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. Bairstow, Esq, Mus.Doc, Organist of York Waddington Cooke, Esq. Minster. Sir Edward C. Cooper. The Right Hon. A. J. Balfour, M.P., F.R.S. (2 copies). Rev. E. C. Corfe, Canon and Precentor of Truro H. L. Balfour, Esq., Mus.Bac. Cathedral. Granville Bantock, Esq., Professor of Music in Birming­ Rev. C. E. Couchman. ham University ; Principal of the Birmingham and Sir Homewood Crawford, Past Master of the Musicians' Midland School of Music. Company. Mrs. Baring (Miss Marie Hall). Rev. G. B. Cronsljaw, Fellow ol Queen's College, John Barker, Esq. Oxford. Harold A. Barnes, Esq. Rev. H. A. Cumberlege. Sir John Barran, Bart., M.P. W. H. Cummings, Esq., Mus.Doc, F.S.A., formerly Noel Bar well, Esq. (3 copies). Principal of the Guildhall School of Music. Organist of Norwich Frank Bates, Esq., Mus.Doc. Rev. Hugh C. R. Cunnynghame. Cathedral. J. T. Bavin, Esq. Ernest Darby, Esq., Mus. Bac J. W. Bayard, Esq. Harold E. Darke, Esq. Mrs. Richard Bayley. Rev. T. H. Davis, Mus.Doc, Prebendary and Organist Rev. George Bell, Mus.Doc. of Wells Cathedral. Francis J. Belton, Esq. The Hon. Mrs. Horace Darwin. P. V. M. Benecke, Esq., Fellow of Magdalen College, H. Walford Davies, Esq., Mus.Doc, Organist and Oxford. Director of the Choir at the Temple Church. Lionel Benson, Esq. Richard C. Davis, Esq. Rev. W. P. Besley. Messrs. Dawson and Sons. Rev. Henry Bewerunge. Miss N. Day. Sir William E. Bigge. Miss Emily Daymond, Mus. Doc Birmingham Public Libraries. »E. J. Dent, Esq., Mus.Bac, formerly Fellow of King's Birmingham and Midland Institute. College, Cambridge (2 copies). Birmingham University Library. Thomas L. Devitt, Esq. W. H. Blake, Esq. George R. Dodds, Esq., Mus.Bac. Adrian C. Boult, Esq. Dundee, Albert Institute. The Hon Stuart Bouverie. Thomas F. Dunhill, Esq. Mrs. H. T. Bowlby. Durham Cathedral Libiary. R. E. Brandt, Esq. E. O. Dykes, Esq. Rev. Canon A. J. Brewster. Sir Frederick Bridge, C.V.O., Mus.Doc, King Edward Clifford B. Edgar, Esq., Mus.Bac, B.Sc, Master of Professor of Music in London University ; Gresham the Worshipful Company of Musicians. Professor of Music; Organist of Westminster Dr. Alfred Einstein. Abbey. 'Sir Edward Elgar, O M., LL.D., Mus.Doc, formerly Joseph C. Bridge, Esq., Mus. Doc., Professor of Music in Professor of Music in Birmingham University. Durham University; Organist of Chester Cathedral. William Ellis, Esq., Mus.Bac Robert Bridges, Esq., Litt.D., Poet Laureate. Baron Oscar E. von Ernsthausen. W. Denis Browne, Esq. Rev. B. C. S. Everett. Ill SI 1700 W. A* Everington, Esq F. Ashton Jonson, Esq Alfred J. Eyre, Esq. Miss Phoebe Jull.

G. A. Falk, Esq. C. Karlyle, Esq. The Lady Farrer. Lady Kenyon. The Hon. Everard Feilding. George Kirkwood, Esq., M D. Miss A. Fellowes. Professor Dr Kopfermann, Director Konegal Bibliothek, F. Fellowes, Esq. Berlin. Mrs. W. M. Fletcher. Baron Alexander Kraus, jun. Lionel H. Franceys, Esq. F St. John Lacy, Esq., Professor of Music, Cork H. A. Fricker, Esq, Mus.Bac, Organist of Leeds University. Town Hall; Chorus master of the Leeds Musical F. G. Larkin, Esq. Festival. G. S. Leach, Esq. Walter Ford, Esq. A. C. Lee, Esq. Archibald Fox, Esq. Leeds Free Library. Arthur M. Fox, Esq., Mus.Bac. Mrs. Leng. Miss Ruth Fry. J. A. Fuller-Maitland, Esq., F.S.A. Dr. Hugo Leichtentritt, of Berlin. H. Sanderson Furniss, Esq. W. H. Leslie, Esq. (4 copies). Miss M. A. Fyffe. H G. Ley, Esq., Mus.Bac, Organist of Christ Church, Oxford. H. T. Gerrans, Esq., F.S.A., Fellow of Worcester Miss G. M Liddell. College, Oxford. Rev. R. C. B. Llewellyn. The Right Hon. Viscount Gladstone, G.C.M.G., G. S. L. Lohr, Esq. Governor-General of South Africa (4 copies). C. Lowry, Esq., Headmaster of Tonbridge School. Henry N. Gladstone, Esq. Miss Luard. The Hon. Hugh Godley. Rev. E. P. Luard. A. M. Goodhart, Esq., Mus.Bac. W. L. Luttman, Esq., Mus.Bac , Organist of St. Alban's Alan Gray, Esq , Mus.Doc, Organist of Trinity Cathedral. College, Cambridge. Rev. The Hon. Edward Lyttelton, D.D., Headmaster H. Plunket Greene, Esq. of Eton College. W. H. Hadow, Esq, Mus.Doc, Principal of Arm­ Mrs. Macartney. strong College, Newcastle-on-Tyne. The Lady Valda Machell. Rev. S. Hailstone. George A. Macmillan, Esq. Mrs. W. M. Hale. W. E. F. Macmillan, E^q. Miss A. Hamilton. Magdalen College, Oxford, Library. Professor Dr. Angul Hammerich, Professor in the Rev. J. P. Mahaffy, C.V.O., D.D., D.C.L., Mus.Doc, Copenhagen University. Fellow of Trinity College, Dublin. Rev. J. Hampton, Warden of St. Michael's College, Mrs. Alexander Maitland. Tenbury, and Precentor of Hereford Cathedral. E. Hugo Mallet, Esq. (2 copies). Herbert Hankinson, Esq. Manchester, Thomas Watson Libiary. W. H. Harris, Esq., Mus Doc Professor Dr. E. Mandyczevvski, Vienna. Basil Harwood, Esq., Mus.Doc, late Organist of A. E. VV. Marshall, Esq. Christ Church, Oxford. Francis D. Marshall, Esq. E. N. Hay, Esq., Mus.Bac. Samuel S Martyn, Esq., Mus.Bac. A. C. Heberden, Esq., Mus.Bac, Organist and Music Sir John D. McClure, LL.D., Mus.Doc, Headmaster Master, Marlborough College. of Mill Hill School. C. B. Heberden, Esq., D.C.L., Principal of Brasenose Miss G. E. M Cormick. College, Oxford. Robert F. M'Ewen, Esq. (2 copies). Lionel Helbert, Esq. Madame H. Middleton. Sir Alexander Henderson, Bart. (4 copies). P. Napier Miles, Esq , formerly President of the Bristol The Lady Dorothy Henley. Madrigal Society. W. W. Hewitt, Esq. Miss A. L. Mixer, Mus.Bac. J. B. Hichens, Esq. Rev. H. O. Moore. Rev. L. D. Hildyard. Charles Morley, Esq. Arthur F. Hill, Esq., F.S.A., Past Master of the Rev. Miles Moss. Worshipful Company of Musicians, C. S. Myers, Esq , M.D., D.Sc. Miss Cecilia Hill. Mrs. W. S. Hodgkinson. T. Neale, Esq. Rev. Morris O. Hodson. The Hon. Alice Neville. A. Gordon Hood, Esq. Mrs. F. Stirling Newall. Rev. E. C. Hoskyns. Newcastle-on-Tyne Literary and Philosophical Society. The Lord Howard De Walden. Newcastle-on-Tyne Public Library. Miss E. Hughes. H. F. Nicholl, Esq. Hubert W. Hunt, Esq., Organist of Bristol Cathedral. Edward W. Nicholls, Esq. C. Hylton-Stewart, Esq., Mus Bac Edward Nicol, Esq. John W. Ivimey, Esq., Mus.Bac. Sydney H. Nicholson, Esq., Mus.Bac, Organist of B. V. Jackson, Esq. Manchester Cathedial. Professor Dr. Zdzislaw Jachimecki, of Cracow. J. E. Nixon, Esq., Fellow of King's College, Cambridge. Humphrey Noble, Esq. Mrs. Jenkins (3 copies) Miss H. Mary Jenkins. Dermod O'Brien, Esq. Miss Ashton Jonson. Mrs. Orde. IV Oriel College, Oxford, Library. Oscar W. Street, Esq., Hon. Secretary of the Madrigal Lady Ottley. Society. The Oxford and Cambridge Musical Club. The Hon. Richard Strutt (2 copies). The Oxford University Musical Union. H. PI. Stubbs, Esq. Kenneth R. Swan, Esq. Sir C. Hubert H. Parry, Bart., C.V.O., D.C.L , E T. Sweeting, Esq , Mus.Doc, Oiganist and Master Mus Doc, Director of the Royal College of Music ; of Music, Winchester CoJege. formerly Professor of Music in Oxford University. Heibert W. Symes, Esq., President of the Madiigal Rev. A. H. S. Pattrick. Society. Ernest Payne, Esq. W. A. Pickard-Cambridge, Esq., formerly Fellow of C. Sanford Terry, Esq , Piofessor of History in Abei- Magdalen College, Oxford. deen University. Cecil Powell, Esq. R. R. Terry, Esq., Mus.Doc, Organist and Director of Miss Mabel Price. the Music, Westminster Cathedral. R. J. E. Tiddy, Esq. Helen, Countess of Radnor (2 copies). Signor Fausto Torrefranca, Editor of the Rivista Miss Ramsbotham. Musicale Italiana, Turin. Rev. A. Ramsbotham. Donald F. Tovey, Esq. Bernard F. Ramsey, Esq., Mus.Bac, Music Master of J. B. Trend, Esq. Falconbury School. Miss Maud Usborne (4 copies). Mrs. Hastings Rashdall. H. S. Rawson, Esq. Albert Visetti, Esq. Reading University College Library. Mrs. E. L. Voyniez. Dr. A. Mayer Reinach, Director of the Conservatoire Kiel. Ernest Walker, Esq., Mus.Doc, Director of Music, H. W. Richards, Esq , Mus.Doc. Balliol College, Oxford. Bruce L. Richmond, Esq. S H Walrond, Esq: O. L. Richmond, Esq., Fellow of King's College, Cam­ T. H. Warren, Esq , D.C.L., Litt.D., President of bridge Magdalen College, and Professor of Poetry in Professor Hugo Riemann, Mus.Doc, Proressor of Oxford University. Music in Leipzig University. A. T. Watei house, Esq. G, Stuart Robertson, Esq. Miss Florence E. Waterhouse, Mus. Bac. J. J. Robinson, Esq. Miss Weisse. F. B. Rogers, Esq., Organist and Master of Music, Messrs. P. & G. Wells. Felsted School. Miss M. Brown Westhead. L. J. Rogers, Esq., Mus.Bac, Professor of Mathe­ Westminster Public Libraiy. matics in Leeds University. Miss Annie T. Weston. Cyril B. Rootham, Esq., Mus.Doc, Oiganist of St. Malcolm White, Esq. John's College, Cambridge. Rev. C. J. Whitehead. Daniel W. Rootham, Esq., Conductor of the Bristol Henry C. Whitehead, Esq. Madrigal Society. W. G. Whittaker, Esq., Mus.Bac. L. T. Rowe, Esq. Miss Margaret Williams. The Royal College of Music. * R. Vaughan Williams, Esq , Mus.Doc Royal Holloway College Library. Alfred H. Willink, Esq. F. V. Schuster, Esq. G. A. Wills, Esq. C. Kennedy Scott, Esq. Henry H. Wills, Esq. J. S. Scott, Esq. Herbeit Wiseman, Esq. Sir Alfred S. Scott-Gatty, K.C.V.O., F.S.A., Garter Dr. Johannes Wolf, Professor in the Berlin University. King of Arms. Dr. Werner Wolffheim, of Berlin. Cecil J. Sharp, Esq. A. Rawlinson Wood, Esq., Mus.Bac, Director of Geoffrey T. Shaw, Esq., Mus.Bac, H.M. Inspector of Music, Denstone College. Music to the Board of Education. Sir Henry J. Wood, Conductor of the Queen's Hall J. J. Simpson, Esq. Orchestra. G. H. Smith, Esq., Mus.Doc R. T. Woodman, Esq. Arthur Somervell, Esq., Mus.Doc, H.M. Inspector of Robert Woodward, Esq. Music to the Board of Education. H. E. Wooldridge, Esq., formerly Slade Professor of O. G, Sonneck, Esq. Fine Art in Oxford University. Mons. H. le Soudier. Mons. Alfred Wotquenne, Professor in the Conserva­ W. A. Soyer, Esq. toire Royale de Musique, Brussels. W. Barclay Squire, Esq., F.S.A., Keeper of the Library, E. G. P. Wyatt, Esq. British Museum. Mrs. Wythes Sir Charles V. Stanford, D.C L., Mus.Doc, Professor of Music in Cambridge University. Yale (U.S.A.) University Library. W. K. Stanton, Esq. H. O. Yeatman, Esq. R. Sterndale-Bennett, Esq., Master of Music, Upping­ G. F. W. Yeats, Esq. ham School. Miss C. Yeoman. A. B. Stevens. Esq., M.B. Mrs. William Younger.

V

PREFACE TO VOL. V.

T has not been thought necessary to reprint in each volume of this Series the full explana­ tion of the methods adopted by the Editor, especially as the Preface to Volume I. is I published separately, and can be obtained separately by those who have not a copy of that volume. It is very important, however, to emphasize that a thorough grasp of the prin­ ciples which are explained in detail in that treatise is absolutely indispensable for a clear understanding and practical use of this Edition, and particular attention is directed to. the paragraph on Rhythm and Barring. The musical illustrations there employed are drawn exclusively from the works of Thomas Morley, but the principles which they illustrate apply to the whole of this Series. The following points are fully dealt with under separate headings :— i. Clefs. 5. Repeat Marks. 2. Words. 6. Time-signatures. 3. Expression. 7. Key-signatures. 4. Rhythm and Barring. 8. Accidentals. 9. Pianoforte Score. Though I have used every endeavour to reproduce an accurate version of the original text throughout this Series, I am aware that in a work of this magnitude it is almost inevitable that some misprints should escape detection in reading the proofs. I shall be glad to have any such misprints brought to my notice so that they may be corrected in future editions. I shall also welcome any information as to the authorship of any of the lyrics and sonnets not hitherto identified. Orlando Gibbons' fame, as one of the greatest English musicians of any period, rests chiefly upon his compositions for the Church, which were voluminous. Among his instrumental writings may be mentioned his Fantasias for strings, which are said to be the first music printed in England from engraved plates, and also the celebrated collection called " Parthenia," in the production of which he collaborated with William Byrd and John Bull. It is greatly to be deplored that many of Gibbons' magnificent anthems should not be in much more general use than is the case in our English Cathedrals and Collegiate Chapels. Volume V. of the English Madrigal School Series includes the only set of madrigals pub­ lished by Orlando Gibbons, and this Set consists entirely of works in five parts. It was pub­ lished in 1612. He made no contribution to Morley's " Triumphs of Oriana." Much of the music in this Set requires the employment of counter-tenor, or male alto voices for satisfactory interpretation. An interchange of parts may excusably be effected in certain instances with the object of dealing with the awkwardness of compass for practical purposes; but no such alterations have been printed in this Edition. Such a course would have precluded the performance of these madrigals in their original form on such occasions as when male alto voices might be available, or when they might be played on string instruments, the composer having expressly designed them " for viols and voices." On the title-page Gibbons described these compositions as " Madrigals and Motets," without specifying in detail which he classed as madrigals, and which as motets. His employment of the term Motet is, as stated in the article on " Motet" in Grove's Dictionary of Music, a singular return to the old use of the word in its application to secular song, the term being similarly used by Martin Peerson in 1630. Peerson speaks of " grave chamber music," and possibly in this sense Gibbons regarded such a grave series as Nos. 3 to 6 of this volume as a Motet. Indeed, the majority of the numbers in this Set are characterized by a severe or " grave " sentiment, a serioias vein of musical expression being called for by the words. These words in themselves are of high literary merit: many of the lyrics or sonnets, together with selections from all the chief madrigal writers, have been reprinted in recent times in " Lyrics from the Song-books of the Elizabethan age," by A. H. Bullen, and in Sir Sidney Lee's " Elizabethan Sonnets" ; but those authorities have only succeeded in assigning a definite authorship in a small proportion of cases. I am indebted to Mr. Cyril Brett for many useful suggestions in connection with the lyrics and sonnets printed in Volumes V. to VIII. of the present Series. EDMUND H. FELLOWES, THE CLOISTERS, WINDSOR CASTLE. April, 1914.

LYRICS AND SONNETS

SET TO MUSIC BY

ORLANDO GIBBONS

In his First Set of Madrigals and Motets.

I. The silver Swan who living had no note, When death approached unlocked her silent throat ; Leaning her breast against the reedy shore Thus sung her first and last, and sung no more : " Farewell all joys, O death come close mine eyes, More geese than swans now live, more fools than wise."

II. 0 that the learned poets of this time, Who in a love-sick line so well can speak, Would not consume good wit in hateful rhyme, But with deep care some better subject find. For if their music please in earthly things, How would it sound if strung with heavenly.strings ?

III. (the first part.) 1 weigh not Fortune's frown nor smile, I joy not much in earthly joys, I seek not state, I reck not style, I am not fond of Fancy's toys, I rest so pleased with what I have, I wish no more, no more I crave. Joshua Sylvester (i563-1618).

IV. (the second part.) I tremble not at noise of war, I quake not at the thunder's crack, I shrink not at a blazing star, I sound not at the news of wrack, I fear no loss, I hope no gain, I envy none, I none disdain. Joshua Sylvester (1563-1618).

1 V. (the third part.) 1 see Ambition never pleased, I see some Tantals starve in store, I see Gold's dropsy seldom eased, I see each Midas gape for more, I neither want nor get abound, Enough's a feast, content is crowned. Joshua Sylvester (1563-1613).

VI. (the fourth part.) I feign not friendship where I hate, I fawn not on the great for grace, I prize, I praise a mean estate Nor yet too lofty nor too base. This, this is all my choice my cheer, A mind content and conscience clear. Joshua Sylvester (1563-1613).

VII. (the first part.) How art thou thralled, O poor despised creature ? Sith by creation ; Nature made thee free. O traitorous eyes, to gaze so on her feature That quits with scorn thy dear lost liberty.

VIII. (the second part.) Farewell all joys, O hell Now restless cares my pillow ; Sweet myrtle shades, farewell; Now come sad Cypress and forlorn loves' willow. She smiles, she laughs, she joys at my tormenting. Break then poor heart, tossed on Despair's black billow O let me die lamenting.

IX. Dainty fine bird that art encaged there, Alas, how like thine and my fortunes are * Both prisoners be, and both singing, thus Strive to please her that hath imprisoned us . Only thus we differ, thou and I, Thou liv'st singing, but I sing and die.

11 X. (the first part) Fair ladies that to Love captived are, And chaste desires do nourish in your mind, Let not her fault your sweet affections mar, Nor blot the bounty of all Womankind. Edmund Spenser (1553-1599).

XL (the second part.) 'Mongst thousands good one wanton Dame to find, Amongst the Roses grow some wicked weeds. For this was not to love, but lust inclined ; For love doth always bring forth bounteous deeds, And in each gentle heart desire of Honour breeds. Edmund Spenser (1553-1599).

XII. Now each flowery bank of May Woos the streams that glides away ; Mountains, fanned by a sweet gale, Loves the humble looking dale; Winds the loved leaves do kiss ; Each thing tasteth of love's bliss. Only I, though blest I be To be loved by destiny, Love confessed by her sweet breath, Whose love is life, whose hate is death.

XIII. Lais now old, that erst attempting lass, To Goddess Venus consecrates her glass, For she herself hath now no use of one; No dimpled cheeks hath she to gaze upon ; She cannot see her springtime damask grace, Nor dare she look upon her winter face.

XIV. What is our life ? a play of passion. Our mirth the music of division. Our mothers' wombs the tiring houses be, Where we are dressed for this short Comedy. Heaven the judicious sharp spectator is, That sits and marks still who doth act amiss. Our graves, that hide us from the searching sun, Are like drawn curtains when the play is done. Thus march we, playing, to our latest rest; Only we die in earnest, that's no jest. Walter Raleigh (1552-1618). iii XV. Ah dear heart, why do you rise ? The light that shines comes from your eyes. The day breaks not, it is my heart, To think that you and I must part. 0 stay, or else my joys will die, And perish in their infancy. Attributed to John Donne (1573-1631). XVI. Fair is the Rose, yet fades with heat and cold. Sweet are the Violets, yet soon grow old. The Lily's white, yet in one day 'tis done. White is the Snow, yet melts against the Sun. So white, so sweet was my fair Mistress' face, Yet altered quite in one short hour's space. So short-lived beauty a vain gloss doth borrow, Breathing delight to-day, but none to-morrow.

XVII. {the first part.) Nay let me weep, though others' tears be spent, Though all eyes dried be, let mine be wet. Unto thy grave 111 pay this yearly rent, Thy lifeless corse demands of me this debt. 1 owe more tears than ever corse did crave ; I'll pay more tears than ere was paid to grave. XVIII. (the second part.) Ne'er let the Sun with his deceiving light Seek to make glad these watery eyes of mine. My sorrow suits with melancholy night. I joy in dole, in languishment I pine. My dearest friend is set, he was my Sun, With whom my mirth, my joy, and all is done. XIX. (the third part.) Yet if that age had frosted o'er his head, Or if his face had furrowed been with years, I would not so bemoan that he is dead, I might have been more niggard of my tears. But O, the Sun new rose is gone to bed, And Lilies in their spring-time hang their head. XX. Trust not too much, fair youth, unto thy feature ; Be not enamoured of thy blushing hue. Be gamesome whilst thou art a goodly creature; The flowers will fade that in thy garden grew. Sweet Violets are gathered in their Spring, White Primit falls without enpitying.

IV NOTES.

The words were probably selected for Gibbons by Sir Christopher Hatton, and it is even possible that he was the author of some of the lyrics, but nothing more than selection is actually implied in Gibbons' dedication to Hatton. Many of these lyrics, together with selections from all the madrigal writers, have been printed in recent times in A. H. Bullen's " Lyrics from the Song-books of the Elizabethan age," and in Sir Sidney Lee's " Elizabethan Sonnets." III.-VI.—Words by Joshua Sylvester, from Epigrams and Epitaphs (vide Grosart's edition of Sylvester's Works, Vol. II., 340). IV.—Line 4, sound=$woon. It is also spelt " swound " in one of the part-books. X.-XI.—Words by Edmund Spenser, from the " Fairy Queen." Book III., Canto 1. XII.—Line 2, glides ; line 4, loves. The use of the third person singular of the verb in place of the plural is an idiom which is not uncommon in Elizabethan literature, and is to be found in Shakespeare, e.g., in Richard II., Act II., Scene 3, lines 4, 5 : " These high wild hills and rough uneven ways Draws out our miles and makes them wearisome." There are many similar examples in the works of all the madrigalists, and the idiom is pre­ served throughout this Edition. cj. xvii., line 6, and Wilbye's First Set, No. x., line 4 : "My eyes presents me with a double doubting." XIII.—In a note on this lyric Bullen (p. 225) states that it is imitated from Plato's epigram [Anthol. Grsec vi. 1] :— 'H aroftapbv yeXdcrcKra m6' 'EXAaSos, r) TOP epaarcov €(Tfx6v ilTL 7Tpo6vpOLS AoLS e^OVOTa V€C0Vj rfj Hcxjiir) TO KtiToiTTpov ' eVet TOLT) p.ev opacrOat ovK €0€X<*> ' O'LT] b' r\v ivapos ov bvpapai or from Ausonius' translation " De Laide dicante Veneri speculum suum " [Epig. lv. in S. Walkefs Corpus Poetarum Latinorum, ed. 1894]. . Lais anus Veneri speculum dico; dignum habeat se Aeterna aeternum forma, ministerium. At mihi nullus in hoc usus, quia cernere talem Qualis sum, nolo; qualis eram, nequeo. Line 1, attempting=all-tempting. XIV.—Words by Sir Walter Raleigh. XV.—Words variously attributed to John Donne and John Dowland, and with more probability to the latter. It is a stanza prefixed to Donne's poem entitled " Break of Day," in Stowe, MS. 961, in the edition of 1669 [vide H. J. C. Grierson's edition of Dr. Donne's Works, Vol. L, 432]. This poem begins : " 'Tis true, 'tis day. What though it be ? " A comparison of the text of the stanza in Orlando Gibbons' version, printed in 1612, with that printed by Professor Grierson, shows several textual variants. XVII.—Lines 4 and 5, cors^—corpse. Though derived from the Latin corpus the p was a comparatively modern addition to the mediaeval French word cors. In the sixteenth century he English word was spelt corse and coarse. Corse still remains a somewhat archaic and Oetic form of the modern corpse, which word is itself often pronounced without the p in wading.—Murray's New English Diet., Vol. II., 1026. XX.—The words were evidently suggested by Vergil [Eclogue II., lines 17, 18] : " O formose puer, nimium ne crede colori! Alba legustra cadunt vaccinia nigra leguntur." Line 6, Primit=privet (ligustrum). The word in this exact form is not included in Murray's New English Dictionary. Other mediaeval forms are prim-print, primp and prim; and, dialecti- cally, privet is still called called prim or primmy [Britten and Holland's " English Plant- names"]. Murray, in a note, adds, that it has been suggested that privet is a corruption of " primet," but that Prior, in his " Names of Plants," is in error in stating it \o be a name for Cie primros^. Line 6,j enpiiying. To enpity is an obsolete verb, meaning to affect with compassion [Murray's N^w English Diet., Vol. III., 937]. In the musical antiquarian Society's edition of Gibbons' madrigals the particle "en" was joined to "without," thus making nonsense of the passage.

The First Set of MADRIGALS AND MOTTETS of 5. Parts : apt for Viols and Voyces

NEWLY COMPOSED by Orlando Gibbons, Batche- ler of Musicke, and Organist of his Maiesties Honourable Chappell in Ordinarie

London : Printed by Thomas Snod ham the Assigne of W. 'Barley 1612.

TO THE RIGHT WOR- thy, my much Honoured friend, Syr Qhristopher Hatton^ Knight of the Ho­ nourable Order of the Bath.

SYR It is proportion that beautifies every thing, this whole Universe consists of it, and Musicke is measured by it, which I have endeavoured to observe in the composition of these few Ayres, but cannot in their Dedication : for when I compare your many favours with my demerits, your curious Eare with these harsh Notes, there appears so plaine a disproportion betweene them, that I am afraid, least in offring to your Patronage Songs in some tune, my action herein should be out of all tune :' yet I have made bould to honour them with your Name, that the world may take notice, rather of my want of abilitie, then good-will to be gratefull. By which little outward demonstration, you may easily guesse at the greatnesse of my inward affection, as skilfull Geometricians doe observe the true stature of the whole body by sight of the foote onely. Experience tels us that Songs of this Nature are usually esteemed as they are well or ill performed, which excellent grace I am sure your unequalled love unto Musicke will not suffer them to want, that the Author (whom you no lesse love) may be free from disgrace. They were most of them composed in your owne house, and doe there­ fore properly belong unto you, as Lord of the Soile ; the language they speake you provided them, I onely furnished them with Tongues to utter the same : they are like young Schollers newly entred, that at first sing very fearefully, it requires your Patience therefore to beare with their imperfections : they were taught to sing onely to delight you, and if you shall take any pleasure in them, they have their end, and I my wish, a full recompence for my passed labours, and a greater encouragement to present you with some future things more worthy your Patronage : till which opportunity I rest Yours ever to command ORLANDO GIBBONS.

xvn VOI . V. TABLE OF CONTENTS

MADRIGALS AND MOTETS OF FJVE PARTS

PAGE •I. The silver swan .... S.A.A.(or T.), B.(or T.), B. I 2. O that the learned poets . . S.S.A,(or T.), A.(or T.), B. 4 3. I weigh not fortune's frown {the first part) S.S.A.T.(or A.), B. 12 4. I tremble not at noise of war {the second part of No. 3) S.S.A.T.(or A.), B. 19 5. I see Ambition never pleased {the third part of Aro. 3) SS.A.T.B. 26 6. I feign not friendship (the fourth part of No. 3) S.S.A.T.(or A.), B. 34 •7. How art thou thralled (the first part) . S.S.for A.), T.T.B. 42 8. Farewell all joys (the second part of No. 7) S.S.A.(or T.), A.(or T.), B. 48 9. Dainty fine bird S.S.T.(or A.), T.B. 54 10 Fair ladies that to love (the first part) . . SS.A.A.B. 59 11. Mongst thousands good (the second part of No. 10) S.S.A.T.(or A.), B. 65 •12. Now each flowery bank of May . . S.S.T.(or A.), T.B 72 13. Lais now old S.A.T.T.(or A.), B. 8r .14. What is our life? S.A.A.(or T.), T B. 88 15. Ah dear heart .... S.A.A.(or T.), A.(or T.), B 99 •16. Fair is the rose S.A.(or S.), A.T.B. 103 17. Nay let me weep (the first part) S. A.(or S.), T.(or A.), T.(or A.), B. 113 18. Ne'er let the sun (the second part of No. 17) S.A.T.(or A.), T.B. 121 19 Yet if that age the third part of No. 17) S.S.(or A.), T.(or A.), T.B. 130

20. Trust not too much fair youth . , S.S.T.for A.), T.B. 138

VOL. V.

INDEX

Ah dear heart . Dainty fine bird . Fair ladies that to love Fair is the rose Farewell all joys . How art thou thralled . I feign not friendship . I see Ambition never pleased I tremble not at noise of war I weigh not Fortune's frown Lais now old. Mongst thousands good Nay let me weep . Ne'er let the sun . Now each flowery bank of May O that the learned poets The silver swan Trust not too much fair youth What is our life ? Yet if that age VOL V. THE ENGLISH MADRIGAL SCHOOL.

The Madrigals of THOMAS MORLEY, ORLANDO GIBBONS, JOHN WILBYE and JOHN FARMER

are also published separately, and may be obtained from all Music-sellers or STAINER & BELL, LTD., 58, BERNERS STREET, LONDON, W. ENGLISH MADRIGAL SCHOOL. THE SECULAR VOCAL WORKS OF THOMAS MORLEY Edited by EDMUND H. FELLOWES. Price for the Four Volumes Complete - 23s. 6d. net.

Volume I. Price Complete (with Preface), 7s. 6d. FIRST BOOK OF CANZONETS TO TWO VOICES. Price, Price, Go ye my Canzonets. S.S. or T.T. id. Fire and Lightning. S.S. or T.T id. When lo by break of morning. S.S. or T.T. 2d. Flora, wilt thou torment me ? S.S. or T.T id. Sweet nymph come to thy lover. S.S. or T.T. id. In nets of golden wires. S.T. id. I go before my darling. S.S. 2d. Miraculous love's wounding. S.S. or T.T. 2d. 0 thou that art so cruel. S. (or A.) T. .. id. Lo here another love. S.S. or T.T. 2d. 1 should for grief and anguish. S. (or A.) A. (or T.) Leave now mine eyes lamenting. S.T. .. id. or T.B id. CANZONETS OR LITTLE SHORT SONGS TO THREE VOICES. ^ Price. Price. See mine own sweet jewel. S.S.A. (or T.) or T.T.B. .. 2d. Lady if I through grief. S. (or A.) A. (or T.) B. .. 3d. Joy doth so arise. S.S.T 3d. Cease mine eyes. S.A. (or S.) T...... 3d. Cruel you pull away too soon. S.S.A. (or T.) or T.T.B. 4d. Do vou not know ? S.A.T. (or B.) ...... 2d. Lady those eyes. S.S.A. (or T.) or T.T.B 3d. Where art thou, wanton ? S.S.A. (or T.) or T.T.B. .. 3d. Hold out my heart. S.S.T. 3d. What ails my darling ? S.S.A. or T.T.B 3d. Good morrow fair ladies of the May. S.S.A. (or T.) or Say dear will you not have me ? S.S. (or A.) A. (or T.) A.T.B 3d. or T.B.B 2d. Whither away so fast ? S.S.A. (of T.) or T.B.B 4d. Arise get up. S.S. (or A.) T 3d. Blow shepherds blow. S.A. (or T.) T 3d. Love learns by laughing. S.S.A. (or T.) or T.T.B. .. id. Deep lamenting. S.T. (or A.) B...... 4d. This love is but a wanton fit. S.S.A. or T.T.B. .. .. id. Farewell disdainful. S.A.T. .. 3d. Though Philomela lost her love. S.S. (or A.) A. (or T.) O fly not. S.S.T 3d. or T.B.B id. Thirsis let pity move thee. S.S. (or A.) A. (or T.) .. 3d. Spring-time mantleth every bough. S. (or A.) A. (or T.) Now must I die recureless. S.S. (or A.) T. .. .. 3d. T. (or B.) id.

Volume II Price Complete, 5s. 6d. FIRST BOOK OF MADRIGALS TO FOUR VOICES. Price. Price April is in my mistress' face. S.A. (or S.) T. (or A.) B. .. 2d. Besides a fountain. S.S.A.T 3d, Clorinda false. S.A. (or S.) T.B 3d. Sport we my lovely treasure. S.S.A.T...... 3d, Why sit I here complaining ? S.S.A.T...... 4d. O sweet alas what say you ? S.S.A.T...... 3d Since-my tears and lamenting. S.A. (or S.) A. (or T.) B. 2d. Hark jolly shepherds. S.S.A.T 3d Help I fall. S.A.A. (or T.) B 2d. Ho who comes here. S.S.A.A. (or T.) ...... 4d Lady why grieve you still me ? S.S.A.T 3d. Die now my heart. S.A. (or T.) T.B 4d In dew of roses. S.S.A.T. (or A.) 3d. Say gentle nymphs. S.A. (or T.) T. (or B.) B 3d, In every place. S.A. (or S.) T.B 2d. Round around about a wood. S.S.A.T...... 3d, Now is the gentle season. S.A.T.B...... 2d. On a fair morning. S.A.A.B...... 3d, The fields abroad. S. (or A.) A. (or T.) T.B 2d. Come lovers follow me. S.S.A.T...... 3d. TWO CANZONETS from MORLEY'S ITALIAN COLLECTION 0 .no thou dost but flout me. S.S.A.T 3d. My heart why hast thou taken ? S.S.S.A. (or T.) 1 will no more come to thee. S.S.A.T. (or B.) . . .. 3d. Still it frieth. S.S.S. (or A.) T

Volume III. Price Complete, 6s. od. CANZONETS OR LITTLE SHORT AIRS TO FIVE AND SIX VOICES. FOR FIVE VOICES. Price. Price. Fly love that art so sprightly. S.S.A.(or T.) T. (or B.) B. 2d. Lady you think you spite me. S.S. (or A.) A. (or T.) False love me did inveigle. S.S, (or A.) T. (or A.) T\B. . 4d. T. (or B.) B 2d. Adieu adieu you kind and cruel. S.A.T.T.B. 3d. You black bright stars. S. (or A.) T. (or A.) B. (or T.) B. Love's folk in green arraying. S.S.A.T. (or A.) B. 3d. I follow lo the footing. S.S.A. (or S.) A. (or T.) T. (or B.) 6d. Love took his bow and arrow. S.A.A. (or T.) T.B. 3d. Lo where with flowery head. S.A.A. (or T.) T.B. 2d. FOR SIX VOICES. O grief even on the bud. S. A.T.T. (or B.) B. .. 2d. Stay heart run not so fast. S.S.A.T. (or A.) T.B. Sovereign of my delight. S.S.A. (or S.) A. (or T.) B. 3d. Good love now fly thou to her. S.S.A.T. (or A.) T.B. .. Our bonny-boots could toot it. S.A.T.T.B.. .. 3d. Ladies you see time flicth. S.S.S.A. (or T.) B. (or T.) B. Ay me the fatal arrow. S.A.A. (or T.) A. (or T.) B. 2d. Hark ; Alleluia. S.A. (or T.) A. (or T.) T. (or B.) B. (or T.) My nymph the dear. S.A. (or S.) A. (or T.) T.B. 3d. B 3d. Cruel wilt thou persever ? S.A.A. (or T.) T.B. .. 2d. Said I that Amarillis ? S.S. (or A.)- T. (or A.) T. (or TWO MADRIGALS from the TRIUMPHS OF ORIANA. A.) B. .. 2d. Arise awake. S.A.T. (or A.) T.B. 4d. Damon and Phillis. S.S. (or A.) T. (or A.) T. (or B.) B. 3d. Hard by a crystal fountain. S.S.A. (or S.) T. (or A.) T.B. 6d.

Volume IV. Price Complete, 4s. 6d. FIRST BOOK OF BALLETS TO FIVE VOICES. Price. I Price. Dainty fine sweet nymph. S.S.A. (or T.) T.B 2d. My lovely wanton jewel. S.S. (or A.) A.T. (or A.) B. .. 3d. Shoot false love I care not, rfS.S.A. (or T.) T. (or B.) B. 2d. You that wont to my pipe's sound. S.S.A.T. (or B.) B. .. 2d. Now is the month of Maving. S. (or A.) A.T.T. (or B.) B. 2d. Fire ! Fire ! S.S.T. (or A.) T.B 4d. Sing we and chant it. S.S. (or A.) A. (or T.) T. (or B.) B. id. Those dainty daffadillies. S.A.T. (or A.) B.B 2d. Singing alone. S.A. (or T.) A. (or T.) T. (or B.) B. .. 3d. Lady those cherries plenty. S. (or A.) T. (or A.) T.T. No no Nigella. S.S.A. (or T.) T. (or B.) B 2d. (orB.) B 3d. My bonny lass she smileth. S.A. (or S.) A. (oi* T.) T.B. 2d. I love alas I love thee. S.A. (or T.) A. (or T.) B.B. .. 2d. I saw my lovely Phillis. S.A. (or S.) A. (or T.) T. (or A.) Lo she flies. S.S.A.T.B 3d. B 3d. Leave alas this tormenting. S.A. (or S.) A.T. (or A.) B. 3d. What saith my dainty darling ? S.S.A. (or S.) A. (or T.) B. 2d. Why weeps alas ? S.A, (or S.) T. (or A.) T. (or A.) B. .. 2d. Thus saith my Galatea. S.A, (or S). A, (or T). T.B. .. 2d. Phillis, I fain would die now {a Dialogue to seven voices). About the Maypole. S.A. (or S.) T.T.B 3d. I S.S.A.A.T.T.B 6d.

The Preface is issued separately. Price 6d.

STAINER & BELL, LIMITED, 58, Bcrncrs Street, London, W.