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Search Results for: English Madrigals

English Madrigals, volume 3 (recorder quintet)

An introduction to English 5-part madrigals, with pieces by Thomas Weelkes, John Wilbye, Thomas Morley, Michael East and John Ward.

Around 1000 English madrigals have survived, mostly published between 1590 and 1620. They were not intended exclusively for singers: many of the original title pages describe the music as “apt for voices and viols” . The particular choice of instrument was aimed at wealthy amateur musicians, who especially favoured viols at this time: this marketing decision on the part of the publisher should not inhibit us from playing this wonderful music on wind instruments.

The first English madrigals were actually regular Italian madrigals with English texts substituted: 5 books of such pieces were published in the 1590s, two edited by Morley, one by Thomas Watson, and a substantial two-volume anthology by Nicholas Yonge called Musica Transalpina. As one might reasonably expect, the first newly-composed madrigals were very Italianate in style, particularly those of Thomas Morley.

The advantage of playing texted music rather than pure “instrumental” music from the Renaissance is that the words tell us how to phrase the music, and which notes are strong, which weak. Many English-speakers are at a disadvantage when playing Italian or French music through inadequate knowledge of the relevant languages, but with English madrigals there is no excuse for ignoring the words!

(Bernard Thomas)
[row] [column size=”col-6″]

  1. All At Once We Met (Thomas Weelkes)
  2. Say, Dainty Dames (Thomas Weelkes)
  3. Lady, Your Words Do Spite Me (John Wilbye)
  4. Lo, Where With Flowery Head (Thomas Morley)
  5. Lady, You Think You Spite Me (Thomas Morley)

[/column] [column size=”col-6″]

  1. O Grief, Ev’n On The Bud (Thomas Morley)
  2. Shoot, False Love, I Care Not (Thomas Morley)
  3. O Metaphysical Tobacco (Michael East)
  4. Phyllis The Bright (John Ward)

[/column] [/row]

English Madrigals, volume 2 (recorder quartet)

An introduction to English madrigals for four recorders.

Around 1000 English madrigals have survived, mostly published between 1590 and 1620. They were not intended exclusively for singers: many of the original title pages describe the music as “apt for voices and viols” . The particular choice of instrument was aimed at wealthy amateur musicians, who especially favoured viols at this time: this marketing decision on the part of the publisher should not inhibit us from playing this wonderful music on wind instruments.

The first English madrigals were actually regular Italian madrigals with English texts substituted: 5 books of such pieces were published in the 1590s, two edited by Morley, one by Thomas Watson, and a substantial two-volume anthology by Nicholas Yonge called Musica Transalpina. As one might reasonably expect, the first newly-composed madrigals were very Italianate in style, particularly those of Thomas Morley.

The advantage of playing texted music rather than pure “instrumental” music from the Renaissance is that the words tell us how to phrase the music, and which notes are strong, which weak. Many English-speakers are at a disadvantage when playing Italian or French music through inadequate knowledge of the relevant languages, but with English madrigals there is no excuse for ignoring the words!
(Bernard Thomas)

[row] [column size=”col-6″]

  1. Now That Each Creature (Giovanni Bassano)
  2. Daphne The Bright (Giovanni Croce)
  3. White Lilies Be Her Cheeks (Giovanni Croce)
  4. April Is In My Mistress’ Face (Thomas Morley)
  5. Help, I Fall (Thomas Morley)
  6. Now Is The Gentle Season (Thomas Morley)

[/column] [column size=”col-6″]

  1. Now Each Creature Joys The Other (Michael East)
  2. Who Would Have Thought That Face? (John Farmer)
  3. Cease Now Thy Mourning (John Farmer)
  4. Thus Saith My Cloris Bright (John Wilbye)
  5. Change Me, O Heav’ns (John Wilbye)

[/column] [/row]

English Madrigals, volume 1 (recorder trio)

An introduction to English madrigals, with pieces by Thomas Morley, John Wilbye, Michael East and John Ward.

Around 1000 English madrigals have survived, mostly published between 1590 and 1620. They were not intended exclusively for singers: many of the original title pages describe the music as “apt for voices and viols” . The particular choice of instrument was aimed at wealthy amateur musicians, who especially favoured viols at this time: this marketing decision on the part of the publisher should not inhibit us from playing this wonderful music on wind instruments.

The first English madrigals were actually regular Italian madrigals with English texts substituted: 5 books of such pieces were published in the 1590s, two edited by Morley, one by Thomas Watson, and a substantial two-volume anthology by Nicholas Yonge called Musica Transalpina. As one might reasonably expect, the first newly-composed madrigals were very Italianate in style, particularly those of Thomas Morley.

The advantage of playing texted music rather than pure “instrumental” music from the Renaissance is that the words tell us how to phrase the music, and which notes are strong, which weak. Many English-speakers are at a disadvantage when playing Italian or French music through inadequate knowledge of the relevant languages, but with English madrigals there is no excuse for ignoring the words!

(Bernard Thomas)
[row] [column size=”col-6″]

  1. See, Mine Own Sweet Jewel (Thomas Morley)
  2. Away, Thou Shalt Not Love Me (John Wilbye)
  3. O Say, Dear Life (John Ward)
  4. In Health and Ease Am I (John Ward)
  5. Go, Wailing Accents (John Ward)
  6. See Amaryllis Shamed (Michael East)

[/column] [column size=”col-6″]

  1. How Merrily We Live (Michael East)
  2. Do Not Run Away (Michael East)
  3. Lady, Those Eyes (Thomas Morley)
  4. Farewell, Disdainful (Thomas Morley)
  5. Weep, O Mine Eyes (John Wilbye)

[/column] [/row]

English Music Collection

English (instrumental) Music Collection

(29 titles: Includes 4 volumes of Byrd, and works by Coperario, East, Phillips and others.)

Browning Fantasy + Hackney
The tune of this piece was often known as The leaves be green
The four part consort music
Byrd’s excellent four-part consort consist of fantasies and plainsong settings, all with impeccable part-writing.
9 Pavans (score only)
Ferrabosco’s pavans are special. You can play through them all, in the way you would with the Dowland Lachryme pans.
9 Pavans (parts)
Ferrabosco’s pavans are special. You can play through them all, in the way you would with the Dowland Lachryme pans.
3 Trios from Institution Harmonique
Peter Phillips (b.1560) was a Catholic. In 1582 he left England, worked a few years in Rome and then moved to Flanders. His double-choir pieces are quite Roman in style, keeping to equal choirs and traditional counterpoint.
Song called Trumpets
Robert Parsons was born around 1530. He worked as a singer in the Chapel Royal, and was involved in the development of church music for the new Protestant faith.
2 Pieces for 3 instruments
These fascinating pieces are based on 2 popular melodies, Browning and Coockow as I me walked.
Quemadmodum
Taverner’sQuemadmodum is a 6-part plainsong setting in perfect counterpoint.
2 Fantasies
These two fantasies by James Harding (d. 1626), come down only in a keyboard source (British Library, Add. MS 30485). However, the keyboard settings do not seem particularly idiomatic, and as two neighbouring pieces in the source exist also in part books, it seems legitimate to print the pieces in four-part score.

James Harding was a professional wind player who almost certainly moved to England from Holland, Germany or possibly Denmark.

His most well-known piece is a galliard that was arranged for keyboard by no less than William Byrd; a matching pavan by Johann Sommer is included in the Füllsack/Hildebrandt anthology of 1607.

In this edition the original note values have been retained. A few editorial accidentals appear above the stave, applying to the one note only.

Bernard Thomas

3 In Nomine settings
William Mundy spent his life as a singer in London for a time in the Chapel Royal.
De la court
Robert Parsons was born around 1530. He worked as a singer in the Chapel Royal, and was involved in the development of church music for the new Protestant faith.
A sei soprani
William Daman (or Damon) was a Franco-Flemish wind-player and organist from Liege. This piece is the only piece of its kind in English sources. He also wrote a piece for 6 bass instruments.
21 Masque dances
British Library Add, MS 10444 is a large collection of pieces in treble-and-bass form. Many of the tunes turn out to be from early 17th-century masues.
6-part Consort Music
Contains some seriously good fantasies.
5-part consort music, Volume 1
Includes Byrd’s magnificent Browning fantasy, an unusual piece called Prelude and Ground and another excellent fantasy.
5-part Consort music, Volume II
This volume contains In nomine settings and the 5-part pavane, and galliard.
The Six-part Consort Music vol I.
John (Giovanni) Coperario (1570-1626) was originally named Cooper or Cowper, but changed his name to Coperario to appear Italian, as Italian music was all the rage in his time. His music is certainly expressive in an Italian way. He left a large number or madrigal,-like pieces:as these have mostly survived without text, we don’t know if they are really madrigals, or just instrumental pieces composed in an Italian style.
The Six-part Consort Music vol II
John (Giovanni) Coperario (1770-1626)was originally named Cooper or Cowper, but changed his name to Coperario to appear Italian, as Italian music was all the rage in his time. His music is certainly expressive in an Italian way. He left a large number or madrigal,-like pieces:as these have mostly survived without text, we don’t know if they are really madrigals, or just instrumental pieces composed in an Italian style.
8 Fantasies Vol. I
Michael East (1580-1648) worked as a singer in the cathedrals of Ely and Lichfield. Handily for him, his uncle Thomas was a publisher in London. These fantasies are his best work.
8 Fantasies Vol. II
Michael East (1580-1648) worked as a singer in the cathedrals of Ely and Lichfield. Handily for him, his uncle Thomas was a publisher in London. These fantasies are his best work.
8 5-part pieces
John (Giovanni) Coperario (1570-1626) was originally named Cooper or Cowper, but changed his name to Coperario to appear Italian, as Italian music was all the rage in his time. His music is certainly expressive in an Italian way. He left a large number or madrigal,-like pieces:as these have mostly survived without text, we don’t know if they are really madrigals, or just instrumental pieces composed in an Italian style.
Sit fast
Sit fast is an extraordinary tour de force of rhythmic complexity which remains quite beautiful. Not easy, but worth it.
Courtly Masquing Ayres, volume 1
Adson’s Courtly Masquing Ayres of 1621 is the only English printed collection of Jacobean masque music for ensemble, though there other settings in manuscripts and German prints.
Courtly Masquing Ayres, volume 2
Adson’s Courtly Masquing Ayres of 1621 is the only English printed collection of Jacobean masque music for ensemble, though there other settings in manuscripts and German prints.
Courtly Masquing Ayres, volume 3
Adson’s Courtly Masquing Ayres of 1621 is the only English printed collection of Jacobean masque music for ensemble, though there other settings in manuscripts and German prints.
25 Masque dances
British Library Add, MS 10444 is a large collection of pieces in treble-and-bass form. Many of the tunes turn out to be from early 17th-century masues.
Pavan Passamezz
Peter Phillips (b.1560) was a Catholic. In 1582 he left England, worked a few years in Rome and then moved to Flanders. His double-choir pieces are quite Roman in style, keeping to equal choirs and traditional counterpoint.
Ashton’s Maske
This remarkable piece is based on a simple tenor, is written in a very distinctive indigenous style around 1550.
In nomine (c.1570)
This remarkable In nomine setting is much grander than the normal ones, and is actually twice the usual length.

Bateson: Two Madrigals à4

Phyllis, farewell + Whither so fast.
Two relatively light madrigals by English composer Thomas Bateson.