Then and now: Music in 1473 and 2023

The following article has been published as part of a series celebrating 550 years since St Catharine’s was founded in 1473.

St Catharine’s has for many years had one of the strongest musical traditions of the Cambridge Colleges. Appropriately, music will play an important role in the College’s 550^th anniversary celebrations, particularly around St Catharine’s Day on 25 November (the day the College was founded, also known as Commemoration Day).

In the midst of planning for these activities, we interviewed Dr Edward Wickham (2003), who is Director of College Music, Director of Studies in Music and Dean at St Catharine’s. We spoke to him about music at the time of the College’s foundation in 1473 and what to expect from Commemoration Day celebrations this year.

What is happening in music in England in 1473?

“The College’s foundation came during a tremendously exciting time in the history of music in Western music, a period that has come to be called ‘the Renaissance’. Theorists recognised that the Renaissance in music started in England, which was the leading player in musical innovation in Europe in the mid 15^th century. The reasons for this are bound up in politics: England had been a dominant power in Europe in the earlier part of the century; though, as English influence waned, so England adopted a more insular, isolated style of composition characterised by its virtuosity and exuberance.

“Despite any political differences, patrons and performers on the Continent couldn’t get enough of English music, which is lucky because it is largely only through European sources that we retain material from that period given the destruction associated with the Reformation and Interregnum on this side of the Channel.

 “English musical innovation is supported by rich institutions and benefactors investing in the education of choristers. You see this in English cathedrals at the time, but also at schools like Eton and Cambridge Colleges.”

What music would be recognisable for our founder Robert Woodlark?

“We presume the Fellows of Cambridge Colleges at the time were singing the traditional daily offices to chant. We know that the repertoire at King’s College, where Woodlark remained until 1479, varied massively: from chant-based and other simple pieces, to monumental works that last 15 minutes in performance. Most pieces were dedicated to Virgin Mary but there are also a considerable number venerating St Catharine. There are two pieces of choral music from this time that I’m most interested in, which I am looking forward to including as part of our Commemoration Day celebrations.

“The first is a long motet by a composer whose surname is Fawkner, which is dedicated to St Catharine – buried deep in the texture of this huge motet is a chant for St Catharine. Fawkner was at King’s College during the 1480s so I like to think this might have been a nod of acknowledgement to his neighbours. During the 1480s and 1490s, there are plenty of interactions between musicians at King’s and their counterparts at Eton. The motet is really challenging – a big piece for any performer – and we will showcase this at our regular Night Songs service in the Chapel at St Catahrine’s on Thursday 23 November, just before Commemoration Day.

“The second piece is a setting of the movements of the mass by Walter Frye.It typifies music written in honour of St Catharine and is based on the plainchant chant from the Office of St Catharine, ‘Nobilis et pulchra’.  Written just for three voices, I’m planning to include this as part of the Eucharist in the College Chapel on Sunday 26 November, which is open to all.

“Both pieces were included on our album ‘O Gemma Clarissima: Music in praise of St Catharine’, which was released with Resonus Classics in 2019.”

What are your highlights from this year so far?

“I like many of us at St Catharine’s was delighted when it was announced that an alumnus would be writing new music especially for the coronation. Nigel Hess (1971, Music; Honorary Fellow 2016) was commissioned to write ‘Be Thou my Vision –- Triptych for Orchestra’ with Roderick Williams and Shirley J. Thompson for the Coronation Orchestra. Nigel began the piece with an opening horn call inspired by the acoustics of Westminster Abbey which introduced a stirring rendition for the full orchestra.

“During the Easter vacation, I was able to accompany 18 members of the St Catharine's Girls' Choir to Dublin in April, where they performed recitals at the city’s Christ Church Cathedral and St Ann's Church. We narrowly missed out on crossing paths with President Biden during his tour of the city! And in early July the College Choir is off to Rome, at the invitation of the British School – whose director is our very own Fellow Professor Abi Brundin (2000). Mass in the Basilica of the Pantheon promises to be an unforgettable experience.”

Ahead of the Commemoration Day celebrations, what events are you looking forward to most?

“After Thursday’s Compline that I mentioned earlier, we will be mixing things up on Commemoration Eve! Led by alumnus Sandy Burnett (1983, Music), the jazz trio Tenor Madness will perform a constellation of pieces marking 400 years since the death of composer William Byrd on Friday 24 November. Tickets can be reserved on the Kellaway Concert page.

“Commemoration Day itself falls on Saturday 25 November. We will welcome alumna and acclaimed pianist Ivana Gavrić (1998, Music) for a lunchtime concert (tickets can be reserved on the Kellaway Concert page). The traditional Commemoration Service in the evening will be for Scholars and Fellows, who will be treated to revivals of pieces by alumni like JB Dykes, Nigel Hess and Professor Robert Saxton (1972, Music; Honorary Fellow 2015). And you can here Nigel Hess and Robert Saxton in conversation on Friday 17 November. These two distinguished composers were contemporaries at Catz and it will be fascinating to compare and contrast their careers in music.”