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Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]

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Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort Olson25@Marshall.Edu 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. In addition, I wish to thank Dr. Eric Migernier and Nadine Maggard from the Department of Modern Languages for their assistance in French translations. iii DEDICATIONS I dedicate this thesis to my husband Jeff, as well as to my family, friends, and mentors, who have all encouraged my educational path thus far. Without your commitment, this project would not have been possible. iv CONTENTS List of Figures .............................................................................................................................................. vi Abstract ........................................................................................................................................................ ix Prologue ........................................................................................................................................................ 1 Chapter One: The Shepherds’ Arcadia ....................................................................................................... 27 Chapter Two: The Shepherds’ Queen ......................................................................................................... 97 Chapter Three: The Shepherds’ Lament ................................................................................................... 160 Epilogue .................................................................................................................................................... 225 Bibliography ............................................................................................................................................. 233 Appendix A: Letter from the Institutional Research Board ...................................................................... 248 Appendix B: Supplementary Figures ........................................................................................................ 249 v LIST OF FIGURES Figure 1.1. Titian (Tiziano Vecelli), Two Arcadian Musicians, date unknown (ca. 2493–1576), ink on paper. The British Museum, London. Permission granted by The British Museum, London ............... 38 Figure 1.2. Pieter Bruegel the Elder, Hay Making, from the series “The Seasons,” 1565, oil on oakwood. Lobkowicz Collections, Lobkowicz Palace, Prague. Permission granted by Art Resource, New York ........................................................................................ 49 Figure 1.3 Joris Hoefnagel, Fête at Bermondsey (A Marriage Celebration at Bermondsey), ca. 1570, oil painting. Private collection, Hatfield House, Hertfordshire. Permission granted by Art Resource, New York ........................................................................................ 53 Figure 1.4. Hoefnagel, Fête at Bermondsey (A Marriage Celebration at Bermondsey), detail. Private collection, Hatfield House, Hertfordshire. Permission granted by Art Resource, New York ........ 54 Figure 1.5. Claudin de Sermisy, “Un jour Robin alloit aux champs,” mms. 1–6 ....................................... 69 Figure 1.6. Sermisy, “Un jour Robin,” mms. 7–10 ..................................................................................... 70 Figure 1.7. Sermisy, “Un jour Robin,” mm. 18 .......................................................................................... 71 Figure 1.8. Claudio Monteverdi, “Ecco mormorar l’onde,” mms. 1–3....................................................... 76 Figure 1.9. Monteverdi, “Ecco mormorar l’onde,” mms. 4–6 .................................................................... 77 Figure. 1.10. Monteverdi, “Ecco mormorar l’onde,” mms. 17–21 ............................................................. 78 Figure 1.11. Monteverdi, “Ecco mormorar l’onde,” mms. 30–32 .............................................................. 79 Figure 1.12. Monteverdi, “Ecco mormorar l’onde,” mms. 34–36 .............................................................. 79 Figure 1.13. Thomas Morley, “Now is the Month of Maying,” mms. 5–9 ................................................. 83 Figure 1.14. Morley, “Now is the Month of Maying,” mms. 1–3. Melodic comparison to Orazio Vecchi, “So ben mi ch’a bon tempo,” mms. 1–6 ............................................................................ 84 Figure 1.15. Morley, “Now is the Month of Maying,” mms. 14–15........................................................... 84 Figure 1.16. Morley, “Now is the Month of Maying,” mms. 10–13........................................................... 86 Figure 1.17. Francis Pilkington, “Rest, sweet Nymphs,” mms. 13–16 ....................................................... 90 Figure 1.18. Pilkington, “Rest, sweet Nymphs,” mm. 8 ............................................................................. 92 Figure 1.19. Pilkington, “Rest, sweet Nymphs,” mm. 21 ........................................................................... 92 Figure 2.1. Benozzo Gozzoli, Journey of the Magi, “Caspar with Entourage of the Medici” detail, 1459–60, tempera and oil fresco. Magi Chapel, Palazzo Riccardi. Permission granted by Art Resource, New York ...................................................................................... 105 vi Figure 2.2. Gozzoli, Journey of the Magi, “Pastoral Scene with Shepherds” northeast corner (left) and northwest corner (right) details. Magi Chapel, Palazzo Riccardi. Permission granted by Art Resource, New York ...................................................................................... 107 Figure 2.3. Isaac Oliver, Queen Elizabeth (‘Elizabeth I and the Three Goddesses’), ca. 1590, watercolour and bodycolour on vellum. National Portrait Gallery, London. Permission granted by National Portrait Gallery, London ........................................................................ 127 Figure 2.4. Luca Marenzio, “Come inanti de l’alba ruggiadosa,” 1622, mms. 11–14 .............................. 139 Figure 2.5. Marenzio, “Come inanti de l’alba,” mms. 30–34 ................................................................... 139 Figure 2.6. Marenzio, “Come inanti de l’alba,” mms. 24–27 ................................................................... 141 Figure 2.7. Marenzio, “Come inanti de l’alba,” mms. 7–10 ..................................................................... 141 Figure 2.8. Orlande de Lassus, “Al grand Guglielmo nostro,” 1584, mms. 12–16 .................................. 144 Figure 2.9. Lassus, “Al grand Guglielmo nostro,” mms. 1–5 ................................................................... 144 Figure 2.10. Lassus, “Al grand Guglielmo,” mms. 16–20 ........................................................................ 146 Figure 2.11. Michael Cavendish, “Come Gentle Swains,” 1601, mms. 32–36 ........................................ 148 Figure 2.12. Cavendish, “Come Gentle Swains,” mms. 26–30 ................................................................ 150 Figure 2.13. Thomas Tomkins, “See, See the Shepherds’ Queen,” 1622, mms. 53–58 ........................... 153 Figure 2.14. Tomkins, “Shepherds’ Queen,” mms. 16–20 ....................................................................... 154 Figure 2.15. Tomkins, “Shepherds’ Queen,” mms. 29–32 ....................................................................... 155 Figure 3.1. Titian (Tiziano Vecelli), Pastoral Concert, ca. 1509–1511, oil on canvas. Louvre Museum, Paris. Permission granted by Art Resource, New York................................................ 171 Figure 3.2. Hendrick van Balen, Pan Pursuing Syrinx, 1615, oil on copper. The National Gallery, London. Permission granted by Art Resource, New York .......................................................................
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