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.
Eccard When to the temple Mary went
or YouTube SSATBB
Eccard is mostly known for his role in developing the genre of the Lutheran chorale. This exquisite motet for Candlemas (2 February), the presentation of Christ in the temple, is a beautifully proportioned and restrained piece of enduring appeal. Despite its six-part texture, the motet's delicate harmonisation ensures that the words remain the focus.
Wilbye Thus saith my Cloris bright
or YouTube SATB
John Wilbye, described by a contemporary as 'inferior to none in the world... for depth of skill and richness of conceit', has a style characterized by delicate voice-writing and acute sensitivity to text. Like many of his older contemporaries, he was inspired by Italian musical models and poems. Thus saith my Cloris bright is a paraphrase of a poem by Guarini, set by Marenzio and reprinted in the second set of Musica Transalpina as So saith my fair.
Hilton Fair Oriana, beauty’s queen
or YouTube SSATB
This is from The Triumphs of Oriana, Thomas Morley's 1601 anthology in praise of (it is thought) Queen Elizabeth. It is an intricate and delightful short piece, with the usual pastoral references to fauns and shepherds and some lovely depiction of their dances.
Weelkes O care, thou wilt despatch me and Hence care, thou art too cruel
or YouTube Also in the Oxford Book of English Madrigals SSATB
This extraordinarily fine pair of madrigals, by the redoubtable Thomas Weelkes, is characterised by an expressive chromaticism and an extraordinary harmonic treatment, including modulations involving a rare A sharp. The careworn singer seeks to find relief in music, but only partially succeeds. Listen for remarkable word-painting, such as the 'deadly sting'. Despite the fa-la refrains, the exquisite pathos especially of those in the second part emphasise that madrigal cannot really be said to be a ballet.
We may not get as far as the second of the pair, in which case we can complete it next month.
Farmer Fair Phyllis
or YouTube Also in the Oxford Book of English Madrigals SATB
Fair Phyllis dates from 1599 and is a polyphonic romp in Arcadian meadows, with a fair amount of ribaldry thrown in for good measure. It alternates between duple and triple time and contains some clever word-painting: solo sopranos on 'all alone', tutti on 'feeding her flock' and some wry elision on 'kissing up and down'. 'Hied' is an archaic way of saying 'hurried'.
Weelkes Lady, your eye (note this is a semitone lower than our version)
or YouTube SSATB
This is the unusual one-verse ballet we didn’t quite have time for last session. Look out for some glorious suspensions resolving onto suspensions, especially in the second part where, together with discordant intervals, they produce harmonic effects which are among the most advanced of the sixteenth century.
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.
Eccard When to the temple Mary went
or YouTube SSATBB
Eccard is mostly known for his role in developing the genre of the Lutheran chorale. This exquisite motet for Candlemas (2 February), the presentation of Christ in the temple, is a beautifully proportioned and restrained piece of enduring appeal. Despite its six-part texture, the motet's delicate harmonisation ensures that the words remain the focus.
Wilbye Thus saith my Cloris bright
or YouTube SATB
John Wilbye, described by a contemporary as 'inferior to none in the world... for depth of skill and richness of conceit', has a style characterized by delicate voice-writing and acute sensitivity to text. Like many of his older contemporaries, he was inspired by Italian musical models and poems. Thus saith my Cloris bright is a paraphrase of a poem by Guarini, set by Marenzio and reprinted in the second set of Musica Transalpina as So saith my fair.
Hilton Fair Oriana, beauty’s queen
or YouTube SSATB
This is from The Triumphs of Oriana, Thomas Morley's 1601 anthology in praise of (it is thought) Queen Elizabeth. It is an intricate and delightful short piece, with the usual pastoral references to fauns and shepherds and some lovely depiction of their dances.
Weelkes O care, thou wilt despatch me and Hence care, thou art too cruel
or YouTube Also in the Oxford Book of English Madrigals SSATB
This extraordinarily fine pair of madrigals, by the redoubtable Thomas Weelkes, is characterised by an expressive chromaticism and an extraordinary harmonic treatment, including modulations involving a rare A sharp. The careworn singer seeks to find relief in music, but only partially succeeds. Listen for remarkable word-painting, such as the 'deadly sting'. Despite the fa-la refrains, the exquisite pathos especially of those in the second part emphasise that madrigal cannot really be said to be a ballet.
We may not get as far as the second of the pair, in which case we can complete it next month.
Farmer Fair Phyllis
or YouTube Also in the Oxford Book of English Madrigals SATB
Fair Phyllis dates from 1599 and is a polyphonic romp in Arcadian meadows, with a fair amount of ribaldry thrown in for good measure. It alternates between duple and triple time and contains some clever word-painting: solo sopranos on 'all alone', tutti on 'feeding her flock' and some wry elision on 'kissing up and down'. 'Hied' is an archaic way of saying 'hurried'.
Weelkes Lady, your eye (note this is a semitone lower than our version)
or YouTube SSATB
This is the unusual one-verse ballet we didn’t quite have time for last session. Look out for some glorious suspensions resolving onto suspensions, especially in the second part where, together with discordant intervals, they produce harmonic effects which are among the most advanced of the sixteenth century.
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.
Eccard When to the temple Mary went
or YouTube SSATBB
Eccard is mostly known for his role in developing the genre of the Lutheran chorale. This exquisite motet for Candlemas (2 February), the presentation of Christ in the temple, is a beautifully proportioned and restrained piece of enduring appeal. Despite its six-part texture, the motet's delicate harmonisation ensures that the words remain the focus.
Wilbye Thus saith my Cloris bright
or YouTube SATB
John Wilbye, described by a contemporary as 'inferior to none in the world... for depth of skill and richness of conceit', has a style characterized by delicate voice-writing and acute sensitivity to text. Like many of his older contemporaries, he was inspired by Italian musical models and poems. Thus saith my Cloris bright is a paraphrase of a poem by Guarini, set by Marenzio and reprinted in the second set of Musica Transalpina as So saith my fair.
Hilton Fair Oriana, beauty’s queen
or YouTube SSATB
This is from The Triumphs of Oriana, Thomas Morley's 1601 anthology in praise of (it is thought) Queen Elizabeth. It is an intricate and delightful short piece, with the usual pastoral references to fauns and shepherds and some lovely depiction of their dances.
Weelkes O care, thou wilt despatch me and Hence care, thou art too cruel
or YouTube Also in the Oxford Book of English Madrigals SSATB
This extraordinarily fine pair of madrigals, by the redoubtable Thomas Weelkes, is characterised by an expressive chromaticism and an extraordinary harmonic treatment, including modulations involving a rare A sharp. The careworn singer seeks to find relief in music, but only partially succeeds. Listen for remarkable word-painting, such as the 'deadly sting'. Despite the fa-la refrains, the exquisite pathos especially of those in the second part emphasise that madrigal cannot really be said to be a ballet.
We may not get as far as the second of the pair, in which case we can complete it next month.
Farmer Fair Phyllis
or YouTube Also in the Oxford Book of English Madrigals SATB
Fair Phyllis dates from 1599 and is a polyphonic romp in Arcadian meadows, with a fair amount of ribaldry thrown in for good measure. It alternates between duple and triple time and contains some clever word-painting: solo sopranos on 'all alone', tutti on 'feeding her flock' and some wry elision on 'kissing up and down'. 'Hied' is an archaic way of saying 'hurried'.
Weelkes Lady, your eye (note this is a semitone lower than our version)
or YouTube SSATB
This is the unusual one-verse ballet we didn’t quite have time for last session. Look out for some glorious suspensions resolving onto suspensions, especially in the second part where, together with discordant intervals, they produce harmonic effects which are among the most advanced of the sixteenth century.
