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Corpus Christi Watershed

“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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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

    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
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —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

“Since the English is not meant to be sung, but only to tell people who do not understand Latin what the text means, a simple paraphrase in prose is sufficient. The versions are not always very literal. Literal translations from Latin hymns would often look odd in English. I have tried to give in a readable, generally rhythmic form the real meaning of the text.”

— Fr. Adrian Fortescue (1913)

Recent Posts

  • “How to Conduct 90 Vespers Services Each Year and Live to Tell the Tale.”
  • 15th Sunday in Ordinary Time (Year C)
  • The Tallis Scholars
  • Music Director Job • $80,000 per year
  • Pope Saint Paul VI to Consilium (14 October 1968)

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