Eton Choirbook
The Eton Choirbook (Eton College MS. 178) is a richly illuminated manuscript collection of English sacred music composed during the late fifteenth century. It was one of very few collections of Latin liturgical music to survive the Reformation, and originally contained music by 24 different composers; however, many of the pieces are damaged or incomplete. It is one of three large choirbooks surviving from early-Tudor England (the others are the Lambeth Choirbook and the Caius Choirbook).
The Choirbook was compiled between approximately 1500 and 1505 for use at Eton College; its present binding dates from the mid 16th century. 126 folios remain of the original 224, including the index. In the original, there were a total of 93 separate compositions; however only 64 remain either complete or in part. Some of the 24 composers are known only because of their inclusion in the Eton Choirbook. John Browne has the most compositions (10), followed by Richard Davy (9) and Walter Lambe (8).
Stylistically, the music contained in the Eton Choirbook shows three phases in the development of early Renaissance polyphony in England. The first phase is represented by the music of Richard Hygons, William Horwood and Gilbert Banester. Most of the music of this early phase is polyphonic but non-imitative, with contrast achieved by alternation of full five-voice texture with sections sung by fewer voices. The second phase, which includes music by John Browne, Richard Davy and Walter Lambe, uses imitation, cantus firmus techniques, and frequent cross-relations (a feature which was to become a distinctive sound in early Tudor polyphony). The final phase represented in the choirbook includes music by William Cornysh and Robert Fayrfax, composed around 1500. Points of imitation are frequent, cantus firmus techniques disappear, and in general the sound of the music is more Continental.
All of the compositions in the book are sacred vocal music in Latin. There are 9 settings of the Magnificat, 54 motets, and one setting of the Passion.
Sources
- Harold Gleason and Warren Becker, Music in the Middle Ages and Renaissance (Music Literature Outlines Series I). Bloomington, Indiana. Frangipani Press, 1986. ISBN 0-89917-034-X
- "Sources, MS, Renaissance Polyphony", from Grove Music Online ed. L. Macy (Accessed April 24, 2005), (subscription access)
- Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4
External links
Recordings
- The Rose and The Ostrich Feather, Eton Choirbook Volume I. Harry Christophers: The Sixteen. CORO: CD COR16026.
- The Crown of Thorns, Eton Choirbook Volume II. Harry Christophers: The Sixteen. CORO: CD COR16012.
- The Pillars Of Eternity, Eton Choirbook Volume III. Harry Christophers: The Sixteen. CORO: CD COR16022.
- The Flower of All Virginity, Eton Choirbook Volume IV. Harry Christophers: The Sixteen. CORO: CD COR16018.
- Voices of Angels, Eton Choirbook Volume V. Harry Christophers: The Sixteen. CORO: CD COR16002.
Bibliography
- Williamson, Magnus: The Eton Choirbook, Facsimile with introductory study (Oxford: DIAMM Publications, 2010)
- Curtis, Gareth; Wathey, Andrew: 'Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory' RMA Research Chronicle 27 (1994), 1-69
- Williams, Carol J: 'The Salve Regina Settings in the Eton Choirbook' Miscellanea Musicologica [Adelaide] X (1979), 28-37 [CCM descriptor(s): LpDis]
- Phillips, Peter: 'Performance Practice in l0th-Century English Choral Music' Early Music VI (1978), 195-9 [CCM descriptor(s): FpDis]
- Benham, Hugh: Latin Church Music in England c. 1460-1575 (London, 1977), 58ff, passim [CCM descriptor(s): DpLpTpFpDis]
- Sandon, Nicholas: 'Fragments of Medieval Polyphony at Canterbury Cathedral' Musica Disciplina XXX (1976), 37-53, 51-3
- Bent, Margaret; Bent, Ian; Trowell, Brian (eds.): John Dunstable complete works, Musica Britannica Vol. VIII (London, 1970) [2nd revised edn], X-XII
- Bent, Margaret; Bent, Ian: 'Dufay, Dunstable, Plummer-A New Source' Journal of the American Musicological Society XXII (1969), 394 - 424
- Warren, Edwin B: Life and Works of Robert Fayrfax, MSD Vol. 22 (American Institute of Musicology, 1969), 42
- Kirsch, Winfried: Die Quellen der mehrstimmigen Magnificat- und Te DeumVertonungen bis zur Mitte des 16. Jahrhunderts (Tutzing, 1966), 135
- Harrison, Frank Ll: Music in Medieval Britain (London, 1963), 307-29
- Westrup, J A; et al, (eds.): New Oxford History of Music (London, New York, and Toronto, 1954-), III, Plate III
- Harrison, Frank Llewellyn: 'The Eton Choirbook: Its Background and Contents (Eton College Library ms. 178)' Annles Musicologiques I (1953), 151-75
- Harrison, Frank Llewellyn: 'The Eton College Choirbook (Eton College MS 178)', in International Musicological Society: Report of the 4th Congress, Utrecht 1952 (1952), 224-32
- Blume, Friedrich (ed.): Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik (Kassel, 1949-79) [Cited by volume and column number], II, 1591-5, Tafel 48
- Hughes, Dom Anselm: 'The Eton Manuscript' Proceedings of the Royal Musical Association LIII (1926-7), 67-83
- Squire, W Barclay: 'On an early Sixteenth Century MS. of English Music in the Library of Eton College' Archaeologia LVI (1898), 89-102
- James, Montague Rhodes: A Descriptive Catalogue of the Manuscripts in the Library of Eton College (Cambridge, 1895), 108-12
- For a comprehensive description of the MS see Digital Image Archive of Medieval Music