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Allinson Early Music Performer Article 2017.Pdf Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Please cite this publication as follows: Allinson, D. (2017) Museum pieces? sixteenth-century sacred polyphony and the modern English tradition of A Cappella performance. Early Music Performer, 41. pp. 3-9. ISSN 1477-478X. Link to official URL (if available): http://www.earlymusic.info/Performer.php This version is made available in accordance with publishers’ policies. All material made available by CReaTE is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Contact: [email protected] Museum Pieces? Sixteenth-Century Sacred Polyphony and the Modern English Tradition of A Cappella Performance David Allinson The audience of several dozen, sitting in hard pews, breaks into applause as a crocodile of singers, clad in black cotton clothes and black shoes, files neatly onto the chancel steps. The conductor takes his place in front of the choir, the applause dies away and an intense, still silence frames the polyphonic mass and motets that reverberate amid stone arcades. After an hour or so the music dies away; the audience is roused from focused contemplation to appreciation; the performers acknowledge the applause and depart for the pub. This scenario will be familiar to any reader of the organisations in London, which exert a huge journal who has, like me, played the part of influence over amateur and professional singing listener, singer or conductor at a concert of of Renaissance polyphony worldwide. I want to Renaissance polyphony. In this brief essay I want examine the continuing disconnection, or to look critically at the ways in which we disparity, between what scholars say about the currently perform and consume sacred likely original sound, performance context and polyphony composed between 1450 and 1650, meaning of this repertoire, and the ways in which in public and private listening contexts, by it is recreated, sold and consumed in the present turning the spotlight on some longstanding day. Obviously, sacred polyphony today is not conventions of programming and presentation, performed and heard as it might have been by and examining the values and assumptions that people in sixteenth-century Europe. Then its underlie them. performance most often occurred within As someone who buys CDs, streams liturgical sequences of spoken and chanted music (and enjoys the incongruities of ‘shuffle’ Proper and Ordinary texts, springing out of the mode), shares video clips on Facebook and monophonic plain with all the vividness of a listens through headphones in contexts such as flowering Joshua Tree. Today, as performers and on the train or at the gym, I certainly don’t listeners, we gorge on rich polyphony and confine my listening to ideal conditions. neglect the radiating supporting structures of Moreover, with an Oxford music degree behind liturgy, chant and doctrine. Modern concert and me and a well-worn set of black concert clothes recording conditions mean that we hear this in my wardrobe I am by no means set apart from intricate music with unprecedented clarity and my colleagues in the English early music choral balance, for access and proximity was usually the scene. But I do want to share some disquiet, and preserve of the privileged in the sixteenth to stimulate some debate about how – as century: the majority of the laity would have conductors, singers and listeners – our heard polyphony as a blur, rising like incense approaches to the sound, presentation and from beyond a screen or would have consumption of the music choral singers and its eavesdropped upon it through the grilles of audiences love might become more diverse, chantry chapels. more contemporary and perhaps do greater The Oxbridge/London a cappella sound justice to the original spirit of this music. has assumed a sort of canonical status, feeding I am writing here mainly about the back on itself to create an international default choral culture in the south-east of England, with or standard – for vastly diverse repertoires its superb singers and directors from cathedral spanning the late fifteenth and sixteenth and university traditions, who exist in a centuries, originating from across western symbiotic relationship with the concert life, Europe. The sound of the most successful recording industry and broadcasting English groups has ‘fed back’ into the way 3 singers sing polyphony worldwide, and has their texts already familiar to listeners, they conditioned the expectations and preferences of unfold like a set of variations. Alas, audiences. performances of motets, often with more Aided by leaps in recording, editing and dramatic or poetic texts, have tended to fall playback technology, the aesthetic of recordings under the same impersonal, homogenised – of cleanly edited, balanced, digital perfection – aesthetic. has encouraged a move towards a rendering of Live or recorded, Renaissance masses polyphony as a ‘text’ rather than an ‘act’, to draw and motets – which originally supported a on Taruskin’s familiar distinction, because of the liturgical ritual or themselves constituted an act complete removal of context and function.1 The of prayer – tend, in our world, to stand for process of recording – from first downbeat to themselves as aesthetic vehicles of sublime final edit – creates a fixed entity, rather than a contemplation. Captured on physical media or in temporal ‘act’ of a time and space, because a digital file, listeners can summon them up in repeated takes are layered over one another like moments and contexts of their choosing, thus strips of papier-mâché. The pasting together creating an infinite variety of potential creates a digital artefact – a sound file, or piece receptions of the music. It is inevitable that the of ‘sounded writing’ suspended in translucent circumstances of listening will be far from the digital aspic, and a manipulable object available context of the listeners who first heard this for repeated and detailed appreciation. Even the music – today, the listener’s surroundings may context in which a recording is made is be banal, incongruous or elevated – but, disguised: twenty-first-century intrusions such as significantly, our contemporary listening is often traffic and aircraft noise are removed, along with undertaken alone (even when we’re in a crowd). singers’ coughs and tiny errors, such as a The music is frequently employed as a means of misplaced consonant. mental and emotional escape, in contrast to the The perfection aimed at in recordings ways in which it expressed common beliefs and chimes with the problematic ways in which affirmed group identities at the time of its musicologists have traditionally conceptualised creation.3 music: as its written notation, rather than as a In this way, Eton Choirbook antiphons, multi-step process by which imagined and real masses from Renaissance Spain and motets from sounds pass between composers, performers Renaissance Rome have found admission to the and listeners. In privileging the composer and ‘museum of musical works’ – as precious the ‘documentary residue’ of music, many artefacts divorced from the ecology of their aspects of performing and listening have been original surroundings in the same way that a ignored or dismissed as irrelevant, distracting or spotlit Renaissance altarpiece or a medieval even injurious to the ‘music itself’. In this devotional book is conserved for display behind traditional conception of music, it is the notation thick glass, in controlled humidity and inert gas. that autonomously embodies the composer’s They are a long way from home, and it is no intentions, transcending time and place, and it is longer possible for them to be accessed or used the performer’s duty to transmit those intentions for their original purpose: they are saved from faithfully – a concept known as Werktreue.2 degradation by contact with religious adherents Sixteenth-century masses and motets, it and iconoclasts alike. In the same way, we curate turns out, have submitted well to this our flawless digital recordings of sacred anachronistic aesthetic, where textual sense is polyphony on our shelves and in our devices, suppressed in favour of sonic sheen, and where away from the dangers of guttering candles and references to the beliefs and power structures doctrinal controversy. that gave birth to the music are muted. Cyclic Recording disconnects music from time, masses (especially so-called ‘parody’ masses, i.e. not only because the performers no longer need settings of the Ordinary that are based on pre- to be located in the same place as the hearer, but existing polyphonic material, such as a chanson because the ‘site of production’ – the choir of or motet) proved particularly susceptible to this singers’ resonating bodies – is rendered treatment in the modern era: with the duration superfluous once the recording has been made. of a classical symphony, they conveniently fill a The music no longer belongs to the bodies that concert half or one side of an old LP, and with made it but has become a sonic hologram of 4 intertwining vocal lines. This abstraction mirrors of the beating hearts of the choir? If the the underlying anti-Romantic strain in the early consideration of such elements seems gauche, it music movement, and feels particularly acute in partly illustrates how our conception of a cappella performances of music reliant on the voice. music – be it live in concert, edited on record or This aesthetic ‘feeds back’ into live as conceptualised in writing – is intensely singing, firstly in the cleanliness and caution of cerebral and disembodied. This, in itself, choirs in concert. Schooled in practices from arguably reflects not only the continuing heavily edited recordings, and knowing that the influence of the nineteenth-century concept of audience’s ears have been conditioned to expect ‘autonomous music’ but also the continuing the same aesthetic in concerts, singers frequently power of Protestant conceptions of spirituality strive for a flawless sheen.
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