Early music often exists in niche realms, yet within these niches lie hidden gems. The Marian Consort's exploration of "Music from Renaissance Scotland" at Columbia University's Miller Theatre showcases the beauty and complexity of this musical era. Discover the Enchanting World of Early Music in Scotland
Popular Kids in Early Music
Within the niche of early music, there are the renowned composers like William Byrds and Josquins. These are the ones that often capture the attention. But there are also the obscure corners, composers known only by their names. Pockets of Europe where early music aficionados seldom venture. The Marian Consort's delve into one such sub-niche unearths treasures.Just imagine, in a Times Square church with excellent acoustics for a cappella choral music, an eight-member choir performing. Sitting close enough, one can pick out each singer's part. During a concert, conductor Rory McCleery led only seven singers in a Josquin des Prez piece. But then, a missing tenor's voice suddenly filled the church with a plainchant. It was a delightful surprise.
Scottish Renaissance Music Manuscripts
This "Benedicta" by Josquin is found in one of the few Scottish Renaissance-era music manuscripts that survived the Calvinist Reformation. It's ironic that while Christianity gave birth to much of this music, another sect almost wiped it out. The program also included Psalm settings by John Buchan and David Peebles. Buchan is a mystery, while Peebles is more well-known and his works are in the Wode Partbooks. These Psalm settings, with all parts moving in harmony, made the words clear and added a different flavor to the concert.They were easier for the singers too, as accurately singing one part among multiple others is a challenging feat. The celestial sound of the music was a testament to the singers' and director's skills. Seeing a small a cappella ensemble like this live reveals a deeper appreciation.
Anonymous Composers in Early Music
One of the most beautiful selections was the "Gloria" from an anonymous Missa Felix namque. McCleery suggested that the unknown composer was likely Scottish based on various musical influences. The Magnificat by this Anonymous also alternated plainchant and multipart harmonies, splitting the soprano and tenor parts for a total of six voices, highlighting their talents.The "Sanctus and Benedictus" from the same anonymous Missa was divine, with McCleery guiding the singers through dynamic changes. Glorious counterpoint activated another piece by Pierre Certon. The way each of the six voices landed on a specific syllable was a simple trope but a powerful reminder of the music's enduring allure.The program concluded with a composition by Johannes Lupi with amazing eight-part counterpoint. Amid the rich sound, there were a few oddball harmonies that added to the complexity. A canon by Certon served as a fitting encore, ending with a beautiful "Amen".For more on the Marian Consort, visit its website. For upcoming Miller Theatre events including the Early Music series, visit the Miller Theatre website.
