Cappella Nova - The Complete Works of Robert Carver Volume One

ROBERT CARVER
(c.1484/5 - AFTER 1568)

1. Motet 0 Bone Jesu for nineteen voices
   (ed. Kenneth Elliot) - 12.18
   
   Mass Dum Sacrum Mysterium for ten voices
   (ed. Muriel Brown)
2. Gloria - 7.24
3. Credo - 6.51
4. Sanctus - Benedictus - 9.21
5. Agnus Dei - 11.05



6. Motet Gaude Flore Virginali for five voices
   (ed. Kenneth Elliot) - 9.36
   

The motet 0 bone Jesu for nineteen voices represents the composer's handling of large-scale vocal resources at a mature stage of his development, dating perhaps from the early 1520s. The glorious nineteen-part sections provide a double framework for two extended but constantly fluctuating interludes for fewer voices in an astonishing variety of textures. In the full sections the emphasis on the word "Jesu" is a feature of the motet. There is little or no imitation between the parts, apart from that of small details in the texture, and the writing consists, perhaps justifiably. of little more than animated chords. In the solo sections there are more sustained passages of imitation rhythmically animated chordal styles and free decorative counterpoint. Carver's fine motet was very likely composed for the Feast of the Holy Name of Jesus, which originated towards the end of the fifteenth century and was instituted by private authority of some bishops In certain countries, including Scotland.

The Mass Dum sacrum mysterium for ten voices has conflicting dates of composition of 1506/08/11/13 perhaps referring to a date of inception and dates of subsequent performances. The earliest, 1506, is reinforced by the new documentary evidence mentioned above; and 1513 gives strong support to my suggestion that this Mass accompanied the Coronation of the infant King James V at Stirling in that year, soon after the disastrous battle of Flodden. The Mass uses as its cantus firmus the plainsong antiphon at the Magnificat in the feast of the dedication of St Michael the Archangel, and it could have been considered particularly appropriate with its possible symbolism in the figure of St Michael, leader of the heavenly host.

Among Carver's earlier Masses this one is undoubtedly the grandest in scope, the most extended in development, and the richest in detail. It is conceived according to the well-established practice of alternating clearly defined sections for different numbers of voices and those in duple and triple time. In the full sections free, florid counterpoint is the dominant style, imitation appearing in the detail of stepwise semiquaver figuration. In the solo sections for smaller combinations of voices there is a variety of textures, perhaps the most striking being a prophetically simpler chordal style, eg in the "Et incarnatus est" section of the Credo, and even imitation of a more structural nature, eg in the "gloria tua" section of the Sanctus.

Carver's motet Gaude flore virginali^† for five voices is a setting of a text in honour of the Blessed Virgin Mary. Formally similar to the arrangement of Mass sections alternating full and solo, it is undoubtedly a later work, perhaps of about 1515. Full sections are markedly less florid than those of the Mass for ten voices and are often written in slow-moving harmonies; in some of the solo sections there is also a new and perhaps original technique of lightly duetting and interweaving upper voices over a stationary bass; and there is one brief but effective appearance of sustained imitation towards the end involving all five voices. The most remarkable feature of this work is Carver's extraordinarily adventurous modulations that take us from a basic mode on F into such remote 'keys' as A flat ("Gaude splendens") with even D-flat chords ("Gaude mater").