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Lost Music of Canterbury

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Lost Music of Canterbury 1 MUSIC FROM THE PETERHOUSE PARTBOOKS, VOL 1 restored by Nick Sandon Hugh Aston (c1485-1558) Blue Heron Scott Metcalfe, director 1 Ave Maria dive matris Anne (11:17) Noël Bisson (1-3, 5) Robert Jones (fl1520-35) Lydia Brotherton (2, 5) 2 Magnificat (13:38) Teresa Wakim (1, 3) 1 3 5 Aston Brenna Wells ( - , ) 3 Gaude virgo mater Christi (12:02) Jennifer Ashe (2, 5) John Mason (c1480-1548) Pamela Dellal (1, 3) 4 Quales sumus O miseri (12:13) Martin Near (1-5) Aston Michael Barrett (3) 5 Ave Maria ancilla trinitatis (14:36) Allen Combs (1-5) Total time: (63:48) Jason McStoots (1-5) Marc Molomot (4) Aaron Sheehan (2, 4, 5) Steven Soph (4) Mark Sprinkle (1-5) 1 4 Gaude virgo edited by, and all other works edited and complet- Sumner Thompson ( - ) ed by Nick Sandon. Published by Antico Edition (www.anticoed- ition.co.uk). Used with permission. Cameron Beauchamp (1-3, 5) Recorded September 6–11, 2009 at the Church of the Redeem- Glenn Billingsley (1, 4, 5) er, Chestnut Hill, MA Paul Guttry (1-5) Engineering & mastering Joel Gordon Producer Eric Milnes Editing Eric Milnes, Joel Gordon & David Corcoran Cover photo Radius Images Group photos Liz Linder (www.lizlinder.com) Graphic design Melanie Germond & Pete Goldlust © 2010 Blue Heron. All rights reserved. 2 3 MUSIC FROM THE PETERHOUSE PARTBOOKS, VOL 2 restored by Nick Sandon A MASS FOR SAINT MARGARET Blue Heron Scott Metcalfe, director Nicholas Ludford (c. 1490-1557) Missa Regnum mundi treble Julia Steinbok, Teresa Wakim, Shari Wilson Sarum plainchant Proper for the Feast of St Margaret mean Jennifer Ashe (Pygott), Pamela Dellal, Martin Near Richard Pygott (c. 1485-1549) contratenor Owen McIntosh, Salve regina Jason McStoots 1 Introit: Me expectaverunt peccatores (4:08) tenor Michael Barrett, RULERS PG UT Sumner Thompson 2 Kyrie XII (Conditor) (2:26) bass Paul Guttry, Ulysses Thomas, Peter Walker 3 Gloria (9:40) MISSA REGNUM MUNDI / LUDFORD 4 Gradual: Specie tua (4:35) SOLOISTS PD SW 5 Alleluya: Veni electa mea (2:45) SOLOISTS PG ST Missa Regnum mundi and Salve regina edited and 6 completed by Nick Sandon (Antico Edition RCM135 Credo (9:18) and RCM 104). Kyrie and Ite edited by Nick Sandon MISSA REGNUM MUNDI / LUDFORD (Antico Edition LCM1). Used with permission from 7 Offertory: Offerentur regi virgines (1:25) Antico Edition (www.anticoedition.co.uk). Other Sarum chant edited by Scott Metcalfe from Graduale ad usum RULERS UT PW Sarisburiensis (Paris, 1532). 8 Sanctus (13:26) Recorded September 18–21, September 26-27 & Octo- MISSA REGNUM MUNDI / LUDFORD ber 8, 2011, Church of the Redeemer, Chestnut Hill, MA 9 Agnus Dei (7:17) Engineering & mastering Joel Gordon (assistant: Livia Lin) MISSA REGNUM MUNDI / LUDFORD Producer Eric Milnes bk Communion: Feci iudicium (1:15) Editing Eric Milnes & Joel Gordon RULERS UT PW Cover photo Green Iguana (Iguana iguana), Barro Colorado Island, Panama (Getty Images) bl Ite missa est (0:43) DEACON OM Group photos Liz Linder (www.lizlinder.com) in the bm Votive antiphon: Salve regina (22:42) Italian Garden of the Codman Estate in Lincoln, MA (courtesy Historic New England) PYGOTT Graphic design Pete Goldust & Melanie Germond SOLOISTS JM MB ST PG Total time: (79:40) © 2012 Blue Heron. All rights reserved. 4 5 MUSIC FROM THE PETERHOUSE PARTBOOKS, VOL 3 restored by Nick Sandon John Mason (c. 1480-1548) Missa Inclina cor meum and Ave fuit prima salus edited and restored by Nick Sandon (Antico Edition RCM132 1 Ave fuit prima salus (19:17) & RCM108). Kyrie Cunctipotens genitor edited by Nick Sandon (Antico Edition LCM1). Used with permission Sarum plainchant from Antico Edition (www.anticoedition.co.uk). 2 Kyrie Cunctipotens genitor (3:07) Recorded September 21-22 and October 22-23 and 25-26, 2012 at Church of the Redeemer, Chestnut Hill, Nicholas Ludford (c. 1490-1557) Massachusetts MISSA INCLINA COR MEUM Engineering & mastering Joel Gordon 3 Gloria (8:09) Producer Eric Milnes 4 Editing Eric Milnes & Joel Gordon Credo (10:20) Cover photo Close-up of white lamb's wool 5 Sanctus (11:25) © Bjorn Forsberg / Getty Images 6 Group photos Liz Linder (www.lizlinder.com) Agnus dei (7:37) Graphic design Pete Goldust & Melanie Germond Total time: (59:58) © 2013 Blue Heron. All rights reserved. Blue Heron Scott Metcalfe, director treble Julia Steinbok Sonja Tengblad Shari Wilson mean Jennifer Ashe Pamela Dellal Martin Near contratenor Owen McIntosh Jason McStoots tenor Michael Barrett, Mark Sprinkle (Ludford), Sumner Thompson (Mason) bass Cameron Beauchamp, Dashon Burton (Ludford), Paul Guttry, David McFerrin (Mason) 6 7 MUSIC FROM THE PETERHOUSE PARTBOOKS, VOL 4 restored by Nick Sandon Nicholas Ludford (c. 1490-1557) Ave cujus conceptio, & Stabat mater edited and restored by Nick Sandon (Antico Edition RCM127, RCM118, and 1 Ave cujus conceptio (8:51) RCM103). Kyrie Deus creator omnium edited by Nick Sandon (Antico Edition LCM1). Used with permission Sarum plainchant from Antico Edition (www.anticoedition.co.uk). 2 Kyrie Deus creator omnium (2:27) Recorded October 14-15 & 21-26, 2013, at the Church of the Redeemer, Chestnut Hill, Massachusetts Robert Jones (fl. 1520-35) Engineering & mastering Joel Gordon MISSA SPES NOSTRA Producer Eric Milnes 3 Gloria (8:31) Editing Eric Milnes & Joel Gordon 4 Cover photo Trillium erectum, Wake Robin. Credo (9:07) Image © Georgianna Lane / Corbis 5 Sanctus (10:26) Group photos Liz Linder (www.lizlinder.com) 6 Agnus dei (8:37) Graphic design Melanie Germond © 2015 Blue Heron. All rights reserved. Robert Hunt (early 16th century) 7 Stabat mater (17:51) Total time 65:51 Blue Heron Scott Metcalfe, director treble Jessica Petrus (1, 5–6), Julia Steinbok, Sonja Tengblad, Shari Wilson (3–4, 7) mean Jennifer Ashe, Pamela Dellal, Martin Near contratenor Owen McIntosh, Jason McStoots tenor Michael Barrett, Mark Sprinkle, Sumner Thompson (1–6) bass Paul Guttry, Steven Hrycelak, David McFerrin 8 9 MUSIC FROM THE PETERHOUSE PARTBOOKS, VOL 5 restored by Nick Sandon Hugh Sturmy Blue Heron Scott Metcalfe, director 1 Exultet in hac die (3:31) Missa sine nomine 5-8 & Hunt 2 Robert Hunt treble mean 2 Ave Maria mater dei (4:40) Jolle Greenleaf Jennifer Ashe Sonja Tengblad Pamela Dellal John Mason Teresa Wakim Martin Near 3 Ve nobis miseris (12:46) contratenor tenor Owen McIntosh Jonas Budris Sarum plainchant Jason McStoots 2 Jason McStoots 5-8 4 Kyrie Orbis factor (2:10) Mark Sprinkle 5-8 Mark Sprinkle 2 bass Anonymous Paul Guttry, Steven Hrycelak, Paul Max Tipton MISSA SINE NOMINE 5 Gloria (7:42) 6 Credo (7:34) Sturmy 1 Mason 3 7 Sanctus (9:05) 8 Agnus dei (8:02) treble tenor I Margot Rood Owen McIntosh Total time: (59:58) Sonja Tengblad Aaron Sheehan Shari Wilson tenor II Missa sine nomine, Exultet in hac die, Ave Maria, and Ve nobis miseris mean Jason McStoots edited and restored by Nick Sandon (Antico Edition RCM126, 117, Jennifer Ashe Alexander Nishibun 111, and 113). Kyrie Orbis factor edited by Nick Sandon (Antico Pamela Dellal tenor III Edition LCM1). Used with permission from Antico Edition (www. Martin Near anticoedition.co.uk). Michael Barrett contratenor Mark Sprinkle Recorded October 19-20 & 24-25, 2014 (Missa sine nomine, Jason McStoots bass I Hunt) and September 18-20, 2016 (Mason, Sturmy) at the Aaron Sheehan Church of the Redeemer, Chestnut Hill, Massachusetts Paul Guttry tenor Sumner Thompson Engineering & mastering Joel Gordon Michael Barrett Producer Eric Milnes / Additional session producer Brad Milnes bass II Editing Eric Milnes & Joel Gordon Sumner Thompson Steven Hrycelak Cover photo David Astins / westcoastbirdwatching.co.uk bass John Taylor Ward Group photos Liz Linder (www.lizlinder.com) Paul Guttry Graphic design Melanie Germond Steven Hrycelak © 2017 Blue Heron. All rights reserved. John Taylor Ward 10 11 THE PETERHOUSE PARTBOOKS: HISTORY AND REPERTOIRE NICK SANDON music to survive from the reign of Henry VIII The repertoire of the partbooks is very varied, (1509–47); it is tempting to write ‘from the eve intermingling compositions in a conserva- of the Reformation’, but that would invoke tive style (expansive, melismatic, ornate, and The Peterhouse Henrician to have been composed or acquired on his ini- hindsight, an intellectual weakness that has structurally rather opaque to the listener) partbooks and their context tiative. Some of the music came from Durham bedevilled interpretations of the period and is with others in a more modern idiom (concise, Cathedral, where Cosin had been a preben- best avoided as much as possible. The reper- syllabic, plain, and structurally more transpar- All of the music included in this collection dary since 1625, and it was from Durham that toire of five-part polyphony contained in the ent), and placing settings of well-worn Mari- comes from a set of mid-sixteenth-century he brought Thomas Wilson to be organist at books is uniquely large and uniquely varied, an texts in medieval Latin alongside settings manuscript partbooks belonging to Peter- Peterhouse. It seems likely that Cosin was also consisting of seventy-two compositions in the of new texts honouring Jesus in humanistic house, Cambridge (Peterhouse, Perne Library, responsible for the acquisition of the Henrician standard forms of the day—Mass, Magnificat, Latin. This diversity is not surprising, because MSS 31, 32, 40 and 41). These books are known partbooks, and that his interest in them was votive antiphon, ritual antiphon, and one or around 1540, when these partbooks were as the ‘Henrician set’ to distinguish them from musical rather than antiquarian. In other words, two mysterious pieces whose function is de- being compiled, the English church was in two sets of seventeenth-century partbooks, he saw them as a potential source of music for batable—and more than half of these works a state of flux to which natural evolutionary the ‘former Caroline’ and ‘latter Caroline’ sets, performance, not just as a vestige of a vanished do not survive in other sources.
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  • Sacred Music and Female Exemplarity in Late Medieval Britain
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