WilliamByrdV1, Main, Corpus, bibRecord, 000073

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Philips's 1628 Paradisus and the triumph of the Eucharist

Identifieur interne : 000073 ( Main/Corpus ); précédent : 000072; suivant : 000074

Philips's 1628 Paradisus and the triumph of the Eucharist

Auteurs : Kerry Mccarthy

Source :

Renaissance Studies [ 0269-1213 ] ; 2011-06.

RBID : ISTEX:4F16A77A5B8BA97DB7F4F63A4C2E8DBC95C247E9

English descriptors

Entity :
- org : Blackwell Publishing Ltd, Duke University, East India Company, Society for Renaissance Studies.
- pers : Albert, Christopher Hatton, Continuo, David J. Smith, Edwin Henson, François de Rye, Henry Garnet, Henry Howard, Ian Wood, Isabella, Jan Raes, John Gerard, John Harley, John Steele, Jules Chif, Kerry McCarthy, King Philip, Laura Macy, Lionel Pike, P. Joanne, Paul Rubens, Peacham, Peter Philips, Peter Phillips, Petrus Philippus, Philips, Pike, Queen Elizabeth, Richard Stanihurst, Solo Voice, Thomas Birdus, Thomas Morley, Tim Carter, William Byrd, William Stanley.
- place : Antwerp, Brussels, Dublin, England, Europe, India, Ireland, Madrid, Netherlands, Palestrina, Rome, St Gudula, St Ildefonso, Valladolid, West Indies.
Teeft :
- Admiranda christi dignatio, Antwerp, Archduke, Aula sacra principum belgii, Basso continuo, British library, Brussels, Brussels court, Catholic record society, Church fathers, Compleat gentleman, Conservative tendencies, Corpus christi, Descalzas reales, Divini amoris immensitas, English catholic, English contemporaries, Eucharist, First english, Fons vitae, Good deal, Hebdomada, Hebdomada eucharistica, Holy sacrament, Isabella, John steele, Kerry, Kerry mccarthy, Last collection, Lionel pike, Motet, Musical instruments, Paradisus, Paradisus sacris cantionibus consitus, Paul rubens, Queen elizabeth, Real presence, Real presence altarpiece, Renaissance studies, Revue belge, Richard stanihurst, Rubens, Sitio domine, Stanihurst, Title page.

Abstract

Peter Philips (1560/61–1628) was among the first English composers to embrace the musical style of the Italianate Baroque. His Paradisus sacris cantionibus consitus, printed during his final year at the Brussels court of the Archdukes Albert and Isabella, is a large collection of accompanied monodies, duets and trios, a number of them lavishly ornamented. Some of the texts he sets in this book are drawn from the common stock of post‐Tridentine devotion, but others are lengthy eucharistic meditations, unusual and at times rather overwrought. Most of these latter texts can in fact be traced to a devotional book (Hebdomada eucharistica) published a decade earlier in Brussels by one of Philips's fellow English‐speaking exiles at the archducal court, the chaplain and theologian Richard Stanihurst. Philips's musical settings, dedicated to Albert and Isabella's almoner Francis de Rye, took shape in an intense atmosphere of Baroque eucharistic piety – in the company of works such as Rubens' formidable tapestries on the Triumph of the Eucharist, commissioned by Isabella herself, and other elaborate architectural and cultural projects. In this paper, I explore the context of the 1628 Paradisus, the court culture which incited a proudly English composer (as he identified himself on all his title pages) to identify so strongly with the European Counter‐Reformation. I also reconsider the place of Philips and his music in the community of English‐speaking Catholic expatriates.

Url:

https://api.istex.fr/ark:/67375/WNG-ZFCXXDCW-F/fulltext.pdf

DOI: 10.1111/j.1477-4658.2010.00678.x

Links to Exploration step

ISTEX:4F16A77A5B8BA97DB7F4F63A4C2E8DBC95C247E9

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<profileDesc><abstract xml:lang="en" style="main"><p>Peter Philips (1560/61–1628) was among the first English composers to embrace the musical style of the Italianate Baroque. His <hi rend="italic">Paradisus sacris cantionibus consitus</hi>
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<titleGroup><title type="main">Philips's 1628 <i>Paradisus</i>
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<abstractGroup><abstract type="main" xml:lang="en"><p>Peter Philips (1560/61–1628) was among the first English composers to embrace the musical style of the Italianate Baroque. His <i>Paradisus sacris cantionibus consitus</i>
, printed during his final year at the Brussels court of the Archdukes Albert and Isabella, is a large collection of accompanied monodies, duets and trios, a number of them lavishly ornamented. Some of the texts he sets in this book are drawn from the common stock of post‐Tridentine devotion, but others are lengthy eucharistic meditations, unusual and at times rather overwrought. Most of these latter texts can in fact be traced to a devotional book (<i>Hebdomada eucharistica</i>
) published a decade earlier in Brussels by one of Philips's fellow English‐speaking exiles at the archducal court, the chaplain and theologian Richard Stanihurst. Philips's musical settings, dedicated to Albert and Isabella's almoner Francis de Rye, took shape in an intense atmosphere of Baroque eucharistic piety – in the company of works such as Rubens' formidable tapestries on the <i>Triumph of the Eucharist</i>
, commissioned by Isabella herself, and other elaborate architectural and cultural projects. In this paper, I explore the context of the 1628 <i>Paradisus</i>
, the court culture which incited a proudly English composer (as he identified himself on all his title pages) to identify so strongly with the European Counter‐Reformation. I also reconsider the place of Philips and his music in the community of English‐speaking Catholic expatriates.</p>
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<abstract lang="en">Peter Philips (1560/61–1628) was among the first English composers to embrace the musical style of the Italianate Baroque. His Paradisus sacris cantionibus consitus, printed during his final year at the Brussels court of the Archdukes Albert and Isabella, is a large collection of accompanied monodies, duets and trios, a number of them lavishly ornamented. Some of the texts he sets in this book are drawn from the common stock of post‐Tridentine devotion, but others are lengthy eucharistic meditations, unusual and at times rather overwrought. Most of these latter texts can in fact be traced to a devotional book (Hebdomada eucharistica) published a decade earlier in Brussels by one of Philips's fellow English‐speaking exiles at the archducal court, the chaplain and theologian Richard Stanihurst. Philips's musical settings, dedicated to Albert and Isabella's almoner Francis de Rye, took shape in an intense atmosphere of Baroque eucharistic piety – in the company of works such as Rubens' formidable tapestries on the Triumph of the Eucharist, commissioned by Isabella herself, and other elaborate architectural and cultural projects. In this paper, I explore the context of the 1628 Paradisus, the court culture which incited a proudly English composer (as he identified himself on all his title pages) to identify so strongly with the European Counter‐Reformation. I also reconsider the place of Philips and his music in the community of English‐speaking Catholic expatriates.</abstract>
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Philips's 1628 Paradisus and the triumph of the Eucharist

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