Music of Scotland: Difference between revisions

</ref> Scottish collections of music like the 13th-century 'Wolfenbüttel 677', which is associated with [[St Andrews]], contain mostly French compositions, but with some distinctive local styles.<ref name="Elliott1973"/> The captivity of James I in England from 1406 to 1423, where he earned a reputation as a poet and composer, may have led him to bring English and continental styles and musicians back to the Scottish court on his release.<ref name="Elliott1973"/> In the late 15th century a series of Scottish musicians trained in the Netherlands before returning home, including John Broune, Thomas Inglis and John Fety. The latter became master of the song school in Aberdeen and then [[Edinburgh]], introducing the new five-fingered organ playing technique.<ref name="Wormald1991">J. Wormald, ''Court, Kirk, and Community: Scotland, 1470–1625'' (Edinburgh: Edinburgh University Press, 1991), {{ISBN|0-7486-0276-3}}, pp. 58 and 118.</ref>

 

 

The [[Scottish Reformation]], directly influenced by [[Calvinism]], was generally opposed to church music, leading to the removal of organs and a growing emphasis on [[metrical psalms]], including a setting by David Peebles commissioned by [[James Stewart, 1st Earl of Moray]].<ref name="Wormald1991"/> The most important work in Scottish reformed music was probably ''A forme of Prayers'' published in Edinburgh in 1564.<ref name="Wilson1996">R. M. Wilson, ''Anglican Chant and Chanting in England, Scotland, and America, 1660 to 1820'' (Oxford: Oxford University Press, 1996), {{ISBN|0-19-816424-6}}, pp. 146–7 and 196–7.</ref> The return in 1561 from France of James V's daughter [[Mary, Queen of Scots]] renewed the Scottish court as a centre of musical patronage and performance. The Queen played the lute and [[virginals]] and (unlike her father) was a fine singer.<ref name="Frazer1969">A. Frazer, ''Mary Queen of Scots'' (London: Book Club Associates, 1969), pp. 206–7.</ref> She brought many influences from the French court where she had been educated, employing lutenists and viol players in her household.<ref>M. Spring, ''The Lute in Britain: A History of the Instrument and Its Music'' (Oxford: Oxford University Press, 2006), {{ISBN|0-19-518838-1}}, p. 452.</ref> Mary's position as a Catholic gave a new lease of life to the choir of the Scottish Chapel Royal in her reign, but the destruction of Scottish church organs meant that instrumentation to accompany the mass had to employ bands of musicians with trumpets, drums, fifes, bagpipes and tabors.<ref name="Frazer1969"/> The outstanding Scottish composer of the era was [[Robert Carver (composer)|Robert Carver]] (c.1485–c.1570) whose works included the nineteen-part motet 'O Bone Jesu'.<ref name="Gosman2003"/> James VI, king of Scotland from 1567, was a major patron of the arts in general. He rebuilt the Chapel Royal at Stirling in 1594 and the choir was used for state occasions like the baptism of his son Henry.<ref name="LeHuray1978">P. Le Huray, ''Music and the Reformation in England, 1549–1660'' (Cambridge: Cambridge University Press, 1978), {{ISBN|0-521-21958-2}}, pp. 83–5.</ref> He followed the tradition of employing lutenists for his private entertainment, as did other members of his family.<ref name="Carter2005">T. Carter and J. Butt, ''The Cambridge History of Seventeenth-Century Music'' (Cambridge: Cambridge University Press, 2005), {{ISBN|0-521-79273-8}}, pp. 280, 300, 433 and 541.</ref> When he came south to take the throne of England in 1603 as James I, he removed one of the major sources of patronage in Scotland. The Scottish Chapel Royal was now used only for occasional state visits, as when Charles I returned in 1633 to be crowned, bringing many musicians from the English Chapel Royal for the service, and it began to fall into disrepair.<ref name="LeHuray1978"/> From now on the court in Westminster would be the only major source of royal musical patronage.<ref name="LeHuray1978"/>