Essays on the History of English Music in Honour of John Caldwell

Essays on the History of English Music in Honour of John Caldwell: Sources, Style, Performance, Historiography

Emma Hornby
David Maw
Copyright Date: 2010
Edition: NED - New edition
Published by: Boydell and Brewer,
Pages: 364
https://www.jstor.org/stable/10.7722/j.ctt9qdhjd
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  • Book Info
    Essays on the History of English Music in Honour of John Caldwell
    Book Description:

    The major themes of the essays in this collection reflect the work of the distinguished scholar John Caldwell, professor of music at Oxford University and a composer in his own right. There is a strong focus on early music, with contributions considering the medieval carol, sources for seventeenth- and eighteenth-century harpsichord music, and the transmission of fifteenth-century English music to the Continent; but they range right up to the twentieth century, with an examination of music in Oxford. All are concerned in one way or another with themes which recur in Professor Caldwell's scholarship: sources; style; performance; and historiography. Contributors: SALLY HARPER, DAVID HILEY, EMMA HORNBY, HARRY JOHNSTONE, MARGARET BENT, DAVID MAW, MATTHIAS RANGE, REINHARD STROHM, PETER WRIGHT, MAGNUS WILLIAMSON, JOHN HARPER, SIMON MCVEIGH, CHRISTOPHER PAGE, OWEN REES, SUSAN WOLLENBERG, JOHN ARTHUR SMITH, BENNETT ZON, DAVID MAW. a href="tabgratcaldwell.pdf">To subscribe to the Tabula Gratulatoria for this volume, CLICK HERE/a>/p>

    eISBN: 978-1-84615-801-8
    Subjects: Music

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-vi)
  3. Acknowledgements
    (pp. vii-vii)
    Emma Hornby and David Maw
  4. Contributors
    (pp. viii-x)
  5. Abbreviations and Library sigla
    (pp. xi-xii)
  6. Introduction
    (pp. xiii-xvi)
    Emma Hornby

    This collection of essays is offered to John Caldwell in celebration of his seventieth birthday, by colleagues, ex-students, and friends. It is an indication of John’s polymath tendencies and eclectic interests that the essays of his erstwhile DPhil students have such a wide range, from medieval chant through polyphony, Purcell and performance culture to twentieth-century historiography. It is a further indication of his wide range that those contributors who are colleagues working in the same field should include scholars writing on chant, the history of the organ, and the prehistory of the carol. Because of John’s wide-ranging and long-standing scholarly...

  7. SOURCES

    • Traces of Lost Late Medieval Offices? The Sanctilogium Angliae, Walliae, Scotiae, et Hiberniae of John of Tynemouth (fl. 1350)
      (pp. 1-21)
      Sally Harper

      Many of us have cause to celebrate the recent proliferation of resources enabling study of the late medieval office. Especially notable across the last two decades has been our enhanced awareness of liturgies composed in honour of local saints, where some of the most interesting research has focused on devotional patterns in the British Isles. A fine example is John Caldwell’s own article on the office of St Æthelbert of Hereford,¹ which joins similar studies by Andrew Hughes, David Hiley, Owain Edwards and others. Location of sources and identification of textual or musical borrowings has also been facilitated by the...

    • The Saints Venerated in Medieval Peterborough as Reflected in the Antiphoner Cambridge, Magdalene College, F.4.10
      (pp. 22-46)
      David Hiley

      ‘Iste liber est s. petri de Burgo. Quem qui ei abstulerit uel titulum deleuerit anathema sit. Amen.’ So reads the colophon on fol. 8v of the late thirteenth-century antiphoner preserved in the Old Library at Magdalene College, Cambridge, manuscript F.4.10. The kalendar later in the manuscript, and the Sanctorale, leave no doubt as to the provenance of the book: the Benedictine abbey of SS. Peter, Paul and Andrew at Peterborough. The apparent owner of the book whose name appears on fol. 1r ‘Antiph. Gilberti de Stanford’ written in red ink, and again on fol. 8r ‘Antiph. Gilberti’ and ‘Staynford’, cannot...

    • Interactions between Brittany and Christ Church, Canterbury in the Tenth Century: The Linenthal leaf
      (pp. 47-65)
      Emma Hornby

      Musical life in pre-Conquest Canterbury has not enjoyed the same scholarly scrutiny as that of Winchester. Weight of evidence plays a role in this, since approximately one-third of the surviving pre-Conquest insular chant manuscripts are from, or are connected to, Winchester.¹ The derivation of the Winchester chant tradition has been thoroughly studied. The influence of Corbie and Saint Denis is visible in both notation and melodic variants, and the tradition has been convincingly linked with Æthelwold of Winchester, who invited monks from Corbie to come and help with the chant when he was Abbot of Abingdon, and subsequently reseeded Winchester...

    • A New Source of Late Seventeenth- and Early Eighteenth-Century English Harpsichord Music by Barrett, Blow, Clarke, Croft, Purcell and Others.
      (pp. 66-82)
      H. Diack Johnstone

      Jeremiah Clarke is one of those composers seemingly destined to remain forever known by a single tune, in his case the so-called ‘Trumpet Voluntary’ to which countless English brides have processed to their nuptials – no doubt in blissful ignorance of the fact that it was apparently for love that the composer himself put a pistol to his head in December 1707. Though first published as a simple harpsichord piece in November 1699, this must almost certainly be an arrangement of a movement originally conceived for trumpet and strings.¹ As ‘The Prince of Denmark’s March’ it is but one of some...

  8. STYLE

    • The Earliest Fifteenth-Century Transmission of English Music to the Continent
      (pp. 83-96)
      Margaret Bent

      The late thirteenth century saw a period of lively contact between English and French music, both repertorial and theoretical. Franco of Cologne represents not only a common point of reference for articulating a more or less international notational practicec.1300, but also a point of departure for what was to split into three separate mensural traditions during the fourteenth century. After Franco, French, Italian and English musicians each developed their own systems of how values shorter than the breve should be notated and evaluated. The resulting rhythms were fundamental to the sharply different musical styles of each of these...

    • ‘Phantasy mania’: Quest for a National Style
      (pp. 97-121)
      David Maw

      Few genres owe their origins so clearly to one time and to the initiative of one man as the phantasy. The man in question, Walter Willson Cobbett, at an age when most would have been thinking about retirement, busied himself in the promotion of chamber music with unbridled energy and optimism. He had made his fortune in business, founding and chairing the Scandinavia Belting Company, but his passion was music. A keen amateur violinist with an enthusiasm for chamber music, during the last thirty years of his life he nurtured the genre with a wide variety of schemes: competitions, commissions,...

    • Purcell’s 1694 Te Deum and Jubilate: Its Successors, and its Performance History
      (pp. 122-142)
      Matthias Range

      Henry Purcell’s orchestrally accompanied setting of the morning canticles, the Te Deum and Jubilate in D (z232), was first published in 1697 by J. Heptinstall for Purcell’s widow; according to the title of this edition, the music was ‘made for St Cecilia’s Day 1694’.¹ This, in fact, appears to be the only evidence for the dating of the music.² In the preface to the sixth volume of his manuscript collection of services and anthems from 1720 Thomas Tudway famously misdated Purcell’s morning canticles and stated that Purcell composed them ‘principally against the Opening of St Paul’s, but did not live...

    • Imitative Counterpoint in Mid-Fifteenth-Century English Mass Settings
      (pp. 143-161)
      Reinhard Strohm

      The vast repertory of English fifteenth-century settings of the Mass Ordinary is now available in critical editions to such an extent that general overviews seem possible.¹ Particular progress has recently been made with editing compositions of the post-Dunstaple generation, datable approximately between 1435 and 1465; it is on this repertory that the present study will focus.² The historical and critical interpretation of this music faces questions of cultural context, of dating and transmission, of performance practice, of ritual function, of sonority and aesthetics, allegorical meaning and structural innovation. Previous research has largely been inclined towards named authors – Dunstaple, Power, Benet,...

    • Double cantus firmus Compositions in the Eton Choirbook
      (pp. 162-184)
      Magnus Williamson

      One of John Caldwell’s major contributions to musical scholarship has been in the field of music editing: not least in hisEditing Early Music, an indispensable companion for music editors, and in his association with the British Academy’s series Early English Church Music. Although his signal contribution to the series has been to oversee a transformation in its house style since 1997, his association with EECM can be traced back to 1966, when he published the fruits of his doctoral research on English keyboard music in EECM 6.¹ The first of two volumes dedicated to early Tudor organ music, EECM...

    • Englishness in a Kyrie (Mis)attributed to Du Fay
      (pp. 185-214)
      Peter Wright

      Individual or paired polyphonic mass movements from the medieval and Renaissance periods rarely achieve anything like the prominence commonly enjoyed by mass cycles, songs, or motets. A notable exception is a three-voice Kyrie setting believed to date from the 1430s that survives with an attribution to Du Fay in one of its sources (Tr92).¹ This setting was first published in 1932, as part of a selection by Heinrich Besseler of twelve of the composer’s sacred and secular works, where it was included as the only example of a movement from the ordinary of the mass.² In 1962 it was published...

  9. PERFORMANCE

    • Continuity, Discontinuity, Fragments and Connections: The Organ in Church, c. 1500–1640
      (pp. 215-231)
      John Harper

      In 2001 and 2002 the organ-builders Goetze and Gwynn completed reconstructions of two pre-Reformation organs for The Early English Organ Project.¹ These instruments were based on surviving soundboards, madec.1520–40 and found in the coffin-house at Wingfield Church and in a house in Wetheringsett, both in Suffolk. Two chance archaeological finds transformed our knowledge of English pre-Reformation organs, which had previously relied on the surviving (but much restored) organ-case at Old Radnor in Powys and documentary evidence, and offered the best opportunity yet available to explore the repertory. Questions remain about precisely how representative these two instruments are...

    • ‘As the sand on the sea shore’: Women Violinists in London’s Concert Life around 1900
      (pp. 232-258)
      Simon McVeigh

      The profusion of women violinists in concert life in the decades around 1900 remains an extraordinary if still comparatively under-explored phenomenon. Parts of the story are, indeed, well known, especially the astonishing life story and still more astonishing achievements of Marie Hall. Aspects of the rise of the woman violin virtuoso have also been analysed in Paula Gillett’s path-breaking book on women musicians, in Phyllis Weliver’s writings on women in fiction, as well as in Sophie Fuller’s work on female composers and ladies’ orchestras.¹ But there is much more still to be investigated about the way in which women made...

    • The Carol in Anglo-Saxon Canterbury?
      (pp. 259-269)
      Christopher Page

      For many years, I thought it very impressive that William Blake found a way to mention Paddington and Mount Zion in one poem. I now think John Caldwell achieved even more to get Beowulf and Arnold Bax into one book. Among the many qualities that makeThe Oxford History of English Musicsuch an exceptional achievement for a single author, there is one that some readers might miss. The early pages of volume I stand almost alone, among musicological writings, for showing that the musical landscape of England before 1066 contains much more than just the Winchester Troper. They range...

    • Luisa de Carvajal y Mendoza and Music in an English Catholic House in 1605
      (pp. 270-280)
      Owen Rees

      In 1605, a few months before the Gunpowder Plot, Doña Luisa de Carvajal y Mendoza arrived in England to work in support of the Catholic community and cause. Doña Luisa was a Spanish aristocrat, fervently religious (living a life of strict discipline, although not a nun), and closely associated with the Jesuits (her confessors and spiritual advisors were, for the most part, members of the Society, and she funded the creation of a Jesuit novitiate in Louvain) and with Spanish royalty and high nobility. Her labours in London, offering succour to Catholics and aiming for the reconversion of the country,...

    • Music in Oxford, 1945–60: The Years of Change
      (pp. 281-297)
      Susan Wollenberg

      In november 1945 the Oxford undergraduate newspaperIsis, newly reborn after a wartime hiatus of six years, declared: ‘The world can never stand still, and Oxford must change with it, or lose its pride of place as a University.’¹ For those with an interest in music in the University it would have been difficult, in the years from 1945 onwards, to avoid the sense that far-reaching changes were taking place. The death of Sir Hugh Allen as the result of an accident in 1946 seemed to mark the end of an era; with the consequent appointment of Jack Westrup (1904-75)...

  10. HISTORIOGRAPHY

    • Three Anglican Church Historians on Liturgy and Psalmody in the Ancient Synagogue and the Early Church
      (pp. 298-310)
      John Arthur Smith

      In the course of two articles published in 1980 and 1986 respectively, the American musicologist James W. McKinnon undertook a critical examination of the then current ideas about the place of psalmody in the ancient Synagogue.¹ McKinnon found that the inherited wisdom about the subject stemmed mainly from the writings of a ‘curious coalition of Anglican liturgists and Jewish musicologists’ working in the first six decades or so of the twentieth century.² McKinnon’s use of the word ‘coalition’ reflects no formal exchange of views between these scholars, but rather that their liturgical and musical ideas had become combined to form...

    • Histories of British Music and the Land Without Music: National Identity and the Idea of the Hero
      (pp. 311-324)
      Bennett Zon

      Despite the vast array of historical material available, it was not until the middle of the nineteenth century that a fully fledged study of British music was written. Fuelled by principles of the Enlightenment, late eighteenth-century Englishmen like Charles Burney and John Hawkins provided general histories incorporating reference to British music, followed in the early nineteenth-century by writers like Thomas Busby, William Stafford and George Hogarth. But these writings provide information on British music only to varying degrees, situating Britain within a larger European, and at times global, historiographical framework. Thus until the middle part of the nineteenth century British...

  11. EPILOGUE

    • John Caldwell (b 1938): Scholar, Composer, Teacher, Musician
      (pp. 325-334)
      David Maw

      John caldwell’s name is familiar to scholars of music throughout the world. Author of standard works on editing and music history, creator of meticulous scholarly editions and contributor to numerous reference works, books and journals on topics as diverse as ancient music theory, chant, medieval polyphony, music in Shakespeare and keyboard music, he has touched many facets of the discipline during his long career and always with distinction and individuality.

      His ascent through the academic echelons was faultless. Three years of undergraduate study at Keble College, Oxford, led to a first-class degree in Music in 1960. Postgraduate studies continued at...

  12. Index
    (pp. 335-346)
  13. Tabula Gratulatoria
    (pp. 347-348)
  14. Back Matter
    (pp. 349-349)