RES10146 TUDOR MUSIC FORMEN’SVOICES MUSIC OF THEREALM THE QUEEN’S SIX William Byrd (c. 1540-1623) Thomas Morley Music of the Realm 1. O Lord, make thy servant 12. Haec dies [1:27] Elizabeth our Queen [3:04] Orlando Gibbons Tudor Music for Men’s Voices Thomas Morley (c. 1557-1602) 13. O Lord in thy wrath [3:10] 2. Laboravi in gemitu meo [5:30] Thomas Tallis Thomas Tomkins (1572-1656) 14. O sacrum convivium [3:37] 3. Almighty God, the fountain of all wisdom [5:35] Thomas Morley The Queen’s Six 15. O amica mea [6:00] Thomas Tallis (1505-1585) 4. Videte miraculum [9:33] Thomas Tomkins Daniel Brittain countertenor 16. Turn unto the Lord [2:25] William Byrd Timothy Carleston countertenor 5. Haec dies [2:15] Orlando Gibbons Nicholas Madden tenor 17. Lift up your heads [2:36] Thomas Weelkes (c. 1575-1623) Dominic Bland tenor 6. O how amiable [3:08] Andrew Thompson baritone Total playing time [63:56] William Byrd Simon Whiteley bass 7. Attend mine humble prayer [2:56]

Orlando Gibbons (1583-1625) 8. Almighty and everlasting God [2:13]

Thomas Tomkins 9. When David heard [4:11]

Thomas Weelkes 10. When David heard [3:55] 11. O Jonathan, woe is me [2:11] Music of the Realm: tonality where all the previous material has Tudor Music for Men’s Voices been strongly dominant.

This intriguing and resourceful survey of This is followed by one of the most fluent late-Tudor and early-Stuart sacred music expressions of penitence from the whole goes deep into a repertoire which is only period – Morley’s Laboravi in gemitu meo. known in part today. Here are some famous Unfortunately it seems as though Morley masterpieces – William Byrd’s Haec dies didn’t actually write it: with the publication and Thomas Tallis’s O sacrum convivium – of the complete works in modern edition of alongside some completely neglected ones, Philippe Rogier in 1982 it became apparent like Thomas Morley’s O amica mea and that he had somehow stolen it (see P. Thomas Weelkes’s O how amiable. The Phillips: Music and Letters, lxiii (1982)). We selection also neatly exemplifies its title, shall never know why he did this. It may Music of the Realm, by putting forward be relevant that by 1591 he was up to his six composers who were probably associated neck in religious intrigue, acting as a spy with the Chapel Royal of Queen Elizabeth I. in Flanders for the Catholics, before being Such music is also the realm – and daily fare – unmasked and in grave danger of being of the six singers who make up The Queen’s hanged back home. Presumably he found Six, in their turn serving Queen Elizabeth II the Rogier original in Flanders, felt that its as half of the Lay Clerks in the royal peculiar deeply passionate expression rather suited of St George’s Chapel, Windsor Castle. his situation, and possibly just copied it out for his own study. The disc begins with the entirely appropriate setting by William Byrd of O Lord, make thy Thomas Tomkins’ Almighty God, the fountain servant Elizabeth our Queen (adapted from of all wisdom also follows the royal theme of psalm 21, vv. 1-4) known as a royal psalm, the disc, since its text, taken from the Book of in which the poet gives thanks for a Common Prayer, is customarily recited at strong ruler. The smooth lie of Byrd’s the Coronation. For much of the piece polyphony suggests it is an early work, Tomkins keeps his music to the simplest though none the less heart-felt for that. service style, undemonstrative and largely The miracle of it comes in the ‘Amen’ chordal. However this simplicity has a which seems to be almost a separate charge which slowly builds to the final composition, leaning to subdominant two passages. Unexpected, the music falls effortlessly into an exploration of the false it may be because some of it is a reworking Henry, Prince of Wales, in 1612. So far I voices, setting the same text for Easter Day relation – a dissonance the English of (or was used again in) his Magnificat for have identified nine settings of When David which was noticed earlier by Byrd. By particularly relished. Having reviewed this five voices, especially in the two ‘Amens’. heard from this period. In addition to the comparison Gibbons’s O Lord in thy wrath is familiar world, Tomkins then writes an The unhurried nature of the opening section two by Weelkes and Tomkins, there is an elaborate setting of adapted parts of ‘Amen’ without parallel, based on three however – not used in the Magnificat – sets evidence of others by William Bearsley, Psalm 38, one of the most desperate of rising tones, each decorated by a falling an appropriately restful mood for what Richard Dering, Thomas East, Giles all outpourings of hurt and guilt, begging quaver. Only in Purcell is there harmony follows. Byrd’s Attend mine humble prayer Farnaby, John Milton (father of the poet), for God’s mercy. Gibbons sets it with all to rival this lance into the future. (taken from psalm 143) will probably not Robert Ramsey and E? Smith. One or two his command of harmony and counterpoint, be known to Anglican congregations since of these are very fine, though none rivals the former peaking on the diminished Tallis’s Videte miraculum must be the it was conceived as devotional music in the two on this disc, which stand as chord at ‘how long’. Much of the uniquely earliest piece on the disc, though there the home. Published in Byrd’s 1589 ‘Songs fascinating examples of how to do a powerful atmosphere of this piece is is debate as to whether it was composed of Sundry Natures’ it joins six other similar thing at the same point in time generated by suspensions – at least one in Mary’s or Elizabeth’s reign. As a Latin penitential psalms, all scored for three in completely different ways. Where a bar in the opening phrase. respond, which had belonged to the old voices. Byrd’s setting is reminiscent of his the Tomkins is sustained and relentless rite, the earlier date seems likely, though Mass for Three Voices, probably coeval in its grief, Weelkes confronts the grief Tallis’s much performed motet, O sacrum it is a work of real maturity and deep, with this publication, in making so much head-on. Where Tomkins writes slow convivium, offers quieter moments. Setting almost sensual expression. The power of such restricted means. Orlando Gibbons’s counterpoint to build up the tension, words by Thomas Aquinas to honour the of the word ‘Maria’, brought about by Almighty and everlasting God, on the other Weelkes writes much shorter more Blessed Sacrament, it is often heard at artful repetition, is unforgettable. Byrd’s hand, is widely performed in church. compact phrases, including diminished communion. Tallis’s music was published Haec dies for six voices perhaps needs Choosing the Collect for the Third Sunday chords and other dissonances. One in the 1575 Cantiones Sacrae, which probably little introduction. Written on a text after Epiphany as his text, Gibbons gives could argue that the Tomkins finds some means it was written towards the end of associated with Easter Day, Byrd dazzles us a classic display of four-part writing at resolution towards the end; the Weelkes his long life. Certainly the impeccable the listener firstly with dancing rhythms, its most transparent: moving from tonic never lets go. This is also true of Weelkes’s imitative polyphony suggests a highly and then with a protracted, rising to dominant by exactly the half-way point, O Jonathan, woe is me, which must be refined technique. Morley’s O amica mea is sequence on the word ‘Alleluia’. before moving back again for the final related to When David heard, even altogether less well known, and presents cadence. though the texts come from different another riddle from this unusual man. The next three pieces form a small group parts of II Samuel. The setting of the No-one can deny that it is music of the by themselves. Written to English texts These three pieces are followed by three words ‘O Jonathan’ has a very similar highest sophistication, a beautifully and for reduced forces, they provide a more which are linked. They probably resonance to that of ‘O Absalom’. sustained love-offering along the lines of less spectacular type of sacred writing. formed part of a substantial set of works, so many such offerings where the words The most elaborate is Weelkes’s O how including plays, masques and poems, Morley’s Haec dies is a straightforward of the Song of Songs (here Chapter 4, amiable, scored for five voices and taken which poured out of the leading artists in arrangement (by James Gibb) of an verses 1 and 2) are concerned. But the from psalm 84. If the music sounds familiar London on the much-lamented death of unspecified original work for three choice of text is almost comic. And the piece was originally published at the end of the top part, as cheeky as it is tantalising, Morley’s theoretical manual A Plaine and to send us on our way. The Queen’s Six give Easie Introduction to Practicall Musicke it a thrilling performance. (1597) without any explanation as to why it is there. Perhaps all Morley’s students © 2015 Peter Phillips needed to know was how to write polyphony of such power.

It is also possible that Tomkins had a didactic intent when he wrote his six-voice anthem Turn unto the Lord. Dedicated to his son Nathaniel, it has the correctness of a consort song by Byrd, reinforced by a text with an edifying message (from Joel II and Psalm 100, an unusual mix which Tomkins must surely have made himself). With its carefully worked points of imitation it gives the impression of a composer at the height of his powers, revisiting the techniques of his youth the better to adorn the nature of the text he has chosen.

Gibbons’s Lift up your heads is also scored for six voices and also displays some classically-worked counterpoint. However in this case the overriding impression is one of uncontainable energy. The music piles in on itself, point after point, syncopation after syncopation, until The Queen’s Six (from left to right: Timothy Carleston, Nicholas Madden, Andrew Thompson, breathlessly we arrive at the final phrase, Simon Whiteley, Daniel Brittain, Dominic Bland) only to be delivered a harmonic kick in the pants via a flattened leading-note in Texts Thomas Tomkins (1572-1656) Behold the miracle of the of the Lord’s mother: Thomas Weelkes (c. 1575-1623) 3. Almighty God, the fountain of all wisdom she has conceived as a virgin though she 6. O how amiable William Byrd (c. 1540-1623) knows not a man, 1. O Lord, make thy servant Elizabeth Almighty God, the fountain of all wisdom, Mary stands heavy with her noble burden; O how amiable are thy dwellings: our Queen who knowest our necessities before we ask, knowing not that she is a wife, thou Lord of hosts! and our ignorance in asking; she rejoices as a mother. My soul hath a desire and longing to enter O Lord, make thy servant, Elizabeth our Queen, we beseech thee to have compassion upon Her pure womb has conceived into the courts of the Lord: to rejoice in thy strength; our infirmities; one who is wonderful beyond the sons of men, my heart and my flesh rejoice in the living God. give her her heart’s desire, and those things which for our unworthiness and forever blessed, O Lord God of hosts: blessed is the man that and deny not the request of her lips; we dare not, she has delivered God and man for us. putteth his trust in thee. but prevent her with thine everlasting blessing, and for our blindness we cannot ask, Glory to the Father and to the Son and to the Amen. and give her a long life, vouchsafe to give us for the worthiness of thy Holy Ghost. even for ever and ever. Amen. Son Jesus Christ our Lord. Psalm 84: 1-2 & 13 Amen. Responsory at the First Vespers Words based on Psalm 21 of the Purification The Book of Common Prayer William Byrd 7. Attend mine humble prayer Thomas Morley (c. 1557-1602) William Byrd 2. Laboravi in gemitu meo Thomas Tallis (1505-1585) 5. Haec dies Attend mine humble prayer Lord, 4. Videte miraculum with thine attentive ear, Laboravi in gemitu meo; lavabo per singulas Haec dies quam fecit Dominus: even in thy truth and justice Lord, noctes lectum meum: Videte miraculum matris Domini: exultemus et laetemur in ea. vouchsafe my suit to hear. lacrimis meis stratum meum rigabo. concepit virgo virilis ignara consortii, Alleluia. stans onerata nobili onere Maria; And into judgement enter not, I am weary of my groaning; every night wash I et matrem se laetam cognoscit, This is the day which the Lord hath made, with thy poor servant here, my bed: que se nescit uxorem. let us be glad and rejoice in it. because none shall be justified and water my couch with my tears. Haec speciosum forma praefiliis hominum Alleluia. and stand before thee clear. castis concepit miseribus, Psalm 6: 6 et benedicta in aeternum Psalm 118: 24 Words based on Psalm 143: 1-2 Deum nobis protulit et hominem. Gloria Patri et Filio et Spiritui Sancto.

Orlando Gibbons (1583-1625) very kind hast thou been unto me: Thomas Tallis Thomas Tomkins 8. Almighty and everlasting God thy love to me was wonderful, 14. O sacrum convivium 16. Turn unto the Lord passing the love of women. Almighty and everlasting God, O sacrum convivium, in quo Christus sumitur; Turn unto the Lord our God mercifully look upon our infirmities, 2 Samuel 1: 25-26 recolitur memoria passionis ejus; for the Lord is gracious, and in all our dangers and necessities mens impletur gratia; his mercy is everlasting, stretch forth thy right hand to help and et futurae gloriae nobis pignus datur. and his truth endureth from defend us, Thomas Morley generation to generation. through Christ our Lord. 12. Haec dies O sacred banquet, Amen. in which Christ is received, Text based on Joel 2: 13 and Psalm 100: 1 Haec dies quem fecit Dominus: the memory of his Passion is renewed, Collect for the Third Sunday after Epiphany exultemus et laetemur in ea. the mind is filled with grace, Tu es Deus noster, gratia agimus tibi. Alleluia. and a pledge of future glory to us is given. Orlando Gibbons 17. Lift up your heads Thomas Tomkins This is the day which the Lord has made, St Thomas Aquinas (1225-1274) 9. When David heard let us be glad and rejoice in it. Lift up your heads, O ye gates, & You are our God, we give thanks to you. Alleluia. and be ye lift up, ye everlasting doors, Thomas Weelkes Thomas Morley and the King of glory shall come in. 10. When David heard from Psalm 118 15. O amica mea Who is the King of glory? When David heard that Absalom was slain, O amica mea, it is the Lord strong and mighty. he went up to his chamber over the gate, Orlando Gibbons sunt capilli tui sicut greges caprarum quae Even the Lord of hosts, and wept: and thus he said, O my son Absalom. 13. O Lord in thy wrath ascenderunt de monte Galaad. He is the King of glory. Would God I had died for thee, Absalom, my son. Dentes tui sicut greges tonsarum O Lord, in thy wrath rebuke me not: quae ascenderunt de lavacro. Psalm 24 2 Samuel 18: 33 neither chasten me in thy displeasure. Have mercy upon me, O Lord, for I am weak: O my love, your hair is like a flock of goats, O Lord, heal me, for my bones are vexed. moving down mount Gilead. Thomas Weelkes My soul is also sore troubled: Your teeth are like a flock of shorn ewes 11. O Jonathan, woe is me but, Lord, how long wilt thou punish me? which have come up from the wash. O save me, for thy mercy's sake. O Jonathan, woe is me for thee, Song of Songs my brother Jonathan: Psalm 6: 1-4 More titles from Resonus Classics The Queen’s Six and singing together every day in the Royal Chapel that lends this group In The Dark Founded in 2008, The Queen’s Six was its distinctive closeness and blend, Platinum Consort established on the 450th anniversary of as well as an irresistible informality Scott Inglis-Kidger (conductor) the accession of Queen Elizabeth I, from and charm. RES10110 whom the group takes its name. 'This intimate music making draws you in The Queen’s Six’s repertoire extends far ineluctably [...] This interesting, sensitively Elizabeth I was a great patroness of the beyond the reach of the choir stalls: sung programme recorded with gleaming clarity’ arts, and often engaged the services of from austere early chant and florid BBC Music Magazine musicians to write and perform for her Renaissance polyphony, to lewd madrigals, at court. Featured on the group’s first album, haunting folk songs and upbeat Jazz and he notable ‘six’ from this era Pop arrangements. This Christmas Night: Contemporary Carols were Thomas Tallis, William Byrd, The Choir of Worcester College, Oxford Thomas Tomkins, Thomas Morley, Individually, members of The Queen’s Six Stephen Farr (conductor & solo organ) Orlando Gibbons and Thomas Weelkes. appear regularly in all of the most prestigious RES10113 vocal ensembles both nationally and Based in Windsor Castle, England, the internationally, including Tenebrae, ‘[...] Stephen Farr directs delectably sensitive group consists of two countertenors, Polyphony, The BBC Singers, The Cardinall’s performances and the sound is immaculate' two tenors, a baritone and a bass. By day, Musick, Collegium Vocale Gent, The BBC Music Magazine, Christmas Choice 2012 all the members of the 21st century ‘Queen's Gabrieli Consort, EXAUDI, The King’s Consort, Six’ are also half of the Lay Clerks of St The Tallis Scholars and The Sixteen. George’s Chapel, whose homes lie within the Castle walls. As an ensemble, The Queen’s Six have © 2015 Resonus Limited performed to critical acclaim at music è 2015 Resonus Limited The Chapel Choir, which consists of boy festivals in the UK and Spain. In the short Recorded in St George’s Chapel, Windsor Castle on 29 September – trebles and twelve professional adult time since they began, they have also 2 October 2014 by kind permission of the Dean and Canons of Windsor. Producer, Engineer & Editor: Adam Binks male singers, performs some eight released a commercial EP, and had the Photography © Gill Aspel services a week, as well as at private privilege of performing at a private Recorded at 24-bit / 96kHz resolution – DDD and state occasions, often before function for HM The Queen and HRH the the British Royal Family. This rare Duke of Edinburgh. The Queen’s Six and Resonus Classics would like to thank the Dean and Canons of Windsor privilege demands the highest for their generous cooperation and assistance in the making of this recording. musical standards. Most significantly www.thequeenssix.com however, it is the familiarity of living RESONUS LIMITED – LONDON – UK [email protected] www.resonusclassics.com RES10146