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Composed by John Sheppard. Edited by Magnus Williamson. Library Volumes. Edited by Magnus Williamson. First published in 2012. Pages: 304. Format: Hardback. Dimensions (mm): 324 x 247 x 29. Choral Score. Stainer & Bell Ltd. #EC54. Published by Stainer & Bell Ltd. (ST.EC54).
ISBN 9790220222023.
This is an important addition to the pair of consecutive EECM volumes of John Sheppard's Latin compositions for the Use of Salisbury published in the 1970s. Although he had evidently mastered the forms of Mass and votive antiphon, the composer is at his most characteristic in his settings of the plainsong melodies which form the bedrock of the Sarum liturgy. These account for most of the contents of this volume, together with free-composed settings of Biblical texts and a small corpus of devotional polyphony, most of it fragmentary. In general, textural richness is cultivated in preference to long arcs of melisma, and perfect time is favoured over imperfect, creating a directness of expression that seems to typify mid-Tudor polyphony. The format of this volume follows EECM's house style for post-Reformation composers.
Composed by John Sheppard. Edited by Magnus Williamson. Library Volumes. Edited by Magnus Williamson. First published in 2012. Pages: 304. Format: Hardback. Dimensions (mm): 324 x 247 x 29. Choral Score. Stainer & Bell Ltd. #EC54. Published by Stainer & Bell Ltd. (ST.EC54).
ISBN 9790220222023.
This is an important addition to the pair of consecutive EECM volumes of John Sheppard's Latin compositions for the Use of Salisbury published in the 1970s. Although he had evidently mastered the forms of Mass and votive antiphon, the composer is at his most characteristic in his settings of the plainsong melodies which form the bedrock of the Sarum liturgy. These account for most of the contents of this volume, together with free-composed settings of Biblical texts and a small corpus of devotional polyphony, most of it fragmentary. In general, textural richness is cultivated in preference to long arcs of melisma, and perfect time is favoured over imperfect, creating a directness of expression that seems to typify mid-Tudor polyphony. The format of this volume follows EECM's house style for post-Reformation composers.
Preview: Hymns, Psalms, Antiphons & other Latin Polyphony
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