DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Booklet 082Booklet 28/9/06 22:06 Page 1 ALSO on signumclassics Gesualdo: 1605 Treason and Dischord Sacred Bridges Tenebrae Responsories for Maundy Thursday The King’s Singers, Concordia SIGCD061 The King’s Singers, Sarband SIGCD065 The King’s Singers SIGCD048 The 15th century Prince Carlo Gesualdo – nobleman, Commemorating the 400th anniversary of the The radiant voices of the King’s Singers and the composer and notorious murderer – wrote some Gunpowder Plot, the King’s Singers and Concordia exotic sounds of Sarband unite in a celebration of the of the most expressive and sensual music of the illuminate Mass sung in secret and worshippers rich connections between the Orient and Occident, Neapolitan school. This programme represents risking their lives for their faith. The music is a musical exploration of the sacred bridges part of the liturgy for the Matins Offices on the structured around Byrd’s near perfect Four Part between Christianity, Islam and Judaism as seen final three days of Holy Week, the Triduum Sacrum. Mass, and contains motets by Catholic composers through settings of the timeless Psalms of David. balanced with Protestant anthems celebrating “The teamwork of the ensemble is stunningly the downfall of the Plot, together with a commission “immaculate blend, perfect tuning and crystal good, the tuning impeccable, and the dynamic from Francis Pott. diction ... Superb performances across the range enormous.” John Milsom - Early Music cultural divide show that great art transcends “…this is a serious project, which, like the political differences. May thine enemy buy it also” plotters themselves, has been skilfully executed. The Times (UK) Strongly recommended.” International Record Review www.signumrecords.com www.kingssingers.com Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 082Booklet 28/9/06 22:06 Page 3 the triumphs of oriana the triumphs of oriana The Triumphs of Oriana is an Elizabethan curiosity, the swan contributor. Together they produced a fine collection of 1. Hence, stars, too dim of light Michael East (c. 1580 – 1648) [1.40] song of an age in which Elizabeth, as Oriana, remained the madrigals which demonstrated the assured talents of English 2. With angel’s face and brightness Daniel Norcombe (1576 – before 1626) [2.05] eternally bountiful Queen of a pastoral Arcadia. Published by composers. The words of the Triumphs depicted an idealised 3. Lightly she whipped o’er the dales John Mundy (c. 1529 - ?1591) [2.57] Thomas Morley in 1601, the 25 madrigals could be the music England which never existed, but their music reflected the 4. Long live fair Oriana Ellis Gibbons (1573 - ?1603) [2.40] for a court entertainment, a masque in which Elizabeth was rising cultural confidence of the Elizabethan age: whatever 5. All creatures now are merry-minded John Bennet (c. 1575 – 1614) [1.54] crowned the Virgin Queen to the music of the nymphs of the other nations did, England could match or excel. 6. Fair Oriana, beauty’s queen John Hilton (? - ?1608) [2.02] goddess Diana. © David Starkey 7. The nymphs and shepherds danced George Marson (c. 1573 – 1632) [2.39] 8. Calm was the air and clear the sky Richard Carlton (c. 1558 - ?1638) [3.43] 9. Thus Bonny-boots the birthday celebrated John Holmes (? – 1629) [2.29] But by the time the madrigals were printed in 1601, the refrain 10. Sing, shepherds all, and in your roundelays Richard Nicolson (c. 1570 – 1639) [3.27] ‘Long Live fair Oriana’ must have been sung more in pious 11. The fauns and satyrs tripping Thomas Tomkins (1572 – 1656) [4.23] hope than realistic expectation. Elizabeth was nearing 70, in 12. Come, gentle swains Michael Cavendish (c. 1565 – 1628) [3.04] poor health and worse spirits. Her favourite, the Earl of Essex, 13. With wreaths of rose and laurel William Cobbold (1560 – 1639) [2.08] had been executed for treason, Parliament was challenging her 14. Arise, awake, awake Thomas Morley (1557 – 1602) [2.10] prerogatives, and her beauty was preserved only in portraits. 15. Fair nymphs I heard one telling John Farmer (c. 1570 – fl. 1592 – 1599) [2.23] Thomas Morley, a gentleman of the Chapel Royal, tried to revive The Triumphs of Oriana 16. The lady Oriana John Wilbye (1574 – 1638) [2.23] 17. Hark! Did ye ever hear so sweet a singing? Thomas Hunt (1st half of 17th cent.) [3.01] her by repaying a debt, and repaying it in extravagant style. 18. As Vesta was from Latmos hill descending Thomas Weelkes (1575 – 1623) [3.02] The Triumphs of Oriana is an extravagant musical compliment 19. Fair Orion, in the morn John Milton (c.1563 – 1647) [2.13] Three years earlier, Elizabeth had granted Morley a monopoly to paid to Elizabeth I by Thomas Morley, Gentleman of the Chapel 20. Round about her charret Ellis Gibbons (1573 - 1603) [2.27] print music. In return he set out not only to charm her and Royal. Published in 1601, it consists of 25 madrigals by 23 21. Bright Phoebus greets most clearly George Kirbye (? – 1634) [2.14] flatter her person, but to add to the lustre of her reign. Music different composers. Each madrigal, moreover, concludes with 22. Fair Oriana, seeming to wink at folly Robert Jones (c. 1577 – after 1615) [2.54] in England had long been overshadowed by music on the the refrain, ‘Then sang the shepherds and nymphs of Diana: 23. Fair Cytherea presents her doves John Lisley (?) [3.38] continent. Morley aimed to demonstrate that English Long live fair Oriana’. 24. Hard by a crystal fountain Thomas Morley (c. 1557 - 1602) [3.05] musicians could match Italian ones by imitating Il Trionfo di 25. Come, blessed Byrd Edward Johnson (end of 16th cent. beginning of 17th cent.) [2.30] Dori, an elaborate collection of 29 madrigals by 29 different The compliment would have been immediately apparent. Total time [67.13] composers published in 1592 in praise of a Venetian bride. Elizabeth had long been equated with Oriana, the heroine of the chivalric romance Amadis de Gaul. It was also fitting that Morley’s aim was ambitious and he very nearly succeeded. The the nymphs of Diana, goddess of chastity, should attend on 23 composers of the Triumphs are a combination of the young Elizabeth, the Virgin Queen. The idealised, pastoral setting The king’s singers and enthusiastic, the old and the staid, and truly famous and presents Elizabeth as the eternally beautiful Queen presiding www.signumrecords.com www.kingssingers.com the nearly famous – John Milton, father of the poet, was a over Arcadia, the justly revered ruler of an idyllic land. - 3 - 082Booklet 28/9/06 22:06 Page 5 But the Triumphs is much more than a piece of passing repeated possibility is that they were written for the May Day lyric. The test of his first madrigal is identical to that set by to a motet than a madrigal. Both William Holborne and Thomas flattery. Many of the madrigals are excellent, and those by celebrations at the house of William Cornwallis at Highgate. Thomas Hunt, although a new first line was added so that the Morley had printed music lamenting his death as early as Bennet, Weekles, Cavendish and Morley are well known. Others The Triumphs, however, were printed at some point between lyric would appear to be different on the title page. Similarly, 1597. The madrigal by John Holmes, in which Bonny-boots is languish in a possibly justified obscurity. But the collection as July and December. Thomas Hunt, described in the copy as Kirbye originally wrote his madrigal to the same text as that set very much alive, was therefore also written by 1597, and is a whole captured the musical imagination of the time and ‘Batcheler of Musick’, only took his degree from Corpus Christi by Norcombe, ‘With angel’s face’. To avoid repetition, for the probably the earliest piece in the Triumphs. continues to intrigue. Where did the idea of such a collection College, Cambridge, on the 4th July 1601, while in December of first edition Morley changed the text of Kirbye’s madrigal to come from? Why was the set not dedicated to Elizabeth? Who that year the Cornwallis family accounts show the purchase, ‘Bright Phoebus’, the text performed on this recording. The text of the madrigals suggests that Bonny-boots was a is the mysterious ‘Bonny-boots’? And why are so many for ‘four shillings and sixpence, of Morley’s Orianas in six musical, terpsichorean courtier, a favourite of Elizabeth who composers so obscure? parts’. If the set really was written for a particular The Triumphs, far from being carefully planned for a died in 1597. Explanations as to his true identity are performance, the Accession Day celebrations on November performance, were completed in haste. The collection needed numerous. One suggestion is that Bonny-boots is a corruption Just as the Triumphs continue to inspire imitations, it was 17th seem a more likely occasion. to be finished with whatever madrigals were to hand, probably of the French, ‘bon et beau’, and that it refers to a generic itself inspired by a madrigal collection published in Venice in in order to be presented as a gift. In 1598, Elizabeth had courtier. Another is that he is the minor poet, Christopher 1592, Il Trionfo di Dori. Commissioned for the wedding of However, the set was not carefully ordered for performance. The granted Morley a monopoly to print music. It seems likely that Morley (possibly the brother of Thomas Morley). Certainly, there Leonardo Sanudo, a Venetian nobleman, the set consisted of madrigals do not form a narrative sequence, but are arranged Morley was attempting to repay this generosity by presenting is a sonnet by one ‘Ch.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Download Booklet
    Royal Rhymes and Rounds ELIZABETH II Choral Dances from “Gloriana” Benjamin Britten u Time [1.51] i Concord [2.25] HENRY VIII o Time and Concord [1.46] 1 Pastime with good companie (The King’s Ballad) King Henry VIII [1.53] p Country Girls [1.17] 2 Ah, Robin, gentle Robin William Cornysh [2.26] a Rustics and Fishermen [1.00] 3 Blow thy horn, hunter William Cornysh [2.23] s Final Dance of Homage [2.20] 4 King Henry VIII [1.33] It is to me a right great joy d A Rough Guide to the Royal Succession Paul Drayton [12.48] 5 Anonymous [3.56] Hey, trolly lolly lo! (It’s just one damn King after another…) ELIZABETH I Total timings: [65.50] 6 Long live, fair Oriana Ellis Gibbons [2.39] 7 The Silver Swan (Round) Orlando Gibbons [2.00] THE KING’S SINGERS 8 The Silver Swan Orlando Gibbons [1.46] 9 Fair Oriana, beauty’s Queen John Hilton [2.21] www.signumrecords.com 0 Lightly she whipped o’er the dales John Mundy [3.11] q Flow, O my tears John Dowland [1.37] ROYAL RHYMES AND ROUNDS w Weep, O mine eyes John Bennet [2.44] medieval times to the prestigious position of e As Vesta was from Latmos hill descending Thomas Weelkes [3.19] There is little doubt that the development of ‘Master of the Queen’s Music’, currently held by Western classical music over the centuries owes Sir Peter Maxwell Davies (b.1934). In this VICTORIA a great deal to the patronage of kings and Diamond Jubilee year, as we mark the 60th r The Triumph of Victoria Sir Walter Parratt [2.33] queens.
    [Show full text]
  • I. a Humanist John Merbecke
    Durham E-Theses Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550) Kim, Hyun-Ah How to cite: Kim, Hyun-Ah (2005) Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550), Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2767/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Hyun-Ah Kim A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Durham University Department of Music Durham University .2005 m 2001 ABSTRACT Hyun-Ah Kim Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Renaissance humanism was an intellectual technique which contributed most to the origin and development of the Reformation.
    [Show full text]
  • Foreword Orlando Gibbons
    Foreword Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was a virginalist and organist of the late Tudor and early Jacobean periods. His Life Gibbons was born in 1583 (most likely in December) and baptised on Christmas Day at Oxford, where his father William Gibbons was working as a wait. Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university as a sizar in 1598 and achieved the degree of Bachelor of Music in 1606. That same year he married Elizabeth Patten, daughter of a Yeoman of the Vestry, and they went on to have seven children (Gibbons himself was the seventh of 10 children). King James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and was buried in Canterbury Cathedral. His death was a shock to his peers and brought about a post-mortem, though the cause of death aroused less comment than the haste of his burial and his body not being returned to London.
    [Show full text]
  • The Byrd Edition & English Madrigalists
    T74 (2020) THE BYRD EDITION and THE ENGLISH MADRIGALISTS (including the INVITATION Series) William Byrd 1543 — 1623 STAINER & BELL ORDERING INFORMATION This catalogue contains titles in print at the date of its preparation and provides details of volumes in The Byrd Edition, The English Madrigalists and the Invitation Series. A brief description of contents is given and full lists of contents may be obtained by quoting the CON or ASK sheet number given. Many items by William Byrd and composers included in The English Madrigalists are available as separate items and full details can be found in our Choral Catalogue (T60) and our Early Music Catalogue (T71). Items not available either separately or in a small anthology may be obtained through our ‘Made-to-Order’ Service. Our Archive Department will be pleased to help with enquiries and requests. Alternatively, Adobe Acrobat PDF files of individual titles from The Byrd Edition and The English Madrigalists are now available through the secure Stainer & Bell online shop. Please see pages 5 and 13 for full details. Other catalogues containing our library series which will be of interest are: T69 Musica Britannica T75 Early English Church Music T108 Purcell Society Edition Prices, shown in £ sterling, are recommended retail prices exclusive of carriage and are applicable from 1st January 2020. Prices and carriage charges are subject to change without notice. In case of difficulty titles can be supplied directly by the publisher if prepaid by cheque, debit or credit card or by sending an official requisition. Card payments (Visa, Mastercard, Maestro or Visa Debit) are accepted for orders of £5.00 or over and can be made via our secure online ordering system on our website (www.stainer.co.uk) or by letter, telephone, email or fax.
    [Show full text]
  • Music at Grace 2016-2017
    Music at Grace 2016-2017 WELCOME Dear Friends, We are delighted to welcome you to this season of Music at Grace! The coming year continues our tradition of offering glorious sacred choral music at the Sunday Eucharist, Evensong, Lessons and Carols, and in concert. In addition, we are thrilled to announce the debut of Collegium Ancora: Rhode Island’s Professional Chamber Choir, Ensemble-in-Residence at Grace Church. We also welcome the Brown University Chorus and Schola Cantorum of Boston to Grace on April 7 for a gala concert performance of Bach’s monumental St. Matthew Passion. And our Thursdays at Noon concert series resumes in September! This booklet outlines the musical offering for the coming season, particularly the 10 AM Holy Eucharist on Sunday mornings. Also included is an envelope for your support of Music at Grace. Whether you are a parishioner or a friend of music, we hope you will consider making a donation to support our musical presence in Downcity Providence, for the worship or concert setting. A return envelope is enclosed for your convenience, and names listed will be included in the programs for special services and concerts. We wish to remind parishioners of Grace church that any gift made to Music at Grace should be in addition to your regular Stewardship pledge which is so important to the church. We hope that you will walk through our historic doors on Westminster Street in downtown Providence for worship or concert, or both very soon! The Reverend Canon Jonathan Huyck+ Rector Vincent Edwards Director of Music MUSIC
    [Show full text]
  • Chelys 15 Titles
    The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up-dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 15 (1986) Editorial, p. 2 Joan Wess Musica Transalpina, Parody, and the Emerging Jacobean Viol Fantasia Chelys, vol. 15 (1986), pp. 3-25 John R. Catch Praetorius and English Viol Pitch Chelys, vol 15 (1986), pp. 26-32 Richard Charteris English Music in the Library of Moritz, Landgrave of Hessen-Kassel, in 1613 Chelys, vol. 15 (1986), pp. 33-37 Graham Dixon Continuo Scoring in the early Baroque: The Role of Bowed-Bass Instruments Chelys, vol. 15 (1986), pp. 38-53 Music and Book Reviews Chelys, vol. 15 (1986), pp. 54-62 Margaret Urquhart The Handwriting of Christopher Simpson Chelys, vol. 15 (1986), pp. 62-63 EDITORIAL As promised in last year's editorial, Chelys 1986 makes a return To the early seventeenth century, and in so doing introduces an Italian flavour.
    [Show full text]
  • The 1600 Collection of Madrigals by Thomas Weelkes
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2014 The 1600 olC lection of Madrigals By Thomas Weelkes Rachel Linsey Albert University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Music Commons Recommended Citation Albert, Rachel Linsey, "The 1600 oC llection of Madrigals By Thomas Weelkes" (2014). Theses and Dissertations. 351. https://dc.uwm.edu/etd/351 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE 1600 COLLECTION OF MADRIGALS BY THOMAS WEELKES by Rachel Linsey Albert A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin-Milwaukee May 2014 ABSTRACT THE 1600 COLLECTION OF MADRIGALS BY THOMAS WEELKES by Rachel Linsey Albert The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Mitchell P. Brauner Thomas Weelkes in considered among the most important of the English madrigalists of the late sixteenth and early seventeenth centuries; however, little has been written about him. Modern scholarship begins with Edmund H. Fellowes’s edition of Weelkes’s madrigal publications. The only comprehensive study of Weelkes’s life and works is David Brown’s 1969 Thomas Weelkes: A Biographical and Critical Study. Most other Weelkes scholarship simply compares his music to that of his contemporaries. This thesis fills another gap in Weelkes studies by offering an analysis of his 1600 collection, Madrigals of 5 and 6 Parts, Apt for the Viols and Voices.
    [Show full text]
  • Fall 2010 Collegium Program Notes
    Program Notes It is with great pleasure that we welcome you to tonight’s celebration of music’s patron saint, Cecilia, on November 22, her name day. As international as FIU’s middle name, this concert is a French and English tribute to a 5th-century Italian martyr. Our program praises noble women: Susanne, the Blessed Virgin Mary in the Machaut Messe and Charpentier Noëls, Queen Elizabeth in the English Madrigals, and Cecilia herself in Purcell’s Welcome To All The Pleasures. Throughout the concert, we will be displaying a slideshow that presents images related to Cecilia, her shrine in Rome, and the music we will be performing. Tonight we introduce the versatile and lovely chamber continuo organ commissioned for us with funds provided by Herbert and Nicole Wertheim. This evening also marks the first performance on viols from Collegium’s most recent donation, the McClure Collection of Student Viols. Renaissance music abounds in settings by different composers of popular tunes: “L’Homme Armé,” “Lachryme,” Douce Memoire,” and many others, including “Susanne un jour,” first known in the 4-part setting by Didier Lupi II of a text by Guilliaume Gueroult published in 1548. In tonight’s program we hear just a few of the more than 30 versions of this melody and text: a solo song in French; an ornamented lute dance; the dance arranged for 5 instruments plus lute; an instrumental version of a madrigal setting by Lasso—who also wrote an entire 6-part Mass based on the tune; and an English part-song by William Byrd for soprano voice and four viols.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses Music by members of the Choral Foundation of Durham Cathedral in the 17th century. Anderson, Simon John How to cite: Anderson, Simon John (2000) Music by members of the Choral Foundation of Durham Cathedral in the 17th century., Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1166/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 MUSIC BY MEMBERS OF THE CHORAL FOUNDATION OF DURHAM CATHEDRAL IN THE 17TH CENTURY TWO VOLUMES VOLUME ONE The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and information derived from it should be acknowledged. SIMON JOHN ANDERSON Ph. D UNIVERSITY OF DURHAM DEPARTMENT OF MUSIC 1999 4 18 OCT2000 Music by Members of the Choral Foundation of Durham Cathedral in the 17th Century Simon John Anderson Thesis for the degree of Ph.D.
    [Show full text]
  • Sister, Awake! Author(S): Thomas Bateson Source: the Musical Times, Vol
    Extra Supplement: Sister, Awake! Author(s): Thomas Bateson Source: The Musical Times, Vol. 47, No. 755 (Jan. 1, 1906), pp. 1-8 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/904216 Accessed: 18-01-2016 13:26 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 144.122.201.150 on Mon, 18 Jan 2016 13:26:43 UTC All use subject to JSTOR Terms and Conditions TheMusical Times, EXTRASUPPLEMENT. January1,196. No. 42. SISTER, AWAKE !-ThomasBateson. Price3d. THE ORIANA COLLECTION OF EARLY MADRIGALS BRITISH AND FOREIGN. ** The firsttwenty-five numbers of the collectionwill consistof a re-edition(by Mr. Lionel Benson) of The Triumphsof Oriana, firstpublished in London by Thomas Morley,x6oi. Nos. 26-29were apparently composedfor the same series,but werenot includedin the firstedition. YOU DAZZLE BUT THE SIGHT ... MICHAELESTE z. HENCE, STARS, (5 voices) 3d. 2. ... DANIEL WITH ANGEL'SFACE AND BRIGHTNESS... ( ,, ) NORCOME3d. 3. LIGHTLY SHE TRIPPED O'ER THE DALES ( ,, )... JOHNMUNDY 4d. 4.
    [Show full text]
  • IN CHAINS of GOLD 8 Look and Bow Down EP & ZB (Verses) HT, MM, SB, NM, HMSC [6.01] the English Pre-Restoration Verse Anthem William Byrd HH, BH, GS, SG, PH, WG SW
    IN CHAINS OF GOLD 8 Look and bow down EP & ZB (verses) HT, MM, SB, NM, HMSC [6.01] The English Pre-Restoration Verse Anthem William Byrd HH, BH, GS, SG, PH, WG SW VOLUME 2 9 Almighty God, which by the leading of a star EP, EM, SB, FW [4.42] WILLIAM BYRD TO EDMUND HOOPER: John Bull HH, SG, PH PSALMS AND ROYAL ANTHEMS 0 Fantasia (No. 16) - SW [1.13] John Bull q Deliver me, O God HH & BH (verses) EP, MM SW [4.21] Track Singers instruments John Bull NM, SB, GS, SG, PH, WG 1 Hear my prayer EP (verses), MM, SB, FW [3.25] w Voluntary (No. 3) - SW [1.47] William Byrd GS, SG, PH Benjamin Cosyn 2 O Lord, rebuke me not EP (verses) EM, SB, FW [4.59] e Out of the deep SB (verses) EP, MM, NM, HH, SW [3.48] William Byrd GS, SG, PH Thomas Morley BH, GS, SG, PH, WG 3 Have mercy upon me, O God ZB (verses) EP, BH, FW [4.03] r Voluntary (No. 1) - SW [2.19] William Byrd SG, GS, PH Benjamin Cosyn 4 Fantasia (No. 46) - SW [4.26] t Hearken ye nations EP, MM, SB, FW [5.59] William Byrd Edmund Hooper HH, PH, WG 5 Teach me, O Lord EP (verses) ZB, MM, SB, NM, SW [3.11] y Sing Joyfully PH (verses) EP, SB FW [4.44] William Byrd HH, BH, GS, SG, PH, WG John Mundy HH, SG 6 Christ rising again EM & EP (verses) SB, GS, FW [5.21] u O God of gods MM, EP, HH, BH & SG (verses) HMSC [6.16] William Byrd SG, PH Edmund Hooper SB, NM, GS, PH, WG SW, WL 7 I will give laud MM, EP, PH, FW [3.51] William Byrd HH, WG Total timings: [70.29] Magdalena Consort, director Peter Harvey: Byrd, his younger contemporaries, and the Byrd’s attraction to these texts seems natural, Zoë Brookshaw
    [Show full text]