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.
Palestrina Alma redemptoris mater (but note values are halved compared to the edition in our library) SATB
The Alma redemptoris mater (Loving mother of the Redeemer) is a Latin hymn, sung at the end of Compline between Advent and Candlemas. It is one of Palestrina's most serene compositions, with an expressive depth of beauty.
Wilbye Oft have I vowed SSATB
Wilbye (1574-1638) is one of the greatest English madrigalists. Oft have I vowed is from his Second Set of Madrigals of 1609. His style is characterized by delicate voice-writing and a lightness of scoring, and his depiction and expression of text was unsurpassed. He makes expressive use of major/minor alterations but, in general, limited use of chromaticism: the section ‘suff’rest my feeble heart’ is his only extended example.
Thomas Weelkes is known both for his madrigals and his church music as well as for his rather colourful life. He was employed first as an organist in Winchester College before gaining a BMus from Oxford. Around 1601, he was appointed organist and master of the choristers at Chichester Cathedral. He appears to have entertained hopes of receiving a court appointment, but instead remained in Chichester. He seemed continuously in trouble, acquiring a reputation as a drunkard and a blasphemer, which ultimately led to his dismissal. We are looking at two of his madrigals this meeting:
Lady, your eye (note this is a semitone higher than our version) SSATB
This is a one-verse ballet with some glorious suspensions resolving onto suspensions in the second part which, together with discordant intervals, produce harmonic effects which are among the most advanced of the sixteenth century.
As Vesta was Also in the Oxford Book of English Madrigals. SSATTB
A second look (continuing from last month) at this wonderful Oriana madrigal, with its famed word-painting: look out for, and enjoy ‘hill’, ‘descending’, ‘ascending’, ‘running down’, ‘two by two’, ‘three by three’, ‘all alone’, and ‘Long (live fair Oriana)’.
Ward Upon a bank with roses (note our edition of this is a semitone higher) SSATB
John Ward (1571-1638) was another eminent madrigalist. Along with Weelkes and Wilbye, he combined musico-literary imagination with outstanding contrapuntal technique. Upon a bank of roses is a jolly description of nature followed by a lament, and features a much by way of delightful imagery.
Morley I love, alas, I love thee Also in the Oxford Book of English Madrigals. SATBB
Composer, organist, theorist, and publisher Thomas Morley was the one of the foremost members of the English madrigal school. He became Master of the Choristers at Norwich Cathedral in 1583 and received his Bachelor’s degree from Oxford five years later. About this time Nicholas Yonge’s Musica Transalpina was published, and Morley freely reworked many Italian compositions into English madrigals. I love, alas, I love thee is from the composer’s First Set of Ballets for Five Voices.
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.
Palestrina Alma redemptoris mater (but note values are halved compared to the edition in our library) SATB
The Alma redemptoris mater (Loving mother of the Redeemer) is a Latin hymn, sung at the end of Compline between Advent and Candlemas. It is one of Palestrina's most serene compositions, with an expressive depth of beauty.
Wilbye Oft have I vowed SSATB
Wilbye (1574-1638) is one of the greatest English madrigalists. Oft have I vowed is from his Second Set of Madrigals of 1609. His style is characterized by delicate voice-writing and a lightness of scoring, and his depiction and expression of text was unsurpassed. He makes expressive use of major/minor alterations but, in general, limited use of chromaticism: the section ‘suff’rest my feeble heart’ is his only extended example.
Thomas Weelkes is known both for his madrigals and his church music as well as for his rather colourful life. He was employed first as an organist in Winchester College before gaining a BMus from Oxford. Around 1601, he was appointed organist and master of the choristers at Chichester Cathedral. He appears to have entertained hopes of receiving a court appointment, but instead remained in Chichester. He seemed continuously in trouble, acquiring a reputation as a drunkard and a blasphemer, which ultimately led to his dismissal. We are looking at two of his madrigals this meeting:
Lady, your eye (note this is a semitone higher than our version) SSATB
This is a one-verse ballet with some glorious suspensions resolving onto suspensions in the second part which, together with discordant intervals, produce harmonic effects which are among the most advanced of the sixteenth century.
As Vesta was Also in the Oxford Book of English Madrigals. SSATTB
A second look (continuing from last month) at this wonderful Oriana madrigal, with its famed word-painting: look out for, and enjoy ‘hill’, ‘descending’, ‘ascending’, ‘running down’, ‘two by two’, ‘three by three’, ‘all alone’, and ‘Long (live fair Oriana)’.
Ward Upon a bank with roses (note our edition of this is a semitone higher) SSATB
John Ward (1571-1638) was another eminent madrigalist. Along with Weelkes and Wilbye, he combined musico-literary imagination with outstanding contrapuntal technique. Upon a bank of roses is a jolly description of nature followed by a lament, and features a much by way of delightful imagery.
Morley I love, alas, I love thee Also in the Oxford Book of English Madrigals. SATBB
Composer, organist, theorist, and publisher Thomas Morley was the one of the foremost members of the English madrigal school. He became Master of the Choristers at Norwich Cathedral in 1583 and received his Bachelor’s degree from Oxford five years later. About this time Nicholas Yonge’s Musica Transalpina was published, and Morley freely reworked many Italian compositions into English madrigals. I love, alas, I love thee is from the composer’s First Set of Ballets for Five Voices.
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.
Palestrina Alma redemptoris mater (but note values are halved compared to the edition in our library) SATB
The Alma redemptoris mater (Loving mother of the Redeemer) is a Latin hymn, sung at the end of Compline between Advent and Candlemas. It is one of Palestrina's most serene compositions, with an expressive depth of beauty.
Wilbye Oft have I vowed SSATB
Wilbye (1574-1638) is one of the greatest English madrigalists. Oft have I vowed is from his Second Set of Madrigals of 1609. His style is characterized by delicate voice-writing and a lightness of scoring, and his depiction and expression of text was unsurpassed. He makes expressive use of major/minor alterations but, in general, limited use of chromaticism: the section ‘suff’rest my feeble heart’ is his only extended example.
Thomas Weelkes is known both for his madrigals and his church music as well as for his rather colourful life. He was employed first as an organist in Winchester College before gaining a BMus from Oxford. Around 1601, he was appointed organist and master of the choristers at Chichester Cathedral. He appears to have entertained hopes of receiving a court appointment, but instead remained in Chichester. He seemed continuously in trouble, acquiring a reputation as a drunkard and a blasphemer, which ultimately led to his dismissal. We are looking at two of his madrigals this meeting:
Lady, your eye (note this is a semitone higher than our version) SSATB
This is a one-verse ballet with some glorious suspensions resolving onto suspensions in the second part which, together with discordant intervals, produce harmonic effects which are among the most advanced of the sixteenth century.
As Vesta was Also in the Oxford Book of English Madrigals. SSATTB
A second look (continuing from last month) at this wonderful Oriana madrigal, with its famed word-painting: look out for, and enjoy ‘hill’, ‘descending’, ‘ascending’, ‘running down’, ‘two by two’, ‘three by three’, ‘all alone’, and ‘Long (live fair Oriana)’.
Ward Upon a bank with roses (note our edition of this is a semitone higher) SSATB
John Ward (1571-1638) was another eminent madrigalist. Along with Weelkes and Wilbye, he combined musico-literary imagination with outstanding contrapuntal technique. Upon a bank of roses is a jolly description of nature followed by a lament, and features a much by way of delightful imagery.
Morley I love, alas, I love thee Also in the Oxford Book of English Madrigals. SATBB
Composer, organist, theorist, and publisher Thomas Morley was the one of the foremost members of the English madrigal school. He became Master of the Choristers at Norwich Cathedral in 1583 and received his Bachelor’s degree from Oxford five years later. About this time Nicholas Yonge’s Musica Transalpina was published, and Morley freely reworked many Italian compositions into English madrigals. I love, alas, I love thee is from the composer’s First Set of Ballets for Five Voices.
