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Concert Program Book THE LOST MUSIC OF CANTERBURY Friday, April 28, 2017 | 8pm TAKING APART THE PARTBOOKS Saturday, April 29, 2017 | 9am - 5pm CATHOLIC MUSIC ON THE EVE OF REFORMATION First Church in Cambridge, Congregational FRIDAY | APRIL 28 Concert: The Lost Music of Canterbury Exultet in hac die Hugh Sturmy Magnificat Robert Jones Kyrie Orbis factor Sarum plainchant Missa sine nomine: Gloria & Credo Anonymous — intermission — Missa sine nomine: Sanctus & Agnus Anonymous Ave Maria dive matris Anne Hugh Aston Pre-concert talk by Nick Sandon (Antico Edition; Exeter University, retired) sponsored in part by The Cambridge Society for Early Music BLUE HERON Scott Metcalfe,director treble Margot Rood, Teresa Wakim, Shari Alise Wilson mean Jennifer Ashe, Pamela Dellal, Martin Near contratenor & tenor Michael Barrett, Owen McIntosh, Jason McStoots, Mark Sprinkle bass Paul Guttry, Steven Hrycelak, David McFerrin Blue Heron is funded in part by the Massachusetts Cultural Council, a state agency. The Friday concert is supported in part by a grant from the Cambridge Arts Council, a local agency which is supported by the Massachusetts Cultural Council, a state agency. Blue Heron 950 Watertown St., Suite 11, West Newton, MA 02465 (617) 960-7956 [email protected] www.blueheron.org 2 SATURDAY | APRIL 29 Taking Apart the Partbooks: Catholic Music on the Eve of Reformation Margaret Jewett Hall 8:30 Coffee & pastries 9:00 Introductory remarks: Scott Metcalfe 9:15-9:45 “Catholicism in England around 1540” Liza Anderson (Episcopal Divinity School) 9:45-10:15 “Protestants in search of true religion: conflict and consensus in the 1540s and 1550s” David Hall (Harvard Divinity School) 10:15-10:45 Questions & discussion 10:45 Coffee break Sanctuary 11:15-12:15 Lecture-demonstration: “Rhetorical strategies and rhetorical performance in votive antiphons from the Peterhouse partbooks” Scott Metcalfe & Blue Heron 12:15-1:45 Lunch break 1:45 Concert Ave Maria dive matris Anne • Hugh Aston Madame d’amours • Anonymous Missa Libera nos: Credo • Thomas Knyght Hear the voice and prayer • Thomas Tallis Missa Veni sancte spiritus: Sanctus • Richard Pygott Break Margaret Jewett Hall 3:00 “English iconoclasm across the Act of Supremacy of 1534” James Simpson (Harvard University) 3:30 “The history of the Peterhouse partbooks and the reconstruction of their missing parts” Nick Sandon (Antico Edition; Exeter University, retired) Questions & discussion to follow 3 THE LOST MUSIC OF CANTERBURY Provenance, destination and historical Music from the Peterhouse Partbooks interpretation of the Peterhouse part- books The music performed this weekend comes from a set of partbooks belonging to Pe- Peterhouse’s Henrician partbooks are the terhouse, Cambridge (Peterhouse MSS most important extant source of English 31-32 and 40-41, olim 471–4). It is ironic church music on the eve of the Reforma- that Peterhouse, one of the oldest and tion. The repertory of five-part polyphony smallest of the colleges that together that they contain is both large and var- make up the university of Cambridge, ied, consisting of seventy-two composi- should today own not just one but three tions in the standard forms of the day— significant sets of partbooks, for the col- Mass, Magnificat, votive antiphon, ritual lege had no early choral tradition and did plainchant setting, and one or two pieces not even have a chapel of its own to wor- whose function is debatable—and more ship in until the 1630s. The two later sets than half of these works do not survive in of partbooks that it possesses, known as other sources. The composers represented the former and latter Caroline sets (MSS (twenty-nine, plus one anonymous) range 475–81 and 485–93), were acquired dur- from those widely admired both at the ing the reign of Charles I (1625–49) as time and also today, such as Robert Fayr- part of the college’s campaign to create a fax and John Taverner, whose careers are chapel, a choir and a choral repertory for relatively well documented and whose itself. In contrast, the partbooks preserv- music is ubiquitous in sources of the pe- ing the music sung here date from about a riod, to the most obscure, such as Hugh hundred years earlier, towards the end of Sturmy, whose careers have yet to be the reign of Henry VIII, for which reason traced and whose music survives nowhere they are known as the Henrician set. For else. The musical quality of the collection those who may find it interesting, I will is generally very high, and many pieces explain briefly why these partbooks are so (by no means only those by well-known important, and give an idea of the detec- composers) show not only skilled crafts- tive work that has gone into their study. manship but also marked imagination and strong character. The very varied nature of this repertory, intermingling compositions in a rather conservative style (expansive, melismatic, ornate, and structurally rather opaque to 4 the listener) with others in a more modern enterprise was necessary. The composers idiom (concise, syllabic, plain, and struc- represented in a musical manuscript can turally transparent), and placing settings provide valuable clues as to where the col- of traditional texts honouring Mary along- lection originated, particularly if their rep- side settings of new texts honouring Jesus, resentation in other sources is either very reminds us that the English church was in sparse or non-existent, and even more so if a state of flux and that the future was by no their music shows technical limitations or means clear. The idea that in order to gain peculiarities: the implication is that these support for his repudiation of papal au- may have been ordinary musicians—most thority Henry VIII had to give free rein to probably choral singers—who did not religious reformers, and that this resulted specialise in composition and whose occa- in the abandonment of traditional forms sional essays in the art did not travel out- and styles of church music a decade or side the walls of the institution that em- more before the introduction of the Book ployed them. Discovering where a minor of Common Prayer in 1549, stems from a composer of this type worked may reveal one-sided and ludicrously over-simplified the provenance of a source in which he fig- reading of history. Henry remained a reli- ures. In the case of Peterhouse’s Henrician gious conservative to the end of his days, partbooks the presence of music by front- and he ensured that conservative opinion rank composers such as Fayrfax, Taverner, was well-represented in the church that he Nicholas Ludford, Hugh Aston and Rich- governed. Although radicals in the Eng- ard Pygott tells us very little, because their lish church may have begun to experiment work was very widely distributed. On the with new forms and styles of musical ser- other hand, the presence of otherwise un- vice several years before Henry’s death in known music by William Alen, Thomas 1547, institutions with more traditional Appelby, John Catcott or Cobcot, Arthur tastes clearly continued to welcome the Chamberlayne, “Edwarde” (probably Ed- type of repertory offered in Peterhouse’s ward Hedley), Robert Hunt and Edward Henrician partbooks, which would have Martyn, most of whom do not appear in been familiar to Henry’s father in reli- other extant sources, is extremely sug- gious content if not always in musical style. gestive of a connection with Magdalen College, Oxford, because the names of A great deal can be deduced about the gen- all of these men occur in a musical con- esis of these partbooks: who the copyist text—mostly as singers in the choir—in was; when he carried out his task; where college records dating from between the he found many of his exemplars; for whose later 1480s to the early 1540s. Some of the benefit the work was done; and why the other composers in the books strengthen 5 the probability of a link with Oxford, al- refounded as secular cathedrals and pro- though not a direct one with Magdalen vided with a dean and chapter and a choral College: John Mason, Hugh Aston, John staff to perform divine service with appro- Darke and James Northbroke held the priate ceremony and expertise. Three oth- degree of B.Mus. from the University of er monasteries—Chester, Gloucester, and Oxford; John Taverner was choirmaster of Peterborough—were also reconstituted Cardinal College between 1526 and 1530, as the cathedral churches of new dioceses. and William Whytbroke was a chaplain of In many ways the transition was smooth that college in 1529/30. In addition, John enough: some monks were pensioned off; Mason and Richard Pygott were members others became secular clergy in the new of the household chapel (“chapel” can foundations; and with the necessary ad- mean a group of ecclesiastical singers as ministrative and liturgical adjustments well as the building in which they sing) the life of the institution carried on. Mu- of Cardinal Wolsey, founder of Cardi- sically, however, there was a problem: at nal College and himself an ex-member of the beginning of their new existence very Magdalen College. few of these cathedrals can have possessed a particularly challenging or extensive It therefore seems very likely that most of polyphonic repertory. Even if they inher- the music in the partbooks was available ited the polyphonic repertory of their mo- for copying in Oxford, and that some of it nastic predecessor, this may not have been was only to be found at Magdalen College. particularly impressive; monasteries had But for where was the collection copied, for several decades been finding it hard to and why should such a large copying proj- keep up with musical fashion—especially ect have been necessary at all? An answer with the increasing scale and technical is suggested by a major event in contem- difficulty of choral polyphony—because porary English history: Henry VIII’s dis- monks were not necessarily expert musi- solution of the monasteries.
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