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Home , Orlando Gibbons, Thomas Morley, Thomas Tallis, Thomas Tomkins, William Byrd

RES10164 HARMONY HER HEAVENLY THE QUEEN’SSIX THE ROYALCOURT PROFANE MUSICFROM Royalty Her Heavenly Harmony 11. Like as the doleful dove [1:28] (c. 1557-1602) Profane from the Royal Court 1. Hard by a crystal fountain [3:02] (1583-1625) 2. Arise, awake [2:11] 12. The silver swan [1:55] 13. Dainty fine bird [2:34] (1572-1656) 3. The fauns and satyrs stripping [4:11] The Queen’s Six The Natural World Thomas Tallis (1505-1585) 4. O ye tender babes [1:19] Thomas Morley Daniel Brittain 14. Now is the gentle season [2:49] Timothy Carleston countertenor (c. 1575-1623) Nicholas Madden 5. Like two proud armies [1:35] Thomas Weelkes Dominic Bland tenor 15. Thule, the period of cosmography – Andrew Thompson baritone The Andalusian merchant [4:01] Balletts Simon Whiteley bass Orlando Gibbons Thomas Tomkins 16. Fair is the rose [3:07] 6. See, see the shepherds’ Queen [2:09] 7. O let me live for true love – Dedications O let me die for true love [3:42] Thomas Morley 17. Ye sacred muses [3:24] About The Queen’s Six: 8. No, no, Nigella [1:46] Thomas Tomkins ‘They bring seamless blend and balance to music from 18. Cloris when as I woo [2:31] the reign of , from whom they take their name’ Bi(y)rds The Observer Thomas Weelkes William Byrd (c. 1540-1623) 19. Death hath deprived me [2:20] ‘[...] the bond that comes from working together several times 9. Compel the hawk [2:53] each week [...] produces some glorious performances’ 10. The eagle’s force [2:23] Today T 24. Thomas T sighingslak 23. Thomas T 22. Orlando Gibbons 21. William B 20. Thomas W Lov ot al pla e andDea Music divine When shallm Ah, dearheart And thinky Mar s inafury ying time omkins allis yr eelk d th es e e n y sorr ymphs owful [62:19] [3:34] [3:48] [1:58] [1:52] [1:35]

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Photography: Rudi Wells but then this whole repertoire of Byrd’s, Weelkes’s six-voice Thule, the period of numbering about 160 pieces, is unusual. cosmography, with its second part The Andalusian merchant, is one of the greatest This is not so true of Gibbons, whose gentle achievements of this repertoire. Weelkes’s moralising has become part of our view of gamut of arresting harmonies to conjure English musical culture. Nothing up outlandish places and extreme natural in his beautifully crafted pieces is superficial, happenings, alongside a constantly renewing from the texts to his incomparable mastery stock of teeming polyphonic detail, keeps of part-writing, but it is the simplest which the listener in a state of almost unbearable is probably the best-loved – The silver swan. excitement. Gibbons’s Fair is the rose is It is striking that Gibbons, like Byrd in The ideally paced to calm us down again. eagle’s force, by some roundabout process of thought, begins with a bird and ends The three pieces in the Dedications section, with fools. His Dainty fine bird is a more which neatly refer to all six of the featured sustained lament on the trials of love, the on the disc, are like light and final ‘die’ being the least sexually explicit shade. Byrd mourns Tallis, and Weelkes use of this stock-in-trade double-meaning mourns Morley, in the most sustained and I’ve ever come across. And then, as before, dignified music, while Tomkins serenades Tallis offers us something in the same line Gibbons almost entirely with the word ‘no’. of thought but in a style that seems to be The explanation is that Byrd and Weelkes timeless. were commemorating much loved colleagues who had died, while Tomkins was simply For The Natural World the mood lightens, having fun. The Byrd lament was originally though Gibbons is ever keen to remind us written for four and solo voice, the of the transitory nature of the beauty to highest of the five parts only being texted be found there. However if one would prefer in the original source. Given the scrupulously something more uncomplicatedly pastoral contrapuntal nature of the writing, however, it was surely Morley who was best equipped it is not difficult to fit the very moving to provide it. Now is the gentle season is as words to all the parts. If anything Weelkes’s artless as one could wish, ending with lament is even more passionately distressed a beautiful sequence on the words ‘I love’ than Byrd’s, the showing again (having underplayed the delicious ‘and full that his instinctive method is to wear his of kindly lust’). heart on his sleeve, here with sustained phrases, slow dissonances and wrenching of a masterpiece by one of ’s most harmonies. These two pieces represent an significant composers which is rarely heard. extreme end of the tradition, far This could be said of many of the pieces from the popular view that it normally on this seminal disc, as revelatory as it is deals with frolicking nymphs. Cloris, of beautifully sung. course, takes us right back there. © 2016 Peter Phillips The final section is a summation of much that the disc, and the repertoire in general, stands for: love, death, nymphs, furious gods, sorrowing hearts, sighing – and divine music. Weelkes again leads off with a six-voice classic, rushing from martial endeavour to languorous dying via some spectacular word-painting in no time. Byrd approaches nymphs with his customary wit, fully equal to the word-play in the anonymous text, the second part written in a slow triple-time which contrasts teasingly with what has gone before.

Gibbons’s five-voice Ah, dear heart is another of his epigrammatic statements on life and love, compact, sober and passionate. The writing at ‘the light that shines comes from your eyes’ is possibly the most famous single phrase in any madrigal. Tallis’s When shall my sorrowful sighing slake forms another extraordinary interlude before Tomkins wraps things up with a leisurely six-part paean to music itself. Music divine is yet another example Texts Thomas Tomkins (1572-1656) So in my heart, your beauty and my reason, Thomas Morley 3. The fauns and satyrs tripping the one claims the crown, 8. No, no, Nigella Thomas Morley (c. 1557-1602) the other says ‘tis treason. 1. Hard by a crystal fountain The fauns and satyrs tripping, But O your beauty shineth as the sun, No, no, no, no Nigella, with lively nymphs and dazzl’d reason yields as quite undone. Let who list prove thee, Hard by a crystal fountain, of fresh cool brooks and fountains, I cannot love thee, Oriana the bright and those of woods and mountains: Fa la la... Lay down asleeping. Like roes came nimbly skipping, Thomas Tomkins Have I deserved The birds they finely chirped, by signs their mirth unripping, 6. See, see the shepherds’ Queen Thus to be served? The winds were stilled; My fair Queen, they presented Well then content thee, Sweetly with these accenting with Amaltheas twenty See, see the shepherds’ Queen, If thou repent thee. The air was filled. brimful of wealthy plenty, Fair Phyllis all in green, Fa la la... This is that fair, whose head a crown deserveth, and still to give frequented, Fa la la… which heav’n for her reserveth. with bare gifts not contented. The shepherds home her bringing No, no, no, no Nigella, Leave, shepherds, your lambs keeping, The demigods pray to the gods supernal; With piping and with singing, In sign I spite thee, Upon the barren mountain, her life, her wealth, her fame may be eternal. Fa la la… Lo I requite thee. And nymphs attend on her and leave your bowers, Then sang the shepherds and nymphs of Diana: Then dance we on a row, Fa la la... For she the shepherd’s life maintains and yours. Long live fair Oriana! And it as we go. Hence forth complaining Then sang the shepherds and nymphs of Diana: Fa la la… Thy love’s disdaining, Long live fair Oriana! Sit thy hands wringing, Thomas Tallis (1505-1585) Whilst I go singing. 4. O ye tender babes 7. O let me live for true love – Fa la la... 2. Arise, awake O let me die for true love O ye tender babes of England, Arise, awake, awake, shake off slothfulness, set wantonness apart. O let me live for true love; William Byrd (c. 1540-1623) You silly shepherds sleeping; Apply your wits wholly to learning and virtue, Fa la la... 9. Compel the hawk Devise some honour for her sake, whereby you may do your duty to God and your King. O let me live, yet let me live no longer, By mirth to banish weeping. Make glad your parents, profit yourselves, than that my life may make my love the stronger. Compel the hawk to sit that is unmanned, Lo where, she comes in gaudy green arraying, And much advance the commonweal of your country. O let me live for true Love; or make the hound untaught, to draw the deer, A prince of beauty rich and rare for her delighting Fa la la... or bring the free against his will in band, Pretends to go a-maying. or move the sad a pleasant tale to hear, You stately nymphs draw near, Thomas Weelkes (c. 1575-1623) O let me die for true love; your time is lost, and you are ne’er the near: And strew your paths with roses; 5. Like two proud armies Fa la la... So Love ne learns by force the knot to knit, In you her trust reposes. Let not hope or old time come to end my woe. he serves but those that feel sweet fancy’s fit. Then sang the shepherds and nymphs of Diana: Like two proud armies marching in the field, O let me die for true love, Long live fair Oriana. joining a thund’ring fight, each scorns to yield; Fa la la...

10. The eagle’s force Orlando Gibbons (1583-1625) 12. The silver swan The eagle’s force subdues each bird that flies: What metal may resist the flaming fire? The silver swan who, living, had no note, Doth not the sun dazzle the clearest eyes? When death approach’d, unlock’d her silent throat. And melt the ice, and make the frost retire? Leaning her breast against the reedy shore, Who can withstand a puissant king’s desire? Thus sang her first and last, The stiffest stones are pierced through with tools: And sang no more: The wisest are with princes made but fools. Farewell, all joys, O death come close mine eyes. More geese than swans now live, Thomas Tallis more fools than wise! 11. Like as the doleful dove

Like as the doleful dove delights alone to be, 13. Dainty fine bird and doth refuse the bloomed branch, choosing the leafless tree, Dainty fine bird that art incaged there, Whereon wailing his chance, Alas, how like thine and my fortunes are? his bitter tears besprent, Both pris’ners be; and both singing thus, doth with his bill his tender breast Strive to please her that hath imprison’d us. oft pierce and all to rent; Only thus we differ thou and I, Whose grievous groanings tho’, Thou liv’st singing, but I sing and die. whose grips of pining pain, whose ghastly looks, whose bloody streams Thomas Morley outflowing from each vein, 14. Now is the gentle season whose falling from the tree, whose panting on the ground, Now is the gentle season freshly flow’ring, examples be of mine estate, To sing and play and dance while May endureth, tho’ there appear no wound. And woo and wed too, that sweet delight procureth.

The fields abroad with spangled flowers are gilded, The meads are mantled and closes; In May each bush arrayed, and sweet wild roses.

Photography: Gill Aspel The nightingale her bower hath gaily builded, So white, so sweet was my fair mistress’ face, 20. Mars in a fury To think that you and I must part. And full of kindly lust, and love’s inspiring, Yet alter’d quite in one short hour’s space. O, stay, or else my joys will die, “I love, I love” she sings, hark: her mate desiring. So short-liv’d beauty a vain gloss doth borrow, Mars in a fury ‘gainst love’s brightest queen, And perish in their infancy. Breathing delight today, but none tomorrow. Put on his helm and took him to his lance, And marching to the mount this warrior was seen, Thomas Weelkes And there his ensigns did the god advance, Thomas Tallis 15. Thule, the period of cosmography – William Byrd And by heaven’s greatest gates he stoutly swore, 23. When shall my sorrowing sighing slake The Andalusian merchant 17. Ye sacred muses Venus should die for she had wrong’d him sore. When shall my sorrowful sighing slake, Thule, the period of cosmography, Ye sacred muses, race of Jove, When shall my woeful wailing cease, Doth vaunt of Hecla, whose sulfurious fire whom music’s love delighteth, William Byrd When shall my tears and mourning make Doth melt the frozen clime and thaw the sky: Come down from crystal heav’ns above 21. And think ye nymphs Mercy and pity me to release? Trinacrian Aetna’s flames ascend not higher, to earth where sorrow dwelleth, When shall the pensive heart find peace, These things seem wond’rous, In mourning weeds, with tears in eyes: And think ye nymphs to scorn at love? When shall the mind find quiet rest, yet more wond’rous I, Tallis is dead, and music dies. as if his fire were but of straws: That hath been long with thought oppressed? Whose heart with fear doth freeze, he made the mighty gods above, with love doth fry. to stoop and bow unto his laws, How long shall I in woe lament, Thomas Tomkins and with his shafts of beauty bright, How long shall I in care complain, The Andalusian merchant, that returns 18. Cloris when as I woo he slays the hearts that scorn his might. How long shall danger me torment, Laden with cochineal and China dishes, Augmenting still my deadly pain? Reports in Spain how strangely Fogo burns, Cloris, when as I woo, Love is a fit of pleasure, Till hope and dread between them twain Amidst an ocean full of flying fishes! Why still repli’st thou no? bred out of idle brains, Agree that hope have her request, These things seem wond’rous, If as a maid you use it, his fancies have no measure, Till then live I with thought oppressed. yet more wond’rous I, Say no, and ne’er refuse it. no more than have his pains, Whose heart with fear doth freeze, his vain affections like the weather, with love doth fry. precise or fond, we wot not whether. Thomas Tomkins Thomas Weelkes 24. Music divine 19. Death hath deprived me Orlando Gibbons Music divine, proceeding from above, 16. Fair is the rose Death hath deprived me of my dearest friend, Orlando Gibbons whose sacred subject oftentimes is love, My dearest friend is dead and laid in grave, 22. Ah, dear heart in this appears her heav’nly harmony, Fair is the rose, yet fades with heat or cold, In grave he rests until the world shall end where tuneful concords, sweetly do agree. Sweet are the violets, yet soon grow old. As end must all things have. Ah, dear heart, why do you rise? And yet in this her slander is unjust, The lily’s white, yet in one day ‘tis done. All things must have an end that nature wrought, The light that shines comes from your eyes; to call that love which is indeed but lust. White is the snow, yet melts against the sun Must unto dust be brought. The day breaks not, it is my heart, More titles from Resonus Classics The Queen’s Six and singing together every day in the Royal Chapel that lends this group Music of the Realm: Tudor Music for Men’s Voices Founded in 2008, The Queen’s Six was its distinctive closeness and blend, The Queen’s Six established on the 450th anniversary of as well as an irresistible informality RES10146 the accession of Queen Elizabeth I, from and charm. whom the group takes its name. '[...] they sing it so beautifully – they're reverent and indulgent at the same time' The Queen’s Six’s repertoire extends far The , BBC Radio 3 Elizabeth I was a great patroness of the beyond the reach of the choir stalls: arts, and often engaged the services of from austere early chant and florid musicians to write and perform for her Renaissance , to lewd , at court. Featured on the group’s first two haunting folk songs and upbeat Jazz and albums, the notable ‘six’ from this era Pop arrangements. J.S. Bach: were Thomas Tallis, William Byrd, Saint Thomas Choir of Men & Boys, Thomas Tomkins, Thomas Morley, Individually, members of The Queen’s Six Fifth Avenue, New York Orlando Gibbons and Thomas Weelkes. appear regularly in all of the most prestigious John Scott vocal ensembles both nationally and RES10152 Based in Windsor Castle, England, the internationally, including , group consists of two , Polyphony, The BBC Singers, The Cardinall’s ‘The tone of the New York trebles is sweet and healthy. Fans of the cathedral choir sound will two , a baritone and a bass. By day, Musick, TheGabrieli Consort, EXAUDI, relish an old fashioned large forces performance all the members of the 21st century ‘Queen's The King’s Consort, with organ, and continuo’ Six’ are drawn from the Lay Clerks of St and . BBC Music Magazine George’s Chapel, whose homes lie within the Castle walls. As an ensemble, The Queen’s Six have © 2016 Resonus Limited performed to critical acclaim at music è 2016 Resonus Limited The Chapel Choir, which consists of boy festivals in the UK, Germany Portugal and Recorded in Ascot Priory on 14-16 September 2015 trebles and twelve professional adult Spain. In the shorttime since they began, Producer, Engineer & Editor: Adam Binks Recorded at 24-bit / 96kHz resolution (DDD) male singers, performs some eight they have also released a commercial EP, Cover image: Detail from Queen Elizabeth I (The Ditchley Portrait) services a week, as well as at private and had the privilege of performing at a by Marcus Gheeraerts the Younger (1561-1636) and state occasions, often before private function for HM The Queen and Session photography © Resonus Limited the British Royal Family. This rare HRH the Duke of Edinburgh. Thanks are due to Fr. Paul McLaren-Cook of Ascot Priory for his generous assistance in making this recording. privilege demands the highest musical standards. Most significantly www.thequeenssix.com RESONUS LIMITED – UK however, it is the familiarity of living [email protected] www.resonusclassics.com RES10164