This year’s William Byrd Festival, organized by the celebrated polyphonic ensemble Cantores in Ecclesia, commenced on August 1st, highlighting a unique theme in its repertory.
For the first time, every piece performed will feature English lyrics, a deliberate departure from the ensemble’s traditional selection of Latin compositions.
Kerry McCarthy, a member of Cantores in Ecclesia and an esteemed scholar of English Renaissance music, emphasizes the significance of this choice, stating, “Every word of it is in English.”
This year’s festival not only honors the works of William Byrd but also showcases the music of Orlando Gibbons, a contemporary of Byrd who composed for King James I’s court at a young age.
In his program notes, McCarthy describes Gibbons as a “ruthless self-promoter” who earned recognition through his various royal duties, including composing for the king’s new violins and playing the harpsichord in royal chambers.
As this year marks the 400th anniversary of Gibbons’ passing at the age of 41, Cantores in Ecclesia will perform nine of his anthems along with works from fellow English Renaissance composer Thomas Tomkins, culminating in Byrd’s Great Service for ten-part double choir during the festival’s closing concert and evensong.
Cantores in Ecclesia’s director, Blake Applegate, notes Gibbons’ exceptional music might not be as widely recognized as Byrd’s, but it possesses unique qualities worth exploring.
The festival’s theme revolves around the “golden age” of English sacred music, highlighting Gibbons’ career, which took place in a period of relative stability and religious tolerance in England following the tumultuous Reformation and the establishment of the Anglican Church.
Unlike Byrd, who predominantly wrote in Latin, Gibbons focused solely on English compositions, thereby making sacred texts accessible to everyday English audiences.
McCarthy elaborates that Byrd’s style echoes medieval traditions, while Gibbons innovated by moving forward in his approach.
According to Applegate, Gibbons’ music possesses a style that is both “complex but clear,” differing from many Latin works.
Caroline Hill, an alto in Cantores in Ecclesia, shares her excitement regarding the challenge of singing Renaissance English works, stating that moving away from Latin, which has become ‘second nature’ for the ensemble, brings a refreshing experience.
The choir comes to this year’s festival with renewed energy and a sense of unity after returning from their first international tour in two decades.
In June, Cantores in Ecclesia embarked on a transformative 10-day tour of Eastern Europe, performing in renowned locations such as Prague, Krakow, and Budapest.
Throughout this tour, the choir held three concerts and participated in three Masses across historic venues, including St. Peter and Paul Basilica, St. Vitus’ Cathedral, St. Catherine’s Church, and Matthias Church.
Applegate reflects on how performing in these grand settings can be an almost transcendent experience, noting the profound emotional impact found in the liturgical services.
Responses from audiences were exceedingly positive, with several churches expressing a sincere interest in hosting the choir again after their moving performances, particularly during Mass.
Among the notable pieces featured during the tour were “Missa Brevis” by Zoltán Kodály, Byrd’s “Cibavit Eos,” and works by Giovanni Palestrina, as well as contemporary composers like Cecilia McDowall and Olivier Messiaen.
Hill identifies a standout moment from the tour in Krakow, where the choir performed the “Kyrie” from Josef Rheinberger’s Mass for double choir.
She describes how the warmth and generosity of the congregation created an atmosphere of connection, even prompting spontaneous applause from attendees after the choir’s performance.
During a rehearsal at St. Catherine’s Church, singer Nancy Pole-Wilhite recalls an elderly gentleman who stood enraptured by the choir’s performance, creating a deeply emotional moment for the singers present.
Pole-Wilhite, who also served as the tour manager for Cantores in Ecclesia, has accompanied the choir on its tours since its inception in 1987 when they performed before Pope John Paul II in Rome.
On average, the choir has toured every four years across various countries, including Mexico, Spain, the United Kingdom, and France.
Applegate notes that these tours serve a vital purpose in expanding the audience reach for Cantores in Ecclesia, which operates separately from a church despite performing in religious settings.
The choir’s dedication to preserving Gregorian chant and sacred music is integral to its mission, particularly following the hiatus caused by the COVID-19 pandemic and rising travel costs, which challenged future tour plans.
A key factor enabling this tour was the financial support of an anonymous donor who covered all expenses, highlighting the spirit of Renaissance patronage of the arts described by McCarthy.
McCarthy posits that this type of patronage reflects the values of composers like Byrd and Gibbons, showcasing a commitment to supporting music without seeking recognition in the form of named buildings or banners.
Having completed six performances in eight days during their tour, Cantores in Ecclesia aims to channel the heightened energy and communal understanding gained from this experience into their performances at the Byrd Festival.
With a renewed passion and connection to the music they sing, Hill expresses the excitement of the choir as they prepare for their upcoming performances at this significant festival.
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