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.
Mudd Let thy merciful ears or YouTube SATB
Previously wrongly attributed to Weelkes, this short and lovely setting of the Collect for the 10th Sunday of Trinity has a quiet dignity. Mudd (fl. 1577-1590) was a Fellow of Pembroke Hall, Cambridge.
Wilbye Adieu sweet Amaryllis or YouTube Also in the Oxford Book of English Madrigals SATB
This rich and graceful piece was published in 1598. It starts plaintively in G minor, evoking the musical texture of a lute song. The 'heavy tidings' of the lovers' parting become denser and more chromatic. After an apparent close on the major chord, Wilbye poignantly draws the music out further with a G major codetta, as if the speaker finds himself unable to utter the final 'Adieu...'.
Carlton Calm was the air or YouTube SSATB
This lovely piece is from Morley's famous compilation The Triumphs of Oriana. Richard Carlton was vicar of St Stephen's Norwich sometime in the 1570s and later became Master of the Choristers at the cathedral.
There is some lovely word-painting, especially depicting the dancing nymphs and satyrs. Look out also for 'over the downs' and the ascent to heaven that follows it, as well as 'rejoicing' with 'high-strained voice' and a four-bar depiction of 'long' in the basses.
Vautor Sweet Suffolk Owl or YouTube 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 - a 'dirge for dying souls' - which is a possible quote from William Byrd's keyboard piece The Bells. 'Dight' means 'dressed'.
Weelkes Like two proud armies or YouTube SSATBB
This great madrigal is about the opposing forces of love and reason. It opens with an extended section in 6-part tutti, distinctly martial in feel, followed by a wonderfully evocative 'thundering fight' and some lovely word-painting on 'scorns to yield' before a return to a military-like conflict before dazzled reason submits to shining beauty.
The madrigal is based on Striggio's Non rumor di tambura, though as it is a longish piece we probably won't have time to compare the two: do take a look yourself if you would like to.
Weelkes Welcome sweet Pleasure or YouTube SSATB
An easy ballet in three verses. It is delightfully nimble and should be quite straightforward. 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.
Mudd Let thy merciful ears or YouTube SATB
Previously wrongly attributed to Weelkes, this short and lovely setting of the Collect for the 10th Sunday of Trinity has a quiet dignity. Mudd (fl. 1577-1590) was a Fellow of Pembroke Hall, Cambridge.
Wilbye Adieu sweet Amaryllis or YouTube Also in the Oxford Book of English Madrigals SATB
This rich and graceful piece was published in 1598. It starts plaintively in G minor, evoking the musical texture of a lute song. The 'heavy tidings' of the lovers' parting become denser and more chromatic. After an apparent close on the major chord, Wilbye poignantly draws the music out further with a G major codetta, as if the speaker finds himself unable to utter the final 'Adieu...'.
Carlton Calm was the air or YouTube SSATB
This lovely piece is from Morley's famous compilation The Triumphs of Oriana. Richard Carlton was vicar of St Stephen's Norwich sometime in the 1570s and later became Master of the Choristers at the cathedral.
There is some lovely word-painting, especially depicting the dancing nymphs and satyrs. Look out also for 'over the downs' and the ascent to heaven that follows it, as well as 'rejoicing' with 'high-strained voice' and a four-bar depiction of 'long' in the basses.
Vautor Sweet Suffolk Owl or YouTube 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 - a 'dirge for dying souls' - which is a possible quote from William Byrd's keyboard piece The Bells. 'Dight' means 'dressed'.
Weelkes Like two proud armies or YouTube SSATBB
This great madrigal is about the opposing forces of love and reason. It opens with an extended section in 6-part tutti, distinctly martial in feel, followed by a wonderfully evocative 'thundering fight' and some lovely word-painting on 'scorns to yield' before a return to a military-like conflict before dazzled reason submits to shining beauty.
The madrigal is based on Striggio's Non rumor di tambura, though as it is a longish piece we probably won't have time to compare the two: do take a look yourself if you would like to.
Weelkes Welcome sweet Pleasure or YouTube SSATB
An easy ballet in three verses. It is delightfully nimble and should be quite straightforward. 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.
Mudd Let thy merciful ears or YouTube SATB
Previously wrongly attributed to Weelkes, this short and lovely setting of the Collect for the 10th Sunday of Trinity has a quiet dignity. Mudd (fl. 1577-1590) was a Fellow of Pembroke Hall, Cambridge.
Wilbye Adieu sweet Amaryllis or YouTube Also in the Oxford Book of English Madrigals SATB
This rich and graceful piece was published in 1598. It starts plaintively in G minor, evoking the musical texture of a lute song. The 'heavy tidings' of the lovers' parting become denser and more chromatic. After an apparent close on the major chord, Wilbye poignantly draws the music out further with a G major codetta, as if the speaker finds himself unable to utter the final 'Adieu...'.
Carlton Calm was the air or YouTube SSATB
This lovely piece is from Morley's famous compilation The Triumphs of Oriana. Richard Carlton was vicar of St Stephen's Norwich sometime in the 1570s and later became Master of the Choristers at the cathedral.
There is some lovely word-painting, especially depicting the dancing nymphs and satyrs. Look out also for 'over the downs' and the ascent to heaven that follows it, as well as 'rejoicing' with 'high-strained voice' and a four-bar depiction of 'long' in the basses.
Vautor Sweet Suffolk Owl or YouTube 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 - a 'dirge for dying souls' - which is a possible quote from William Byrd's keyboard piece The Bells. 'Dight' means 'dressed'.
Weelkes Like two proud armies or YouTube SSATBB
This great madrigal is about the opposing forces of love and reason. It opens with an extended section in 6-part tutti, distinctly martial in feel, followed by a wonderfully evocative 'thundering fight' and some lovely word-painting on 'scorns to yield' before a return to a military-like conflict before dazzled reason submits to shining beauty.
The madrigal is based on Striggio's Non rumor di tambura, though as it is a longish piece we probably won't have time to compare the two: do take a look yourself if you would like to.
Weelkes Welcome sweet Pleasure or YouTube SSATB
An easy ballet in three verses. It is delightfully nimble and should be quite straightforward. I love that the first set of fa-las are actually no-nos!
