Huelgas Ensemble | Paul Van Nevel.
Ephemeris of Renaissance composers [II] | Beginning without end.
Andrew Wathey wrote about this composer:
«English composer. He was appointed parish clerk at Eton College in 1496, and may possibly have been a scholar there [one of probably two Wylkynsons who were Eton scholars in the early 1490s]; he was a singing clerk in 1499 and informator choristarum c1500–15, serving as Constable of Eton in 1502 and witnessing the will of the College's Purser, William Tawnton, in 1506. He may have died c1515; alternatively, he may have left the College to seek ordination. A Dominus Robert Wilkinson [d 1538] was instituted rector of Haddenham in June 1519 by the Prior and Chapter of Rochester. Nine pieces by Wilkinson were included in the Eton Choirbook [GB-WRec 178; ed. in MB, x–xii, 1956–61], of which one is incomplete, three survive only as fragments and two are lost. Seven of these appear in the main layer of the manuscript; two were added later, possibly by Wilkinson himself.
Wilkinson's five-voice Salve regina and incomplete four-voice Gaude virgo may be among his earlier surviving works. His massive nine-voice Salve regina, based on the plainsong cantus firmus Assumpta est Maria in celum, is an important example of the large-scale sonorous style cultivated by English composers during the early 16th century. Also in this tradition is the 13-voice canon Jesu autem transiens/Credo in deum, a setting of the Apostles' Creed prefaced by a fragment of plainsong. Both works incorporate verbal canons: these may offer some insight into the composer's learning or perhaps reveal a predilection for intricate devices and puzzles, as may the elaborate depiction of the nine orders of angels in the initial letters of the nine-voice Salve in the Eton manuscript. Wilkinson's Credo was copied, c1580–1606, by John Baldwin into his commonplace book [GB-Lbl R.M.24.d.2] as a curiosity. In O virgo prudentissima Wilkinson set a poem written by Angelo Poliziano in 1493, taken perhaps from the latter's Opera omnia [Venice, 1498]. His Salve decus castitatis was included in a choirbook recorded in an inventory of books at King's College, Cambridge, in 1529.»
John Milson wrote about this piece:
«In Robert Wylkynson’s Jesus autem transiens, the most bizarre work in the Eton Choirbook, the central tenets of Christian belief are rehearsedthrough the words of the Apostles’ Creed: ‘I believein God the Father Almighty, Maker of heaven andearth’. But this is no ordinary setting of the Creed.The text is divided into twelve segments, preceded bya thirteenth line, ‘Jesus autem transiens’ [‘Jesus thenpassing through (their midst)’]. This is notated as asingle melodic line. To perform the piece, thirteenmale voices sing the music in canon: first a solo voice intones the opening segment; then asecond voice enters, while the first voice moves on tothe second segment; and so on, until thirteen voicesare in play and all thirteen segments soundsimultaneously. The net effect is a harmonious chaos;but the sound is subservient to the work’s symbolicrepresentation of Christ surrounded by his twelve apostles. Through it the medieval listenercould more vividly imagine part of the divine orderthat rested on those pillars of eternity.»
Enjoy it this wonderful music without end in the amazing performance of Paul Van Nevel and his Huelgas Esemble, in an extraordinary mixture between English and north-continental voices.
Ephemeris of Renaissance composers [II] | Beginning without end.
Andrew Wathey wrote about this composer:
«English composer. He was appointed parish clerk at Eton College in 1496, and may possibly have been a scholar there [one of probably two Wylkynsons who were Eton scholars in the early 1490s]; he was a singing clerk in 1499 and informator choristarum c1500–15, serving as Constable of Eton in 1502 and witnessing the will of the College's Purser, William Tawnton, in 1506. He may have died c1515; alternatively, he may have left the College to seek ordination. A Dominus Robert Wilkinson [d 1538] was instituted rector of Haddenham in June 1519 by the Prior and Chapter of Rochester. Nine pieces by Wilkinson were included in the Eton Choirbook [GB-WRec 178; ed. in MB, x–xii, 1956–61], of which one is incomplete, three survive only as fragments and two are lost. Seven of these appear in the main layer of the manuscript; two were added later, possibly by Wilkinson himself.
Wilkinson's five-voice Salve regina and incomplete four-voice Gaude virgo may be among his earlier surviving works. His massive nine-voice Salve regina, based on the plainsong cantus firmus Assumpta est Maria in celum, is an important example of the large-scale sonorous style cultivated by English composers during the early 16th century. Also in this tradition is the 13-voice canon Jesu autem transiens/Credo in deum, a setting of the Apostles' Creed prefaced by a fragment of plainsong. Both works incorporate verbal canons: these may offer some insight into the composer's learning or perhaps reveal a predilection for intricate devices and puzzles, as may the elaborate depiction of the nine orders of angels in the initial letters of the nine-voice Salve in the Eton manuscript. Wilkinson's Credo was copied, c1580–1606, by John Baldwin into his commonplace book [GB-Lbl R.M.24.d.2] as a curiosity. In O virgo prudentissima Wilkinson set a poem written by Angelo Poliziano in 1493, taken perhaps from the latter's Opera omnia [Venice, 1498]. His Salve decus castitatis was included in a choirbook recorded in an inventory of books at King's College, Cambridge, in 1529.»
John Milson wrote about this piece:
«In Robert Wylkynson’s Jesus autem transiens, the most bizarre work in the Eton Choirbook, the central tenets of Christian belief are rehearsedthrough the words of the Apostles’ Creed: ‘I believein God the Father Almighty, Maker of heaven andearth’. But this is no ordinary setting of the Creed.The text is divided into twelve segments, preceded bya thirteenth line, ‘Jesus autem transiens’ [‘Jesus thenpassing through (their midst)’]. This is notated as asingle melodic line. To perform the piece, thirteenmale voices sing the music in canon: first a solo voice intones the opening segment; then asecond voice enters, while the first voice moves on tothe second segment; and so on, until thirteen voicesare in play and all thirteen segments soundsimultaneously. The net effect is a harmonious chaos;but the sound is subservient to the work’s symbolicrepresentation of Christ surrounded by his twelve apostles. Through it the medieval listenercould more vividly imagine part of the divine orderthat rested on those pillars of eternity.»
Enjoy it this wonderful music without end in the amazing performance of Paul Van Nevel and his Huelgas Esemble, in an extraordinary mixture between English and north-continental voices.
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