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Carols and Motets for the Nativity
BG-654, original LP cover

In this program by the Deller Consort, assisted by the ensemble of ancient instruments, Musica Antiqua of Vienna, the unifying theme is the Nativity and the adoration of the Virgin Mary. Because of the appeal of this theme to medieval musicians, folk and learned, this program tells us much about the blossoming of music itself as an art in England, from the 13th century to the reign of Henry VIII. We see forms of the Gymel (a song in two voices proceeding in thirds, with the melody in the upper voice); early hymns; Dunstable's polyphony; forms of the carol, and the development of the carol into a sumptuous large-scale song cycle.

The practice of part singing in England probably derives from ancient Celtish traditions. In the late 12th or early 13th century, a traveller, Giraldus Cambrensis, noted that the inhabitants of England "do not sing in unison … you will hear as many different parts and voices as there are performers." The Gymel which opens this program is a sprightly example of such a two-part dancing song. It was noted down by a 15th century theorist, Guilelmus Monachus or "Wlliam the monk," who sought to show that forms like the Gymel and Fauxbourdon were of English origin. (The Fauxbordon from his manuscript is also included in this program.) Also performed here are two of the most beautiful of 13th century hymns; the Hymn to the Virgin, Blessed be Thou, Heavenly Queen, and the Annunciation Hymn, Angelus ad Virginem. Chaucer in his "Canterbury Tales" tells of a "poore scholar" who performed "so swetely that al the chamber rang, and Angelus ad Virginem he sang."

The "Roy Henry" whose Sanctus was found in the "Old Hall" manuscript, was for a time thought to be Henry VI of England but is now generally believed to be Henry V (1387-1422), who was an accomplished musician as well as warrior. Of the age of Henry V is the great composer, John Dunstable (c.1390-c.1453), who was admired by Dufay and all the leading composers of Europe. He is represented here by a Kyrie and the motet Quam pulchra es, set to verses from the Song of Songs, and written for "the Feasts of the Virgins and the Female Saints."

The great age of the English carol was the 15th century. The form, deriving from the "ring dance," opened with a "Burden" which introduced the carol an reappeared after each verse. Tidings True is joyful and ingratiating in melody. Qui natus est makes use of haunting melismas. Nova, nova is a lusty dancing melody which imitates the rin ing of bells. Hail, Mary, full of grace is tenderly devotional, as is There is no rose of such virtue. The vigorous music of Out of your sleep carries out the spirit of "arise and wake!"

The carol was also connected to the mystery play, as exhibited by In die nativitas, a dialogue between Sir Christmas and company by Richard Smert, Rector at Plymtree in Devon County from 1435 to 1477. Richard Pygott (c. 1485-1552) was a musician in the chapels of Cardinal Wolsey and Henry VIII. In his Quid petis O fili, the Burden is in Latin, the verses are in English, and the form expands to a large-scale, extraordinarily beautiful "song cycle" that forshadows the rich art of the Elizabethan age.

Originally released as Vanguard/The Bach Guild BG-654

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