and are followed by the sopranos and basses.

In cruce pro homine

Here we have the first polyphony of the piece to express the idea of crucifixion. The rising motif on “in cruce” comes back and is developed later. The tenors start the phrase before the previous phrase (“immolatum”) has finished and again this is typical of Byrd in the Mass particularly in the “Gloria” and “Credo”. The phrase ends with an imperfect cadence landing on the dominant, D.

18 Cuius latus perforatum

Byrd returns to homophonic texture and the rhythm of the word underlay gives almost a triple time - or hemiola - feel. The series of suspensions on “perforatum” is particularly beautiful (“pierced side”). The key is F - dominant of the relative major and E naturals have been used to support this key change.

Unda fluxit sanguine

Imitative counterpoint is used here to suggest the blood seeping from the pierced side. Each voice enters canonically with a slowly descending phrase in which numerous suspensions occur. Perfect cadence in relative major ends the section

19 Esto nobis praegustatum in mortis examine

A return to homophonic texture and the idea of triple time with the tenors cutting across this rhythmic feel adding suspensions to the harmony. “Mortis” (death) is expressed SAT homophonically singing, answered by the basses with the rising 5th motif mentioned earlier who in turn are answered by the altos. This section ends in Bb

O dulcis O pie

The music moves immediately from Bb to G minor. Here we have some particularly expressive writing and many examples of false relations to highlight “sweet” and “merciful”.

20 O Jesu fili Mariae

The rising 5th motif is developed here as each voice part has it (or a modified version) in imitation. We see Byrd’s voice pairing once again with soprano and bass working homophonically followed by the altos and tenors in imitation. The most striking occurrence is in the tenor part which is at the same pitch as the alto statement. This plea to “Jesus Son of Mary” really rings through, especially as the altos go below tenors in the texture. The phrase ends on D major

Miserere mei

“Have mercy of me” is the only time text is repeated (other than when given polyphonic treatment) and this helps to emphasise the pleading nature of the prayer. Byrd starts with voice pairing. Tenors and altos begin in homophonic texture a 3rd apart but this time they are answered first by basses and then

21 sopranos in imitation. Again this sort of voice pairing is found throughout the Mass. The basses have a very prominent false relation where they sing F natural against the tenor F#. Though this semitonal clash is very dissonant, in the context of this piece it merely heightens expressiveness. Many suspensions are also used to this end. The sense of pulse is lost due to the overlapping phrases. As is true of nearly all Renaissance music the barline is of secondary importance to the rhythm of the text and the way in which this rhythm helps the meaning of the text to shine through. The loss of pulse in this respect is a little like the false relation mentioned earlier. It brings attention to the meaning and mood of the text rather than detracting from it. The cadence at the end of the section is perfect with a tierce de picardie. As is common in many motets and anthems by English composers (e.g. If Ye Love Me by Tallis) this section is repeated.

Amen The final “Amen” is an extended plagal cadence in which sopranos hold an inverted pedal, tenors and altos cross over each other in terms of pitch and have a beautiful descending line which balances with the basses ascending scale pattern, The motet ends with a tierce de picardie and the cadence is decorated by both altos and tenors having suspensions.

Main points motets smaller scale than masses texts from psalms and prayers associated with the Proper of the mass mainly syllabic word setting use of false relations as an expressive device “metaphrase” rather than word painting use of voice pairing as in the Mass binary form with repeat of B section rhythm fluctuates between duple and triple according to the natural rhythm of the words

22 Chapter 6

The Kyrie & Gloria of the Mass for Four Voices Analytical commentary

Composed c. 1592 Scored for Cantus, Altus, Tenor, Bassus a cappella1. “Cantus” is the name given to the topmost voice in polyphony of the era Tonality - mainly aeolian mode (transposed) but with elements of emerging tonality such as sharpened leading notes. Most modern editions in F minor but original was in G minor.

4 Modern notation in 4 with crotchet the basic unit of pulse though older editions in 4 2 2 with minims as the basic unit of pulse

All movements except the Sanctus based on the following motif. The Credo is less obviously based in this motif but it is outlined

1 Kyrie

The movement begins with imitative counterpoint in which the altus lead and cantus follow a 5th higher with some alteration of the melodic line, rather like a tonal answer in Baroque fugue. The tenor entry is canonici.e. it starts the same as the cantus line but then veers away. The bassus entry is delayed by a bar to allow

1 Cantus = soprano in modern editions but most voice parts not in usual range for modern voices e.g. altos go to low F, basses to higher F.

4 2 Henry Washington’s 1959 edition is one of the standard ones in use and it uses 4 though David Fraser’s 4 4 2008 online edition is a little easier to read in 2 and also does not have the 4 bar in the middle of a phrase 23 the music to move back towards the tonic3 again like a codetta in the exposition of a fugue. Throughout the mass Byrd makes use of suspensions, each of which is prepared (P) in the note preceding the suspension (S) before resolving (R). Quite often these suspensions overlap so that the resolved note becomes the preparation for the next suspension

The notes which are circled produce a harmonic effect known as a false relation. This occurs when two notes which are chromatically related are heard in close succession (or even simultaneously). The note is usually the 3rd of the chord i.e. the note which shapes the tonality of the chord i.e. whether it is major or minor. The cadence at the end from the penultimate bar of the example above has the following chord pattern: V7b - i - V4-3 - I The flattened A in the cantus part makes the tonic chord the minor chord i in the penultimate bar but the naturalised A in the final bar - the false relation - makes that the major chord I and therefore a tierce de picardie. The notes circled in the tenor and bassus are also false relations. There are many more examples of false relations throughout the mass though these notes will not necessarily point all of them out. It is worth noting the low tessitura of the altus in part where at one point it is, in effect, the bass. Voice names in much music of the Medieval and Renaissance refers to function rather than range e.g. the tenor is the “holding” part in cantus firmus masses, the altus is short for contratenor altus (high counter to the tenor), bassus being contratenor bassus (low counter to the tenor).

3 I’ll refer to tonic, dominant etc in this commentary even though strictly speaking these relationships are not fully established until the Baroque era 24 A new section begins at the words “Christe eleison” with a descending stepwise figure which is treated in imitation. The imitation is intially at the half bar but a stretto idea occurs when the cantus joins at the end of the 1st bar of this section. The parts freely overlap giving a cascading effect, something which is typical of polyphonic music of this era. The inclusion of D naturals suggest a move to Bb major, a secondary dominant of the relative major (this means dominant of the dominant of the relative major i.e. Ab). Byrd often uses modulations (in the modern sense if not in the Renaissance sense) to the relative major and here prepares it with Bb major. The false relation idea is found again at the end of this section where there is a perfect cadence in the dominant C with a tierce de picardie. Compare the altus part here with the tenor part at the cadence at the end of the “Kyrie” section heard earlier.

The “Kyrie” is an ABA form textually. The music is rarely a repeat of the opening figure in composed masses. Here Byrd uses a technique which is typical of his writing in this mass. He pairs the cantus and tenor parts which sing in homophonic texture then answers them antiphonally with the altus and bassus before using imitative counterpoint once again. In this instance note the octave displacement between the C/T entry and the A/B entry. Imitation comes at the bar or half bar until the tenor has a stretto idea by imitating in the last beat of a bar

The movement ends with a tierce de picardie following a false relation. Once again listen out for the use of suspensions.

25 2 Gloria

The first line of the Gloria - the incipit - is said or sung by the priest present in a liturgical performance and the rest of the text is sung by the choir. This is sung to a plainchant melody known as the intonation. The choice of melody used may depend on the time of the church year, the saint’s day etc or even the tessitura depending on whether the priest is a tenor or bass!

Henry Washington’s (1959) edition does not print an intonation so it is left to the priest to sing an appropriate one. In the alternrtive score edited by David Fraser (2008) he suggests the following:

In the Tallis Scholar’s recording of the Mass for Four Voices the soloist singing the priest’s part sings the following:

As in all plainchant the rhythmic interpretation is left to the performer.

Byrd then starts at the text “Et in terra pax” with two voices - cantus and altus - and this is how he starts all the other movements with the exception of the “Sanctus”. Again the motif found at the start of the “Kyrie” is used as a springboard, giving a sense of unity where masses by other composers a cantus firmus or some form of parody or paraphrase may have been used. Note that the word setting is almost entirely syllabic in this opening section.

The texture changes to antiphonal writing as T/B are answered by C/A at “Laudamus te” etc. There has been no text repetition (other than contrapuntally) until this point where “glorificamus” - “glorify” is repeated several times. This is what Walter Grey (1959) refers to a musical metaphrase. This is a little like word painting but is less obvious. For example, a high note on the word “high” is word painting. Repeating the phrase “we glorify thee” is metaphrase.

26 The texture changes again, this time to all four parts in homophonic texture for the text “Gratias agimus tibi” (“We give thee thanks”) and this use of homophony may be to emphasise the “we” of the text. Byrd often emphasises important words or ideas with extra-musical references by using homophony in motets. The rhythm follows the accents of the text giving an almost triple time feel very briefly, a hemiola idea.

There is another textural change at “propter magnam gloriam” with C/A paired homophonically while T and B imitate with a descending scale pattern. Once again “glory” is emphasised by the repetition of text. Lines of text overlap as T starts the section “Domine Deus” and this time C/B are paired and A goes to lowest reaches of range4. “Deus pater omnipotens” (“God the father almighty”) characterised by repetition of text several times plus a general rise in tessitura plus a hint of diminution at the very start of the phrase.

4 See Phillips (1993) for discussion of vocal range 27 Again the text “Domine fili unigenite Jesus Christe” is repeated with overlapping imitative phrases which hint at a tonal answer with modified leaps thus giving prominence to Christ’s name. The section ends with an imperfect cadence with a tierce de picardie.

The next section, “Domine Deus, agnus dei filius patris” (“Lord God, lamb of God, Son of the Father”) is the first of three sections in which the texture changes to three voices only. To start with ATB are used in a canonic manner and then T imitates at the 5th. Note the use of melisma on “Deus” (“God”) and the text repetition of “filius patris”. The music seems to modulate here to Ab - the relative major - by landing on Eb, the dominant of the relative major. Though terms like dominant and tonic would not be used as this music is, essentially, modal, it is useful to use these terms to help understand the relationship between keys we reach.

The next three part section has the text “Qui tollis peccata mundi miserere nobis” (“Thou that takest away the sins of the world have mercy upon us”). Here were have CAB in counterpoint, imitating a 5th below initially. Note the long melisma on the word “mundi” (“world”). The dotted rhythm gives this phrase a dance like feel. Is this possibly metaphrase again, the idea of the frivolous world? Quite often Byrd writes melismas on the word “mundi” and “terra” (“ground”) in this mass. “Have mercy” is characterised by a descending scale and “upon us” by a ascending and descending pattern. This section stays in Ab.

The final three voice section is “Qui tollis peccata mundi suscipe deprecationem nostram” (“O thou that takest away the sins of the world receive our prayer”). “Nostram” (“our”) is emphasised with melismatic word setting. Overlapping phrases repeating the text suggest the plea for God to “hear our prayer”. The tenor part reaches to a high Ab again suggesting supplication and pleaing for mercy.

The number 3 is very important in all manner of religions as a “magic” or symbolic number. In Christianity, particularly the Catholic variety, the doctrine of the Holy Trinity - Father, Son and Holy Spirit - is very important. As a Catholic composer who was writing his masses and motets for clandestine services this is possibly one of the ways in which Byrd expressed his beliefs and important doctrinal ideas.

28 “Qui sedes” begins in an antiphonal manner with A leading before the other voices move into counterpoint. “Miserere nobis” has a rising scale followed by another melisma on “us”.

“Quoniam” has CT paired with T very high in range in comparison with C. AB imitate and T emphasises “holy” (“Sanctus”) with a nice cadential suspension and melisma. A is very low in range in comparison with T. T in high register for “altissimus” i.e. word painting. Key is Eb (dominant) and D naturals help to prepare this. Movement towards C major ar “Jesu Christe” to prepare return to the F minor feel for the end section.

“Cum sancto spiritu” pairs AT and CB in antiphony initially. The words “in gloria Dei patris” are repeated several times to emphasize their importance. The word setting is also canonic between A, T and C and B enters a 5th lower with similar pattern. The final “patris’ has a melismatic setting.

The “Amen” is an extended plagal cadence with a cascading melismatic idea in C, imitated by B and A. The final cadence has a tierce de picardie.

29 Chapter 7

If Ye Love Me Commentary

Full Anthem If Ye Love Me by Thomas Tallis (c1505-1585) Full anthem for SATB in F major in modern editions, original in C for TTBB. Examples are taken from a modern edition

Tallis is recognised as one of the foremost English composers of the Renaissance. A Catholic, he, like his pupil Byrd, wrote music for the Catholic church and for the English church. Tallis is famed for his 40 voice motet Spem in alium for eight five voice choirs (SATBB). His short anthem, If ye love me, is typical of anthems written for the English church. It is fairly short and in binary form with a repeated B section (much like Byrd’s Ave verum corpus). The word setting is syllabic and the texture is mainly homophonic with some polyphonic imitation. The harmony in this anthem is fairly simple and diatonic i.e. it is moving away from modality unlike, for example, Tallis Lamentations of Jeremiah which are modal in tonality with many false relations and so on. The text comes from John 14:15-17

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 for ever, even the spirit of truth

The opening is in homophonic texture with the soprano part very much the tune, ending with a plagal cadence.

30 Some editions have the word “commandments” pronounced as “com-man-de- ments” i.e. with an extra syllable. This was fairly typical of the use of English in the 16th century where, for example, the word “salvation” in settings of the Magnificat may be written as “sal-va-ti-on”, promised as “pro-mi-sed” in the Nunc dimitis and so on.

The four voices split into imitation at “and I will pray” with each entry slightly modifying the previous one. Note, however, that the altos and basses are a 5th lower than sopranos and tenors, with the key moving towards the relative minor. .

When the top voice re-enters at bar 9 (modern editions) it takes over prominence as the “melody” instrument. The ection ends with a perfect cadence on “comforter” which is preceeded by a vi - IVb - V4-3 - I progression.

The next section is again imitative but the syllabic setting allows the words to come through. The long note on “he” emphasises the importance of this giving of the Holy Spirit and gives a sense of “biding for ever”. Again entries are a 5th apart. 31 Note that the texture changes to three parts for this section which is possibly a reference to the Holy Trinity - Father, Son and Holy Spirit. Byrd often uses a three part texture to emphasise the Trinity e.g. in the Mass for Four Voices.

The word “spirit” is set in many different ways by English composers of the Renaissance period. Here, an essentially two syllable word is set as one syllable and would be pronounced “sprit”. Here are some other ways in which the word has been used in Renaissance music:

The descending scale used for “spirit of truth” gives a sense of the the Spirit descending from Heaven to bless mortals. Tallis carefully prepares all dissonances and there are many to identify. The alto (modern editions) part becomes the top part for the last few bars. Reading through the parts the top two parts are fairly similar in range with only the tenors really asked to go quite high. A perfect cadence ends the anthem.

32 Main points full anthem a cappella, in English use of homophony and syllabic word setting words easy to understand tonal rather than modal pronounciation of the word “commandments” & “spirit” three part texture a reflection of the Trinity cadence points prepared

33 Chapter 8

This is the Record of John Commentary

Verse Anthem This is the Record of John by Orlando Gibbons (1583-1625) Scored for countertenor solo, SAATB, organ

Following the Reformation and the creation of the Anglican church a new type of composition was developed known as an anthem. In essence these were motets in English and fulfilled more or less the same liturgical function. The main difference between the two styles is that the anthem is in English. The Catholic church had become increasingly doubtful about the necessity of richly polyphonic music as it took away from them meaning of the words used, most of which were biblical and therefore holy. The English anthem had an advantage over Latin motets in that the language was the vernacular. Two types of anthem developed and one of these made it even easier for the congregation to understand the meaning of the text. The full anthem was composed for a choir a cappella and may be as polyphonic as any motet. There were no sections for soloists. The verse anthem was accompanied either by organ or even by a consort of instruments e.g. viols and a soloist was used in juxtaposition with the whole choir. A famous example of this is This is the record of John by Orlando Gibbons.

Gibbons was younger than Byrd and the sacred music that survives is all in English and written for the Anglican church. This is the record of John takes verses from the Gospel of John chapter 19 when the Jewish authorities question John the Baptist on who he is and what his nature is.

This is the record of John, that the Jews sent priests and Levites to ask him “Who art thou?” And he confessed and denied not, and said plainly “I am not the Christ” And they asked him “What art thou then? Art thou Elias [Elijah - Old Testament prophet]?” And he said “I am not”. “Art thou the prophet” and he answered “No”. Then said they unto him “What art thou? That we may give an answer unto them that sent us. What sayest thou of thyself?” And he said “I am the voice of him that crieth in the wilderness make straight the way of the Lord”

This is not a poetic text or verse based like a psalm. The obvious way to use soloist and choir would be for the soloist to represent John the Baptist and the choir to represent the priests and Levites, rather as Bach uses the choir in the St Matthew Passion. However, here the soloist tells the story and the choir repeat some of the words. The soloist sings all the words and is answered by the choir who at three point sing:

34

a And he confessed and denied not, and said plainly “I am not the Christ” b And they asked him “What art thou then? Art thou Elias?” And he said “I am not”. “Art thou the prophet” and he answered “No”. c And he said “I am the voice of him that crieth in the wilderness Make straight the way of the Lord”

On the whole the choir sing only those words uttered by the Baptist with the exception of the middle entry where, because of the questioning the choir need to sing the words of the priests and Levites too. Using soloist and choir singing the same words allows Gibbons to make the nature of the text simple to understand for the English speaking congregation and also allows him to work polyphonically with the choir.

The accompaniment for organ is written in a freely polyphonic style though it is not fully imitative. It supports the solo voice harmonically but does not double it at all though it does introduce melodic ideas and occasionally the solo voice imitates the organ line. At times it seems as if the organ and voice are not really related to each other in a similar manner to Welsh penillion singing. When the full choir sings the organ doubles the voice parts.

Text Setting The words are set syllabically throughout with the small exception of the surprising melisma on “I am not the Christ”. This is surprising as the whole line says “And he answered plainly I am not the Christ” (e.g. 1).

The melisma is anything but plain though it does help to emphasise the word “not” which is of major importance. The Jewish religious authorities were waiting for their messiah (and indeed still are) and many set themselves up as religio-political leaders in Roman Judea. (Watch Monty Python’s The Life of Brian and you will get an idea of the sort of world to which Jesus came). When John started to preach he was fulfilling Old Testament prophecies about the coming of the chosen one of God and the text makes this explicit when John quotes Isaiah - “the voice of him that crieth in the wilderness...”, a text which Handel also uses in Messiah. The use of polyphony for some of the questions asked by the priests and Levites helps to give a sense of the quest for answers, for each one of this group asking at the same time as the others as would in a free flowing public debate. The use of homophonic texture at “he answered no” is equally telling (e.g. 2).

35 Melody and harmony Gibbons is a generation younger than Byrd and younger still than Tallis so it is no surprise that his approach is more tonal than modal. The edition used in compiling these notes is in Ab major and it is fair to say that modality does not really feature. Suspensions are, of course, prepared, suspended then resolved and modulations are prepared by the inclusion of accidentals The false relations found in so much pre- tonal modal music are not apparent here. The flattened 7th of “art thou the prophet” is a dominant 7th preparation for chord IV. Modulation to the dominant is often used in the penultimate line for the choir with a swift return to the tonic for the end of a section. For example the first time the choir sings “and he answered no” the music moves from Ab to Eb via the secondary dominant Bb in a way which is very similar to chorale harmonisations (e.g. 3).

The second declamatory “No” is on a perfect cadence in the tonic thus adding weight to the statement (e.g. 2). The relative minor, F minor, is reached in the last solo section at the words “the voice of him that crieth in the wilderness” with this move to the minor perhaps an example of the metaphrase (mentioned by Gray when discussing Byrd’s mass and motets) to suggest the “cry in the

36 wilderness” (e.g. 4)

It also allows the return of the tonic at “make straight the way of the Lord” all the more striking and triumphal. The rhythm of the text follows speech patterns on the whole e.g. Jerusalem with “Je” on the (assumed) anacrusis, a longer note on “ru” and “salem” on shorter notes(e.g. 5).

The melodic outline of this word also follows the way it is said (try sprechgesang-ing the word a few times). The melody is mainly stepwise with some leaps of a 4th or 5th. Declaimed words e.g. “and he answered no” approach the tonic by step (e.g. 6).

Text repetition There are some instances of text repetition. In the opening solo the word “Jerusalem” is sung twice with a sequential melody (e.g. 5). Jerusalem has long been associated with an idealised “golden age” and it is possible that the repetition was to emphasise the importance of this city in Christianity. The Book of Revelation talks of the building of “New Jerusalem” as a sort of heaven on earth. William Blake imagined Jerusalem built amongst the “dark satanic mills” of industrial revolution England. Even Faure repeats the word several times in the

37 “In Paradisum” movement of his Requiem Mass. As already stated the choir repeat some of the words already sung by the soloist. Catholics in the Reformation associated themselves with the plight of the Jews in the Babylonian captivity when they longer for a return to Jerusalem. Gibbons is not a Catholic but it is interesting that the word is repeated by him much as Tallis repeats it in his Lamentations.

Within their parts the choir sometimes repeat text when in polyphonic texture (e.g.altos sing the words and are imitated by the tenors) or may repeat the text within one voice part e.g. the words “I am not the Christ” are uttered twice by most voices to underline their importance. “Art thou Elias?” (e.g. 7a)

and “Art thou the prophet”(e.g.7b)

are asked twice by the soloist, again sequentially and this helps to give an idea of the importance of the question to the Jewish authorities who knew the story of Elijah ascending into heaven on a chariot and they awaited his return as the herald of the coming of the messiah. The choir also repeat these texts. The soloist repeats the text “make straight the way of the Lord” three times (e.g. 4). The 2nd time is more or less melodically identical to the first with one note changed to fit the harmony. These words are very important for the meaning of this anthem in which John the Baptist explains, with reference to Old Testament quotations the priests and Levites would understand, exactly what his role is. The choir also repeat this text several times.

Variety of textures As already mentioned the accompaniment is polyphonic and supports rather than doubles the solo verse. The choral textures vary between homophony and polyphony, often with interesting results. The text “And he confessed and denied not” is set in block chords (e.g. 8a) whereas “and said plainly...” is set in 5 part

38 polyphony (e.g. 8b)

with some imitation and a little canonic writing (e.g. between tenor and soprano). This is almost the reverse of word painting. Note also the use of bass and alto in homophonic texture before the tenor entry. This is very similar to the voice pairing in the Byrd Mass. “Art thou Elias...I am not” is set in polyphony but the next line “Art thou the prophet and he answered No” is set homophonically and repeated. The first time is with only 4 voices - AATB - but the second time the sopranos join to give a full, 5 part (SAATB), firm rebuttal “No”! (e.g. 2). The choir’s final entry “Make straight the way of the Lord” is again imitative and canonic. Sopranos are in canon, starting on Bb and basses and 2nd altos are in canon with each other a 4th lower on F (e.g. 9). 1st altos imitate on C.

39 Plan The table below gives a plan of the anthem This is the record of John showing the text, textures and main features. Each section is unrelated to the previous one making the whole piece through-composed. Bar Text Texture Key Features 1 - 18 This is the record of John, that organ accomp, Ab. Modulation melisma on “I the Jews sent priests and Levites solo to dominant. am not the to ask him “Who art thou?” countertenor Return to tonic Christ” And he confessed and denied not, and said plainly “I am not the Christ”

18 - And he confessed and denied choir start in Ab. Modulation polyphony for 25 not, and said plainly “I am not homophony to dominant. “and said the Christ” then polyphony Return to tonic plainly”

27 - And they asked him “What organ accomp, Ab. Modulation Repetition of 40 art thou then? Art thou solo to dominant. text with Elias?” And he said “I am countertenor Briefly in sequential not”. “Art thou the prophet” subdominant melody, stepwise and he answered “No”. approach to cadence on “No”

40 - And they asked him “What altos in Ab. Modulation Repetition of 54 art thou then? Art thou antiphony to subdominant text with Elias?” And he said “I am briefly, then then to sequential not”. “Art thou the prophet” polyphonic, dominant before melody, firm and he answered “No”. ending returning to cadences on homophonically tonic word “no” in dominant then tonic 55 - Then said they unto him organ accomp, Ab, modulation Return to tonic 76 “What art thou? That we may solo to dominant. for “make give an answer unto them that countertenor Modulation to straight”, text sent us relative minor repeated 3 times What sayest thou of thyself?” before return of with similar And he said “I am the voice of tonic melody twice him that crieth in the wilderness Make straight the way of the Lord”

76 - What sayest thou of thyself?” choir Ab. Modulation canon at “make 90 And he said “I am the voice of homophony to dominant. straight” him that crieth in the wilderness though A2 in Return to tonic between S & T Make straight the way of the canon for a bar. imitated 4th Lord” Canonic on lower by A2& B. “make straight”

40 Main points verse anthem contrasts solo sections with full choir organ accompaniment used throughout through composed structure variety of choral textures word setting mainly syllabic with important exceptions text repetition and use of sequence more tonal than modal

41 Chapter 9

Settings of Services

Services are collections of music to be sung at various points in the day, whether Morning Prayer, Eucharist or Evensong. In the modern church Evensong (or the shorter Evening Prayer) is the service which most cathedral and collegiate choirs sing on a daily basis.

Three types of Anglican services were composed in the Tudor period - “Short” Services, “Verse” services and “Great” services.

“Short” services complied to the Anglican notion of clarity of texture and simplicity of word setting. Byrd’s own “Short” service, quoted below, is an excellent example.

Verse services resemble verse anthems in that one or more soloist sang at a time in contrast with a full choir. These services were accompanied by organ. Byrd’s “Great” service is perhaps the finest setting in this style which was grand in scale and imaginative in use of colour and texture and perhaps a little more like the Latin music composed for the Catholic church in its use of polyphony.

42 Chapter 2, which deals with the Reformation, gives a list of the main canticles used for these services.

Having studied Byrd’s Mass for Four Voices and several motets by Byrd, Tallis, Gibbons etc listen to Byrd’s “Great” service and “Short” service canticles for Evening Prayer (Magnificat and Nunc Dimittis) making a note of the following:

forces used tonality and changes of tonality use of false relations examples of voice pairing examples of word painting examples of homophonic writing and reference to the text examples of polyphonic writing and reference to the text

Then make a plan of each piece similar to those found elsewhere in these notes. Emphasise the relationship between the text and the music.

43 Bibliography & Discography

Byrd, William ed. Washington, Henry, Mass for Four Voices (Chester Music, London 1959) Byrd, William ed. Fraser, David, Mass for Four Voices (www.cpdl.org, 2008) “The Masses and Motets of William Byrd” Joseph Kerman, review by John Milsom, The Royal Musical Association Research Chronicle no 19, 1983-85 “Aspects of Byrd’s musical recusancy”, David Trendell, Musical Times, Autumn 2007 “Style Analysis: a comparison of Byrd’s Ave Verum Corpus with his sacred vocal polyphony via a quadrant framework analysis” Lesley Clutterham, California State University, 2007 “Choral Music in the Renaissance”, Howard Mayer Brown, Early Music vol 6, 1978 “Byrd’s settings of the ordinary of the mass”, Joseph Kerman, Journal of the American Musicological Society vol 32, 1979 “Authenticity and chronology in Byrd’s Church Anthems”, Craig Monson, Journal of the American Musicological Society vol 35, 1982 “Homage to Taverner in Byrd’s masses”, Philip Brett, Early Music vol 9, 1981 “On performing Byrd’s sacred vocal music”, Peter Phillips, The Musical Times vol 134, 1993 “The Byrd Edition iv: The Masses” ed. Philip Brett, review by John Harper, Music and Letters vol 64 1983 “Some aspects of word treatment in the music of William Byrd”, Walter Gray, The Musical Quarterly vol 55, 1969 “The English consort and verse anthems”, John Morehen, Early Music vol 6, 1978 “Homage to Byrd in tudor Verse Services”, Richard Turbet, The Musical Times vol 129 1988 “The English Anthem 1580-1640”, Peter le Huray, Proceedings of the Royal Musical Association (1959-1960) “The English Anthem Text”, John Morehen, Journal of the Royal Musical Association (1992)

The Masses and Motets of William Byrd, Tallis Scholars dir. Peter Phillips..... The English Anthem vol 1 Choir of Magdalen College, Oxford dir. John Harper, Alpha 1984 Palestrina:Victoria:Masses Choir of King’s College Cambridge dir. Stephen Cleobury Decca Argo 1984 Playing Elizabeth’s Tune BBC dvd, Charles Hazelwood/Peter Phillips/The Tallis Scholars 2006

44