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.
In loving memory of Jennifer Alwen.
Tonight's meeting and choice of music is dedicated to Jennifer, our much-loved former Secretary and a friend, mentor and inspiration to me. I would invite her to choose one of our pieces each month and she always came up with something that fitted perfectly with the rest of the programme. Tonight we will sing some of them as we keep her in mind.Byrd Justorum animae or YouTube SSATB
This gorgeous five-voice motet dates from 1605 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.
The tenor part is very high in places and I suggest some A join T in bars 19-21 and 29-30
Byrd showed little interest in madrigals but, along with Gibbons, developed the English consort song in its place. It has been suggested that the pastorals may also be an oblique reference to the tendency for many Catholic families to live in the privacy of country houses rather than at court. Many of Byrd's secular vocal works were originally intended as consort songs in which the top voice is the 'first singing part' and the others are played by viols, though words are underlaid in such a way that they can be sung too. His settings are normally strophic, sectional and simple with very little if any text repetition. The lower voices are generally imitative whilst the upper voice carries the text and is syllabic and rhythmically comparatively simple.
Byrd I thought that love had been a boy or YouTube SAATB
From Songs of sundrie natures. It is short and delightful, with a jaunty rhythm and an intriguing and possibly incomplete text.
Tomkins O yes! Has any found a lad? or YouTube Also in the Oxford Book of English Madrigals SATB
The lad in question is, of course, Cupid. There is some wonderful word-painting on 'flieth', with a sense of the singer’s urgency prevails throughout the piece.
Wilbye Draw on sweet night or YouTube Also in the Oxford Book of English Madrigals SSATTB
This gem of a piece, characterised by a wistful melancholy, is a great favourite of ours: Jennifer would be ever so gently disappointed if I didn’t include it at least once a year! It is one of the longest and possibly greatest of all the English madrigals, with a notable musical concision. Almost every phrase in the piece can be related to the first four-note motif sung by the sopranos. An unusual and remarkable aspect of the piece is that the text gives almost no opportunity for word-painting, yet this abstraction seems to increase the sense of grief.
Lassus Mon coeur se recommande a vous or YouTube SATB
A sad and beautiful love-letter - both a formal farewell and an appeal for one last meeting. Lassus, from modern-day Belgium, was one of the most famous and influential polyphonic masters of the late sixteenth century. He composed around 150 chansons, of which this is an example.
Morley I love, alas, I love thee or YouTube 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 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 day and therefore there may be some slight differences.
In loving memory of Jennifer Alwen.
Tonight's meeting and choice of music is dedicated to Jennifer, our much-loved former Secretary and a friend, mentor and inspiration to me. I would invite her to choose one of our pieces each month and she always came up with something that fitted perfectly with the rest of the programme. Tonight we will sing some of them as we keep her in mind.Byrd Justorum animae or YouTube SSATB
This gorgeous five-voice motet dates from 1605 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.
The tenor part is very high in places and I suggest some A join T in bars 19-21 and 29-30
Byrd showed little interest in madrigals but, along with Gibbons, developed the English consort song in its place. It has been suggested that the pastorals may also be an oblique reference to the tendency for many Catholic families to live in the privacy of country houses rather than at court. Many of Byrd's secular vocal works were originally intended as consort songs in which the top voice is the 'first singing part' and the others are played by viols, though words are underlaid in such a way that they can be sung too. His settings are normally strophic, sectional and simple with very little if any text repetition. The lower voices are generally imitative whilst the upper voice carries the text and is syllabic and rhythmically comparatively simple.
Byrd I thought that love had been a boy or YouTube SAATB
From Songs of sundrie natures. It is short and delightful, with a jaunty rhythm and an intriguing and possibly incomplete text.
Tomkins O yes! Has any found a lad? or YouTube Also in the Oxford Book of English Madrigals SATB
The lad in question is, of course, Cupid. There is some wonderful word-painting on 'flieth', with a sense of the singer’s urgency prevails throughout the piece.
Wilbye Draw on sweet night or YouTube Also in the Oxford Book of English Madrigals SSATTB
This gem of a piece, characterised by a wistful melancholy, is a great favourite of ours: Jennifer would be ever so gently disappointed if I didn’t include it at least once a year! It is one of the longest and possibly greatest of all the English madrigals, with a notable musical concision. Almost every phrase in the piece can be related to the first four-note motif sung by the sopranos. An unusual and remarkable aspect of the piece is that the text gives almost no opportunity for word-painting, yet this abstraction seems to increase the sense of grief.
Lassus Mon coeur se recommande a vous or YouTube SATB
A sad and beautiful love-letter - both a formal farewell and an appeal for one last meeting. Lassus, from modern-day Belgium, was one of the most famous and influential polyphonic masters of the late sixteenth century. He composed around 150 chansons, of which this is an example.
Morley I love, alas, I love thee or YouTube 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 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 day and therefore there may be some slight differences.
In loving memory of Jennifer Alwen.
Tonight's meeting and choice of music is dedicated to Jennifer, our much-loved former Secretary and a friend, mentor and inspiration to me. I would invite her to choose one of our pieces each month and she always came up with something that fitted perfectly with the rest of the programme. Tonight we will sing some of them as we keep her in mind.Byrd Justorum animae or YouTube SSATB
This gorgeous five-voice motet dates from 1605 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.
The tenor part is very high in places and I suggest some A join T in bars 19-21 and 29-30
Byrd showed little interest in madrigals but, along with Gibbons, developed the English consort song in its place. It has been suggested that the pastorals may also be an oblique reference to the tendency for many Catholic families to live in the privacy of country houses rather than at court. Many of Byrd's secular vocal works were originally intended as consort songs in which the top voice is the 'first singing part' and the others are played by viols, though words are underlaid in such a way that they can be sung too. His settings are normally strophic, sectional and simple with very little if any text repetition. The lower voices are generally imitative whilst the upper voice carries the text and is syllabic and rhythmically comparatively simple.
Byrd I thought that love had been a boy or YouTube SAATB
From Songs of sundrie natures. It is short and delightful, with a jaunty rhythm and an intriguing and possibly incomplete text.
Tomkins O yes! Has any found a lad? or YouTube Also in the Oxford Book of English Madrigals SATB
The lad in question is, of course, Cupid. There is some wonderful word-painting on 'flieth', with a sense of the singer’s urgency prevails throughout the piece.
Wilbye Draw on sweet night or YouTube Also in the Oxford Book of English Madrigals SSATTB
This gem of a piece, characterised by a wistful melancholy, is a great favourite of ours: Jennifer would be ever so gently disappointed if I didn’t include it at least once a year! It is one of the longest and possibly greatest of all the English madrigals, with a notable musical concision. Almost every phrase in the piece can be related to the first four-note motif sung by the sopranos. An unusual and remarkable aspect of the piece is that the text gives almost no opportunity for word-painting, yet this abstraction seems to increase the sense of grief.
Lassus Mon coeur se recommande a vous or YouTube SATB
A sad and beautiful love-letter - both a formal farewell and an appeal for one last meeting. Lassus, from modern-day Belgium, was one of the most famous and influential polyphonic masters of the late sixteenth century. He composed around 150 chansons, of which this is an example.
Morley I love, alas, I love thee or YouTube 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 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.
