DOCSLIB.ORG

Finding the Functions of Music Books in England in the Late 15Th and Early 16Th Centuries: the Ritson MS and the Wharton Partbooks

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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.................................................................................................... 15 Part I: Approaches to determining function .................................................................... 17 Part II: Research Strategy ................................................................................................ 37 Chapter Two: The Ritson MS .............................................................................................. 42 Part I: Structural Analysis of the Ritson MS ................................................................... 47 Part II: A Re-evaluation and New Observations ............................................................. 54 Part III: An Updated History for the Ritson MS ............................................................. 68 Chapter Three: The Wharton partbooks ............................................................................... 74 Part I: Context and Elements ........................................................................................... 75 Part II: The Function of the Wharton Partbooks ........................................................... 105 Conclusion ......................................................................................................................... 113 Bibliography ....................................................................................................................... 116 APPENDIX 1: DATA POINTS FOR CASE STUDIES .............................................................. 123 APPENDIX 2: TABLE OF CONTENTS FOR RITSON MS ...................................................... 126 APPENDIX 3: BOOKLET RECONSTRUCTION FOR RITSON MS........................................... 129 APPENDIX 4: FIGURES FOR MSS ..................................................................................... 131 WORD COUNT: 33,175 2 LIST OF ILLUSTRATIONS Figure 1.1: Coats of arms in the Chigi Codex (CV-Vbav Chigi C.VIII.234) ............................ 22 Figure 2.1: Ox head with vertical line and star (GB-Lbl Add. MS 5665, fol. 88r) ................. 131 Figure 2.2: Serpent (GB-Lbl Add. MS 5665, fol. 123r) .......................................................... 132 Figure 2.3: Layout of Missa Rex summe (GB-Lbl Add. MS 5665, fols. 73v and 74r) ............ 133 Figure 2.4: Layout of Missa Rex summe (GB-Lbl Add. MS 5665, fols. 79v and 80r) ........... 133 Figure 2.5: Small Pasteover (GB-Lbl Add. MS 5665, fol. 22r) .............................................. 134 Figure 2.5a: Skipped opening (GB-Lbl Add. MS 5665, fol. 132v–133r) ............................... 135 Figure 2.6: Pasteover (GB-Lbl Add. MS 5665, fol. 25v) ........................................................ 136 Figure 2.7: Pasteover (GB-Lbl Add. MS 5665, fol. 26v) ........................................................ 137 Figure 2.8: GB-Lbl Royal 8 G.vii, fols. 2v–3r ........................................................................ 138 Figure 2.9: D-Mbs Mus.ms. 3154, fols. 4v–5r ........................................................................ 138 Figure 2.10: Section A (GB-Lbl Add. MS 5665, fols. 8v–9r) ................................................. 139 Figure 2.11: No pen work (GB-Lbl Add. MS 5665, fols. 11v–12r) ........................................ 139 Figure 2.12: Smaller and lowered initial (GB-Lbl Add. MS 5665, fols. 41v–42r) ................. 140 Figure 2.13a: Initial on third staff (GB-Lbl Add. MS 5665, fols. 51v–52r) ............................ 140 Figure 2.13b: GB-Cmc MS 1594 (The Pepys MS), fol. 4r...................................................... 141 Figure 2.13c: GB-SHRs MS VI (The Shrewsbury MS), fol. 35v............................................ 142 Figure 2.13d: GB-Lbl Egerton 3307, fol. 43v ......................................................................... 143 Figure 2.14: Music covered by illumination (GB-Lbl Add. MS 5665, fol. 45v) .................... 144 Figure 2.15: Section B (GB-Lbl Add. MS 5665, fols. 65v–66r) ............................................. 144 Figure 2.16: Section C (GB-Lbl Add. MS 5665, fol. 73v–74r) ............................................... 145 Figure 2.17a: Section D (GB-Lbl Add. MS 5665, fol. 62v) .................................................... 145 Figure 2.17b: Section D (GB-Lbl Add. MS 5665, fol. 95v) .................................................... 146 3 Figure 2.17c: Section E (GB-Lbl Add. MS 5665, fol. 106v) .................................................. 146 Figure 2.18a: Heading above carol (GB-Lbl Add. MS 5665, fols. 17v–18r) .......................... 147 Figure 2.18b: Close-up of heading (GB-Lbl Add. MS 5665, fol. 17v) ................................... 147 Figure 2.18c: Close-up of heading (GB-Lbl Add. MS 5665, fol. 12v) ................................... 148 Figure 2.18d: Close-up of heading (GB-Lbl Add. MS 5665, fol. 40v) ................................... 148 Figure 2.19: Heading, Section C (GB-Lbl Add. MS 5665, fols. 73v–74r) ............................. 149 Figure 2.20: Heading, Section D (GB-Lbl Add. MS 5665, fol. 84v) ...................................... 149 Figure 2.21: Heading, Section D (GB-Lbl Add. MS 5665, fol. 95v) ...................................... 150 Figure 2.22: Heading, Section E (GB-Lbl Add. MS 5665, fol. 123v) ..................................... 150 Figure 2.23a: Bounding lines (GB-Lbl Add. MS 5665, fol. 55v) ........................................... 151 Figure 2.23b: Varied bounding lines (GB-Lbl Add. MS 5665, fol. 122r) ............................... 152 Figure 2.23c: Varied bounding lines (GB-Lbl Add. MS 5665, fol. 124v) .............................. 153 Figure 2.23d: Bounding lines (GB-Lbl Add. MS 5665, fols. 107v–108r) .............................. 154 Figure 2.23e: Close-up of bounding lines (GB-Lbl Add. MS 5665, fol. 108r) ....................... 154 Figure 2.24a: Bottom (GB-Lbl Add. MS 5665, fol. 7v) .......................................................... 155 Figure 2.24b: Bottom (GB-Lbl Add. MS 5665, fol. 16r) ........................................................ 155 Figure 2.24c: Bottom (GB-Lbl Add. MS 5665, fol. 16r) ........................................................ 155 Figure 2.24d: Bottom (GB-Lbl Add. MS 5665, fol. 17r) ........................................................ 155 Figure 2.24e: Bottom (GB-Lbl Add. MS 5665, fol. 17r) ........................................................ 156 Figure 2.24f: Bottom (GB-Lbl Add. MS 5665, fol. 20v) ........................................................ 156 Figure 2.24g: Bottom (GB-Lbl Add. MS 5665, fol. 21v)........................................................ 156 Figure 2.24h: Bottom (GB-Lbl Add. MS 5665, fol. 29v)........................................................ 157 Figure 2.24i: Bottom (GB-Lbl Add. MS 5665, fol. 32v) ........................................................ 157 Figure 2.24j: Bottom (GB-Lbl Add. MS 5665, fol. 33r) ......................................................... 157 Figure 2.24k: Bottom (GB-Lbl Add. MS 5665, fol. 34v)........................................................ 157 4 Figure 2.24l: Bottom (GB-Lbl Add. MS 5665, fol. 40v) ........................................................ 157 Figure 2.24m: Bottom (GB-Lbl Add. MS 5665, fol. 41r) ....................................................... 158 Figure 2.24n: Bottom (GB-Lbl Add. MS 5665, fol. 55r) ........................................................ 158 Figure 2.24o: Bottom of opening (GB-Lbl Add. MS 5665, fols. 56v–57r) ............................ 158 Figure 2.24p: Bottom of opening (GB-Lbl Add. MS 5665, fols. 57v–58r) ............................ 158 Figure 3.1: Identical stave lines (GB-Cu Dd.13.27, fol. 7r) .................................................... 159 Figure 3.2: Identical stave lines (GB-Cjc MS 234 (K.31), fol. 6r) .......................................... 160 Figure 3.3: Two options for the ‘Amen’ (GB-Cjc MS 234 (K.31), fol. 20v) .......................... 160 Figure 3.4: Ascription given entire stave (GB-Cjc MS
Load more

Recommended publications
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • 19Th Century Writing Activity: Pen &
    Lesson Plan: #NoyesArtatHome 19th Century Writing Activity: Pen & Ink Activity based on letters on display in the Noyes Museum’s Estell Empire Exhibition For ages 12 & up Experience with cursive* writing not necessary Assistance from an adult would be helpful. Overview: Round Hand Script: This was the dominant cursive* writing style among 19th century writing “masters,” whose An account book from John Estell’s general store models were engraved on metal. Letters Circa 1836 – 1837 sloped to the right, and thick lines were © Collection of Stockton University produced on the downstrokes using a flexible, straight-edged (not pointed) pen nib (tip). Thin lines were made by using the corner of the nib. Round hand included decorative swirls referred to as “command of hand.” Copperplate: This type of writing was made with a flexible, pointed metal pen. Copperplate script differs from round hand in the gradual swelling of the broad strokes on curved forms and the narrowness of the backstrokes of b, e, and o. Definitions from Britannica.com: https://www.britannica.com/topic/black-letter Project Description: This lesson provides a brief overview of handwriting in the 19th century and a hands-on writing activity. First, paint with a teabag to make “old” looking paper. To write, use a quill** pen with black ink or watered-down paint, or a marker. Try to read and copy the example of 19th century writing. Can you write your own name, or a whole letter to a friend? Supplies: 8.5 x 11” piece of paper A tea bag; preferably a darker tea such as black tea (Lipton, Red Rose) A watercolor brush Your choice of: a quill** pen and black ink, watered-down black paint with a fine-tipped brush, or a black marker (for example: Crayola – “broad line” or Sharpie – “fine point,” the newer, the better) *Cursive writing is a style of writing in which all of the letters in a word are connected.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Quill Pen and Nut Ink
    Children of Early Appalachia Quill Pen and Nut Ink Grades 3 and up Early writing tools were made from materials people could find or easily make themselves. Children used a slate with chalk and stone to write lessons at schools. They also practiced drawing and writing with a stick in dirt. Penny pencils for slates were available at general stores. Paper was purchased at stores too. Before the invention of pencils and pens, children used carved twigs or goose-quill pens made by the teacher. Ink was made at home from various ingredients (berries, nuts, roots, and soot) and brought to school. Good penmanship was highly valued but difficult to attain. Objective: Students will make pen and ink from natural materials and try writing with these old- fashioned tools. Materials: Pen: feathers, sharp scissors or a pen knife (Peacock or pheasant feathers make wonderful pens, but any large feather from a goose or turkey works well too.) Ink: 10 walnut shells, water, vinegar, salt, hammer, old cloth, saucepan, small jar with lid, strainer. (After using the homemade ink, students make like to continue practicing writing with the quill, so you may want to provide a bottle of manufactured ink for further quill writings.) Plan: Pen: Cut off the end of the feather at a slant. Then cut a narrow slit at the point of the pen. Ink: 1. Crush the shells in cloth with a hammer. 2. Put shells in saucepan with 1 cup of water. Bring to a boil, and then simmer for 45 minutes or until dark brown.
    [Show full text]
  • Taverner Byrd
    TAVERNERMASSES BY BYRD WITH MOTETS BY &&STRAVINSKY& DURUFLÉ The Ripieno Choir 7.30 pm Saturday Tickets £15 in advance, conducted by 25 June 2016 £17 on the day, David Hansell All Saints’ Church £5 for under-18s. Call Weston Green 020 8399 2714 or email Esher, Surrey [email protected] KT10 8JL – or book online at 25 JUNE ripienochoir.org.uk RIPIENOthe choır. JOHN TAVERNER (c1490-1545) Western Wynde Mass WILLIAM BYRD (c1540-1623) Mass for Four Voices interspersed with motets by IGOR STRAVINSKY (1882-1971) Ave Maria & Pater noster MAURICE DURUFLÉ (1902-1986) Four motets on Gregorian melodies & Notre Père Four great composers and unrelentingly TAVERNER brilliant music in strongly contrasting styles. Taverner’s Western Wynde Mass is a BYRD set of variations in which the folk song theme moves through the choral texture & surrounded by ever-inventive and intricate counter-melodies. The result is an intriguing mix of medieval, Eton Choirbook and later Renaissance effects which never fails to captivate singers and listeners alike. Byrd modelled his famous Mass for Four Voices on Taverner’s Mean Mass, quoting from it in 25 JUNE his own Sanctus movement. This famous work has not been sung by Ripieno for several years and we The concert will start at are especially looking forward to the Agnus Dei 7.30pm and will end movement – some of music history’s greatest pages. at approximately 9.30pm. In contrast to the intricate polyphony of Tickets: £15 in advance, the sixteenth century, the twentieth century motets £17 on the day, £5 for use simple chordal textures that are positively under-18s, from the box austere by comparison, anticipating Arvo Pärt and office: 020 8399 2714, or John Tavener.
    [Show full text]
  • English Catholic Music from 1400-1600
    King Solomon’s Singers present: Cathedrals and Attic Rooms: English Catholic Music From 1400-1600. Saturday, September 22, 8PM St. Clement Church, Chicago CATHEDRALS AND ATTIC ROOMS: ENGLISH CATHOLIC MUSIC FROM 1400-1600 Nesciens mater John Trouluffe (d. ca. 1473) Quam pulchra es John Dunstable (ca. 1390-1453) Anna mater matris Christi John Plummer (ca. 1410-1483) Magnificat super “O bone Jesu” Robert Fayrfax (1464-1521) Gaude flore virginali William Horwud (1430-1484) Lamentations I Thomas Tallis (1505-1585) Ne irascaris Domine / Civitas sancti tui William Byrd (1540-1623) NOTES ON THE PROGRAM In 1534, the Parliament of England passed the Act of Supremacy, making King Henry VIII head of the Church of England and officially separating English religious practice from Rome and Papal authority. Among the innumerable historical consequences of this event was a significant change in the composition and performance of sacred choral music in England. Until this point, effectively all sacred music in England had been composed for the Roman liturgy or for devotions within the Catholic faith. A strong line of influential composers over the course of over two centuries had developed a clearly definable English Catholic style, most readily identifiable in the works of the Eton Choirbook era. This style of composition is typified by relatively simple underlying harmonic structure decorated with long, ornately melismatic lines—a musical architecture often compared with the Perpendicular Gothic style of English cathedral architecture. This feature of pre-Reformation English sacred music, and the fact that the texts were in Latin, made it an obvious target for the Reformation impulses toward simplicity and the individual’s direct access to God.
    [Show full text]
  • 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]
  • The Origins of the Musical Staff
    The Origins of the Musical Staff John Haines For Michel Huglo, master and friend Who can blame music historians for frequently claiming that Guido of Arezzo invented the musical staff? Given the medieval period’s unma- nageable length, it must often be reduced to as streamlined a shape as possible, with some select significant heroes along the way to push ahead the plot of musical progress: Gregory invented chant; the trouba- dours, vernacular song; Leoninus and Perotinus, polyphony; Franco of Cologne, measured notation. And Guido invented the staff. To be sure, not all historians put it quite this way. Some, such as Richard Hoppin, write more cautiously that “the completion of the four-line staff ...is generally credited to Guido d’Arezzo,”1 or, in the words of the New Grove Dictionary of Music, that Guido “is remembered today for his development of a system of precise pitch notation through lines and spaces.”2 Such occasional caution aside, however, the legend of Guido as inventor of the staff abides and pervades. In his Notation of Polyphonic Music, Willi Apel writes of “the staff, that ingenious invention of Guido of Arezzo.”3 As Claude Palisca puts it in his biography of Guido, it was that medieval Italian music writer’s prologue to his antiphoner around 1030 that contained one of the “brilliant proposals that launched the Guido legend, the device of staff notation.”4 “Guido’s introduction of a system of four lines and four spaces” is, in Paul Henry Lang’s widely read history, an “achievement” deemed “one of the most significant in
    [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]
  • Alban Notes #52 – Spring 2021
    ALBAN NOTES St Albans Cathedral Ex-Choristers Association THE CATHEDRAL AND ABBEY CHURCH OF ST. ALBAN Affiliated to the Federation of Cathedral Old Choristers Associations Issue 52 Spring 2021 Message from the Chairman The last year has been one I don’t think any of us will forget in a hurry, a very strange and challenging 12 months which no-one could have predicted. Covid-19 has had a bigger impact on all our lives than we ever could have imagined, but at last the signs of returning to a new normal are in sight. We are all likely to have either been directly or indirectly affected by the virus and perhaps have been poorly as a result or known people who have been. I hope you are all in good or improving health now and have taken or intend to take advantage of the vaccination programme. As restrictions start to be relaxed over the coming weeks it will be interesting to see how the familiar daily statistics alter, Image © Jellings Paul particularly once we are permitted to travel abroad, and The Very Revd Dr Jeffrey John international borders are relaxed. Time to remain cautious and Patron of the ECA remember the basics of ‘hands, face, space’ as this pandemic is far from over but hopefully becoming more controlled. To our younger members, those who have had important GCSE or A level exams this year or last, and to those at University, I congratulate you on coping with the ever-changing rules and uncertainty which cannot have been easy. You’ve got this far and life will become easier as we learn more about this virus – ‘stay positive and test negative’!! Like much of the UK population, our ECA committee has become familiar with Zoom and have held a couple of successful meetings online.
    [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]