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Durham E-Theses Durham E-Theses Music by members of the Choral Foundation of Durham Cathedral in the 17th century. Anderson, Simon John How to cite: Anderson, Simon John (2000) Music by members of the Choral Foundation of Durham Cathedral in the 17th century., Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1166/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 MUSIC BY MEMBERS OF THE CHORAL FOUNDATION OF DURHAM CATHEDRAL IN THE 17TH CENTURY TWO VOLUMES VOLUME ONE The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and information derived from it should be acknowledged. SIMON JOHN ANDERSON Ph. D UNIVERSITY OF DURHAM DEPARTMENT OF MUSIC 1999 4 18 OCT2000 Music by Members of the Choral Foundation of Durham Cathedral in the 17th Century Simon John Anderson Thesis for the degree of Ph.D. University of Durham, 1999 Abstract Durham Cathedral is known to possess one of the largest and most intact collections of 17th-century liturgical music manuscripts in the world. That so much material survived the trauma of the Commonwealth is fortuitous indeed. The history of the pre-Civil War manuscripts has already been researched, and those after the Restoration have been investigated to a degree. The present research is concerned with a detailed study of the music composed by the many Durham musicians of the 17th century contained in the manuscripts, and their related sources. In total over 80 works by 20 composers are represented in varying degrees of completeness. These range from complete autograph texts through to solitary tenor parts. The study is concerned solely with the scene at Durham. To enlarge on earlier research, a detailed study of the manuscripts from the second half of the century is presented. These show the stability of the repertoire and the introduction of much new material towards the end of the century. A newly- compiled catalogue of the related manuscripts at Peterhouse, Cambridge is presented as an appendix. A representation of every piece of Durham-composedmusic is given. Extracts only are presented of fragmentary items, and also for reasons of space and time where a whole piece of music does not reveal anything significant. Reconstructions are presented of works with one or two parts missing, or where a large amount of material can be recovered from an extant organ part. Transcriptions are presented in cases where a complete text survives. The study is divided into two volumes. Volume one describes the music and its sources, and volume two contains musical transcriptions. CONTENTS - VOLUME ONE Chapter 1: Durham's 17th century music manuscripts The 17th 1 early century -a summary of earlier research ....... Post-Restoration detailed 4 manuscripts - studies ............. The late 17th the 34 century reorganisationof manuscripts ..... Conclusions 44 ........................................................................... Chapter 2: The music of the late 16th and early 17th centuries John Brimley 47 ........................................................... William White 50 ........................................................................ ?John Horseley 60 ............................................................ Edward Smith 62 ........................................................................ Richard Hutchinson 76 ............................................................ Summary 90 ........................................................................ Chapter 3: The music of c. 1625-45 William Smith 93 ......................................................................... Henry Palmer 147 ......................................................................... John Geeres 177 ......................................................................... Thomas Hughes 186 ...................................................................... George Rutter 189 ......................................................................... James Carr 190 ......................................................................... Summary 191 ......................................................................... Chapter 4: Post-Restoration music Thomas Wilson 194 ............................................................. Elias Smith 196 ......................................................................... John Foster 199 ......................................................................... John Nicholls 220 ......................................................................... Alexander Shaw 224 .................................................................... Francis Forcer 228 ....................................................................... William Greggs 230 ...................................................................... Robert Hodge 235 ....................................................................... Thomas Allinson 237 ..................................................................... Summary 244 .......................................................................... Conclusion 246 .......................................................................... Appendix: Catalogue of the Durham-related manuscripts Peterhouse, Cambridge 247 at ........................... Acknowledgements bibliography 285 and ........................................ CONTENTS - VOLUME TWO Editorial Practice Musica Ficta in the manuscripts ........................................ v Musical transcriptions 1 extracts, reconstructions and ... I declare that none of the material contained in the thesis has previously been submitted for a degree in this or any other university. ý.,. etý- Simon J. Anderson The copyright of this thesis rests with the author. No quotation from it should be published without their prior written consent and information derived from it should be acknowledged. CONTENTS OF VOLUME 1 Introduction I Abbreviations iii Chapter 1- Durham's 17th century music manuscripts The early 17th century - summary of earlier research 1 Detailed studies of post-Restorationmanuscripts - C1, C15, C19, C17, C12, BL78, BL79 4 The late 17th century - reorganisation of the manuscripts 34 Conclusions 44 Chapter 2- The music of the late 16th and early 17th centuries John Brimley 47 William White 50 ?John Horseley 60 Edward Smith 62 Richard Hutchinson 76 Summary 90 Chapter 3- The music of c. 1625-45 William Smith: Anthems 93 Preces and Festal Psalms 113 Service and Organ Music 131 Henry Palmer: Anthems 147 Preces and Festal Psalm 167 Service Music 171 John Geeres 177 Thomas Hughes 186 George Rutter 189 James Carr 190 Summary 191 Chapter 4- Post-Restoration music Thomas Wilson 194 Elias Smith 196 John Foster: Anthems 199 Services 213 John Nicholls 220 Alexander Shaw 224 Francis Forcer 228 William Greggs 230 Robert Hodge 235 Thomas Allinson 237 Summary 244 Conclusion 246 Appendix - Catalogue of the Peterhouse Caroline Manuscripts 247 Acknowledgements 285 Bibliography 287 Introduction The impetus for this research came from reading Brian Crosby's 1986 Catalogue of Durham Cathedral Music Manuscripts.That so much music by Durham composers remained unknown stirred a desire to explore the manuscripts and rediscover music that had been written for the cathedral four hundred years ago, but for at least the last three hundred had been consigned to a dark cupboard. William Smith is the only Durham 17th century composer to enjoy any currency in present choral circles, and this solely on the strength of his splendid set of Preces and Responses. What of his many other compositions? And what of his musician contemporaries? The present research is therefore not entirely original, for Crosby has already catalogued the Durham music manuscripts and written his doctoral thesis on the lives of the Durham musicians up to 1650. The present work, though, is concerned primarily with the music of the composers, and hence the large second volume of transcriptions, which actually constitutes the bulk of the thesis. That this work straddles the whole of the 17th century inevitably covers some ground already worked on, and this is referred to in the footnotes. In presenting a study of a century of music it has been found appropriate to condense the research of the manuscripts and repertoire hitherto undertaken, and then to present a more exhaustive study of the post-Restoration manuscripts. These books reveal much of the changing repertoire and styles of music over the century. After this survey the century is broken into three approximate sections and the composers are studied individually work by work. The texts of the works are given in full where a complete transcription is presented, otherwise the beginning only of the text is reproduced. Liturgical texts are not given here. After the text a commentary remarks on any
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