Please note that music files that are linked to are not necessarily the same edition we will be using on the day and therefore there may be some slight differences.
Byrd Justorum animae or YouTube SSATB
The two volumes of Byrd’s Gradualia were probably written for private Latin ceremonies held in Catholic country houses around Stondon Massey, where he lived in semi-retirement.
The five-voice motet Iustorum animae in manu Dei sunt is from the first book, of 1605. It serves as the Offertory for All Saints day (1 November) and is a serene reminder that those who have died lie in the peace of God. The text is from the Book of Wisdom. It is striking on account of its structural and motivic balance, with gradual and subtle transitions between homophony and polyphony, and echo-effects, chromatic cross-relations and a flowing passage in stretto (overlapping) imitation all evident.
Benet Come shepherds, follow me or YouTube SATB
John Bennet (sometimes spelled ‘Benet’) was born into a prosperous family and was educated at what is now Abingdon School. He is better-known for much-loved madrigals such as ‘All creatures now’ and ‘Weep, o mine eyes’, with his main compositional inspiration coming from Morley. There are ample instances in this delightful piece for text-painting: we are immediately urged to 'run up apace the mountain', and the parts chase each other in doing so before gently settling to see the view. There, ‘love laid to rest’ is observed, enough to encourage us to ‘haste hence’, A with T and S with B, before a short triple-time dance.
Tomkins Too much I once lamented or YouTube Also in the Oxford Book of English Madrigals SSATB
Carried over from October’s meeting. This is one of the loveliest of madrigals, with masterly suspensions, dissonance and harmony and an enigmatic combination of text and music. Maybe the piece reflects the feelings of a lover who wishes to cast off a fruitless love but has not yet succeeded...?
Wilbye Lady, when I behold or YouTube Also in the Oxford Book of English Madrigals SATB
Although Wilbye’s output is contained in only two collections, dated 1598 and 1609 respectively, its quality places him among the leading English madrigal composers. Lady, when I behold is set to a light, amorous text based on the simplest of conceits. Its delightfully airy and carefree music demonstrates a textural subtlety and lightness of scoring in the best tradition of the pastoral madrigal.
Cobbold With wreaths of rose and laurel
or YouTube SSATB
William Cobbold (1560-1639) was organist at Norwich Cathedral. This piece is his contribution to Morley’s Triumphs of Oriana. There are lovely instances of word-painting at ‘chirping birds’ and ‘swift beasts running’, whilst off-beat entries at the refrain capture the mood of anticipation in the groves.
Gibbons The Silver Swan or YouTube Also in the Oxford Book of English Madrigals SATBB
We are singing this lovely piece in the memory of Iain Smith. It is from the composer’s First Set of Madrigals and Motets of Five parts and was dedicated to his musical patron Sir Christopher Hatton. There are two musical sections, with different words to the repeat of the second. Each line of text is given a unique musical phrase, distributed in quick succession among all five voices. It presents the myth that swans sing only at their death, and the last line has be taken as a lament on the death of the English madrigal form.
Please note that music files that are linked to are not necessarily the same edition we will be using on the day and therefore there may be some slight differences.
Byrd Justorum animae or YouTube SSATB
The two volumes of Byrd’s Gradualia were probably written for private Latin ceremonies held in Catholic country houses around Stondon Massey, where he lived in semi-retirement.
The five-voice motet Iustorum animae in manu Dei sunt is from the first book, of 1605. It serves as the Offertory for All Saints day (1 November) and is a serene reminder that those who have died lie in the peace of God. The text is from the Book of Wisdom. It is striking on account of its structural and motivic balance, with gradual and subtle transitions between homophony and polyphony, and echo-effects, chromatic cross-relations and a flowing passage in stretto (overlapping) imitation all evident.
Benet Come shepherds, follow me or YouTube SATB
John Bennet (sometimes spelled ‘Benet’) was born into a prosperous family and was educated at what is now Abingdon School. He is better-known for much-loved madrigals such as ‘All creatures now’ and ‘Weep, o mine eyes’, with his main compositional inspiration coming from Morley. There are ample instances in this delightful piece for text-painting: we are immediately urged to 'run up apace the mountain', and the parts chase each other in doing so before gently settling to see the view. There, ‘love laid to rest’ is observed, enough to encourage us to ‘haste hence’, A with T and S with B, before a short triple-time dance.
Tomkins Too much I once lamented or YouTube Also in the Oxford Book of English Madrigals SSATB
Carried over from October’s meeting. This is one of the loveliest of madrigals, with masterly suspensions, dissonance and harmony and an enigmatic combination of text and music. Maybe the piece reflects the feelings of a lover who wishes to cast off a fruitless love but has not yet succeeded...?
Wilbye Lady, when I behold or YouTube Also in the Oxford Book of English Madrigals SATB
Although Wilbye’s output is contained in only two collections, dated 1598 and 1609 respectively, its quality places him among the leading English madrigal composers. Lady, when I behold is set to a light, amorous text based on the simplest of conceits. Its delightfully airy and carefree music demonstrates a textural subtlety and lightness of scoring in the best tradition of the pastoral madrigal.
Cobbold With wreaths of rose and laurel
or YouTube SSATB
William Cobbold (1560-1639) was organist at Norwich Cathedral. This piece is his contribution to Morley’s Triumphs of Oriana. There are lovely instances of word-painting at ‘chirping birds’ and ‘swift beasts running’, whilst off-beat entries at the refrain capture the mood of anticipation in the groves.
Gibbons The Silver Swan or YouTube Also in the Oxford Book of English Madrigals SATBB
We are singing this lovely piece in the memory of Iain Smith. It is from the composer’s First Set of Madrigals and Motets of Five parts and was dedicated to his musical patron Sir Christopher Hatton. There are two musical sections, with different words to the repeat of the second. Each line of text is given a unique musical phrase, distributed in quick succession among all five voices. It presents the myth that swans sing only at their death, and the last line has be taken as a lament on the death of the English madrigal form.
Please note that music files that are linked to are not necessarily the same edition we will be using on the day and therefore there may be some slight differences.
Byrd Justorum animae or YouTube SSATB
The two volumes of Byrd’s Gradualia were probably written for private Latin ceremonies held in Catholic country houses around Stondon Massey, where he lived in semi-retirement.
The five-voice motet Iustorum animae in manu Dei sunt is from the first book, of 1605. It serves as the Offertory for All Saints day (1 November) and is a serene reminder that those who have died lie in the peace of God. The text is from the Book of Wisdom. It is striking on account of its structural and motivic balance, with gradual and subtle transitions between homophony and polyphony, and echo-effects, chromatic cross-relations and a flowing passage in stretto (overlapping) imitation all evident.
Benet Come shepherds, follow me or YouTube SATB
John Bennet (sometimes spelled ‘Benet’) was born into a prosperous family and was educated at what is now Abingdon School. He is better-known for much-loved madrigals such as ‘All creatures now’ and ‘Weep, o mine eyes’, with his main compositional inspiration coming from Morley. There are ample instances in this delightful piece for text-painting: we are immediately urged to 'run up apace the mountain', and the parts chase each other in doing so before gently settling to see the view. There, ‘love laid to rest’ is observed, enough to encourage us to ‘haste hence’, A with T and S with B, before a short triple-time dance.
Tomkins Too much I once lamented or YouTube Also in the Oxford Book of English Madrigals SSATB
Carried over from October’s meeting. This is one of the loveliest of madrigals, with masterly suspensions, dissonance and harmony and an enigmatic combination of text and music. Maybe the piece reflects the feelings of a lover who wishes to cast off a fruitless love but has not yet succeeded...?
Wilbye Lady, when I behold or YouTube Also in the Oxford Book of English Madrigals SATB
Although Wilbye’s output is contained in only two collections, dated 1598 and 1609 respectively, its quality places him among the leading English madrigal composers. Lady, when I behold is set to a light, amorous text based on the simplest of conceits. Its delightfully airy and carefree music demonstrates a textural subtlety and lightness of scoring in the best tradition of the pastoral madrigal.
Cobbold With wreaths of rose and laurel
or YouTube SSATB
William Cobbold (1560-1639) was organist at Norwich Cathedral. This piece is his contribution to Morley’s Triumphs of Oriana. There are lovely instances of word-painting at ‘chirping birds’ and ‘swift beasts running’, whilst off-beat entries at the refrain capture the mood of anticipation in the groves.
Gibbons The Silver Swan or YouTube Also in the Oxford Book of English Madrigals SATBB
We are singing this lovely piece in the memory of Iain Smith. It is from the composer’s First Set of Madrigals and Motets of Five parts and was dedicated to his musical patron Sir Christopher Hatton. There are two musical sections, with different words to the repeat of the second. Each line of text is given a unique musical phrase, distributed in quick succession among all five voices. It presents the myth that swans sing only at their death, and the last line has be taken as a lament on the death of the English madrigal form.
