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Table of Contents Introduction vii Editorial notes ix Texts and notes x i Select bibliography x x v ii i Ayres for voice & lute 1. Lyk e as the lark Anonymous, Tottle’s Miscellany 3 2 a . Lost is my lyberty Anonymous, Ballet Lute Book 4 2b. My L of Dehims lamentation Anonymous, CUL Dd. 2.11 5 3. In angels weed William Byrd 6 4. My mind to me a kingdom is William Byrd 8 5. Pavana Bray Byrd / Francis Cutting 1 0 6. Galliard Mr Birde William Byrd 1 2 7. Susanna faire William Byrd 1 4 8. O deere life when shall it be William Byrd 16 9. O deere life when shall it be Anon / R. Dowland 18 10. O de a re l y fe Anon / Marsh Lute Book 19 11 a . Sidneys lamentation Anonymous, CUL Dd. 2.11 2 0 1 1b . Mein junges Leben hat ein end Sweelinck 21 1 2 . Author of light Thomas Campion 2 2 1 3 . Sypres curtain of the night Thomas Campion 23 1 4 . G alliard Edward Collard 24 1 5 . Tyme cruell tyme John Danyel 26 1 6 . Ouer these brookes Robert Jones 28 1 7 . Cradle pavan Holborne / CUL Dd. 2.11 3 0 1 8 . Sweete stay a while Dowland, 1612 3 2 19 a . Sweete stay a while (original) Anon / c.1626 3 4 19 b. Sweete stay a while (lower) Anon / c.1626 3 5 2 0 . Ah deere hart Orlando Gibbons 3 6 2 1 . The S il u er S wan ne Orlando Gibbons 3 7 2 2 a . Fancy for 2 trebles (lute) Orlando Gibbons 3 8 22b. Fancy for 2 trebles (original) Orlando Gibbons 39 2 3 . I saw my l ady weepe Dowland, 1600 40 2 4 . I saw my Lady weep ing Thomas Morley 4 2 2 5 . Sleepe slumbringe eyes Thomas Morley 4 4 2 6 a . With my loue Thomas Morley 46 26b. With my loue Thomas Morley 47 2 7 . Pauin. 3 Thomas Morley 4 8 2 8 . Ga l lyerd Philip Rosseter 50 29 . Deare, if you change Dowland, 1597 51 3 0 . If that a sinners sighes Dowland, 1612 52 3 1 . In this trembling shadow cast Dowland, 1612 54 3 2 . In darknesse let me dwell Dowland, 1610 56 3 3 . In darknesse let me dwell Giovanni Coprario 58 3 4 . To aske for all thy loue Dowland, 1612 60 3 5 . Tosse not my soule Dowland, 1600 61 3 6 . Come heauy sleepe Dowland, 1597 62 3 7 . Come heauy sleepe Johnson , c. 162 0 63 3 8 . Shall I striue with wordes to moue Dowland, 1612 64 39 . Resolution Dowland / CUL Nn.6.36 66 4 0 . [Fantasia] Dowland / CUL Dd . 9 68 4 1 . Me me and none but me Dowland, 1603 70 42. [Can she excuse] Dowland / CUL Add. MS . 3056 71 4 3 . Can shee excuse my wrongs Dowland, 1597 72 .

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English Madrigal School
THE ENGLISH MADRIGAL SCHOOL Transcribed, Scored and Edited by REV. EDMUND HORACE FELLOWES M.A., Mus.Bac, Oxon. VOL. V. ORLANDO GIBBONS First Set of MADRIGALS AND MOTETS OF FIVE PARTS (Published in 1612) LONDON: STAINER AND BELL, LTD., 58, BERNERS STREET, OXFORD STREET, W. 1914 THE^ENGLISH MADRIGAL SCHOOL. LIST OF SUBSCRIBERS To VOLUMES V.-VIII. Dr. Guido Adler, Proressor of Musical Research in Percy C. Buck, Esq., Mus.Doc, Professor of Music in Vienna University. Trinity College, Dublin ; Director of Music, Harrow W. G. Alcock, Esq., M.V.O., Mus.Doc, Organist and School. Composer to His Majesty's Chapels Royal. F. C. Butcher, Esq., Mus.Bac, Organist and Music B, C. Allchin, Esq., Organist of Hertford College, Master, Hoosac School, New York, U.S.A. Oxford. L. S. R. Byrne, Esq. Hugh P. Allen, Esq., Mus.Doc, Choragus of Oxford University, Organist and Fellow of New College, Capt. Maurice Caillard. Oxford. Sir Vincent H. P. Caillard. The Right Hon. Viscount Alverstone, G.C.M.G., Cardiff University College Library. D.C.L., formerly Lord Chief Justice of England. F. Clive Carey, Esq. (2 copies). E. Amphlett, Esq. Rev. T. B. Carter. W. Anstice, Esq. Sir Francis Champneys, Bart., M.D. Mrs. Argles. The City Glee Club. Godfrey E. P. Arkwright, Esq. J. B. Clark, Esq. Miss Marian Arkwright, Mus. Doc. Rev. Allan Coates. Frl. Amaiie Arnheim. Mrs. Somers V. Cocks. Franck Arnold, Esq. H. C. Colles, Esq., Mus.Bac. Miss R. Baines. The Hon. Mrs. Henn Collins. E. L. Bainton, Esq. Mrs. A. S. Commeline. E. C.
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Early Fifteenth Century
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Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
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Gibbons US 6/8/06 11:30 AM Page 16
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Direction 2. Ile Fantaisies
CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18.
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Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 Email: [email protected]
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Renaissance Terms
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The Journal of the Viola Da Gamba Society
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Thomas Campion - Poems
Classic Poetry Series Thomas Campion - poems - Publication Date: 2004 Publisher: Poemhunter.com - The World's Poetry Archive Thomas Campion(1567-1620) Thomas Campion (sometimes Campian) (12 February 1567 – 1 March 1620) was an English composer, poet, and physician. He wrote over a hundred lute songs, masques for dancing, and an authoritative technical treatise on music. <b>Life</b> Campion was born in London, the son of John Campion, a clerk of the Court of Chancery, and Lucy (née Searle – daughter of Laurence Searle, one of the queen's serjeants-at-arms). Upon the death of Campion's father in 1576, his mother married Augustine Steward, dying soon afterwards. His step-father assumed charge of the boy and sent him, in 1581, to study at Peterhouse, Cambridge as a "gentleman pensioner"; he left the university after four years without taking a degree. He later entered Gray's Inn to study law in 1586. However, he left in 1595 without having been called to the bar. On 10 February 1605, he received his medical degree from the University of Caen. Campion is thought to have lived in London, practicing as a physician, until his death in March 1620 – possibly of the plague. He was apparently unmarried and had no children. He was buried the same day at St Dunstan-in-the-West in Fleet Street. He was implicated in the murder of Sir Thomas Overbury, but was eventually exonerated, as it was found that he had unwittingly delivered the bribe that had procured Overbury's death. <b>Poetry and songs</b> The body of his works is considerable, the earliest known being a group of five anonymous poems included in the "Songs of Divers Noblemen and Gentlemen," appended to Newman's edition of Sir Philip Sidney's Astrophel and Stella, which appeared in 1591.
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Program Notes
PROGRAM NOTES According to the writings of the ancient Greek physician Hippocrates, melancholy was caused by an excess of black bile, one of the four humors. An imbalance of blood, phlegm, yellow bile, or black bile could cause disease—or even determine personality traits. Albrecht Dürer’s famously allegorical “Melencholia I” of 1514 on the program’s cover most likely portrays a morose being who is rendered idle by inspiration’s absence. But for an artist, who can imagine a more destructive affliction than waiting for ideas that just won’t come? During the 16th and 17th centuries, a curious cultural and literary cult of melancholia swept England—in music epitomized by John Dowland’s Lachrimae, or by Shakespeare’s Hamlet— although the Dane’s melancholy probably arose from his paralyzing indecision. And yet, music was considered a cure for melancholy. According to the 17th-century scholar Robert Burton, “Besides that excellent power [music] hath to expel … diseases, it is a sovereign remedy against despair and melancholy….” In any case, depressing subjects certainly stimulate composers’ quirkier ideas and sad music ofen has a cathartic effect on listeners. It is interesting to note that two of the funeral odes on this program do not rely on Christian imagery, but turn to the humanistic Greek mythology of ages past. Although little is known about Anthony Holborne’s life, he was employed by Queen Elizabeth and also admired by his contemporaries. Te esteemed John Dowland dedicated “I Saw My Lady Weepe” from his Second Booke of Songes to him. Holborne composed sixty-five dances that comprise the collection Pavans, Galliards, Almains.
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