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Latin Church Music by Early English Composers

Published online by Cambridge University Press:  01 January 2020

H. B. Collins
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Extract

When I had the honour of an invitation to read a paper here this evening, the subject suggested to me was “Early English Church Music.” The idea conveyed to my mind by this title was that of a survey of English Church music of the polyphonic period, with an attempt perhaps to compare it with the contemporary Continental schools. It is hardly necessary for me to say that the data at my command are quite insufficient for carrying out any such ambitious scheme, even if it could be brought within the limits of a short paper. It occurred to me, however, that I might make some small contribution to the subject, which might be of assistance to its more adequate treatment in the future. With this view, I propose to confine myself this evening principally to Latin Church music—that is, to music written for the Catholic Liturgy during the 16th and 17th centuries; and to a few of the more representative composers.

Type
Research Article
Information
Proceedings of the Musical Association , Volume 39 , 1912 , pp. 55 - 83
Copyright
Copyright © Royal Musical Association, 1912

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References

∗ Per te scisma profligatur; reviviscat inter nos veritas apostolica.Google Scholar

† This MS. belongs to the musical library of His Majesty The King, at present graciously lent to the British Museum. Through the courtesy of Mr. Barclay Squire I have been enabled to score a number of compositions from it, and to name several important works which occur anonymously elsewhere.Google Scholar

∗ Cygnum, aiunt, imminente jam morte, suavius canere. Hujus ego avis suavitatem, in hac extrema aetatis mea, Cantionibus istis, quas tibi dedicandas censui, ut ut assequi non potuerim, Illustrissime Henrice; ut aliquo saltern modo imitari conarer, duo habui non mediocria sive praesidia sive incitamenta. Alterum fuit verborum ipsorum dulcitudo : alterum dignitas tua.Google Scholar

† Porro, illis ipsis sententiis (ut experiendo didici) adeo abstrusa atque recondita vis inest; ut divina cogitanti, diligenterque ac serio pervolutanti, nescio quonam modo, aptissimi quique numeri, quasi sponte accurrant sua; animoque minime ignavo atque inerti liberaliter ipsi sese cfferant.Google Scholar

‡ Postquam, divina fretus misericordia, ad illud annorum curriculum perveni, ut complures ex meis in re Musica discipulis, viris sane ea arte egregie peritis (me superstite) fato fungi conspexerim; Dum et apud me reputo, divinae bonitatis collata, immo proflua in me beneficia : ardet animus, memor fidei, officii et pietatis in Deum meae, aliquo saltern modo publicum grati animi, et omnia in Auctorem (quicquid hoc est) referentis, testimonium posteris relinquere.Google Scholar

∗ This is a different work from the “Psalmes, Sonets and Songs” of 1583.Google Scholar

∗ In the publications of 1617 and 1618, Dering describes himself as “Venerabilium Monalium Anglicarum Eruxellae in Monasterium Beatissimae Virginis Mariae degentium Organista.”Google Scholar

† The British Museum possesses an edition of this work dated 1634.Google Scholar