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.
Orlando Gibbons (1583-1625) was one of the most versatile composers of his time. His choral writing is characterised by vitality, a mastery of counterpoint and a gift for melody, and his reputation as a composer is traditionally founded on compositions for the new Anglican liturgy.
Almighty and everlasting God
or YouTube SATB
This, the Collect for the third Sunday after Epiphany, shows mature polyphonic fluency and a sensitivity to the text, with each of the five short lines individually characterised. Listen for dissonances at 'our infirmities' and imitation at 'all our dangers and necessities' with D natural and G flat in the alto and bass parts adding to the tension. 'Stretch forth thy right hand' starts with a plaintively 'stretched' minim, appropriately the longest exposed note in the piece. The gaunt harmonies in bare fifths suggest the absence of the 'right hand': its appearance is reassured two bars later by completed triads and near-homophonic texture. The urgency intensifies with each repeated 'to help and defend us' before moving into a meditative closing 'Amen'.
Ah, dear heart
or YouTube Also in the Oxford Book of English Madrigals SATTB
A short but astonishingly moving madrigal from the 1612 Book of Madrigals and Motets, characterised by long lines and plangent part-writing. The text is attributed to John Donne.
The lovers awaken in the morning; the narrator has conflicting emotions at parting.
Byrd This sweet and merry month of May
or YouTube Also in the Oxford Book of English Madrigals SSATTB
William Byrd was the greatest English composer of his era. The six-part This sweet and merry month of May is one of very few of his compositions that might rightly be called a madrigal - he was reluctant to allow the Italian style to influence his own musical language. The piece begins with a brief canonic duet for the two sopranos, with an upward flourish on 'merry' and gently arched quavers depicting the singing of the birds. A brief section in triple meter sees homophonic groups of three, four, and five voices. 'Holiday' is strikingly homophonic and antiphonal, while 'Eliza' provides some distinct and dense imitation. The 'beauteous Queen of second Troy' (Queen Elizabeth and the British realm) is saluted in C major. The final line, 'take well in worth a simple toy', is a false modestly: the poet's accomplished offering to a mighty monarch being presented as a mere trifle.
Wilbye The Lady Oriana
or YouTube SSATTB
Wilbye's style is characterized by delicate voice-writing, acute sensitivity to text and language, a seriousness of approach and a subtlety of musical ideas. He spent much of his life employed as resident musician for a wealthy family of arts patrons in Suffolk, and most of his compositional output is madrigalian. This wonderful piece, despite what the text suggests, is not part of The Triumphs of Oriana.
Weelkes Lady, the birds right fairly
or YouTube SSATB
From Madrigals of 5 and 6 parts, published in 1600. This delightful onomatopoeic piece does not seem very well known. The birds - including the easily-identifiable cuckoo - sing of love, of course, yet our protagonist seems reluctant.
Weelkes Welcome sweet Pleasure
or YouTube SSATB
An easy ballet in three verses. It is delightfully nimble and shouldn't provide any difficulties. I love that the first set of fa-las are actually no-nos!
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.
Orlando Gibbons (1583-1625) was one of the most versatile composers of his time. His choral writing is characterised by vitality, a mastery of counterpoint and a gift for melody, and his reputation as a composer is traditionally founded on compositions for the new Anglican liturgy.
Almighty and everlasting God
or YouTube SATB
This, the Collect for the third Sunday after Epiphany, shows mature polyphonic fluency and a sensitivity to the text, with each of the five short lines individually characterised. Listen for dissonances at 'our infirmities' and imitation at 'all our dangers and necessities' with D natural and G flat in the alto and bass parts adding to the tension. 'Stretch forth thy right hand' starts with a plaintively 'stretched' minim, appropriately the longest exposed note in the piece. The gaunt harmonies in bare fifths suggest the absence of the 'right hand': its appearance is reassured two bars later by completed triads and near-homophonic texture. The urgency intensifies with each repeated 'to help and defend us' before moving into a meditative closing 'Amen'.
Ah, dear heart
or YouTube Also in the Oxford Book of English Madrigals SATTB
A short but astonishingly moving madrigal from the 1612 Book of Madrigals and Motets, characterised by long lines and plangent part-writing. The text is attributed to John Donne.
The lovers awaken in the morning; the narrator has conflicting emotions at parting.
Byrd This sweet and merry month of May
or YouTube Also in the Oxford Book of English Madrigals SSATTB
William Byrd was the greatest English composer of his era. The six-part This sweet and merry month of May is one of very few of his compositions that might rightly be called a madrigal - he was reluctant to allow the Italian style to influence his own musical language. The piece begins with a brief canonic duet for the two sopranos, with an upward flourish on 'merry' and gently arched quavers depicting the singing of the birds. A brief section in triple meter sees homophonic groups of three, four, and five voices. 'Holiday' is strikingly homophonic and antiphonal, while 'Eliza' provides some distinct and dense imitation. The 'beauteous Queen of second Troy' (Queen Elizabeth and the British realm) is saluted in C major. The final line, 'take well in worth a simple toy', is a false modestly: the poet's accomplished offering to a mighty monarch being presented as a mere trifle.
Wilbye The Lady Oriana
or YouTube SSATTB
Wilbye's style is characterized by delicate voice-writing, acute sensitivity to text and language, a seriousness of approach and a subtlety of musical ideas. He spent much of his life employed as resident musician for a wealthy family of arts patrons in Suffolk, and most of his compositional output is madrigalian. This wonderful piece, despite what the text suggests, is not part of The Triumphs of Oriana.
Weelkes Lady, the birds right fairly
or YouTube SSATB
From Madrigals of 5 and 6 parts, published in 1600. This delightful onomatopoeic piece does not seem very well known. The birds - including the easily-identifiable cuckoo - sing of love, of course, yet our protagonist seems reluctant.
Weelkes Welcome sweet Pleasure
or YouTube SSATB
An easy ballet in three verses. It is delightfully nimble and shouldn't provide any difficulties. I love that the first set of fa-las are actually no-nos!
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.
Orlando Gibbons (1583-1625) was one of the most versatile composers of his time. His choral writing is characterised by vitality, a mastery of counterpoint and a gift for melody, and his reputation as a composer is traditionally founded on compositions for the new Anglican liturgy.
Almighty and everlasting God
or YouTube SATB
This, the Collect for the third Sunday after Epiphany, shows mature polyphonic fluency and a sensitivity to the text, with each of the five short lines individually characterised. Listen for dissonances at 'our infirmities' and imitation at 'all our dangers and necessities' with D natural and G flat in the alto and bass parts adding to the tension. 'Stretch forth thy right hand' starts with a plaintively 'stretched' minim, appropriately the longest exposed note in the piece. The gaunt harmonies in bare fifths suggest the absence of the 'right hand': its appearance is reassured two bars later by completed triads and near-homophonic texture. The urgency intensifies with each repeated 'to help and defend us' before moving into a meditative closing 'Amen'.
Ah, dear heart
or YouTube Also in the Oxford Book of English Madrigals SATTB
A short but astonishingly moving madrigal from the 1612 Book of Madrigals and Motets, characterised by long lines and plangent part-writing. The text is attributed to John Donne.
The lovers awaken in the morning; the narrator has conflicting emotions at parting.
Byrd This sweet and merry month of May
or YouTube Also in the Oxford Book of English Madrigals SSATTB
William Byrd was the greatest English composer of his era. The six-part This sweet and merry month of May is one of very few of his compositions that might rightly be called a madrigal - he was reluctant to allow the Italian style to influence his own musical language. The piece begins with a brief canonic duet for the two sopranos, with an upward flourish on 'merry' and gently arched quavers depicting the singing of the birds. A brief section in triple meter sees homophonic groups of three, four, and five voices. 'Holiday' is strikingly homophonic and antiphonal, while 'Eliza' provides some distinct and dense imitation. The 'beauteous Queen of second Troy' (Queen Elizabeth and the British realm) is saluted in C major. The final line, 'take well in worth a simple toy', is a false modestly: the poet's accomplished offering to a mighty monarch being presented as a mere trifle.
Wilbye The Lady Oriana
or YouTube SSATTB
Wilbye's style is characterized by delicate voice-writing, acute sensitivity to text and language, a seriousness of approach and a subtlety of musical ideas. He spent much of his life employed as resident musician for a wealthy family of arts patrons in Suffolk, and most of his compositional output is madrigalian. This wonderful piece, despite what the text suggests, is not part of The Triumphs of Oriana.
Weelkes Lady, the birds right fairly
or YouTube SSATB
From Madrigals of 5 and 6 parts, published in 1600. This delightful onomatopoeic piece does not seem very well known. The birds - including the easily-identifiable cuckoo - sing of love, of course, yet our protagonist seems reluctant.
Weelkes Welcome sweet Pleasure
or YouTube SSATB
An easy ballet in three verses. It is delightfully nimble and shouldn't provide any difficulties. I love that the first set of fa-las are actually no-nos!
