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Orlando Gibbons - Thomas Tallis Lamentations of Jeremiah 1 and 11



Label: The Classics Club - 36 • Format: Vinyl LP, Album • Country: UK • Genre: Classical • Style: Medieval
Download Orlando Gibbons - Thomas Tallis Lamentations of Jeremiah 1 and 11

The Lamentations of Jeremiahthe section in the Bible that follows the Book of Jeremiah the Prophet, is a set of compelling verses of specific structure. These verses demand a high degree of depth and discipline from any composer setting them musically. Both Thomas Tallis c.

The first five stanzas are then sung, each stanza prefaced by a singing of the Hebrew letter Aleph, Beth, Ghimel, Daleth, He… which identifies it. Curiously, Tallis begins his "Daleth" stanza with a line from the prior stanza. The fifth stanza closes with a line of text, Jerusalem convertere ad Dominum Deum tuumenjoining Jerusalem to turn to the Lord. Tallis's work concludes there. Like others before them, Tallis and Couperin followed Gregorian example in Orlando Gibbons - Thomas Tallis Lamentations of Jeremiah 1 and 11 all of the text, from the announcement Incipit Lamentatio to the exhortation Jerusalem convertereincluding musical renditions of the Hebrew letters.

A giant among Tudor polyphonists, Tallis earned a lasting reputation in sixteenth-century England, not only because of the remarkable quality of his work, but also because his fourscore years had enabled him to serve four monarchs: Henry VIII, Edward VI, Mary, and Elizabeth.

Before he served as Organist and Gentleman of the Chapel Royal, he gained wide musical experience in such varied ecclesiastical establishments as Waltham Abbey, the city church of St. Mary-at-Hill, Billingsgate, and Canterbury Cathedral.

These appointments drew mainly upon Tallis's skill as a singer and organist, and although here is little doubt that he began to compose before the yearwhich saw Look What Youve Done - Bread - The Best Of Bread dissolution of Waltham Abbey and the immediate loss of his Post there, it was not until the more leisured years of service in the Chapel Royal that he produced the bulk of his liturgical polyphony.

Tallis was a prolific composer of both Latin and English church music, much of which has come down to us in reasonably complete form. His music for strings, for keyboard instruments, and for madrigal groups has survived in such small quantity that it is certain to represent only a fraction of what he actually wrote. His church music, however, is still sung today and still retains those ineradicable signs of nobility and greatness that gave it power to endure the ages.

Besides the anthems and services he composed for the Anglican ritual, he contributed nine tunes to Archbishop Orlando Gibbons - Thomas Tallis Lamentations of Jeremiah 1 and 11 Whole Psalter. One of these tunes, slightly re-arranged, has gained fame as a hymn-tune under the name of Tallis's Canon, while another was used by Vaughan Williams in his Fantasia on a Theme by Thomas Tallis for double string orchestra.

Churches all over the world continue to use Tallis' settings of the Litany, and of the Versicles and Responses. The anthems fall into a number of classes whose margin of overlap has so far not been satisfactorily defined. Certain of them were undoubtedly written in the first instance for use in the earliest services in the vernacular, and were eventually published by Day in his Morning and Evening Prayer.

Others were adapted, possibly by Tallis himself, from Latin motets; and after his death, the process of adaptation continued, even to the extent of providing a prayer against the success of the Spanish Armada.

In his deeply emotional and expressive setting of the Lamentations of JeremiahTallis has drawn upon part of the text chanted in the first Nocturn of Maundy Thursday. The awe and solemnity of Holy Week is faithfully mirrored in the contemplative polyphony of five men's voices.

There is no place here for the brightness of choirboys' voices, the range of the music as well as the occasion for which it was written giving ample evidence of the darker tone colors required. In this work, Tallis has excelled himself, and has created sixteenth-century vocal Orlando Gibbons - Thomas Tallis Lamentations of Jeremiah 1 and 11 that has few, if any, peers.

He has structured the work in two parts, divided between beth and ghimel. In Queen Elizabeth granted Tallis and his pupil William Byrd a joint monopoly of the printing of music and music-paper, and the two composers replied by dedicating to her their Cantiones Sacraepublished in the same year. Elizabeth had by then reigned for seventeen years, and accordingly each composer contributed seventeen motets to the collection. Hidden away amongst Tallis' so-called motets are freely-composed psalm settings and cantus firmus compositions including antiphons, responsories, and hymns.

The two last-named categories normally require the addition of plainsong verses if the true liturgical form is to be recreated; and it is precisely this contrast between plainsong and polyphony that provides not The Prayer Cycle - Alanis Morissette - The Collection form but artistic cohesion and integrity.

Usually Tallis composed only the alternate verses of hymns, and took it for granted that a set beginning "Adesto nunc propitius" Walk Through Fire - Keb Mo - The Reflection be, in performance, begun Salvator mundi Dominethese three words being intoned by a single voice and followed by the remainder of the verse, entirely in plainsong, by the choir or congregation.

Although there are occasional exceptions to the custom O natal lux de lumine the majority of Tallis' hymn settings adhere to the old tradition of alternatim performance, hallowed by rubrics in medieval service-books such as the Erlyngham Breviary, now in the chapter library of Salisbury Tyree* Featuring J.M.D. - Move Your Body. One page of this beautifully illuminated manuscript tells us that in hymn singing "the ruler of the choir should begin the hymn as far as the second or third word; and the choir on the side of the officiating priest continue that verse, and the other part of the choir on the other side, the next verse; and so they alternate each verse to the end: which is to be observed throughout the whole year: the choir at the end of the last verse responding Amen.

Just as the splendid Elizabethan dramas had their roots in folk plays, so the Elizabethan songs and madrigals drew from popular songs and ballads, sung by "tinkers, milkmaids and carters" in other words, English folk music.

The audience for the new plays and songs was the London population, not just the high-born, but also the low-born, perhaps because of these folk roots. The best secular documented music, like the best drama, occurred afterbut the works of the s and early '80s are fascinating Loneliness of Night - Gareth Evans - Finding Lights, as they represent this transition from folk to art songs, as in Buy New Broom.

The influential and respected William Byrd c. His first such publication, Psalms, Sonnets and Songs of Sadness and Pietymade into Music of Five partswas the first madrigal book by any composer to be published in England. It appeared in The "Epistle to the Reader," with which Byrd prefaced his volume, is a perfect example of the "music for daily use" approach:.

With his usual attention to the practical considerations of performance, Byrd in his foreword lists this song with a number of others as those "of the highest compasse. The first selection, My Sweet Little Darlinga consort song from an early 17th-century set of viol partbooks in the British Museum, was originally attributed to William Byrd, but is now considered of doubtful authenticity. Because of the attribution to William Byrd of the former song, the latter was also speculated to have been composed by Byrd.

Both songs are now listed with anonymous authorship. They were through-composed rather than strophic and more chromatic, using more use of cross relations than other consort songs. Thomas Whythorne left an autobiography, which was discovered in He served the Duchess of Northumberland, later moving to Cambridge to work as a private tutor and business assistant for the family of a merchant.

Inhe decided to devote himself exclusively to music. His song Buy New Broom is found in a volume published inof "Songs for three, fower, and five voyces composed and made by Thomas Whythorne, Gent.

Buy New Broom, the earliest printed example of an English solo song with viol accompaniment, is apparently based on a genuine street cry of the period. William Corkinecomposer of What Booteth Love?

He published two books of airs accompanied by lute and bass viol, along with dances for lyra viol, in and Richard Nicholsonlong-time choirmaster and organist of Magdalen College at Oxford from to his death inwrote the spirited song In a Merry Close Enough - Sebadoh - The Freed Man Morn. Nicholson, although not well known today, was held in high regard by his peers, as is evidenced by the inclusion of one of his madrigals in Morley's by-invitation-only anthology Triumphes of Oriana The music of Robert Parsons d.

It is believed that his song Pandolfo was written for a stage play. Parsons might also have written Guichardoalthough speculation also attributes it to Richard Farrant d. The alliterative poetic style of Guichardo is early Elizabethan. A considerable Orlando Gibbons - Thomas Tallis Lamentations of Jeremiah 1 and 11 in Elizabethan music was played by the illustrious Ferrabosco family.

Alfonso the elder, originally from Bologna, moved to England inwhere he became a member of Queen Elizabeth I's court. Alphonso Ferrabosco II c. The son was then brought up by a Dutch court musician.

Alphonso the younger, who composed music for Ben Jonson's masques, was described by the Is There More To Life - Tall Black Guy - Lets Take A Trip music historian Anthony Wood as "the most famous man in all the world for Fantazias of 5 or 6 parts. Two are presented here. Of the anonymous songs in this anthology, O Death, Rock Me Asleep enjoyed perhaps the greatest popularity.

The poem has been ascribed to Anne Boleyn, written on the eve of her execution, and also to her brother, George Boleyn, Viscount Rochford, who was executed for the crime of incest with his sister, the Queen.

This is the roistering, bawdy scene in the Boar's Head Tavern with Falstaff, his entourage, and Prince Henry, which Shakespeare brings to so dramatic and sober an end with news of war. At the height of the hilarity, the braggart Pistol, pretending to be insulted, draws his sword, crying, "then death rock me asleep, abridge my doleful days. Many madrigals currently in Just A Matter Of Time - Various - 60 Greatest Hits Of The Fifties Volume 5 owe a debt to Edmund Fellowesan Oxford-educated priest who, although trained only as an So Emotional - Whitney Houston - Where Do Broken Hearts Go musician, became highly respected as a musical scholar and editor.

It was his experience in amateur madrigal societies that first inspired him to transcribe songs from the original partbooks and to ascertain poetic sources; eventually he published the English Madrigal School 36 volumesEnglish Madrigal VerseOrlando GibbonsOrlando Gibbons - Thomas Tallis Lamentations of Jeremiah 1 and 11 English School of Lutenist Song-WritersWilliam Byrd Orlando Gibbons - Thomas Tallis Lamentations of Jeremiah 1 and 11 , and he edited the volume collection of Byrd's works.

Several other songs on this album were arranged by "Peter Warlock," the pen-name adopted for composing and editing by the English musical writer Philip Heseltine Daisy Lady - Various - Ultimate Breaks & Beats was the first to champion Whythorne, but he also edited and arranged works by more widely known composers, including Purcell's Fantasias.

His literary writings were incisive and critical; is editing always served what he surmised to be the composer's intentions.

Benigne Readerheere is offered unto thy courteous acceptation, Musicke of sundrie sorts, and to content divers humors. If thou be disposed to praye, heere are Psalmes. If to be merrie, heere are Sonets. If to lament for thy sinnes, heere are divers songs, which being originally made for instruments to expresse the harmonie, and one voyce to pronouce the dittie, are now framed in all parts for voyces to sing the same.

If thou desire songs of smalle compass fit for the reach of most voyces heere are most in number of that Orlando Gibbons - Thomas Tallis Lamentations of Jeremiah 1 and 11 .


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Nov 11,  · Tallis' Lamentations I is part one of his musical setting of the 'Lamentations of Jeremiah', which sets music to the first two verses of Chapter 1. .