Eton Choirbook

From Wikipedia, the free encyclopedia

The Eton Choirbook (Eton College MS. 178) (also known as the Eton Manuscript) is a richly illuminated 15th century manuscript collection of English sacred music. It was one of very few music collections to survive the Dissolution of the Monasteries by Henry VIII, and originally contained music by 24 different composers; however, many of the pieces are damaged or incomplete. It is one of only three manuscript sources in all of England for music in Latin from the late 15th century (the others are the Lambeth Choirbook and the Caius Choirbook).

The Choirbook was compiled between approximately 1490 and 1502, presumably for use at Eton College, and was probably bound in the late 16th century. 126 pages remain of the original 224, including the index. In the original, there were a total of 93 separate compositions; however only 64 remain either complete or in part. Some of the 24 composers are known only because of their inclusion in the Eton Choirbook. John Browne has the most compositions (10) of all the composers included in the book, followed by Richard Davy (9) and Walter Lambe (8).

Stylistically, the music contained in the Eton Choirbook shows three phases in the development of early Renaissance polyphony in England. The first phase is represented by the music of Richard Hygons, William Horwood and Gilbert Banester. Most of the music of this early phase is polyphonic but non-imitative, with contrast achieved by alternation of full five-voice texture with sections sung by fewer voices. The second phase, which includes music by John Browne, Richard Davy and Walter Lambe, uses imitation, cantus firmus techniques, and frequent cross-relations (a feature which was to become a distinctive sound in early Tudor polyphony). The final phase represented in the choirbook includes music by William Cornysh and Robert Fayrfax, and most of the music in this phase was written around 1500. Points of imitation are frequent, cantus firmus techniques disappear, and in general the sound of the music is more akin to that being composed concurrently on the Continent than is the case for the earlier music in the collection.

All of the compositions in the book are sacred vocal music in Latin. There are 9 settings of the Magnificat, 54 motets, and one setting of the Passion.

[edit] Sources

Harold Gleason and Warren Becker, Music in the Middle Ages and Renaissance (Music Literature Outlines Series I). Bloomington, Indiana. Frangipani Press, 1986. ISBN 0-89917-034-X
"Sources, MS, Renaissance Polyphony", from Grove Music Online ed. L. Macy (Accessed April 24, 2005), (subscription access)
Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4

[edit] External links

The Eton Choirbook on hoasm.org
List of contents of Eton Choirbook (published in Musica Britannica, Vols. X, XI and XII)

[edit] Recordings

The Rose and The Ostrich Feather, Eton Choirbook Volume I. Harry Christophers: The Sixteen. CORO: CD COR16026.
The Crown of Thorns, Eton Choirbook Volume II. Harry Christophers: The Sixteen. CORO: CD COR16012.
The Pillars Of Eternity, Eton Choirbook Volume III. Harry Christophers: The Sixteen. CORO: CD COR16022.
The Flower of All Virginity, Eton Choirbook Volume IV. Harry Christophers: The Sixteen. CORO: CD COR16018.
Voices of Angels, Eton Choirbook Volume V. Harry Christophers: The Sixteen. CORO: CD COR16002.