Parsons Robert, *ca. 1535, †25 January 1572 Newark-upon-Trent, English composer. From at least 1560–61, he was associated with the royal court, possibly overseeing the boys of the Chapel Royal choir. He became a member of this ensemble on 17 October 1563. After Parsons’ premature death (he drowned in the River Trent), his place in the Chapel Royal was taken by W. Byrd. Some works, signed only ‘Parsons’, may also be the work of William Parsons, active in Wells in the second half of the 16th century, the author of motets, anthems, and four-voice psalm arrangements.
Both of Parsons’ services are distinguished by a large number of voices, a melismatic treatment of the text (great service type) and the introduction of leading motifs that bind the cycle melodically. Greater value is attached to his works set to Latin texts, which demonstrate Parsons’ proficiency in the technique of imitation, harmonic ingenuity, and contrapuntal artistry (the canon in Magnificat). Parsons’ instrumental works played an important role in the development of consort music. Particularly noteworthy are the 7-voice arrangements of In Nomine with their dense contrapuntal structure and the original 6-voice Song Called Trumpets, in which the higher voices, imitating the sound of trumpets, were perhaps entrusted to the violins.
Literature: P. Oboussier Turpyn’s Book of Lute-Songs, “Music and Letters” XXXIV, 1953; A. Smith The Gentlemen and Children of the Chapel Royal of Elizabeth I. An Annotated Register, “Royal Musical Association. Research Chronicle” V, 1965; D. Baker The Instrumental Consort Music of Robert Parsons, “Chelys” VII, 1977; G. Dodd Thematic Index of Music for Viols, 6 vols., London 1980-82; J. Aplin Cyclic Techniques in the Earliest Anglican Services, “Journal of the American Musicological Society” XXXV, 1982; P. Holman Four and Twenty Fiddlers. The Violin at the English Court, 1540–1690, Oxford 1993, 21995.
Compositions (surviving mostly in manuscripts)
Vocal and vocal-instrumental:
sacred with Latin text:
4 motets for 6 voices (2 in fragments)
4 motets for 5 voices (1 in fragments)
1 motet for 3 voices (also attributed to J. Taverner)
magnificat for 6–7 voices (1 voice in canon ad libitum)
sacred with English text:
2 cycles of services for 4–7 voices, for the whole day, 7-movement settings in the printed collection from 1641; 5-voice setting without the evening canticles
anthem for 6 voices, in the printed collection from 1641
anthem for 5 voices
2 services, for 5 and 2 voices, authorship doubtful; survive incomplete
secular:
1 song for solo voice and 4 viols
2 songs for solo voice and lute
5 songs, surviving incomplete and/or of doubtful authorship
Instrumental:
2 In Nomine for 4 voices
1 In Nomine for 5 voices
2 In Nomine for 7 voices
1 work for 6 voices
2 works for 5 voices
1 work for 4 voices
1 work for 3 voices
Editions:
Robert Parsons. Latin Sacred Music, ed. P. Doe, «Early English Church Music» XL, 1994
Deliver me, anthem, ed. P. Oboussier, Oxford 1954
Nunc dimittis from First service, in: Treasury of English Church Music, vol. 2, eds. G.H. Knight, W.L. Reed, London 1965
2 songs in: Consort Songs, ed. Ph. Brett, «Musica Britannica» XXII, 1967
instrumental works in: Elizabethan Consort Music, vol. 1, ed. P. Doe, «Musica Britannica» XLIV, 1979
