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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Pre-Reformation Polyphony among the Recusants

Dr. Charles Weaver · September 12, 2022

ITH THE PASSING of Queen Elizabeth (requiescat in pace), British affairs have been very much in the public consciousness, as we all reflect on her life and career. English music was also the subject of some a recent post by my colleague, Jeff Ostrowski, considering the special stylistic qualities of pre-Reformation English music, and the unique way the Protestant reformation unfolded in Britain. I have also written about this subject in a previous post.

“Recusant” Catholics • One related topic—which interests me greatly—considers the musical lives of English Catholics in the decades after Elizabeth I’s decisive religious settlement. Some prominent English musicians of the generation born after Henry VIII’s break with Rome were Catholic: William Byrd and John Dowland. Byrd wrote wonderful music that seems to capture the poignant character of recusant (that is, refusing to conform to state-sponsored Protestantism) life. But more specifically, how did Catholics living at this time (under circumstances ranging from quiet toleration to outright persecution depending on the local situation) view the music of those English composers who wrote at the very end of the glorious tradition of festal Masses and motets?

The Phenomenal Paston • A project I’ve been working on for years looks at a specific set of musical books belonging to the recusant Edward Paston (1550–1630). I have mentioned these books in passing before. Paston, or his hired arranger, takes all the lower parts of polyphonic compositions and arranges (intabulates) them for lute, leaving only the top part, presumably to be sung. The material in these collections is eclectic: secular madrigals and chansons; consort songs by Byrd; continental motets by Lassus, Marenzio, and Victoria; English motets by White, Tallis, Byrd, and Ferrabosco; and even entire Mass settings by Fayrfax and Taverner.

Illegal Polyphony? • What were these settings used for? They could have been merely for private devotion, to be sung in gatherings of like-minded souls eager for spiritual and musical consolation. Another intriguing possibility is that the sacred works could have been used liturgically at small and illicit Masses celebrated in recusant homes by intrepid Jesuits. Either way, the whole collection is deeply moving to me, since it represents a longing for a spiritual connection to the past in the face of incomprehensible liturgical and religious upheaval. The connections to the experience of aesthetically minded Catholics living today hardly need to be spelled out.

A Different Elizabeth • Here are two videos from a recent concert performance my wife Elizabeth and I gave of this music. Both are pieces written in the old, pre-Reformation, English style, saturated as it is with both plainchant and with that unmistakable English character. I hope we can record more of these in the future.

Direct Video Link

Direct Video Link

Paston Is Not Past • While it was lovely to be able to perform this music in a beautifully appointed Catholic church, it is worth considering the original context, in which such a public performance would have been illegal. Even in those circumstances, Paston managed to preserve a thing of great beauty, for which we are grateful.

Videos courtesy of Clara Gerdes Bartz of Most Holy Redeemer Church, NYC.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles, Featured Tagged With: John Taverner, Polyphony From England, Renaissance Polyphony Last Updated: September 18, 2022

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About Dr. Charles Weaver

Dr. Charles Weaver is on the faculty of the Juilliard School, and serves as director of music for St. Mary’s Church. He lives in Connecticut with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “What Martin Luther Said…”
    My pastor asked me to write little columns for the bulletin each week. The article for 20 July 2025 has been posted, and it’s called: “What Luther Said…” Martin Luther (an ex-priest and apostate) was an infamous heretic whose ignorance of JESUS CHRIST was only exceeded by his filthy and disgusting vulgarity.
    —Jeff Ostrowski
    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“Now we are aware of the fact that during recent years some artists, gravely offending against Christian piety, have dared to bring into churches works devoid of any religious inspiration and completely at variance with the right rules of art.”

— Ven. Pope Pius XII (25 December 1955)

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