Please note that music files that are linked to are not necessarily the same edition we will be using on the night and therefore there may be some slight differences.
Pearsall In dulci jubilo SATB
Dating from 1328, this macaronic (mixed-language) alteration of verses originally in medieval German and Latin was said to have been taught to the mystic Heinrich Seuse by angels. The tune first appeared in a publication of 1305. Robert de Pearsall’s much-loved macaronic translation, replacing German with English, has helped to make this carol a perennial favourite. Pearsall’s original version is for dividing SATB but was later adapted for 4 voices.
Wilbye Flora gave me fairest flowers SSATB
Wilbye (1574-1638) was a prolific composer of English madrigals. His style is characterized by delicate voice-writing, acute sensitivity to text and language, a seriousness of approach and a subtlety of musical ideas. Flora gave me fairest flowers is a light, delightful canzonet (lighter form of madrigal), depicting life in Arcadia.
Johnson Come Blessed Bird SSAATB
From the Triumphs of Oriana. A second look at this piece, lamenting the death in 1597 of a much-loved courtier - a musician and a dancer and a favourite of Elizabeth. Explanations as to his true identity are numerous. One suggestion is that the name is a corruption of the French, 'bon et beau', and that it refers to a generic courtier; another is that he is the minor poet, Christopher Morley (possibly the brother of Thomas Morley). Johnson's madrigal also capitalises 'Bird', so that it might also be seen as a plea to William Byrd, then in semi-retirement in Essex, to return to court. The most likely explanation is that Bonny-boots was Henry Noel, a figure much loved by musicians - Weelkes, Dowland and Morley all wrote elegies to him.
Kirbye See what a maze of error SSATB
George Kirbye was house musician to Sir Robert Jermyn at Rushbrooke Hall near Bury St Edmunds, and was probably a musical contact of John Wilbye, based at nearby Hengrave Hall. He was a contributor to The Triumphs of Oriana. Kirbye’s madrigals tend to be serious compositions, in minor modes, and show a careful attention to text.
Weelkes The Andalusian merchant SSATTB
Our roving traveller on his way home, via the Cape Verde Islands, bringing spices from the East and reporting on even stranger sights - more volcanic activity and the sudden appearance of ‘flying fishes’ – all depicted through a striking imagery of meandering chromaticism. It is a companion madrigal to Thule the period of cosmography, which we learned over the last two meetings, and ends in a similar way (‘These things are wondrous…’).
Morley My bonny lass she smileth or YouTube SATTB
From the First Book of Balletts to Five Voices (1595). A ballett was the English form of the Italian balletto, a light, homophonic, strophic song for three or more singers, distinguished by dance-like rhythms and fa la refrains. Morley was the composer who established the English madrigal proper, though many of his compositions are in re-workings of works by Italian composers such as Marenzio and Gastoldi. This one is based on Gastoldi’s Questa dolce sirena (1591), and if there is time we can look at it as well.
Please note that music files that are linked to are not necessarily the same edition we will be using on the night and therefore there may be some slight differences.
Pearsall In dulci jubilo SATB
Dating from 1328, this macaronic (mixed-language) alteration of verses originally in medieval German and Latin was said to have been taught to the mystic Heinrich Seuse by angels. The tune first appeared in a publication of 1305. Robert de Pearsall’s much-loved macaronic translation, replacing German with English, has helped to make this carol a perennial favourite. Pearsall’s original version is for dividing SATB but was later adapted for 4 voices.
Wilbye Flora gave me fairest flowers SSATB
Wilbye (1574-1638) was a prolific composer of English madrigals. His style is characterized by delicate voice-writing, acute sensitivity to text and language, a seriousness of approach and a subtlety of musical ideas. Flora gave me fairest flowers is a light, delightful canzonet (lighter form of madrigal), depicting life in Arcadia.
Johnson Come Blessed Bird SSAATB
From the Triumphs of Oriana. A second look at this piece, lamenting the death in 1597 of a much-loved courtier - a musician and a dancer and a favourite of Elizabeth. Explanations as to his true identity are numerous. One suggestion is that the name is a corruption of the French, 'bon et beau', and that it refers to a generic courtier; another is that he is the minor poet, Christopher Morley (possibly the brother of Thomas Morley). Johnson's madrigal also capitalises 'Bird', so that it might also be seen as a plea to William Byrd, then in semi-retirement in Essex, to return to court. The most likely explanation is that Bonny-boots was Henry Noel, a figure much loved by musicians - Weelkes, Dowland and Morley all wrote elegies to him.
Kirbye See what a maze of error SSATB
George Kirbye was house musician to Sir Robert Jermyn at Rushbrooke Hall near Bury St Edmunds, and was probably a musical contact of John Wilbye, based at nearby Hengrave Hall. He was a contributor to The Triumphs of Oriana. Kirbye’s madrigals tend to be serious compositions, in minor modes, and show a careful attention to text.
Weelkes The Andalusian merchant SSATTB
Our roving traveller on his way home, via the Cape Verde Islands, bringing spices from the East and reporting on even stranger sights - more volcanic activity and the sudden appearance of ‘flying fishes’ – all depicted through a striking imagery of meandering chromaticism. It is a companion madrigal to Thule the period of cosmography, which we learned over the last two meetings, and ends in a similar way (‘These things are wondrous…’).
Morley My bonny lass she smileth or YouTube SATTB
From the First Book of Balletts to Five Voices (1595). A ballett was the English form of the Italian balletto, a light, homophonic, strophic song for three or more singers, distinguished by dance-like rhythms and fa la refrains. Morley was the composer who established the English madrigal proper, though many of his compositions are in re-workings of works by Italian composers such as Marenzio and Gastoldi. This one is based on Gastoldi’s Questa dolce sirena (1591), and if there is time we can look at it as well.
Please note that music files that are linked to are not necessarily the same edition we will be using on the night and therefore there may be some slight differences.
Pearsall In dulci jubilo SATB
Dating from 1328, this macaronic (mixed-language) alteration of verses originally in medieval German and Latin was said to have been taught to the mystic Heinrich Seuse by angels. The tune first appeared in a publication of 1305. Robert de Pearsall’s much-loved macaronic translation, replacing German with English, has helped to make this carol a perennial favourite. Pearsall’s original version is for dividing SATB but was later adapted for 4 voices.
Wilbye Flora gave me fairest flowers SSATB
Wilbye (1574-1638) was a prolific composer of English madrigals. His style is characterized by delicate voice-writing, acute sensitivity to text and language, a seriousness of approach and a subtlety of musical ideas. Flora gave me fairest flowers is a light, delightful canzonet (lighter form of madrigal), depicting life in Arcadia.
Johnson Come Blessed Bird SSAATB
From the Triumphs of Oriana. A second look at this piece, lamenting the death in 1597 of a much-loved courtier - a musician and a dancer and a favourite of Elizabeth. Explanations as to his true identity are numerous. One suggestion is that the name is a corruption of the French, 'bon et beau', and that it refers to a generic courtier; another is that he is the minor poet, Christopher Morley (possibly the brother of Thomas Morley). Johnson's madrigal also capitalises 'Bird', so that it might also be seen as a plea to William Byrd, then in semi-retirement in Essex, to return to court. The most likely explanation is that Bonny-boots was Henry Noel, a figure much loved by musicians - Weelkes, Dowland and Morley all wrote elegies to him.
Kirbye See what a maze of error SSATB
George Kirbye was house musician to Sir Robert Jermyn at Rushbrooke Hall near Bury St Edmunds, and was probably a musical contact of John Wilbye, based at nearby Hengrave Hall. He was a contributor to The Triumphs of Oriana. Kirbye’s madrigals tend to be serious compositions, in minor modes, and show a careful attention to text.
Weelkes The Andalusian merchant SSATTB
Our roving traveller on his way home, via the Cape Verde Islands, bringing spices from the East and reporting on even stranger sights - more volcanic activity and the sudden appearance of ‘flying fishes’ – all depicted through a striking imagery of meandering chromaticism. It is a companion madrigal to Thule the period of cosmography, which we learned over the last two meetings, and ends in a similar way (‘These things are wondrous…’).
Morley My bonny lass she smileth or YouTube SATTB
From the First Book of Balletts to Five Voices (1595). A ballett was the English form of the Italian balletto, a light, homophonic, strophic song for three or more singers, distinguished by dance-like rhythms and fa la refrains. Morley was the composer who established the English madrigal proper, though many of his compositions are in re-workings of works by Italian composers such as Marenzio and Gastoldi. This one is based on Gastoldi’s Questa dolce sirena (1591), and if there is time we can look at it as well.
