Robert FAYRFAX (1464-1521)
Music for Tudor Kings and Queens
Ensemble Pro Victoria/Toby Ward
rec. 8-10 March 2021, St. Brandon’s Church, Branchpeth, UK
DELPHIAN DCD34265 [67:07]
October 24 was the five hundredth anniversary of the death of Robert Fayrfax. The mere fact that we know his date of birth and precise date of death is proof that not only was he a highly regarded musician of his age but that he moved in the highest of circles. He was a member of the aristocracy, related – via a few winding paths – to Margaret Beaufort, the mother of Henry VII. In 1497, Fayfax joined Royal service as a member of the Chapel Royal.
Much of his sacred music appears in the famed Eton Choirbook, as does the first piece here, Magnificat Regale. The performance has especially unique features. In common with his contemporaries, Fayrfax only sets polyphony for the even-numbered verses; the others are normally sung to a plainchant. The Ensemble Pro Victoria (new to me, and to Delphian, it seems) sing the odd-numbered verses rhythmically to first inversion chords in a sort of fauxbourdon. Next: the tempo is lively, even energetic. The performance by Cardinall’s Musick led by Andrew Carwood (ASV GAU 185) lasts two minutes longer, and The Choir of Christ Church Cathedral Oxford (Avis 2376) takes an unbelievable six minutes more. This tempo helps retain interest, and facilitates breathing and phrasing for the singers. I feel instinctively that they are quite right.
The five-part Salve Regina, said to be an apprentice work, is handled thoughtfully, with suitably contrasting tempi. For example, it relaxes beautifully for the lengthy two-part section starting with ‘Virgo clemens’. Later, for the complex and spikey counterpoint in the section ‘spinis puncto’, it is excitingly lifted but then slackens for the ethereal ending of ‘O dulcis, salve’. It is all very effective, and takes a minute and a half less than The Cardinall’s Musick (ASV GAU 164).
Magnus Williamson’ extensive and detailed notes go into detail about the Missa Sponsus amat sponsam. This mass survives in a dismembered form in various East Anglian manuscripts, and so far has been unrecorded. We hear only the Credo, but this is sufficient to agree with Williamson that its elaborate melismas and counterpoint seem to point to a special event, like the suggested marriage of Henry VIII to Catherine of Aragon in 1509. The plainchant on which it is based is set for the feast of St. Catherine. Williamson himself and Roger Bray, also using a contemporary lute intabulation, have achieved the reconstruction. Toby Carr therefore doubles the voices on the lute.
Ave Lumen gratiae (a premiere recording) is another reconstruction: a four-part motet for male voices. Williamson writes that the loss of a leaf in the Eton Choirbook made his intervention necessary. The counterpoint is convincingly vigorous and the text, in honour of the Virgin, is keenly communicated.
Maria plena virtute, a motet (or anthem, as Williamson likes to call these works), has a text which might remind listeners of the Stabat Mater, reflecting, as it does, on the sorrows of the Virgin. The occasional conversation between mother and son is emphasised by sectionalising the text between male and female voices more than might be usual. The piece gets a spacious and expressive performance, even if it clocks in at two minutes quicker than
The Cardinall’s Musick (CDA GAU 145).
Here is another unique feature of this disc: for the first time, Fayrfax’s secular works, all nine of them, are here, performed vocally. These are most attractive ‘madrigals’ (although the term should not really apply at that period). They are most commonly found in the so-called Fayrfax manuscript of c.1500. It is associated, significantly, with the court of Henry VII, alongside other composers now little known, such as Edmund Turges and William Newark.
It may be exciting to perform the sacred works at a brisk tempo but these little songs can need a much more sensitive approach. I was especially disappointed by I love, loved compared with The Cardinall’s Musick’s more thoughtful approach. Ensemble Pro Victoria do not always convincingly respond to the subtleties of the text. In addition, the vibrato in most of the voices can be rather obtrusive in such delicate secular songs. It also occurs in some of the sacred works, which is a surprise with such young singers. The other songs, however, fare better and the tempi are always flowing and evenly paced.
After spending quite some time with Fayrfax, I still think that his sacred music can be felt as rather detached and inscrutable, especially when compared with such composers as the great John Browne and William Cornysh, who are often more emotionally charged. But Fayrfax gave his secular works a personal sensibility and charm like no one else of his time.
I am not really sure if the acoustics of St. Brandon’s Church in Branchpeth quite help these singers, especially in the sacred works. The church was severely damaged by fire in 1998. As can be seen in a booklet photograph of the socially-distanced singers, it has been much modernised. Even so, it does not exude an entirely happy resonance required for this repertoire, although is possibly more suitable for the more intimate secular pieces.
All sung texts are given. Henry Howard has beautifully translated the Latin texts.
Gary Higginson
Previous review: John Quinn
Contents
Magnificat Regale [12:37]
Benedicte ! What dremyd I [2:02]
Alas, for lak of her presens [1:50]
Most clere of colour [1:34]
Missa Sponsus amat sponsum-Credo [5:43]
I love, loved and loved wolde I be [1:53]
Soumwhat musyng [2:57]
Ave lumen gratiae [8:00]
That was my woo [2:18]
Salve Regina [11:25]
To compalyne me, alas [3:02]
Maria plena virtute [13:38]
