Table Of ContentNJ455 - 01prelims 8/11/05 10:28 am Page i
‘To fill, forbear, or adorne’
This is the first study to provide a systematic and thorough
investigation of continuo realization styles appropriate to Restoration
sacred music, an area of performance practice that has never previously
been properly assessed. Rebecca Herissone undertakes detailed
analysis of a group of organ books closely associated with the major
Restoration composers Purcell, Blow and Humfrey, and the London
institutions where they spent their professional lives. By investigating
the relationship between the organ books’ two-stave arrangements and
full scores of the same pieces, Herissone demonstrates that the books
are subtle sources of information to the accompanist, not just short or
skeleton scores. Using this evidence, she formulates a model for
continuo realization of this repertory based on the doubling of vocal
parts, an approach that differs significantly from that adopted by most
modern editors, and which throws into question much of the accepted
continuo practice in modern performance of this repertory.
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ROYALMUSICALASSOCIATION MONOGRAPHS
General Editor: Mark Everist
This series is supported by funds made available to the Royal Musical
Association from the estate of Thurston Dart, former King Edward
Professor of Music at the University of London. The editorial board is
the Publications Committee of the Association.
No. 1: Playing on Words: AGuide to Luciano Berio’s Sinfonia(1985)
by David Osmond-Smith
No. 2: The Oratorio in Venice (1986) by Denis and Elsie Arnold
No. 3: Music for Treviso Cathedral in the Late Sixteenth Century: A
Reconstruction of the Lost Manuscripts 29 and 30 (1987) by
Bonnie J. Blackburn
No. 4: The Breath of the Symphonist: Shostakovitch’s Tenth (1988) by
David Fanning
No. 5: The Song of the Soul: Understanding Poppea (1991) by Iain
Fenlon and Peter Miller
No. 6: The Impresario’s Ten Commandments: Continental Recruit-
ment for Italian Opera in London 1763–64 (1992) by Curtis
Price, Judith Milhous and Robert D. Hume
No. 7: Institutional Patronage in Post-Tridentine Rome: Music at
Santissima Trinità dei Pellegrini 1550–1650 (1995) by Noel
O’Regan
No. 8: Latin Poetry and Conductus in Medieval France (1997) by
Christopher Page
No. 9: Orientalism, Masquerade and Mozart’s Turkish Music (2000)
by Matthew Head
No. 10: ‘Composing with Tones’: AMusical Analysis of Schoenberg’s
Op. 23 Pieces for Piano (2001) by Kathryn Bailey
No. 11: Szymanowski, Eroticism and the Voices of Mythology (2003)
by Stephen Downes
No. 12: Salomon and the Burneys:Private Patronage and a Public
Career (2003) by Ian Woodfield
No. 13: Repetition in Music: Theoretical and Metatheoretical
Perspectives (2004) by Adam Ockelford
No. 14: ‘To fill, forbear, or adorne’: The Organ Accompaniment of
Restoration Sacred Music (2006) by Rebecca Herissone
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ROYALMUSICALASSOCIATION
MONOGRAPHS
14
‘To fill, forbear, or
adorne’
The Organ Accompaniment of
Restoration Sacred Music
REBECCAHERISSONE
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First published2006 by Ashgate Publishing
Published 2016 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017, USA
Routledge is an imprintof the Taylor & Francis Group, an informa business
Copyright © 2006 Rebecca Herissone
Rebecca Herissone has asserted her right under the Copyright, Designs and
Patents Act, 1988, to be identified as the author of this work.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in any
information storage orretrieval system,without permission in writing from
the publishers.
Notice:
Product or corporate names may be trademarks or registered trademarks, and are
used onlyfor identification and explanation without intent to infringe.
British Library Cataloguing in Publication Data
Herissone, Rebecca
‘To fill, forbear, or adorne’: the organ accompaniment of Restoration sacred
music. – (Royal Musical Association monographs)
1. Organ music, Arranged – England – 17th century – History and criticism
2. Church music – England – 17th century 3. Musical accompaniment –
England – 17th century
I. Title II. Royal Musical Association
786.5'143'1713
Library of Congress Cataloging-in-Publication Data
Herissone, Rebecca.
‘To fill, forbear, or adorne’: the organ accompaniment of Restoration sacred
music / Rebecca Herissone.
p. cm. – (Royal Musical Association monographs ; 14)
Includes bibliographical references (p. ).
ISBN 0-7546-4150-3 (alk. paper)
1. Church music – England – 17th century. 2. Musical accompaniment –
England – 17th century. 3. Organ music, Arranged – England – 17th century –
History and criticism. I. Title. II. Series: Royal Musical Association
monographs ; no. 14.
ML3131.2.H37 2005
781.71'3'0094209032–dc22
2005005885
ISBN 9780754641506 (hbk)
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Contents
List of Figures and Tables vi
List of Musical Examples vii
Preface x
ANote on the Transcriptions xiv
Abbreviations xv
Introduction 1
The comments of Roger North 9
Organ books associated with London sacred institutions 12
Anote about anthems with strings 15
1 The Principal Characteristics of Restoration Organ Books 19
Doubling the inner parts 22
Figuring 32
Number of voices played 41
2 Alteration and Addition of Material 48
Adaptation of doubled vocal lines 48
Independent material added to vocal sections 53
3 Distinctions between Different Genres and Sections 60
Service settings, full anthems and verse anthems 60
Choruses, ensemble verses and solos 61
Ritornelli 67
4 Incomplete Right-Hand Parts and Figured-Bass Parts 70
5 The Unusual Case of Matthew Locke 76
‘How doth the city sit solitary’ 76
Locke’s style of accompaniment in context 85
Conclusions 111
Appendix: Matthew Locke’s ‘How doth the city sit solitary’ 122
Bibliography 132
Index 136
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List of Figures and Tables
figures
1 Extract from Blow’s autograph organ part for ‘Lord,
remember David’, Mp 35, f. 2r–v. Reproduced by permission
of the Henry Watson Music Library, Manchester 24
2 Opening of Church’s organ part for Clarke’s anthem ‘I will
love thee’, Cfm 152, f. 15v. Reproduced by permission of
The Fitzwilliam Museum, Cambridge 74
3 First page of Locke’s organ part for ‘How doth the city’,
Och 1219(D). Reproduced by permission of The Governing
Body of Christ Church, Oxford 77
tables
1 List of stops included in the specification for St Paul’s
Cathedral organ completed in 1697 by Bernard Smith 45
2 Structure of Locke’s anthem ‘How doth the city’ 78
3 Structure of Rogers’s anthem ‘Bow down thine ear, O Lord’ 102
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List of Musical Examples
1 Extract from the Te deum from the Service in Aby John Blow:
(a) autograph organ part, Cfm 116, p. 18; (b) full score, Lbl
K.9.b.9 (5), ff. 19v–20 20
2 Extract from Purcell’s ‘It is a good thing to give thanks’:
(a) organ part, in the hand of John Blow, Mp 35, f. 8v; (b) full
score, in the hand of John Gostling, AUS 85, p. 68 (front end
of MS) 21
3 Extract from Blow’s ‘Bring unto the Lord’: (a) autograph organ
part, GB-Mp 35, f. 10, showing omission of parallel thirds;
(b) full score in Gostling’s hand in AUS 85, p. 185 (front end) 23
4 Extract from Humfrey’s ‘Hear my crying’: (a) organ part in
Gostling’s hand, Ob T 1180, p. 89, showing parallel thirds;
(b) full score in Blow’s hand, Och 628, p. 72 26
5 Humfrey’s Nunc dimittis, from Service in E minor: (a) opening
of the autograph organ part, Cfm 152, p. 127; (b) full score, in
the hand of William Isaack, Cfm 117, p. 224 (reverse end) 27
6 Extract from Purcell’s Funeral Sentences: (a) copied by Blow
in Mp 35, f. 5; (b) full score copied by Gostling in AUS 85,
p. 188 (reverse end) 28
7 Extract from Blow’s full anthem ‘Praise the Lord, O my soul’:
(a) autograph organ part, Cfm 116, p. 155; (b) vocal parts, in
the hand of Gostling, Ob T 1176–9, pp. 34 (Medius Decani), 35
(Contratenor Cantoris), 33 (Tenor Cantoris) and 35 (Bassus
Cantoris) 30
8 Extract from Blow’s ‘Bring unto the Lord’: (a) autograph organ
part in Mp 35, f. 10v; (b) full score in Gostling’s hand in AUS
85, p. 188 (front end) 32
9 Extract from Blow’s ‘Thy mercy, O Lord’: (a) autograph organ
part, Mp 35, f. 12v; (b) full score, in the hand of Gostling,
AUS 85, p. 63 (front end) 35
10 Extract from Blow’s ‘Lift up your heads’: (a) Gostling’s organ
part, Ob T 1180, p. 6; (b) autograph full score, Bu 5001, f. 111 36
11 Extract from Purcell’s ‘It is a good thing to give thanks’:
(a) Blow’s organ part, Mp 35, f. 8v; (b) full score, in the hand of
Gostling, AUS 85, p. 69 (front end) 37
12 Extract from Blow’s ‘Lift up your heads’: (a) Gostling’s organ
part, Ob T 1180, p. 5; (b) autograph score, GB-Bu 5001, f. 110 40
13 Extract from Blow’s ‘God is our hope and strength’: (a) the
opening of Purcell’s organ part, Och 554, f. 3; (b) full score, in
the hand of Gostling, AUS 85, p. 17 (reverse end) 42
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‘To fill, forbear, or adorne’
14 Extract from Blow’s ‘Praise the Lord, O my soul’: (a) autograph
organ part, Cfm 116, p. 155; (b) vocal parts, in the hand of
Gostling, Ob T 1176–9, pp. 34 (Medius Decani), 35
(Contratenor Cantoris), 34 (Tenor Cantoris) and 35 (Bassus
Cantoris) 44
15 Extract from Blow’s anthem ‘O God, wherefore art thou
absent’: (a) Gostling’s organ part, Cfm 669, p. 14; (b)
Gostling’s full score, AUS 85, p. 15 (reverse end) 50
16 Extract from Blow’s ‘Lord, how are they increased’:
(a) autograph organ part, Cfm 152, f. 19; (b) full score, in
the hand of John Gostling, AUS 85, pp. 46–7 (reverse end) 51
17 Extract from Turner’s ‘O praise the Lord’: (a) Gostling’s organ
part, Ob T 1180, p. 388; (b) full score of the first version, in the
hand of James Hawkins, Lbl Add. 31445, f. 95v 52
18 Extract from Purcell’s ‘The way of God’: (a) Blow’s organ
part, Mp 35, f. 3v; (b) full score, in the hand of Gostling,
AUS 85, p. 96 (reverse end) 55
19 Extract from Purcell’s ‘Praise the Lord, O my soul’: (a) Blow’s
organ part, Mp 35, f. 7v; (b) full score, in the hand of Gostling,
AUS 85, p. 112 (front end) 56
20 Extract from Blow’s full anthem ‘My God, my God’:
(a) Gostling’s organ part, Cfm 669, p. 8; (b) Blow’s autograph
full score, Lbl Add. 30932, p. 462; (c) Blow’s autograph organ
part, Cfm 116, p. 220 57
21 Extract from Humfrey’s ‘Hear my crying, O God’: (a)
Gostling’s organ part, Ob T 1180, p. 86; (b) Blow’s full score,
Och 628, pp. 64–5 58
22 Extract from Purcell’s ‘The way of God’: Gostling’s full score,
AUS 85, p. 97 (reverse end) shown on top system; Blow’s organ
part, Mp 35, ff. 3v–4 shown in middle system; editorial realization
based on Blow’s organ part shown on bottom system 64
23 Purcell’s ‘Praise the Lord, O my soul’: (a) ritornello from Blow’s
arrangement, Mp 35, f. 7v; (b) extract from full score, in the
hand of Gostling, AUS 85, p. 113 (front end) 68
24 Extract from Gostling’s organ part for (a) Blow’s ‘Blessed be
the Lord’, showing three- and four-part ritornello; Ob T 1180,
p. 24; (b) Blow’s ‘I will hearken’, showing two-part ritornello
with figures, Ob T 1180, p. 98 69
25 Opening verse of Locke’s anthem ‘Lord, let me know mine
end’: AUS 85, p. 5 (reverse end) shown on top system; Lbl
27.a.13, p. 92 shown below 89
26 Alto and bass section of ‘And now, Lord’ from Locke’s anthem
‘Lord, let me know mine end’: AUS 85, p. 6 (reverse end)
shown on top system; Lbl 27.a.13, p. 92 shown below 92
27 Verse ‘Wherefore shall the heathen say’ from Locke’s anthem
‘Not unto us, O Lord’: AUS 85, p. 154 (reverse end) shown on
top system; Lbl 27.a.13, p. 42 shown below 93
viii
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List of Musical Examples
28 Verse ‘The dead shall not praise thee, O Lord’ from Locke’s
anthem ‘Not unto us, O Lord’: AUS 85, p. 157 (reverse end)
shown on top system; Lbl 27.a.13, p. 43 shown below 95
29 Solo bass verse section, ‘For thou, Lord, art good and gracious’,
from Benjamin Rogers’s ‘Bow down thine ear, O Lord’:
(a) organ part, Lbl Add. 30834, f. 15v; (b) autograph full score,
Och 21, p. 168 103
30 Solo treble verse section, ‘Give ear, O Lord’, from Rogers’s
‘Bow down thine ear, O Lord’: (a) organ part, Lbl Add. 30834,
f. 15v; (b) autograph full score, Och 21, p. 168 104
31 Opening two-part verse from Rogers’s organ part for ‘Bow
down thine ear, O Lord’: Och 21, p. 166 shown on top system;
Lbl Add. 30834, f. 16vshown below 105
ix
