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 Sing joyfully or YouTube SSAATB
This popular and entirely joyous anthem is not entirely straightforward and we wouldn't normally spend too much time on a sacred piece but... I hope you will forgive for so doing this time. It is a sacred piece (a setting of the opening verses of Psalm 81) although whether it might have been sung in cathedrals of the time is arguable, especially considering that many choirs would have been incapable of singing it. It is entirely madrigalian in style and the word-painting is magnificent - listen especially for the harps, viols and trumpets.
John Bennet Weep, O mine eyes or YouTube Also in the Oxford Book of English Madrigals SATB
The poignant Weep, O mine eyes was written as a tribute to John Dowland, using part of Dowland's celebrated Flow my tears.
This introduction is interesting, and discusses tuning in more detail (NB he does have a weird sense of humour at times!).
Morley Leave alas this tormenting
or YouTube Also in the Oxford Book of English Madrigals SATTB
Thomas Morley (1557-1602) was one of the foremost members of the English Madrigal School. This fine piece is from his Balletts to Five Voices of 1595 and is based on Ferretti's canzonet Non mi date tormento. The relatively late entry of the soprano line enables the establishment of a rich sonority at the outset. Note some of the chromaticisms around words such as 'strange', 'alas' and 'tormenting'.
Bennett All creatures now
or YouTube or a great King's Singers rendition (but not at the key in which we sing it!) Also in the Oxford Book of English Madrigals SSATB
This delightful piece, from The Triumphs of Oriana, is one of the most loved of all madrigals. It is mostly homophonic, with a few obvious instances of word-painting: look out for an effervescent 'merry'-ment, hovering birds, and a stately elongation of the word 'Long' (live fair Oriana) towards the end of the piece. And some cheesy rhymes too! The phrase 'the flowers themselves discover' means that they appear or show themselves.
Weelkes The Andalusian merchant
or YouTube Also in the Oxford Book of English Madrigals SSATTB
Our roving traveller on his way home, via the Cape Verde Islands, bringing spices from the East and reporting on even stranger sights - more volcanic activity and the sudden appearance of flying fishes - all depicted through a striking imagery of meandering chromaticism. It is a companion madrigal to Thule the period of cosmography, which we looked at last time, and ends with the same refrain - 'These things are wondrous...'.
Tomkins Phyllis now cease
or YouTube SSATB
Dedicated 'To Mr Henry Molle'. A 5-part ballet with a sad tinge of false love. Please note that the cpdl edition in the link is a tone lower than our own edition.
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 Sing joyfully or YouTube SSAATB
This popular and entirely joyous anthem is not entirely straightforward and we wouldn't normally spend too much time on a sacred piece but... I hope you will forgive for so doing this time. It is a sacred piece (a setting of the opening verses of Psalm 81) although whether it might have been sung in cathedrals of the time is arguable, especially considering that many choirs would have been incapable of singing it. It is entirely madrigalian in style and the word-painting is magnificent - listen especially for the harps, viols and trumpets.
John Bennet Weep, O mine eyes or YouTube Also in the Oxford Book of English Madrigals SATB
The poignant Weep, O mine eyes was written as a tribute to John Dowland, using part of Dowland's celebrated Flow my tears.
This introduction is interesting, and discusses tuning in more detail (NB he does have a weird sense of humour at times!).
Morley Leave alas this tormenting
or YouTube Also in the Oxford Book of English Madrigals SATTB
Thomas Morley (1557-1602) was one of the foremost members of the English Madrigal School. This fine piece is from his Balletts to Five Voices of 1595 and is based on Ferretti's canzonet Non mi date tormento. The relatively late entry of the soprano line enables the establishment of a rich sonority at the outset. Note some of the chromaticisms around words such as 'strange', 'alas' and 'tormenting'.
Bennett All creatures now
or YouTube or a great King's Singers rendition (but not at the key in which we sing it!) Also in the Oxford Book of English Madrigals SSATB
This delightful piece, from The Triumphs of Oriana, is one of the most loved of all madrigals. It is mostly homophonic, with a few obvious instances of word-painting: look out for an effervescent 'merry'-ment, hovering birds, and a stately elongation of the word 'Long' (live fair Oriana) towards the end of the piece. And some cheesy rhymes too! The phrase 'the flowers themselves discover' means that they appear or show themselves.
Weelkes The Andalusian merchant
or YouTube Also in the Oxford Book of English Madrigals SSATTB
Our roving traveller on his way home, via the Cape Verde Islands, bringing spices from the East and reporting on even stranger sights - more volcanic activity and the sudden appearance of flying fishes - all depicted through a striking imagery of meandering chromaticism. It is a companion madrigal to Thule the period of cosmography, which we looked at last time, and ends with the same refrain - 'These things are wondrous...'.
Tomkins Phyllis now cease
or YouTube SSATB
Dedicated 'To Mr Henry Molle'. A 5-part ballet with a sad tinge of false love. Please note that the cpdl edition in the link is a tone lower than our own edition.
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 Sing joyfully or YouTube SSAATB
This popular and entirely joyous anthem is not entirely straightforward and we wouldn't normally spend too much time on a sacred piece but... I hope you will forgive for so doing this time. It is a sacred piece (a setting of the opening verses of Psalm 81) although whether it might have been sung in cathedrals of the time is arguable, especially considering that many choirs would have been incapable of singing it. It is entirely madrigalian in style and the word-painting is magnificent - listen especially for the harps, viols and trumpets.
John Bennet Weep, O mine eyes or YouTube Also in the Oxford Book of English Madrigals SATB
The poignant Weep, O mine eyes was written as a tribute to John Dowland, using part of Dowland's celebrated Flow my tears.
This introduction is interesting, and discusses tuning in more detail (NB he does have a weird sense of humour at times!).
Morley Leave alas this tormenting
or YouTube Also in the Oxford Book of English Madrigals SATTB
Thomas Morley (1557-1602) was one of the foremost members of the English Madrigal School. This fine piece is from his Balletts to Five Voices of 1595 and is based on Ferretti's canzonet Non mi date tormento. The relatively late entry of the soprano line enables the establishment of a rich sonority at the outset. Note some of the chromaticisms around words such as 'strange', 'alas' and 'tormenting'.
Bennett All creatures now
or YouTube or a great King's Singers rendition (but not at the key in which we sing it!) Also in the Oxford Book of English Madrigals SSATB
This delightful piece, from The Triumphs of Oriana, is one of the most loved of all madrigals. It is mostly homophonic, with a few obvious instances of word-painting: look out for an effervescent 'merry'-ment, hovering birds, and a stately elongation of the word 'Long' (live fair Oriana) towards the end of the piece. And some cheesy rhymes too! The phrase 'the flowers themselves discover' means that they appear or show themselves.
Weelkes The Andalusian merchant
or YouTube Also in the Oxford Book of English Madrigals SSATTB
Our roving traveller on his way home, via the Cape Verde Islands, bringing spices from the East and reporting on even stranger sights - more volcanic activity and the sudden appearance of flying fishes - all depicted through a striking imagery of meandering chromaticism. It is a companion madrigal to Thule the period of cosmography, which we looked at last time, and ends with the same refrain - 'These things are wondrous...'.
Tomkins Phyllis now cease
or YouTube SSATB
Dedicated 'To Mr Henry Molle'. A 5-part ballet with a sad tinge of false love. Please note that the cpdl edition in the link is a tone lower than our own edition.
