For details of previous meetings, click here.

Saturday 2nd March 2024

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.

Morley Nolo mortem peccatoris or YouTube SATB
From Tristitiae Remedium (A remedy for sadness) of 1616. This lovely macaronic (alternating language) piece is technically a carol. The text is attributed to John Redford, with the Latin title taken from the Rule of St Benedict.

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...'.

Wilbye Lady when I behold or YouTube Also in the Oxford Book of English Madrigals SATB
Although Wilbye's output is contained in only two collections, dated 1598 and 1609 respectively, its quality places him among the leading English madrigal composers. Lady, when I behold is set to a light, amorous text based on the simplest of conceits. Its delightfully airy and carefree music demonstrates a textural subtlety and lightness of scoring in the best tradition of the pastoral madrigal.

Tomkins O let me live or YouTube SATB
According to my records we haven't sung this sad ballet since 2001...

Morley Hard by a crystal fountain or YouTube or YouTube Also in the Oxford Book of English Madrigals SSATTB
Thomas Morley's own contribution to his anthology, The Triumphs of Oriana, is generally contrapuntal, with imitative blocking of voices and homophonic textures at cadence points and for declamation. There are a number of 4-3 suspensions and great word-painting, for example at 'sleeping' and 'stilled', and in the long note values and a dominant pedal at the refrain 'Long (live fair Oriana)'. It is an imaginative re-write of Croce's Ove tra l'herb e fiori, from Il Trionfo di Dori, a series of 29 madrigals by various composers and poets which inspired Morley's anthology.

Weelkes Sing we at pleasure or YouTube Also in the Oxford Book of English Madrigals SSATB
Sing we at pleasure dates from 1598 and is a ballet in binary form. There is a lively triple-time rhythm. 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, and the fa-la refrains put the two sopranos in canon a bar apart.

For details of previous meetings, click here.

Saturday 2nd March 2024

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.

Morley Nolo mortem peccatoris or YouTube SATB
From Tristitiae Remedium (A remedy for sadness) of 1616. This lovely macaronic (alternating language) piece is technically a carol. The text is attributed to John Redford, with the Latin title taken from the Rule of St Benedict.

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...'.

Wilbye Lady when I behold or YouTube Also in the Oxford Book of English Madrigals SATB
Although Wilbye's output is contained in only two collections, dated 1598 and 1609 respectively, its quality places him among the leading English madrigal composers. Lady, when I behold is set to a light, amorous text based on the simplest of conceits. Its delightfully airy and carefree music demonstrates a textural subtlety and lightness of scoring in the best tradition of the pastoral madrigal.

Tomkins O let me live or YouTube SATB
According to my records we haven't sung this sad ballet since 2001...

Morley Hard by a crystal fountain or YouTube or YouTube Also in the Oxford Book of English Madrigals SSATTB
Thomas Morley's own contribution to his anthology, The Triumphs of Oriana, is generally contrapuntal, with imitative blocking of voices and homophonic textures at cadence points and for declamation. There are a number of 4-3 suspensions and great word-painting, for example at 'sleeping' and 'stilled', and in the long note values and a dominant pedal at the refrain 'Long (live fair Oriana)'. It is an imaginative re-write of Croce's Ove tra l'herb e fiori, from Il Trionfo di Dori, a series of 29 madrigals by various composers and poets which inspired Morley's anthology.

Weelkes Sing we at pleasure or YouTube Also in the Oxford Book of English Madrigals SSATB
Sing we at pleasure dates from 1598 and is a ballet in binary form. There is a lively triple-time rhythm. 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, and the fa-la refrains put the two sopranos in canon a bar apart.

For details of previous meetings, click here.

Saturday 2nd March 2024

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.

Morley Nolo mortem peccatoris or YouTube SATB
From Tristitiae Remedium (A remedy for sadness) of 1616. This lovely macaronic (alternating language) piece is technically a carol. The text is attributed to John Redford, with the Latin title taken from the Rule of St Benedict.

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...'.

Wilbye Lady when I behold or YouTube Also in the Oxford Book of English Madrigals SATB
Although Wilbye's output is contained in only two collections, dated 1598 and 1609 respectively, its quality places him among the leading English madrigal composers. Lady, when I behold is set to a light, amorous text based on the simplest of conceits. Its delightfully airy and carefree music demonstrates a textural subtlety and lightness of scoring in the best tradition of the pastoral madrigal.

Tomkins O let me live or YouTube SATB
According to my records we haven't sung this sad ballet since 2001...

Morley Hard by a crystal fountain or YouTube or YouTube Also in the Oxford Book of English Madrigals SSATTB
Thomas Morley's own contribution to his anthology, The Triumphs of Oriana, is generally contrapuntal, with imitative blocking of voices and homophonic textures at cadence points and for declamation. There are a number of 4-3 suspensions and great word-painting, for example at 'sleeping' and 'stilled', and in the long note values and a dominant pedal at the refrain 'Long (live fair Oriana)'. It is an imaginative re-write of Croce's Ove tra l'herb e fiori, from Il Trionfo di Dori, a series of 29 madrigals by various composers and poets which inspired Morley's anthology.

Weelkes Sing we at pleasure or YouTube Also in the Oxford Book of English Madrigals SSATB
Sing we at pleasure dates from 1598 and is a ballet in binary form. There is a lively triple-time rhythm. 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, and the fa-la refrains put the two sopranos in canon a bar apart.