THE ROYAL WIND MUSIC - Amazon S3
SWEETE MUSICKEOF SUNDRIEKINDESEnglish consort music fromthe 16th and 17th centuryTHE ROYAL WIND MUSICDIRECTED BY PAUL LEENHOUTS
Cover: Sir Peter Lely (1618/1680). A Boy as a Shepherd (1658/60). Dulwich Picture Gallery, London
Sweete Musickeof Sundrie KindesEnglish consort music from the 16th and 17th centuryTHE ROYAL WIND MUSICdirected byPaul LeenhoutsPetri Arvo Stephanie Brandt Ruth Dyson Eva Gemeinhardt Arwieke GlasHester Groenleer Karin Hageneder Kyuri Kim Marco Magalhães María Martínez AyerzaFilipa Margarida Pereira Anna Stegmann: renaissance recorders
[1]Miserere [a5] (03’30’’)A book of in nomines and other solfaigne songes, British Library, Add MS 31390Robert (?) Mallorie(d. 1572)[2]A Songe called Trumpetts [a6] (01’33’’)A book of in nomines and other solfaigne songes, British Library, Add MS 31390Robert Parsons(c. 1530-1572)[3][Untitled] (Fantasia) [a6] (03,36’’)Oxford, Christ Church Library, MS 2, MSS 403-08 & 423-8[4]Coperario, or Gray ’s Inn, the F irst [a6] (01,15’’)Beaumont, Masque of the Inner Temple and Gray’s Inn, 1613[5]Alas, it is I that wot not what to say [a3] (03’47’)Ritson’s MS, British Library, London, Add MS 5465[6]W hen shall my sorrowful sighing slack? [a4] (02’54’’)The Mulliner Book, British Library, London, Add MS 30513Thomas Tallis(c. 1505-1585)[7]Galliard [a6] (01’13’’)Newe ausserlesene Paduanen und Galliarden, Hamburg, 1614, no. 25William Brade(1560-1630)[8]Galliard [a5] (02’09’’)Newe ausserlesene Paduanen, Galliarden., Hamburg, 1609[9]Semper Dowland semper dolens [a5] (07’07’’)Lachrimae, or Seaven Teares ., London, 1605John Coprario(c. 1570-1626)Edmund Turges(c. 1450-?)John Dowland(c. 1563-1626)[10] M. Buctons Galliard [a5] (00’54’’)Lachrimae, or seven teares., London, 1604[11] Susanna Galliard [a5] (01’04’’)Ausserlesener Paduanen und Galliarden., Hamburg, 1607[12] A Fancy [a4] (03’24’’)British Library, London, Add MS 30485, f.504James Harding(c. 1560-1626)
[13] In Nomine [a5] (03’47’’)Bodleian Library, Oxford, MSS C.64-9 /MSS D.212-6[14] Browning [a5] (03’36’’)British Museum, London, Add MSS 17792-6[15] Hackney [a5] (00’59’’)British Library, London, Add. MS 31390[16] Pavan: The Image of Melancholly [a5] (05’35’’)Pavans, Galliards, Almains and Other Aeirs ., London, 1599T homas Weelkes(1576-1623)William Byrd(1543-1623)Clement Woodcock(fl. c. 1575)Anthony Holborne(d. 1602)[17] Galliard: Heigh ho Holiday [a5] (01’24’’)Pavans, Galliards, Almains and Other Aeirs ., London, 1599[18] William’s Love [a5] (02’05’’)British Library, London, Add. MS 10444Anonymous(1st half 17th century)[19] The Bull Masque [a5] (01’13’’)British Library, London, Add. MS 10444John Bull(1562-1628)[20] The Cupids’ Dance [a5] (01’26’’)British Library, London, Add. MS 10444Anonymous(1st half 17th century)[21] The Maypole [a5] (02’33’’)Beaumont, Masque of the Inner Temple and Gray’s Inn, 1613Anonymous(1st half 17th century)[22] [Anti-masque] [a5] (02’06’’)British Library, London, Add. MS 10444Anonymous(1st half 17th century)All arrangements by Paul LeenhoutsDiminutions by María Martínez Ayerza [4, 17, 19], Paul Leenhouts [8], Eva Gemeinhardt [17],Ruth Dyson [18], Filipa Margarida Pereira [21] and Hester Groenleer [22]Total time: 58’50”5
InstrumentsRenaissance recorders by Adriana Breukink (The Netherlands) and Bob Marvin (Canada) after the Bassanomodels at the ‘Kunsthistorisches Museum’, Vienna, belonging to The Royal Wind Music Foundation, theConservatorium van Amsterdam and María Martínez Ayerza:SnodSSgAfAdTTgBtfBtcBFBSCBSopranino in g’’Soprano in d’’Soprano in c’’Alto in g’Alto in f ’Tenor in d’Tenor in c’Basset in gBasset in fGreat bass in cContrabass in FSub-contrabass in BPASB:RD:EG:AG:HG:KH:KK:PL:MM:MMA:FMP:AS:Petri ArvoStephanie BrandtRuth DysonEva GemeinhardtArwieke GlasHester GroenleerKarin HagenederKyuri KimPaul LeenhoutsMarco MagalhãesMaría Martínez AyerzaFilipa Margarida PereiraAnna Stegmann6
CB5-cB2-fBt6-FB1-T4Gray's Inn5Alas, it is I6When shall.7Galliard a65-cB1-T1-T8Galliard a55-FB2-T3-T9Semper Dowland5-SCB4-cB2-fA10 11 Buctons & cB12A Fancy2-fBt3-cB13In -fA2-fBt3-cB16Image of Bt4-cB17Heigh-ho B18William's Love1-fA4-cB5-FB2-T19The Bull Masque2-fBt5-FB5-FB1-T20The Cupid's Dance21The Maypole5-FB1-S3-fA5-SCB4-cB1-T2-gBt fBt4-cB3-cB3-S2-S1-T3-cB4-T4-FB2-fBt5-FB5-T4-dT7
EnglishSweete Musicke of Sundrie KindesIn the 1530s the Bassano brothers of Venice wererecommended to the court of King Henry VIII (14911547) as musicians, composers and instrument makers.In correspondence withthe English court HenryVIII’s Venetian ambassador Edmund Harvel (d.ca.1550) wrote: ‘They arefour brethren, all excellentand esteemed above allothers in this city in theirvirtue. Whereby I hopethey shall be very gratefulBassano makers’ markto the King’s HighnessTenor recorderand to Your LordshipThe Metropolitan Museum of Art,who is also delighting inNew Yorkgood music, not vulgarlynor in vulgar music, as I understood. Besides, it shall beno small honour to His Majesty to have music comparable with any other prince or perchance better and morevariable. And because these men are poor and couldnot set forwards in so costly a journey without help ofmoney as well for their own costs as for conveyance oftheir instruments and other necessaries, I have deliveredthem 160 crowns of gold .’.King Henry VIII himself showed a live-lasting passion for music and was particularly accomplished oninstruments including lute, harpsichord, recorder, fluteand virginals, and would often entertain the court bysinging and performing his own compositions.It is difficult to track the exact year that the Bassanobrothers first arrived at Henry’s Court in London. They8seem to have travelled back and forth starting in 1531before finally settling in England in 1539. The Bassanosfounded a consort of five recorders, being joined in 1550by Augustine Bassano (d.1604) to form a six-memberconsort that was manned principally by their offspringuntil the unification of wind consorts into one groupin the 1630s.The repertory of this ‘royal recorder consort’ consistedof fantasias as well as dances and instrumental arrangements of motets and madrigals. The consort, as Augustine Bassano specified in a document from 1564, was‘bounden to give daily attendance upon the Queen’sMajesty’. Consorts provided entertainment and musicfor a wide variety of court activities, and provided occupation for many professional musicians and composers.In the theatre, where consort music was frequentlyperformed, instrumentation would often be used according to symbolic associations of particular instruments. Strings, including viols and violins, representedharmony, unity or agreement; reed instruments hadmagical associations and were regularly involved in evilacts; the soft and sweet sound of flutes or recorders, occasionally referred to as ‘still music’, suggested to symbolise scenes linked to supernatural events or sometimesdeath.In his allegorical epic poem The Faerie Queene, writtenin praise of Queen Elizabeth I between 1590 and 1596,the English poet Edmund Spenser (ca.1552-1599) includes the following verse:And all the while sweete Musicke did applyHer curious skill, the warbling notes to play,To driue away the dull Melancholy;The whiles one sung a song of loue and iollity.
During the late renaissance English musicians andsignificant appearance by the end of the 16th century.writers did all agree upon the sweetness of choral singHackneymen had already become so numerous in cering, organ and consort playing; ‘sweetness’ was contain parts of London that they required regulation, andsidered to be a principal quality measure of a musicalin general, horse-related misbehaviour increased. Menperformance. Proof of the quality of English cathedralinjured themselves - and their horses - when wanderingmusic comes from the journal of Lieutenant Hammond,home in the dark after an evening of drink.a military officer from Norwich whoAlcohol-related behaviour sporadicallymade a tour of twenty-six counties inoccurred in church as well: throughout his1634-35. Time after time in his visitscareer at Chichester Cathedral composerto cathedrals he reports on hearingand organist Thomas Weelkes was repeatwonderful singing and incomparableedly reprimanded by the church authoritiesplaying of organs and other instrufor absence, intoxication and bad language.ments, whereby all ‘tunable voicesA report to the Bishop of Chichester frommade a melodious and heavenly har1619 states: ‘Dyvers tymes & very oftenSweete Musicke of Sundrie Kindesmony, able to ravish the hearer’s ears’.come so disguised eyther from the Taverne[after Thomas Ford, 1607]The Miserere by Mallorie, the openor Ale house into the quire as is muche to being piece of this recording, certainlylamented ’. Yet Thomas Weelkes, who reserves the ideal to create sweet harmony within imitaceived his Bachelor of Music Degree from New Collegetive voices accompanying a cantus firmus which, by itself,in Oxford in 1602, composed one of the most delicatecleverly enters the words Miserere mei into a repeatedIn Nomine fantasies of his time in a magnificent polyrhythmical sequence. Mallorie’s work is included in aphonic setting of the plainchant Gloria Tibi Trinitas,manuscript held at the British Library in London undertaken from the Benedictus section of John Taverner’sthe title of A booke of In nomines and other solfainge songs offamous Mass.v, vi, and vii parts for voices or instrumentes. Written in aClement Woodcock served as lay clerk, singer andtable-book format with each player’s part facing outwardsorganist at King’s College in Cambridge, Canterburyto a different side of the table, the manuscript offers a richCathedral and Chichester Cathedral. Robert Parvariety of fantasias, In Nomine settings and textless arsons was appointed Gentleman of the Chapel Royalrangements of motets, anthems and secular works.in 1563: he is believed to have drowned in the RiverThe collection, dating from circa 1578, also includesTrent in 1572 and was succeeded by William ByrdA Songe called Trumpetts by Robert Parsons and Hackin the same year. References can be found that Byrdney by Clement Woodcock, two interesting examples ofwas ‘bred up to musick under Tho.[mas] Tallis’ at theRenaissance programme music. A Songe called TrumpettsChapel Royal. A composer of great fame, Williamcontains a mixture of rhythms and signal calls whichByrd wrote works in almost every sacred to secularmight have been in use by the English army at the time.genre of the time. His remarkable output of keyboardThe Hackney, or public carriage for hire, made its firstrepertoire include fantasias, pavan and galliard pairs9
and virtuosic variations upon well-known songs andground basses. The popular tune Browning frequentlyserved as the basis for instrumental variations entitledThe Leaves be greene, The Nutts be browne or BrowningMadame. The original song contains the following text:The leaves bee greene,the nuts be browne;thay hange soe highethay will not come downe.Byrd wrote a set of twenty variationsupon the Browning melody using thetune in all five voices including intricateinteractions of imitative motives andchanges of rhythmic proportions.Byrd’s teacher Thomas Tallis servedas an organist at Dover Priory andCanterbury Cathedral before obtaining an appointment as Gentleman ofthe Chapel Royal at St James’s Palace inLondon in 1543. Most of his keyboardmusic and partsongs has been preservedin a manuscript anthology compiled byThomas Mulliner between 1550 and1560, which is known as the MullinerBook. The lamenting song When shall mySorrowful Sighing slack? is included as akeyboard solo work and a 4-part settingin this compilation also appears in a fewother manuscripts.Similar to the poetry and music ofmedieval troubadours, Edmund Turgesincludes the courtly love theme of refusal and abandonment in his song Alas itis I that wott nott to say. Practically noth10ing is known about the life of Turges, a composer activeduring the reign of Henry VII (1485-1509) except forthe fact that he joined the Fraternity of St Nicholas, aLondon Guild of Parish Clerks, in 1469. Since 1274 theParish Clerks were primarily concerned with worship inchurch and occasionally with the education of children. Alas it is I that wott nottto say is included in the Fayrfax Book,a compilation manuscript from circa1505, named after the composer RobertFayrfax (1464-1521).During the reign of Queen Elizabeth(1558-1603) melancholy became fashionable among intellectuals and artistsWilliam Byrd,: BrowningOxford Mus 984 fol 68in England and was not only considered one of the humours at the time butalso turned out to be a source of creative inspiration. Dowland published hislute solo work Semper Dowland, semperDolens in an arrangement for five violsand lute in Lachrimæ or Seaven Teares(London, 1614). The solo version canbe found under various titles in different lute manuscripts and differs significantly with the consort version.According to the English lutenistand musicologist Diana Poulton, JohnDowland might have been inspired bya passage from The Diary of John Manningham, a recordbook kept by theyoung lawyer Manningham (d.1622)covering the period from January 1602to April 1603. On December 7, 1602John Dowland: Lachrimae, or SeavenManningham writes: ‘Doleo quia semTeares, London, 1605per dolens dolero nescio. Quo modo nisi
per Dolores sanabitur, qui per delectationes infirmatur?’both grave, and light, in five parts, for Viols, Violins or(‘I sorrow, because ever sorrowing, I know not how toother Musicall Winde Instruments published in Londonsorrow. He that is made sick through delights, how shallin 1599. Anthony Holborne, ‘Gentleman and Servanthe be healed, save by sorrows?’).to her most excellent Maiesti’ was a prolific composerDowland’s M. Buctons Galiard, no. XIX in Lachrimæ orof cittern and consort music during the reign of QueenSeaven Teares, appears as Susanna Galliard in the HamElizabeth I. After entering the service of Sir Robertburg 1607 edition of Ausserlesener Paduanen und GalCecil, Earl of Salisbury in the 1590s, he frequentlyliarden: mit fünff Stimmen, auff allerley Instrumenten, undtravelled as a letter courier ‘for her Maiesties service’.insonderheit auff Fiolen zu gebrauchen (‘Selected pavansAccording to a letter written by his wife Elisabeth Marand galliards with five voices, to be played on all sortsten, he suffered from a bad cold after returning from aof instruments, in particular on violins or viols’). Bothshort visit to The Netherlands in November 1602, whichtitle and tune of this galliard refer to Orlando di Lassus’caused his decease by the end of that month.renowned chanson Susanne un Jour.The preoccupation with sadness is noticeable inNext to Dowland, the English composer, violinist andHolborne’s pavan The Image of Melancholy which startsgambist William Brade gained a significant reputation inwith a motif that is associated with tears - a stepwiseGermany and Denmark. In 1614 Brade became directordescending melody flowing from an initial dotted note.of the ‘Rathsmusik’ in Hamburg and inThis specific opening theme can also1619 he was appointed Capellmeisterbe found at the beginning of Dowto Johann Sigismund, margrave ofland’s famous Lachrimae Pavan toBrandenburg. In addition to his anwhich the composer adds the follownual salary he received six dinners anding remark: ‘The teares which Muall other meals weekly, with sufficientsicke weeps’ can be pleasant: neitherbeer, a stoup of wine daily, free lodgare teares shed always in sorrow butings and all other expenses while travsometime in joy and gladnesse’.elling with the margrave. In HamburgThe masque was one of the mostBrade published two collections underpopular forms of court entertainmentthe title Newe Ausserlesene Paduanen,in England in the 17th century. As apredecessor of the opera the masqueGalliarden, Canzonen, Allmand Undoffered ornate scenery, poetry, music,Coranten Auff Allen Musicalischen Indance, speech, and dialog with the austrumenten Lieblich zu gebrauchen: thedience by the performers. Any masque1609 edition feature 5-part, and theevent was made up of a series of dances1614 edition 6-part dances.and included stately performances byThe first dance collection to appearBill from The Masque of the Inner Templearistocrats and occasionally the Kingin England is Holborne’s Pavans, GalandGray’sInnor the Queen, symbolising harmony,liards, Almains, and other short Aeirs11
decency and order. In sharp contrast anti-masques,instrumental music in which the prince ‘could play hisdepicting chaos and disorder, were presented before orpart exactly well on the Bass-Viol’. The fugal fantasiabetween the acts; dancers put on absurd or evil masksbecame one of the most popular music forms for conand dressed up as animals, witches,sorts of string or wind instruments. Andevils or barbarians. The Masque of theinteresting 4-part example is the FancyInner Temple and Gray’s Inn was writby James Harding, a flute player andten by the theatre dramatist Francismember of the Royal Wind Music ofBeaumont. Its performance took placeKing James I (reigned 1603-1625).on 20 February 1613 in the BanquetAs the composer and music theoing House at Whitehall Palace, as partrist Thomas Morley (ca.1557-1602)of the extravagant wedding festivitiesexplains in his Plaine and Easie Introsurrounding the marriage of Princessduction to Practicall Musicke (London,Elizabeth, daughter of King James I,1597): ‘The most principal and chiefestand Frederick V.kind of music which is made without aTwo dances for the Masque of theditty [without lyrics] is the Fancy [fanInner Temple and Gray’s Inn have surtasia], that is when a musician takethvived: one is from the hand of the coma point at his pleasure and wrestethposer, viol and lute player John Cooperand turneth it as he list, making eitherwho preferred to present himself asmuch or little of it according as shallGiovanni Coprario. Besides danceseem best in his own conceit. In thisThomas Morley: A Plaine and Easiemusic for masques, he wrote about onemay more art be shewn than in anyIntroduction to Practicall Musicke,hundred fantasias ranging from threeother music because the composer isLondon, 1597to six voices: most of Cooper’s five andtied to nothing, but that he may add,six part fantasias are transcriptions or imitations of hisdiminish, and alter at his pleasure. And this kind mayown madrigals, including the textless piece on track 3.bear any allowances whatsoever tolerable in other musicContemporary authors mention that Coprario taughtexcept changing the air and leaving the key, which inmusic to the children of King James the First and thatFancy may never be suffered ’Prince Charles was a scholar of Coprario; in particular his fantasias delighted Charles more than any otherPaul Leenhouts12
EspañolEn la década de 1530, los hermanos Bassano, procedentes de Venecia, fueron recomendados al rey EnriqueVIII de Inglaterra (1491-1547) como músicos, compositores y constructores de instrumentos. En su correspondencia con la Corte inglesa, el embajador de EnriqueVIII en Venecia, Edmund Harvel (fallecido alrededor de1550) escribe: “Se trata de cuatro hermanos, todos ellosexcelentes y
instruments including lute, harpsichord, recorder, flute and virginals, and would often entertain the court by singing and performing his own compositions. It is difficult to track the exact year that the Bassano brothers first arrived at Henry’s Court in London. They seem to have travelled back and forth starting in 1531
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