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4816616-434E69-Sigcd307booklet Royal Rhymes and Rounds ELIZABETH II Choral Dances from “Gloriana” Benjamin Britten u Time [1.51] i Concord [2.25] HENRY VIII o Time and Concord [1.46] 1 Pastime with good companie (The King’s Ballad) King Henry VIII [1.53] p Country Girls [1.17] 2 Ah, Robin, gentle Robin William Cornysh [2.26] a Rustics and Fishermen [1.00] 3 Blow thy horn, hunter William Cornysh [2.23] s Final Dance of Homage [2.20] 4 King Henry VIII [1.33] It is to me a right great joy d A Rough Guide to the Royal Succession Paul Drayton [12.48] 5 Anonymous [3.56] Hey, trolly lolly lo! (It’s just one damn King after another…) ELIZABETH I Total timings: [65.50] 6 Long live, fair Oriana Ellis Gibbons [2.39] 7 The Silver Swan (Round) Orlando Gibbons [2.00] THE KING’S SINGERS 8 The Silver Swan Orlando Gibbons [1.46] 9 Fair Oriana, beauty’s Queen John Hilton [2.21] www.signumrecords.com 0 Lightly she whipped o’er the dales John Mundy [3.11] q Flow, O my tears John Dowland [1.37] ROYAL RHYMES AND ROUNDS w Weep, O mine eyes John Bennet [2.44] medieval times to the prestigious position of e As Vesta was from Latmos hill descending Thomas Weelkes [3.19] There is little doubt that the development of ‘Master of the Queen’s Music’, currently held by Western classical music over the centuries owes Sir Peter Maxwell Davies (b.1934). In this VICTORIA a great deal to the patronage of kings and Diamond Jubilee year, as we mark the 60th r The Triumph of Victoria Sir Walter Parratt [2.33] queens. This programme of music celebrates anniversary of the accession of Queen Elizabeth t Who can dwell with greatness? Sir Hubert Parry [3.07] the large collection of music written for the II (b.1926), we look at the musical heritage of monarchs of England (and after 1603 of Britain). three of her more colourful predecessors, King y To her beneath whose steadfast star Sir Edward Elgar [4.51] The royal court has provided support for many Henry VIII (1491-1547), Queen Elizabeth I musicians, from the minstrels and trouvères of (1533-1603) and Queen Victoria (1819-1901). - 3 - King Henry VIII was a man of many parts, and collated in around 1520, although some believe All three of Henry’s children inherited his love In the real world of the Elizabethan court, amongst other accomplishments he was noted it to be later. The songs’ texts reflect the of music, and despite the religious turmoil of the background to the collection seems less as a fine musician, both as an instrumentalist conventions of life at court in the relatively the time, composing flourished during the 16th idealised. The Triumphs may have been written and as a composer. Many musical works were carefree early years of Henry’s rule, and they are and 17th centuries. By the end of the reign of for an actual pageant or masque performed ascribed to him, but although the provenance predominantly secular. The theme of courtly love Elizabeth I it had reached a level rarely in front of the Queen herself, but the collection of some may be rather dubious (most notably is to the fore in many of the works, but some approached again. This Golden Age produced some was not dedicated to her. Instead, Morley Greensleeves), others were certainly penned by border on the bawdy, such as Blow thy horn, of the best church music ever written, whilst the gave that dubious honour to the Queen’s the King. These include masses, motets and hunter and Hey, trolly lolly lo. The text of Ah, English madrigal, a unique nationalisation of the cousin, Charles Howard, Earl of Nottingham part-songs. He employed a great number of Robin is attributed to the lyrical poet Thomas Italian style, was perhaps its finest flower. (1536-1624). In 1598 Morley had been granted musicians in his private household, many as Wyatt (1503-42), who, in 1536, was imprisoned a monopoly on printed music, which had been ‘Gentlemen of the Chapel Royal’, and the growing for alleged adultery with Anne Boleyn. He was Among the many works written for Elizabeth very lucrative. He wished to repay her generosity, wealth of England during the reigns of the later released thanks to his father’s friendship was The Triumphs of Oriana (1601), an and while he could not ask the Queen for Tudor monarchs provided a secure basis for with Thomas Cromwell. The composer William extravagant musical compliment paid by more money to pay for the collection, by the cultural blossoming of the Renaissance. Cornysh (d.1523) set the words as a ‘round’ Thomas Morley (c.1557-1602), Gentleman of assigning the dedication to Howard he twisted During Henry’s reign, an increasing number of or ‘catch’, words that debate the constancy of the Chapel Royal. Inspired by an earlier Italian the Earl’s hand to act as patron; to have foreign musicians were employed in the English a woman. collection, Il Trionfo di Dori, The Triumphs refused could have been interpreted as a slight court, including Dionisio Memo (1507-39) from consists of 25 madrigals by 23 different on Elizabeth. Italy, who served as one of the King’s organists. My lady is unkind I wis, composers. Each madrigal concludes with the The writings of Nicolo Sagudino, secretary to the Alack why is she so? refrain, ‘Then sang the shepherds and nymphs Amongst the contributors to The Triumphs of Venetian Ambassador, reveal that Henry listened She lov’th another better than me, of Diana: Long live fair Oriana’. The compliment Oriana were Ellis Gibbons (1573-1603), the for four hours to the playing of Memo on one And yet she will say no. would have been immediately apparent. Elizabeth elder brother of Orlando, John Hilton (d.1609), particular occasion. had long been equated with Oriana, the heroine who was organist at Trinity College, Cambridge, Henry’s own contributions to the manuscript of the chivalric romance Amadis de Gaul. It John Mundy (c.1555-1630), organist at St The Henry VIII Manuscript (BL Add Ms 31,922) include the famous Pastime with good was also fitting that the nymphs of Diana, George’s Chapel, Windsor Castle, and Thomas is one of few surviving songbooks from the companie, also known as “The ‘King’s Ballad”, Goddess of Chastity, should attend on Elizabeth, Weelkes (c.1576-1623), who served in the early 16th century, providing a valuable insight and a round entitled It is to me a right great the Virgin Queen. The idealised, pastoral same role at Winchester College and Chichester into the styles of music prevalent in the court. joy. As with all his works he signed the pieces setting presents Elizabeth as the eternally Cathedral. John Bennet (c.1575, fl 1599-1614), Although it is difficult to date the manuscript “By the King’s Hand”. beautiful Queen presiding over Arcadia, the who contributed a madrigal to The Triumphs, with any certainty, it is probable that it was justly revered ruler of an idyllic land. wrote Weep, O mine eyes as a tribute to John - 4 - - 5 - Dowland (1563-1626), using part of Dowland’s the most significant developments in the four-part songs, suitable for domestic patriarchal age, gives your Majesty’s servants celebrated Flow my tears. Dowland’s short popularisation of music were the advent of music-making. The second group of part-songs a natural opportunity for expressing the round, also based on the longer work, is mass-produced, modestly-priced upright pianos, could be described as nostalgic in flavour, written devotion to your Throne and Person which lies included here to give a flavour of the original. and the invention of cheap music printing, both in imitation of Elizabethan madrigals, the at the heart of all your subjects. Orlando Gibbons (1583-1625) was one of the of which revolutionised music tastes in Britain. singing of which had been revived by the Glee most versatile English composers of his time, In an era when people had to entertain Clubs of the late 18th century. Both these Two of the works, those by Parratt and Edward writing a quantity of keyboard works, around themselves, the demands of an increasingly styles are in evidence in a collection of 13 “Choral Elgar (1857-1934), were performed in the 30 fantasias for viols, many popular verse sophisticated bourgeoisie had to be satisfied. songs by various writers and composers in Quadrangle of Windsor Castle during the anthems, and a number of madrigals. Although honour of Her Majesty Queen Victoria”, or as it is Queen’s breakfast on her birthday. The entire his working life began after the death of Whilst the drawing-room ballad and genteel sometimes called The Triumphs of Oriana (1899). collection was first heard a few days later, but Elizabeth, the simple perfection of The Silver piano solo were probably the most popular the Queen was not present for that performance. Swan warrants its inclusion here. His royal genres, the part-song did not lag far behind. At Towards the end of 1897 Sir Walter Parratt Parratt’s contribution to the collection, The connections are impeccable. He was appointed the time of Queen Victoria’s accession to the (1841-1924), the Master of the Queen’s Music, Triumph of Victoria, sets text by Sir Thomas a Gentleman of the Chapel Royal by King throne, the Glee was still in fashion amongst proposed a volume of part-songs to celebrate Herbert Warren (1853-1930), an academic James I (1566-1625), and in 1625 he became the somewhat alcoholic Gentlemen’s Catch Clubs.
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