Sheppard, J: Salvator mundi Domine. Sheppard, J: Verbum caro factum est. Sheppard, J: Laudem dicite Deo. Sheppard, J: Reges Tharsis et insulae. Sheppard, J: In manus tuas I. Sheppard, J: Filiae Hierusalem. Sheppard, J: In pace in idipsum. Sheppard, J: Paschal Kyrie. Sheppard, J: Jesu salvator saeculi, verbum.
Sheppard, J: The Second Service. Evening Canticle 1. Evening Canticle 2. Nunc dimittis. Sheppard, J: Te Deum. Sheppard, J: Spiritus Sanctus procedens I. Sheppard, J: Iusti in perpetuum vivent. Sheppard, J: Libera nos, salva nos. Sheppard, J: Libera nos, salva Nos. Sheppard, J: Audivi vocem de caelo. Sheppard, J: Deus tuorum militum I. Sheppard, J: Ave maris stella. Sheppard, J: Jesu salvator saeculi, redemptis.
Sheppard, J: Beata nobis gaudia. Sheppard, J: In manus tuas II. Sheppard, J: Gaude gaude gaude Maria. Sheppard, J: Haec dies quam fecit Dominus. Sheppard, J: Impetum fecerunt unanimes. This entailed restoring the Latin-language services of the Sarum Rite. A new, up-to-date repertoire of music was required for her chapel and Sheppard was instrumental in supplying it with suitable compositions.
In this form the complete responsory is sung and then followed by, first, a verse and, secondly, a doxologyeach of which is followed by often progressively shortened repeats of the responsory. A good example of Sheppard's technique is his six-part setting of Verbum carothe ninth responsory at Matins on Christmas Day. One of the most grandiose of Sheppard's responsories is Gaude, gaude, gaude Maria ; a setting of the responsory and interpolated 'prosa' for Second Vespers for the Feast of the Purification.
In pace in idipsum. Like Tallis, Sheppard also composed 'alternatim' hymns, setting the even-numbered verses in polyphony and leaving the odd-numbered verses to be chanted or, more probably, replaced by perhaps improvised organ settings of the chant. Whilst the cantus firmus in Sheppard's responds is normally in the tenor, in Nunc Dimittis - William Mundy hymns it is usually placed in the treble.
Sheppard also composed a number of additional items for particularly solemn feasts of the Church calendar, including settings of the Kyrie and Gradual Haec dies for Second Vespers not, Nunc Dimittis - William Mundy, in this case, the mass on Easter Day. Of his Harry Christophers - Sacred Choral Music By William Mundy (CD settings of the processional psalms for the procession to the font after Second Vespers on Easter Day, he completed Laudate pueri Dominumbut only part of In exitu Israelleaving its completion to William Mundy and the young William Byrd.
Arguably supreme amongst all his compositions is his cantus firmus setting of the Lenten Nunc dimittis antiphon Media vita in morte sumus.
Here his innovative use of the cantus firmus in breves allows for an expansive canvas and a leisurely harmonic rhythm that effectively complement his solemn treatment of the text. Sheppard's vernacular music has suffered seriously from the loss of manuscript sources. Since he died only a month after Queen Mary, his settings for the Protestant services must have been composed during the reign of Edward VIwho, after some experimental services inimposed the first Book of Nunc Dimittis - William Mundy Prayer in MS may have been composed for domestic recreation rather than for church use.
As many as ten services settings of canticles and other items for the new English Morning PrayerAlbum) Prayer and Communion services have been identified,  all surviving in varying degrees of incompleteness.
Chadd, David, ed. John Sheppard: I: Responsorial Music. Early English Church Music. This is hugely significant in this context because it finally replaced liturgy in Latin by services in English. This meant not merely a change of language but, backed as it was by injunctions against organs and florid polyphony, a radical shift in the nature of public worship—no longer adoration at a hieratic shrine but uniform participation in a common simpified, unadorned rite, accessible to all.
Of the other great composers of his age, Taverner, Tye, Tallis and Sheppard were older and their compositional ways largely set by the time of the religious upheaval, while Byrd, Morley and, still later, Weelkes, Gibbons and Tomkins had never been schooled in the pre-Reformation styles.
Amongst his near-contemporaries, Robert Parsons and Robert White wrote wonderful music but both died young in the s—one Album) drowning and the other of the plague—and never fulfilled in the English rite what they had promised in the Latin.
Mundy, however, sums up—and at his finest crowns—a whole compendium of widely differing musical styles at this crucial juncture. English church music before the Reformation was strictly linked to the liturgical needs of the service, limiting the choice of texts and genres available to the composer: Mass, Magnificat, Respond to the Office, prescribing the text and plainsong for the day, and Hymn. Two masses by Mundy survive.
With the increasing informality of ritual under the reforms of Edward VI came scope for new sources of texts, especially psalms either entire or in part—though not yet the personal selection of verses which later became common and caused the unfortunate sixteenth-century Flemish composer Laurent de Voz to be hanged for a motet containing a suggestive choice of psalm texts.
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