Madrigals
Madrigal, in music, secular composition for two or more voices, introduced in Italy in the 14th century and revived in a different form during the 16th century, at which time it also became popular with English, French, German, and Spanish composers. The word madrigal is thought to have been derived from mandriali (a short pastoral poem) or from matricale (a rustic song or poem in the mother tongue), or perhaps madriale (a hymn to the Virgin Mary).
The 14th-century Italian madrigal was a poetic and musical form. The poem was usually of two or three stanzas, each one three lines long, followed by a refrain of two rhyming lines. The music was usually for two voices or parts, sometimes for three, and the melody for the stanzas differed from the melody for the refrain. Amorous subjects predominated.
The form and style of the 16th-century Italian madrigal had little in common with the form and style of the 14th-century madrigal. The 16th-century madrigal was conceived not as a piece for chorus alone but as vocal chamber music, and it was sometimes based on a text of high literary quality. The musical form of the 16th-century madrigal evolved in three stages: early (circa 1525-c. 1560); middle (c. 1560-c. 1590); and late (c. 1590-c. 1620).
Madrigals of the early stage were composed in a homophonic musical style (a predominant melody with a subordinate accompaniment) and were generally intended for four voices. Voice parts, however, were occasionally played by or doubled by instruments. Outstanding composers of madrigals in this stage were the Dutch Jakob Arcadelt and the Flemish Philippe Verdelot.
Madrigals of the middle stage were typically polyphonic (two or more independent voice parts), more expressive, and often musically imitative or descriptive of the sounds of nature and people. Composers began to prefer thick textures of five- and six-voice parts to textures of three- and four-voice parts. The Flemish Adrian Willaert, Philippe de Monte, and Orlando di Lasso excelled as composers of madrigals in this middle stage.
Madrigals of the late stage often used bold harmonic progressions and chromaticism (the use of large numbers of tones outside those of the prevailing key or mode) to produce intensely dramatic or emotional effects. They also made greater use of the solo voice, frequently in a virtuoso way (with a show of technical mastery). Major composers of madrigals in this late stage were the Italians Luca Marenzio, Don Carlo Gesualdo, and Claudio Monteverdi.
The poetical form of the 16th-century Italian madrigal was a brief poem, the lines of which could be long or short. Its overall rhyme scheme and number of lines were unrestricted by rule.
The Italian madrigal form was most successfully imitated by the English. The texts were taken from popular poets of the day, and the subjects reflected the English environment, the country home and English rural life. William Byrd, Thomas Morley, Thomas Tomkins, John Wilbye, Thomas Weelkes, and Orlando Gibbons are among the most outstanding English composers of madrigals.
Contributed By: Wilfrid Mellers, M.A., D.Mus., D.Phil., F.G.S.M., O.B.E.
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Now Is The Month Maying Bonjour Et Puis Quelles Nouvells? Bonjour Mon Coeur Come Away Come Sweet Love Anchor Che Col Partire Ach Elslein, Liebes Elselein Remember Me My Dear Since Robin Hood Strike It Up, Tabor Vecchie Letrose Innsbruck, ich Muss Dich Lassen I Love, Alas I Love Thee Ill Est Bel Et Bon Come Again Sweet Love Doth Now Invite Mein Gmuth Ist Mir Verwirret Weep, O Mine Eyes Pastyme With Good Companye Contrappunto Bestiale Alla Mente |
A musical journey to sixteenth-century Europe with secular vocal music of the Renaissance! The vocal ensemble amarcord brilliantly interprets the music of this epoch in its newest production “The Book of Madrigals” (RK ap 10106). With this CD, the young ensemble presents Renaissance music and madrigals by European composers such as John Dowland, Thomas Morley, Ludwig Senfl, Adriano Banchieri, Orlando de Lasso, and Josquin des Prez. Cipriano de Rore’s “Anchor che col partire” – one of the most popular madrigals of its time, and in arrangements and adaptations still an “evergreen” over a century later – is also masterfully sung here. With the release of “The Book of Madrigals,” amarcord has added another impressive CD to its discography.
| 9860 CD $16.95 |
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Italian Madrigals by Giovanni Giacomo Gastoldi Antonio Caprioli Philippe Verdelot Jacques Arcaldet Francesco PatavinoMaddalena Casulana Luca Marenzio Cipriano da Rore Giovan Domenico da Nola Adrian Willaert Vincenzo Bell'Haver Orlando di Lasso |
This is a 2 CD set, CD #1 has 71 minutes of Italian madrigals, CD #2 has 55 minutes of English madrigals. Perhaps the most important secular musical development of the 16th century, the madrigal had its fullest flowering in Italy, where Franco-Flemish composers Phillippe Verdelot, Adrian Willaert and Jacques Arcadelt, born in northern Europe, spent their working lives. In England Thomas Morley, John Wilbye and Thomas Weelkes succeeded in producing some real masterpieces. There are 26 cuts on disc #1, all in Italian, "Cantiam lieti cantiamo," "Una leggiadra nimpha," "Con l'angelica riso," "Donne, venete al ballo"ãall flow like sweet water from this talented, precise British sextet. Disc 2 has 22 cuts, all in English: Morley's "April is in my mistress' face," Wilbye's "Sweet honey sucking bees," Weelkes' "O care thou wilt dispatch me," Orlando Gibbons' "The Silver Swan"ãand they are equally fine. Recommended.
Listen to "The Silver Swanne" in RealAudio.
| 7011 2CDs $12.98 |
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Pastime with Good Company Blow thy horn, hunter Ah Robin, Gentle Robin Hey Trolly Lolly Lo Draw on, Sweet Night Thule, the Period of Cosmography Weep. Weep Mine Eyes As Vesta Was Sound Saddest Notes Fair Phyllis Sleep. Fleshly Birth Mother, I will have a Husband Lay a Garland Rigg Fair The Trees They do Grow High The Blue Bird |
The Oxford Camerata was formed to meet the growing demand for choral groups specializing in Renaissance music. Now comprised of 12 mixed voices Camerata has since expanded its repertoire to include music from the medieval period to the present day. Jeremy Summerly founded the Oxford Camerata after studying music at New College, Oxford, graduating with 1st Class Honors in 1982. "English Madrigals" is divided into 4 sections, "Early Tudor Songs," ("Pastime with good company," attributed to Henry VIII, "Blow thy horn, hunter," by Wm. Cornish, and "Hey trolly lolly lo"); "Madrigals from the Golden Age" ("Draw on, sweet night" and "Weep, Weep Mine Eyes,'" by John Wilbye, Richard Carlton's "Sound Saddest Notes" and Robt. Ramsey's "Sleep, Fleshly Birth"); and "Romantic Songs and Partsongs," (Robt. Pearsall's "Lay a garland," Somerset's "The trees they do grow high," and Charles Stanford's "The Blue Bird"). Nice liner notes booklet with all the lyrics and group info. Camerata's music soars in perfect, effortless harmony!
| 7343 CD $11.98 |
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Come Away, Sweet Love (Thomas Greaves) Weep, O Mine Eyes (John Bennett) Fair Phyllis I Saw (John Farmer) Now Is the Month of Maying (Thomas Morley) Fairwell, Dear Love (Robert Jones) April Is In My Mistress' Face (Thomas Morley) Draw On, Sweet Night (John Wilbye) Sing We At Pleasure (Thomas Weelkes) My Bonny Lass She Smileth (Thomas Morley) The Silver Swan (Orlando Gibbons) Mother, I Will Have A Husband (Thomas Vautor) Dainty Fine Bird (Orlando Gibbons) As Vesta Was from Latmos Hill Descending (Thomas Weelkes) I Love My Love (arr. G. Holst) My Sweetheart's Like Venus (arr G. Holst) Bushes and Briars (arr. D. James) The Turtle Dove (arr. Vaughan Williams) The Three Ravens (Edward T. Chapman) Dashing Away with the Smoothing Iron (English Folk Song arr. John Rutter) O Waly, Waly (arr. John Rutter) Greensleeves (arr. Vaughan Williams) |
Fa la la, a cornucopia of your favorite Madrigals! John Rutter and the Cambridge Singers sing English madrigals and folk songs. As entertainment for public occasions and a relief from boredom, the English madrigal comes in a wide variety of styles from dramatic to silly. This recording includes lighter pieces such as "Now is the Month of Maying" and "My Bonnie Lass She Smileth" by Thomas Morley, the somber "Silver Swan" by Orlando Gibbons and the comical "Fair Phyllis" by John Farmer. In addition, the program includes folk song arrangements by Gustav Holst and Ralph Vaughn Williams. A classic recording.
Listen to "My Sweetheart's Like Venus" in RealAudio.
| 6803 CD $15.98 |
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Hark, all ye lovely saints above (Thomas Weelkes) Though Amaryllis dance in green (William Byrd) Round about in a fair ring (John Bennet) Adieu, ye city-prisoning towers (Thomas Tomkins) Flora gave me fairest flowers (John Wilbye) Sweet Suffolk owl (Thomas Vautor) As Vesta was from Latmos hill descending (Thomas Weelkes) Lullabye (William Byrd) This sweet and merry month of May (William Byrd) Now is the month of maying (Thomas Morley) A little pretty bonny lass (John Farmer) Fyer, fyer! (Thomas Morley) Too much I once lamented (Thomas Tomkins) My bonny lass she smileth (Thomas Morley) Ha ha! This world doth pass (Thomas Weelkes) Quick, quick, away, dispatch! (Michael East) Dainty fine bird (Orlando Gibbons) Come again! Sweet love doth now invite (John Dowland) Mother, I Will have a husband (Thomas Vautor) Draw on, sweet night (John Wilbye) Sleep, fleshly birth (Robert Ramsey) Weep, weep, mine eyes (John Wilbye) Death hath deprived me (Thomas Weelkes) The silver swan (Orlando Gibbons) Adieu, sweet Amaryllis (John Wilbye) |
The sixteenth-century madrigal was an Italian form. The term ?madrigal1 was loosely applied to a wide variety of music, but generally denoted a polyphonic setting for four or more voices of an amorous or pastoral text which was closely depicted in the music. Thomas Morely transplanted the form into England in the 1590s; this marked the beginning of the brief but brilliant flowering of the English madrigal. Between the 1590s and the early 1620s, twenty composers published a total of 36 books of madrigals, after which the form virtually disappeared. Some of these composers, such as Morely and Weelkes, followed the Italian model closely; others, such as Byrd and Gibbons, mostly stayed with the simpler English form of the consort song, where the tune remains in one voice, word-painting is not used, and strophic form is preferred to the continuous structure of the madrigal proper. Among the twenty-one items selected for this recording there are examples of several types of piece, ranging from true Italianate madrigals such as Too much I once lamented, via more popular ?balletts1 such as Fyer, fyer!, to the simple part-songs like A little pretty bonny lass. The variety, imagination, and inspired blending of poetry and music characteristic of the best of the English Madrigal School afford a particular kind of delight in performance, shared equally by singer and listener.
Listen to "Flora gave me fairest flowers" in RealAudio.
| 6976 CD $11.98 |
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Gastoldi Amor Vittorioso Rossino Mantovano Lirum Bililirum Arcadelt Il Bianco e Dolce Cign Anon. La bella Franceschina Verdelot Ultimi Mei Sospiri Anon. Alla Cazza Wert Or Si Rallegri il Cielo Dowland Fine Knacks for ladies Byrd Who Made Thee, Hob, Forsake the Plough Bartlet Of all the Birds The I Do Know Tomkins Too Music I Once Lamented Farmer Fair Phyllis Gibbons The Silver Swan Morley Now Is the Month of Maying Janequin & Verdelot La Guerre Certon La, la, la, la, je ne L'ose Dire Lassus Bon Jour: Et Puis, Quelles Nouvelles? Anon. Mignonne, Allons Voir Si La Rose Passereau Il Est Bel et Bon Arcadelt Margot Labourez Les Vignes Le Jeune Un Gentil Amoureux Willaert Faulte D'Argent |
The Madrigal form, as it developed throughout Europe, is chronicled with precision and great attention to detail by England's King's Singers. From it's original appearance in Italy in the 1530's, the form-characterized by polyphonic texture, and the secular equivalent of the motet-was popular in England, Germany, Spain and France. Madrigals were the music of the people: they were written in the vernacular, expressed common themes of love and desire, and were often accompanied by dancing. This is a highly recommended tour.
Listen to "Fair Phyllis" in RealAudio.
| 6105 CD $9.98 |
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A Little Pretty Bonny Lass Weep No More, Thou Sorry Boy Shoot False Love Now Is The Month Of Maying Four Arms, Two Necks, One Wreathing Hark, All Ye Lovely Saints Above Since Robin Hood Though Philomela Lost Her Love O Wretched Man Weep, O Mine Eyes The Nightingale, The Organ Of Delight Come, Sirrah Jack, Ho! Cruel, Behold My Heavy Ending Fair Phyllis I Saw Sitting All Alone Sing we and chant it On A Fair Morning Oft Have I Vowed |
Is Love A Boy? Say, Love, If Ever Thou Didst Find All At Once Well Met Farnabyl Construe My Meaning Lord! When I Think Cruel, Eilt Thou Persever Fine Knacks For Ladies Strike It Up, Tabor I Love, Alas I Love Thee Farewell, Dear Love See, See The Sheperds' Queen Have I Found Her Lady Your words Do Spite Me Were I A King Come Again Tan Ta Ra, Cries Mars Why Should I Love? This Sweet And Merry Month Of May |
Though the madrigal form was imported from Italy (where it evolved from the frottola), it was readily embraced by the English at the end of the sixteenth century. These mostly a cappella versions by the best of the English composers (thirty-five in all) have both a scholarly (as analyzed in great detail in the accompanying liner notes), and entertainment value; who better than England's cherished King's Singers to bring them, once again, to life? Whether it's "Construe My Meaning," with it's strophic form and chromaticism, or "Now Is The Month Of Maying," with it's more typical bipartite structure for four voices, this CD contains a wealth of enjoyment.
Listen to "Sing we and chant it" in RealAudio.
| 6131 CD $16.98 |
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Now Is The Month Of Maying Farewell, Disdainful No, No Nigella Why Should I Grieve? Sweet Phylida Phyllis, Now Cease To Move Me Too Much I Once Lamented Those Sweet Delightful Lilies Phyllis, Farewell Come To Me Grief, Forever Come, Woeful Orpheus Fair Phyllis I Saw Weep, Weep, Mine Eyes (1st Part)I Fall, I Fall, O Stay Me (2nd Part) And though my love abounding Adieu, Sweet Amaryllis The Nightingale, The Organ Of Delight Hark, All Ye Lovely Saints |
Between 1588 and 1627, the isolation of English musical culture was broken by the influx of Italian music and composers, and during this period a beautiful collection of Madrigals with English words and composers was created. The acclaimed Quink Vocal Ensemble (Kees-Jan de Koning, bass, Harry van Berne, tenor, Paula de Wit, soprano, Machteld van Woerden, soprano, and Corrie Pronk, alto) bring us 18 perfectly-recorded madrigals from this period, three from Thomas Morley, two from Francis Pilkington, two from Thomas Tomkins, two from Thomas Bateson, two from William Byrd, one from John Farmer, four from John Wilbye, and two from Thomas Weelkes. This music is bright and romantic, with a lively grace and harmonic clarity, the result of probably the first English musical "craze!"
Listen to "And though my love abounding" in RealAudio.
| 7444 CD $15.98 |
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Alla Dlce ombra Dura Legge D'Amor Lo Non Son Pero Morto Datemi Pace Vezzosi Augelli Baci, Soavi E Cari Lo Mi Son Giovinetta Si Ch'io Vorrei Morire O Selce, O tigre, O Ninfa Mori Mi Dici Tirsi Un Giorno Piangea Pupilette Amorose Piangete, Occhi Dolenti Clori Son Fido Amante |
From about 1520 to about 1620 the Italian madrigal, which refers to almost any musical setting of secular verse (but especially those whose subject is love and death) of two to eight voice parts, had its brief but brilliant lifetime. Quink, (Kees-Jan de Koning, bass, Harry van Berne, tenor, Paula de Wit, soprano, Machteld van Woerden, soprano, and Corrie Pronk, alto) since its debut in 1978 has established its reputation and following on the international concert scene. "Renaissance" features 14 madrigals, one by Cipriano de Rore, four by Giaches de Wert, three by Claudio Monteverdi, two by Alessandro Scarlatti and four by Alessandro Stradella. The liner notes contain bios of these men, and the words of all the songs in Italian and English. Beautiful harmonies!
Listen to "Lo mi son giovinetta" in RealAudio.
| 7445 CD $15.98 |
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Sestina - Monteverde Ditelo o Fiumi Dara la Notte Ma te Raccoglie O Chiome d' or Dunque Amate Reliquie Zefiro Torna - Moneverdi Era L'Anima Mia - Monteverdi Ohime, Se Tanto Amate - Monteverdi Dolcissima Ma Vita - Gesualdo Weep Weep Mine Eyes - Wilbye Oft Have I Vowed - Wilbye What Is Our Life - Gibbons O Grief Even On The Bud - Morley Draw On Sweet Night - Wilbye |
Claudio Monteverdi (1567 - 1643) was an Italian composer, violinist and singer. His work marks the transition from Renaissance to Baroque music. During his long life he produced work that can be classified in both categories, and he was one of the most significant revolutionaries that brought about the change in style. Here for the first time on CD is John Elliot Gardiner, one of World's top conductors, in his earliest recordings feauring the madrigals of Moneteverdi (including his 6 madrigals "Sestina") and others such as John Wilbye, Orlando Gibbons and Thomas Morley.
Listen to "Ditelo o Fiumi" in RealAudio.
| 8436 CD $15.98 |
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La giovinetta pianta O come Ë gran martire Sovra tenere erbette O dolce anima mia Stracciami pur il core O rossignol Se per estremo ardore Vattene pur crudel O Primavera Perfidissimo volto Ch¼io non t¼ami cor mio Occhi un tempo mia vita VivrÚ fra i miei tormenti Lumi miei cari Rimanti in pace |
La Venexiana presents its latest recording achievement, a set of madrigal interpretations
of a work that is a jewel and a success by any standard: the Third Book of Claudio
Monteverdi, undoubtedly the greatest composer of the genre. The reason why this
book of madrigals enjoyed such success is soon told. The Third Book is a colourful
sequence of styles and forms. We find virtuosic works (with two or three soprano
voices), works in chromatic style, madrigals in concitato, declamatory style
and courtly madrigals. Briefly put, it is the summa of what at that period one
would have understood by the word "madrigal" and its most representative
forms. Moreover, Monteverdi¼s choice of poets in this book is typical of those
of the nuovo stile, including Torquato Tasso and Battista Guarini, ideal to
display "serious" emotions and feelings.
| 7048 CD $15.98 |
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The Italian madrigals are some of the most exquisite vocal works ever written. This is the music found in Giovan Tomaso Lambertini¼s first book of madrigals. They are fifteen stanzas by Messer Bernado Tasso composed in 1544, during the poets period of residence in northern Europe with the patronage of the prince of Salerno. While other composers set some of the stanzas to music, Giovan adorned all fifteen of them with music and completed the works in his first book with six poetic works by the composer himself. It was published in 1560, the same year as some of Bernado¼s most important works. Experience this beautiful music for four voices created by various groupings of the Fortuna Ensemble, conducted by Roberto Cascio.
Listen to "Stringo la bella man" in RealAudio.
| 6573 CD $15.98 |
The madrigal composed in England during the late sixteenth century and early seventeenth centuries include some of the finest music of the period and are possibly superior in truth and expressiveness even to the madrigals composed in Italy, where the form was invented and flourished over a long period. Faced with many hundreds of possible candidates for inclusion in the edition, the editor worked on the principal that the major composers would each be represented by several madrigals, and the lesser figures by one or more. But no madrigal would be included if it fell below the high standard set by the collection as a whole. Over 60 madrigals are included.
| 9094 SONGBOOK $18.95 |
This collection gathers together nearly sixty of the finest examples of the secular choral repertoire into one volume. Due space is given to the magnificent sixteenth century madrigals of England and Italy, with favorite works by Gibbons and Morley placed alongside less familiar selections by Lassus, Marenzio, and Weelkes. German and French pieces are also represented, for example, with Passereau's ever-popular Il est bel est bon. Works by Haydn and Schubert lead to the nineteenth century repertoire, which includes Brahms's lovely Nachtwache, from Five Songs, Op. 104, and Pearsall's exquisite Lay a Garland. The survey is completed by Debussy's Trois Chansons de Charles D'Orleans and examples of the glorious outpouring of English Romantic partsongs, with works by Elgar, Parry, Stanford, Britten, Finzi, and Vaughan Williams. Ranging from the late fifteenth to the twentieth century, and spanning all major European countries, this is a masterly survey suitable for all choirs. Clifford Bartlett has prepared completely new editions of all pre-twentieth century pieces, going back to the earliest and most reliable manuscript or printed sources. English translations are provided to aid understanding, with playable keyboard reductions in every case.
| 9097 SONGBOOK $16.95 |
With a preface by Simon Carrington describing the madrigal style and its
history, as well as extensive performance notes for each piece, this scholarly
collection is written for four mixed voices. Some of these can be heard performed
by the King's Singers on their "Madrigal History Tour."
With a preface by Simon Carrington describing the madrigal style and its history, as well as extensive performance notes for each piece, this scholarly collection is written for four mixed voices. Some of these can be heard performed by the King's Singers on their "Madrigal History Tour.
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Dindirin, Dindirin
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Gentil Senora Mia (Vasquez)
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Fortune Once Made Us Happy (Vecchi) |
A selection of classic Italian madrigals, mostly a cappella and all with English lyrics.
| 9180 SONGBOOK $5.95 |
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All Ye Who Music Love |
This collection includes five accessible and appealing madrigals arranged for male voices. Excellent for contest and festival. TTB
| 9162 SONGBOOK $3.95 |
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Ecce Puer (James Joyce) SATB |
Delightful madrigals composed by noted arranger Robin Holloway set to the poems of T.S. Elliot and one of James Joyce. Fun!
| 9189 SONGBOOK $11.95 |
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Web Stormy Almond Tree Just As The Ash-Glow` Within Minutes Our Bodies In The Shower She'd Buy Things All The Homely Arts And Crafts In April Who's The More To Blame The Print Of Soles My Pomegranate Against Dieting |
These Madrigals were written especially for the Hilliard Ensemble with who Gavin Bryars has worked for many years. The texts are by the poet and writer Blake Morrison.
| 9194 SONGBOOK $19.95 |
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The Queen to Me a Royal Pain Doth Give SATB |
A whimsical collection of original a cappella madrigals written by the maestro of classical mirth. Your ensemble will have as much fun singing them as the audience does listening.
| 2217 SHEET MUSIC $11.98 |
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It Was A Lover And His Lass |
Birthday Madrigals was written at the invitation of Brian Kay, conductor of the Cheltenham Bach Choir, to celebrate the seventy-fifth birthday of the great jazz pianist George Shearing. The first performance was given, in his presence, in Cheltenham Town Hall on June 3, 1995 by the Cheltenham Bach Choir with Neil Swainson (double bass), John Rutter conducting. The seed of the composition was 'It was a lover and his lass,' witten in 1975. The other four movements, their texts also drawn from the madrigal era (hence the work's title), were added in 1995 to make the present choral suite.
| 9354 SONGBOOK $10.95 |
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Cool April (April is in my Mistress' face) SATB |
The whole Doo-Wop Madrigal project started with Garrison Keillor. he called to invite the Gregg Smith Singers to appear on his American Radio Company program. He was, he said, particularly interested in some "Doo-Wop" Billings -- William Billings, that is, the great American composer from the Revolutionary War era. By the next conversation, the concept had metamorphosed into "Doo-Wop Madrigals", that is, taking standard Madrigal literature and giving it new life by creating jazz interpreations which still retain all the essential musical elements which made them such great musical masterpieces in the first place. Madrigals are fun to sing, but the Jazz approach adds entirely new dimensions to some very familiar ground. While word painting is a vital element in Renaissance choral music, the substitution of scat sounds for words and the addition of vocalized percussion highlights the sometimes subtle rhythmic and contrapuntal aspects of the works, bringing a different kind of clarity to the music itself. Finally, the blues treatments added a new poignancy to the more solemn works. SATB a cappella.
| 9161 SHEET MUSIC $11.95 |
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Leggiadrissma, eternal Primavera; Gia Le Muse |
Includes 15 Italian madrigals written for six voices.
| 9319 SONGBOOK $17.95 |
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Sing We And Chant It (Thomas Morley) 3 PART MIXED |
Introduce junior high and middle school students to the joys of madrigal singing with this outstanding collection. Perfect for young , developing voices, this collection features some of the best known madrigals skillfully arranged for three part mixed voices by Theron Kirk. From the"fa la la" madrogals of Morley to the German part song of Hassler, each is carefully set to compliment the voice ranges and qualities of the devolping male singer. An excellent addition to the repertoire of the changing voice.
| 9265 SHEET MUSIC $4.95 |
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Sing We and Chant It (Thomas Morley arr. Russell Robinson) |
Russell Robinson has now adapted this widely performed madrigal "Sing We and Chant It" for treble choirs. It's superbly reduced to preserve the harmonic and melodic structure of the original 5-part work. The quintessential madrigal, it features dynamic variations, much repetition for quick learning, and an open score for easy reading. Russell Robinson has adapted "Fire, Fire", one of Thomas Morley's most enduring madrigals, for 3-part voices, just right for today's young and developing choirs. The male part has a limited, 5-note range...great for changing voices. The independent vocal lines make it an excellent learning piece and a perfect "first madrigal" for any choir. Carefully tailored to the needs of middle school and junior high singers. "All Ye Who Love Music" was given its English text by Thomas Oliphant in 1837. This arrangement has been lowered one step from the original key of G major to F major. The soprano (Part 1) melody is basically the same; however, Parts II and III have been arranged iin such a way as to limit the range and for ease of singing, while retaining the sound and flavor of the original. As will all Renaissance madrigals, this piece should be sung lightly and lyrically. This trio of fresh, new, madrigals from Jay Althouse is a valuable addition to the choral repertoire mixed choirs. The first is in a traditional madrigal style, with a "fa la la" section and features and echo chorus. The second is lush and lovely, homophonic in nature, with a thought-provoking text. The third is up-tempo and includes an optional hand drum: it could be used as a processional or at a madrigal dinner. Use any or all of the three for concerts, contests, and adjudications.
| 9292 SHEET MUSIC $6.50
3-Part Mixed |
| 9288 SHEET MUSIC $6.50
SSA |
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A Holiday Madrigal |
"A Holiday Madrigal" - This merry madrigal will be a nice addition to your women's choir's a cappella seasonal repertoire. Characteristic counterpoint makes this original Donald Moore piece a familiar form but, unlike many Renaissance chorals, the vocal ranges, subject matter, and number of voice parts have been specifically designed for developing choirs. A festive feature for holiday concerts and Madrigal feasts. "A Joyful Madrigal" - Here's a new work by Donald Moore in madrigal style that's appropriate for general or Christmas use. Dynamic changes create interest; repetition makes for quick learning. Perfect when you need just one more piece for your Christmas or Spring concert. Lots of optional notes and is an outstanding learning piece for young and developing choirs. "A Merry Madrigal" - A "fa la la" section in this joyful number makes it appropriate for both Christmas and general use. It's a fine learning piece in the madrigal style, yet the singable melodies make the independent vocal lines easy to learn. Don Moore is a master at creating works that develop choral singing, teach a classic choral style and, most importantly, sound great. Use it in concerts and at festivals and adjudications.
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9290 SHEET MUSIC $4.95
SAA |
| 9291 SHEET MUSIC $4.95
SAB |
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Definition |
This very informative Madrigal Dinner kit includes a teacher's manual covering "everything" you ever wanted to know about a Madrigal Dinner. Includes organization, publicity, costuming, music, scripts, make up, staging, lighting, food service, etc. etc. Nineteen pages of repertoire and music sources are divided into categories and form perhaps the finest Madrigal Dinner list ever compiled. The kit also includes two separate and different dinner scripts, plus 24 pages of hitherto unpublished Madrigal Dinner music. A great fundraiser!
| 6293B Book & CD $24.98 |
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