The art of music, Vol. 06 (of 14) : $b Choral and church musicCole, Rossetter G. (Rossetter Gleason)
History
The art of music, Vol. 06 (of 14) : $b Choral and church music
Cole, Rossetter G. (Rossetter Gleason)
Music -- History and criticism; Musicians
While the remarkable fermentation caused by Luther’s doctrines was
working such significant readjustments in the religious, intellectual,
and artistic life of Germany, with echoing responses in adjacent
continental countries, a similar movement of revolt and reconstruction
gathered headway in England, generated by the same fundamental causes
but starting some years later, and resulting in a complete separation
from Rome and in the establishment of the Church of England. But the
Anglican Church, like the Lutheran Church, did not stand upon a wholly
independent basis of its own. Both proclaimed themselves purifiers and
reformers, not destroyers, of the ancient church, hence both retained
a large portion of the liturgy of the parent church from which they
revolted. The Reformation in England, however, developed along quite
different lines from Luther’s energetic movement in Germany. On the
continent the revolt from Rome was from first to last a religious
movement; in England its first outward manifestation was political.
The incentive which led Henry VIII to break with Pope Clement VII was
not an unalterable religious conviction such as buttressed Luther at
the Diet of Worms, but was personal pique at the refusal of the Pope
to recognize the validity of his marriage with Anne Boleyn. In the
Act of Supremacy of 1534 the King and his successors were declared to
be ‘protector and supreme head on earth of the church and clergy of
England,’ but no doctrinal changes were involved and the immediate
result was merely a change in the name of the church. Yet Henry’s
secession soon had the result of forming a distinct line of cleavage
for those who had been secretly sympathizing with the religious ideals
of Luther and Zwingli on the continent and in whose Anglo-Saxon hearts
the right to independent thought and a liberated reason was deeply
cherished.
The real reconstruction of the liturgy for the new national Church in
conformity to fundamental Protestant doctrine began under Edward VI,
who authorized two forms of the Book of Common Prayer in succession
(1549 and 1552). In 1559 Elizabeth authorized a third form, which
remained in use for over a century. The revision of the Book of Common
Prayer in 1662 under Charles II practically completed the restatement
of doctrine begun by Edward VI.
The entire ritual of the Church of England is contained in this Book of
Common Prayer, and, as far as the ordinary congregational worship is
concerned, is divided into Matins and Evensong (or Morning Prayer and
Evening Prayer) and the office of Holy Communion. The ritual-music in
all three consists of chants, hymns, anthems, and certain free musical
settings of the canticles and other constant portions of the liturgy
technically called ‘services.’ In all matters of style and construction
the ‘service’ has closely followed the development of the anthem, the
early stages of which we shall now trace.
Public-domain text, read in full here on John Shaqi.
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