Salve Regina à 7 - John Sutton - Antiquum Documentum - Ornamented Polyphony скачать в хорошем качестве

Salve Regina à 7 - John Sutton - Antiquum Documentum - Ornamented Polyphony

An excerpt from our upcoming Vespers, Compline and Salve according to the Use of Sarum. Link to service (premiering on Thursday, 4th January 2024 at 4:45pm):    • Vespers, Compline and Salve according...   One of the largest collections of late-Medieval or early-Renaissance music in England is the Eton Choirbook, containing copies of late-15th century music for the use of the choir of Eton College, where the manuscript remains. This book contains remarkable examples of English polyphony at its most florid and elaborate, unchallenged in the complexity or length of its lines until the brief reflowering of the Use of Sarum under Queen Mary, from 1553 to 1558. The Eton Choirbook contains a Passion setting, nine settings of the Magnificat, and fifty-four other pieces, the majority of which are Marian antiphons, one such example being this setting of the Salve Regina by John Sutton, his only extant work. [1] Little is known about Sutton, although he was a fellow of Magdalen College, Oxford in 1476, and was a fellow of Eton College in 1477, perhaps until 1479. The cantus firmus for this composition is the Libera Nos, an antiphon which was recited daily by students at many educational institutions, including Magdalen and Eton. [2] [3] Other works are based on this same plainchant, such as the settings of Libera Nos by John Sheppard, also in 7 parts. Sutton's 7-part Salve fits in to a canon of lavishly scored works in the Eton choirbook, with works such as Robert Wylkynson's 9-part Salve and 13-part Jesus autem transiens/Credo in Deum à 13 existing in the same manuscript. [1] Order of Service, Jarek Jankowski (adapted) [2] Sandon, Nicholas. "Sutton, John." Grove Music Online. 2001. Oxford University Press. Date of access 5 Jan. 2024 [3] Williamson, Magnus. The Eton Choirbook : Its Institutional and Historical Background. Thesis (D.Phil.)--University of Oxford, 1997., 1997. About the service: The Use of Sarum was the predominant liturgy used in the South of late-Medieval England. It traces its history back to the Norman conquest, and is very similar to various Northern French uses. Henry VIII suppressed the other English uses, and Sarum briefly became the only English Use, until 1549 when Henry's heir, Edward VI replaced it wholesale with a series of increasingly Reformed prayer books. Sarum enjoyed a short-lived resurgence under Mary I until Elizabeth I suppressed it again in favour of the Prayer Book. Many aspects of this reconstruction will be familiar to fans of choral evensong: the Magnificat, Nunc Dimittis and anthem at BCP evensong being drawn from Vespers, Compline and the Salve respectively. This service reconstructs a service from around the middle of Henry VIII's reign; the earliest composer is John Sutton who flourished around the late fifteenth century. We will be performing his setting of the Salve Regina for seven voices, as found in the Eton Choirbook. Nicholas Ludford's (d. 1557) six-part Magnificat "Venerabilis and Benedicta Es" is taken from the Caius Choirbook, and is in a similar style to the Sutton. The Vespers office hymn is a contrafactum of a setting by Thomas Tallis (d. 1585) to the same plainsong melody with organ verset (also by Tallis). The Compline office is a realisation by Antiquum Documentum director, Alexander Trowell, in the style of how it is thought late Medieval choirs would have improvised polyphony. This is the second in a series of liturgical reconstructions by Antiquum Documentum in which we attempt to make sense of Reformation-era polyphony by placing it back in its original context. The first was a choral evensong according to the 1560 Liber Precum Publicarum (Latin Prayer Book) featuring music by Tallis, Weelkes and Morley amongst others. We hope these will be useful and visual examples of what services might have looked like 400 plus years ago. We use the revenue made in our concerts to fund these sorts of events, but any further contributions would be greatly appreciated. Please check out our YouTube for more videos and follow our Linktree, for information regarding donations, upcoming events, contact and much more: https://linktr.ee/antiquum.documentum Credits: Officiant: The Rev’d Max Kramer Precentor: The Rev’d Laurence Price Virger: Harry Spain Thurifer: Edward Parker-Sunderland Acolytes: William Allen, Sam Cherry, Antiquum Documentum: Soprano: Maddy Bellotti, Lois Heslop Mezzo-Soprano: Cosima Clara Gilhammer Veronica Tarka Tenor: Joshua Clough, Jarek Jankowski*, Alexander Trowell* Baritone: John Morshead Bass: Edward Gaut† Daniel Greenway Rulers of the choir † Organist Videography: Jonathan Tanner, Edward Gaut Editor: @EdGaut Artwork: Alina Jankowki, Jarek Jankowski (adapt. Edward Gaut) Liturgy compiled by Jarek Jankowski. With thanks to William Renwick (McMaster University, Emeritus) and Matthew Cheung Salisbury (Worcester College, Oxford) for their expertise and guidance.