Osbert Parsley

Osbert Parsley (1511–1585) was an English renaissance composer.

Memorial to Osbert Parsley, in Norwich Cathedral

Life

Osbert Parsley was born in 1511 and died in Norwich in 1585.[1][2][3] He was a 'singing-child' in Norwich Cathedral, and was appointed a 'singing man' circa 1534.[4]

Parsley is first mentioned in the extant cathedral accounts for 1538–40 as a lay clerk, and he continues to appear in subsequent documentation until his death. In 1558 Parsley was married to Rose and bought a house and premises in St. Saviour's parish from John Hering and his wife Helen, which he owned until 1583.

Spanning the Reformation, Parsley wrote church music for both Latin and English rites.[5] His Latin music is fluent and attractive, the expressive psalm Conserva me, Domine being especially noteworthy for its elegant polyphonic style. His most famous work, the five-part Lamentations, differs from settings by his more famous contemporaries in the restricted compass of the top part. Both psalm and lamentations were probably intended for domestic devotional use. Parsley also composed English church music: two four-part settings of the morning service and one anthem, and possibly a setting of the evening canticles. A small quantity of instrumental music, presumably for viols, also survives; mostly this occurs in manuscripts in the British Library, but one piece, a well-crafted three-part canonic setting of Salvator Mundi, was printed by Thomas Morley in 1597. Morley described Parsley’s arrangement of this Gregorian hymn as a model of its kind, and alluded to him as ‘the most learned musician.’[6]

Parsley's will, made on 9 December 1584, was proved by his widow on 6 April of the following year; he left bequests valued at about £75. He was well respected by his contemporaries, for his musical ability and his personal character, as attested by his memorial.[7]

Much of our knowledge of Parsley's life comes from the text of a memorial stone to him in the North aisle of the cathedral, a unique honour amongst lay singingmen.[8][9]

Musicae Scientissimo
Ei quondam Consociati
Musici posuerunt Anno 1585

Here lies the man whose Name in Spight of Death,
Renowned lives by Blast of Golden Fame:
Whose Harmony survives his vital Breath.
Whose Skill no Pride did spot whose Life no Blame.
Whose low Estate was blest with quiet Mind:
As our sweet Cords with Discords mixed be:
Whose life in Seventy and Four Years entwin'd,
As falleth mellowed Apples from the Tree.
Whose Deeds were Rules whose Words were Verity:
Who here a Singing-man did spend his Days.
Full Fifty Years in our Church Melody
His Memory shines bright whom thus we praise.

Music

He is credited with the following compositions:

  • Conserva Me Domine. "Parsley can be remembered as one of those men who just once conjured up a masterpiece, as it seems to us now, from nowhere."[10]
  • Lamentations
  • This is the Day
  • Spes Nostra for 5 viols
  • Magnificat and Nunc Dimittis and Te Deum and Benedictus, edited by Edmund H. Fellowes, OUP. "The remarkable resilience of the phrases is reflected in the general contrapuntal texture. E. R." [11]
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References
  1. Grove's Dictionary of music and musicians, Volume VI, pg 567
  2. "Norwich Composers". heritagecity.org. Retrieved 2015-09-27.
  3. "Osbert Parsley - ChoralWiki". www3.cpdl.org. Retrieved 2015-09-27.
  4. W. H. Grattan Flood. “New Light on Late Tudor Composers: XIII. Osbert Parsley”. The Musical Times 66.993 (1925): 990–990
  5. Morehen, John. "Parsley, Osbert". Grove Music Online. Oxford University Press. Retrieved 23 May 2016.
  6. T. Morley: A Plaine and Easie Introduction to Practicall Musicke (London, 1597/R); ed. R.A. Harman (London, 1952, 2/1963/R) ISBN 9780393006827
  7. Payne, Ian (2004). "Osbert Parsley". Oxford Dictionary of National Biography. Oxford University Press. doi:10.1093/ref:odnb/21447.
  8. N. Boston: The Musical History of Norwich Cathedral (Norwich, 1963) [orig. pubd in Reports of the Friends of Norwich Cathedral, 1938–9]
  9. Williamson, Magnus (30 June 2014). "Church Music and Protestantism in Post-Reformation England: Discourses, Sites and Identities, by Jonathan Willis". The English Historical Review. 129 (538): 707–709. doi:10.1093/ehr/ceu105.
  10. Phillips, Peter. “Voices from Nowhere”. The Musical Times 138.1855 (1997): 16–21.
  11. MUSIC AND LETTERS Vol. 18, No. 2 (Apr., 1937), p. 218 Published by: Oxford University Press

Further reading
  • R.T. Daniel and P. Le Huray: The Sources of English Church Music, 1549–1660, EECM, suppl.i (1972)
  • J. Morehen: ‘The Instrumental Consort Music of Osbert Parsley’, The Consort, no.30 (1974), 67–72
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