Robert White's "Lamentations of Jeremiah": A history of polyphonic settings of the Lamentations in sixteenth century England. Item Type text; Dissertation-Reproduction (electronic) Authors Raynes, Christopher David Harlow. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 02:51:45 Link to Item http://hdl.handle.net/10150/185400 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. 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Ann Arbor, MI 48106 ROBERT WHITE'S LAXEITATIOIS OF JEREMIAH A HISTORY OF POLYPHOIIC SETTIIGS OF THE LAXEBTATIOIS II SIXTEEITH CENTURY EIGLAID by Christopher David Harlow Raynes A Document Submitted to the Faculty of the SCHOOL OF ](uS I C In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF !US!C!L ARTS With a Major in Conducting In the Graduate College THE UlIVERSITY OF ARIZONA 199 1 THE UNIVERSITY OF ARIZONA 2 GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Christopher David Harlow Raynes entitled Robert White's Lamentations of Jeremiah A History of Polyphonic Settings of the Lamentations in Sixteenth Century England and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of ~D~Q~ct~Q~r~Q~f~Mwl!~s.j~ca~l~A~r~t~s~ ______________________________ L~­ LLlouL&kU Date 1I/15/YO Date Date Date Date Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling. the dissertation ·'-7reQUirement. C:" ,- . f . ~J'/J.~ Dissertation Director Date 3 STATEXEBT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowlegment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgement the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. ------------------ 4 TABLE OF COlITE!TS ABSTRACT ••••••.•••••••••••••••.•••••••••.••••••••.•••••••••••••••.••• 6 IJTRODUCTION •••••••••••..••••••.••.••.•••••••.•.•••.•••.•.•.•.•...•.• 7 CHAPTER 1. THE LAJlEITATIOIS OF JEREXIAH .................................... 9 2. ESICAL EVOLUTIOlr. •••.•••.•••.••••.•.••.•.••••..•.•...•..••..•. 13 3. THE EIGLISH RELIGIOUS CLIXATE .••..••.•.•.•••.•.•••••••.•..•..•. 18 4. THE DEVELOPXElIT II EJGLAlID •••..•••••.••••.•.••••.•••.•••......• 25 5. ROBERT WHITE ••.•....•••••.•••.••.••••.•...•..•..•.....•........ 35 6. THE XlJSIC OF ROBERT WHITE .••..•...••...•.•.•.•.•.•......•..•.•. 39 7. THE LAXEiTATIOIS OF ROBERT WHITE ..•••..•.••..•.....•..••......• 49 8. COJSIDERATIOIS FOR PERFORXANCE •••••••.••.•.•••••••••.••.•.••••• 55 9. COICLUSIOIS .••••••.••••••••••.••.•.•••••.••.•••••.•••••••..•... 62 APPENDIX 1. A CHART OF THE HEBREW LETTERS .•••.••••••.••.•••...•...•..•.•••• 64 2. :MATINS AID LAUDS ...•..•••.••..••..•••..•..•...•.•••......•.••.. 65 3. LAXEITATIOi TEXTS II TENEBRAE .•.•••••.••.••• .••••.••.••..•..•.. 66 4. TONUS LAXENTATIONUK• •••••••••.•••••••..••••.••.••.•...••.•••..• 57 5. A LIST OF WORKS BY ROBERT WHITE ..••••....••••...••••..•..•...•• 68 6. TEXT USED BY ROBERT WHITE .••••••.•....••...•••••..••..••....... 71 7. COXPARlSOli OF LETTER IJCIPITS .................................. 72 5 8. COMPARISOIOF VERSE IICIPITS •.....••...•.•••.•........••.•..... 73 9. STRUCTURAL COMPARISOI .••••.••••..••••••.•..•••...••.•••.••••.•. 74 10. FIVE VOICE TRAISITIOiS .•••••.•••••••.•.•••.•..•.•...•...•••..•. 75 11. LETTER FROK XRS. EiID iIXOI .................................... 76 12. PERFORKIiG EDITIOI .•.••.•......•.••.•••..••.....•..........•..• 77 SELECTED BIBLIOGRAPHy ..........•.•....••...•••.•..•..•........•.... 141 6 ABSTRACT The Lamentations of Jeremiah inspired the development of a formal musical structure that is unique in music. Based on texts and forms used in the Roman catholic Tenebr12e service, settings of the Lamentations developed in continental Europe into a distinct f":fm Ii} the late fifteenth century. Early polyphonic composers of the Lamentations began the tradition of setting the opening Hebrew letters in a florid style, while maintaining a more restrained style for the verses of the text. In England, however, little apparent use was made of the Lamentations forms and texts until the middle of the sixteenth century, when a surprising number of settings appeared. The single extant earlier example by John Tuder has heretofore been considered a monodic piece, but appears to be one voice of a polyphonic work. English religious upheavals prevented liturgical use of Latin texts after 1549, but the Lamentations (and other works in Latin) continued to be written, possibly used as anthems, or for certain special occasions. The English polyphonic settings generally make use of the Lamentations forms established on the continent, but at least one example exists of an English formal model being adapted to the Lamentations texts. One of the least well-known major English composers of the period, Robert White, wrote two extensive settings of the Lamentations. These and his other works are often ignored by contemporary musicians, but provide an alternative repertOire to the more usually programmed Renaissance works. 7 IITRODUCTIOli The intent of this study is threefold: first to try to discover the origins of the use of the Lamentations of Jeremiah within the framework of the Tenebr~e service; second, to study the sudden appearance of Lamentations settings in sixteenth century England; and finally, to examine the two settings of Robert White for tneir roots in both English and continental musical traditions. Settings of the Lamentations are rarely heard or studied, even though they often contain expressive music, inspired by the moving Hebrew poetry. Until the middle of the sixteenth century, no polyphonic settings of the Lamentations by English composers are extant. On the continent, however, beginning in the late fifteenth century, firm traditions were being established with regards to formal structure. In the mid-sixteenth century, several settings appeared in England. Thomas Tallis, William Byrd and Robert White each wrote settings. With apparently no pre-existing tradition, the English composers had either to adopt continental styles, or adapt English forms to the Lamentations. This study will focus on the origins of the polyphonic use of the Lamentations, and investigate the styles and forms of the English Lamentations. The two settings of Robert White, the least known and recognized of the uajor composers in England in the mid-sixteenth century, will be closely examined. With the exception of the Tudor Church lusic of 1923, which devoted a whole volume to his music, the work of Robert White has been unjustly ignored for centuries. In the past few decades, thanks to the -------- ------~- . 8 scholarship of Frederick Hudson, Irwin Spector, David Mateer and others, DUch more has been learned of White, although little of his music has been performed. It is my intention in studying the origins