The Lutheran and Anglican Reformations Objectives Reformation

Total Page:16

File Type:pdf, Size:1020Kb

The Lutheran and Anglican Reformations Objectives Reformation 2/23/2017 The Lutheran and Anglican Reformations Objectives • historical origins/causes • Lutheran reformation – 3 sources for chorales • Anglican reformation – anthems Reformation: origins • John Wyclif (1320‐1384) – opposed church wealth – English translation of Bible • humanism (back to the ancients) – Lorenzo Valla (1406‐1457) Donation of Constantine – Erasmus (1466‐1536) Novum testamentum 1 2/23/2017 Lutheran Reformation—Martin Luther • 10/31/1517: 95 Theses – in Wittenberg Germany – simony – indulgences – taxes Martin Luther on music (W/T 27) “next to the Word of God, music deserves the highest praise. She is a mistress of the governess of those human emotions—to pass over the animals—which as masters govern men or more often overwhelm them. For whether you wish to comfort the sad, to terrify the happy, to encourage the despairing, . what more effective means than music could you find?” Martin Luther on vernacular song (W/T 27) “I also wish that we had as many songs as possible in the vernacular which the people could sing during Mass, . For who doubts that originally all the people sang these which now only the choir sings or responds while the bishop is consecrating the host? . But poets are wanting among us, or not yet known, who could compose evangelical and spiritual songs.” 2 2/23/2017 Luther’s Views on Music, W/T 27 • music = second to theology • songs in the vernacular • congregational participation Music in the Lutheran Church • participation • vernacular – Deudsche messe (1526) • chorale – Monophonic, vernacular • three sources of Chorales – 1. adapt Gregorian Chant – 2. Contrafacta Contrafacta Greensleeves (original) What Child is This (contrafacta) Alas, my love, you do me wrong, What Child is this who, laid to rest To cast me off discourteously. On Mary’s lap is sleeping? For I have loved you well and long, Whom angels greet with anthems sweet Delighting in your company. While shepherds watch are keeping? Greensleeves was all my joy This, this is Christ the King, Greensleeves was my delight . Whom shepherds guard and angels sing . 3 2/23/2017 Music in the Lutheran Church • participation • vernacular – Deudsche messe (1526) • chorale – Monophonic, vernacular • three sources of Chorales – 1. adapt Gregorian Chant – 2. Contrafacta – 3. New tunes • aab: Bar form The Anglican Reformation England – Tudor Dynasty • separate music culture (from continental Europe) • Henry VII (r.1485‐1509) – unified England • Eton Choirbook (1490‐1502) – Wylkynson, Jesus autem trans. 4 2/23/2017 Robert Wylkynson, Jesus autem transiens/Credo (Eton Choirbook) England – Tudor Dynasty • separate music culture • Henry VII (r.1485‐1509) – unified England • Eton Choirbook (1490‐1502) – Wylkynson, Jesus autem trans. • Henry VIII (r.1509‐1547) – “Defender of the Faith” Anglican Reformation CatherineAnne ofBoleyn Aragon 5 2/23/2017 Anglican Reformation • Henry VIII – wants divorce – creates Anglican church • Book of Common Prayer Book of Common Prayer Anglican Reformation • Henry VIII – wants divorce – creates Anglican church • Book of Common Prayer • Anthem – verse anthem – full anthem • W. Byrd: Sing joyfully unto God, NAWM 46 6 2/23/2017 Byrd, Sing joyfully unto God, NAWM 49 • full anthem • text = psalm 81 [in English!] • free imitation – “Sing joy” • varying textures • text painting (madrigalisms) – instrument sounds conclusions • caused by need for divorce • new genres – anthems – new dislikes (“Popish” music) Conclusions • 1. reformations had profound effect on European culture – especially music – See NAWM 98 • 2. creation of new repertoires – chorale (three types) – anthems • 3. foundation for later composers 7.
Recommended publications
  • Gabriel Jackson
    Gabriel Jackson Sacred choral WorkS choir of St Mary’s cathedral, edinburgh Matthew owens Gabriel Jackson choir of St Mary’s cathedral, edinburgh Sacred choral WorkS Matthew owens Edinburgh Mass 5 O Sacrum Convivium [6:35] 1 Kyrie [2:55] 6 Creator of the Stars of Night [4:16] Katy Thomson treble 2 Gloria [4:56] Katy Thomson treble 7 Ane Sang of the Birth of Christ [4:13] Katy Thomson treble 3 Sanctus & Benedictus [2:20] Lewis Main & Katy Thomson trebles (Sanctus) 8 A Prayer of King Henry VI [2:54] Robert Colquhoun & Andrew Stones altos (Sanctus) 9 Preces [1:11] Simon Rendell alto (Benedictus) The Revd Canon Peter Allen precentor 4 Agnus Dei [4:24] 10 Psalm 112: Laudate Pueri [9:49] 11 Magnificat (Truro Service) [4:16] Oliver Boyd treble 12 Nunc Dimittis (Truro Service) [2:16] Ben Carter bass 13 Responses [5:32] The Revd Canon Peter Allen precentor 14 Salve Regina [5:41] Katy Thomson treble 15 Dismissal [0:28] The Revd Canon Peter Allen precentor 16 St Asaph Toccata [8:34] Total playing time [70:22] Recorded in the presence Producer: Paul Baxter All first recordings Michael Bonaventure organ (tracks 10 & 16) of the composer on 23-24 Engineers: David Strudwick, (except O Sacrum Convivium) February and 1-2 March 2004 Andrew Malkin Susan Hamilton soprano (track 10) (choir), 21 December 2004 (St Assistant Engineers: Edward Cover image: Peter Newman, The Choir of St Mary’s Episcopal Cathedral, Asaph Toccata) and 4 January Bremner, Benjamin Mills Vapour Trails (oil on canvas) 2005 (Laudate Pueri) in St 24-Bit digital editing: Session Photography:
    [Show full text]
  • Musica Britannica
    T69 (2021) MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Vauxhall Pleasure Gardens c.1750 Stainer & Bell Ltd, Victoria House, 23 Gruneisen Road, London N3 ILS England Telephone : +44 (0) 20 8343 3303 email: [email protected] www.stainer.co.uk MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Musica Britannica, founded in 1951 as a national record of the British contribution to music, is today recognised as one of the world’s outstanding library collections, with an unrivalled range and authority making it an indispensable resource both for performers and scholars. This catalogue provides a full listing of volumes with a brief description of contents. Full lists of contents can be obtained by quoting the CON or ASK sheet number given. Where performing material is shown as available for rental full details are given in our Rental Catalogue (T66) which may be obtained by contacting our Hire Library Manager. This catalogue is also available online at www.stainer.co.uk. Many of the Chamber Music volumes have performing parts available separately and you will find these listed in the section at the end of this catalogue. This section also lists other offprints and popular performing editions available for sale. If you do not see what you require listed in this section we can also offer authorised photocopies of any individual items published in the series through our ‘Made- to-Order’ service. Our Archive Department will be pleased to help with enquiries and requests. In addition, choirs now have the opportunity to purchase individual choral titles from selected volumes of the series as Adobe Acrobat PDF files via the Stainer & Bell website.
    [Show full text]
  • 572840 Bk Eton EU
    Music from THE ETON CHOIRBOOK LAMBE • STRATFORD • DAVY BROWNE • KELLYK • WYLKYNSON TONUS PEREGRINUS Music from the Eton Choirbook Out of the 25 composers The original index lists more represented in the Eton than 60 antiphons – all votive The Eton Choirbook – a giant the Roses’, and the religious reforms and counter-reforms Choirbook, several had strong antiphons designed for daily manuscript from Eton College of Henry VIII and his children. That turbulence devastated links with Eton College itself: extraliturgical use and fulfilling Chapel – is one of the greatest many libraries (including the Chapel Royal library) and Walter Lambe and, quite Mary’s prophecy that “From surviving glories of pre- makes the surviving 126 of the original 224 leaves in Eton possibly, John Browne were henceforth all generations shall Reformation England. There is a College Manuscript 178 all the more precious, for it is just there in the late 1460s as boys. call me blessed”; one of the proverb contemporary with the one of a few representatives of several generations of John Browne, composer of the best known – and justifiably so Eton Choirbook which might English music in a period of rapid and impressive astounding six-part setting of – is Walter Lambe’s setting of have been directly inspired by development. Eton’s chapel library itself had survived a Stabat mater dolorosa 5 may have gone on to New Nesciens mater 1 in which the composer weaves some the spectacular sounds locked forced removal in 1465 to Edward IV’s St George’s College, Oxford, while Richard Davy was at Magdalen of the loveliest polyphony around the plainchant tenor up in its colourful pages: “Galli cantant, Italiae capriant, Chapel – a stone’s throw away in Windsor – during a College, Oxford in the 1490s.
    [Show full text]
  • The Improperia I Did Raise Thee on High with Great Power
    10 Holy Week paraclete press PPM01916M U $2.90 # # œ M/D & # ## œ œ œ œ œ œ ˙ œ œ œ œ œ ˙. œ œ œ œ œ œ œ ˙ œ œ œ œ ˙. œ w where- in have I wear- ied thee? Test--- i fy a gainst me. œ œ œ ˙ œ œ œ œ ˙ U ? # # œ œ œ œœ œ œ œ ˙ œ œ œœ œ œ ˙ œ œ ww # ## œ Cantor #### & # œ œ œ œ œ œ œ œ œ œ œ ˙ The Improperia I did raise thee on high with great power: #### & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ and thou hast hang-- ed me up on the gib- bet of the Cross. Full Choir p COPY # # œ # ## ˙ ˙ ˙ ˙˙ œœ œ œ œ ˙. œ œ œ . & ˙ ˙ ˙ œ œ œ œ œ œ ˙. œ O my peo- ple, what have I done un- to thee? or Robert Lehman œ ˙ ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙. œ ? # # ˙ ˙ œ œ ˙ œ œ œ # ## œ œ œ ˙. œ NOTSATB a cappella # # œ U & # ## œ œ œ œ œ œ ˙ œ œ œ œ œ ˙. œ œ œ œ œ œ œ ˙ œ œ œ œ ˙. œ w where- in have I wear- ied thee? Test--- i fy a gainst me. œ œ œ ˙ œ œ œ œ ˙ U ? # # œ œ œ œœ œ œ œ ˙ œ œ œœ œ œ ˙ œ œ ww DO # ## œ PPM01916M 9 Cantor #### & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ I did smite the kings of the Can-- aan ites for thy sake: # ## & # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ andœ thou hast smit- ten my head with a reed.
    [Show full text]
  • 16Th Century
    16th century notes towards the end of the piece are deliberate, and won’t seem so bad if you play them well? In bars 115 and 117 Cherici reproduces the notes as Mudarra had them, but I EDITIONS wonder if there is a case for changing them to match the rest of the sequence from bars 111 to 122, if only in a footnote. Anthology of Spanish Renaissance Music In three of the Fantasias by Mudarra the player is required for Guitar: to use the “dedillo” technique – using the index finger to Works by Milán, Narváez, Mudarra, Valderrábano, Pisador, play up and down like a plectrum. Of the nine pieces from Fuenllana, Daça, Ortiz Enriquez Valderrábano’s Silva de Sirenas (1547), three are Transcribed by Paolo Cherici marked “Primero grado”, i.e. easiest to play. Diego Pisador is Bologna: Ut Orpheus, 2017 CH273 less well known than the other vihuelists, perhaps because accid his Libro de musica de vihuela (1552) contains pages and his well-chosen anthology comprises solo music pages of intabulations of sacred music by Josquin and for the vihuela transcribed into staff notation others. However, there are some small-scale attractive for the modern guitar, and music for the viola da pieces of which Cherici picks five including a simple setting T of La Gamba called Pavana muy llana para tañer. The eight gamba with SATB grounds arranged for two guitars. For the vihuela pieces the guitar must have the third string tuned pieces from Miguel de Fuenllana’s Orphenica Lyra (1554) a semitone lower to bring it into line with vihuela tuning.
    [Show full text]
  • The Magazine of the Prayer Book Society
    ANGLICAN WAY The magazine of the Prayer Book Society Volume 40 Number 2 Summer 2017 IN THIS ISSUE Reflections from 2 the Editor’s Desk From the President of 4 the Prayer Book Society The PBS 2017 6 Conference ‘Prevent us Good Lord’: 7 Dwelling, Walking and Serving in the Book of Common Prayer Book Review: The 12 Benedict Option For Every Syllable a 14 Note: Cranmer and musical upheaval in the English Reformation Plainsong Psalms for 16 the Parish: Making a case for congregational psalmody The Liturgy of the 19 Episcopal Church: A Sermon from 1860 23 For Our Country Reflections FROM THE Editor’s Desk Roberta Bayer, Associate Professor, Patrick Henry College, Purcellville, Virginia We need your he Prayer Book Society of England has gra- on Cranmer and the musical upheaval during the gifts in order to ciously allowed us to reprint a talk given English Reformation. He points out that the theology by the Most Rev. and Right Hon. Lord Wil- of the Reformation had a profound effect upon the carry out your Tliams of Oystermouth, former Archbishop of Can- way music was conceived. Mr. Dettra is much lauded mandate to terbury. Lord Williams spoke to the English Prayer for his musical performances both as an organist and defend the Book Society, and once again showed himself to be a choir director, it is an honor and a pleasure to have a contemporary theologian who is willing to praise his article in the magazine. His concert schedule can 1928 Book of Cranmer’s liturgy for its spirituality and its theol- be found online at https://www.scottdettra.com/ Common Prayer.
    [Show full text]
  • Download Booklet
    The Sun Most Radiant Music from the Eton Choirbook Volume 4 John Browne (fl. c.1490) 1 Salve regina I a 5 (SATBarB) 15.01 2 Salve regina II a 5 (TTTBarB)* 18.47 William Horwood (c.1430–1484) 3 Gaude flore virginali a 5 (SATTB)* 14.56 William, Monk of Stratford (fl. late 15th – early 16th century) 4 Magnificat a 4 (TTBarB) 19.54 68.42 *world premiere recordings The Choir of Christ Church Cathedral, Oxford Stephen Darlington Director of Music 2 Introduction It is not a surprise that this fourth volume of Eton Choirbook compositions should be so appealing to the Choir of Christ Church, Oxford. After all, we fulfil much the same function as the Eton College Chapel Choir did at the beginning of the 16th century, singing the daily offices with huge commitment and skill. A superficial glance at the structure and musical language of these four works might lead one to suppose that they are all written in a generic style, but each composer has a striking and distinctive voice, ranging from the consummate technical command of John Browne to the rhythmical ingenuity of William Horwood and the energetic imitative vocal interplay of William Stratford. The challenge for us is to revive not only the text but also the spirit of this music which is so glorious in its variety and complexity. Ꭿ Stephen Darlington, 2016 The Sun Most Radiant Of the 25 composers represented in the Eton Choirbook, one name stands out above the others: that of John Browne. He is widely acknowledged to be the finest composer of the collection, and his monumental eight-part antiphon O Maria salvatoris mater (recorded on Choirs of Angels, the second release in this series), has pride of place as the opening piece in the Choirbook.
    [Show full text]
  • Festal Evensong
    6 FESTAL EVENSONG for the Feast of the Blessed Virgin Mary August 15 2020 Preparing for Worship Today the Church celebrates the Blessed Virgin Mary, on the date which since the earliest Christian centuries has been kept in her honour. We give thanks for her response to God’s call and her trust in God’s promises, and we allow that faithfulness to point us to her Son Jesus. Much of the music in this service comes from recordings made by the Cathedral Choir under the direction of Dr Stephen Darlington, of material from the Eton Choirbook of the early sixteenth century. This music is often long and complex, but rewards concentrated listening. It is music written to the glory of God; to display the skill of the composers, clerks and choristers of the late fifteenth century; and to lift the hearts and minds of those who listen, that we may experience through the glory of richly complex music something of the glory of God and the song of the angels. It is supplemented by other recordings, by the Cathedral Choir and Cathedral Singers, both from our archives and recorded more recently. The Officiant is the Revd Canon Sarah Foot, Regius Professor of Ecclesiastical History. Entering into worship through audio broadcast is more familiar to some of us than to others. If this is new to you, try to actively share in the service, not just have it on in the background; and join in the words in bold. Find a comfortable position that helps you to pray, and to receive the love of God in your heart.
    [Show full text]
  • An Interesting Phenomenon in the History of Music Is That Many Pieces
    Tudor Dedications to the Blessed Virgin: History, Style, and Analysis of Music from the Eton Choirbook - Vincent C. K. Cheung n interesting phenomenon in the history of music is that many pieces now regarded as great compositions had suffered long periods of A neglect before they began to receive the attention they deserve. A great majority of Mozart’s piano concerti were very rarely performed before the Great Wars; J. S. Bach’s cello suites were practically unknown to the musical world until Casals’ rediscovery of them in the 1920’s; similarly, the glorious Eton Choirbook, containing Magnificats and Marian antiphons for expressing Catholic sentiments, had been left virtually untouched on the shelves of the Eton College Library since around 1558 when the last Tudor monarch, Elizabeth I, restored Protestantism as the official religion of England, until the end of the 19th century. The existence of the Eton manuscript was first brought to musicologists’ notice by M. R. James. Once the Provost of Eton, James published in 1895 his Catalogue of the Manuscripts in the Library of Eton College which contains not only a description of the Choirbook, but also a transcription of its index. Following James’ catalogue were two detailed accounts of the manuscript, presented respectively by W. B. Squire in 1898 before the Society of Antiquaries, and D. A. Hughes in 1927 before the Musical Association. Both Squire and Hughes came across the Choirbook while searching for a missing link in the history of English music: that between the glory of Dunstable in the 1440’s and the rise of the Fayrfax school in the early 16th century.
    [Show full text]
  • Stainer & Bell
    T71 STAINER & BELL LTD Early Music 2020 ER & B IN E A L T L S E & S S B 7 T 0 A 9 B 1 L I S H E D Including the editions of AUGENER GALLIARD JOSEPH WILLIAMS WEEKES EARLY MUSIC Contents Preface ................................................................................................................. 2 Ordering Information............................................................................................. 3 Keyboard Music .................................................................................................... 4 Composer Collections ..................................................................................... 4 Anthologies ..................................................................................................... 5 Piano Duet ...................................................................................................... 6 Music for Organ ............................................................................................... 6 Instrumental: Strings, Wind and Brass ................................................................. 7 Violin ............................................................................................................... 7 Viola ................................................................................................................ 7 Cello ................................................................................................................ 7 Double Bass ...................................................................................................
    [Show full text]
  • Eurofest Tour
    AN EVENING CONCERT AD CONVIVIUM QUINTUM SOCIETATIS SPENSERIANAE Sung by PEREGRYNE Comprifing diverfe works compofed for ye Churche by John BROWNE (c.1453-after 1503) Thomas MORLEY (1557/8-1602) William H. HARRIS (1883-1973) William BYRD (c.1540-1623) & Thomas TALLIS (1505-85) SATURDAY, ye 20th of JUNE, 2015 at half past six o clock in ye auncient ’ Churche of ST AUDOEN S on High Street, for ye worthie fumm’e of five euro DVBLIN Dire¢ed by Do¢or Kinfella 2015 www.facebook.com/peregryne THE PROGRESS JOHN BROWNE (c.1453-after 1503), Stabat mater Marian antiphon THOMAS MORLEY (1557/8-1602), Laboravi in gemitu Text from Psalm 6, verse 6. WILLIAM HENRY HARRIS (1883-1973) Faire is the heaven Words by Edmund Spenser WILLIAM BYRD (c.1540-1623) Oh that most rare breast: The second of the funerall songs of that honorable Gent. Sir Phillip Sidney, Knight Text by Thomas Watson (c.1557-92) or Edward Dyer (1543-1607) THOMAS TALLIS (1505-85) Gaude gloriosa Dei mater Marion antiphon John Browne (c.1453-after 1503) was an English composer of the early Tudor period, probably from Coventry. He was elected a scholar at Eton in 1467 aged 14 and his surviving works can be found only in the Eton choirbook manuscript. His skilful ys compositions have been described as ‘extreme, adopting in wa innovativewhich apparently and unorthodox have no parallel, scoring either, imitation, in England dissonance, or abroad’ false relations, and unusually long melodic lines that almost produceStabat mater an effect crowns that Browne is ‘subtle,s reputationmystical, despite as a composer his colossal, charging textures’.
    [Show full text]
  • Music Theory at Work: the Eton Choirbook, Rhythmic Proportions and Musical Networks in Sixteenth-Century England
    Early Music History (2018) Volume 37. © Cambridge University Press doi:10.1017/S0261127918000074 Anne Heminger Email: [email protected] MUSIC THEORY AT WORK: THE ETON CHOIRBOOK, RHYTHMIC PROPORTIONS AND MUSICAL NETWORKS IN SIXTEENTH-CENTURY ENGLAND Whilst scholars often rely on a close reading of the score to understand English musical style at the turn of the fifteenth century, a study of the compositional techniques composers were taught provides complementary evidence of how and why specific stylistic traits came to dominate this repertory. This essay examines the relationship between practical and theo- retical sources in late medieval England, demonstrating a link between the writings of two Oxford-educated musicians, John Tucke and John Dygon, and the polyphonic repertory of the Eton Choirbook (Eton College Library, MS 178), compiled c. 1500–4. Select case stu- dies from this manuscript suggest that compositional and notational solutions adopted at the turn of the fifteenth century, having to do particularly with metrical proportions, echo music-theoretical concepts elucidated by Tucke and Dygon. These findings impinge upon the current debate concerning the presence of a network between educational institutions in the south-east of England during this period. In a 1997 article on the early Tudor court and the Eton Choirbook (Eton College Library, MS 178), Magnus Williamson posed an important question: ‘was [the Choirbook] the product of a provincial or a metropolitan environment?’ To answer this query, Williamson traced links between Eton College and other educational institu- tions, showing connections to Arundel College, Fotheringhay Col- lege and Windsor Chapel, while focusing on the college’sstronger ties to Oxford and Cambridge.
    [Show full text]