2011 | Issue 11
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The 2007 Edition Is Available in PDF Form By
VOX The new Chapter Secretary: Nick Gale [email protected] The Academy of St Cecilia Patrons: The Most Hon. The Marquess of Londonderry Dean and Education Advisor: Sir Peter Maxwell Davies CBE John McIntosh OBE Vice Patrons: James Bowman CBE, Naji Hakim, Monica Huggett [email protected] From the master Treasurer: Paula Chandler [email protected] elcome to the 2007 edition of Vox - the mouthpiece of the Academy of St Cecilia. Registrar: Jonathan Lycett We always welcome contributions from our members - [email protected] indeed without them Vox would not exist. In this edition we announce our restructured Chapter and its new members; feature a major article on Thomas Tallis Director of Communications: whose 500th anniversay falls at this time; and we Alistair Dixon review the Academy’s most major event to date, the [email protected] chant day held in June 2006. Our new address is: Composer in Residence: Nicholas O'Neill The Academy of St Cecilia Email: [email protected] C/o Music Department [email protected] Cathedral House Westminster Bridge Road Web site: LONDON SE1 7HY www.academyofsaintcecilia.com Archivist: Graham Hawkes Tel: 020 8265 6703 [email protected] ~ Page 1 ~ ~ Page 2 ~ Advisors to the Academy Thomas Tallis (c.1505 - 1585) Alistair Dixon, a member of the Chapter of the Academy, spent ten years studying and performing the music of Thomas Tallis. In 2005 Academic Advisor: he released the last in the series of recordings with his choir, Chapelle Dr Reinhard Strohm PhD (KU Berlin) FBA HonFASC. Heather Professor of Music Oxford University du Roi, of the Complete Works of Thomas Tallis in nine volumes. -
Completions and Reconstructions of Musical Works Part 1: Introduction - Renaissance Church Music and the Baroque Period by Stephen Barber
Completions and Reconstructions of Musical Works Part 1: Introduction - Renaissance Church Music and the Baroque Period by Stephen Barber Introduction Over the years a number of musical works have been left incomplete by their composers or have been partly or wholly lost and have been reconstructed. I have a particular interest in such works and now offer a preliminary survey of them. A musical work in the Western classical tradition is the realization of a written score. Improvisation usually plays a very small part, and is replaced by interpretation, which means that a score may be realized in subtly different ways. The idiom in most periods involves a certain symmetry in design and the repetition, sometimes varied, sometimes not, of key parts of the work. If the score is unfinished, then a completion or reconstruction by a good scholar or composer allows us to hear at least an approximation to what the composer intended. The use of repetition as part of the overall design can make this possible, or the existence of sketches or earlier or later versions of the work, or a good understanding of the design and idiom. Without this the work may be an incomplete torso or may be unperformable. The work is not damaged by this process, since, unlike a picture, a sculpture or a building, it exists not as a unique physical object but as a score, which can be reproduced without detriment to the original and edited and performed without affecting the original version. Completions and reconstructions may be well or badly done, but they should be judged on how well they appear to complete what appears to be the original design by the composer. -
John Amner's Sacred Hymnes
Domestic Sacred Music in Jacobean England: John Amner’s Sacred Hymnes … for Voyces and Vyols (1615) Mark Keane Dissertation submitted to the University of Dublin in partial fulfilment of the requirements for the degree Doctor in Music Performance ROYAL IRISH ACADEMY OF MUSIC Supervisor: Dr Denise Neary January 2019 Declaration I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor in Music Performance, is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: Mark Keane ID No.: 133072051 Date: 24 January 2019 Terms and Conditions of Use of Digitised Theses from Royal Irish Academy of Music Copyright statement All material supplied by Royal Irish Academy of Music Library is protected by copyright (under the Copyright and Related Rights Act, 2000 as amended) and other relevant Intellectual Property Rights. By accessing and using a Digitised Thesis from Royal Irish Academy of Music you acknowledge that all Intellectual Property Rights in any Works supplied are the sole and exclusive property of the copyright and/or other Intellectual Property Right holder. Specific copyright holders may not be explicitly identified. Use of materials from other sources within a thesis should not be construed as a claim over them. -
Camerata Musica Cambridge
CAMERATA MUSICA CAMBRIDGE ! BLUE HERON Saturday 7 October 2017 CAMERATA MUSICA CAMBRIDGE ! BLUE HERON Directed by Scott Metcalfe Treble Mean Contratenor Bass & tenor Margot Rood Jennifer Ashe Michael Barrett Paul Guttry Teresa Wakim Pamela Della Owen Macintosh David McFerrin Shari Alise Martin Near Mark Sprinkle Steven Hrycelak Wilson Jason McStoots Trinity College Chapel (By kind permission of the Master and Fellows) Saturday 7 October 2017 ! CAMERATA MUSICA CAMBRIDGE A message from the Chairman Camerata Musica Cambridge was founded in 2006 to bring new audiences, especially among the young, to the great riches of classical music. We seek to do this by presenting major works in performances of the very highest quality, and by offering the tickets to our concerts at prices that students can afford. Through the generosity of our sponsors — and, not least, through the generosity of the artists themselves — Camerata Musica has now been fulfilling this mission for over a decade. As we start out on our second decade of concert-giving, the roll of artists who have appeared in the concert series includes many of the most celebrated ensembles and instrumentalists performing today — among them Dame Mitsuko Uchida, Piotr Anderszewski, Pierre-Laurent Aimard, Sir András Schiff, Daniil Trifonov, Igor Levit, Kristian Bezuidenhout, Viktoria Mullova, Pinchas Zukerman, the Hagen, Belcea and Artemis Quartets, and many others of equal distinction. !3 For all our concerts, fully half the hall is reserved for students and those under twenty-five, and all these seats — again, thanks to the enlightened support of our sponsors — are made available at generously subsidized prices. None of this would be possible without the support of our magnificent group of Patrons and Benefactors. -
Blue Heron Hugh Aston Robert Jones John Mason
Music from the Peterhouse Partbooks, volume 1 Hugh Aston Robert Jones John Mason Blue Heron Scott Metcalfe Music from the Peterhouse Partbooks, volume 1 Blue Heron Hugh Aston (c1485-1558) Noël Bisson, Lydia Brotherton, Teresa Wakim, Brenna Wells (fl1520-35) Robert Jones Jennifer Ashe, Pamela Dellal, Martin Near John Mason (c1480-1548) Michael Barrett, Allen Combs, Jason McStoots, Marc Molomot, Aaron Sheehan, Steven Soph, Mark Sprinkle, Sumner Thompson Blue Heron Scott Metcalfe Cameron Beauchamp, Glenn Billingsley, Paul Guttry Scott Metcalfe director 1 Hugh Aston Ave Maria dive matris Anne (11:17) NB TW BW • PD MN • JM MS • AC ST • CB GB PG 2 Robert Jones Magnificat (13:38) NB LB BW • JA MN • JM MS • AC AS • CB PG ST 3 Aston Gaude virgo mater Christi (12:02) NB TW BW • PD MN • JM MS • MB AC • CB PG ST Acknowledgements 4 John Mason Our greatest thanks to Nick Sandon for making it possible for the incomplete Peterhouse music to sound again in our time. His work Quales sumus O miseri (12:13) MM MN • JM SS • AS MS • AC ST • GB PG is an unfailing inspiration for ours. 5 Aston This recording was made possible by the generosity of many donors, including major underwriting from Laurie Francis-Wright, NB LB BW • JA MN • AS MS • AC JM • CB GB PG Ave Maria ancilla trinitatis (14:36) William and Elizabeth Metcalfe, Harry Silverman, and Erin McCoy, and substantial support from John Paul and Diane Britton and William J. Vaughan. Our grateful thanks to all who contributed: Cheryl K. Ryder, Peter Belknap and Jennifer Snodgrass, Michael P. -
CD Liner Notes
LUX FULGEBIT: The Mass at Dawn of Christmas Day St. Mary’s Schola Cantorum (Norwalk, CT) The traditional Latin Mass provides a good structure for a recording because, in addition to its religious and theological significance, it is the supreme form of music drama. That the Mass is primarily a sung event is striking to any visitor: every text that is intended to be audible to the congregation is sung. Music has the practical effect of making the text more audible in a large stone church than when it is merely spoken. The musical backbone of Christian liturgical worship is plainchant. Even in the most elaborate musical establishments at the height of the Renaissance, the majority of the daily liturgical cycle of Mass and Divine Office was sung to the ancient plainchant formulas and melodies. Each text of the Mass is set differently according to its function, for musical setting has the ability to manipulate the speed with which a text is pronounced on a scale far beyond that of even the most affected speech. The prayers and lessons each have a distinctive recitational formula, but all present the text at a spoken pace. In contrast, the parts of the Mass sung by the choir, the proper chants that vary by feast and the ordinary chants that are sung at every Mass, are set at a slower pace: the text unfolds at a speed that would be unsustainably slow for spoken words. The most elaborate are the gradual and alleluia; the meditative musical punctuation between the two lessons. Each sets a psalm verse in a highly ornate manner that allows the singer and the listener to savor and contemplate the meaning in a different way from the longer scripture readings. -
Download Booklet
Music from the Peterhouse Partbooks, volume 2 Nicholas Ludford Missa Regnum mundi Richard Pygott Salve regina Blue Heron Scott Metcalfe Music from the Peterhouse Partbooks, vol. 2 Blue Heron A Mass for Saint Margaret treble Julia Steinbok, Teresa Wakim, Shari Wilson mean Jennifer Ashe (Pygott), Pamela Dellal, Martin Near Nicholas Ludford (c1490-1557) • Missa Regnum mundi contratenor Owen McIntosh, Jason McStoots Sarum plainchant • Proper for the Feast of St Margaret tenor Michael Barrett, Sumner Thompson bass Paul Guttry, Ulysses Thomas, Peter Walker Richard Pygott (c1485-1549) • Salve regina Scott Metcalfe director 1 Introit: Me expectaverunt peccatores (0:00) RULERS PG UT 2 Kyrie XII (Conditor) (0:00) 3 Gloria / Missa Regnum mundi (0:00) Nicholas Ludford 4 Gradual: Specie tua (0:00) SOLOISTS PD SW Missa Regnum mundi and Salve regina edited and completed by Nick Sandon (Antico Edition RCM135 and 5 Alleluya: Veni electa mea (0:00) SOLOISTS PG ST RCM 104). Kyrie and Ite edited by Nick Sandon (Antico Edition LCM1). Used with permission from Antico 6 Credo / Missa Regnum mundi (0:00) Edition (www.anticoedition.co.uk). Other Sarum chant edited by Scott Metcalfe from Graduale ad usum Ludford Sarisburiensis (Paris, 1532). 7 Offertory: Offerentur regi virgines (0:00) Recorded September 18–21, September 26-27 & October 8, 2011 at the Church of the Redeemer, Chestnut Hill, Massachusetts 8 Sanctus / Missa Regnum mundi (0:00) Ludford Engineering & mastering: Joel Gordon (assistant: Livia Lin) 9 Agnus Dei / Missa Regnum mundi (0:00) Producer: Eric -
Program Notes
Program Notes This program is part of Blue Heron’s long-range project of performing and recording music from the so-called Henrician set of partbooks now residing at Peterhouse, Cambridge. The partbooks, originally five in number, contain a large collection of Masses, Magnificats, and votive antiphons. They were copied in the latter years of the reign of Henry VIII at Magdalen College, Oxford, by the professional singer and music scribe Thomas Bull, just before Bull left Oxford to take up a new position at Canterbury Cathedral. Bull wrote down, within a very short time, a great quantity of music in plain, carefully checked, and highly legible copies intended for liturgical use, rather than for study or for presentation to a noble as a gift. (A presentation manuscript would demand decoration and fancy trimmings.) Why did Bull copy so much music so quickly? He appears to have been commissioned to supply Canterbury Cathedral with a complete repertoire of polyphonic music. The monastic foundation at Canterbury had been dissolved by Henry VIII in April 1540, one of nearly a dozen great monastic cathedrals dissolved in the years 1539-41. Most were refounded in short order as secular (i.e. non-monastic) institutions, which were subject not to an abbot—a member of a religious order who answered to the pope—but to a bishop and thence to the king, who had declared himself head of the Church of England. Now, monks sang mostly plainchant and did not generally attempt virtuosic polyphonic music, but the new foundation cathedrals aspired to considerable pomp and circumstance and so they needed to hire a choir of professional singers as well as recruit and train choirboys. -
Religious Change As an Influence on Sacred Musical Styles in Tudor
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1975 Religious Change as an Influence on Sacred Musical Styles in Tudor England Susan Hayes Hitchens Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Hitchens, Susan Hayes, "Religious Change as an Influence on Sacred Musical Styles in Tudor England" (1975). Masters Theses. 3326. https://thekeep.eiu.edu/theses/3326 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. RELIGIOUS CHANGE ASANINFLUENCEON SACRED MUSICAL STYLES IN TUDOR ENGLAND (TITLE) BY SUSAN HAYES HITCHENS - THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARI'S IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 1975. YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE .z:.r,lf;' s' DATE ADVISER PAPER CER TI FICA TE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. • The University Library is receiving a number of requests from other institutions asking' permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. -
Finding the Functions of Music Books in England in the Late 15Th and Early 16Th Centuries: the Ritson MS and the Wharton Partbooks
Finding the Functions of Music Books in England in the late 15th and early 16th Centuries: The Ritson MS and the Wharton Partbooks A thesis submitted to The University of Manchester for the degree of Master of Philosophy in the Faculty of Humanities 2019 Rachel L Albert School of Arts, Languages and Cultures Table of Contents LIST OF ILLUSTRATIONS ..................................................................................................... 3 LIST OF TABLES .................................................................................................................. 7 LIST OF LIBRARIES ............................................................................................................. 8 ABSTRACT .......................................................................................................................... 9 DECLARATION .................................................................................................................. 10 COPYRIGHT STATEMENT .................................................................................................. 11 DISCLAIMER ..................................................................................................................... 12 ACKNOWLEDGEMENTS ..................................................................................................... 13 DEDICATION ..................................................................................................................... 14 Chapter One: Introduction................................................................................................... -
Music from the Peterhouse Partbooks Nicholas Ludford Missa Inclina Cor Meum John Mason Ave Fuit Prima Salus
Music from the Peterhouse Partbooks Nicholas Ludford Missa Inclina cor meum John Mason Ave fuit prima salus Thursday, October 11, 2012 · 8 pm · St. Cecilia Parish, Boston Saturday, October 13, 2012 · 8 pm · First Church in Cambridge, Congregational Sunday, October 14, 2012 · 4 pm · St. Ignatius of Antioch Episcopal Church, New York City Music from the Peterhouse Partbooks Thursday, October 11, 2012 · 8 pm · St. Cecilia Parish, Boston Saturday, October 13, 2012 · 8 pm · First Church in Cambridge, Congregational Sunday, October 14, 2012 · 4 pm · St. Ignatius of Antioch Episcopal Church, New York City Program John Mason (c. 1480–1548) Ave fuit prima salus • Sarum plainchant Kyrie Cunctipotens genitor Nicholas Ludford (c. 1490–1557) Missa Inclina cor meum Gloria Credo Sanctus Agnus dei Mason and Ludford restored by Nick Sandon; all works edited by Nick Sandon and pub- lished by Antico Edition. Used with permission. Blue Heron treble Julia Steinbok, Sonja Tengblad, Shari Wilson mean Jennifer Ashe, Pamela Dellal, Martin Near contratenor Owen McIntosh, Jason McStoots tenor Michael Barrett, Mark Sprinkle bass Cameron Beauchamp, Dashon Burton, Paul Guttry Scott Metcalfe,director Pre-concert talk by Scott Metcalfe sponsored in part by The Cambridge Society for Early Music(Cambridge only). Blue Heron PO Box 372 Ashland MA 01721 (617) 960-7956 [email protected] www.blueheronchoir.org The concert on October 11 at St. Cecilia Parish is sponsored by the Center for Early Music Studies at Boston University. This organization is funded in part by the Massachusetts Cultural Council, a state agency. New music from old manuscripts This program is the latest installment in Blue Heron’s being the normal sixteenth-century spelling of the long-range project of performing and recording word) and their master. -
Program Notes
PROGRAM NOTES Today’s program explores music from one of the largest and most important extant sources of sacred English polyphony from before the Reformation, the Peterhouse partbooks—so called because they are now housed at Peterhouse, the oldest and smallest of the Cambridge colleges. The partbooks, which contain a large collection of Masses, Magnificats, and votive antiphons, seem to have been copied at Magdalen College, Oxford, in the latter years of the reign of Henry VIII, by the professional singer and music scribe Thomas Bull, just before Bull left Oxford to take up a new position in the choir at Canterbury Cathedral. Bull wrote down, within a very short time, a great quantity of music in plain, carefully checked, and highly legible copies that were evidently intended to be used for liturgical performance, rather than for study or for presentation to a noble as a gift. (Presentation manuscripts normally feature illuminations and other fancy trimmings that added value beyond the musical contents.) He appears to have been commissioned to supply Canterbury Cathedral with a complete repertory of polyphonic music. The monastic foundation at Canterbury was dissolved by Henry VIII in April 1540, one of nearly a dozen great monastic cathedrals dissolved in the years 1539-40. Most were refounded as secular (i.e. non-monastic) institutions which were subject not to an abbot—a member of a religious order—but to a bishop and thence to the king, who had declared himself head of the Church of England. Monks sang mostly plainchant and did not generally attempt virtuosic polyphonic music, but the new foundation cathedrals aspired to more pomp and circumstance and so they needed to hire a choir of professional singers and to recruit and train choirboys.