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.
Tallis If ye love me
or YouTube SATB
Thomas Tallis (1505-1585) lived under the reign of five monarchs, a turbulent time in English political and religious history. During the reign of the Protestant Edward VI (1547-1553), it was mandated that the services be sung in English, and that the choral music be brief and succinct, 'to each syllable a plain and distinct note'.
If ye love me, to a text from John 14:15-17, is the classic example of these new English anthems: mainly homophonic, but with brief moments of imitation. Of unusual purity and simplicity, it is a fine example of restrained pathos.
Wilbye Adieu sweet Amaryllis
or YouTube Also in the Oxford Book of English Madrigals SATB
John Wilbye (1574-1638) was one of the finest of English madrigal composers. This rich and graceful piece, published in 1598, starts plaintively, 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...'.
Farmer Fair nymphs, I heard one telling
or YouTube Also in the Oxford Book of English Madrigals SSATBB
Another celebration of the Virgin Queen and her fair realm, from The Triumphs of Oriana, with plenty of lively imitation between the two soprano parts. Note the conversation between the lower three parts at the start, mellifluous quavers on 'beautify', running fauns, and a stillness around 'amazed'. John Farmer (c.1570 - c.1601) was for a while organist of Christ Church and St Patrick's cathedrals in Dublin. Other than this contribution to Morley's famous collection, he composed just one collection of four-part madrigals.
Pilkington Amyntas with his Phyllis fair
or YouTube SATB
Francis Pilkington (c. 1565-1638) was a composer, lutenist and singer. He joined Chester Cathedral as a singing man in 1602 and became a minor canon there in 1612. Two years later he took holy orders and in 1615 became the cathedral's precentor. Amyntas with his Phyllis fair is a lightheartedly extrovert and decidedly secular piece.
Vautor Lock up fair lids
or YouTube SSATB
Looking through our library list for inspiration, I came across this madrigal that we apparently haven't sung since 2001! With its companion piece And yet, O dream, it is an exquisite work, with a melancholy air and quietly expressive dissonance. It's relatively long, but we could, if desired, spread the learning over a couple of meetings. Thomas Vautor (fl 1592-1619), better known for his delightful Sweet Suffolk Owl, was a household musician to Sir George Villiers and his wife Mary Beaumont. Vautor's only known collection of madrigals was dedicated to the couple's son, George, who was to become the first Duke of Buckingham.
Weelkes Sing we at pleasure
or YouTube Also in the Oxford Book of English Madrigals SSATB
Thomas Weelkes (?1576-1623) was the subject of our recent study day. Sing we at pleasure, a ballet in binary form, comes from his second collection of 1598. Note the octave leaps on 'pleasure' compared to otherwise largely step-wise movement. There is quite a bit of syncopation as a result of imitation and dotted rhythms throughout; the fa-la refrains put the two sopranos in canon a bar apart.
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.
Tallis If ye love me
or YouTube SATB
Thomas Tallis (1505-1585) lived under the reign of five monarchs, a turbulent time in English political and religious history. During the reign of the Protestant Edward VI (1547-1553), it was mandated that the services be sung in English, and that the choral music be brief and succinct, 'to each syllable a plain and distinct note'.
If ye love me, to a text from John 14:15-17, is the classic example of these new English anthems: mainly homophonic, but with brief moments of imitation. Of unusual purity and simplicity, it is a fine example of restrained pathos.
Wilbye Adieu sweet Amaryllis
or YouTube Also in the Oxford Book of English Madrigals SATB
John Wilbye (1574-1638) was one of the finest of English madrigal composers. This rich and graceful piece, published in 1598, starts plaintively, 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...'.
Farmer Fair nymphs, I heard one telling
or YouTube Also in the Oxford Book of English Madrigals SSATBB
Another celebration of the Virgin Queen and her fair realm, from The Triumphs of Oriana, with plenty of lively imitation between the two soprano parts. Note the conversation between the lower three parts at the start, mellifluous quavers on 'beautify', running fauns, and a stillness around 'amazed'. John Farmer (c.1570 - c.1601) was for a while organist of Christ Church and St Patrick's cathedrals in Dublin. Other than this contribution to Morley's famous collection, he composed just one collection of four-part madrigals.
Pilkington Amyntas with his Phyllis fair
or YouTube SATB
Francis Pilkington (c. 1565-1638) was a composer, lutenist and singer. He joined Chester Cathedral as a singing man in 1602 and became a minor canon there in 1612. Two years later he took holy orders and in 1615 became the cathedral's precentor. Amyntas with his Phyllis fair is a lightheartedly extrovert and decidedly secular piece.
Vautor Lock up fair lids
or YouTube SSATB
Looking through our library list for inspiration, I came across this madrigal that we apparently haven't sung since 2001! With its companion piece And yet, O dream, it is an exquisite work, with a melancholy air and quietly expressive dissonance. It's relatively long, but we could, if desired, spread the learning over a couple of meetings. Thomas Vautor (fl 1592-1619), better known for his delightful Sweet Suffolk Owl, was a household musician to Sir George Villiers and his wife Mary Beaumont. Vautor's only known collection of madrigals was dedicated to the couple's son, George, who was to become the first Duke of Buckingham.
Weelkes Sing we at pleasure
or YouTube Also in the Oxford Book of English Madrigals SSATB
Thomas Weelkes (?1576-1623) was the subject of our recent study day. Sing we at pleasure, a ballet in binary form, comes from his second collection of 1598. Note the octave leaps on 'pleasure' compared to otherwise largely step-wise movement. There is quite a bit of syncopation as a result of imitation and dotted rhythms throughout; the fa-la refrains put the two sopranos in canon a bar apart.
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.
Tallis If ye love me
or YouTube SATB
Thomas Tallis (1505-1585) lived under the reign of five monarchs, a turbulent time in English political and religious history. During the reign of the Protestant Edward VI (1547-1553), it was mandated that the services be sung in English, and that the choral music be brief and succinct, 'to each syllable a plain and distinct note'.
If ye love me, to a text from John 14:15-17, is the classic example of these new English anthems: mainly homophonic, but with brief moments of imitation. Of unusual purity and simplicity, it is a fine example of restrained pathos.
Wilbye Adieu sweet Amaryllis
or YouTube Also in the Oxford Book of English Madrigals SATB
John Wilbye (1574-1638) was one of the finest of English madrigal composers. This rich and graceful piece, published in 1598, starts plaintively, 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...'.
Farmer Fair nymphs, I heard one telling
or YouTube Also in the Oxford Book of English Madrigals SSATBB
Another celebration of the Virgin Queen and her fair realm, from The Triumphs of Oriana, with plenty of lively imitation between the two soprano parts. Note the conversation between the lower three parts at the start, mellifluous quavers on 'beautify', running fauns, and a stillness around 'amazed'. John Farmer (c.1570 - c.1601) was for a while organist of Christ Church and St Patrick's cathedrals in Dublin. Other than this contribution to Morley's famous collection, he composed just one collection of four-part madrigals.
Pilkington Amyntas with his Phyllis fair
or YouTube SATB
Francis Pilkington (c. 1565-1638) was a composer, lutenist and singer. He joined Chester Cathedral as a singing man in 1602 and became a minor canon there in 1612. Two years later he took holy orders and in 1615 became the cathedral's precentor. Amyntas with his Phyllis fair is a lightheartedly extrovert and decidedly secular piece.
Vautor Lock up fair lids
or YouTube SSATB
Looking through our library list for inspiration, I came across this madrigal that we apparently haven't sung since 2001! With its companion piece And yet, O dream, it is an exquisite work, with a melancholy air and quietly expressive dissonance. It's relatively long, but we could, if desired, spread the learning over a couple of meetings. Thomas Vautor (fl 1592-1619), better known for his delightful Sweet Suffolk Owl, was a household musician to Sir George Villiers and his wife Mary Beaumont. Vautor's only known collection of madrigals was dedicated to the couple's son, George, who was to become the first Duke of Buckingham.
Weelkes Sing we at pleasure
or YouTube Also in the Oxford Book of English Madrigals SSATB
Thomas Weelkes (?1576-1623) was the subject of our recent study day. Sing we at pleasure, a ballet in binary form, comes from his second collection of 1598. Note the octave leaps on 'pleasure' compared to otherwise largely step-wise movement. There is quite a bit of syncopation as a result of imitation and dotted rhythms throughout; the fa-la refrains put the two sopranos in canon a bar apart.
