Rorate caeli – William Byrd’s music for Advent in the Gradualia I (1605)
ONLINE PRESENTATION
Tutor: David Allinson
Reviewer: John Huthnance
David Allinson’s on-line presentation prior to NWEMF 2020 AGM
I have not normally favoured NWEMF committee members writing reports on workshops – it might appear self-congratulatory, especially on this occasion. However, I cannot claim any credit for the choice of David Allinson, having somehow missed being at any previous event involving him until the week of our AGM. “Missed” and “missed out”. I had a foretaste by taking part in his BMEMF on-line singing workshop on 24th November – “superlative” is the description on the BMEMF website. So I anticipated a joyous and informative morning, and was certainly not disappointed.
We heard some background: David’s own early “encounter” in a remote church on Sheppey; Byrd’s mutual respect and friendship with his mentor Thomas Tallis; his Catholic conviction (after a Protestant upbringing) with resulting harassment and fines for non-attendance at church; “survival” through protection by his patrons, especially the Petres, and tolerance by Queen Elizabeth I who recognised his talent; the 1592-93 London plague with 10% population loss (a more severe parallel with the present). In 1594/5 Byrd moved to Stondon Massey, near to Ingatestone Hall, home of the Petres. All this was presented with copious enthusiasm, asides and illustrations, including a video of four singers in Ingatestone Hall. David told us that it took about two days to prepare such a presentation, but it is clear that the time was extraordinarily well spent, evidently guided by many years of scholarship.
Gradualia I comprises Mass and Office for feasts of the Virgin Mary throughout the year; Gradualia II, dedicated to Lord Petre, is for other principal feasts. They were written for use in a house, i.e. a relatively small room, by a few people, not for an audience. The compositions are short; the books needed to be portable so that they could be hidden quickly should there be a knock on the door. They were published – passed by the censor on the basis that varied Catholic opinions would weaken the Catholic cause.
In Gradualia I we were treated to some analysis of Ave Maria, the Alleluia of which is separable and serves elsewhere, of Rorate Coeli and briefly Ecce Virgo concipiet. The pieces are short but fast-moving in respect of changes of harmony, rhythm and intervals in melodic themes. This can make it difficult to pitch and time entries. We were encouraged sing along (muted of course) with the recommended Cardinall’s Musick recording.
David Allinson’s presentation was a “bribe” for NWEMF members to “attend” the AGM. It was a great success and members expressed their strong appreciation and enjoyment.
John Huthnance
First published in February 2021 Newsletter
