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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

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

Giovanni Doni is known for having changed the name of note “Ut,” renaming it “Do.” He convinced his contemporaries to make the change by arguing that 1) “Do” is easier to pronounce than “Ut,” and 2) “Do” is an abbreviation for “Dominus,” the Latin word for the Lord, Who is the tonic and root of the world. There is much academic speculation that Giovanni Doni also wanted to imprint himself into musical canon in perpetuity because “Do” is also ulteriorly an abbreviation for his family name.

— Giovanni Battista Doni died in 1647AD

Recent Posts

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  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”

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