Dr. William Renwick joins the podcast to discuss Sarum chant, the medieval English plainchant tradition centered on Salisbury Cathedral that once dominated worship across most of England, Scotland, parts of Ireland, and even Northern France. William is a retired music theory professor from McMaster University in Ontario, Canada, and has devoted the latter part of his career to transcribing, editing, and publishing the entire Sarum chant repertoire at his free website, sarum-chant.ca.

In this conversation, William explains the important distinction between the Western rite, the concept of ”use,” and the word ”chant” itself. He walks through how Salisbury's scribes produced such detailed and thorough liturgical books in the 12th and 13th centuries that their system became the standard for roughly 80 percent of English churches. He also discusses the York and Hereford uses, how they compare to Sarum, and the practical reality that very few musical manuscripts survive from those traditions.

One of the highlights of this episode is William's live vocal demonstrations of the differences between Sarum chant and standard Gregorian chant. He sings the Sarum and Roman versions of the Orbis Factor Kyrie and an Agnus Dei to illustrate how the melodies share a common origin but diverge in specific intervals and melodic turns. He also demonstrates the Sarum psalm tones, the York gospel tone, and a fascinating St. Stephen's Day prose featuring extended melismatic singing on a single vowel.

William shares his perspective on performance practice, arguing that medieval liturgy was a full-time daily activity, not a polished concert performance. He draws an unexpected parallel between plainchant and jazz, noting that both traditions thrive on variation, personal interpretation, and a refusal to be pinned down to a single ”correct” version. He also addresses the Abbey of Solesmes and the way their editorial choices may have smoothed over legitimate regional diversity across the Western chant tradition.

The conversation covers the sheer volume of medieval liturgical material that has been lost or abandoned since the Reformation. William demonstrates this by showing the seven volumes needed just for Sarum Matins throughout the year, compared to roughly half that for the Roman Tridentine tradition. He explains how both Protestant and Catholic reformations drastically simplified worship, and how the Franciscan preference for simpler liturgy influenced the Roman books that became standard after the Council of Trent.

William also explores the surprising connections between Sarum chant and Anglican chant, showing how Renaissance composers like Thomas Tallis based their harmonized psalm chants directly on Sarum psalm tones and their modal endings. He discusses fauxbourdon, the use of drones, the role of the organ in medieval worship, and the Neumae, which are modal melodic codas sung at the end of psalm groups during Matins, Lauds, and Vespers.

For anyone interested in starting Sarum chant at their own church, William offers practical advice. He suggests beginning with a simple communion chant in English accompanied on the organ, or introducing an English Kyrie or Agnus Dei from the Sarum repertoire. All of these materials are available for free download at sarum-chant.ca. He has also published printed books in two English styles, one following the Book of Common Prayer and King James Bible tradition, and one following the Douay-Rheims Bible for those with a Roman Catholic sensibility.

The episode wraps up with a discussion of organ music, including William's love of Tournemire's L'Orgue Mystique, his experience studying with Gerre Hancock, and Matthew's own background in organ performance in Charleston, South Carolina, at St. Michael's Church, which has a historical connection to Johann Pachelbel's son Carl Theodore.

Website: sarum-chant.ca