DOCSLIB.ORG

Stile Antico: Toward the Dawn

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stile Antico: Toward the Dawn Stile Antico: Toward the Dawn St Martin-in-the-Fields Trafalgar Square London Available to watch as many times as you like WC2N 4JJ from 7.30pm, Thursday 4 March 2021, 020 7766 1100 and available for 30 days. www.smitf.org PROGRAMME Draw on, sweet night – John Wilbye (1574-1638) Christe qui lux es IV – Robert White (c.1538-1574) Come, sable night – John Ward (1571-1638) Vigilate – William Byrd (c.1539/40-1623) Toutes le nuitz – Orlande de Lassus (1530/32-1594) Laboravi in gemitu meo – Philippe Rogier (1561-1596) / Thomas Morley (c.1557-1602) Gentle sleep – Nico Muhly (b.1981) O nata lux – Thomas Tallis (c.1505-1585) Ecco mormorar l’onde – Claudio Monteverdi (1567-1643) Ave Dei Patris filia – John Taverner (c1490-1545) Stile Antico (c. Marco Borggreve) PROGRAMME NOTES by Sarah Maxted In this programme, Stile Antico chart a course through the music of night-time, from dusk to dawn. For poets and musicians of the sixteenth century, the themes of darkness, dreams and sleep were a rich source of inspiration. The cover of darkness was an invitation to secrecy – illicit longings, clandestine religion, political stirrings, unspeakable grief – whilst sleep brought the sweetness of repose and dreaming, but also profound danger. Sleeping bodies were vulnerable to attack and disease, just as sleeping souls were susceptible to sin and supernatural threats. The hours of darkness were a time when our mortal souls were most in need of divine protection, awaiting the illuminating and redeeming rise of the morning sun. John Wilbye (1574-1638) was born in the Norfolk market town of Diss, son of an amateur lutenist, and worked as a household musician to prominent noble families in Norfolk and Suffolk. Draw on, sweet night is from the second set of Wilbye’s madrigals, published in 1609 with the support of his patrons. The text by an unidentified poet invites the solace of night, wherein darkness is the perfect companion for contemplating the day’s woes and finding some relief. It is perhaps more poetically sophisticated than many similar English madrigal texts of the time, demonstrating Wilbye’s discerning eye for literary quality and emotionally affecting poetry. Christe qui lux es is a hymn for compline, the final service of prayers at the end of the Christian day. This is the fourth of four settings of the same text by Robert White (c.1538- 1574), each of which alternates traditional plainchant with polyphonic verse. It is a tranquil prayer, beseeching the light of Christ to protect us from the perils of night and allow us peaceful sleep. White was a London-born composer, who studied at Trinity College, Cambridge before holding positions at Ely and Chester Cathedrals. Highly esteemed by his contemporaries, he became master of the choristers at Westminster Abbey, but held the role for only a few years until his death during the city’s plague outbreak of 1574. Come, sable night is from a set of madrigals by John Ward (1571-1638) published in 1613. Ward was born in Canterbury and was patronised by the family of Sir Henry Fanshawe. Much like the Wilbye madrigal which opened tonight's programme, Come sable night welcomes the darkness of night for its suitability for grief. The text refers to the traditional pastoral figure Amyntas who, according to the lamentations by poet Thomas Watson, mourned the death of his beloved Phyllis for eleven wretched days before his eventually taking his own life. Just as we might be succumbing to sleepiness, the rousing motet Vigilate by William Byrd (c.1539/40-1623) is a reminder to stay awake and watchful. Byrd takes the biblical text about the destruction of the temple in Mark 13 and imbues it with urgency and vivid word- painting. Listen for the florid call of the cock crowing (‘galli cantu’) and the drowsy lethargy that almost overwhelms the descending vocal lines on the word ‘dormientes’ (‘sleeping’). In the political context of post-Reformation England, Byrd was one of many Catholics forced to conceal his religious life, worshipping secretly and in fear of persecution, with a very real need for vigilance. Orlande de Lassus (1530/32-1594) was a Flemish composer who worked extensively in the most vibrant musical cities of sixteenth century Europe. Like Byrd he was a lifelong Catholic during this period of religious turbulence, but his oeuvre was far from being exclusively devout. Lassus embraced secular styles freely and lavishly, as can be heard in his chanson Toutes le nuitz. The anonymous poem offers yet another reason to long for slumber – this time not for grief or prayer, but for the opportunity to dream passionately about an absent lover. Laboravi in gemitu meo is a six-part motet, attributed to Thomas Morley (c.1557-1602) in two seventeenth century English sources, but likely to have been written by the Franco- Flemish composer Philippe Rogier (1561-1596). The music is characterised by undulating, imitative vocal lines, evoking floods of tears and groans of sorrow. The text isolates a single line from Psalm 6, a psalm of David, which begins as an anguished plea for God’s mercy but ends in firm conviction that the Lord has heard and accepted the prayer. Gentle sleep is a Shakespeare setting by American composer Nico Muhly (b. 1981), premiered by Stile Antico at Wigmore Hall in 2015. The text is from William Shakespeare’s history play Henry IV Part Two, believed to have been written between 1596 and 1599. The troubled King Henry laments that sleep comes so easily to the poorest of his subjects in their humble and uncomfortable dwellings, whilst he himself is ensconced in luxury but remains fretfully awake. Muhly’s setting diffuses the text in insomniac fragments amid the contemplative vastness of a sleepless night. After a long disquieting night, the first hints of daylight shine through in O nata lux by Thomas Tallis (c.1505-1585). Tallis was one of the most influential composers of Tudor England, serving in the court and Chapel Royal of four consecutive monarchs from Henry VIII to Elizabeth I. With a text celebrating the redemptive light of Christ, O nata lux remains one of his most beloved choral pieces. The harmonies have a beautiful luminosity but also reveal a haunting, awestruck reverence through false relations and metrical shifts. The dawn madrigal Ecco mormorar l’onde by Claudio Monteverdi (1567-1643) paints a gentle wash of radiance, as the natural world greets the morning light. The sea and sky are balanced in symmetrical ease and a cool breeze soothes the fevered hearts who suffered during the night. The evocative poetry is by Torquato Tasso, an accomplished writer favoured by Monteverdi for many of his masterful madrigal settings published in the final decades of the sixteenth century. The glorious light of day is fully realised in Ave Dei Patris filia by John Taverner (c.1490- 1545). Taverner was an English composer and organist, known for his vast output of masses and motets. This work is the largest-scale of Taverner’s several votive antiphons, Latin devotional songs marking the end of office services. The resplendent text is in seven stanzas, a number associated with the Virgin Mary, praising her virtues in turn and comparing her immaculate light with that of the sun, moon and stars. TEXTS & TRANSLATIONS Draw on, sweet Night, best friend unto those cares That do arise from painful melancholy. My life so ill through want of comfort fares, that unto thee I consecrate it wholly. Sweet Night, draw on! My griefs when they be told To shades and darkness find some ease from paining, And while thou all in silence dost enfold, I then shall have best time for my complaining. Anon. Christe qui lux es et dies, Christ, who art the light and day, Noctis tenebras detegis, You drive away the darkness of night, Lucisque lumen crederis, You are called the light of light, Lumen beatum praedicans. For you proclaim the blessed light. Precamur Sancte Domine, We beseech you, Holy Lord, Defende nos in hac nocte, Protect us this night. Sit nobis in te requies, Let us take our rest in you; Quietam noctem tribue. Grant us a tranquil night Ne gravis somnus irruat, Let our sleep be free from care; Nec hostis nos surripiat, Let not the enemy snatch us away, Nec caro illi consentiens, Nor flesh conspire within him, Nos tibi reos statuat. And make us guilty in your sight. Oculi somnum capiant, Though our eyes be filled with sleep, Cor ad te semper vigilet, Keep our hearts forever awake to you. Dextera tua protegat May your right hand protect Famulos qui te diligunt. Your willing servants. Defensor noster aspice, You who are our shield, behold; Insidiantes reprime, Restrain those that lie in wait. Guberna tuos famulos, And guide your servants whom Quos sanguine mercatus es. You have ransomed with your blood. Memento nostri Domine Remember us, O Lord, In gravi isto corpore, Who bear the burden of this mortal form; Qui es defensor animae, You who are the defender of the soul, Adesto nobis Domine. Be near us, O Lord. Deo Patri sit gloria, Glory be to God the Father, Eiusque soli Filio, And to his only Son, Cum Spiritu Paraclito, With the Spirit, Comforter, Et nunc et in perpetuum. Amen. Both now and evermore. Amen. Compline hymn Come, sable night, put on thy mourning stole, and help Amyntas sadly to condole. Behold, the sun hath shut his golden eye, the day is spent, and shades fair lights supply. All things in sweet repose their labours close; Only Amyntas wastes his hours in wailing, whilst all his hopes do faint, and life is failing.
Load more

Recommended publications
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • Download Booklet
    The richest single source of Tudor polyphony, reconstruction before they can be performed. The Sweetest Songs preserving almost 170 works many of which New editions of most of the works on this Music from the Baldwin Partbooks III survive nowhere else, is a set of manuscript album were prepared specially for the project, partbooks copied between about 1575 and and in five of these (tracks 3, 4, 6, 8, 1581 by John Baldwin, a lay clerk at St George’s and 0) the missing Tenor part has been Chapel, Windsor. This album is the third and reconstructed by Owen Rees, while the tenor final instalment in a series of recordings by of Mundy’s Memor esto verbi tui (track 7) is 1 Domine, non est exaltatum Robert White (c. 1535-1574) [8.43] Contrapunctus exploring contrasting aspects of adapted from that by Jason Smart. 2 Tristitia et anxietas William Byrd (1539/40-1623) [9.35] this remarkable treasure house of sacred music 3 In te Domine speravi John Mundy (c. 1555-1630) [8.02] covering much of the sixteenth century. Without The preoccupation with the psalm motet over Baldwin’s efforts our knowledge of the history the middle part of the sixteenth century was 4 Confitebor tibi Domine anon. [3.36] of the motet in England would be much the a distinctively English phenomenon, when 5 Peccavi super numerum William Byrd [6.00] poorer, and on this third recording we open a compared with the output of Continental window on a striking aspect of that history: composers. Why was this? The great advantage 6 Domine quis habitabit Robert Parsons (c.
    [Show full text]
  • Taverner Byrd
    TAVERNERMASSES BY BYRD WITH MOTETS BY &&STRAVINSKY& DURUFLÉ The Ripieno Choir 7.30 pm Saturday Tickets £15 in advance, conducted by 25 June 2016 £17 on the day, David Hansell All Saints’ Church £5 for under-18s. Call Weston Green 020 8399 2714 or email Esher, Surrey [email protected] KT10 8JL – or book online at 25 JUNE ripienochoir.org.uk RIPIENOthe choır. JOHN TAVERNER (c1490-1545) Western Wynde Mass WILLIAM BYRD (c1540-1623) Mass for Four Voices interspersed with motets by IGOR STRAVINSKY (1882-1971) Ave Maria & Pater noster MAURICE DURUFLÉ (1902-1986) Four motets on Gregorian melodies & Notre Père Four great composers and unrelentingly TAVERNER brilliant music in strongly contrasting styles. Taverner’s Western Wynde Mass is a BYRD set of variations in which the folk song theme moves through the choral texture & surrounded by ever-inventive and intricate counter-melodies. The result is an intriguing mix of medieval, Eton Choirbook and later Renaissance effects which never fails to captivate singers and listeners alike. Byrd modelled his famous Mass for Four Voices on Taverner’s Mean Mass, quoting from it in 25 JUNE his own Sanctus movement. This famous work has not been sung by Ripieno for several years and we The concert will start at are especially looking forward to the Agnus Dei 7.30pm and will end movement – some of music history’s greatest pages. at approximately 9.30pm. In contrast to the intricate polyphony of Tickets: £15 in advance, the sixteenth century, the twentieth century motets £17 on the day, £5 for use simple chordal textures that are positively under-18s, from the box austere by comparison, anticipating Arvo Pärt and office: 020 8399 2714, or John Tavener.
    [Show full text]
  • Partbooks and the Music Collection Will Be Open from 12 May to 13 August 2016 in the Upper Library at Christ Church
    Tudor Partbooks and the Music Collection will be open from 12 May to 13 August 2016 in the Upper Library at Christ Church. The exhibition showcases the music-books used by singers in the age of Queen Elizabeth I, with special emphasis on partbooks. This is the result of a successful collaboration with the Tudor Partbooks Project (Oxford University, Faculty of Music) and the Oxford Early Music Festival. The exhibition is curated by Dr John Milsom and Dr Cristina Neagu. Visiting hours: Monday - Friday 10.00 am - 1.00 pm 2:00 pm - 4.30 pm (provided there is a member of staff available in the Upper Library). The new exhibition opened with a concert by Magnificat, featuring pieces from the Christ Church Music Collection. This is one of the world’s premier vocal ensembles, internationally acclaimed for its performance of Renaissance choral masterpieces. Concert programme Robert White Christe qui lux Lamentations William Byrd Come to me grief O that most rare breast Thomas Tallis Salvator mundi (II) Salvator mundi (I) The concert was followed by a talk by Dr John Milsom, leading Tudor music scholar, and a drinks reception in the Cathedral. Tudor partbooks and the music collection Detail from Mus 864b choirbooks 1. CHOIRBOOK LAYOUT: A CLASSIC FOUR-VOICE MOTET In the fifteenth and sixteenth centuries, church choirs typically sang from large choirbooks, in which different areas of the double-page spread displayed the various voice-parts of a composition. This example shows the famous Ave Maria … virgo serena by Josquin Desprez. Each of the motet’s four voices is headed with a large capital A.
    [Show full text]
  • The Gesualdo Six
    The Gesualdo Six English Motets National Centre for Early Music 15 July 2021 6.30 pm & 8.45 pm ________________ Online Premiere 15 July 2021 8.45 pm The Gesualdo Six Guy James countertenor Joseph Wicks tenor Josh Cooter tenor Michael Craddock baritone Sam Mitchell bass Owain Park bass, director English Motets Te lucis ante terminum Thomas Tallis (c. 1505–1585) Ave verum corpus William Byrd (c. 1540–1623) Afflicti pro peccatis nostris Byrd Qualis est dilectus meus John Forest (fl. 1400–1450) In manus tuas (III) John Sheppard (c. 1515–1558) In pace Christopher Tye (c. 1505–1573) All people, clap your hands Thomas Weelkes (1576–1623) Vigilate Byrd Christe qui lux es et dies (I) Robert White (c. 1538–1574) If ye love me Tallis In manus tuas Tallis When David heard Thomas Tomkins (1572–1656) Laudate, pueri, Dominum Byrd During the Renaissance, musical composition flourished, but it was a time of great change, fuelled by religious division. This programme traces music written by some of the English Renaissance masters over a period of 200 years, encompassing florid medieval-sounding works by Forest and Sheppard, intricately woven polyphonic works by Tallis and Byrd, and the beautiful simplicity of Tomkins and White. All of these composers were obliged to write in the musical style of the moment, which was constantly fluctuating in one of the most turbulent periods in English history. Lavish Catholic services required suitably elaborate music, with Latin texts and rich sonorities. The Protestants did away with such excess, and as the walls were whitewashed so too was the music, with demands placed on composers to set English words as simply as possible, so that every syllable could be clearly heard by the congregation.
    [Show full text]
  • May 2012 Broadside
    T H E A T L A N T A E A R L Y M U S I C A L L I A N C E B R O A D S I D E Volume XII, # 4 May/June 2012 President’s Message Parting and new Board members As we near the end of our 2011-2012 year, we give our thanks to our parting Board members, Jane Burke and George Lucktenberg. Jane has served you organization for 6 years as Board member and membership chair and in many other ways so necessary for an organization. George has also served on the Board representing harpsichordists and their interests. (The bylaws of AEMA limit Board membership to two 3-year terms). We now welcome our new Board members, Brenda Lloyd and Daniel Pyle. You may recall their candidate statements enclosed with the recent ballots. Brenda has already worked with us, behind the scenes, in editing our BROADSIDE newsletters, a truly appreciated service. Daniel will join us with his treasured experience with so many aspects of Early music. AEMA MISSION It is the mission of the Atlanta Early Music Alli- ance to foster enjoyment State of AEMA and awareness of the his- torically informed perform- On May 12th we held our Annual Membership meeting, hosted by David Buice at the ance of music, with special emphasis on music written Presbyterian Church of the New Covenant. We enjoyed the potluck luncheon and finished with a before 1800. Its mission will music session in the lovely sanctuary under the leadership of Robert Bolyard.
    [Show full text]
  • Treasures of Tudor England
    CORO The Sixteen Edition CORO The Sixteen Edition Other Sixteen Edition recordings on CORO The Eton Choirbook Collection Philip & Mary Slipcase of all 5 of The Sixteen's acclaimed A Marriage of England and Spain CDs of the Eton Music by Spanish and Choirbook English composers "Sit back and let including Tallis's great these glorious Mass Puer natus as it sounds fill your may have been ears and lift your performed by choirs spirits" from both countries on Christmas Day 1554. the gramophone cor16037 cor16040 Robert Carver The Flowering of Genius Treasures of Celebrating one of the great masters of the Guerrero, Tallis, Byrd, Victoria, Sheppard Scottish Renaissance. • O bone Jesu "The Sixteen’s sound Tudor England • Missa Dum sacrum mysterium is distilled, ethereal – hard to imagine a more " …a momentum and sublime performance." expressive conviction Parsons • White • Tye that isn’t matched by bbc music magazine any other recordings." The Sixteen cor16051 the independent cor16001 The Voices of HARRY CHRISTOPHERS To find out more about The Sixteen, concert tours, and to buy CDs, visit www.thesixteen.com cor16056 of both were cut short by misfortune - White died of the plague in Thy Muse lives on ... Westminster and Parsons drowned in the River Trent – they, thankfully, The wealth of music emanating from left us works of extraordinary beauty. Listen to the soaring phrases of Tudor England deserves to be preserved Parsons' much-loved Ave Maria and his highly unusual devotion on the and this recording brings you some name of Jesus, O bone Jesu. But it is White's Lamentations that, I guarantee, remarkable works that will amaze you in will astound you.
    [Show full text]
  • Hymns, Psalms & Lamentations
    ALSO ON SIGNUMCLASSICS 6G;<A >A/:;A :/;3<B/B7=<A 1605 - Treason and Dischord: Allegri Miserere William Byrd and the Gunpowder Plot Tenebrae The King’s Singers with Concordia SIGCD085 AOQ`SR;caWQPg SIGCD061 On 5 November 1605 Guy Fawkes was caught preparing to Few can argue with Tenebrae’s international stature as one of @=03@BE67B3 detonate 36 barrels of gunpowder under the House of Lords, the most competent, versatile, exciting and passionate vocal unveiling an act of attempted treason that shocked the whole ensembles in the world today. of Europe. What led a group of young Catholic men to risk their lives for their faith? 400 years later The King’s Singers Allegri’s haunting Miserere is the central point in a journey and Concordia illuminate the dangers of hearing Mass in through music of longing and entreaty, hope and faith. secret, of conspiracy and downfall, and of Protestant relief These works spanning the centuries are chosen from the and celebration, through a project of music and prose. heart of Tenebrae’s concert repertoire, featuring works by Tavener, Holst, Rachmaninov, Lotti, Ireland, Harris, Britten The music, structured around Byrd’s perfect 4-part Mass, and Kodály. contains motets by Catholic composers, balanced with Protestant anthems celebrating the downfall of the plot, and “I really think we’re in a choral golden age at the moment ... a commission from the British composer, Francis Pott. It’s beautifully sung, a wonderful disc” BBC Music Magazine “this is a serious project, which, like the plotters themselves, has been skilfully executed.
    [Show full text]
  • Radio 3 Listings for 27 December 2008 – 2 January 2009 Page 1 of 17
    Radio 3 Listings for 27 December 2008 – 2 January 2009 Page 1 of 17 SATURDAY 27 DECEMBER 2008 5.45am 07:58 Arriaga, Juan Cristosomo (1806-1826): Stabat mater SAT 01:00 Through the Night (b00g2vbr) Grieg Academy Choir Richard FARRANT With John Shea. Bergen Philharmonic Choir and Orchestra Lord for thy Tender Mercy’s Sake Juanjo Mena (conductor) The Cambridge Singers 1.01am John Rutter (conductor) Nielsen, Carl (1865-1931): Prelude: Hr. Oluf han Rider (Master 5.53am COLLEGIUM COLCD 107 Tr 8 Oluf Rides) - incidental music Liszt, Franz (1811-1886): (Lassen) Lose Himmel meine seele, 1.07am S494 (transcr. for piano) 08:04 Sibelius, Jean (1865-1957): Symphony No 3 in C Sylviane Deferne (piano) 1.37am BACH Sibelius, Jean (1865-1957): Symphony No 4 in A minor 5.59am Courante (Partita in D Minor) Danish National Symphony Orchestra/DR Obrecht, Jakob (1450-1505): Omnis spiritus laudet - offertory Thomas Zehetmair (violin) Thomas Dausgaard (conductor) motet for five voices WARNER 9031 76138 2 CD2 Tr 2 Ensemble Daedalus 2.12am 08:06 Nielsen, Carl (1865-1931): Springtime on Funen 6.06am Inger Dam-Jensen (soprano) Haydn, Joseph (1732-1809): Cello Concerto in D KABALEVSKY Mathias Hedegaard (tenor) France Springuel (cello) Suite - The Comedians John Lundgren (bass-baritone) Netherlands Radio Chamber Orchestra BBC Philharmonic Orchestra Danish National Choir/DR Antoni Ros-Marba (conductor) Vasily Sinaisky (conductor) Danish National Vocal Ensemble/DR CHANDOS CHSAN 10052 Tr 5 – 14 Danish Girls' Chorus/DR 6.26am Danish National Symphony Orchestra/DR Anonymous:
    [Show full text]
  • English Lute Manuscripts and Scribes 1530-1630
    ENGLISH LUTE MANUSCRIPTS AND SCRIBES 1530-1630 An examination of the place of the lute in 16th- and 17th-century English Society through a study of the English Lute Manuscripts of the so-called 'Golden Age', including a comprehensive catalogue of the sources. JULIA CRAIG-MCFEELY Oxford, 2000 A major part of this book was originally submitted to the University of Oxford in 1993 as a Doctoral thesis ENGLISH LUTE MANUSCRIPTS AND SCRIBES 1530-1630 All text reproduced under this title is © 2000 JULIA CRAIG-McFEELY The following chapters are available as downloadable pdf files. Click in the link boxes to access the files. README......................................................................................................................i EDITORIAL POLICY.......................................................................................................iii ABBREVIATIONS: ........................................................................................................iv General...................................................................................iv Library sigla.............................................................................v Manuscripts ............................................................................vi Sixteenth- and seventeenth-century printed sources............................ix GLOSSARY OF TERMS: ................................................................................................XII Palaeographical: letters..............................................................xii
    [Show full text]
  • Tallis to Whitacre Choral
    Whitehall Choir CONDUCTOR Paul Spicer ••• ORGAN James Longford Tallis to Whitacre Choral TALLIS O Nata Lux BYRD HHææææcc Dies • Magnificat and Nunc Dimittis (from the GreatGreat ServicService)e) TOMKINS When David Heard WEELKES Alleluia GIBBONS O Clap Your Hands TAVENER Mother of God • Awed by the Beauty WHITACRE Nox Aurumque • Lux Aurumque Music for organ by BYRDBYRD,, PACHELBEL and PRPRÆÆÆÆTORIUSTORIUS Programme £2 Thursday, 24 November 2011, 7.30pm Church of St Alban the MartyrMartyr,, Brooke Street, Holborn, LoLondonndon EC1N 7RD P R O G R A M M E William Byrd Hæc Dies Eric Whitacre Lux Aurumque Thomas Tomkins When David Heard Michael Prætorius Two Variations on ‘Nun lob mein Seel den Herren’ (organ) William Byrd Magnificat Eric Whitacre Nox Aurumque INTERVAL Thomas Weelkes Alleluia. I heard a voice John Tavener Mother of God ThomasTallis O nata lux William Byrd Nunc dimittis John Tavener Awed by the beauty Johann Pachelbel Ciacona in D (organ) William Byrd Fantasia (organ) Orlando Gibbons O Clap your Hands The concert is expected to end at approximately 8.50pm. William Byrd (c.1540-1623) William Byrd was an English composer of the Renaissance. He wrote in many of the forms current in England at the time, including sacred and secular polyphony, keyboard and consort music. It appears from recent research that he was born in 1540 in London, and he was a pupil of Thomas Tallis. He also worked in collaboration with John Sheppard and William Mundy on one of his earliest compositions, a contribution to a joint setting of the psalm In exitu Israel composed for the procession to the font at the Paschal Vigil.
    [Show full text]
  • British Viol Consort Fretwork to Play Old and New Music at CMA October 12
    British viol consort Fretwork to play old and new music at CMA October 12 by Daniel Hathaway You could say with some accuracy that Fretwork, the British viol consort, was an idea formed in Hell. Its early members Richard Boothby, Bill Hunt, and Richard Campbell first played together in the underworld scene in Monteverdi’s Orfeo, a production semi-staged in Barcelona in 1985 ​ ​ by Andrew Parrott’s Taverner Players. Those three minutes led to further performances, and now Fretwork is considered among the premier viol ensembles in the world. Most viol consorts stick to old music composed before the viola da gamba became extinct in England in the latter part of the 17th century. Fretwork is unusual in its equal embrace of contemporary music: on its website the group lists two dozen composers who have written works for them. Fretwork’s current five members, Asako Morikawa, Reiko Ichise, Sam Stadien, Emily Ashton, and Boothby (far right in the photo) will appear on the Cleveland Museum of Art’s Performing Arts series in Gartner Auditorium on Wednesday, October 12 at 7:30 pm. The program includes 16th and 17th century English consort music by John Taverner and Orlando Gibbons, works by contemporary composers Nico Muhly and Gavin Bryars, and a special performance of Norwegian composer Maja Ratkje’s River ​ Mouth Echoes. ​ Cleveland is one of ten cities Fretwork will visit on an American Tour that begins on October 6 in Montréal and ends on October 24 in Victoria, BC, with stops in Boston, Milwaukee, Wake Forest in North Carolina, Jackson in Mississippi, Austin and Lubbock in Texas, and Vancouver BC.
    [Show full text]