список категории "16th-century English writers" в Википедии:
вторник, 30 сентября 2014 г.
понедельник, 29 сентября 2014 г.
University Wits
The University Wits is a phrase used to name a group of late-16th-century English playwrightsand pamphleteers who were educated at the universities (Oxford or Cambridge) and who became popular secular writers. Prominent members of this group were Christopher Marlowe,Robert Greene, and Thomas Nashe from Cambridge, and John Lyly, Thomas Lodge, George Peele from Oxford. Thomas Kyd is also sometimes included in the group, though he is not believed to have studied at university. Others who have been identified as University Wits include Matthew Roydon and Thomas Watson, likely both Oxford men.
вторник, 23 сентября 2014 г.
The Triumphs of Oriana
The Birth of the English Madrigal
When a collection of Italian madrigals entitled Musica Transalpina (Music from Across the Alps) was published in London in 1588, no
one could have foreseen the craze that it set off in the British Isles.
Thoroughly charmed by their Italian counterparts, British composers set out to emulate them, and the English madrigal was born.
Just 13 years later, the greatest of the English madrigal collections, The Triumphs of Oriana, was published in London by Thomas Morley, in honor of Queen Elizabeth I.
When a collection of Italian madrigals entitled Musica Transalpina (Music from Across the Alps) was published in London in 1588, no
one could have foreseen the craze that it set off in the British Isles.
Thoroughly charmed by their Italian counterparts, British composers set out to emulate them, and the English madrigal was born.
Just 13 years later, the greatest of the English madrigal collections, The Triumphs of Oriana, was published in London by Thomas Morley, in honor of Queen Elizabeth I.
from http://www.santafe.com/
The Triumphs of Oriana is one of the most celebrated of all collections of Elizabethan madrigals, published in 1601 and containing 25 settings by 23 composers. Many of the most celebrated English musicians of the age are represented, such as Thomas Morley, John Wilbye, Thomas Tomkins and Thomas Weelkes, as well as figures who are much less well known today including John Milton, father of the poet.
The Triumphs of Oriana is one of the most celebrated of all collections of Elizabethan madrigals, published in 1601 and containing 25 settings by 23 composers. Many of the most celebrated English musicians of the age are represented, such as Thomas Morley, John Wilbye, Thomas Tomkins and Thomas Weelkes, as well as figures who are much less well known today including John Milton, father of the poet.
The traditional view of The Triumphs of Oriana is that was designed as a celebration of Elizabeth I, a cycle of pieces intended for some kind of masque or courtly entertainment, and that Thomas Morley was responsible for organising it. But as John Milsom points out, in a carefully argued introduction to the Chandos recording, musicological and historical evidence does not support that provenance - the published edition makes no mention of the Queen, who died two years later, and though the texts all celebrate "fair Oriana" they do not form a narrative unity, and the order of madrigals within the collection follows musical rather than literary logic. Milsom concludes that the Oriana project just began to accumulate in the 1590s, when it was fashionable to set such lyrics, and that others were commissioned when publication of the whole collection seemed a good idea.
However it came about, though, The Triumphs of Oriana is a remarkable musical document, a snapshot of the craft of English madrigal composers on the cusp of the 17th century
http://www.theguardian.com/
The Triumphs of Oriana is a book of English madrigals, compiled and published in 1601 by Thomas Morley, which first edition[1] has 25 pieces by 23 composers (Thomas Morley and Ellis Gibbons have two madrigals). It was said to have been made in the honour of Queen Elizabeth I. Every madrigal in the collection contains the following couplet at the end: “Thus sang the shepherds and nymphs of Diana: long live fair Oriana” (the word "Oriana" often being used to refer to Queen Elizabeth).
Recently, the attribution of "Oriana" to Elizabeth has come into question. Evidence has been presented that "Oriana" actually refers to Anne of Denmark, who would become Queen of England alongside James VI of Scotland (later James I of England) in an apparently failed early attempt to remove Elizabeth in order to restore England to Catholicism. In his book 'The English Madrigalists', Edmund Fellowes, one of the leading madrigal scholars declares this theory to be false. Unfortunately, Fellowes passes away in 1951, over fifty years before the new research was done.
Contents
Thomas Morley
Thomas Morley (1557 or 1558 – October 1602) was an English composer, theorist, editor and organist of the Renaissance. One of the foremost members of the English Madrigal School, he was also involved in music publishing, and held a printing patent (a type of monopoly) from 1598 up to his death.
Based in London, where he was organist at St Paul's Cathedral, he was the most famous composer of secular music in Elizabethan England. He and Robert Johnson are the composers of the only surviving contemporary settings of verse byShakespeare.
In 1588 Nicholas Yonge published his Musica transalpina, the collection of Italian madrigals fitted with English texts, which touched off the explosive and colourful vogue for madrigal composition in England. Morley obviously found his compositional direction at this time, and shortly afterwards began publishing his own collections of madrigals (11 in all).
Morley lived for a time in the same parish as Shakespeare, and a connection between the two has been long speculated, but never proven. His famous setting of "It was a lover and his lass" from As You Like It has never been established as having been used in a performance of Shakespeare's play, though the possibility that it was is obvious. Morley was highly placed by the mid-1590s and would have had easy access to the theatrical community; certainly there was then, as there is now, a close connection between prominent actors and musicians.
While Morley attempted to imitate the spirit of Byrd in some of his early sacred works, it was in the form of the madrigal that he made his principal contribution to music history. His work in the genre has remained in the repertory to the present day, and shows a wider variety of emotional color, form and technique than anything by other composers of the period. Usually his madrigals are light, quick-moving and easily singable, like his well-known "Now is the Month of Maying" (which is actually a ballett); he took the aspects of Italian style that suited his personality and anglicised them. Other composers of the English Madrigal School, for instance Thomas Weelkes and John Wilbye, were to write madrigals in a more serious or sombre vein.
In addition to his madrigals, Morley wrote instrumental music, including keyboard music (some of which has been preserved in the Fitzwilliam Virginal Book), and music for the broken consort, a uniquely English ensemble of two viols, flute, lute, cittern and bandora, notably as published by William Barley in 1599 in The First Booke of Consort Lessons, made by diuers exquisite Authors, for six Instruments to play together, the Treble Lute, the Bandora, the Cittern, the Base-Violl, the Flute & Treble-Violl.
Morley's Plaine and Easie Introduction to Practicall Musicke (published 1597) remained popular for almost two hundred years after its author's death, and remains an important reference for information about sixteenth century composition and performance.
April is in my mistress' face written by Thomas Morley is one of the best-known and shortest of English madrigals; it was published in 1594, and appears to be based on an Italian text by Livio Celiano, set by Orazio Vecchi in 1587.
April is in my mistress' face,
And July in her eyes hath place;
Within her bosom is September,
But in her heart a cold December.
And July in her eyes hath place;
Within her bosom is September,
But in her heart a cold December.
My bonny lass she smileth is a famous English madrigal, written by Thomas Morley and published in 1595. It is based on an Italian madrigal, published by Gastoldi in 1591 (see ref 1 and supporting recording). The ChoralWiki gives the following words for the two opening verses.
- My bonny lass she smileth,
- when she my heart beguileth.
- Fa la la la...
- Smile less, dear love, therefore,
- and you shall love me more.
- Fa la la la...
- Now is the month of maying is one of the most famous of the English balletts, by Thomas Morley published in 1595. It is based on the canzonet So ben mi ch'a bon tempo used by Orazio Vecchi in his 1590 Selva di varia ricreatione.The song delights in bawdy double-entendre. It is apparently about spring dancing, but this is a metaphor for sex. For example, a "barley-break" would have suggested outdoor sexual activity (rather like we might say a "roll in the hay"). The use of such imagery and puns increased during the Renaissance.The madrigal forms a key part of Oxford's May Morning celebrations, where the choir of Magdalen College sing the verses from the roof of the college's Great Tower.en.wikipedia.org
- also:
- http://imslp.org/wiki/Category:Morley,_Thomas
- http://www2.cpdl.org/wiki/index.php/Thomas_Morley
Народная музыка
Традиция использования народной песни как основы духовного произведения в английской музыке ведет в глубь веков, а на рубеже XVI и XVII вв. большинство церковных композиторов гармонизовали бытующие напевы. Среди них — Джайлз Фарнеби, Ричард Эллисон, Джон Дауленд. Так до более поздних времен были донесены и впервые записаны напевы народных песен и баллад.
Уильям Бёрд сохранил напев «Селлинджерского хоровода» («Sellenger's Round»), «Посвиста возчика» («The Carman's Whistle»), Джон Булл — «Королевской охотничьей жиги» («The King's Hunt Jig»,)'; популярную с XIII в. охотничью песню «Уолсингэм» («Walsingham») использовали и Бёрд, и Булл. До сих пор не установлено: является ли обработкой народной мелодии известная «Гальярда» Дауленда, или же его песня «Now о now I need must part» стала популярной «Frog Galliard».
В Елизаветинскую эпоху английская музыка переживает период подъема и вливается в общее русло полнокровно развивающегося и расцветающего искусства страны. В это время в музыке выдвигается школа английских мадригалистов, а также одна из самых ярких и сильных школ европейской инструментальной музыки — английская вёрджинельная школа. Эти области музыкального искусства, с истинным совершенством развитые и Англии, обнаруживают некоторую преемственность с континентальными композиторскими школами — с итальянской (мадригалы Луки Маренцио и Орландо Лассо) и позднее — с французской (искусство клавесинистов), а также прочную почвенную связь с отечественной народно-бытовой культурой. Примечательно, что среди различных типов мадригала в памяти английской музыки ярче других запечатлелся пасторальный, так называемый весенний мадригал Елизаветинской эпохи, дух которого, как символ золотого века национальной музыки, стремились воссоздать многие английские композиторы XX в. (среди них Б. Бриттен — в Весенней симфонии, Ф. Дилиус — в хоровой песне «Слушая первую кукушку весною», Р. Воан Уильямс — в «Flos Campi» и многие другие).
Насколько искусство мастеров-вёрджинелистов раскрылось в соприкосновении с народным творчеством, можно проследить на примерах их произведений, собранных в наиболее полном рукописном собрании верджинельной музыки — в двухтомной «Книге Фитцуильяма» («The Fitzwilliam Virginal Book»). Среди тем пьес «Книги Фитцуильяма» — 22 подлинные народные. «Мелодии народных песен, равно как и культовые напевы, представляли собой общезначимое достояние». Широко распространенные в английском фольклоре Елизаветинской эпохи напевы вошли во многие собрания народных песен вплоть до современных.
http://www.jandro.ws
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