The In Nomine from Taverner to Purcell: its sources and development

Abstract

This study presents the In nomine in its historical context, and shows how an uniquely English instrumental form evolved fnom a section of a Mass setting, infiltrating the two main areas of instrumental music (keyboard and consort) at every level for a period of about OO years, reflecting clearly all the developments which took place within the two genres.

The In nomine repertoire, deriving as it did from the benedictus of Taverner's mass Gloria tibi Trinitas, probably represented some of the earliest music for vocal/instrumental consort which was unrelated either to dance steps or a text. Through the In nomine may be traced, on the one hand, the evolving Instrumental consort style from its vocal origins through music 'apt for voices or viols' to the full scale viol consort, and on the other, the evolution of the technically demanding large scale keyboard works of Bull and Tomkins from the simple two-part composition of Nicholas Carleton I.

Thus whilst the In nomine may not be said generally to have influenced the two major instrumental media, those of keyboard and consort, it is a true reflection of the remarkable developments that took place in both consort and keyboard music in England from about 1530 to 1660.

An up-to-date index of all extant In nomines is presented, complete with manuscript sources and printed editions of the works, together with descriptions of those manuscript sources. Most of the sources cited have been examined, and where this was not possible, acknowlegments have been made.

Also included are examples of hitherto unpublished In nomines for both consort and keyboard.

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