Before the Elizabethan Act of Uniformity of 1559, there was an active school of liturgical organ polyphony in England. These compositions were intended to replace the singing of a choir or soloist for the portion of the chant that was set. After the Reformation, composers continued to employ plainsong from the Sarum rite, but not with any liturgical intent. The practice of setting plainsong in this way is uniquely English. The many settings of In nomine and Gloria tibi Trinitas are examples of this practice. Two tables list all known keyboard plainsong settings, both before and after 1559 (i.e., both for liturgical and non-liturgical use).

Works: Anonymous: Kyrie (137-38); William Byrd: Three polyphonic keyboard settings of Clarifica me Pater (142-44), Polyphonic keyboard setting of Miserere mihi, Domine (148-49).

Sources: Guillaume Dufay [attrib.]: Portugaler (137-38); Basse danse: La portingaloise (138); Chant: Clarifica me Pater (142-44), Miserere mihi, Domine (148-49).

Index Classifications: 1500s, 1600s

Contributed by: Felix Cox