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Tudor Church Music
Orlando GIBBONS(1583 - 1625)
Praise the Lord, O my Soul [6.41]
Lord, we beseech thee [3.56]
O Clap your hands [5.52]
Hymns and Songs (nos. 1, 20, 31, 5, 22) [4.27]
O Lord, in thy wrath [3.39]
I am the Resurrection [4.56]
Hymns and Songs (nos. 9, 13, 67, 47, 18, 24, 3, 4) [9.10]
See, see the word is incarnate [7.11]
Hosanna to the Son of David [3.05]
Sing unto the Lord [6.09]
Blessed are they all [5.06]
O Lord, How do increase my woes [1.29]
Preces and Psalm 145 [5.46]
O Lord, I lift my heart to Thee [2.23] John SHEPPARD(1515 - 1585)
Missa Cantate [30.00]
Spiritus Sanctus [8.37] Thomas TALLIS(1505 - 1585)
Missa puer natus est nobis [42.01] Robert WHITE(1538 - 1574)
Lamentations of Jeremiah [25.09]
The Clerkes of Oxenford/David Wulstan
rec. 1975 and 1977. ADD
PHAIA MUSIC PHU005.7 [3 CDs: 69.56 + 38.37 + 67.10]
The liner-notes for this disc are very much a trap for the unwary.
You could quite easily come away with the idea of the Clerkes
of Oxenford being an active group. Only the recording date,
listed on the back of the box, gives the game away. These recordings
are nearly forty years old. Astonishing.
The music here is astonishing too. The Clerkes of Oxenford were
a choir unlike any other. Professor David Wulstan founded it
in order to export the music of early Tudor England and as a
practical crucible for his theories about pitch and about performance.
Typically early Tudor polyphony had two upper parts, the mean
and above this a stratospherically high treble part. Wulstan
used the choir to prove that it was and is possible for young
singers to take these parts and sing them with power and with
clarity and lightness. He did not use boys, but young women.
He produced a body of recordings in which the choir performs
music of this period at pitches that few other groups have attempted.
Wulstan as a professor, practitioner and editor was enormously
influential on a whole generation of British performers. Anyone
who has heard The Sixteen or The Tallis Scholars has heard ensembles
influenced in some ways by these performances.
The performances are beautifully controlled and perfectly shaped.
The girls singing the treble part produce high clear, vibrato-less
sounds which blend and, combined with the high pitch of the
other parts, cause the polyphony to achieve clarity and transparency.
There are disadvantages; Wulstan was clearly not interested
in words. There is no attempt at period pronunciation and words
are clearly secondary to perfection of musical line. There is
also the suspicion that the singers could tire. In the Gibbons
works on the first disc, the solo lines are not always taken
at the same level as the choral singing.
The sound of the choir is quite big and robust. There are clearly
rather more singers in the Tallis than Alistair Dixon used for
his recording of the Chapelle du Roi.
The first disc contains a selection of music by Orlando Gibbons,
with a mixture of anthems, verse anthems and the hymns and songs,
these latter assembled into coherent sequences. All are gravely
beautiful but to my ears lack the élan that more recent
performers bring. Even O Clap Your Hands comes over as
rather sombre. There is however some quietly beautiful singing
here. Speeds are generally on the deliberate side. If you compare
Philip Ledger’s 1982 recording of Gibbons’ music
with the choir of Kings College Cambridge, then speeds are faster
with more rhythmic pointing. Wulstan seems to relish slow and
smoothly produced beauty.
The second disc is devoted to the early Tudor composer John
Sheppard. It is Sheppard’s music with its startlingly
high treble lines that I associate with the sound-world of the
Clerkes of Oxenford. They sing Sheppard’s Missa Cantate
and one of his Responds, a substantial work in its own right.
Here the high treble line is given a shape and clarity that
belie its tessitura, testimony to the amount of training that
must have been required. The Respond, by contrast, is sung with
counter-tenors on the top line, providing a vibrant rich texture.
The final disc starts with Tallis’s Missa puer natus
est, written for Queen Mary’s marriage to Philip of
Spain. The choir sings a shapely plainchant introit before launching
into the Gloria. Here the top part is by no means as might be
expected for the period. It is written for the unusual combination
of seven voices. The work’s sober mien lends credence
to the idea that it may well have been written for the service
for the absolution of England: undertaken to return the country
to Roman Catholicism. Wulstan performs all the surviving music,
Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei complete, plus
the surviving torso of the Credo. Wulstan is sober and steady,
even the Hosannas are controlled rather than lively, but this
befits the work’s penitential nature. The conclusion to
the Agnus Dei is mesmerisingly beautiful.
Alistair Dixon’s recording of the mass with the Chapelle
du Roi puts rather more air around the singers and his ensemble
seems slimline in comparison. Dixon’s speeds are faster,
Wulstan is again steadier with less rhythmic pointing. Both
use the same sort of pure clean soprano lines.
The final disc finishes with Robert White’s Lamentations
of Jeremiah. Here we return to the high treble part. The
effect blends gravity and beauty with moments of delicacy and
daringly quiet singing.
The booklet includes brief notes but no texts.
You can probably find more recent recordings which have a better
surface gloss and technical ability. That said, every library
shelf should include some of Wulstan’s recordings of early
Tudor polyphony. I have used the word ‘astonishing’
already, but the performances on this set merit its use again.
These performances influenced generations of British performers
and they still sound amazing.
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