This dissertation has been microfilmed exactly as received 66-6280

LENDHOLM, James Roger, 1936- THE PARLEMENT OF HEFNE: A LITURGICAL DRAMA FOR SOLOISTS, CHORUS, DANCERS, STRINGS, WOOD­ WINDS, BRASS, PERCUSSION, TIMPANI, ORGAN, AND PRE-RECORDED TAPE. [Original Composition].

The Ohio State University, Ph.D., 1965 Music Please Note: Electronic accompaniment available on tape at Ohio State University Library.

University Microfilms, Inc., Ann Arbor, Michigan James Roger Lindholm 1967

All Rights Reserved THE PARLEMENT OF HEFNE: A LITURGICAL DRAMA FOR SOLOISTS, CHORUS, DANCERS, STRINGS, WOODWINDS, BRASS, PERCUSSION, TIMPANI, ORGAN, AND PRE-RECORDED TAPE

DISSERTATION

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

By

James Roger Lindholm, B.M., M.M.

******

The Ohio State University 1965

Approved by

/ Nortnan^-F; Phe lp Adviser School of Music

Richard H. Hoppin School of Music ACKNOWLEDGMENTS

In pursuing a project of this kind one is dependent on many for help and advice along the way. Grateful acknowledgment is expressed to those who helped in so many ways during the writing and creation of the composition presented herein.

I am especially grateful to Professors Norman Phelps and

Richard Hoppin of The Ohio State University for their constant advice and criticism, and for the experience I have gained from their teaching.

I am indebted to Norma White for her assistance in copying the score, and to Marilyn Aldridge for typing the manuscript.

And to one other I am more than grateful for her ever present encouragement and the countless ways in which she helped to make this possible, I am more than indebted to Cathy. VITA

March 7, 1936 Born - Chicago, Illinois

1957. . . . B.M., Northwestern University, Evanston, Illinois

1958. . . . M.M., Northwestern University, Evanston, Illinois

1958-1959 . Instructor, Rollins College, Winter Park, Florida

1959-1962 . Professor, Piedmont College, Demorest, Georgia

1962-1965 . Research Assistant, School of Music, The Ohio State University, Columbus, Ohio

PUBLICATIONS

Film Music: Crisis and the University. An Ohio State University Production

The Prodigal. A Roberts Production

Quinthesis. A Bradford-Wynn Production

Recording: Toccata for Percussion and Band. Coronet Records, Inc.

FIELDS OF STUDY

Major Field: Music

Studies in Music Theory and Composition. Professors Norman F. Phelps and Marshall Barnes

Studies in Music History. Professor Richard H. Hoppin

Studies in Theatre. Professor Roy H. Bowen

iii CONTENTS

Page

ACKNOWLEDGMENTS...... ii

VITA ...... lii

INTRODUCTION ...... 1

Chapter I. THE MEDIEVAL MYSTERY DRAMA ...... 5

General History The Cycle Ludus Coventriae

II. THE COMPOSITIONAL PROCEDURE ...... 30

Text Media Electronic Tape Rhythm, Meter, and Tempo Contrapuntal Structures Form and Style

III. PRODUCTION NOTES ...... 39

Introduction Placement of Performers Setting and Properties Staging Lighting Costuming Production Staff Instrumental Ensembles Adaptations Summary

APPENDIXES ...... 50

BIBLIOGRAPHY ...... 63

THE PARLEMENT OF H E F N E ...... 66 Score and Electronic Tape

iv INTRODUCTION

As a composer, ray compositional interests have been in the area of vocal and religious music. I was first attracted to the idea of a con­ temporary setting of a medieval drama, when in 1952 I saw a television performance of The Slaughter of the Innocents. At that time I began collecting modern editions of mystery plays and reading available histo­ ries, musical and theatrical, on the subject of the liturgical drama. \ In 1961, when I encountered a modern edition of The Parlement of Hefne,

I was immediately attracted by its dramatic possibilities. Several years passed, however, before any of the ideas concerning a musical setting took shape. My work with the Ohio State University Dance Group and experiments with electronic means for musical composition played major roles in determining the present form of the composition.

A contemporary setting of a medieval mystery play is not unprece­ dented. Two medieval "operas" have been written within the last ten

o years. In 1958 Noye1s Fludde, composed by Benjamin Britten, received

its first performance at the Aldeburgh Festival, in Oxford Church,

June 18. Igor Stravinsky's composition The Flood was first performed

on television June 14, 1962.

*E. Martin Browne (ed.), Religious Drama 2: Mystery and Morality Plays (New York: Meridian Books, 1958), 86-96. 2 Benjamin Britten, Noye's Fludde (London: Hawkes and Son, Ltd., 1958). 3 Igor Stravinsky, The Flood : A Musical Play (London: Boosey and Hawkes, Ltd., 1962). 1 2

The text for Move1s Fludde Is drawn from the Chester cycle and adheres to the Middle English text and stage directions. Besides the major characters of God, Noah, Mrs. Noah, and the sons and daughters-in law of Noah, the manuscript calls for a procession of animals. Britten has used children for this procession into the ark. All the theatrical effects, such as the building of the ark and the flood proper, are performed in full view of the congregation. The older boys and men in the cast put boards together to make an ark, and during the flood scene younger children move cut out waves back and forth.

Musically, the Britten work has attempted to capture the naive quality inherent in the drama. This has been achieved through par­ ticipation of children. Since there exists no indication in the manuscript as to the age of the characters, Britten has used older children to sing the roles of Noah's sons and their wives. Children of varying ages are also used in the orchestra; they play recorders, bugles, string and percussion instruments. The congregation is also brought into the action through the use of three hymns that are called for in the manuscript, but with no indication of congregational participation.

Harmonically, the music is tonal. The vocal lines are simple, yet expressive, and are within the capabilities of children.

The Flood. however, was approached from a different viewpoint.

While Noye1s Fludde heightens the dramatic action through music,

Stravinsky's work approaches absolute music. No attempt is made to make the viewer an integral part of the action. The text is disjointed, employing sections of the York and Chester cycles, the Book of Genesis, and original dialogue written by Robert Craft. In a review of the television production, Richard Franko Goldman found the text to be lacking in meaning.

Certain concepts of art preclude the possibility of being simple or even straightforward, and a greater value is attached to the obscure than to the direct. We must ran­ sack the past, refer to medieval plays, rather than remain with anything that still lives in our tradition, rather than attempt to re-interpret myth and symbol in a way having some meaning for our times. What we now have is The Flood not as morality, but as Art. As such it is meaningless.^

The same principle characters are present in The Flood as in the

Britten work. The former, however, introduces two new characters in the personages of Satan and the Animal Caller. The procession of animals is not dramatized as in Noye1s Fludde. The building of the ark and the flood sequence are represented by two dance movements, highly stylized, and no attempt has been made to involve the characters in either action.

Stravinsky employed a twelve-tone serial technique and no exception can be taken to his craft. "The question of its relevance to its sub­

ject is a difficult one; but perhaps this question is itself irrelevant.

Stravinsky's expressive intentions have always been elusive. Unfortu- 5 nately, The Flood is not an abstract idea."

The Parlement of Hefne was chosen for its concern with the place of

Mankind in the hierarchy of the God-created universe. My intent has been to take a middle position between the two extremes represented by

Noye's Fludde and The Flood. No distinction was made between a dramatic

4 Richard Franko Goldman, "Current Chronicle: United States," Musical Quarterly. LXVIII (October, 1962), 516.

5Ibid., 517. 4 and an absolute approach in the musical setting of the libretto. Both dramatic and purely musical elements have been used in The Parlement of

Hefne. Some of these elements, such as the use of electronically pro­ duced sounds, have no precedent in a medieval "opera."

Foremost in my mind during the writing of this composition were my personal convictions concerning the role of the Church in fostering twentieth-century music and drama. Religion and religious leaders need to be concerned with relating the Church, socially and culturally, to

Man. Much serious drama, including both comedies and musicals, that has appeared within the last decade is concerned with Man's relation to

others and to himself. The Church should discuss and exhibit those

artistic endeavors that present problems facing Man in modern society.

Music has generally been held in high regard by the Church, and there has been some attempt to introduce sacred music of the twentieth century, whether the idiom be jazz or serial, into houses of worship. Some

churches, predominantly Episcopal, have presented to their congregations, and the public at large, any work of Art which seemed to offer a new

insight into the relationship between Man and God. It is hoped that

such an insight exists in The Parlement of Hefne. CHAPTER I

THE MEDIEVAL MYSTERY DRAMA

General History

The service of the Mass contains within itself a dramatic element, and this may be said to be the starting-point of liturgical drama.^

Impetus, however, was given to the development of the religious drama proper by a number of ecclesiastical practices, the exact origins of which are difficult to trace. First of all came the preparation, at

Christmas of a doll group representing the Nativity. The influence of the praesepe, or crib, has been stressed by more than one historian of the early drama. This, however, was nothing more than a still-life group with no attempt at a substitution of living persons for the inanimate and diminutive figures.

In the opinion of historians, two elements required by the liturgical drama are dramatic action and dialogued speech. The former

A very full discussion of this subject appears in E.K. Chambers' The Mediaeval Stage (Oxford: Oxford View Press, 1903), where indication is made of the critical studies up to 1903. The most important studies since that time are Karl Young's The Drama of the Medieval Church (Oxford: Clarendon Press, 1933), and Hardin Craig's English Religious Drama in the Middle Ages (Oxford: Oxford University Press, 1955), The prefaces to many edited texts of mystery cycles are also of considerable value. 2 The word ecclesiastical refers to the church or clergy, whereas liturgical refers to a form of public worship, usually the eucharistic service.

5 6 was latent in the ceremonies of the Offertory and the latter in the O practice of antiphonal singing. An important development was the elaboration of the Easter Introit by troping. Gustave Reese defines a trope as an addition "to the regular portions of the liturgy (1) of text that dissolved old melismas into syllabic melody and (2) of both text and music that extended older chants, as well as (3) of combinations of

(1) and (2)."4

Practically all historians have accepted the theory that the first definite appearance of a dramatic dialogue occurred with the four-line

trope Quern queritis. It appeared first in the tenth-century manuscripts

of St. Gall and St. Martial. The mimic accompaniment for this Quem

queritis drama is described in the Concordia Regularis. This code of

rules, also from the tenth century, was written by St. Ethelwold, bishop

of Winchester. During the chanting of the third lesson at Matins on

Easter morning, a priest arrayed in white, as an angel, entered and sat

in one corner of the church. Others, like women searching for something, approached him, and a dialogue was begun.

When therefore he who sits there beholds the three approach him . . . let him begin in a dulcet voice of medium pitch to sing Quem quaeritis. And when he has sung it to the end, let the three reply in unison Ihesu Nazarenum. So he, Won est hie, surrexit sicut praedixerat. Ite. nuntiate quia surrexit a mortuisT^

^Chambers, 0£. cit.. II, 6.

^Gustave Reese, Music in the Middle Ages (New York: W.W. Norton and Co., 1940), 186.

^Chambers, 0£, cit., II, 14-15. At the conclusion of this dialogue, the group of three turned to the

choir and sang Alleluia.1 re surrexit Dominus.' and the angel replied with

the antiphon Venite et videte locum. The clergy then responded with the

antiphon Surrexit Dominus de sepulchro. When this antiphon was completed,

the prior began the hymn Te Deum laudamus, at which time all the bells

were rung. The code of rules further states that the rubrics for per­

formance were based in part upon the existing customs of Ghent and

Fleury-sur-Loire. Thus by the= end of the tenth century a Quem queritis

drama, containing four characters and "chorus," was firmly established.

Another example of an early liturgical drama is the Hodie cantandus

(c. 900). Like the Quem queritis of Easter, this Christmas drama grew

out of the Introit trope and is arranged in dialogue form. Small

expansions of the Easter and Christmas dramas were contrived by the

addition of scenes which preceded or followed the original trope. The

Easter drama additions consisted of Mary Magdalene's meeting with Jesus

in the garden, the setting of the watch at the sepulchre, and a comic

scene devoted to the ointment seller and the three Marys. The Christmas

drama consisted of such additions as a shepherds' scene, Pastores, which

was an eleventh-century imitation of the Quem queritis trope, Quem

queritis in praesepe. pastores. dicite? This developed into an officium

Pastorum that made use of both the Gloria in excelsis Deo and the

transeamus usque Bethleem from Luke ii, 10-15.

Gradually other dramas arose for the feast days of Ascension,

Pentecost, Epiphany, and Advent. These prepared the way for plays

This development is treated more fully in Chamber, oj). cit., Vol. II, Ch. I. 8

derived from the reading of the Old Testament lessons. These plays were performed at the services of Septuagesima, Sexagesima, Quinquagesima before Lent. Plays that dealt with the lives of the Saints were the next development of medieval drama. These plays, of course, were non-

Scriptural, and, like all Latin dramas that grew out of the liturgy,were completely sung.

Only single-line melodies appear in the manuscripts in which the plays are preserved. From town registers, writings by mystics on the symbolic character of instruments, and stage directions which appear in plays, Edmund A. Bowles concludes, in his article "The Role of Musical

Instruments in Medieval Sacred Drama," that instruments were an integral part of the drama. There is no evidence in the plays themselves as to the manner in which instruments were used.^

As the liturgical drama developed, Latin rhyming poetry was introduced. Most of the words and music would have been freely composed.

As a result, the musical settings of these stanzas are probably to be interpreted as being metrical.

One method of drama construction was to tell a story in a succession of rhyming stanzas. The play of Daniel (c. 1200) is an example of this employment, the stanzas varying in their pattern and the g tunes in their character. Often both Biblical plays and those dealing with the lives of saints used uniformly constructed stanzas throughout.

^Edmund A. Bowles, "The Role of Musical Instruments in Medieval Sacred Drama," Musical Quarterly. XLV (January, 1959), 67-84. O Noah Greenberg (ed.), The Play of Daniel; A Thirteenth-Century Musical Drama (New York: Oxford University Press, 195^), i-l'OO. 9

Some of these examples, such as the St. Nicholas play The Three Clerks which appears in a twelfth-century Fleury-sur-Loire manuscript, employ as musical setting no more than a single four-phrase melody.^ From this

same manuscript, devoted to plays which deal with the miracles of St.

Nicholas, The Son of Getron may be cited as one of the most advanced in

its musical structure.1® The story tells of the capture of a Christian youth by a heathen conqueror, his refusal to worship Apollo, and his delivery through the miraculous intervention of St. Nicholas. The music of this drama is noteworthy, for each character or group is assigned a

separate melody. This leitmotif technique is most noticeable in the music for Getron's son. On the anniversary of his abduction, he sings of home and borrows not only his mother's melody, but also the words of

the first line of her lament.

By the end of the thirteenth century, the Latin liturgical drama had reached its full development. Its existence after this time, on the evidence of surviving manuscripts, was increasingly precarious, showing but few new ideas, and confined to shorter versions of the Easter drama.

The growth of the liturgical drama was not unified or directed. It developed in some places more rapidly than in others. The variety of

details is great, and there is no single line of descent from the simple

trope to the extensively developed vernacular mystery cycles. The

9 Otto E . Albrecht (ed.), Four Latin Plays of St. Nicholas from the Twelfth-Century Fleury Play-book (Philadelphia: University of Pennsylvania Press, 1935), 94-95.

1QIbid.. 105. 10

increasing popularity of the mystery play in the vernacular was largely

responsible for the disappearance of the Latin sung drama.

Side by side with the vernacular mystery plays based on Biblical

stories there are miracle plays that deal with the miracles of the saints

and consequently depart from Scriptural authority.Sometimes these

are related to the cult of the Virgin, as in the Miracles de Nostre-Dame 12 13 (c. 1400); sometimes, as in the later Cornish St. Meriasek play (1504),

they treat of the adventures of local saints, French literature abounds

in examples of this type of miracle drama. In England, however, barely

anything of a kindred form is extant. This very fact has its own

interest, for it indicates the care that must be taken in discussing

the medieval theatre. The lack of tangible proof in the form of manu­

scripts by no means indicates that true miracle plays were unknown in

England. Indeed, there are records that concern a St. Katherine per­

formed in the thirteenth century.^ From various local documents come

^Chambers, og^ cit.. II, 103-05. The word '’mystery" (mvstere) is really French, the English Biblical plays being regularly called miracles. I have retained the Continental names here, since they provide a con­ venient distinction between the two types of plays, cf. G. R. Coffman, "The Miracle-Play in England--Nomenclature,11 Proceedings of the Modern Language Association. XXXI (Winter, 1916), 448-65).

l^Gaston Paris and Ulysse Raynaud (eds.), Miracles de Nostre-Dame ("Anciens textes fran^ais," 8 vols.; Paris: Firmin Didot, 1876-1893).

*-%hitely Stokes (ed.) , The Life of St. Meriasek: A Cornish Drama (London: Triibner and Co., 1872).

^Chambers, gp. git., II, 64-65; 366. 11

the titles of similar pieces played in all districts, from the Sjt. Bride 15 „ 16 and St. Helena of Aberdeen to the St. Eustace of Braintree.

By the middle of the thirteenth century, the drama had passed from the church into the hands of town guilds or other lay associations. At first the individual plays were intended for performance on the appropriate feast day, but by the beginning of the fourteenth century, the English had begun to combine several plays for performance on such major feasts as Corpus Christi. Thus the mystery cycles were formed-- conglomerations of such individual dramas a6 the Creation of the World

(c. 1275) and the Harrowing of Hell (c. 1260). Similarly, miracle cycles also developed during the thirteenth century. Both types of cycles were intended for performances extending over days, and perhaps repeated at intervals of several years.

The actual plays making up the larger cycles varied from district to district and from country to country. The four series of fifteenth- century English mystery dramas (Chester, York. Coventry, and Towneley) ^

15Ibid., II, 331. 16Ibid.. II, 342.

■^Hermann Deimling (ed.), The Chester Plays: Part I ("Early English Text Society," Extra Series, No. 62; London: Oxford University Press, 1892); I, G. Matthews, The Chester Plays: Part II ("Early English Text Society," Extra Series, No. 115; London: Oxford University Press, 1915); Lucy Toulin Smith (ed.), The York Plays (Oxford: Clarendon Press, 1885); Katherine S. Block (ed.), Ludus Coventriae ("Early English Text Society," Extra Series, No. 120; London: Oxford University Press, 1917); Hardin Craig (ed.), Two Coventry Corpus Christi Plays ("Early English Text Society," Extra Series, No. 87; London: Oxford University Press, 1904); George England and A. W. Pollard (eds.), The Towneley Plays ("Early English Text Society," Extra Series, No. 71; London: Oxford University Press, 1896). 12

consisted of thirty to forty independent items each; the main subjects

(the Creation, Noah, the Annunciation) are dealt with in all, but every cycle has its own peculiar features. Thus, the Towneley cycle has an interesting study of Caesar Augustus, and the Coventry (Ludus Coventriae or Hegge) devotes a whole play to the Conception of Mary. More prodi­ gious, and consequently more comprehensive in treatment, are the fifteenth- century French collections. The famous Mvstere du Viel Testament

(c. 1450)^® deals with hundreds of separate themes as does the cycle from

19 Mons (1501). England and France, of course, had no monopoly on this kind of drama; indeed, Germany presents an array of fifteenth-century 20 texts almost as rich as those which France has to offer, while from

Italy come many important sacre rappresentazioni.^^ In almost every

European country mysteries were played, and their popularity endured down to the middle of the sixteenth century. The increasing popularity of secular drama, such as Nicholas Udall's Ralph Roister Doister (1553), was largely responsible for the disappearance of the mystery play.

Concerning the importance of liturgical plainsong in the mystery play, Fletcher Collins states "it was the simpler . . . music which the playwrights and audience . . . knew and liked and used . . . for they

l®Le Baron James de Rothschild (ed.), Mvstere du Viel Testament ("Anciens textes franqais," 6 vols.; Paris Firmin Didot, 1878-1896).

l^Gustave Cohen (ed.), Le Livre de conduite du Regisseur et le compte des depenses pour le mvstere de la Passion joue a Mons en 1501 (Oxford: University Press, 1925).

^Wilhelm Creizenach, Geschichte des neueren Dramas (Halle: M. Niemeyer, 1923), I, 218.

^ A. D'Ancona, Sacre Rappresentazioni dei Secoli XIV e XVI (Firenze: Successor! Le Monnier, 1872). 13

22 wanted the . . . hymns and antiphons of the Church." John Stevens, in "Music in the Medieval Drama," does not take exception to Collins'

statement that vocal forms were employed--canticles, antiphons, hymns, psalms, sequences, offertories, and communions--but objects to the

23 assumption that they were all plainsong. One stage direction from the play Christ's Burial and Resurrection (c. 1480) indicates the Easter

sequence Victimae paschali is to be sung "in cantifracto et in 0 / pallinodio." Although the exact meaning of this phrase is not clear,

Stevens is probably correct in assuming it implies polyphonic performance.

The term cantifracto was used by medieval theorists when describing the

ornamentation of a melodic line above a tenor.

Other examples of part singing are scattered throughout the English mystery cycles. Nan Carpenter associates the three-part singing of the

shepherds in the Secunda Pastorum (c. 1440) with the type of improvised 25 singing, in parallel sixths on a tenor, known as English discant. The

first shepherd sings "the tenory"; the second "the tryble so hye"; and the third "the meyne." In the other Towneley Shepherds' play, the shep-

^Fletcher Collins, "Music in the Craft Cycles," Publications of the Modern Language Association. XLVII (September, 1932), 621.

2-*John Stevens, "Music in the Medieval Drama," Proceedings of the Royal Music Academy. LXXIV (1957-58), 82.

J, Furnival (ed.), The Digby Plays ("Early English Text Society," Extra Series No. 70; London: Kegan Paul, Trench, Trubner and Co., 1896), 223.

2%an Cooke Carpenter, "Music in the Secunda Pastorum," Speculum. XXVI (September, 1951), 700. 14 herds seem to refer to this technique with the phrase "Syng we in syght." 26 Although no music survives from either of these plays, the

Middle English treatise of Leonel Power which appears in the British

Museum MS Lansdowne 763 (c. 1425), would support Nan Carpenter's

27 interpretation of the text.

Two English plays do contain numerous directions for the introduc­ tion of music: (1) the Ludus Coventriae play The Assumption of the

Virgin; (2) the York play The Appearance of Our Lady to St. Thomas. In the first of these plays extensive use is made of singers and instruments.

The manuscript indicates when instruments are to play, but does state what pieces are to be played. All the specified liturgical compositions

28 are found in the Sarum Missal. The latter play is unique for the manuscript contains the texts of polyphonic songs and their music. All the songs are in Latin and two of them, Veni electa and Veni de Libano,

29 are still in use as antiphons. The musical style of the polyphonic compositions would indicate that they belong to the middle of the fif­ teenth century. The notation is in black and red notes, and like most fifteenth-century carols, the songs are in triple meter. The music is basically note-against-note with marked cross-rhythms and is written as a duet for countertenors with much crossing of voices.

26Ibid.

27 For discussion of this treatise see Hugo Riemann's History of Music Theory: Books ^ and II, trans. Raymond H. Haggh (Lincoln: University of Nebraska Press, 1962), 119-125; 371-372.

7 A Stevens, oj>. cit., 93-94.

2^Lucy Toulin Smith (ed.), The York Plays (Oxford: Clarendon Press, 1885), 525. 15

Most of the English mystery plays contain some indication for music, either instrumental or vocal. As a group of plays having a common theme, the Virgin plays of Ludus Coventriae contain the greatest number of directions for music. This might possible be attributed to the popularity of the Virgin cult in the fifteenth century.

In addition to the mystery and miracle plays, the medieval populace also knew the morality play. Instead of being Scriptural or legendary, the characters were personifications of abstract ideas. While abstractions appear in some mystery dramas, little evidence of a genuine morality exists before the beginning of the fifteenth century.

The fragmentary play, The Pride of Life, that appears in a manuscript in the public record office of Dublin, dates from 1400. It is the earliest extant example of a morality. Everyman, printed in 1502 by

Richard Pynson, is the first complete morality. Although scholars consider this play to have been written in the first half of the fifteenth century, the earliest records concerning Everyman date from the sixteenth century. The Ludus Coventriae play The Parlement of

Hefne, also referred to as The Salutation and Conception, is an example of the transition from mystery to morality that occurred during the middle of the fifteenth century. 16

The Cycle Ludus Coventriae

The manuscript of Ludus Coventriae is found in the British Museum,

Cotton MS. Vespasian D. viii. It is generally thought to have been written in the year 1468, since that date is written on the verso of

folio 100, and is apparently in the hand of the scribe. The name of

Robert Hegge, Dunelmensis, occurs at the beginning of the manuscript and

is followed by the title, "The plaie called Corpus Christi" written in a

later hand.

The question of the locality to which the so-called Ludus Coventriae

ought to be assigned has long been debated. In the year 1841,

James 0. Halliwell edited these plays for the Shakespeare Society under

the title Ludus Coventriae: A Collection of Mysteries formerly repre­

sented at Coventry on the Feast of Corpus Christi. His principal

authority for assigning the cycle to Coventry was the note written on the

flyleaf of the manuscript by Dr. Richard James, who was the librarian to

Sir Robert Cotton, the last private owner of the manuscript: "Contents

Novi Testamenti science expressa et actitata olim per monachos sive

fratres mendicantes: vulgo dicitur hie liber Ludus Coventriae, sive

Ludus Corporis Christi." Thus for a time scholars assumed this cycle

belonged to the town of Coventry.

In the late nineteenth century, however, scholars began to inquire

into the authority upon which James based his assertion, and found that

it rested on no reliable ground. It should be noted, first, that James

does not state positively that these are Coventry plays, but simply

that they were commonly so called; and, secondly, in describing the cycle 17 as made up of plays dealing with subjects from the New Testament, James showed that he was unfamiliar with the cycle's contents. There were, however, craft-plays at Coventry that contained only New Testament material, and it seems possible that James confused them with the

30 Ludus Coventriae.

O 1 Of the many theories propounded, 1 C. M. Gayley's appears to be the most widely accepted. He suggests Lincoln as the possible location for the plays since one-third of the cycle deals with the life of the Virgin.32

In the Lincoln craft-plays there was ecclesiastical cooperation, and special emphasis was laid upon the legends of the Virgin. All proposals, however, including Gayley's must remain little more than guesses.

The absence of guild names or of clear divisions between plays in the manuscript has led scholars to suppose that the plays were not per­ formed by craft guilds. But the fact that numbers are written in the margins and elsewhere to mark off the various plays would indicate that at some time in the history of the cycle an attempt was made to divide it

•^Hardin Craig (ed.), Two Coventry Corpus Christi Plays ("Early English Text Society," Extra Series No. 87; Oxford: Oxford University Press, 1902).

^Bernhard Ten Brink, History of English Literature, trans. H. M. Kennedy (New York: Henry Holt and Co., 1883-1896), II, 283. Alfred W. Pollard (ed.), English Miracle Plays, Moralities and Inter­ ludes (Oxford: Clarendon Press, 1927), xxxvii. A. R. Hohlfeld, "Die altenglischen Kollektivmisterien," Anglia, XI (1889, 227-28.

32c. M. Gayley, Plays of Our Forefathers (New York: Duffield, 1907), 136. 18

into separate plays. The numbering and rubrications run straight through and include the Assumption play.

The cycle may be divided into four groups of plays: (1) Old

Testament plays; (2) Virgin, Christmas, and Epiphany plays; (3) plays dealing with specific incidents in Christ’s life; (4) the Passion and

Resurrection, and plays which complete the ecclesiastical calendar. The numbering of the plays given below is the same as that found in the manuscript.

GROUP I

i. The Fall of Lucifer iv. Noah and the Flood ii. The Fall of Man v. Abraham's Sacrifice iii. Cain and Abel vi. Moses and the Laws

GROUP II

vii. The Prophets xiv. The Trial of Joseph viii. The Barrenness of Anna and Mary ix. Mary in the Temple xv. Joseph and the x. Mary’s Betrothal Midwives xi. The Parliament of Heaven xvi. The Adoration of the and Salutation Shepherds xxi. Joseph's Trouble about frvii.l (does not appear in Mary manuscript) xiii. Mary's Visit to Elizabeth xviii. The Adoration of the Magi xix. The Purification XX. The Slaughter of the Innocents

GROUP III

xxi. Christ and the Doctors xxiv. Woman Taken in xxii. Baptism of Jesus Adultery xxiii. The Temptation xxv. The Resurrection of Lazarus 19

GROUP IV

xxvi. Council of Jews and xxxiv. Burial and Setting of Entry The Watch xxvii. The Last Supper and XXXV . Release of Souls from Council Hell and Report of xxviii. The Betrayal Watch xxix. Herod and Trial, xxxvi. The Three Marya Pt. I xxxvii. Mary Magdalen XXX. Trial, Pt. II xxxviii. Peregrini and Thomas xxxi. Pilate's Wife xxxix. Ascension Dream and x l . Pentecost Condemnat ion xli. Assumption of Virgin xxxii. Crucifixion xlii. Judgement xxxiii. Harrowing of Hell

Following is an analysis showing the relationship between the gen­ eral Prologue to the cycle and six plays of Group II. The plays The

Barrenness of Anna, rlary in the Temple, Mary's Betrothal, The Parliament of Heaven, and Mary1s Visit to Elizabeth, were chosen because they are the five plays that are mentioned in a second prologue spoken by Con­ templation at the beginning of play viii. Joseph18 Trouble about Mary was omitted from the analysis since no mention is made of this play by

Contemplation. The Prophets was included in the analysis because of the emphasis it places on the Virgin Mary. The asterisk (*) indicates that episodes that are mentioned in the Prologue exist in the plays. The dash (-) have been used to indicate episodes that occur in the plays but are not mentioned in the general Prologue.

General Prologue Plays vii. The seventh pageant shall be vii. Isaiah: A virgin shall of "Jesse rote," out of conceive . . . which doth spring our "bote." Kings and prophets shall pro­ Radix Jesse: A branch phesy of a queen, who shall shall spring . . . 20

General Prologue Plays

heal our strife and win David rex: Out of my us wealth without end, blood . . . in heaven to abide. Her son shall save us by his Jeremiah; God shall take wounds. lineage of priest and king.

Solomon rex; Temple . . . a figure of the maid.

Roboas rex; Of our kindred a maid.

Micheas: Even as Eve mother of woe . . .

Abias rex: All our mirth cometh of a maid . . .

Daniel: I saw a tree; all the friends of hell shall be afraid when that maiden's fruit thereon they see.

Asa rex; God will be born of a maid and be torn on the cross.

Jonas; On third day shall rise . . .

Josophet rex believes all that has been said.

Abdias; When he is risen death shall be driven to damnation.

Jonas rex: After resur­ rection . . . shall return to heaven.

Abacuche: He shall be judge in heaven. 21

General Prologue Plays

Ozlas rex: He shall send the spirit.

Ezechias rex: A maid by meekness shall bring mercy.

Sophosas: That maiden's birth our wealth shall dress.

Manasses rex; The maid's child shall be prince of peace.

Baruk: All his foes shall be punished on doomsday.

Amon rex: Lord grant us mercy on that dreadful day.

The Barrenness of Anna viii. viii. Contemplation's Prologue: Christ conserve the ------congregation. This play is of the Mother of Mercy.

------1. How Anna and Joachim were her parents.

------2. Later she was offered to temple service.

------3. Married to Joseph.

------4. Salutation.

5. The meeting with ------Elizabeth and there­ with a conclusion.

Contemplation prays for peace. General Prologue Plays

(Play proper.)

Ysakar announces festutn - - - Encenniorum. celebrated three times a year.

Joachim takes two • - - - turtle doves to the temple to offer as a sacrifice.

Service in the temple. - - - Ysakar refuses Joachim's sacrifice, because he is childless.

Joachim and Anna grieve - - - over disgrace. Joachim goes to shepherds for comfort.

Angel comes to Joachim, sings "Exultet coelum ■ - - - laudibus," reminds him of Sarah, Rachel, and the mother of Sampson and Samuel.

1 - - - Angel promises a child.

Angel goes to heaven • - - - while Anna and Joachim rejoice.

Mary in the Temple

ix. Contemplation's Prologue: We have seen the story of Joachim and Anna, how Our Lady was conceived. ■ - - - Now we show you how she was offered in the Temple. She shall appear as a child of three years, and remain there, ever according to God's General Prologue Plays

will, up to her four­ teenth year.

Joachim and Anna bring Mary at three years of age to the Temple.

Mary ascends fifteen steps of the Temple, reciting a psalm for each step.

Episcopus gives her five maidens to wait upon her.

And seven priests to teach her.

Mary offers seven petitions.

Angel ministers to her, gives her the signifi­ cance of the letters of her name.

Contemplation's Epilogue: Here you have seen the presentation of Our Lady. Now we shall proceed to "disspon- sacion," which was fourteen years later. The parliament of heaven and how God's Son became man and the Salutation after shall be.

Mary* s Betrothal

Abyacar commands that all x. ************ maidens who are four­ teen years of age be brought before him.

Joachim and Anna bring forth ************* Mary. General Prologue Plays

Mary wishes to remain ************ chaste.

The bishop asks God for guidance and an angel tells him to send for David's ************ kindred and bid them present their rods.

A messenger is sent. ************

The presentation of the wands. When Joseph ************ offers his rod, it bursts into bloom.

Upon being told that he is to wed Mary, Joseph protests that he is too old, but is finally prevailed upon.

He pledges his wife to ************ live in chastity.

The bishop gives her three maidens ************ for comfort.

------Mary bids her parents farewell.

Joseph goes to prepare ------a home, bids Mary wait there and worship God.

He returns and brings Mary ------to Nazareth, says he must leave her again and labor in a far country.

The Parliament of Heaven and Salutation

xi. Contemplation's Prologue: ------How man has suffered for sin in hell. Now may God have mercy and 25

General Prologue Plays

remember the prayer of Isaiah and Jeremiah.

The Four Daughters of God: They speak of the fall of Lucifer. God says he will prepare a way of salvation. The four daughters of God dispute. The Son comes forth and suggests that one who is guiltless must die as an atonement for man's sin.

Council of the Trinity, in which the plans for man's salvation are made.

God sends Gabriel to Mary. The Son says He is to be b o m of Mary. The Holy Spirit says that he will perform this miracle.

Gabriel salutes Our Lady. ************

The three maidens hear voices but see no one. The angel says her son shall be called Jesus.

Mary's Visit to Elizabeth xiii. - - - - - xiii. Joseph agrees to let Mary visit Elizabeth.

Contemplation's Prologue: Explains who Elizabeth - - - - - is; the story of the annunciation to Elizabeth and how Zacharias was made dumb. 26

General Prologue Plays

Mary and Joseph arrive at the house of Elizabeth. Elizabeth greets Mary as the Mother of God. Each tells of her annunciation.

Mary repeats the Magnificat in Latin and Elizabeth translates, sentence for sentence, into English.

Mary says she will stay until Elizabeth*s child is born.

Joseph greets Zacharias. Elizabeth explains why he cannot speak.

Joseph and Mary go home. Elizabeth and Zacharias go to the Temple.

Contemplation's Epilogue: Says he will give a conclusion. Here we see how the Aye Maria was made. Who says Our Lady's psalter daily for a year shall have pardon ten thousand eight hundred years. Mary remained with Elizabeth three months until John was born, and then Zacharias received his speech. They composed the Benedictus and the Magnificat. Then Our Lady took her leave. We thank you; with Ave we began and with Ave is our conclusion. 27

Many scholars have pointed out the composite nature of Ludus

Coventriae. ^ The inconsistent use of a variety of meters within the

plays indicates that the entire cycle was rewritten by separate hands

at different times. It may be possible that considerable portions of

the cycle, such as the non-scriptural parts of the Nativity plays, are

the work of one author. Chambers cites a rumor that Lydgate of Bury was Q/ such an author; and Samuel Hemingway, in his English Nativity Plays.

35 gives a number of arguments in favor of such conjecture.

Hemingway has made a comparative study of the Nativity plays in

the York. Chester. Townelev, and Coventry cycles, together with an

inquiry into their origin and sources. He has printed five plays from

Ludus Coventriae: The Salutation. Joseph's Trouble about Mary. The Visit

to Elizabeth. The Nativity (Joseph and the Midwives), and The Shepherds'

Play. As a result of his study of these plays, he finds that a number

of insertions, notably the "Dispute of the Four Daughters of God" in

the play The Salutation (The Par lenient of Hefne), are not mentioned

in the Prologue that precedes the cycle; and the action of the plays would not be seriously affected if these parts were omitted. Hemingway

concludes that the original plays did not contain these theological

■^Ten Brink, op. cit., I, Pt. 2, 283; Wilhelm Creizenach, op. cit., I, 300.

Q / Chambers, 0£. cit.. II, 145.

35 Samuel B. Hemingway (ed.), English Nativity Plays (New York: Henry Holt, 1909), xxxvii. 28

elements, but were like the other English cycles and possibly written originally for travelling companies.

At the beginning of play viii, The Barrenness of Anna, a second prologue is introduced. This prologue is spoken by the allegorical character Contemplation, who promises to present to the people five plays: (1) the story of Anna and Joachim; (2) Mary's presentation in the temple; (3) her betrothal; (4) the story of the salutation; (5) Mary's visit to Elizabeth. In connection with this last play he promises a conclusion. Then follow the five Virgin plays whose tone and style differ noticeably from the seven preceding plays. Didactic elements are prominent in the Virgin plays, and there can be little doubt that they, as well as the Prologue spoken by Contemplation, were introduced into the

37 cycle some time after the writing of the general Prologue. This is not to imply that an entirely new group of plays was simply incorporated into the cycle without any modification. Some of the plays indicate clearly

that old material has been combined with new. The Prologue to the cycle provides for only two of the Virgin plays, Mary's betrothal and the salutation. The three remaining plays promised by Contemplation are not mentioned in the cycle Prologue.

Concerning The Parliament of Heaven and Salutation, the general

Prologue to the cycle mentions Gabriel's visit to the Virgin and also

states that the three maidens who waited upon her, heard the conversation between Mary and the Angel, but saw no one. The three maidens do not

36ibid., xxxii.

37Ibid., XXXV. 29

appear at all in the play as the manuscript now stands. The greater part of the drama is devoted to a discussion concerning the state of

Mankind. The prologue spoken by Contemplation, the dispute of the four daughters of God concerning the fate of Man, and the council of the

Trinity constitute the theological elements that were later additions according to Hemingway. Following these additions, the oldest portion of the text begins, and the remainder of the play is devoted to the

Annunciation and Conception. CHAPTER II

THE COMPOSITIONAL PROCEDURE

Text

The libretto (see Appendix I) for The Parlement of Hefne is an adaptation of Katherine S. Block's edition of the Middle English manu­ script of Ludus Coventriae.1 I originally intended to use the spellings as they appeared in this edition, but because of the difficulty in reading the libretto, spellings have been modernized wherever pronun­ ciation was the same in Middle and modern English. Words that are cited as archaic in the Oxford English Dictionary have been starred, their meaning indicated, and their spellings left unaltered. Words necessary to preserve the rhyme scheme have also been left unaltered.

To retain the archaic quality of the text, the original word order has not been changed. Whenever a character continued to repeat, in different words, thoughts that he had just expressed, the repetitive lines were deleted from the text. In two ensemble scenes, the four daughters of

God and the Annunciation, it was necessary to rearrange and combine lines to achieve dramatic and musical climaxes. In order to make a more pro­ nounced distinction between the concept of God as a single Being and God as the Trinity in three separate individuals, certain speeches that are

^Katherine S. Block (ed.), Ludus Coventriae ("Early English Text Society," Extra Series, No. 120; London: Oxford University Press, 1917), 97-108.

30 31 indicated as Father, Son, or Holy Spirit in the manuscript, are recited by all three together.

Though no repetition of text was employed, desired textual stress was achieved through rhythmic change in the vocal line or accompaniment or through an abrupt shift in the vocal range.

The choral statements Kyrie eleison in the Prologue are additions to the text, as is the Advent hymn 0 Come, 0 Come, Emmanuel. The choral passages punctuate Contemplation's call for mercy, and the unison hymn serves as a prayer to God to save Mankind. The choral setting of Psalm

LXXXIV: 11-14, was employed to bring the scene of the four daughters of

God to a more satisfactory dramatic conclusion, and to provide music for their exit. Mercy has the final speech in this scene, and her last two lines, spoken in Latin, are from Psalm LXXXIV. The stage direction "et hie osculabunt pariter omnes," followed Mercy's final speech. At the conclusion of this particular play, there appears in the manuscript the direction "Angeli cantando istam sequenciam," followed by the first two lines of the sequence. I have adhered to the direction and have in­ cluded the entire text requested--Ave, Maria, gratia plena. Dominus 2 tecum, virgo serena.

Media

The instrumentation for The Parlement of Hefne includes five separ­ ate sound sources: (1) wind septet consisting of two flutes, two clari-

Clemens Blume and Guido M. Dreves (eds.), Analectica Hymnica Medii Aevi, Vol. L I V : Thesauri Hytnnologici Prosarium, die Sequenzen (reprint; New York: Johnson Reprint Corp., 1961), 337. 32

net8, oboe, bassoon, and French horn; (2) brass choir consisting of three trumpets, three trombones, and tuba; (3) string choir consisting of a double string quartet and string bass; (4) organ; (5) tape play­ back equipment with four speakers to reproduce the pre-recorded tape of electronic sounds. Groups (1), (2), and (3) each have one percussionist playing the following instruments: xylophone, tambourine, temple blocks, cymbals, and a variety of untuned drums with and without snares. Group

(2) is further enlarged through the addition of two timpanists playing eight timpani.

The vocal portions of the composition are written for ten soloists: four spoken male roles and six singing roles, one man and five women.

A five-part chorus, SSATB, of approximately sixty members, is employed for the psalm and sequence. The choral statements Kyrie eleison are for four-part chorus, SATB, during Contemplation's opening speech, and three-part chorus, SAT, during the Advent hymn. The congregation participates in singing the unison hymn in the Prologue and Epilogue.

Dancers provide the movement for the roles of Truth, Mercy, Justice, 3 Peace, Gabriel, and Mary, for the singers are not to act their roles.

Electronic Tape

The sounds which are on the tape were produced by the following sound generators: Grason-Stadler Noise Generator, Model 901B; Grason-

^A further discussion of this aspect of the composition appears in Chapter III, Staging. 33

Stadler Interval Timer, Model 471-1; Grason-Stadler Electronic Switch,

Model 829D; Hewlett-Packard Square Wave Generator, Model 211A; Hewlett-

Packard Sine Wave Generator, Model 202C. Drums of varying sizes, cym­

bals, foreign words and phrases and various common noises were also re­

corded. Through the use of changes in the original recorded speed,

playing sounds backwards, and cutting the tape into various sized pieces,

many of the sounds were altered. The speech sounds heard at the begin­

ning of the tape were arrived at by chance. A piece of full-track re­

corded tape containing words and phrases spoken in French, German, and

Swedish was cut into pieces ranging from one inch to three inches. These

pieces were then put into a box and mixed up. The pieces were then

spliced together in the order in which they were drawn. After acquiring

a storehouse of individual sounds, two or more were combined into a

sound complex. This was achieved by playing separate pieces of tape on

two tape recorders and recording the composite on a third recorder.

Through the process of re-recording various sounds, one with another,

and careful cutting of the tape, the present tape recording was achieved.

Rhythm, Meter, and Tempo

The use of meter signs has been avoided throughout the composition,

for I considered constantly changing signs to be more of a hindrance than

a help. Bar lines have been employed to indicate rhythmic groupings of

varying lengths. Within the vocal lines, small rhythmic groups are

indicated by the beaming. All metronome indications are for the eighth

note because this is the basic unit throughout the composition. 34

Although the speeches for the Trinity, Father, Son, and Holy Spirit have been notated rhythmically, the notation should serve as a guide

rather than as an indication of precise speech rhythms. Metronome

markings for these speeches apply only to the short notes of the accom­

paniment and not to the sustained harmonies.

Contrapuntal Structures

Willi Apel defines counterpoint as "the combination into a single

musical fabric of lines or parts which have distinctive melodic signi­

ficance."^ Two extensions of this normal counterpoint were used through­

out the composition. In the first, two or more independent series of

chords have been combined in what might be called "chordal" counterpoint.

The second extension involves the element of chance. Melodies or chord

progressions are played at different tempos. Therefore, the resulting

harmonies cannot be accurately determined except at the time of perfor­

mance. Although metronome markings are indicated, the probability exists

that the harmonic structures will not remain identical from one perfor­

mance to another.

Form and Style

The Parlement of Hefne can be divided into four major sections:

(1) Prologue; (2) Dispute; (3) Annunciation and Conception; (4) Epilogue.

Although there are no pauses between the sections, each was conceived

as a separate compositional unit.

^Willi Apel, Harvard Dictionary of Music (Cambridge, Massachusetts: Harvard University Press, 1955), 189. 35

The Parlement of Hefne employs predominantly dissonant harmonies.

The common classification of intervals and chords was employed to control

the degree of consonance and dissonance throughout the composition.

Consonant intervals are major and minor thirds and sixths and perfect

fourths, fifths, and octaves. Major and minor seconds and sevenths are

dissonant. The tritone functions as the connection between consonant

and dissonant intervals.

Major and minor triads in root position are the most consonant

chords. Triads in first inversion are less consonant than root position

triads but more consonant than second inversion triads. Any chord that

contains at least one minor second or major seventh is more dissonant

than a chord that contains major seconds or minor sevenths. The more

minor seconds and major sevenths that occur in a chord, the more

dissonant that chord becomes. Three-note chords built in perfect fourths

or fifths serve as the harmonic connection between consonant and disso­

nant chords.

The harmonization of the opening phrases derived from the hymn tune

Veni Emmanuel consists of simultaneous minor triads whose roots are

separated by a half-step. Within the Prologue spoken by Contemplation,

"chance" counterpoint is introduced. The score contains directions for

separate sound sources to begin at given points. Each source has its

own metronome marking, and each functions as an independent unit. A

specific example can be seen on page five of the score. The timpani is

to improvise on four pitches while the strings are directed to play a

two-bar figure seven times. Shortly thereafter, the flutes and clarinets

are directed to play a two-bar passage twice. The harmonies that result 36 from these independent units will vary with the tempo of the spoken text.

When similar independent units are employed to accompany a vocal melody, the sung portion employs the same metronome marking as one of the inde­ pendent units.

After the strongly dissonant structure of the opening, there is a slight relaxation before dissonance returns in the Advent hymn that con­ cludes the Prologue. As in the opening, the chord roots of the per­ forming groups are separated by a minor second. However, since these groups are arranged in a predominantly antiphonal manner, the harmonies that result will be less dissonant than the opening measures of the composition.

The second section, Dispute, opens with consonant triads. The harmonic structure of this section, however, is predominantly dissonant.

The dissonant peak is reached in the dance movement, The Search (page 30), which is harmonically similar to the Prologue. This dance consists mainly of simultaneous major and minor traids whose roots are separated by a minor second. From the conclusion of the dance to the beginning of the psalm, there is a continuous flux between consonance and dissonance. With the singing of Psalm LXXXIV, however, the second section concludes as it began, with predominantly consonant chords. The second section can be described as progressing from consonance to dissonance and back to consonance.

Truth, Mercy, Justice, and Peace are distinguished through the use of varying metronome markings and the rhythmic grouping of their text.

Thus the text of Mercy, which is intended to be flowing, has been divided into large rhythmic groups (page 17). That of Justice, however, 37 has been set in short rhythmic groups (page 19). This highly accented vocal line creates a feeling of agitation. Truth and Peace have vocal lines that are grouped similarly to those of Mercy and Justice with the lines of Peace being more closely related to Mercy's (page 21) and those of-Truth to the lines of Justice (pages 15-16). Although four separate voice qualities are required, little distinction was made in the vocal ranges. The vocal lines, however, can be classified as being predomi­ nantly conjunct or disjunct and chromatic or diatonic.

The music for the council of the Trinity (pages 24-29), which ap­ pears in the second section, consists of sustained harmonies scored for all five of the sound sources. Sustained harmonies are also used in the third section (pages 41-44) and are also scored for the five sound sources. The second and third sections differ in the degree of disso­ nance employed. The third section is less dissonant than the complex of minor seconds that accompany the Trinity in the second section. In both instances, each sound source, exclusding the pre-recorded tape, is a separate voice in the "chordal" counterpoint. Although the electronic tape might be said to constitute another voice, it should be clearly stated that the function of the pre-recorded tape is dramatic rather than musical. The tape sounds are meant to present an atmosphere of unreality and aid in giving to the Trinity an aura of mysticism.

Beginning with the Ave Maria speech of Gabriel (page 45), the re­ mainder of the third section, Annunciation and Conception, is only mildly dissonant, with the music for Mary being predominantly consonant. In the vocal writing for Gabriel, emphasis is placed on the melodic major and minor second. Mary's vocal line has emphasis placed on the melodic major and minor second. Mary's vocal line has emphasis placed on triadic structures and the interval of the fourth (pages 45-46). The use of triads and chords of the fourth dominate the dance movement, Jubilation.

Strongly dissonant elements are interjected into the dance (pages 51-53) by means of chordal counterpoint. The choral setting of the sequence

Ave, Maria, gratia plena, Dominus tecum, virgo serena, that concludes the third section, is predominantly consonant. The consonant-dissonant- consonant design of this section is similar to that of the second section.

In both sections the dance is the most dissonant portion and is the climax of the section. The choral settings that conclude each section are pre­ dominantly consonant.

The Epilogue, section four, consists of the last two stanzas of the

Advent hymn 0 Come, 0 Come, Emmanuel. With the exception of the final chord, every harmonic structure contains at least one minor second, and with the penultimate chord all twelve tones of the chromatic scale are sounded simultaneously. The fourth section is related to the first in two ways: (1) the use of the Advent hymn; (2) with the exception of the final chord the section is dissonant. The fourth and first sections differ in design. In the first the dissonance tends to diminish, while in the last section it increases.

A formal design regulated by the degree of consonance and disso­ nance can be seen. Sections two and three begin and end with consonant harmonies. The climax in each is the highly dissonant dance movement.

The Prologue and Epilogue are predominantly dissonant sections.

Section 1 Section 2 Section 3 Section 4 (Prologue) (Dispute) (Annunciation) (Epilogue)

- -asHEEEJJ jl£j3B3>-~ -==B+nEHIIjIE /pTITTrnip—

V p CHAPTER III

PRODUCTION NOTES

Introduction

The Parlement of Hefne was conceived to be performed in

St. Stephen's Episcopal Church, Columbus, Ohio. All the elements of production were designed for this church. Appendix II is a floor plan of St. Stephen's with indications for the placement of the five sound sources, chorus, singers, dancers, and actors.

The directions right, left, center, back, and front are in relation to the congregational, seating area and the remainder of the church.

Right, left, and center are from the congregation's view and not the actors'. Back refers to all the area behind the last pew. All the area directly before the congregation is designated as front. The front area can be further divided into center-front, up-front, and down-front.

Center-front and up-front constitute the forward half and rear half of the stage area. Down-front represents the space between the front congregational pew and the stage area.

Placement of Performers

The instrumental sound sources should be arranged in the following manner: (1) string choir to the right and down-front; (2) wind choir to the left and down-front; (3) brass choir to the center and back. The string and wind choirs should be placed on platforms which are raised

39 4$ slightly above the floor. It is imperative that these two choirs see the chorus conductor at the back of the church. The position of the organ, up-front, left, was determined by its placement in the church. A minimum of four speakers are needed for the pre-recorded electronic tape, and should be hung as high as possible in the four corners of the church. The speakers should be angled so that the sound "descends" upon the congregation. The operator of the sound equipment is placed at the back of the church, to the left of the brass choir.

The mixed chorus is placed on risers at the back of the church, directly behind the brass choir. The soloists who sing the roles of

Truth, Justice, Mercy, Peace, Mary, and Gabriel are to sit in the pews center-front, right and left. The dancers Peace, Mary, and Gabriel also sit in these pews. The dancers representing Truth, Mercy, and Justice, however, are never seated, but are to stand in the center-front area between the right and left pews. Contemplation is to use the pulpit located center-front, left, and the Trinity is seated facing the con­ gregation up-front, center.

Setting and Properties

A platform which represents Heaven is located up-front, center. It is to be placed directly above or slightly behind the altar. The plat­ form is to be large enough to hold three thrones on a dias and provide acting space for the Trinity. A gold and purple canopy should cover the dias. Two curved, suspended staircases, one on either side of the platform, are needed. The platform is to be raised eight to twelve feet above the stage floor. 41

Properties consist of three thrones and "three beams." The "three beams" may be made from wide, gold ribbon, and should be gathered together at both ends and in the middle. These beams are intended to

represent the three persons of the Trinity as one Being. The thrones are to be identical. They are to be gold in color and the seats should be covered in purple colored fabric to match the gold and purple canopy.

The platform and steps are to be painted white.

Purple, gold, and white are the predominant colors of the set. The

staircases and platform should be carpeted with a purple runner. If at all possible, a gold banister and railing are to be built on the up-front

side of the staircases and platform (behind the thrones). Velvet and

silk-textured fabrics should be employed to enrich the set.

Staging

Since the greater portion of the composition is danced, the staging should be executed by a choreographer. The movement should adhere to

Louis Horst's description of religious medieval dance:

The first style [religious medieval dance] is based on religious ecstacy. It is weak with a weakness b o m of meekness and a paleness b o m of self-denial. Dance move­ ment based on the parallel designs of medieval religious art is attenuated or twisted out of natural postures to a point of torture. It is apt to be performed in a very limited area; for the most part moving from one parallel design to another without covering much floor space. Besides the anguished deformity, the manner is one of unrealness, of the miraculous. It decries the human and the worldly, defies gravity and normal earthly forces and seems to be supported only by faith. The dance will repeat the elongated, reaching, contorted art of those times. The conception of medieval man suffering under an inner, self-inflicted pain is plainly analogous to many of our familiar modern psychological ideas of emotional 42

conflicts and complexes, and the style is consequently one which is appropriate to this subject matter.*

This separation of movement and singing is intended to give the entire visual aspect the same archaic quality that has been preserved in the text. Through the use of the medieval style of dance, the archaic quality can be achieved.

With the opening chords, Contemplation enters from up-front, left and proceeds to the pulpit where he delivers the opening speech. Upon completion of his speech, he exits in the same manner as he entered. As

Contemplation makes his exit, the Advent hymn is begun. At this point the congregation rises and the remaining characters of the drama enter from the rear of the church. The congregation and the dramatis personae all join in singing the hymn. The singers, dancers, and actors are all to use the center aisle for their entrances and exits. The characters enter in single file in the following order: Father, Son, and Holy

Spirit; Gabriel, dancer and singer; singers Truth, Mercy, Justice, Peace, and Mary; dancers Mary, Peace, Truth, Mercy, and Justice. The personages of the Trinity proceed to the platform, using the left stair­ case to reach the dias, and upon conclusion of the hymn, seat themselves facing the congregation in the following manner: Son, left; Father, center; Holy Spirit, right. The singers and dancers, with the exception of the dancers Truth, Justice, and Mercy, take their places in the right and left choir pews, center-front. The order in which they are to enter the pew on the left is as follows: Gabriel, dancer; Truth, singer;

^Louis Horst and Carroll Russell, Modern Dance Forms in Relation to the Other Modern Arts (San Francisco: Impulse Publications, 1961), 81-82. 43

Justice, singer; Mary, singer. The order on the right is: Gabriel, singer; Mercy, singer; Peace, singer; Mary, dancer; Peace, dancer. The dancers Truth, Justice, and Mercy take positions center-front, center,

in preparation for the beginning of the first major section. All singers and dancers in the choir pews seat themselves upon conclusion of

the Advent hymn.

The three actors who portray the Trinity should be selected for

their ability to move smoothly as well as act. Their movement should be

regal but not stiff. The Trinity may move freely on the platform during

their speeches, but must be seated during the scenes that are devoted primarily to the other characters. Although they are not requested to dance, the miracle of the Conception would be heightened if movement could be designed for them which would make the Trinity an integral part of the opening phrases of the dance Jubilation. The Trinity must carry

the "three beams," which are pre-set on the platform, on their descent

for the Conception. They are to use the right staircase for their descent and return to Heaven.

At the conclusion of the debate of the four daughters of God, the dancers, Truth, Mercy, Justice, and Peace exit in a single line. If

they have not completed their exit by the conclusion of the singing of

Psalm LXXXIV, no break is to be made in the performance.

In the second major section, Mary and Gabriel use the same dance

area as the four daughters of God. Because there is a lapse of time between the two major sections, there is no need to create different

locales through the restriction of the dance area. With the singing of 44

the sequence, Gabriel makes his exit. Mary continues to dance through the choral sequence.

As little attention as possible should be called to the singers, who are to remain seated during the entire performance. If singing proves too difficult in a seated position, the singers may stand, but then must remain standing during an entire scene. All singers and the Trinity make their exit during the singing of the Epilogue. Mary should lead the procession, followed by the Trinity and the remainder of the performers.

Lighting

Marked differences in the lighting are to be made for Contemplation*s

Prologue; the entrance of the dancers, singers, and actors; the dispute of the four daughters of God; Heaven; the Annunciation; the Conception; and the final exit during the singing of the Advent hymn.

No blackouts are used, and all changes in lighting are to be cross­ fades. Startling effects must be avoided except perhaps for the

Trinity's descent to Mary and the Conception. Lighting is to be warm for all the scenes except the dispute of the four daughters of God where cooler lighting may be employed. The instrumental ensembles are to be lighted inconspicuously, and the mixed chorus will have just enough illumination to read their music.

All candles normally employed for a eucharistic service are to be lighted by two acolytes five minutes before the performance. Full illumination for the congregation will be used until the time of per­ formance, when the sanctuary is to be dimmed to half-light. After the

Epilogue, the acolytes mark the conclusion of the entire work by 45

extinguishing the candles, and illumination is then returned to full for the congregation's exit.

Costuming

The basic design for the costumes in The Parlement of Hefne is to be derived from the paintings of Jan van Eyck and the woodcuts of

Albrecht Durer. A specific example for the design may be seen in

Jan van Eyck's "The Marriage of Giovanni (?) ArnoIfini and Giovanna

Cenami (?)." The only exception would be that all the men's costumes should be floor length. All the costumes should allow for freedom of movement. Velvets and silks are to be used except for the costume of

Mary, which should be coarse, possibly sailcloth or burlap. Following is a list of the characters and the colors which should be used for their costumes.

Contemplation - soft grey with black and gold accents Peace - light blue with green accents Mercy - medium blue with green accents Truth - light violet with green accents Justice - violet with green accents Mary - straw with gold accents Father - white with purple and gold accents Son - egg-shell white (green cast) with purple and gold accents Holy Spirit - egg-shell white (blue cast) with purple and gold accents Gabriel - soft lime green (no yellow cast) with royal blue accents

The ecclesiastical symbols associated with each member of the Trinity should be on the front of their costumes. Thus, the Holy Spirit will have a dove, the Son a lamb, and the Father the Greek letters alpha and omega. 46

The vocal soloists and the chorus are to wear white cottas over black cassocks. All the instrumentalists, the conductors, and sound engineer are to wear white tie and tails. Any women in these groups should wear floor length black dresses, preferably all the same design.

Production Staff

One person with a knowledge of theatre, music, and dance will act as general director. A choreographer will be concerned with staging and a conductor-coordinator will be needed for the instrumental ensembles.

In addition a costume designer, set designer, and lighting designer will also be needed. Necessary to any dramatic production is a stage manager.

Several additional people will be needed to help with lighting and costumes.

Instrumental Ensembles

The string, wind, and brass choirs and the mixed chorus have individual conductors. One of these conductors, preferably the chorus conductor, should serve as conductor-coordinator for the production. It would be his responsibility to prepare the musicians and serve as the main conductor during a performance.

The conductor-coordinator, organist, and each conductor of the individual ensembles are to have pocket metronomes. The use of these metronomes is mandatory for the performance of passages in which different metronome markings appear. It is the responsibility of the ensemble conductors to adhere to the directions in the score concerning the start and conclusion of these passages. The specific problems of 47

conducting different tempos simultaneously, however, can not be solved until the production goes into rehearsal. Arrows are used in the score to indicate the point, in the spoken text, when a musical phrase or pattern is to begin. Because the actors will be speaking in free rhythm, it will be difficult for music and a specific word in the text to coincide. Therefore musical entrances on the word before or after the arrow are acceptable.

Adaptations

A number of adaptations may be made in the production. Should a church be unavailable for performance, a large hall with a raised stage area, or a theatre may be used. In either case no stage curtains should be employed; no attempt should be made to separate the actors from the audience by a fourth wall. If the building used for the performance has no center aisle, one of the side aisles may be employed for the single line processions at the beginning and end of the work. The directions front, back, right, left, and center will remain unchanged as will the placement of the performers.

Only three changes may be made in the setting for Heaven. If curved, suspended staircases can not be built, any type of stairway would be permissible. Fabrics other than velvet and silk may be employed for the setting. The set designer may also redesign the "three beams," the only stipulation being that the beams must be gold in color and gathered together at both ends and in the middle to permit the Trinity to carry them. 48

It is most important that every attempt be made to use dancers in the production. More important, however, is the choreographer. No attempt should be made to perform this work with dancers if a competent coreographer, schooled in modern dance techniques, can not be found.

If The Parlement of Hefne is performed without dancers, the production

should be acted by the singers. Their costumes would change from cottas and cassocks to those the dancers would have worn. The singers would also need to memorize their music. Entrances and exits, however, would remain unaltered. The two instrumental dance movements are not to be cut. The general director would need to decide on the placement of the

singers during these instrumental movements.

If the number of pieces and kinds of lighting equipment necessary to the performance are not available, changes can be made in the light­

ing. The decision concerning the lighting adaptations is the responsi­ bility of the lighting designer and the general director. Lighted

candles should be used no matter where the performance takes place. The prohibition of blackouts and the use of half-light for the audience must be observed.

If either a string or wind choir is unavailable, a piano can be

substituted for the missing ensemble. Under no circumstances can both

of these instrumental ensembles be replaced by pianos. No replacements

or omissions can be made in the brass choir, organ, or pre-recorded

tape. There is no way to substitute other instruments for the percussion,

and therefore three percussionists and two tympanists are mandatory. A minimum of two speakers can be used for the taped portions of the 49

composition,. One should be placed up-front, center and the other at the back, center in the hall or auditorium used for performance. Under no circumstances can any other alterations be made in the music0

All adaptations are to be made by the individual designers or directors. The final decision on all changes, however, must be left to the general director. The major alterations will be connected with the building used for performance. Each building will have its own peculiarities in the floor plan, and adjustments will have to be made.

One aspect of the performance that should be kept in mind is that the audience acts as the hub of a wheel around which sound and action revolve. The audience must always be made to feel that it is involved in the performance. The composition provides for physical involvement through the singing of the Advent hymn, but the production must supply the necessary elements for emotional involvement.

Should every one of the adaptations listed here be necessary, careful consideration should be given to the logic behind a performance

The Parlement of Hefne. Because this composition was conceived as a total blending of music, dance, and theatre, too many alterations would create a completely different work and would be contrary to the composer's intent. 50

APPENDIX I

Libretto for The Parlement of Hefne

Contemplation; Four thousand, six hundred, four year I tell Man for his offense and foul folly Hath lain therein, in the pains of Hell And were worthy to lie therein endlessly But then should perish your great mercy Good Lord have on man pity Have mind of the prayer said by Isaiah Let mercy make Thine highest majesty.

Would God Thou would break thine Hefne* mighty And come down here in to earth And live therein three and thirty Then famished folk with Thy food to feed To staunch* the thirst let Thy side bleed For else will not be made redemption Come visit us in this time of need Of Thy careful creatures have compassion.

Ah woe to us wretches of wretches be For God hath added sorrow to sorrow I pray Thee Lord Thy souls come see How they lie and sob for sickness and sorrow With Thy blessed blood from bales* them borrow Thy careful creatures cringe in captivity Ah tarry not gracious Lord till it be tomorrow The devil hath deceived them by his iniquity.

As quote Jeremiah, who shall give wells to mine eyes That I may weep both day and night To see our bretheren in so long pains Here mischief amend, may Thy much might As great as the sea Lord, was Adam's contrition right From our head is fallen the crown Man is covered in sin, I cry to Thy sight Gracious Lord, gracious Lord, gracious Lord come down.

Hymn; 0 come, 0 come, Emmanuel, And ransom captive Israel, That mourns in lowly exile here Until the Son of God appear. Rejoice, rejoice! Emmanuel Shall come to thee, 0 Israel. 51

0 come, thou Rod of Jesse, free Thine own from Satan's tyranny; From depths of Hell thy people save And give them victory o'er the grave Rejoice, rejoice.' Emmanuel Shall come to thee, 0 Israel.

(A three-part chorus sings the words Kyrie eleison at the same time the hymn is sung.)

Virtues: Lord pleaseth it Thine high domination On man that Thou made to have pity Patriarchs and prophets have made supplication Our office is to present hear prayers to the Angels. Archangels we three That be in the first hierarchy For man to Thine high majesty.

The Angel Lord Thou made so glorious Whose sin hath made him a devil in Hell He moved man to be so contrarious Man repented and he in his obstanacy doth dwell His great males* good Lord repel And take man on to Thy grace Let Thy mercy make him with Angels dwell Of Lucifer to restore the place.

Trinity: For the wretchedness of the needy And the poor's lamentation Now shall 1 rise that am almighty Time is come of reconciliation My prophets with prayers have made supplication My contrite creatures cry all for comfort All mine angels in Hefne with out cessation They cry that grace to man might exhort.

Truth : Lord I am thy daughter Truth Thou wilt see I be not lore* Thine unkind creatures to save were rewthe* The offense of man hath grieved Thee sore When Adam had sinned thou saidest thore* That he should die and go to Hell And now to bliss him to restore Twey* contraries may not together dwell.

Thy Truth Lord shall laBt with-outen end 1 may in no way from Thee go That wretch that was to thee so unkende* He may not have too much woe 52

He despised thee and pleased Thy foe Thou art his creator and he is thy creature Thou hast loved Truth it is said ever more Therefore in pains let him ever more endure.

M e rcy: 0 Father of Mercy and God of comfort That counsell us in each tribulation Let your daughter Mercy to you resort And on man that is mischieved have compassion Him grieveth full greatly his transgression All Hefne and earth cry for mercy Me seemeth there should be none exception Their prayers have offered so specially.

Truth saith she hath ever be than 1 grant it well she hath be so And thou sayest endlessly that Mercy Thou hast kept for man Than mercyable Lord keep us both too Thou sayest Veritas mea et misericordia mea cum ipso Suffer not thy souls than in sorrow to sleep That Hell hound that hateth Thee biddeth him ho* Thy love man no longer let him keep.

Justice: Mercy me marveleth what you moveth Ye know well I am your sister Righteousness God is rightful and Rightfulness loveth Man offended Him that is endless Therefore his endless punishment may never cease Also he forsook his maker that made him of clay And the devil to his master he ches* Should he be saved nay nay nay.

Mercy : Sister Righteousness ye are too vengeable* Endless sin God endless may restore Above all His works God is mercyable The mercy of God is with-outen end.

Peace : To spare your speeches sisters it syt* It is not honest in virtues to be dissention The peace of God overcometh all wit Thou Truth and Right say great reason Yet Mercy sayeth best to my pleason* For if man's soul should abide in Hell Between God and man ever should be division And than might not I Peace dwell.

Therefore me seemeth best ye thus accord Put both your sentence in our Lord And in His high wisdom let Him deem This is most syttynge* me should seem. 53

T ruth: In truth here to I consent

Justice: I Righteousness am well content

Mercy: And I Mercy from this council will not flee

A l l : I will pray our Lord it may so be For in Him is every equity. Here is God now here is unity Hefne and earth is pleased with Peace.

Trinity: I think the thoughts of Peace and knoweth of wickedness This I deem to cease your controversy If Adam had not died perished had righteousness And also truth had be lost there-by Truth and Right would chastise folly If another death come not Mercy should perish Then Peace were exiled finally So tweyn* deathes must be you four to cherish

But he that shall die ye must know That in him may be none iniquity That Hell may hold him by no law But that he may pass at his liberty Where swyche* one is provyde* and see And his death for man's death shall be redemption All Hefne and earth seek now ye Pleaseth it you this conclusion.

Dance : The Search (quartet for the four daughters)

Truth: I Truth have sought the earth without and within And in sooth there can none be found That is of a day birth without sin Nor to that death will be bound

Mercy: I Mercy have run the heavenly region round And there is none of that charity That for man will suffre a deadly wound I I can not wait how this shall be.

Justice : Sure I can find none sufficient For servants unprofitable we be each one His love needeth to be full ardent That to Hell for man would go.

Peace : That God may do is none but one Therefore this is Peace's advise He that gave this council let Him give the comfort alone For the conclusion in Him of all these lies. 54

Trinity: It paineth Me that man I made That is to say pain I must suffer sore A council of the Trinity must be had Which of Us shall man restore.

Father : In Our widom Son man was made thore* And in wisdom was his temptation Therefore soon sapyens* Ye must ordain herefor And see how of man may be salvation.

S o n : Father he that shall do this must be both God and man Let me see how I may wear that wede* And since in My wisdom he began I am ready to do this deed.

Holy Spirit : I the Holy Ghost of You Twey* do proceed This charge I will take on me I love to Your lover shall You lead This is the assent of Our unity.

Mercy : Now is the loveday made of us four finally Now may we live in peace as we were want Misericordia et veritas obviaverunt sibi Justitia et pax osculate sunt.

(et hie osculabunt pariter omnes)

Chorus: Psalm LXXXIV

Misericordia et veritas obviaverunt sibi: justitia et pax osculatae sunt. Veritas de terra orta est: et justitia de caelo prospexit. Etenim Dominus dabit benignitatem: et terra nostra dabit fructum suum. Justitia ante eum ambulabit: et ponet in via gressus suos. Gloria Patri, et Filio, et Spiritui sancto: Amen.

Trinity : From Us God angel Gabriel thou shalt be sende In to the country of Galilee The name of the city Nazareth is kende* To a maid wedded to a man is she Of whom the name is Joseph he Of the house of David bore The name of the maid free Is Mary that shall all restore.

Son: Say that she is without woe and full of grace And that I the Son of the Godhead of her shall be bore 55

Hie thee thou were there apace Else We shall be there thee before I have so great haste to be man thore* In that meekest and purest virgin Say her she shall restore Of you angels the great ruin.

Holy Spirit : And if she ask thee how it may be Tell her I the Holy Ghost shall work all this She shall be saved through Our unity In token her barren cousin Elizabeth is Quick with child in her age i-wys* Say here to us nothing impossible Her body shall be so fulfilled with bliss That she shall soon think this sownde* credible.

Gabriel : In Thine hey* inbassett* Lord I shall go It shall be do with a thought Behold now Lord I go here to I take my flight and bide nought.

Ave Maria gratia plena Dominus tecum Hail full of grace God is with thee Among all women blessed are thou Here this name Eva is turned Ave That is to say without sorrow are ye now.

Mary: Ah mercy God this is a marvelous hearing In the angels words I am troubled here I think how may be this greeting Angels daily to me doth appear But not in the likeness of man that is my fere* And also thus highly to commended be And am most unworthy I can not answer Great shamfastness* and great dread is in me.

Gabriel: Mary in this take you no dread For at God grace found have ye Ye shall conceive in your womb indeed A child, the Son of the Trinity His name of you Jhesu clepyd* shall be He shall be great the Son of the Highest clepyd of kende* And of His Father David the Lord shall give him the see Reigning in the house of Jacob of which reign shall be no end.

M a r y : Angel I say to you In what manner of wyse* shall this be For knowing of man I have none knew I have ever more kept and shall my virginity 56

I doubt not the words ye have said to me But I ask how it shall be do.

Gabriel: The Holy Ghost shall come from Above to thee And the virtue of Him highest shall shadow thee so. Mary come of and haste thee And take heed in thine intent How the Holy Ghost blessed he be Abideth thine answer and thine assent Give me mine answer now lady dear To all these creatures' comfortation.

M a r y : With all meekness I cline* to this accord Bowing down my face with all benignity See here the handmaiden of our Lord After thy word be it done to me.

Gabriel: Gramercy my Lady free Gramercy of your answer on height Gramercy of your great humility Gramercy ye lantern of light.

(while Gabriel speaks the Holy Ghost descends with three beams to Our Lady, the Son of the Godhead next with three beams to the Holy Ghost, the Father godly with three beams to the Son, and so enter all three to her bosom)

Dance; Jubilation

M a r y : Ah now I feel in my body be Perfect God and perfect man Having all shape of childly carnality Even all at once thus God began.

Mary and Gabriel: Of your handmaiden now have You made Your mother Without pain in flesh and bone Thus conceived never women none That ever was being in this life 0 mine highest Father on Your throne It is worthy Your Son, now Son, have a prerogative.

Gabriel: Farewell my turtle Godes daughter dear Farewell Godes mother I thee honor Farewell Godes sister and his pleynge* fere Farewell Godes chamber and his bower. •'57

Mary: Farewell Gabriel specially Farewell Godes messenger express I thank you for your travel here Gramercy of your great goodness.

Gabriel: At your will Lady so shall it be Ye gentlest of blood and highest of kindred That reigneth in earth in any degree The principal incheson* of the Godhead. Through your body bareth the babe our bliss shall renew To you Mother of Mercy most meekly I recommend And as I began I end with an Ave new Enjoined Hefne and earth with that I ascend.

Chorus: Sequence

Ave, Maria, gratia plena, Dominus tecum, virgo serena. Benedicta tu in mulieribus, Quae peperisti pacem hominibus Et angelis gloriam; Et benedictus fructus ventri tui, Qui, coheredes ut essemus sui Nos, fecit per gratiam. Tu parvi et magni, Leonis et agni. Salvatoris Christi Templum extitisti, Sed virgo intacta. Tu floris et roris, Panis et pastoris, Virginum regina, Rosa sine spina, Genetrix es facta. Ergo, maris Stella, Verbi Dei cella Et soliis aurora, Paradisi porta, Per quam lux est orta, Natum tuum ora, Ut nos sodvat a peccatis Et in regno claritatis, Quo lux lucet sedula, Collocet per saecula.

Hymn: 0 come, thou Dayspring, come and cheer Our spirits by thine advent here; Disperse the gloomy clouds of night, 58

Mary: Farewell Gabriel specially Farewell Godes messenger express I thank you for your travel here Gramercy of your great goodness.

Gabriel: At your will Lady so shall it be Ye gentlest of blood and highest of kindred That reigneth in earth in any degree The principal incheson* of the Godhead. Through your body bareth the babe our bliss shall renew To you Mother of Mercy most meekly I recommend And as I began 1 end with an Ave new Enjoined Hefne and earth with that I ascend.

Chorus: Sequence

Ave, Maria, gratia plena, Dominus tecum, virgo serena. Benedicta tu in mulieribus, Quae peperisti pacem hominibus Et angel is gloriam; Et benedictus fructus ventri tui, Qui, coheredes ut essemus sui Nos, fecit per gratiam. Tu parvi et magni, Leonis et agni. Salvatoris Christi Templus extitisti, Sed virgo Intacta. Tu floris et roris, Panis et pastoris, Virginum regina, Rosa sine spina, Genetrix es facta. Ergo, maris Stella, Verbi Dei cella Et soliis aurora, Paradisi porta, Per quam lux est orta, Natum tuum ora, Ut nos salvat a peccatis Et in regno claritatis, Quo lux lucet sedula, Collocet per saecula.

Hymn: 0 come, thou Dayspring, come and cheer Our spirits by thine advent here; Disperse the gloomy clouds of night, And death's dark shadows put to flight. Rejoice, rejoice! Emmanuel Shall come to thee, 0 Israel.

0 come, thou Key of David, come And open wide our heavenly home Make safe the way that leads on high, And close the path to misery. Rejoice, rejoice! Emmanuel Shall come to thee, 0 Israel Amen 60

Glossary

bales ...... «death ches. .chose clepyd .called c l i n e ...... bow fere, »mabc

H e f n e ...... Heaven hey , . ....••••••••••••••••••••aa®cd ho...... stop inbasset, .embassade incheson...... motive; reason i - w y s ...... surely k e n d ( e ) ...... know; nature lore, .lost males ...... evils p l e a s o n ...... pleasing p l e y n g e ...... play p r o v y d e ...... search out rewthe...... sorrow sapyens .wisdom shamfastness...... modesty sownde...... tidings s t a u n c h ...... quench 61

swyche . . . such

syt, syttynge fit; fitting

thore. . . . there

twey, tweyn. two unkend . . . unkind vengeable. . vengful wede . . . m a n ’s body wyse .... way 62

APPENDIX II

Plat form O' o 3 Organ ibr vel -S D abnel & M ercy - 5 S rath PJacG - S 5 J' istice _Truth- D Mary -D SH Vt’ary J u s t i c e - D M ercy- 0 Pi!ace - D I Colfitft*r>p Utip n

Wind Strwg Clnoir Choir

4) u

Tape Bray> Ch o'\C Controls Mixed C Is orus

Floor Plan of St. Stephen's

65 63

BIBLIOGRAPHY

Books

Albrecht, Otto E. (ed.). Four Latin PlayB of St. Nicholas from the Twelfth-Century Fleury Play-Book. Philadelphia: University of Pennsylvania Press, 1935.

Apel, Willi. Harvard Dictionary of Music. Cambridge, Massachusetts: Harvard University Press, 1955.

Block, Katherine S. (ed.). Ludus Coventriae. ("Early English Text Society," Extra Series, No. 120). London: Oxford University Press, 1917.

Blume, Clemens and Dreves, Guido M. (eds.). Analectica Hymnica Medii Aevi. Vol. LIV: Thesauri Hymnologici Prosarium, die Sequenzen. reprint. New York: Johnson Reprint Corp., 1961.

Britten, Benjamin. Noye's Fludde. London: Hawkes and Son, Ltd., 1958.

Browne, E. Martin, (ed.). Religious Drama 2: Mystery and Morality Plays. New York: Meridan Books, 1958.

Chambers, E. K. The Mediaeval Stage. 2 vols. Oxford: Oxford University Press, 1930.

Cohen, Gustave, (ed.). Le Livre de conduite du Regisseur et le compte des depenses pour le mystere de la Passion joue a Mon8 en 1501. Oxford: Oxford University Press, 1925.

Craig, Hardin. English Religious Drama in the Middle Ages. Oxford: Oxford University Press, 1955.

______(ed.). Two Coventry Corpus Christi Plays. ("Early English Text Society," Extra Series, No. 87). London: Oxford University Press, 1904.

Creizenach, Wilhelm. Geschichte des neueren Dramas. 3 vols. Halle: M. Niemeyer, 1923.

D'Ancona, A. Sacre Rappresentazioni dei Secoli XIV e XVI. Firenze : Successori Le Monnier, 1872.

Diemling, Hermann. (ed.). The Chester Plays: Part I. ("Early English Text Society," Extra Series, No. 62). London: Oxford University Press, 1892. 64

England, George and Pollard, Alfred W. (eds.). The Townelev Plays. ("Early English Text Society," Extra Series, No. 71). London: Oxford University Press, 1896.

Furnivall, F. J. (ed.). The Digby Plays. ("Early English Text Society," Extra Series, No. 70). London: Kegan Paul, Trench, Trubner and Company, 1896.

Gayley, C. M. Plays of Our Forefathers. New York: Duffield, 1907.

Greenberg, Noah (ed.). The Play of Daniel: A Thirteenth-Century Musical Drama. New York: Oxford University Press, 1959.

Hemingway, Samuel B. (ed.). English Nativity Plays. New York: Henry Holt, 1909.

Horst, Louis, and Russell, Carroll. Modern Dance Forms in Relation to the Other Modern Arts. San Francisco: Impulse Publications, 1961.

The Hymnal of the Protestant Episcopal Church: 1940. New York: The Church Pension Fund, 1943.

Matthews, I. G. (ed.). The Chester Plays: Part II. ("Early English Text Society," Extra Series, No. 115). London: Oxford University Press, 1915.

Paris, Gaston and Raynaud, Ulysse (eds.). Miracles de Nostre-Dame. 8 vols. ("Anciens textes fran^ais"). Paris: Firmin Didot, 1876- 1893.

Pollard, Alfred W. (ed.). English Miracle Plays. Moralities and Interludes. Oxford: Clarendon Press, 1927.

Reese, Gustave. Music in the Middle Ages. New York: W. W. Norton and Company, 1940.

Riemann, Hugo. History of Music Theory; Books I and II. Translated by Raymond H. Haggh. Lincoln: University of Nebraska Press, 1962.

Rothschild, James, Le Baron (ed.). Mvstere du Viel Testament. 6 vols. ("Anciens textes fran^ais"). Paris: Firmin Didot, 1878-1896.

Smith, Lucy Toulin (ed.). The York Plays. Oxford: Clarendon Press, 1885.

Stokes, Whitely (ed.). The Life of St. Meriasek: A Cornish Drama. London: Trubner and Company, 1872.

Stravinsky, Igor. The Flood: A Musical Play. London: Boosey and Hawkes, Ltd., 1962. 65

Ten Brink, Bernhard. History of English Literature. 2 vols. in 3 parts. Translated by H. M. Kennedy. New York: Henry Holt and Company, 1883-1896.

Young, Karl. The Drama of the Medieval Church. 2 vols. Oxford: Clarendon Press, 1933.

Articles and Periodicals

Bowles, Edmund A. "The Role of Musical Instruments in Medieval Sacred Drama." Musical Quarterly. LXV (January, 1959), 67-84.

Carpenter, Nan Cooke. "Music in the Secunda Pastorum." Speculum. XXVI (September, 1951), 699-702.

Coffman, G. R. "The Miracle-Play in England--Nomenclature," Proceedings of the M o d e m Language Association. XXXI (Winter, 1916), 448-65.

Collins, Fletcher. "Music in the Craft Cycles," Publications of the Modern Language Association. XLVII (September, 1932), 620-629.

Goldman, Richard Franco. "Current Chronicle: United States," Musical Quarterly. LXVIII (October, 1963), 514-17.

Hohlfeld, A. R. "Die altenglischen Kollektivmisterien," Anglia. XI (1889), 218-256.

Stevens, John. "Music in the Medieval Drama," Proceedings of the Royal Music Academy. LXXXIV (1957-1958), 81-95. [Electronic accompaniment avail­ able on tape at Ohio State Univer­ sity Library.]

UNIVERSITY MICROFILMS

DRAMATIS PBKSCHAE

Singing Roles Dancers Soeaklna Roles

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Mixed Chorue: SSATB

SOUND SOURCES

I II III

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IV V

Organ Pre-recorded Electronic Tape

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