IN the course of an interesting article on "'The Early Harmonized Chants of the Church of England'", by Mr. Royle Shore ( Musical Times, September, October, and November 1912), the statement is made that nothing is apparently known of Whytbroke and Knight, whose settings of the Evening Canticles were published by John Day in his Certaine Notes ( 1560). This statement merely echoes the information to be found in most works of reference, and although Knight's compositions are known to students of the Tudor period, no memoir of him has previously appeared. Not even his Christian name has been determined on, and, as a fact, his beautiful Magnificat has recently been published merely with the surname 'Knight', as a Nunc dimittis.
The late Dr. Jebb, in his interesting Catalogue of the Peter- house Musical MSS., published in the Ecclesiologist (vol. xx, 1859), called attention to the compositions by Knight, but was unable to differentiate between Robert Knight and Thomas Knight. Knight's Mass is in the Peterhouse MS. As will be seen later on, it is a mistake to suppose that Thomas Knight lived as late as 1559, and, so far as can be ascertained, all his creative work may safely be assigned to the second quarter of the sixteenth century. As to his relationship with Robert Knight, whose Latin Motet for five voices, 'Propterea maestum', is in the musical library of Peterhouse ( Cambridge), I have not been able to trace any connexion, though probably they were contemporary.
In the previous chapter I have shown that William Whytbroke's period of creative activity was between the years 1525 and 1535; but Thomas Knight was of slightly later date, probably between 1530 and 1540. The appearance of his Magnificat in Day Certaine Notes ( 1560) has been regarded as a proof that Thomas Knight was still alive at that date ( 1560); yet, as has been shown previously, many of the settings in this rare collection