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DOI: http://dx.doi.org/10.20534/EJA-16-3-32-37
Karman Elena Vitalyevna, Novosibirsk State Conservatoire named after M. I. Glinka Post-graduate student, Faculty of the Theory and Composition
E-mail: elenakrmn@yandex.ru
Socio-political, geographic and professional contexts of creativity of the authors of the Anglican anthems of the first third of the XVII century
Abstract: the article reveals the peculiarities of social and creative functioning of a large group of English composers of the first third of the XVII century, who worked in the genre of Church vocal music - anthem. The relationships between the position, place of work and genre aspects of their heritage are being established.
Keywords: anthem, Anglican music, composer, cantor, organist.
The peculiarity of creativity of the generation activity and also the traits of character of a person be-
of English church composers of the first third of the XVII century is specified by the socio-political conditions during the rule ofJames I (1603-1625) and then Charles I (1625-1649). On the one hand the son of a catholic woman Mary Stuart - James I, during whose rule a lot of Elizabeth's servants kept their positions, treated rather truly the Catholics, but on the other hand contrary to their expectations he didn't support them and due to this fact he provoked the organization of the frustrated Gunpowder Plot which caused raise of hatred to the papacy and to the Roman Church in general. Having understood that the politically loaded directions in the church started to influence the general development of the country within the time James I considered that the result of the desire of the Puritans to break with the control of the king's power over the church would be its destruction and he made a decision to expatriate the Puritans from the country. The categorical decisions in the church sphere were set off by the weak political power ofJames I, the Parliament's limited
ing sensible to influences of different councilors, as a result having drawn the country into unnecessary wars and had disagreements with the Parliament.
Whereas, initially the contradiction between the Anglican Church and the Puritans during the rule of James I was not democratic, but sacral; it included not only the aspiration of the Puritans to purify the church from the 'papistic' rituals and garments, an absolution ceremony, a custom to have godparents after christening, to knee during a communion ceremony and others, but the requirement to simplify the church chorus polyphony being a music and technical base of anthems and music services.
At the same time James I being the church leader and highly educated person speaking several foreign languages including ancient Greek, a poet, an author of a series of treatises, being in the track of Elizabeth I, encouraged development of philosophy, science and culture. The king continued to support the court image as a centre of the country music culture. During the rule of James I there was a raise of the
English music art with the development of lute, virginal and consort music. The English professional music theatre with the genre of a mask in the centre was formed. The whole pleiad of the outstanding composers of high Anglican music appeared. The influence on the development of music art and to some extent secularization of the church music was made by the wife of James I - Anne of Denmark, a representative of the Protestant Dynasty, later entered Catholicism. The queen organized balls, theatre performances, encouraged musicians and poets, in general showing the brilliance of a court life.
The religious and political distempers weren't stopped when Charles I became the ruler. On the one hand he was devoted piously to the idea of High Anglican Church, believed into the divine right to monarchical power, the episcopate and he aimed at creation of the united Anglican Church, but on the other hand hating and following after the Puritans he sympathized more with the Catholicism that was also determined by his marriage to the French king's daughter. In addition to it in 1633 an Anti-Puritan William Laud (1573-1645), who had started the fight with church radicals using tough methods, became the Archbishop of Canterbury. The civil war broken out in 1647 led to the devastation inside the country and the king's death due to the accusation of the Parliament (1649).
Despite the negative relation towards the counter-reformation ruler the court Anglican musicians absorbed the modern tendencies of secular music and on the other hand they weren't indifferent to the puritanic appeals to the simplicity of church music. The music and stylistic multidirectionality was also found out in the anthem creativity developed actively owing to encouragement of the official Anglican Church.
The process of creation and performance of anthems wasn't stopped and was essential as A. Wil-son-Dickson mentioned giving brief data about the service in St. Paul's Chapel in London. The royal chapel was characterized by performance of three anthems within the daily church service: an organ solo was performed after the psalms during the morning prayer, Te Deum and Benedictus (or jubi-latio) were sung after the first and second sayings, the first anthem was performed after the third short prayer, the blessing was performed with the organ
solo again at the end of divine service. The anthem was performed after the third prayer at the evening service and Vespers was finished with singing of one more anthem in contrast to Matins [1, 102].
The above mentioned processes were reflected in the creative work of the main representatives of this generation of church composers - Orlando Gibbons (1583-1625), Thomas Tomkins (1572-1656) and Thomas Weelkes (1575-1623). This generation includes a lot of names known to us owing to the saved intra-church documentation (settlement books) and a series of collections of church music.
- «The Whole Booke of Psalmes: with their Wonted Tunes, as they are song in Churches, composed into foure parts: All which are so placed that foure may sing, each one a seueral part in this booke. Wherein the Church tunes are carefully corrected, and thereunto added other short tunes vsu-ally song in London ... Compiled by Sondry Authors, etc. [With a dedication and preface by T. Est] (This is a republication of the Psalms by William Damon (d. 1591) - an Italian composer who probably came to England in the 1560s. From 1579 and till the end of his life he was a musician at the court of Elizabeth I. Damon was famous for simple four-part chordal harmonizes - 'church tunes' for the metric Psalms by Thomas Sternhold and John Hopkins firstly published as «The Psalmes of David in English Meter» (London: John Day, 1579) . In turn, the base for the last edition was a book «The Whole psalmes in four partes» («Day Psalter») published by John Day in 1563 and often called as «Parsons Psalter» due to the name of William Parsons who created the majority of arrangements for this edition) (London: Thomas East, 1592) (During the breaks for monopoly Thomas East republished twelve falsely dated issues which were kept back under their original editions. In 1592 and 1594 East published the harmonizes of the English metric Book of Psalms («The Whole Booke of Psalmes») with familiar melodies. Then in 1621 Thomas Ravenscroft made the corrected and supplemented edition «East's Psalter» which became known as «Ravenscroft's Psalter»).
- «Tears and Lamentacions of a Sorrowfull Soule» (London: William Leighton, 1614);
- collections of songs by John Cooper «Funeral
tears for the death of the Right Honorable the Earle of Devonshire» (London:John Winted, 1606) and «Song ofMourning: Bewailing the Untimaly Death of Prince Henry» (London: John Browne, 1613);
- «Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols. Newly composed by Iohn Am-ner Bachelor of Musique, master of the choristers and organist of the cathedrall church of Ely» (London: Edw: Allde, dwelling neere Christ-Church. Cum priuilegio regali, 1615);
- collections by Richard Dering «Cantiones sacrae» (Antwerp: Phalese, 1617) and «Cantiones sacrae» (Antwerp: Phalese, 1618);
- «The Whole Booke of Psalmes» London: Thomas Ravenscroft, 1621);
- «Songs of 3, 4, 5 and 6 parts by Thomas Tom-kins» (London: Matthew Lownes, John Brovvne, and Thomas Snodham, 1622);
- «First Book of Selected Church Musick» (London: John Barnard, 1641);
The composers' names are also mentioned in the secular music resources such as:
- «The Triumphs of Oriana» (London: Thomas Morley, 1601);
- «The First Set of English Madrigals to 3, 4, 5, and 6 parts: apt both for Viols and Voices. With a mourning song in memory of Prince Henry. Newly composed by Iohn Ward» (London: Thomas Snodham, 1613);
- «A Musicall Banquet» (London: John Playford 1651).
The composers of a more numerous group had the same creative way beginning with singing in the cathedral choir and then taking a position of an organist and/or church cantor in big cities such as London (Westminster), Cambridge, Oxford, Canterbury and provincial towns (Worcester, Rochester, Colchester, Chester, Winchester, Norwich, Durham, Exeter) as well. Such great amount of composers, organists and choirmasters was caused by the necessity to provide the musical positions with the personnel in the cathedrals within the whole territory of the country.
One of the biggest cathedrals of Europe of the XVII century - St. Paul's Cathedral in London, was a place of work of such major and great people as Thomas Ravenscroft (a chorister approximately
up to 1600, under Thomas Giles) and John Tomkins (an organist since 1619) and also their colleagues giving service in the cathedral later: a vicar-choral William Cranford (till 1642), a vicar-choral Andri-an Batten (till 1635), an almoner and Master of the Choristers Martin Peerson (till 1642); later a composer Randolph Jewett performed the duties of an almoner (since 1660) and was appointed as Junior Cardinal (1661-1666).
The largest cathedral centre of one of the districts of London - Westminster Abbey, which can be visited only by Benedectines, was a place of service of Andrian Batten as a lay vicar, Martin Peerson as a sacrist and Orlando Gibbons as an organist (16231625); he was substituted at the position by (since 1625) Richard Portman and also Master of the Choristers John Gibbs and a chorister and a composer Daniel Taylor (1625-1643).
The southern district of London, Dulwich College, was a workplace of an organist Benjamin Cosyn (1622-1624) and he also took the position of an organist and choirmaster of the Charterhouse - a prestigious private school located in Surrey, a close county to London.
The life and activity of a series of musicians were closely connected with two major centers of the academic education of England - Cambridge and Oxford. George Marson (1598), Thomas Ravenscroft (1605), Orlando Gibbons (1606), Michel East (1606), John Tomkins (1608), Henry Molle (1617), who also received the degree for the second time after the Oxford one, and John Am-ner (1640) studied successfully in Cambridge and received the Bachelor's Degree. Tomkins brothers - John (1606-1624) and Giles (since 1624) performed the duties of an organist, Thomas Wilkinson (1587-1588) served as a senior lay in the Queen's College in Cambridge.
Francis Pilkington (1595), Richard Nicholson (1596), Thomas Weelkes (1602), Thomas Tomkins (1606), John Amner (1613), Robert Lugge (1638) received the Bachelor's Degree in Oxford, Richard Nicholson became an informator choristarum (and probably also an organist) in Magdalen College, William Stonard became an organist and Master of the Choristers in Christ Church Cathedral. Before
taking the position of an organist a forty-two-year-old Orlando Gibbons improved his qualification in Oxford and received the Doctor's Degree in Music (1622).
In Ely Cathedral on the east of the County of Cambridge the positions of an 'informator chorista-rum' (1610-1641) and an organist were performed by John Amner (later became a clergyman - diacon-ate and vicarius (minor canon)) and an outstanding church composer Michel East (1609-1614) was one of the choristers during five years under the supervision ofJohn Amner.
The organist and Master of the Choristers -George Marson, future head of the Church of Mary Magdalene (1607), and a minor canon and cathedral chorister (1597-1604) John Ward who became a «King's Scholar» for three years (1604-1607) served in the main Anglican temple of England -Canterbury Cathedral.
A chorister Leonard Woodeson (1573-1577), Andrian Batten (till 1608); organists Thomas Weelkes (1598-1602), Thomas Holmes (since 1631), John Holmes (1599-1622); an organist, master of the choristers and lay vicar Randolph Jewett (1666-1675) served in different positions and different time in Winchester, a city of south Hampshire. John Holmes (1613-1629) was Master of the Choristers and a lay vicar, Giles Tomkins (since 1629) was an organist in Salisbury Cathedral located in neighboring Wiltshire.
There is a series of other towns in England where not so popular church composers served in local cathedrals. A lay clerk Thomas Wilkinson (between 1575 and 1580), a cathedral organist (since 1622) and Master of the Choristers (1629-1649) Richard Gibbs served in the main town of the eastern Norfolk County - Norwich. John Wilbye was a personal musician of the Kytson family (Hengarve Hall Manor) in neighboring Suffolk County. Thomas Weelkes (1601/1602-1617) had the position of an organist and an 'informator choristarum' in the southern part of the country - Chichester (Sussex County), an organist John Heath (there is no data about the period of service) served in Rochester (Kent County).
The towns on the west of England were also provided with the church musicians. John Fido was an organist of Hereford Cathedral (1591 —
1592, 1593-1594/1595). There are documents of different time periods in Chester Cathedral about Randolph Jewett as an organist (1643-44/45) and Francis Pilkington as a conduct(1602-1612) and a minor canon (since 1612), he took holy orders «full minister» (since 1614) and at last a precentor or «chaunter» (since 1623). There is data that Michel East was Master of Choristers in the Cathedral Church for some time in Lichfield; but unfortunately the period of his work wasn't determined exactly due to chronological characteristics.
The musicians, who also contributed significantly in the development of church choir music, worked in the remote northern centers of the country. For instance, Richard Hutchinson was a cathedral chorister and then a cantor in Durham (16131628). Henry Palmer, an organist, a music copyist, a chorister and a choirmaster and an organist since 1627, a chorister Thomas Wilson (1627/1630), an organist John Hutchinson (since 1634) served in one of the biggest cities of England - York where its famous and great cathedral is located.
An especially popular person was Randolph Jewett, the only one who served in Irish Dublin as an organist (1630-1643) and a choirmaster (1644/1645-1649) in St. Patrick's Cathedral, an organist in Christ Church Cathedral (1630-1638).
A smaller group of composers is connected with secular service at the court or work concerning music in rich families. For instance, John Ward (1589-1638) lived and worked as a private musician at Sir Henry Fanshawe (Sir Henry Fanshawe - a politician, member of the Parliament at different time from 1588 till 1597, 'remembrance of the exchequer' receiving a title of knighthood after the coronation of James I.), a father of six sons and four daughters, and his son Thomas. In addition to the fact that Henry Fanshawe paid much attention to breeding of horses, he was a great admirer of all Italian things and he supported the art development and also music education patronizing John Ward who devoted a book of madrigals (1613) to him. Sir Henry died unexpectedly at the age of forty-eight in Ware at the beginning of March in1615-1616. His property consisted of engravings, drawings, medals, cameos, military armors, books and also musical instruments
which major part was about to be transported from his house in London to Ware Park and to be kept there as relics. By all appearances Ward was a music teacher of Fanshawe's children. At the time of Sir Thomas Fanshawe, who took the position of the father - keeper of treasury, support of musical activity was dramatically decreased. Under his supervision Ward was working as a deputy lawyer within 1616 and 1621/1622 following the duties of the private musician till May, 1638 in Warwick Lane, next to St. Paul's Cathedral. The rich collection of instruments in Fanshawe Manor determines great contribution into consort music by Ward (41 fantasias, 8 In Nomine). Holding the service at the family being Protestants due to religion the composer created two cycles of liturgical music ('First Service', 'Second Service') and 20 anthems.
John Wilbye (christened in 1574-1638) known as one of the first masters of an English madrigal (in total for about 60 works published in two books of 1598 and 1609) and that is proved by significant prevalence of madrigal compositions over other genres. Since 1598 he started his service at the catholic family - the Kytsons in Hengrave Hall Manor (Suffolk County) which was owned by Elizabeth Kytson. For about 30 years Wilbye had been living there not only as a private musician, but also as a respected servant receiving material wealth step by step. In Hengrave Hall there was a special music room. As on 1602 the Kytsons owned the collections of more than forty different instruments and more than fifty music books. During his work in the family Wilbye published two books of madrigals («The First Set of English Madrigals, 3-6vv», London: Thomas Este, 1598; «The Second Set of Madrigals, 3-6vv» (London: Thomas Este alias Snodham, for John Browne, 1609)). It was specified in the dedication to the first collection: from the Kytsons' town house in Austin Friars' (Austin Friars - an ancient abbey of the brothers-hermits of the order of St. Augustine in City founded in 1253 by Humphrey V de Bohun, the 2nd Earl of Hereford. On 24 June 1550 Edward VI gave on the basis of his patent right an opportunity to the Protestant refugees to set up their own parish on the base of the church of the abbey which got the name of «Dutch Stranger
Church» for many years), where one more London house - Kytsons' house was located and it can be a proof of possible contacts ofWilbye with the music audience of the capital.
Not far from Bury St. Edmunds there was Rush-brooke Hall Manor where George Kirbye (15651634) served as a music teacher of five daughters of the owner - Member of the House of Commons and uncompromising Puritan Sir Robert Jermyn (1539-1614) and his wife Judith Blage. There were two more sons in the family but the data about their musical education wasn't kept, it is possible that it was not so important. Despite the religious zeal Kirbye created «The first set of English madrigalls to 4. 5. & 6. voyces. Made and newly published by George Kirbye» (London: Thomas Este, 1597) and also separate compositions - 6-vote madrigal (1601), eight 5-vote plays and eight 4-6-vote madrigals and one pavane along with the motets (19 Psalms, 2 anthems, 3 sacred adaptations of four-vote madrigals).
Thus, a genre variety of creativity is determined by the place of service and position of a performer. Eighteen out of forty-five musicians being under our research created with rare exception only Anglican church music servicing in different cathedrals as organists and cantors. They include Andrian Batten, John Amner, Richard Portman, Thomas Wilkinson, Thomas Wilson, John Hutchinson, Randolph Jewett, Leonard Woodeson, William Stonard and also less prolific authors such as Henry Palmer, John Tom-kins, John Fido, Richard Gibbs, John Heath, Richard Hutchinson, George Marson, Henry Molle, Robert Parsons, Daniel Taylor.
John Lugge, his son Robert and especially Richard Dering entering Catholicism left a great deal of Latin sacred music along with a small amount of Anglican compositions. The evident prevalence of Anglican service compositions is mentioned in the heritage of a theorist and publisher Thomas Raven-scroft, a vicar William Cranford, an organist and a cantor John Holmes. The equal significant contribution into the sphere of secular and sacred music was made by Thomas Tomkins who created more than 100 anthems and also madrigals, over 50 clavier plays, some original fantasias, pavanes and galliards for consort of viols, and Michel East who is an author of
Genres of theatrical overtures by Thomas Augustine Arne
7 volumes containing madrigals in Italian style, songs for consort, anthems and fancies for consort of viols.
Among those who served as court musicians or musicians in rich families there is a group of composers and performers (virginalists, lutenists, performers playing the viol) who created a rather big amount of anthems as well as a lot of images mainly of secular instrumental music: Orlando Gibbons (for about 40 anthems), Martin Peerson (more than 20 anthems), Thomas Ford (19 anthems). Having left 35 anthems Thomas Weelkes contributed the secular vocal sphere with four books of madrigals containing together for about 100 samples.
The creative work of other musicians is represented by secular music and church compositions are represented by service and/or 2-3 anthems: John Wilbye, John Cooper, Benjamin Cosyn, Robert Johnson, George Kirbye, Thomas Lupo, Francis Pilkington, Giles Tomkins, Thomas Warwick. Also including Richard Nicholson, who was a music teacher in Oxford University and an author of only two anthems.
This panorama shows an inseparable connection of socio-political, geographic and official factors with a relatively high degree of activity in creation of anthems.
References:
1. Wilson-Dickson, E. The Story of Christian music/trans. from English. L. B. Levin, V. N. Genk. SPb.: Mirt, - 2001.
2. Crowest F. J. Phases of musical England. London: The English publishing company, - 1881.
3. David C. Price. Patrons and musicians of the English Renaissance. Cambridge: Cambridge university press, - 1981.
4. Oxford Dictionary of National Biography. URL: http: www.oxforddnb.com (accessed: 19.03.2016).
5. Peter L. Huray. Music and the reformation in England, 1549-1660. Cambridge: Cambridge university press, - 1978.
6. The New Grove Dictionary of Music and Musicians/Ed. by Stanley Sadie. - 2001. 1 electron. opt. disk (CD-ROM).
DOI: http://dx.doi.org/10.20534/EJA-16-3-37-40
Klimchuk Anastasia Sergeevna, Novosibirsk State Conservatoire named after M. I. Glinka Student of the 4th course, Faculty of the Theory and Composition
E-mail: nasik1993@mail.ru
Genres of theatrical overtures by Thomas Augustine Arne
Abstract: Research of the overtures to the operas and masques of the English composer of the XVIII century Thomas Arne. Implementation of genre and composition types of Italian, French and one-part sonata overtures.
Keywords: Thomas Arne, opera, masque, overture.
Thomas Augustine Arne (1710-1778) is a considered to be an outstanding figure of the mu-great English theatre composer in his generation sic and theatre art and one of the main figures of who developed the national traditions in the con- the history of the English music. He is an author of ditions of prevalence of the Italian opera at the about 100 stage works (30 operas and 12 masques English stage and who is still not so well-known in are among them), he collaborated with the lead-the Russian musicology. In Great Britain he is ing London Theatres such as 'Drury Lane' and
