{"id":4051,"date":"2021-06-06T15:00:21","date_gmt":"2021-06-06T19:00:21","guid":{"rendered":"https:\/\/vpcathedral.chass.ncsu.edu\/?page_id=4051"},"modified":"2021-10-26T12:07:23","modified_gmt":"2021-10-26T16:07:23","slug":"the-music","status":"publish","type":"page","link":"https:\/\/vpcathedral.chass.ncsu.edu\/?page_id=4051","title":{"rendered":"The Music"},"content":{"rendered":"\n
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St Paul’s Cathedral, the Choir from Above<\/strong>. From the Visual Model, rendered by Austin Corriher.<\/figcaption><\/figure><\/div>\n\n\n\n

There are clearly continental influences on the English Renaissance composers and certainly we know that Byrd for instance, knew music by earlier composers Diamante and Gomber and so on, the rather more refined continental polyphony. But there’s certainly a more distinctive English style, harmonically, and the<\/strong><\/em> use of particularly, well like bluesy notes, the flattened seventh, the English cadence they’re called. And I think this progression is very clear from the very florid style of the earlier composers such as John Taverner and Christopher Tye in his Latin music but running through Tallis more of a transitional figure, perhaps, leading up to the more refined polyphony of Byrd. But to my mind it all reaches up to it’s glorious flowering in the slightly later composers Orlando Gibbons particularly, whose music just seems to me to be so mellifluous, so melodic. It’s sort of effortless in every sense, through to the more madrigalian composers such as Thompkins and Wilkes, who respond to the text in a perhaps more dramatic way than composers such as Gibbons and Byrd did do in their own time.<\/strong><\/em> [1]<\/sup><\/a>From an interview in 2003, go here: http:\/\/music.minnesota.publicradio.org\/features\/0401_st_pauls\/scott.shtml<\/span><\/span><\/span>