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Reviewer: J.
F. Weber Andrew Kirkman’s two most recent issues cover such similar ground that they deserve to be treated together. John Beckett’s Musica Reservata once recorded an LP for Philips with the precise title of the first disc (it even had similar cover art), but that ensemble, formed in 1960, lived in a different era of early music performance. (A more recent treatment came from Christopher Page in Lancaster and Valois, French and English Music, 1350–1420 (Fanfare 16:3, 32:2), but oddly it includes much more French music than English and duplicates nothing on either of these discs.) Beckett’s contents were also almost entirely different from the new program, for it included only the isorhythmic motet by John Aleyn (Alanus) and the two carols that are the bookends of the first disc, Anglia tibi turbidas and Deo gracias Anglia. One reason for this is Beckett’s division of the two sides of his disc between French and English music, while Kirkman looks at the war entirely from the English side, marking the 600th anniversary of the battle of Agincourt commemorated by that second carol. Despite that and other major victories of the English archers, the war ended with France driving the English out of the north and west of France, leaving them only Calais. The isorhythmic motet by Alanus is the subject of a new study and edition by Margaret Bent linking it to Henry V. The two leading English composers of the time, John Dunstaple and Leonel Power, are represented by major works. Power’s Gloria and Credo honored St. Thomas Becket, the protector of England in this narrative. Another protector of England, St. Edmund the martyr, a ninth-century king of East Anglia, was honored by John Forest’s isorhythmic motet Gaude martyr. Dunstaple’s Mass movements and motet Veni Sancte/Veni Creator have long been regarded as possibly composed for the 1431 coronation of Henry VI at Notre Dame, or at least performed at that time. If earlier, they have also been linked to the treaty of Troyes establishing Henry V’s place as heir to the French throne and to the occasion of his marriage to Catherine. The program of music is illustrated in the booklet by three English alabaster sculptures contemporary with the events. This disc easily replaces any previous recordings of the works on the program. The earlier of the two issues focused on Henry V, who renewed the war after a long lull and won his greatest victory at Agincourt in 1415. This led to King Charles VI disinheriting the Dauphin and giving his daughter Catherine to Henry as the presumptive heir to the throne. On the death of both Henry V and Charles VI in 1422, the infant son of Henry V and Catherine was crowned at Westminster Abbey in 1429 and at Notre Dame in 1431. (The Dauphin had been crowned at Reims as Charles VII in 1429.) Featured on the disc is the anonymous Missa Quem malignus spiritus, one of five early polyphonic Masses from England in this period and the last to be recorded. Details were given in a review of its first recording under Calvin Bower (33:4). The Mass uses the cantus firmus of the first responsory (Quem malignus spiritus) in the Office of St. John of Bridlington, the patron of the House of Lancaster and the last English saint canonized before the Reformation. The responsory is the last of 12 chants of the Office sung here. Several other chants (Ave regina caelorum precedes Power’s setting) are beautifully done.
Leonel
Power is represented here by Ave regina caelorum and Gloriosae virginis,
Walter Frye by another Ave regina caelorum, previously recorded by the
Hilliard Ensemble (16:6), and John Cooke by Alma proles, once recorded by
Bruno Turner. The Gloria credited to “Roy Henry” has been attributed to
Henry V. Taken with the new disc, this is an excellent presentation of the
period. The booklet is furnished with stunning color reproductions of chants
from the Bridlington Office from the Wollaton Antiphonal. Both discs are
highly recommended. | |
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