It is likely that Thomas Morley's popularity with the majority of Th.omas Morley's First Book twentieth-century lovers of his music rests chiefly upon his balletts. In spite of this, the music of Morley's FirstBook of of Balletts to ,Five Voices: Balletts to Five Voices remains largely unknown to many choral musicians. 1 While a few of the pieces in the collec­ tion, such as "Now Is the Month of May­ An Introduction ing" or "Sing We and Chant It," have become fixtures in the repertory of For Conductors many choirs, many of the Balletts are rarely, if ever, performed. By David Taylor Morley's Balletts is a rich source of Director of Choral Activities literature well suited to the needs of Hendrix College many high school and college vocal Conway Arkansas chamber ensembles, literature which will make for interesting and entertain­ well as or even more than a musical ex­ Morley set the tone definitively for a ingprogramming and which will provide perience. The lighter Italian musical class of composition that is musical challenge and enjoyment for forms (canzonetta, villanelle, and ballet­ characteristic of the English books [of choir members and conductors. As an in­ to) were relished for their simplicity in madrigals] that came after him. The popularity and cultivation of the troduction to this music for conductors, contrast to the highly sophisticated English madrigal was inlarge measure this article will examine the historical madrigal, but this predilection for due to him alone. 3 background of the Balletts, survey the simplicity was still the attitude of court contents of the collection, discuss ap­ aesthetes, and had much the same This popularity and cultivation began plicable performance practice considera­ character as Marie Antoinette's fond­ with the publication of Morley's Balletts tions, and add some suggestions con­ ness for her "dairy farm" at Versailles in simultaneously-issued English and cerning performance of the Balletts centuries later. The focus of the can­ Italian versions in 1595. designed to facilitate use of this litera­ zonetta, villanelle, and balletto, like the The new English style which Morley ture by high school and college choirs. focus of the madrigal, was still on the and his successors established differed poem. from its Italian model in several Historical Background on the The consumers of madrigals in respects, most of which stemmed from " Balletts" England, however, were the new gentry the predominantly musical rather than Elizabethan England was deeply in­ and the rising middle class, as well as literary interests of the English com­ terested in the assimilation and imita­ the higher reaches of society; and since posers and music lovers. Since the tion of Continental culture, scholarship, these consumers did not know the long English composers were not as in­ and social conventions. During the last tradition of Italian poetry, and were terested in poetic subtleties of the same three decades of the sixteenth century hearing either Italian which they often kind, they preferred more musical the Petrarchan poetry of Italy and its did not know well or English transla­ elaboration and interest than could be allied musical form, the madrigal, tions which frequently obscured the found in the Italian forms, and tended to became extremely fashionable among sophisticated structure and content of prefer the lighter forms to the madrigal English artists and courtiers. This the originals, they were primarily in­ itself, since many of these lighter forms Italian influence was imported both by terested in the music rather than the were musically less subordinate to the Englishmen who had travelled abroad words of the new Italian pieces. In short, text. English compositions generally and by Italian musicians working in in England the madrigal was very much displayed more melodic interest than England. The influence of Italian poetry a musical and not a literary matter. their Italian counterparts (Reese refers was a strong factor in the "new poetry" Italian madrigals circulated in to their "songfulness"), and generally of Sidney and Spenser, and the Italian England both in manuscript and in in­ avoided devices of the Italian man­ madrigal, together with the lighter fluential printed collections, such as nerists such as extreme chromaticism or secular Italian forms such as the can­ Nicolas Yonge's Musica Transalpina monodic recitative. English composers zonetta and balletto, served as the model and Thomas Watson's Italian Madrigals preferred on the whole to set light and for the sudden and quite imitative Englished, for some time before English frivolous rather than great or serious development of the English madrigal, "a composers began to imitate the Italian poetry: the Italian tradition of setting to rare example," says Jerome Roche, "of models. William Byrd and his genera­ music the greatest native poets had no the naturalization of a foreign form."2 tion were cool to the new style, prefer­ English counterpart. In fact, English In Italy the spirit that generated the ring the native English secular song. composers were frequently content to madrigal was very much a literary mat­ Thomas Morley was the first composer set rough translations of the texts of ter: musical setting of serious poetry by to employ the Italian style. Says Joseph Italian pieces: the greatest Italian poets, such as Kerman, Although choral musicians tend to Petrarch and Tasso, was a highly refer to all sixteenth-century English sophisticated art primarily focused on No other musicians of Morley's secular vocal compositions in­ the structure, the meaning, and even the generation distinguished themselves discriminately as madrigals, there are verbal sounds of the poem. Purely in Italianate composition, and the actually a number of more or less musical considerations were secondary younger men looked instinctively to distinct varieties, as was also true in Ita­ him as their model. But Morley looked ly, and intelligent analysis requires that to the primacy of the word. Madrigals instinctively to Italy; his historic posi­ were composed for literary academies tion is that of a pioneer who digested these be recognized. Carelessness on the and for a highly cultured nobility who the Continental style, naturalized it, part of composers and printers often employed professional musicians and and presented it to his countrymen in contributes to modern confusion in this strove for the highest possible level of a form that they could immediately ap­ regard, since title pages of original artistic and aesthetic sophistication and preciate and utilize further. It is first prints often mislabel some or all of the rarification. For the Italians, madrig~ of all from this point of view that pieces they contain. This sort of confu­ singing was expected to be a poetic as Morley's work should be approached. sion in the original prints was perhaps

APRIL 1983 PageS heightened by the fact that forms and to line, dwelling at the dictate of the albeit within a regular musical frame­ form names newly imported from Italy text on whichever phrase seems best, work, the canzonet bears some resem­ 6 were involved. An approach to Morley's with no fixed ending-point ahead. blance to the madrigal. Balletts, therefore, must necessarily in­ It displays no regular or pre-conceived The light madrigal differs from the volve consideration of the character­ musical pattern, is not strophic but serious madrigal primarily in text and istics which distinguish the ballett from through-composed, and is quasi-contra­ mood. It normally involves light and in­ the other late-sixteenth-century English puntal and quite variable in texture consequential poetry and a frivolous secular vocal forms. rather than homophonic. It attempts to musical mood. It remains a madrigal, Kerman's study of Elizabethan­ reflect in the music the sense and mood however, in that the text governs and no Jacobean secular vocal music distin­ of the poem and even of individual preconceived formal structure is pos­ guishes four main varieties of Italianate words within the poem. The poetry em­ sible. secular vocal compositions by English ployed is normally of a good quality and Morley himself defines the ballett in composers: the ballett, serious madrigal, a serious nature. this way: canzonet, and light madrigal.5 The canzonet borrows characteristics The ballett is normally strophic, from both the ballett and the madrigal There is also another kind ... which primarily homophonic, and usually they term balletti or dances, and are and is in some senses a hybrid of the songs which being sung to a ditty may dominated by an obvious and regular two. Like the ballett, it is strophic and likewise be danced . .. There be also dance rhythm. It is characterized by a subordinates the text to a pre-conceived another kind of balletts commonly bipartite division, and each of these two musical form. Here the division is usual­ called "fa-las." The first set of that sections ends with a fa-Ia-Ia or similar ly tripartite, and this is marked by the kind which I have seen was made by refrain and is repeated in its entirety, in­ repetition of the words and music of the Gastoldi; if others have labored in the cluding the refrain. The ballett is musi­ outer sections, with a non-repeated sec­ same field I know not, but a slight cally the simplest of the four varieties kind of music it is, and, as I take it, tion in the center. The text is also nor­ s and normally employs a predetermined mally light in character. But while the devised to be danced to voices. musical scheme of regular phrase ballett is primarily homophonic, the can­ lengths which takes precedence over the zonet is Kerman points out that Morley's defini­ poetry. The text is almost always of a tion notes both the general Continental light and frivolous character suitable for built up from brief phrases declaimed use of the term to denote any simple to .individual and characteristic little composition suited for dancing and also dancing and entertaininent. melodic ideas, often treated polyphoni­ At the other end of the formal spec­ the specific meaning associated with cally with facile stretto imitations. "fa-Ia" refrain pieces typified by trum is the serious madrigal. As in the This results in many text repeats, Italian model, the text is here the con­ many rests in the voice parts, more in­ Giovanni Gastoldi's already-famous trolling force. In Kerman's words, ner movement, and more complicated Balletti a 5. In discussing English harmonic structure.7 music, says Kerman, "we are justified in the madrigal calls for an extended, restricting the term to Gastoldi's quite "progressive" kind of musical form, These little melodic ideas are often specific idea of a ballett, because it was working forward like a motet from line related to the words, and in this respect, in this sense alone taken up by the

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Page 6 THE CHORAL JOURNAL Elizabethans."9 As we shall see, each with a title which indicates the the text, is uniformly homophonic, in­ Morley's reference to Gastoldi is not "humor" of the character supposedly volves no textual repetition, and has a irrelevant to consideration of his own singing and dancing the ballett, e.g., lively and absolutely regular dance Balletts. L'innamorato, Ii contento, La sirena. rhythm of alternating strong and weak (Many of these "characters" undoubted­ beats. Gastoldi's fa-Ia refrains continue The Content of Morley's "Balletts" ly derived from the commedia dell'arte the style of the verse sections. By con­ The pieces which comprise Morley's and the long tradition of mummery.) trast, Morley is clearly not interested in Balletts were the first of their type to be These fifteen balletts are followed by a varied poetic meter - he has selected composed in England. They provide an three-piece Mascherata a Cacciatori the most regular of Gastoldi's poems ­ unusually clear illustration of the Italian (sung by six singers dressed as and is not content with the sparse and origin of the new English style, for they warriors), a canzonetta, and a concluding simple musical style of Gastoldi, but are directly based, both as a collection Concerto de Pastori which is a dialogue adds musical elaboration in a new and, in many cases, as individual pieces, for two four-part choruses.13 English ballett style of his own. on Gastoldi's Balletti a 5 of 1591. Morley's Balletts is clearly modelled The verse sections of Morley's Gastoldi's Balletti had achieved an in­ as a collection on Gastoldi's Balletti. Gastoldi-style balletts are written in stant and overwhelming success. Alfred The English set has the same overall Gastoldi's simple, 'homophonic, and Einstein points out that the influence of dimensions as the Italian, containing fif­ metrically regular manner, and employ this collection both in Italy and in such teen balletts, five non-balletts, and a rhythms and sometimes even melodies foreign countries as Germany and concluding dialogue for double chorus identical to those of the parallel Gastoldi England was the greatest of any light which Kerman cites as the only one of its pieces. Morley does substitute a few music of the time. IO The important char­ sort composed in England. Morley does slightly more varied rhythms, e.g. acteristics of Gastoldi's pieces are those not provide an introduttione or already cited in the definition of the mascherata,' his five non-balletts include JJ f J J ballett: homophony, diatonicism, one madrigal and four canzonets, not J. J/ J regular accent pattern (a rarity in labelled as such, but clearly distinguish­ for Gastoldi's unvaryingly even quarter sixteenth-century art music), regular ed by their compositional style (for in­ notes. The Englishman's new musical phrase lengths (mostly two- or four-bar stance, they have no fa-Ia refrains) and style appears in the fa-Ia refrains. "The phrases), a bipartite division in which differentiated from the two-or-three main interest of Morley's balletts, in each section ends with a fa-Ia refrain and strophe balletts by being settings of on­ contrast to Gastoldi's," says Kerman, together with its refrain is repeated. ly a single strophe.I4 "is in the 'fa las'; they are almost always Most of the pieces in the Balletti begin The music of Morley's fifteen balletts a signal for some virtuoso counterpoint with an anacrusis accompanied by suf­ in part closely follows Gastoldi's style ," with many rapid figurations that ficient rests before the first note to fill and introduces it to England, andin part recall the English instrumental style."16 up a complete measure, something displays important differences which Morley's refrains are longer than which is completely unknown in the reflect the English interest in the music Gastoldi's, and several of them are madrigal, and is undoubtedly connected rather than the poetry of such pieces. As with the fact that the balletti are meant Kerman has pointed out, Morley's for dancing. 11 (The title page is inscribed balletts fall into two groups. Eight of "Balletti per sonare, cantare e ballare.") them are directly based on the poems Einstein cites the Balletti as in fact, if and in many ways on the music of eight not in name, the first madrigal comedy. of Gastoldi's balletti: these correspon­ dences can be seen in Table 1. The re­ To understand Gastoldi's work one maining seven derive textually from the must suppose that a merry company has come together to sing, to play, and poems of Italian canzonets by Marenzio, Additional savings on Vecchi, Croce, and other Italian com­ to dance, and that the revelry has summer stock orders begun to take on the character of a posers; and musically five of these seven comedy, in that the participants depart considerably from Gastoldi's endeavor to represent in imagination musical style. These Kerman labels as I5 every conceivable character.12 balletts in canzonet style. CAllTOll FREE The interest and variety of Gastoldi's The first piece in the set, a sort of "In­ pieces lie in the subtle metrical variety 1-800-858-3000 vitation to the Dance" (Introducttione a of the poetry. His music is extremely i Balletti), is followed by fifteen balletts, simple: it follows exactly the meter of (in Pa. 1-800-372-7000)

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APRIL 1983 Page 7 varied by means of different mensura­ key signatures employed are uniformly tion and mensuration signs. Music of tion, the addition of a coda, or the cop.­ incomplete, being modified by frequent the late Renaissance was still temporal­ trasting of rapid movement with long manuscript accidentals. ly controlled by the tactus, the down­ notes. Two theories exist as to who was and-up motion of the conductor's hand Morley's balletts in canzonet style responsible for the translations of the to which the notes of each part were represent even greater musical elabora­ Italian texts (and possibly the addition rhythmically related according to the tion. Not only are their fa-Ia refrains in of some original verse) set by Morley in given mensuration sign. The tactus em­ his more elaborate new style, but their the Balletts. Edmund Fellowes, editor of ployed by Renaissance musicians fell verse sections are composed in the man­ the first modern edition of the collection, within a range describable in modern ner of a canzonet, with motivic imita­ believes that the text is attributable to terms as M.M.60-80 for the half-tactus tion, textual repetition, and rhythmic the English poet Michael Drayton. (i.e., M.M.30-40 for the full tactus)!1 variety rather than Gastoldi's plain Fellowes bases this conjecture on the lit­ Within that range the conductor (then homophony. They can still be classed as tle congratulatory verse for Morley at and now) must choose the appropriate balletts rather than as canzonets by vir­ the beginning of the original print which tempo considering such factors as the tue of their bipartite structure and fa-Ia is signed with the initials M.D. 18 John content and mood of the text; the har­ refrains. This canzonet style can also be Uhler, an American Morley scholar, monic, rhythmic, contrapuntal, or tex­ seen in the music of the non-ballett argues that Morley himself was respon­ tural complexity of the music; the char­ pieces in the collection. sible for both the translations and addi­ acter of the mode of the piece (some Each of Morley's fifteen balletts has tions.19 Whoever was responsible, the modes were regarded as excited, others two strophes with the exception of No. translations have a charmingly English as calm); the occasion for which the piece 3, the famous "Now Is the Month of character. is being performed; and the size and the Maying," which has three.17 (As noted acoustical characteristics of the hall. earlier, the remaining six pieces in the It is engaging to find that Gastoldi's The conductor must know what note collection have only one strophe each.) "La dolce sirena" has turned into values and mensuration signs were em­ Morley's smiling "bonny lass." May is Harmonic analysis of the pieces in the the English springtime and the most ployed in the original notation of a Balletts will reveal thatin their composi­ appropriate time for dancing and sing­ Renaissance work in order to intelligent­ tion Morley was not thinking in terms of ing. Italy knows none ofit. Daffadillies ly apply this knowledge and choose a functional tonal harmony, but was replace roses, and those faithful tempo. This process is made easier in the following a modal harmonic procedure Italian nymphs and shepherds foot it case of Morley's Balletts by the fact that as discussed in his Plain andEasy I ntro­ around a very English maypole.'· the major modern edition of the collec­ duction to Practical Music. English tion by Fellowes faithfully reproduces treatises of the time speak of pieces as Performance Practice Considerations (with one exception discussed in foot­ being "on a key," a way of speaking Information provided by musical note 22) the original mensuration signs which is appropriate to harmonic modal scholarship concerning the sort of per­ (though it often misinterprets them, as procedure and which is usefully distinct formance of the Balletts which would we shall· see when considering propor­ from the phrase "in a key" appropriate likely have been given in Morley's own tions) and transcribes the original note to fully tonal music. In this sense twen­ time can provide indispensable guidance values without reduction (i.e., semi­ ty of the twenty-one pieces in the for the conductor who approaches this breves are transcribed as whole notes, Balletts can be said to be on F, G, or A, music. The following suggestions con­ etc.). It is therefore usable to a degree in the Ionian mode, the Aeolian mode, or cerning performance practices are of­ uncommon among modern editions of a conflation of the Dorian and Aeolian fered for that purpose. Renaissance music. modes. The only piece not on one of 1. TEMPO. The range of acceptable All but one of the pieces in Morley's these three keys is No.9, "What Saith tempi for performances of Morley's Balletts are basically governed by the My Dainty Darling," which is on C. The balletts is indicated by the original nota- mensuration sign C indicating tactus alla semibreve, and the correct basic tempo for their performance therefore lies somewhere in the range d = M.M. 60-80 (where transcribed without reduction, as in the Fellowes edition). CALWNCHORALSCHOOL Their lighthearted texts and relatively Calvin College uncomplicated compositional character­ istics suggest a choice toward the upper Grand Rapids, Michigan part of that range. The exception is No. July 10-15 6, "No, no, Nigella," the mensuration of which is C3, tactus alla semibreve in ses­ quialtera proportion. Since here three Faculty: Kenneth Jennings - Conducting and Interpretation for semibreves are equal to each two tactus Carolyn Jennings high school and college conductors (rather than the normal one-to-one cor­ Judith Bond - Church Music respondence of tactus and semibreve Sigrid Johnson - Elementary and Middle school under the simple sign C), the correct - Applied Voice a~proximately *credit available tempo is o. (d dd) = - Repertoire Reading for all areas M.M.30-40.

For a brochure and more information, contact: Merle Mustert Music Department Rare Liturgical Books: Liber Usualis, An­ Calvin College tiphonale Romanum, etc. St. Gregory Hym­ Grand Rapids, Mich. 49506 nals. Also, a small selection of organ (616) 957-6428 music. Send stamped envelope for list. Octavia Press 4924 Black Road Monclova, Ohio 43542

PageS THE CHORAL JOURNAL 2. PROPORTIONS. Gastoldi's Bal­ knowledge among choral musicians that but it seems likely that when more letti contains only one instance of the Renaissance notation did not include bar singers were present and available vocal use of mensural proportion, but Morley lines, that the singer(s) of each part had doubling may have occurred. At any (in keeping with his general tendency to only his (their) own part and sang it ac­ rate, choral performance of Morley's musical elaboration) employs ses­ cording to its own natural accent pat­ Balletts accords well enough with the quialtera proportion in eight of the tern, and that notes following the general Renaissance practice of using pieces in his Balletts. 23 This is the point editorial bar lines in modern editions of whatever combination of forces was on which most modern editions and per­ Renaissance music should not automati­ available on a given occasion, provided formances go astray. The chief and cally be accented. While the regular that the number of singers on each part perhaps only major defect of the rhythmic patterns which are generally a is kept fairly small. Variety and interest Fellowes edition is its misleading and in­ feature of the ballett proper obviate this can be added by having sections or even accurate indications as to how to relate problem to some degree, care should still whole balletts sung by soloists from the the integer valor and proportional sec­ be taken to avoid regular accentuation choir as a contrast to the choral sound. tions of the pieces involved. Conductors based on the bar line in the seven The vocal sound which Morley had should studiously ignore Fellowes's indi­ balletts in canzonet style and the non­ primarily in mind was very likely an all­ cations of notational equivalency at ballett pieces in Morley's collection male one. The choirs of Morley's day points where proportions exist, and in­ where rhythmic irregularity and were comprised exclusively of men and terpret the relationships for themselves. rhythmic counterpoint are important boys. Morley was a Gentleman of the This is made relatively easy by features. Chapel Royal and Organist of St. Paul's Fellowes's inclusion of the correct 5. EDITIONS. As discussed above, Cathedral (and hence one of London's original mensuration signs. the Fellowes edition is generally reliable and therefore England's leading musi­ The practical problem of if the conductor will do his own work cians) when he composed the Balletts. rhythmic/tempo relationships in the per­ concerning the proportions. It also pro­ Both the men and (perhaps more surpris­ forming of sesquialtera proportion can vides a piano reduction for rehearsal ingly to us) the boys of the Chapel be solved as follows. In integer valor sec­ purposes.25 An experiment which might Royal, St. Paul's, and other leading Lon­ tions the tactus will normally be pro­ prove worthwhile would be the use of don choirs played an active part in the ceeding like this ({t and '1' together, copies (easily made from the microfilm) secular musical life of the capital, sing­ representing the downward and upward of the original part-books. The relative ing at social gatherings ranging from motion of the hand, equal one tactus): simplicity of the music and the easily­ Court banquets to dinners of the city's seen equivalence of the smaller mensural merchant guilds. 26 Itis highly likely that ~ note values with our modern ones (b = the Balletts may have been first and 1\j d jJ)J d, • = J, etc.) should make this practi­ most prominently performed on such oc­ Under sesquialtera proportion (the rela­ cal, and the procedure would surely pay casions by men and boys of the choirs tionship of three to two) the situation dividends in terms of part independence. with which Morley was associated. will be like this: 6. VOCAL FORCES AND VOCAL Some performances in the composer's SOUND. The Balletts are clearly design­ time may also have combined women's ed for entertainment at Elizabethan and men's voices. The social value which ~ ~: f 24 d j;. social gatherings. Morley's collection Elizabethan and Jacobean society plac­ The key to the establishment of the cor­ was undoubtedly performed frequently ed on skilled amateur music-making by rect rhythmic relationship lies in mental­ with only one voice per part on such oc­ both sexes, the relatively wide distribu­ ly subdividing the two strokes of the tac­ casions, the value placed on skilled tion of the Balletts suggested by their tus. At the end of the integer valor sec­ musical performance by amateurs as printing, and the relatively small num­ tion the conductor should mentally well as professionals being what it was, ber of highly trained choral establish- count as follows: ~ d j j ,tJ '1.(" liD 'fE' ...... " '-' '-' A simple-shift to asterclasses in Choral Singing, J d J J J J MConducting, Accompaniment and Perfonnance in concerts. Conducted I a "3'# '" I~ 'If r, '" '-' '-' v ...... '-' ING byJohn Poole, director of the B.B.C while keeping the six-count steady will Singers. produce an exact sesquialtera propor­ T HIS At Dominican College ofSan Rafael in tion. To pass from C3 or 3 (which were beautifulMarin County, California, just . ~I equivalent signs in Morley's time) to C, SUMMER 15 miles north ofSan Francisco. Festi- j. .;,.i. 'ft thi,s procedure can simply be reversed. val sponsored by the San Francisco Civic Chorale and the The triple sections will obviously move Winifred Baker Chorale. one-third faster than the duple ones. 3. OBLIGATORY REPEATS. In John Poole, England's dynamic young choral conductor, each of the fifteen balletts the repeat of has broughtthe B.B.C Singers toprominence as Europe's each half of the bipartite structure is JOHN most prestigious Chamber Choir. With perfonnances written out musically for each verse in throughout Europe, he is ingreat demand. Festival music the original part books and, therefore, POOLE to be studied includes works ofBach, Haydn, Kodaly, and would never have been omitted in English music ofthe 17th and 20th centuries. Elizabethan performances. While these CHORAL Write orcall todayforfullparticulars: repeats can be varied by a changed FESTIVAL Winifred Baker Chorale number of singers, instrumental doub­ 16Highland Avenue San Rafael, C4 94901 ling, or ornamentation, they should not (415) 453-6501 be omitted in modern performances. June 10-24, 1983 Two units ofcollege credit are available from Dominican College 4. INDEPENDENCE FROM BAR for participation in this festival. LINES. By now it is fairly common APRIL 1983 Page9 N 0 R T H W E s T E R N School of M u s I C

Summer, the lake ... and music "

Special Choral Workshops GaryFry, Jazz and Pop Vocal Seminar, July 11-July 15 RobertHarris, Studies in Choral Conducting, July 18 - July 22' Alice Parker, Writing Music for Singing, July 25 - July 29

Master Classes in ~ice Hermanus Baer, July 18 - July 21 Ryan Edwards, JuIy 25 - July 29

Credit Courses RichardEnright, Organ and Choral Repertoire for the Parish Bennett Reimer, Philosophical Bases of Music Education Frank Tirro, Jazz as Aesthetic Education DanielRussell, Teaching Performance Groups Richard Green, History of Music: 20th Century DavidBuch, History of Music: Classic Period John Buccheri, Score Analysis Skills Stephen Syverud, Electronic Music Studio I GaryKendall, Schenkerian Analysis Robert Gay, Techniques for the Singing Actor Thomas Willis, Eros on Stage: From Tristan to Pelleas Private voice studywith the distinguished faculty of the School of Music. Robert Harris directs the summer chorus.

Registration for Summer Session is Monday, June 27. For additional information regarding registration and housing, write SummerSession, SchoolofMusic, Northwestern University, Evanston, Illinois 60201, or call 312/492-3141.

Page 10 THE CHORAL JOURNAL ments suggest the possibility that at boys' voice types, respectively. The mean, countertenor, or tenor to the basic least on some less grand or formal social mean, with a range of approximately c' Cantus, Altus, Tenor, Bassus texture. occasions women's voices may have re­ to e" or f", was the most common boys' The voice assigned to the Quintus part placed those of boys on the Cantus and, voice, and was the high voice called for is indicated by the clef used, within the where appropriate, the Quintus parts in in most vocal music of the period. The context of either the chiavette or chiavi singing of the Balletts. (The range of the treble, a rarer voice usually belonging to naturali combination of clefs. 31 The Altus parts and the common use of male fairly young boys, added a high, brilliant assignment of the Quintus part in the falsetto at the time both indicate that upper range reaching as high as b-flat". various pieces in the Balletts can also be women would have been very unlikely to It was used somewhat sparingly in seen in Table III. have replaced men on the Altus part.) English Renaissance music, perhaps All this suggests several elements in a Elizabethan-Jacobean music em­ both because the voice itself was rather tonal ideal for modern performances of ployed three types of men's voices, rare and because it was held in reserve the Balletts. Overall, what is desirable is namely bass, tenor, and countertenor, for pieces and occasions calling for a clear, bright,light vocal sound without and two types of boys voices, namely special brilliance and verve.28 excessive vibrato or vocal weight. mean and treble. The characteristic It is likely that Morley intended Especially when choral performance is sound of these voice types and the trebles to sing the Cantus parts in Nos. involved, one essential avenue to this ranges of parts written for them by 7-12 and 18-20 in the Balletts, and in­ sort of sound will undoubtedly be a Renaissance composers provide clues to tended means to sing Cantus in Nos. 1-6, degree of restraint in the matter of a vocal sound ideal for modern conduc­ 13-17, and 21. In the Plain and Easy In­ dynamics: a dynamic range in which tors who approach Morley's Balletts. troduction Morley specifically asso­ mezzo-forte or mezzo-piano singing is (The range given by David Wulstan as ciates trebles with pieces scored in the the norm and forte is a maximum level employed for each voice type in English combination of clefs now known as reserved for sparing use seems in­ Renaissance music is given in Table 11.) chiavette (which he calls the "high dicated. (This need not imply the color­ The range of the parts, the clefs used, key"), and means with the combination less absence of dynamic variety or ex­ and the common practice of the time in­ known as chiavi naturali (which he calls pressive vitality which unfortunately dicate that Morley intended the Bassus, the "low key").29 Nos. 7-12 and 18-20 in characterizes many choral performances Tenor, and Altus parts in the Balletts the Balletts are scored in chiavette, of Renaissance music.) Tenors should for the lowest (bass), middle (tenor), and while the other pieces are scored in sing with lyric rather than dramatic highest (countertenor) adult male voice chiavi naturali. The range of the Cantus tenor sound. An authentic sound and the types, respectively. In the case of the part in the two groups of pieces thus originally-intended balance of the parts Tenor and Altus parts in particular this created would also indicate use of will perhaps be most ideally served by implies a sound different in important trebles ill the former and means in the the use of male falsettists on Altus parts respects from the sound the modern con­ latter group; the Cantus part goes to g" when they are available. (The rising ductor instinctively pictures when he or a" in all but one of the pieces scored in popularity of male falsetto sound in sees the label "tenor" or "alto." In chiavette, but only to e" or f" in those popular music suggests that the poten­ Renaissance England the tenor was the scored in chiavi naturali. 30 This corres­ tial availability of such male voices in most common and hence least prized ponds with Wulstan's ranges for the two many high schools and colleges could be adult male voice, and tenor parts avoid­ voice types (see Table II). The clefs greater than many choral conductors im­ ed both extremes of the possible adult assigned and the range actually called agine.) If, as will often be necessary, male range and were regarded as for in the various voice parts in the female altos are used, a bright sound suitable for rather middling or "indif­ Balletts can be seen in Table III. free of noticeable or excessive vibrato is ferent" voices. 27 (It is notable that Morley uses the Quintus part in the desirable. The conductor should also Elizabethan-Jacobean verse anthems Balletts to add a second part for treble, consider reinforcement of "this part by contain far fewer solo parts for tenors than for the other adult male voices.) The countertenor was perhaps the most highly prized voice in Renaissance England. Countertenors sang primarily in male falsetto, adding chest voice for the lower notes of the wide range called for in alto parts of the period. The sound of men's voices singing at the top of the adult male compass in falsetto obviously differs considerably from that of women's voices singing at the bottom of the female compass in chest voice (the sound picture called to mind for most modern conductors by the word "alto"), not only in vocal color and vibrato butin power. Cantus parts in Elizabethan Renaissance music were sung by either means or trebles, the lower and higher

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APRIL 1983 Page 11 some additional singers to compensate was a feature of some Renaissance per­ small high school or college choirs, lies in for the less penetrating sound of female formances, and the conductor who ap­ the wide ranges of Morley's Altus and voices in this range as compared with proaches the Balletts may wish to consi­ Tenor parts (including the Quintus parts countertenor sound. Nearly all modern der this. It seems relevant in this con­ assigned by clef as Altus or Tenor). The conductors will need to use female nection that Gastoldi's Balletti, the Altus parts in the collection have a voices on the parts originally meant for model for Morley's work, was inscribed range from d to d", the lower end of means and trebles, and here, too, a as per sonare as well as per cantare e which poses obvious problems for bright sound free of noticeable or ex­ ballare. Any attempt at producing an ap­ female altos (as does the upper end in a cessive vibrato is indicated. Parts proximation of 'an authentic Renais­ possible substitution by tenors). The originally intended for· means can be sance sound, however, would be Tenor parts employ a basic range of c to sung by sopranos, mezzo-sopranos, destroyed by the use of modern instru­ g', and in three pieces rise to a' and and/or even altos, provided that they ments, and Renaissance instruments b-flat', and the upper end of;this range can easily reach f". Parts originally in­ and skillful players of them may not be can be difficult or even impossible for tended for trebles call for a brilliant high available. A cappella performance is also young high school and college tenors. soprano sound.32 within the proper style. Table IV lists suggested voicings and 7. INSTRUMENTAL DOUBLING. 8. DANCING. The pieces in minor adjustments designed to facilitate It is now commonly acknowledged that Gastoldi's Balletti were clearly intended performance of the Balletts by high instrumental doubling of vocal parts to be danced, as both their musical school or college vocal chamber groups nature and the inscription on the title composed of female sopranos and altos page of the collection make explicit. Ker­ and male tenors and basses. The employ­ man's argument that the music of ment of transposition by either a half or Morley's Balletts was not so intended whole step and/or of the exchange of cer­ seems persuasive on two counts. First, tain portions of some Altus and Tenor THE PRESBYTERIAN Kerman points out that Morley's way of parts, where needed, will bring all but ASSOCIATION OF referring to the dance-related character two of the pieces in the collection within of Gastoldi's work in the Plain and Easy vocal ranges which should be possible MUSICIANS* Introduction suggests that it was not for most such ensembles. The absence of customary to dance balletts in England, a universal pitch standard in the ~(OrganiZed 1970) where they were an alternate kind of Renaissance - although the pitch of purely musical entertainment. Kerman English Renaissance secular vocal Provides a concludes that "the ballett was ap­ music was the closest to our own of the REFERRAL SERVICE parently not danced in England, but pitch standards of the time, one cannot served (with the madrigal and the can­ assume a scientific exactitude or unifor­ for churches needing zonet) as music to be sung and listened mity of practice even here seems to to; an idealized dance, like the allemande justify this small degree of latitude musicians and for church and the minuet of later centuries."33 regarding transposition in modern prac­ musicians, who are members Secondly, this view is supported by the tice. The part exchanges required seem, of PAM, desiring the music itself, for Morley's musical ela­ like the use of female altos rather than Referral Service. borations (elaborate fa-Ia refrains, countertenors, also justifiable, since this phrases of irregular length, canzonet­ technique will put virtually this whole Write: Joseph Schreiber, style verses, and so on) tend to obscure collection of important music within the 3100 Highland Avenue the basic dance structure visible in reach of the great majority of modern Gastoldi's simple balletti. This would vocal chamber ensembles for the first Birmingham, AL 35256 make dancing to Morley's balletts a time. more difficult matter. Any attempt at Morley's Balletts does not have even Additional Services of PAM: dancing the Balletts should certainly be the loose, madrigal-comedy-related limited to the eight balletts modelled on coherence as a single entity which is -Certification Program Gastoldi. found in Gastoldi's Balletti, but the -Co-Sponsor, Reformed pieces in the Balletts can certainly stand Suggestions for Performance alone in performance. A conductor Liturgy & Music One main obstacle to performance of wishing to perform groups of several -Continuing Education in many pieces in the Balletts by modern pieces from the collection can also find summer conferences (spon­ vocal chamber ensembles, particularly several possible bases for selecting such sor, Montreat Worship & ~ Music Conference) BROUDE BRmHERS LIMITED 170 Varick Street /New York, NY 10013 ~~A -Regional Network System providing regional workshops Music for the Holidays in worship and music Joaquin Nin-Culmell: La Virgen lava panales. SATB, tamb. Sp-Eng. 0.65 nationally Gerald Cockshotl: Angels Sang That Christmas Morn. SATB. Eng. 0.50 Gerald Cockshott: Carols from Three Nations. SATB. Fr-Dut-Eng. 0.85 *PAM National Office Herbert Haufrecht: Reflections on the New Year (from Benjamin 1000 E. Morehead St. Franklin's Poor Richard's Almanack). SATB. Eng. 0.75 Charlotte, N.C. 28204 William Billings: An Anthem for Thanksgiving. SATB. Eng. 0.85 Seth Calvisius: Joseph, lieber Joseph mein. SATB. Ger-Eng. 0.85 Guillaume Costeley: Allons, gai gai. SATB. Fr-Eng. 0.60 Jan Meyerowitz: Silesian Lullaby. SATB. Eng. 0.45 Complimentary reference copies will be sent upon request.

Page 12 THE CHORAL JOURNAL groups in the nature of the Balletts as a TABLE I collection. One might consider such Morley Balletts Directly Modelled On Gastoldi Balletti possibilities as performing the fifteen Morley balletts, the six Morley non­ Morley's Balletts, 1595 Gastoldi's Balletti, 1591 (first lines) ballett pieces, the eight balletts modell­ 1. Dainty Fine Sweet Nymph 5. Speme amorosa (Vezzosette ninfe) ed on Gastoldi, or the five balletts in 2. Shoot, False Love, I Care Not 3. II bell'humore (Viver lieto voglio) canzonet style.34 Interesting perfor­ 4. Sing We and Chant It 2. L'innamorato (A lieta vita) mance groupings might also come from 6. No, No, Nigella 15. II Martellato (Possa morir chi t'ama) a mixed selection from all these types, or 7. My Bonnie Lass, She Smileth 12. La Sirena (Questa dolce sirena) the grouping of pieces whose poems con­ 9. What Saith My Dainty Darling 4. II contento (Piacer gioia) nect with each other in some narrative 10. Thus Saith My Galatea 8. II piacer (AI piacer alla gioia) way. A particularly attractive idea 13. You That Wont To My Pipes' Sound 7. Gloria d'Amore (Vaghe ninfe) would be the performance of some or all of the balletts after Gastoldi together TABLE II with the Gastoldi balletti on which they English Renaissance Ranges Of Vocal Parts (Wulstan)35 were modelled. One might even have part of one's choir do the appropriate Renaissance dance with a Gastoldi balletto, followed by the singing of the corresponding ballett by Morley. Conductors considering performance • of music from the Balletts who wish to . ~ know approximate performance times Treble Mean Altus Tenor Bassus for given pieces can use Table V, which shows the length of each piece in tactus, TABLE III to calculate the approximate perfor­ Original Clefs And Ranges Of Parts In Morley's Balletts mance time needed for a given piece at a chosen tempo, and to compare the pieces in the collection in terms of length. l. Dainty Fine Sweet Nymph 2. Shoot, False Love, I Care Not Morley's Balletts seems extremely well suited to the musical needs of high Cantus Cantus school and college vocal chamber (mean) (mean) groups. The pieces in the Balletts will IF ~ ~ ~ provide a degree of challenge to the abilities of the singers without present­ Quintus Quintus ing a degree of difficulty which would (mean) ~ (mean) ~ make mastery of them hard to reach. In IF JF= -- this regard they possess such advan­ Altus A],tus tages as fairly regular rhythm, a large E ~ amount of homophony, and repetition of ~ ~ material. They were also intended by .". their composer to be sung in English. Tenor J== Tenor These pieces have a popular, lively, and l= ~ entertaining character which is easily ~ communicated to audiences. Their ap­ Bassus • peal for audiences and for modern choral Bassus ;IE: fJ: " ~ 9 singers is usually more immediate than ;We that of the Italian madrigal proper, due :Jt:" to the fact that their main focus is musical rather than literary. It can be difficult to communicate to choirs and SAINT MICHAEL'S COLLEGE audiences the poetic sophistication which is the central point of the July 18 to August 5, 1983 madrigal, since they are often quite un­ ELEMENTARY SCHOOL MUSIC familiar with madrigalian poetry and its according to the Ward Method allied music. By contrast, the simple, (full tuition scholarships available) easily graspable underlying form and and the dominance of music over poetry characteristic of the ballett make the AN INTRODUCTION TO GREGORIAN CHANT pieces of Morley's collection easily com­ (full tuition scholarships available) municable. Conductors who study and perform the Balletts will find - also­ themselves and their choirs richly July 4-6, 1983 rewarded. SIXTH ANNUAL CHURCH MUSIC WORKSHOP

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APRIL 1983 Page 13 3. No\v Is The Honth Of Maying 4. Sing We And Chant It 5. Singing Alone

Cantus Cantus Cantus (mean) ~ ~ (mean) ~ ~ (mean) ~ ~ Quintus ~ Quintus Quintus (mean) (altus) 1E (tenor) ~ IF ~ ~ -- Altus ~ Altus E ~ Altus E ~ *= 71" Tenor l= ~ Tenor E ~ Tenor 1= ~ II ...... Bassus ~ fr Bassus ~ r- Bassus ~ Q: II " II

6. No, No, Nigella 7. My Bonny Lass, She Smileth 8. I Saw My Lovely Phyllis Cantus Cantus Cantus (treble) (treble) (mean) F ~ ~ ~ ~ ~ Quintus Quintus -- Quintus (tenor) (tenor) (mean) 1= i= 1F ~ ~ ~ Altus Altus Altus 1= ~ l= ~ if;= ~ 7 Tenor -- Tenor E Tenor f= ~ l= ~ ~ , ., , Bassus Q; Ba-ssus Bassus ;1E: ~ ~ fl: 5 II " •

AMERICAN CHORAL DIRECTORS ~c;. ASSOCIATION ANNOUNCES DISSERTATION PRIZE WINNER <5 NASHVILLE-Grame Cowen, Director of ~~ Music 355, 356 Choral Activities of the University of Nor­ ~V~ 2 credits, Graduate thern Iowa, was awarded the prize for the O or Undergraduate outstanding doctoral dissertation in 1981 in C ,~ Level I June 20-24, '83 the field of choral music. The award, which ~O O~ Level II June 27-July I, '83 carried with it a cash prize of $250, was ..-.~ ~ Temple University Center City presented to Dr. Cowen at the biennial con­ ....\J vention of the American Choral Directors ~V':~f"'" Gail B. Poch presents a Summer Association on March 10 in Nashville, Ten­ If"'" ~ workshop based on his highly ac- nessee. O~~ claimed sessions at the 1982 ACDA The award-winning study, entitled "Igor ~ Eastem Division and Pennsylvania Music Edu- Stravinski's Threni: A Conductor's Study for ': 11..\ ~~ cators Conventions. Part of the tradition of choral Performance," was completed at the Indiana ~ excellence in Temple's Master of Music Choral University School of Music under the super­ ~~ vision of the late Julius Herford. 0 Conducting Program. Dr. Cowen is the first recipient of this ~~ ~ For complete registration information, contact: award, which will be conferred annually to f"'" Alan Harler, Director of Choral Activities the graduating doctoral student whose thesis Temple University College of Music makes an original contribution to the perfor­ Philadelphia, Pennsylvania 19122 mance and study of the choral art. Tel.: (215) 787-8304 The Association's Dissertation Prize Com­ mittee is now accepting nominations for the COLLEGE OF MUSIC TEMPLE UNNERSllY 1982 award. Nominations must be submitted Helen Laird, Dean A Commonwealth University through the chief music executive of the in­ stitution. All nominations are to be sent to Ray Robinson, Westminster Choir College, Princeton, New Jersey 08540.

Page 14 THE CHORAL JOURNAL 9. \~lat Saith My Dainty Darling 12. My Lovely Wanton Jewel 13. You That Wont To My Pipes' Sound

Cantu, ~ Cantus Cantus (treble) , ~ (treble) ~ ~ (mean) 1F ~ Quintus ~ Quintus Qt!intus (treble) ~ (tenor) l=: (mean) /' ~ F ~ Altus Altus t= ~ E ~ Altus 1E ~ -- Tenor *= ~ Tenor i= ~ Tenor 1E ~ 4- 4- ..- Bassus Bassus Bassus ;tE iJ ~ ,9; ~ 09: til 10. Thus Saith My Galatea • •

Cantus (treble) ~ ~

Quintus (tenor) E ~

Altus iF ~ -- Tenor E ~ A Premiere Performance Bassus E :): 11. About the Maypole New • The Dreadful Dining Car A melodrama in one act and four scenes Cantus (treble) ~ ~ Libretto and Music by Quintus (tenor) i= ~ Daniel Pinkham Altus iF ~ Commissioned for the Centennial Celebration -- at the University of North Dakota Tenor E ~ 1. Performed by the Bassus ~ 9; , University of North Dakota Piano Tuning Course June 27·August 12, 1983 Concert Choir Summer School Terry Eder, Conductor Chautauqua, NY 14722 Concentrated 7 week hands-on ex­ perience tuning, regulating and repairing pianos. For information Sunday, May 1, 1983, 4:00 p.m. contact: Arthur Briggs, Director Chester Fritz Auditorium 1013 Fairmount Ave., W.E. University of North Dakota Jamestown, NY 14701 716-489-3496 Grand Forks, North Dakota

APRIL 1983 Page 15 15. Those Dainty Daffadillies 16. Lady, Those Cherries Plenty

Cantus Cantus (mean) (mean) F ~ iF ~ Quintus -- Quintus -- (altus) E ~ (altus) t= ~ Altus E F Altus E ~ Tenor t= ~ Tenor != ~ Bassus II ~ J} Bass1Js ~ fJ: i • NEWS bRiEfs ••• 17. I Love, Alas, I Love Thee 18. Lo, She Flies

Southern Division Cantus Cantn' ~. President-Elect (mean) iF ~ (treble) ~ Elaine McNamara is currently presi­ Quintus Quintn. ~ dent of Florida ACDA, the largest state (altus) (treble) unit in the southern division. She began E ~ ~ her professional involvement as a mem­ T ber of the music committee of the Altus Altus FloridaVoeal Association, subsequently i= serving that organization as district ~ E ~ chairman and for nine years as executive secretary. During this same period of Tenor Tenor time, Mrs. McNamara has served her 1= E county choral group as chairman three ~ ~ times and has been president of , .. Broward Music Educators Association, Bassus ~ Bassus 3=- representing all music teachers in her fJ: ~ (I county. • Beginning her teaching career as a junior high school teacher in Orlando, she moved to the junior/senior high level after receiving a master's degree, and is JU~. ~ in the nineteenth year as choral director 1:5' T PUBLISHED at Plantation High School. At Planta­ ~~4-.e.~ ~h~ tion she has twice been selected teacher J of the year and was faculty chairman of A CHORAL LEGACY / STUDIES, REFLECTIONS) TRIBUTES the lO-year accreditation study. She also teaches choral methods at Florida Edited by Alfred Mann The chapters of this volume were reprint­ Atlantic University. ed from two special issues of the Ameri­ Mrs. McNamara holds both Bachelor can Choral Review. One of these, plan­ and Master's degrees in music education ned as an offering on the occasion of the from Florida State University. In addi­ composer's seventy-fifth birthday, con­ tion to her teaching duties she has, for tained articles by colleagues and friends nineteen years, been assistant organist, The other, issued five years later, was a selection of his own essays from the pre­ assistant choir director and soprano ceding twenty years which were newly soloist at First Methodist Church in Ft. cast in the form of readings with retro­ Lauderdale. She was a participant in the spective commentary. Together with a first ACDA Choral Symposium in Vien­ complete list of the choral works of na, Austria, and has benefited by par­ Randall Thompson, compiled by Elliot ticipation in workshops with such con­ Forbes, the volume is a rich source for ductors as Robert Shaw, Paul studies of his music and for the writing Salamunovich, Howard Swan, Roger of program notes. Wagner, Robert Page, Charles Hirt, Frank Pooler and many others. Mrs. No. 694/ Paperback $10 E. C. Schirmer Music Company Available at leading music stores 112 South Street McNamara's choral groups earn consis­ or from the publisher. Boston, Massachusetts 02111 tent superior ratings and she is sought as an adjudicator. Page16 THE CHORAL JOURNAL TABLE IV Suggested Voicings and Part Adjustments For High School and College Choirs

Voicings suggested are for Morley's Cantus, Quintus, Altus, Tenor, and Bassus parts, in that order; e.g., SSATB suggests sopranos on Cantus, sopranos on Quintus, altos on Altus, tenors on Tenor, basses on Bassus. (N.B.: the Fellowes edition does not always present the parts in Morley's order, although it does provide his part names in small print.) The adjustments sug­ gested will bring the parts, with minor exceptions, within the following ranges: soprano c'-a"; alto g-e"; tenor c-f#'; bass F#-d'. (Conductors should note that Cantus and Quintus parts originally for means - see Table III - can usually be sung, ifdesired, by middle-range female voices, often referred to as second sopranos or mezzo sopranos.) No. Title Suggested Suggested Minor Adjustments

1. Dainty Fine Sweet Nymph SSATB Exchange Altus and Tenor notes for the last two .- of the fourth bar from the end.

2. Shoot, False Love, I Care Not SSATB Transpose up Ii whole step. The Altus f at "So lightly I esteem thee" can be taken up an octave.

3. Now Is the Month of Maying SAATB Transpose up a whole step, and exchange Quintus and Tenor parts for the last nine " of the piece.

4. Sing We and Chant It SSATB Can be transposed up a half or whole step if desired.

5. Singing Alone SAATB Can be transposed up a half or whole step if desired.

6. No, No, Nigella SSATB Can be transposed up a half or whole step if desired.

7. My Bonny Lass, She Smileth SAATB Have tenors sing Altus and altos Tenor for the first nine d of the A section fa-las, and for all of the B section.

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Page17 8. I Saw My Lovely Phyllis (S AAT B) (This voicing solves all the range JUST RELEASED! problems except for one Quintus HANK BEEBE'S new fUll-length alto note at f, one bass note at F, biblical musical and several tenor notes aeg'.) "GO OUT SINGING" 9. What Saith My Dainty Darling S SAT B Transpose down one half step. The humorous and moving story of the stumbling yet heroic 10. Thus Saith My Galatea SAATB Exchange Quintus and Tenor Simon Peter parts for the last..phrase ("thus featuring singing roles for Peter, saith my Galatea") of the intro­ Peter's wife, Paul, Nero, a tap­ duction, and for all of the fa-las. dancing beggar, and many others, with seventeen new 11. About the Maypole New ------(Cannot be brought within the songs, depicting the establishing ranges specified: requires two of the early church in the teeth of Tenor parts with a range of d-a'.) the brutality of the Roman Em­ 12. My Lovely Wanton Jewel (S AAT B) (Crossing the Quintus and Tenor pire. parts for the last 21 ~ solves all the range problems except one Also available: tenor phrase which rises for one ~ to a'.) "DAVE" The story of David and Goliath 13. You That Wont To My Pipes' SSATB No adjustment is needed. set in the American West (35 Sound min.) 14. Fire, Fire (S SATB) (Transposition up a half step "REHEARSE, JONAH!" solves all range problems except The story of Jonah and the Whale two ~ at f for the alto.) told as a play in rehearsal. (45 min.) 15. Those Dainty Daffadillies SAATB Transpose up a whole step.

Write: 16. Lady, Those Cherries Plenty ...... (Cannot be brought within the ranges specified: requires two HANK BEEBE Altus parts with a range of d-a'.) 308 Danforth Street 17. I Love, Alas, I Love Thee SAATB Can be transposed up a whole Portland, Maine 04102 step.

18. Lo, She Flies (S SATB) (This voicing solves all the range problems except for two tenor .J International Understanding at g'.) through Music and the Arts 19. Leave Alas This Tormenting SAATB Exchange the alto and tenor parts for the text "Live in love and languish" at the end.

20. Why Weeps Alas (S AAT B) (The Quintus and Tenor parts both have ranges of fog': try mix­ ing altos and tenors on both Musart International, Inc. parts). CONCERT TOURS ABROAD 21. Phyllis, I Fain Would Die Now SSAATTB No adjustments are needed. PROGRAMS PLANNED BY AN INTERNATIONAL STAFF TABLE V • Itinerary Design- Piece Lengths in Tactus • Land Arrangements- hotels, homestays, transportation, city tours, tour guides, concert Tactus lengths indicated are inclusive of all repeats and all verses. If the conductor will select a tempo as discussed in the section of performance practice, a simple calculation will indicate bookings and promotion, special services the approximate length of time needed for performance of a given piece. (E.g., at a tempo of d • Transatlantic transportation- = MM. 72, No.1, "Dainty Fine Sweet Nymph," which has a length of 106 tactus, will last for Years of experience assures you of reliable, approximately three minutes: one tactus = 0 = MM. 36, and at 36 tactus perminute, 106 tac­ professional service. We are interested in tus divided by 36 = 2.9+ minutes.) Final notes have been counted at a value of one tactus. people and our aim is to provide an enriching 1. 106 2. 120 3. 99 4. 46 5. 164 6. 136 cultural experience. 7. 86 8. 218 9. 98 10. 84 11. 190 12. 172 ARANCA RIHA, European office 13. 54 14. 180 15. 86 16. 69 17. 57 18. 72 EVA SZACIK BROWN, American office 19. 87 20. 60 21. 142 Clip and mail to:

Musart International, Inc. FOOTNOTES 'Joseph Kerman, The Elizabethan Madrigal: A BOX 71, DURHAM, NH 03824 Comparative Study (New York: American 'This collection, which contains most of Morley's Musicological Society, distributed by Galaxy, NAME _ ballett compositions, will be referred to throughout 1962), 131. this article as theBalletts. The Elizabethan spelling 'For further consideration of the stylistic char­ ADDRESS of the word ballett (with double "I" and double "t") acter of the English madrigal as contrasted with its will also be used throughout, since it is not only Italian model, see Gustave Reese, Music in the TELEPHONE _ historically appropriate but also serves to Renaissance, rev. ed. (New York: Norton, 1954), distinguish this type of sixteenth century secular 819-826; Roche, op. cit., 120-125; and Kerman's The D Please send more information music from the dance art known as ballet. Elizabethan Madrigal throughout. 'Jerome Roche, The Madrigal (London: Hutchin­ 'Kerman, op. cit. Kerman was also the first D Please call me son, 1972), 124. modem scholar to distinguish the native English

Page 18 THE CHORAL JOURNAL tradition of secular song composition, exemplified not reduce note values, and includes the entire col­ tt:oduction as to virtually rule out Morley's having in the works of Byrd and Orlando Gibbons, from the lection. intended such a transposition in these pieces. For Italian-inspired madrigal, canzonet, and ballett. "Peter LeHuray, Music and the Reformation in more on the performance practice implications of 6Ibid.,.'173. England, 1549-1660 (New York: Oxford University chiavette, see Raymond Sprague, Chiavette, Its Im­ 'Ibid., 145. Press, 1967), 219. plications, and the Choral Conductor: A Practical 'Thomas Morley, A Plain and Easy Introduction "Ibid., 120-121. Solution (Unpublished D.M.A. dissertation project, to Practical Music, ed. R. Alec Harman, foreward by "David Wulstan, "The Problem of Pitch in Six­ University of Colorado at Boulder, 1979), and Thurston Dart (New York: Norton, 1952, 1956),295. teenth Century English Vocal Music," Proceedings Siegfried Hermelink, "Chiavette," The New Groves 'Kerman, 136. of the Royal Musical Association, XCIII (1966-67), Dictionary ofMusic and Musicians, 20 vols., ed. by I°Alfred Einstein, The Italian Madriga~ 3 vols., 97-122, and LeHuray,loc. cit. Stanley Sadie (London: Macmillan, 1980), IV, trans. by Alexander H. Krappe, Roger H. Sessions, "Morley, op. cit., 274 ff. The two clef combina­ 221-223. and Oliver Strunk (Princeton, N.J.: Princeton tions are as follows: 3lMorley, 274-275. University Press, 1949), 602,606. The Lustgarten cantus Quintus !!E!! ~ l!!!!!!.!!. "Fine examples of the sort of female sound appro­

neuer teutscher Gesang, published in 1601 by Hans ~ priate for performance of Renaissance music can be Leo Hassler, is a similar German imitation of ~ ~ ~ It= ~ heard in the recordings of The Clerkes of Oxenford, Gastoldi's balletto style; it is interestingto compare directed by David Wulstan. the three collections. ~~ IE ~ ~ "Kerman, 145. llDenis Arnold, "Gastoldi and the English IF if1 "Nos. 1-15 in the collection are balletts (the eight Ballett," Monthly Musical Record LXXXVI (1956), "Although in much sixteenth-eentury vocal music modelled on Gastoldi are listed in Table I). Nos. 16, 45-46. the use of chiavette clefs frequently indicates trans­ 17, 18, and 20 are canzonets; No. 19 is a madrigal; 12Einstein, II, 605. position down a fourth or fifth, it seems likely that and No. 21 is the dialogue. The five balletts in can­ 13See Giovanni Giacomo Gastoldi, Bailetti a cin­ Morley did not intend his use of chiavette scoring in zonet style are Nos. 5, 8, 12, 14, and 15. que voci con li suoi versi per cantare, sonare, e the Balletts to signal such a transposition. The "Wulstan, lac. cit. range of the Bassus part in the Balletts pieces ballare, ed. H.C. Schmidt (New York, 1970). BIBLIOGRAPHY uKerman was the first to point this out: see Ker- scored in chiavette clefs is virtually identical to that man, 138 ff. in the pieces scored in chiavi natur(Ll~' the Bassus Arnold, Denis, "Gastoldi and the English Ballett," 16For information on the probable textual sources part extends downward to G, F#, or F in all the Monthly Musical Record LXXXVI (1956), 44-52. of the seven balletts not directly based on Gastoldi pieces in the ·collection. Arthur Mendel, Fellowes, The article gives an excellent, short discussion balletti, the dialogue, and the other five non-ballett LeHuray, Wulstan, and other scholars agree that of the origins and character of Gastoldi's Bailetti pieces in Morley's Balletts, see Kerman, 140. English secular vocal music of the late Renaissance a 5 and Morley's use of it as the model for his own 16Kerman, 142. and early Baroque was virtually unique at the time balletts. it also briefly considers the development 17Conductors using the Fellowes edition found in in that the pitch at which it was performed was ap­ of the English ballett after Morley, notably in the Vol. IV of his English Madrigal School (London: proximately our modern pitch, with a' being works of Weelkes and Tomkins. Stainer and Bell, 1921) should note that Fellowes roughly equivalent to 440 cps. (English sacred Brett, Philip. "Thomas Morley," in The New Groves unaccountably omits printing the second stanza music and most Continental vocal music of the time Dictionary of Music and Musicians, 20 vols., ed. with the music of No.9, "What Saith My Dainty was performed at pitch levels between a minor se­ Stauley Sadie (London: Macmillan, 1980), XII, Darling," although he does provide it with the cond and a major third higher than the notated 579-585. poems printed separately at the front of the volume. pitch would indicate to us.) Since, therefore, no up­ Cusick, Suzanne G. "Balletto (Part 2: Vocal)," in I'See Fellowes, IV, xxi, xv. ward transposition is called for in the Balletts to The New Groves Dictionary of Music and Musi­ I'See John Earle Uhler, Morley's Canzonets for compensate for a pitch standard different from our cians, 20 vols., ed. Stanley Sadie (London: Mac­ Three Voices (Barton Rouge, La.: Louisiana State modem one, transposition down a fourth or fifth millan, 19801, II, 92-94. University Press, 1957), 4-7. would take the parts so far below the ranges em: Einstein, Alfred. The Italian Mcidriga~ 3 vols., "Arnold,48. ployed in most Renaissance vocal music and specifi­ trans. Alexander H. Krappe, Roger H. Sessions, 2lFor further consideration of this subject the cally prescribed by Morley in thePlain andEasy In- and Oliver Strunk. Princeton, N.J.: Princeton reader is referred to Joannes Antonius Bank, Tac­ tus, Tempo and Notation in Mensural Music from the Thirteenth to the Seventeenth Century (Amster­ dam: Annie Bank, 1972), Newman W. Powell, "The Function of the Tactus in Renaissance Music," Musical Heritage of the Church VI (1963), 64-84, and Curt Sachs, Rhythm and Tempo (New York, 1953). "No. 10, "Thus Saith My Galatea," opens with a sort of prologue on the text of the title which is out­ side the strophic structure of the ballett proper, and this prologue is governed by sesqnialtera proportion (three semibreves in the time of two), indicated botIl by the mensural sign C3 and the use of minor color in the original print. The first strophe proper, however, beginning at the words "Love long hath been deluded," is in tactus alia semibreve, indicated by the sign C. Fellowes does not indicate the original minor color, and he interpolates an opening quarter rest: the original print should be consulted IN·CONCERT concerning this passage. "The eight are Nos. I, 6, 7, 8, 10, 11, 19, and 21. In Morris D. Hayes, Conductor Nos. I, 7, 8, and 10 Morley employs sesquialtera proportion for musical elaboration of one or both of the fa-la refrains. In No. 11 the reverse is true: the verses are in C3 and the fa-la refrains in C. No.6 is in On their first album, In Concert, the Singing Statesmen per­ C3 throughout the ballett proper, with ouly the form both classic and contemporary favorites. Selections short coda to the second strophe in C. (As cited feature works by Palestrina, Wagner, Bruckner, Schubert earlier, No. 10 opens with a C3 prologue.) Nos. 19 and Thompson, plus favorite folk and popular songs. and 21 are through-eomposed canzonets, and use the proportion for sectional contrast or textual Considered one of the most exciting and versatile choruses in highlighting. the Midwest, the Statesmen have toured extensively, and in "This is the tactus inaequalis of the Renaissance, 1980 performed a successful series of concerts in Norway and .&. ... -l- ..,. Sweden. JJJJJJJ To order, contact: The University Bookstore, DaVies Center, Univer­ , which lengthens the down stroke and shortens the sity of Wisconsin-Eau Claire, Eau Claire, WI 54701. Album price: up stroke so as to align them with two minimas and $5.95 + $2.50 postage and handling +' $.30 sales tax = $8.75. one minima respectively, for convenience sake, rather than placing the up stroke halfway through the second minima: the basic relationship of three minimas to one tactus (i.e., three semibreves to two DEPARTMENT OF MUSIC tactus) is unchanged by this procedure. "The Fellowes edition is preferable to other UNIVERSITY OF WISCONSIN-EAU CLAIRE modem editions now available, since it provides original mensuration signs and complete texts, does

APRIL 1983 Page 19 University Press, 1949, 1971. per cantare, sonare, e ballare, ed. H.C. Schmidt. Morley borrowed from pieces by Gastoldi, Ferreti, In this context Einstein's monumental work is New York, 1970. Vecchi, and Nanino for the Balletts. useful on the Italian roots of Morley's style, Hermelink, Siegfried. "Chiavette," in The New Reese, Gustave. Music in the Renaissance, rev. ed. specifically on the Gastoldi Bailetti a 5 which Groves Dictionary of Music and Musicians, 20 New York: Norton, 1954. were the direct model for Morley's Balletts. See vols., ed. Stanley Sadie (London: Macmillan, See pp. 445-446 for mention of the Italian especially Vol II, pp. 602-607. 1980), IV, 221-223. balletto, and pp_ 819-826 for discussion of the Einstein, Lewis. The Italian Renaissance in Jenkins, P. The Life and Works ofThomas Morley. English madrigal in general and Morley's output England. New York, 1902. Unpublished M.A. thesis, University of Abery­ in particular. The author gives general background material stwyth, 1966. Roche, Jerome. The Madrigal. London: Hutchinson, on the Elizabethan vogue for things Italian. Kerman, Joseph. The ElizabethanMadrigal: A Com­ 1972. Fellowes, Edmund Horace. The English Madrigal parative Study. New York: American Musicologi­ This is one of the better recent histories of the Composers, 2nd. ed. London: Oxford University cal Society, distributed by Galaxy Music, 1962. madrigal. See chapter eight, "The Madrigal in Press, 1948. Kerman discusses the importation of Italian England," for discussion of the relation of This is the earliest book on the history of the secular music into Elizabethan England and Mor­ English and Italian secular music of the late six­ English madrigal, and is still useful, although it ley's central role in this process, and provides a teenth century. Discussion of Morley's balletts should now be read in conjunction with later detailed and instructive comparative analysis of can be found on pp. 128-129. scholarship. See pp. 181-182 for a short discussion Gastoldi's Bailetti a' 5 and Morley's Balletts. Sprague, Raymond. Chiavette, Its Implications, of Morley's Ballets. (See pp. 130-147.) This is the best study of thefield and the Choral Conductor: A Practical Solution.' Gastoldi, Giovanni Giacomo. Bailetti a 5, 4th ed. in print at present. Unpublished D.M.A. dissertation project, Univer­ (1595), in Einstein, Alfred, Einstein Collection of King, J. R. An Aesthetic and Musical Analysis of sity of Colorado at Boulder, 1979. Manuscript Scores, XXIV, iii, MS, Smith College, the Madrigals of Thomas Morley, with Special Tatnell, Roland Stuart. "Falsetto Practice: A Brief Northampton, Massachusetts. Reference between Text and Music and Some Survey," Consort XXII (1965), 31-35. ___ Bailetti a cinque voci can li suoi versi Comparison with the Madrigals ofJohn Wilbye, Uhler, John Earle. Morley's Canzonets for Three John Bennet, and the "Triumphs of Oriana. " Un­ Voices. Baton Rouge, Louisiana: Louisiana State published Ph.D. dissertation, University of University Press, 1957. LOVELYLYRIC Toronto, 1950. This study contains a useful discussion of the LeHuray, Peter. Music and the Reformation in authorship of the poems in the Balletts. Uhler CHOlRGOWNS England, 1549-1660. New York: Oxford Universi­ argues Morley's own authorship of both the ty Press, 1967. original English poems and of the adaptations of ~' We've dressed adult and Morley, Thomas. The First Booke ofBalletts to Five the Italian verses. See pp. 4-7. '.. . youth choirs with varieties Voyces. London: Thomas Este, 1595. Woodfill, Walter L. Musicians in English Society of styles, colors, and fab­ ___. The First Book ofBalletts to Five Voices, from Elizabeth to Charles I (Princeton Studies in rics since 1955. Write for in The English Madrigal School, ed. Edmund History, IX). Princeton, N.J.: Princeton Uuiversi­ our new catalogue and Horace Fellowes, rev. Thurston Dart (London: ty Press, 1953. fabric samples. Satisfac­ Stainer and Bell, 1966), IV. Woodfill discusses the social setting for which • . '.' tion is absolutely guar- __~ A Plain and Easy Introduction to Practi­ Morley's Balletts was written. . cal Music, ed. R. Alec Harmon, foreword by . ':,•...... •.. anteed. Wulstan, David. "The Problem of Pitch in Six­ : Adult gowns from Thurston Dart. New York: Norton, 1952, 1966. teenth-Century English Vocal Music," Proceed­ See p. 295 for Morley's definition of the ballett \...... ; \' $19.95. youth gowns ings of the Royal Musical Association XCIII '., from $16.95. and his discussion of its place in secular music of (1966-67), 97-122. the time, and pp. 274-275 for his treatment of ___. The Interpretation of English Music of chiavette, chiavi naturali, and the ranges of the Period c.150D-1625. Unpublished B.Litt. LYRIC CHOIR GOWN CO. vocal parts. thesis, Oxford Uuiversity (Magdalen), 1967. p.o. Box 16954-AZ Obertello, Alfredo. Madrigali Italiani in Inghilterra. Zimmerman, F. B. "Italian and English Traits in Jacksonville. Rorida 32216 Milan: Valentino Bompiani, 1949. the Music of Thomas Morley," Annuario musical (904) 725-7977 See pp. 346 ff. for material on the texts which XIV (1959), 29. 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