Vespers, Compline and Salve According to the Use of Sarum on the Feast of St. Cecilia

Order of Service: [ Ссылка ]

00:00 Introduction
01:03 Pater Noster and Ave Maria
01:56 Vespers Opening Responses
02:48 Vesper Psalms: Ps. 121-5 and antiphon
13:20 Chapter: Ecclesiastici lj. 13.
13:55 Responsory
17:26 Vespers Office Hymn: Virginis Proles (setting by Thomas Tallis, d. 1585, with verset "Iste Confessor", also by Tallis)
22:55 Versicle After the Hymn
23:42 Magnificat (setting by Nicholas Ludford, d.1557), and antiphon
40:40 Vespers Closing Responses
42:07 the end of Vespers
43:03 Pater Noster and Ave Maria
43:47 Compline Opening Responses
45:00 Compline Psalms: Ps. 4, 30, 90 & 133 and antiphon
53:55 Chapter: Hieremas xiiij.9
54:56 Compline Office Hymn: Te Lucis (polyphony realised by A. Trowell)
56:48 Nunc Dimittis, and antiphon
58:27 Kyrie Eleison
59:00 Silent Lord Prayer, and response
59:32 Silent Creed, followed by responses
1:00:00 Confession and Absolution, followed by responses
1:04:30 the end of Compline
1:05:07 Salve Regina (setting à 7 by John Sutton, fl. late 15th Century)
1:21:57 Prayers after the Salve

The Use of Sarum was the predominant liturgy used in the South of late-Medieval England. It traces its history back to the Norman conquest, and is very similar to various Northern French uses. Henry VIII suppressed the other English uses, and Sarum briefly became the only English Use, until 1549 when Henry's heir, Edward VI replaced it wholesale with a series of increasingly Reformed prayer books. Sarum enjoyed a short-lived resurgence under Mary I until Elizabeth I suppressed it again in favour of the Prayer Book. Many aspects of this reconstruction will be familiar to fans of choral evensong: the Magnificat, Nunc Dimittis and anthem at BCP evensong being drawn from Vespers, Compline and the Salve respectively. This service reconstructs a service from around the middle of Henry VIII's reign; the earliest composer is John Sutton who flourished around the late fifteenth century. We will be performing his setting of the Salve Regina for seven voices, as found in the Eton Choirbook. Nicholas Ludford's (d. 1557) six-part Magnificat "Venerabilis and Benedicta Es" is taken from the Caius Choirbook, and is in a similar style to the Sutton. The Vespers office hymn is a contrafactum of a setting by Thomas Tallis (d. 1585) to the same plainsong melody with organ verset (also by Tallis). The Compline office hymn is a realisation by Antiquum Documentum director, Alexander Trowell, in the style of how it is thought late Medieval choirs would have improvised polyphony.

This is the second in a series of liturgical reconstructions by Antiquum Documentum in which we attempt to make sense of Reformation-era polyphony by placing it back in its original context. The first was a choral evensong according to the 1560 Liber Precum Publicarum (Latin Prayer Book) featuring music by Tallis, Weelkes and Morley amongst others. We hope these will be useful and visual examples of what services might have looked like 400 plus years ago. We use the revenue made in our concerts to fund these sorts of events, but any further contributions would be greatly appreciated.

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Credits:

Officiant: The Rev’d Max Kramer
Precentor: The Rev’d Laurence Price
Virger: Harry Spain
Thurifer: Edward Parker-Sunderland
Acolytes: William Allen, Sam Cherry,

Antiquum Documentum:
Soprano: Maddy Bellotti, Lois Heslop
Mezzo-Soprano: Cosima Clara Gilhammer Veronica Tarka
Tenor: Joshua Clough, Jarek Jankowski*, Alexander Trowell*
Baritone: John Morshead
Bass: Edward Gaut† Daniel Greenway

* Rulers of the choir
† Organist

Videography: Jonathan Tanner, Edward Gaut
Editor: @EdGaut

Artwork: Alina Jankowki, Jarek Jankowski (adapt. Edward Gaut)

Liturgy compiled by Jarek Jankowski.

With thanks to William Renwick (McMaster University, Emeritus) and Matthew Cheung Salisbury (Worcester College, Oxford) for their expertise and guidance.

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