The Liberation of the Gothic —
Graindelavoix
[10.4.2018]
medieval.org |
naxosdirect.com
Release date: 14 September 2018
[1.9.2018]
medieval.org Remarks
http://www.medieval.org/emfaq/cds/remarks.html
6 September 2018
Todd M. McComb
———
I thought that I didn't have enough to say about the
recent Binchois Consort album to be worth
making a note, but now I'm thinking that it makes a good entry into
a discussion of The Liberation of the
Gothic by Graindelavoix: First of all, this is the former's
second "multimedia" program around the English repertory
from the Hundred Years War, in particular referencing alabaster
figures of the Virgin, albeit only in the text that accompanies
(and thus mediates) the musical program.
Such a trans-sensory
exploration has a general appeal, even if I didn't find myself
especially intrigued. In particular, I mostly found myself thinking
— amid this generally appealing, mixed program — that
there still aren't ideal albums devoted to Dunstaple or Frye. (The
latter has had nearly everything recorded, in generally decent
performances, but usually scattered in broader programs. The former
not only has fewer dedicated albums, at least of late, than his
stature might suggest, but arguably, has yet to even have a thorough
presentation of his overall style appear on record.)
Returning to
an orientation on The Liberation of the Gothic, then, both
Dunstaple & Frye present parallels to Continental polyphony
from the life of Dufay, the former with his early work, and the
latter with his later mass cycles. In the following English
generations, though, my interest tends to wane relative to
Franco-Flemish polyphony (where it waxes), until reemerging around
the mature post-Reformation style of Byrd et al., as again paralleling
the Continent. (And in my case, it's the instrumental music that's
of particular interest, likely — or simplistically —
because the religious content of the sacred vocal works was strongly
affected by political fashion. In other words, abstract musical
considerations dominated instrumental music, although one cannot
discount stealth messaging.)
One can attribute such a decline in
the later fifteenth century exactly to the events circumscribed by
the Binchois Consort series, the ultimate defeat of the Plantagenets
in the Hundred Years War, and then the political & social chaos
of the War of the Roses, during which the remaining Plantagenets
were exterminated as a political force. The wars provide a historical
context for what the music itself suggests, namely withdrawal &
introversion: Enter Graindelavoix with their program of two Marian
pieces by John Browne, as well as the especially florid Missa
Ave Maria by Thomas Ashwell.
As the intro might suggest, it
had been a while since I had given a serious listen to this repertory,
as it had largely faded from my consciousness over the past two
decades. Björn Schmelzer generally has intriguing things to
say about his programs, though, and definitely tries to reimagine
their contexts, so that provided my motivation to have a listen:
Here, first of all, he not only makes the sensible observation that
this era presents an opportunity to consider English aesthetics
apart from strong Continental interaction, but further implies that
since English aesthetics somehow came to dominate the world via
Empire, we should better understand its early modern trajectory.
(I agree that aesthetics are often more important than suggested
by mainstream history, and so want to be sure not to imply that
aesthetics followed Empire. The reverse is quite conceivable.)
On
this point, I've already suggested a notion of withdrawal, and
indeed a renewed cloistering of English creative practice, such
that the Dissolution of the Monasteries (only fifty years after the
Tudor victory) created a sort of slingshot effect: Ritual music
that had only recently become even more privately oriented was
suddenly forced into public view, including via new (emerging
capitalist) forms of economic survival, etc. (One might further
note that there was not a similar musical — as opposed to
economic — withdrawal in the closing days of the English
Empire. Indeed, the "English Invasion" of the Beatles
et al. was anything but a withdrawal, such that the modern era
arrived in England with a far different trajectory than it ended,
and not even with a real inversion: A last grasp at world relevance,
perhaps?)
Further, Schmelzer is concerned with a particular genre
of private ritual, namely the veneration of the Virgin as exemplified
in earlier generations by the English Ladymass. (And regarding
patriarchy, veneration of the Virgin accompanied Christianity more
generally, including throughout this era in Franco-Flemish polyphony,
although perhaps nowhere more strongly than in England. After all,
these people did ultimately accept a Queen, despite various
contemporary laments. (And moreover, as discussed elsewhere
[*], patriarchy
actually intensified during the early modern period as a whole, so
Schmelzer's liberation is more of a last gasp....))
He discusses
these relations not with figur(in)es, then, but rather with
architecture, and in particular, the Decorated Style — rather
than the "solid" cathedral architecture of foundations,
etc. In other words, and most of my remarks here are only inspired
by Schmelzer, he's suggesting parallels (& inspirations) not
with the free-standing architecture of cathedral building itself,
but rather with the various internal "decorative" elements
that suggest not only a womb-like sense of enclosure, but lend a
general sensuality to those interiors.
In prior decades, I had
characterized the distinctive aspects of Continental polyphony
according to rhetorical "foundations" — as opposed
to the more abstract, floral style in England — but Schmelzer's
remarks suggest that such a foundation was not only rhetorical, but
more literal: It suggests music with a free-standing structure of
its own, its own sense of solidity, rather than as sonic embellishment
of other structures (i.e. cathedrals). So what is the historical-technical
basis for such a divergent summary?
One straightforward observation
is that England's withdrawal was contemporaneous with
"liberation" of the bass around Ockeghem, not the bass
as another filigree part (as in e.g. the Ashwell Mass), and not
simply to underline harmonies generated from the tenor, but as a
structural element. Whereas "the irrational" remains
prominent in Ockeghem's intuitive style, such a structural innovation
was quickly placed into rationalizing contexts — i.e.
large-scale, formal structures — by Continental polyphonists
such as Busnoys & Obrecht. This is precisely the step that did
not occur in England, and given Schmelzer's remarks, one might agree
that an irrational sense of mystery was retained intentionally, and
for religious reasons (that were demolished, particularly in England,
by subsequent generations & their drive to worldly power).
As
phrases & motifs move around seemingly at random, as even the
bass is indulging in diminution, rather than "supporting,"
there is a resulting disorientation for the listener, apparently
intended to bring about religious insight. (And that such a sense
of mysticism is more Catholic than Protestant is clear — even
as Catholicism had developed a rather practical medieval philosophy
as well.) Moreover, was such a capricious work as Ashwell's Missa
Ave Maria constructed to trigger particular chapel resonances
(& so messages from particular sources within the chapel decor)?
Schmelzer does not suggest as much, but recall that similar claims
have been made regarding Machaut's Nostre Dame Mass.... A very
specific physical setting might have been involved (whereas writing
for a non-specific setting might have inspired on the Continent,
as manuscripts increasingly traveled). That said, and note that
Ashwell's six-voice setting is roughly contemporaneous with the
greatest cycles of Josquin & La Rue, not to mention to have
become a significant influence on John Taverner, and thus on the
post-Dissolution English musical world, his generation (the immediate
pre-Dissolution generation) seems to have taken this sense of
irrationality to its height.
(And note that, lacking the Kyrie,
English mass cycles start out with an unwieldy text, rather than
one more suitable for establishing motivic relations. So a style
yielding a sense of mysticism likely emerged from other constraints
as well, although once again, there are chicken & egg questions:
Which came first?)
In the generation prior, as represented on
The Liberation of the Gothic by the extended pieces by Browne,
the Eton Choirbook is relatively more rational — if lacking
the bass developments just noted. Indeed, Schmelzer makes an Obrecht
comparison himself, and that's where my mind went, to the antiphons
in particular. (I might also note a structural affinity to the
long mass cycles by Faugues, in e.g. Browne's extended Stabat
Mater: Phrases are linked similarly, although Browne injects
more variety, while Faugues develops some early textural climaxes.
And the structural foundation on the Continent allowed musicians
to build long-form climaxes — beyond simply shifting revelry
& in accord with a rhetorical impetus.)
Obrecht's soaring lines
do sound analogous, even if Obrecht's sense of structure becomes
apparent in the written score (& so subliminally to the ear?),
and moreover, one should probably associate "sensuality"
with Marian music more broadly.... Such a soaring style then yields
the even more filigreed & diversified settings of Ashwell et
al., such that the "ethereal" English sound, as beloved
by both the Restoration & twentieth century revival, begins to
appear — only to transform into the gritty, grounded Elizabethan
style. (And note that it was left to English consort music to
explore a subsequent fascination with bass....)
So all that said
(and the complexity of my textual interventions is probably confusing
too...), I do enjoy the Ashwell mass, although "intended to
confuse the listener" is not generally my preference. (But
frankly, why shouldn't it be? I've been fighting the overly
rationalized for years.... I still believe in actual teaching at
some point, though, not simply confusion!) Graindelavoix generally
provides excellent, energetic performances, and this is no exception.
Perhaps the result is too resonant, but then, maybe that's intentional
too. Does the music evoke the (invaginated?) intimacy of a lady
chapel? Does e.g. Ockeghem evoke (sensuous) physicality per se in
his relatively early Missa L'homme armé? Perhaps.
And specific music aside, thanks go to Schmelzer for provoking
thoughts on cross sensory modalities in these more specific historical
terms....
[7.9.2018]