Byrd Ave verum corpus or YouTube link SATB
William Byrd (1543-1623) was the greatest English composer of his era. His richly expressive Ave verum corpus was written for the feast of Corpus Christi: its clear structure, perfectly controlled polyphony and intense conviction reach directly to the listener and make it an enduring favourite.
Bazley Sing out my friends SATB
Another look at Desmond Bazley’s 2012 composition, written for the boat trip of the same year. It’s a lovely piece, but as we saw last time there are some tricky corners – do take the opportunity for a bit of advance practice if you can.
Morley Arise, awake or YouTube link SATTB
From The Triumphs of Oriana, Morley’s 1601 tribute to Queen Elizabeth - or, some would say, Anne of Denmark, who became queen of England alongside James I. This piece is a (seemingly hasty) re-working of the composer’s ‘Adieu ye kind and cruel’, possibly translated from an Italian canzonet. The ‘silly shepherds sleeping’ are awakened by the appearance of the Queen's entourage, so they sing her praises. There is a deft and rapid contrast of slow and quick music and, as ever, some clever word-painting, with the interval leaps on ‘arise’ and quick quavers on ‘awake, awake’ being great examples in the first three bars alone.
Ward Out from the Vale or YouTube link Also in the Oxford Book of English Madrigals SSATBB
The text is a typical example of love-melancholy. Note the distinctive four-note descending patterns, providing a striking cascading effect – these are sometimes called L motives because of similarities with Dowland’s Lachrymae (the famous ‘Flow my tears’). Note also a wonderful F/F# dissonance on the word ‘bitter’
Vautor Sweet Suffolk owl
or YouTube link Also in the Oxford Book of English Madrigals SSATB
Sweet Suffolk Owl, from the composer’s one published book of madrigals, Songs of Divers Airs and Natures (1619), is Vautor's best-known piece. It’s a fun sing, with imitative ‘te whit te whoo’, some great word-painting on rolling quavers, and sudden changes of texture. Towards the end the duple meter is interrupted by a section in 3 time - ‘and sings a dirge for dying souls’ - a possible quote from William Byrd's keyboard piece The Bells. ‘Dight’ means 'dressed'.
Farmer A little pretty bonny lass or YouTube link SATB
As with the composer’s famous ‘Fair Phyllis’, this lively madrigal is set in the fields. Unusually, the man tells the story about one who got away. It features a rather fresh suitor whose passions reach a climax at a rapid tongue-twisting ‘yet still she said I should not’ - imitative perhaps of her brusque refusal (although the rejection doesn’t seem terribly upsetting!).
Byrd Ave verum corpus or YouTube link SATB
William Byrd (1543-1623) was the greatest English composer of his era. His richly expressive Ave verum corpus was written for the feast of Corpus Christi: its clear structure, perfectly controlled polyphony and intense conviction reach directly to the listener and make it an enduring favourite.
Bazley Sing out my friends SATB
Another look at Desmond Bazley’s 2012 composition, written for the boat trip of the same year. It’s a lovely piece, but as we saw last time there are some tricky corners – do take the opportunity for a bit of advance practice if you can.
Morley Arise, awake or YouTube link SATTB
From The Triumphs of Oriana, Morley’s 1601 tribute to Queen Elizabeth - or, some would say, Anne of Denmark, who became queen of England alongside James I. This piece is a (seemingly hasty) re-working of the composer’s ‘Adieu ye kind and cruel’, possibly translated from an Italian canzonet. The ‘silly shepherds sleeping’ are awakened by the appearance of the Queen's entourage, so they sing her praises. There is a deft and rapid contrast of slow and quick music and, as ever, some clever word-painting, with the interval leaps on ‘arise’ and quick quavers on ‘awake, awake’ being great examples in the first three bars alone.
Ward Out from the Vale or YouTube link Also in the Oxford Book of English Madrigals SSATBB
The text is a typical example of love-melancholy. Note the distinctive four-note descending patterns, providing a striking cascading effect – these are sometimes called L motives because of similarities with Dowland’s Lachrymae (the famous ‘Flow my tears’). Note also a wonderful F/F# dissonance on the word ‘bitter’
Vautor Sweet Suffolk owl
or YouTube link Also in the Oxford Book of English Madrigals SSATB
Sweet Suffolk Owl, from the composer’s one published book of madrigals, Songs of Divers Airs and Natures (1619), is Vautor's best-known piece. It’s a fun sing, with imitative ‘te whit te whoo’, some great word-painting on rolling quavers, and sudden changes of texture. Towards the end the duple meter is interrupted by a section in 3 time - ‘and sings a dirge for dying souls’ - a possible quote from William Byrd's keyboard piece The Bells. ‘Dight’ means 'dressed'.
Farmer A little pretty bonny lass or YouTube link SATB
As with the composer’s famous ‘Fair Phyllis’, this lively madrigal is set in the fields. Unusually, the man tells the story about one who got away. It features a rather fresh suitor whose passions reach a climax at a rapid tongue-twisting ‘yet still she said I should not’ - imitative perhaps of her brusque refusal (although the rejection doesn’t seem terribly upsetting!).
Byrd Ave verum corpus or YouTube link SATB
William Byrd (1543-1623) was the greatest English composer of his era. His richly expressive Ave verum corpus was written for the feast of Corpus Christi: its clear structure, perfectly controlled polyphony and intense conviction reach directly to the listener and make it an enduring favourite.
Bazley Sing out my friends SATB
Another look at Desmond Bazley’s 2012 composition, written for the boat trip of the same year. It’s a lovely piece, but as we saw last time there are some tricky corners – do take the opportunity for a bit of advance practice if you can.
Morley Arise, awake or YouTube link SATTB
From The Triumphs of Oriana, Morley’s 1601 tribute to Queen Elizabeth - or, some would say, Anne of Denmark, who became queen of England alongside James I. This piece is a (seemingly hasty) re-working of the composer’s ‘Adieu ye kind and cruel’, possibly translated from an Italian canzonet. The ‘silly shepherds sleeping’ are awakened by the appearance of the Queen's entourage, so they sing her praises. There is a deft and rapid contrast of slow and quick music and, as ever, some clever word-painting, with the interval leaps on ‘arise’ and quick quavers on ‘awake, awake’ being great examples in the first three bars alone.
Ward Out from the Vale or YouTube link Also in the Oxford Book of English Madrigals SSATBB
The text is a typical example of love-melancholy. Note the distinctive four-note descending patterns, providing a striking cascading effect – these are sometimes called L motives because of similarities with Dowland’s Lachrymae (the famous ‘Flow my tears’). Note also a wonderful F/F# dissonance on the word ‘bitter’
Vautor Sweet Suffolk owl
or YouTube link Also in the Oxford Book of English Madrigals SSATB
Sweet Suffolk Owl, from the composer’s one published book of madrigals, Songs of Divers Airs and Natures (1619), is Vautor's best-known piece. It’s a fun sing, with imitative ‘te whit te whoo’, some great word-painting on rolling quavers, and sudden changes of texture. Towards the end the duple meter is interrupted by a section in 3 time - ‘and sings a dirge for dying souls’ - a possible quote from William Byrd's keyboard piece The Bells. ‘Dight’ means 'dressed'.
Farmer A little pretty bonny lass or YouTube link SATB
As with the composer’s famous ‘Fair Phyllis’, this lively madrigal is set in the fields. Unusually, the man tells the story about one who got away. It features a rather fresh suitor whose passions reach a climax at a rapid tongue-twisting ‘yet still she said I should not’ - imitative perhaps of her brusque refusal (although the rejection doesn’t seem terribly upsetting!).
