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.
Byrd Senex puerum portabat or YouTube link SATB
Byrd (1539/40–1623), a pupil of Thomas Tallis, became one of the most successful of the Tudor composers. He worked as Organist and Master of the Choristers at Lincoln Cathedral between 1563 and 1570 before moving to London to become a Gentleman of the Chapel Royal following the accidental death of Robert Parsons. The four-part Senex puerum portabat is found in the second book of Gradualia dating from 1607. As with so much of Byrd’s music there is a considerable subtlety of expression: after a sober opening, the word ‘portabat’ is set with a rising interval, to be followed by exquisitely delicate vocal lines at ‘adoravit’. An anthem for Candlemas (2 February), it depicts Simeon carrying the infant Christ.
Gibbons Fair is the rose
or YouTube link (sound only) SSATB
A second look at this lovely piece we started last session. Fair is the rose is a lament for the death of a relative of his patron, Sir Christopher Hatton; it hovers between minor and major.
It is in the tradition of English viol consort music and comes from the First set of Madrigals and Mottets of 1612. The parts are all underplayed with words, but the title page suggests that they were conceived for voice and viols, a style particularly suited to texts of a moralising or philosophical nature.
Weelkes Hark, all ye lovely saints
or YouTube link Also in the Oxford Book of English Madrigals (p.137) SSATB
More from the cathedral establishment’s most celebrated disorderly member, Thomas Weelkes, the organist at Chichester where, despite several attempts to remove him from his position (drunkenness, foul language etc), he was to remain until his death. In this ironic and charming ballet the virgin goddess Diana seems to have instructed Cupid to dispose of his bow and arrow, which has been the source of much mourning. The teasing music is mock-serious, with major-minor changes on ‘weep’ and ‘mourn’. The final fa las are reminiscent of a guitar.
Morley Hard by a crystal fountain
or YouTube link Also in the Oxford Book of English Madrigals (p.121) SSATTB
Thomas Morley’s own contribution to his anthology, The Triumphs of Oriana, is an imaginative re-write of Croce’s Ove tra l’herb’ ei fiori (which we might look at next meeting if there is time). It is generally contrapuntal, with imitative blocking of voices and homophonic textures at cadence points and for declamation.
There are a number of 4-3 suspensions and numerous examples of word-painting, for example at ‘sleeping’ and ‘stilled’, and in the long note values and a dominant pedal at the refrain ‘Long (live fair Oriana)’.
Wilbye Adieu sweet Amaryllis
or YouTube link Also in the Oxford Book of English Madrigals (p.8) SATB
John Wilbye is one of the most famous English madrigalists and published over 60 such compositions. This rich and graceful piece was published in 1598. It starts plaintively in G minor and evokes the musical texture of a lute song. The ‘heavy tidings’ of the lovers’ parting become denser and more chromatic. After an apparent close on the major chord, Wilbye poignantly draws the music out further with a G major codetta, as if the speaker finds himself unable to utter the final ‘Adieu...’
Desmond Bazley Sing out, my friends SATB
Long-standing members will of course remember Desmond Bazley very well – he was our former music director who died only in 2015; sadly I didn’t know him, but a lengthy tribute to him appears here.
This lovely piece was composed in 2012 for our boat trip of the same year and, as we are having another this year, I thought it might be a fitting way of remembering him at the same time. It is an absolutely delightful piece, with some challenging-looking fa las!
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.
Byrd Senex puerum portabat or YouTube link SATB
Byrd (1539/40–1623), a pupil of Thomas Tallis, became one of the most successful of the Tudor composers. He worked as Organist and Master of the Choristers at Lincoln Cathedral between 1563 and 1570 before moving to London to become a Gentleman of the Chapel Royal following the accidental death of Robert Parsons. The four-part Senex puerum portabat is found in the second book of Gradualia dating from 1607. As with so much of Byrd’s music there is a considerable subtlety of expression: after a sober opening, the word ‘portabat’ is set with a rising interval, to be followed by exquisitely delicate vocal lines at ‘adoravit’. An anthem for Candlemas (2 February), it depicts Simeon carrying the infant Christ.
Gibbons Fair is the rose
or YouTube link (sound only) SSATB
A second look at this lovely piece we started last session. Fair is the rose is a lament for the death of a relative of his patron, Sir Christopher Hatton; it hovers between minor and major.
It is in the tradition of English viol consort music and comes from the First set of Madrigals and Mottets of 1612. The parts are all underplayed with words, but the title page suggests that they were conceived for voice and viols, a style particularly suited to texts of a moralising or philosophical nature.
Weelkes Hark, all ye lovely saints
or YouTube link Also in the Oxford Book of English Madrigals (p.137) SSATB
More from the cathedral establishment’s most celebrated disorderly member, Thomas Weelkes, the organist at Chichester where, despite several attempts to remove him from his position (drunkenness, foul language etc), he was to remain until his death. In this ironic and charming ballet the virgin goddess Diana seems to have instructed Cupid to dispose of his bow and arrow, which has been the source of much mourning. The teasing music is mock-serious, with major-minor changes on ‘weep’ and ‘mourn’. The final fa las are reminiscent of a guitar.
Morley Hard by a crystal fountain
or YouTube link Also in the Oxford Book of English Madrigals (p.121) SSATTB
Thomas Morley’s own contribution to his anthology, The Triumphs of Oriana, is an imaginative re-write of Croce’s Ove tra l’herb’ ei fiori (which we might look at next meeting if there is time). It is generally contrapuntal, with imitative blocking of voices and homophonic textures at cadence points and for declamation.
There are a number of 4-3 suspensions and numerous examples of word-painting, for example at ‘sleeping’ and ‘stilled’, and in the long note values and a dominant pedal at the refrain ‘Long (live fair Oriana)’.
Wilbye Adieu sweet Amaryllis
or YouTube link Also in the Oxford Book of English Madrigals (p.8) SATB
John Wilbye is one of the most famous English madrigalists and published over 60 such compositions. This rich and graceful piece was published in 1598. It starts plaintively in G minor and evokes the musical texture of a lute song. The ‘heavy tidings’ of the lovers’ parting become denser and more chromatic. After an apparent close on the major chord, Wilbye poignantly draws the music out further with a G major codetta, as if the speaker finds himself unable to utter the final ‘Adieu...’
Desmond Bazley Sing out, my friends SATB
Long-standing members will of course remember Desmond Bazley very well – he was our former music director who died only in 2015; sadly I didn’t know him, but a lengthy tribute to him appears here.
This lovely piece was composed in 2012 for our boat trip of the same year and, as we are having another this year, I thought it might be a fitting way of remembering him at the same time. It is an absolutely delightful piece, with some challenging-looking fa las!
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.
Byrd Senex puerum portabat or YouTube link SATB
Byrd (1539/40–1623), a pupil of Thomas Tallis, became one of the most successful of the Tudor composers. He worked as Organist and Master of the Choristers at Lincoln Cathedral between 1563 and 1570 before moving to London to become a Gentleman of the Chapel Royal following the accidental death of Robert Parsons. The four-part Senex puerum portabat is found in the second book of Gradualia dating from 1607. As with so much of Byrd’s music there is a considerable subtlety of expression: after a sober opening, the word ‘portabat’ is set with a rising interval, to be followed by exquisitely delicate vocal lines at ‘adoravit’. An anthem for Candlemas (2 February), it depicts Simeon carrying the infant Christ.
Gibbons Fair is the rose
or YouTube link (sound only) SSATB
A second look at this lovely piece we started last session. Fair is the rose is a lament for the death of a relative of his patron, Sir Christopher Hatton; it hovers between minor and major.
It is in the tradition of English viol consort music and comes from the First set of Madrigals and Mottets of 1612. The parts are all underplayed with words, but the title page suggests that they were conceived for voice and viols, a style particularly suited to texts of a moralising or philosophical nature.
Weelkes Hark, all ye lovely saints
or YouTube link Also in the Oxford Book of English Madrigals (p.137) SSATB
More from the cathedral establishment’s most celebrated disorderly member, Thomas Weelkes, the organist at Chichester where, despite several attempts to remove him from his position (drunkenness, foul language etc), he was to remain until his death. In this ironic and charming ballet the virgin goddess Diana seems to have instructed Cupid to dispose of his bow and arrow, which has been the source of much mourning. The teasing music is mock-serious, with major-minor changes on ‘weep’ and ‘mourn’. The final fa las are reminiscent of a guitar.
Morley Hard by a crystal fountain
or YouTube link Also in the Oxford Book of English Madrigals (p.121) SSATTB
Thomas Morley’s own contribution to his anthology, The Triumphs of Oriana, is an imaginative re-write of Croce’s Ove tra l’herb’ ei fiori (which we might look at next meeting if there is time). It is generally contrapuntal, with imitative blocking of voices and homophonic textures at cadence points and for declamation.
There are a number of 4-3 suspensions and numerous examples of word-painting, for example at ‘sleeping’ and ‘stilled’, and in the long note values and a dominant pedal at the refrain ‘Long (live fair Oriana)’.
Wilbye Adieu sweet Amaryllis
or YouTube link Also in the Oxford Book of English Madrigals (p.8) SATB
John Wilbye is one of the most famous English madrigalists and published over 60 such compositions. This rich and graceful piece was published in 1598. It starts plaintively in G minor and evokes the musical texture of a lute song. The ‘heavy tidings’ of the lovers’ parting become denser and more chromatic. After an apparent close on the major chord, Wilbye poignantly draws the music out further with a G major codetta, as if the speaker finds himself unable to utter the final ‘Adieu...’
Desmond Bazley Sing out, my friends SATB
Long-standing members will of course remember Desmond Bazley very well – he was our former music director who died only in 2015; sadly I didn’t know him, but a lengthy tribute to him appears here.
This lovely piece was composed in 2012 for our boat trip of the same year and, as we are having another this year, I thought it might be a fitting way of remembering him at the same time. It is an absolutely delightful piece, with some challenging-looking fa las!
