Flora Gave Me Fairest Flowers
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CD Details
- Released: 2003
- Originally Released: 2003
- Label: Collegium
Tracks:
- 1.Thomas Weelkes: Hark, all ye lovely saints above
- 2.William Byrd: Though Amaryllis dance in green
- 3.John Bennet: Round about in a fair ring
- 4.Thomas Tomkins: Adieu, ye city - prisoning towers
- 5.Thomas Wilbye: Flora gave me fairest flowers
- 6.Thomas Vautor: Sweet Suffolk owl
- 7.Thomas Weelkes: As Vesta was from Latmos hill descending
- 8.William Byrd: Lullaby
- 9.William Byrd: This sweet and merry month of May
- 10.Thomas Morley: Now is the month of maying
- 11.John Farmer: A little pretty bonny lass
- 12.Thomas Morely: Fyer, fyer!
- 13.Thomas Tomkins: Too much I once lamented
- 14.Thomas Morley: My bonny lass she smileth
- 15.Thomas Weelkes: Ha ha! this world doth pass
- 16.Michael East: Quick, quick, away, dispatch
- 17.Orlando Gibbons: Dainty fine bird
- 18.John Dowland: Come again! Sweet love doth now invite
- 19.Thomas Vautor: Mother, I will have a husband
- 20.Thomas Wilbye: Draw on, sweet night
- 21.Robert Ramsey: Sleep, fleshly birth
- 22.Thomas Wilbye: Weep, weep, mine eyes
- 23.Thomas Weelkes: Death hath deprived me
- 24.Orlando Gibbons: The silver swan
- 25.Thomas Wilbye: Adieu, sweet Amaryllis
Product Description:
"an absolute joy" - Music and Musicians Hi-Fi News and Record Review Record of the Month The sixteenth-century madrigal was an Italian form. The term ‘madrigal' 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 ‘balletts' 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