The Musical World of Thomas Becket Information about the performances The Trouvère Collective, dir. Matthew O’Keeffe Angela Hicks (soprano) Matthew O'Keeffe (countertenor) William Anderson (tenor) David de Winter (tenor) Michael Ronan (bass) Yair Avidor (lute) Tristan Butler (drum) For more information about the group, contact: [email protected] Clangat tuba (Carol) [Anderson, Ronan, de Winter] Manuscript: London, British Library, Add. MS 5665 "Ritson Manuscript", fols. 41v-42r. Provenance: Exeter Cathedral, England. Written under the auspices of Edmund Lacy, Bishop of Exeter (d. 1455), a close confidant of Henry V (d. 1422). Date: c. 1420-1430. Modern edition and translation: Musica Britannica, Vol. 4: Mediaeval Carols, ed. John Stevens. London: Stainer and Bell, 1968, pp. 98-9. Anglia, planctus itera (Conductus/planctus) [Hicks] Manuscript: Florence, Biblioteca Laurenziana, Pluteus 29.1, fol. 421v. Provenance: Unknown, but the manuscript was compiled in Paris in a collection of music connected with Notre Dame of Paris. The dedicatee of Anglia, planctus itera is unknown. Other possible candidates for dedication are Henry II of England (1189) or his son Geoffrey, Duke of Brittany (1186). Date: c. 1180s. Modern edition and translation: Notre Dame and Relate Conductus, Opera Omnia: 1pt Conductus - Transmitted in Fascicule X of the Florence Manuscript, ed. Gordon Athol Anderson. Henryville: Institute of Mediæval Music, 1981, pp. 22-3. O dira nacio/Mens in nequicia (motet) [Anderson, Avidor, Hicks] Manuscript: Paris, Bibliothèque Nationale, fonds nouv. acq. Français 23190 (olim Serrant Château, ducs de la Tremoïlle), f. 2v. Provenance: Possibly the Chapel of Philip "The Bold", Duke of Burgundy (1342- 1404). Date: Early 15th century. Modern edition and translation: Polyphonic Music for the Fourteenth Century, Vol. 17: English Music for Mass and Offices (II) and Music for Other Ceremonies, ed. Ernest E. Sanders, Frank L. Harrison and Peter M. Lefferts. Monaco: Éditions de l'Oiseau-Lyre, 1986, pp. 135-7 [n. 55] Novus miles sequitur (Conductus) [Anderson, Butler, Ronan, de Winter] Manuscript: Florence, Biblioteca Laurenziana, Pluteus 29.1, fols. 230r-230v. Provenance: Normandy, France. This anonymous conductus was written to rally support against Henry II (d. 1189) led by his son, the Young King (d. 1183). The manuscript was compiled in Paris. Date: 1173. Modern edition and translation: Notre Dame and Related Conductus, Part 1: Four- and Three-Part Conductus in Central Sources, ed. Gordon Arthol Anderson. Henryville: Institute of Mediæval Music, 1986, pp. 137-8. Novis fulget (Antiphon) [Anderson, O’Keeffe, Ronan, de Winter] Manuscript: Cambridge, Fitzwilliam Museum MS 369, fols. 105r-107v Provenance: Canterbury Cathedral, England. It is part of the office for the passion of Thomas Becket (which was celebrated on 29th December) and was written by Benedict of Peterborough (d. 1193), a monk of the Christ Church community. Date: c. 1173 Modern edition and translation: Kay B. Slocum, Liturgies in Honour of Thomas Becket. Toronto: University of Toronto Press, 2004. Saint Thomas Honour We (Carol) [Anderson, O’Keeffe, de Winter] Manuscript: London, British Library, Egerton MS 3307, fols. 62v-63r. Provenance: Unknown, but thought to be a chapel of an important household. Date: c. 1400-1425. Modern edition and translation: Musica Britannica Vol. 4: Mediaeval Carols, ed. John Stevens. London: Stainer and Bell, 1968, pp. 48-9. Posuerunt morticinia, extract from Deus venerunt gentes (Motet) [ALL] Printed source: Appears in William Byrd's (d. 1623) printed Cantiones sacrae (1589), a collection of 16 sacred songs. Posuerunt morticinia is the secunda pars. Provenance: England. It was written in response to the death of the Catholic martyr Edmund Campion (d. 1581) Date: c. 1581-1589. Modern edition and translation: Cantiones Sacrae I (1589), The Byrd Edition, vol. 2., ed. Alan Brown. London: Stainer and Bell, 1988. Further Reading Binski, Paul. Becket's Crown: Art and Imagination in Gothic England, 1170-1300. New Haven and London: Yale University Press, 2004. De Beer, Lloyd and Naomi Speakman. Thomas Becket: Murder and the Making of a Saint (London: The British Museum, 2021). Dillon, Emma. 'Sensing Sound' in A Feast for the Senses: Art and Experience in Medieval Europe, ed. M. Bagnoli. Baltimore, MD: Yale University Press, 2016, pp. 95-114. Duggan, Anne. Thomas Becket. London: Arnold, 2004. Emery, Katherine. 'Architecture, Space and Memory: Liturgical Representation of Thomas Becket, 1170-1220', Journal of the British Archaeological Association 73/1 (2020), pp. 61-77. Emery, Katherine. 'Music, Politics, and Sanctity: The Cult of Thomas Becket, 1170- 1580'. PhD diss., King's College London, 2021. Everist, Mark. Discovering Medieval Song: Latin Poetry and Music in the Conductus. Cambridge: Cambridge University Press, 2018. Fallows, David. Henry V and the Earliest English Carols: 1413-1440. Abingdon: Routledge, 2018. Fisher, John H. 'A Language Policy for Lancastrian England', Publications of the Modern Language Association of America 107/5 (1992), pp. 1168-80. Gelin, Marie-Pierre. "Lumen ad revelationem gentium": iconographie et liturgie à Christ Church, Canterbury, 1175-1220 (Turnholt: Brepols, 2006). Hughes, Andrew. 'Chants in the Rhymed Office of St Thomas of Canterbury', Early Music 16/2 (1988), pp. 185-201. Roberts, Peter. 'Politics, Drama and the Cult of Thomas Becket in the Sixteenth Century' in Pilgrimage: The English Experience from Becket to Bunyan, ed. Colin Morris and Peter Roberts (Cambridge: Cambridge University Press, 2002), pp. 199-237. Stevens, Denis. 'Music in Honor of St Thomas of Canterbury', The Musical Quarterly 5 6/3 (1970), pp. 311-48. .