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.
Weelkes O Jonathan
or YouTube SSAATB
O Jonathan draws its text from David's lament for Jonathan in the Second Book of Samuel. Its grief is both personal and intensely dramatic: Weelkes uses expressive harmony, suspensions and changes of texture to convey the depth of David's sorrow. Listen for the tension and release of the musical phrases and how they illuminate the words. At the end, the subtle shift from minor to major tonality suggests acceptance. Thomas Weelkes (c.1576-1623) was one of the most inventive and expressive English madrigalists; the piece first appeared in the poet-priest Thomas Myriell's 1616 anthology Tristitiae remedium - 'a cure for sadness'.
Byrd I thought that love had been a boy
or YouTube SAATB
William Byrd (c.1540-1623), one of England's greatest Renaissance composers, is best known for his sacred music but also wrote outstanding secular songs. I thought that love had been a boy is from his Songs of sundrie natures of 1589, plays on the familiar image of Cupid as a blindfolded child. The poet discovers that love is far more powerful and troublesome than expected. Byrd's setting is concise, elegant and gently humorous, its charm lying in the contrast between apparent simplicity and emotional sophistication.
Wilbye Alas what hope of speeding
or YouTube (Instrumental version) SATB
John Wilbye (1574-1638) is often regarded as one of the finest English madrigal composers, particularly admired for his sensitivity to poetry and his expressive harmonic language. In this piece, from the composer's First set of madrigals of 1598, the text laments the apparent hopelessness of winning a beloved's affection. 'Speeding' means succeeding or prospering, particularly in love. Wilbye captures the uncertainty and frustration of unrequited love through expressive melodic lines, carefully placed dissonances and changes in musical texture. The interplay of the voices gives the impression of thoughts turning repeatedly upon themselves. As in many of Wilbye's madrigals, the music's emotional power comes from subtlety rather than overt drama.
Tomkins Oyez! Has any found a lad
or YouTube Also in the Oxford Book of English Madrigals SATB
Thomas Tomkins (1572-1656) spent much of his career as organist of Worcester Cathedral and was one of the last great composers of the English madrigal tradition. This lively four-part piece, published in 1622, takes the form of a town crier's announcement. 'Oyez' (from the French for 'hear ye', here anglicised to 'O yea!') was the traditional call for public attention. The missing 'lad' is Cupid, the mischievous god of love, whose arrows have caused so much romantic trouble. Tomkins makes the most of the mock-public proclamation, with energetic rhythms, lively exchanges between the voices and a delightfully theatrical sense of humour.
Vautor And yet, O dream
or YouTube SSATB
This is the second part of Lock up fair lids
(which starts six bars from the end of page three in the score), a poem concerned with sleep, dreaming and the beloved's beauty. The first part, which we looked at last time, invites the beloved to close her eyes; the second develops the delicate relationship between dreams, desire and reality. Vautor's writing is intimate and expressive, with interweaving vocal lines that allow the poetry to unfold naturally. The piece benefits from a gentle, flexible approach, allowing its shifts of mood and harmony to speak. One interesting but hidden feature is that Vautor sets the triple-time text, 'I live in darkest night', in black notation - a kind of madrigal games.
It's worth a look at in advance if you think you might need to.
Morley Sing we and chant it
or YouTube Also in the Oxford Book of English Madrigals SSATB
From Morley's First Book of Balletts of 1595, Sing we and chant it is a splendid example of the English ballett: a light, dance-like vocal piece characterised by strongly marked rhythms and cheerful 'fa-la' refrains. The text celebrates singing, pleasure and the enjoyment of life, urging us not to waste our youth in melancholy. The music alternates lively, predominantly chordal passages with playful exchanges between the parts. Its success depends on rhythmic vitality and a sense of spontaneous enjoyment.
It was directly influenced by Gastoldi's A lieta vita - we're unlikely to have time to look at it but both these YouTube clips are lovely, in their different ways:
YouTube1
YouTube2.
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.
Weelkes O Jonathan
or YouTube SSAATB
O Jonathan draws its text from David's lament for Jonathan in the Second Book of Samuel. Its grief is both personal and intensely dramatic: Weelkes uses expressive harmony, suspensions and changes of texture to convey the depth of David's sorrow. Listen for the tension and release of the musical phrases and how they illuminate the words. At the end, the subtle shift from minor to major tonality suggests acceptance. Thomas Weelkes (c.1576-1623) was one of the most inventive and expressive English madrigalists; the piece first appeared in the poet-priest Thomas Myriell's 1616 anthology Tristitiae remedium - 'a cure for sadness'.
Byrd I thought that love had been a boy
or YouTube SAATB
William Byrd (c.1540-1623), one of England's greatest Renaissance composers, is best known for his sacred music but also wrote outstanding secular songs. I thought that love had been a boy is from his Songs of sundrie natures of 1589, plays on the familiar image of Cupid as a blindfolded child. The poet discovers that love is far more powerful and troublesome than expected. Byrd's setting is concise, elegant and gently humorous, its charm lying in the contrast between apparent simplicity and emotional sophistication.
Wilbye Alas what hope of speeding
or YouTube (Instrumental version) SATB
John Wilbye (1574-1638) is often regarded as one of the finest English madrigal composers, particularly admired for his sensitivity to poetry and his expressive harmonic language. In this piece, from the composer's First set of madrigals of 1598, the text laments the apparent hopelessness of winning a beloved's affection. 'Speeding' means succeeding or prospering, particularly in love. Wilbye captures the uncertainty and frustration of unrequited love through expressive melodic lines, carefully placed dissonances and changes in musical texture. The interplay of the voices gives the impression of thoughts turning repeatedly upon themselves. As in many of Wilbye's madrigals, the music's emotional power comes from subtlety rather than overt drama.
Tomkins Oyez! Has any found a lad
or YouTube Also in the Oxford Book of English Madrigals SATB
Thomas Tomkins (1572-1656) spent much of his career as organist of Worcester Cathedral and was one of the last great composers of the English madrigal tradition. This lively four-part piece, published in 1622, takes the form of a town crier's announcement. 'Oyez' (from the French for 'hear ye', here anglicised to 'O yea!') was the traditional call for public attention. The missing 'lad' is Cupid, the mischievous god of love, whose arrows have caused so much romantic trouble. Tomkins makes the most of the mock-public proclamation, with energetic rhythms, lively exchanges between the voices and a delightfully theatrical sense of humour.
Vautor And yet, O dream
or YouTube SSATB
This is the second part of Lock up fair lids
(which starts six bars from the end of page three in the score), a poem concerned with sleep, dreaming and the beloved's beauty. The first part, which we looked at last time, invites the beloved to close her eyes; the second develops the delicate relationship between dreams, desire and reality. Vautor's writing is intimate and expressive, with interweaving vocal lines that allow the poetry to unfold naturally. The piece benefits from a gentle, flexible approach, allowing its shifts of mood and harmony to speak. One interesting but hidden feature is that Vautor sets the triple-time text, 'I live in darkest night', in black notation - a kind of madrigal games.
It's worth a look at in advance if you think you might need to.
Morley Sing we and chant it
or YouTube Also in the Oxford Book of English Madrigals SSATB
From Morley's First Book of Balletts of 1595, Sing we and chant it is a splendid example of the English ballett: a light, dance-like vocal piece characterised by strongly marked rhythms and cheerful 'fa-la' refrains. The text celebrates singing, pleasure and the enjoyment of life, urging us not to waste our youth in melancholy. The music alternates lively, predominantly chordal passages with playful exchanges between the parts. Its success depends on rhythmic vitality and a sense of spontaneous enjoyment.
It was directly influenced by Gastoldi's A lieta vita - we're unlikely to have time to look at it but both these YouTube clips are lovely, in their different ways:
YouTube1
YouTube2.
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.
Weelkes O Jonathan
or YouTube SSAATB
O Jonathan draws its text from David's lament for Jonathan in the Second Book of Samuel. Its grief is both personal and intensely dramatic: Weelkes uses expressive harmony, suspensions and changes of texture to convey the depth of David's sorrow. Listen for the tension and release of the musical phrases and how they illuminate the words. At the end, the subtle shift from minor to major tonality suggests acceptance. Thomas Weelkes (c.1576-1623) was one of the most inventive and expressive English madrigalists; the piece first appeared in the poet-priest Thomas Myriell's 1616 anthology Tristitiae remedium - 'a cure for sadness'.
Byrd I thought that love had been a boy
or YouTube SAATB
William Byrd (c.1540-1623), one of England's greatest Renaissance composers, is best known for his sacred music but also wrote outstanding secular songs. I thought that love had been a boy is from his Songs of sundrie natures of 1589, plays on the familiar image of Cupid as a blindfolded child. The poet discovers that love is far more powerful and troublesome than expected. Byrd's setting is concise, elegant and gently humorous, its charm lying in the contrast between apparent simplicity and emotional sophistication.
Wilbye Alas what hope of speeding
or YouTube (Instrumental version) SATB
John Wilbye (1574-1638) is often regarded as one of the finest English madrigal composers, particularly admired for his sensitivity to poetry and his expressive harmonic language. In this piece, from the composer's First set of madrigals of 1598, the text laments the apparent hopelessness of winning a beloved's affection. 'Speeding' means succeeding or prospering, particularly in love. Wilbye captures the uncertainty and frustration of unrequited love through expressive melodic lines, carefully placed dissonances and changes in musical texture. The interplay of the voices gives the impression of thoughts turning repeatedly upon themselves. As in many of Wilbye's madrigals, the music's emotional power comes from subtlety rather than overt drama.
Tomkins Oyez! Has any found a lad
or YouTube Also in the Oxford Book of English Madrigals SATB
Thomas Tomkins (1572-1656) spent much of his career as organist of Worcester Cathedral and was one of the last great composers of the English madrigal tradition. This lively four-part piece, published in 1622, takes the form of a town crier's announcement. 'Oyez' (from the French for 'hear ye', here anglicised to 'O yea!') was the traditional call for public attention. The missing 'lad' is Cupid, the mischievous god of love, whose arrows have caused so much romantic trouble. Tomkins makes the most of the mock-public proclamation, with energetic rhythms, lively exchanges between the voices and a delightfully theatrical sense of humour.
Vautor And yet, O dream
or YouTube SSATB
This is the second part of Lock up fair lids
(which starts six bars from the end of page three in the score), a poem concerned with sleep, dreaming and the beloved's beauty. The first part, which we looked at last time, invites the beloved to close her eyes; the second develops the delicate relationship between dreams, desire and reality. Vautor's writing is intimate and expressive, with interweaving vocal lines that allow the poetry to unfold naturally. The piece benefits from a gentle, flexible approach, allowing its shifts of mood and harmony to speak. One interesting but hidden feature is that Vautor sets the triple-time text, 'I live in darkest night', in black notation - a kind of madrigal games.
It's worth a look at in advance if you think you might need to.
Morley Sing we and chant it
or YouTube Also in the Oxford Book of English Madrigals SSATB
From Morley's First Book of Balletts of 1595, Sing we and chant it is a splendid example of the English ballett: a light, dance-like vocal piece characterised by strongly marked rhythms and cheerful 'fa-la' refrains. The text celebrates singing, pleasure and the enjoyment of life, urging us not to waste our youth in melancholy. The music alternates lively, predominantly chordal passages with playful exchanges between the parts. Its success depends on rhythmic vitality and a sense of spontaneous enjoyment.
It was directly influenced by Gastoldi's A lieta vita - we're unlikely to have time to look at it but both these YouTube clips are lovely, in their different ways:
YouTube1
YouTube2.
