Showing posts sorted by relevance for query Morley. Sort by date Show all posts
Showing posts sorted by relevance for query Morley. Sort by date Show all posts

Monday, 19 September 2022

REMEMBERING HER MAJESTY, QUEEN ELIZABETH II: THANK YOU FOR YOUR SERVICE / MERCI POUR VOTRE SERVICE


Below: A dedication from Unraveling Musical Myths to the reader of a performance of Music for the Funeral of Queen Mary, set by English composer Henry Purcell for the funeral of his then-Sovereign, Queen Mary II, who succumbed to smallpox in late December of 1694.

It was through the death of Her Majesty that Westminster-born Purcell quite suddenly found himself in charge of music for a royal funeral that had never originally been planned - the late Queen having stipulated that there be no such ceremony of state following her demise. Purcell had been serving as organist at Westminster Abbey at the time of Queen Mary's death.

It was due to the will and wish of the public, who so loved their Monarch, (a feeling shared by modern-day loyalists to our own late Sovereign lady, Her Majesty, Queen Elizabeth II), that a state funeral was scheduled for 5 March, 1695, some three months following Mary's demise.

For the occasion, Purcell composed his Music for the Funeral of Queen Mary and the funeral sentence, Thou knowest, Lord, the secrets of our hearts, which were performed during the occasion alongside works by Thomas Morley and other English composers. 

Purcell had twice previously set music to Thou knowest (from the The Book of Common Prayer, 1549): first in 1672 to complete sentences by fellow English composer Henry Cooke for the latters' funeral, and later, with revisions occurring around 1680). These earlier versions were polyphonic, as was custom at the time. The composers' third version of Thou knowest, as well as his March and Canzona were performed during the funeral service of Queen Mary II. Today, the March, Canzona and the funeral sentence (along with two other sentences set by Purcell, Man that is born of a woman, and In the midst of life we are in death) are often performed together as the composer's Music for the Funeral of Queen Mary (Z. 860).

Recent scholarship suggests that this latest setting may have been an homage by Purcell not only to his late Sovereign, but possibly to the composer Thomas Morley, whose own setting of this particular sentence would later be discovered. It is speculated by some musicologists that Purcell donned an older style to mimic Morley's music, and that this setting was possibly used to complete sentences by the latter composer. The words for this particular version are set mostly in homophony.

With the question of attribution aside, it would be this third version of Thou knowest, which would be performed at subsequent royal funerals, including that of the Queen Mum, and that of her daughter, our late Majesty (and the Queen Mum's namesake), Elizabeth II, which could be heard echoing resoundingly through the walls of the royal church as the former Monarch and Head of State's coffin entered Westminster Abbey on this most sombre day of 19 September 2022. 

Purcell's setting of Thou Knowest would later go on to be performed at the composers' own funeral following his death (believed to be caused by tuberculosis) in November 1695, just a mere eight months since the piece was first performed. He was only 35 at the time of his passing.

Jump to 1:27:53 to hear Purcell's funeral sentence Thou knowest, Lord, the secrets of our hearts (Jean Tubéry conducts La Fenice):

- Rose.

Friday, 11 March 2016

ENSEMBLE SPOTLIGHT: VOX LUMINIS

This album can be purchased online here
This month’s Ensemble Spotlight goes to Vox Luminis (a name you are going to want to remember), a thirteen-member early vocal music ensemble founded in Belgium and featuring a cast (according to the ensemble’s current website) of four sopranos and one mezzo-soprano, three counter-tenors, two tenors and baritones and one bass (and accompanying continuo on viola da gamba and organ).

The 2012 Gramophone award winning ensemble features a repertoire that covers a wide range of 16th – 18th century vocal works from across the European continent and which span across the ages, from the early sacred music of Franco-Flemish composers Josquin Des Prez and Roland (Orlande) de Lassus of the mid-late Renaissance (two of 16th century Europe’s most influential composers) to the period of English Reformation (and counter-reformation), featuring the works of madrigalist composers Thomas Morley and Henry Purcell of Britain.

Among the gems to be found within the Vox Luminis catalogue are the sacred and secular works of Bach (and sons), the ethereal works of obscure early baroque master Samuel Scheidt and the early German Passions of Joachim von Burck (himself a predecessor to Johann Sebastian Bach) and some of my favorite pieces -from the early Tudor-era vocal repertoire - in the form of the exquisite personal pleas of William Cornysh (in the beautifully rendered “Ah Robin, Gentle Robin”) and even works composed by the King Henry VIII himself are included in the Vox Luminis discography.

I’ve selected this ensemble for a spotlight for reasons of sociological impact and physiological effect: exquisitely transcendent in pitch and velvety lush in both individual and collective vocal lustre, Vox Luminis, is, in my opinion, an absolute top contender in vocal ensembles, and are as significant from a historical standpoint as they are instrumental to a continuing present and future, rich with mid to late renaissance era performance and appreciation.

Upon hearing Vox Luminis’ surprisingly vast repertoire, one is almost compelled (I know I am) to seek to re-discover more about the composers, their rulers, and the social, political and dogmatic times in which they lived, thrived, suffered, and created such exquisite beauty, and, discover, in the process, how much times have progressed, and just how much has remained the same. To understand the historical backdrop of each era presented to us by our favorite composers and musicians is to understand the struggles, the sacrifices, and the inspirational sources of our creative ancestors. It is to comprehend, experience, and appreciate the furthest reaches of the sheer cosmic beauty found in each piece.

Listen below to the glorious Ah Robin, Gentle Robin – a composition that is as ever-present in sound and in subject today as it was when it was composed some five centuries ago:



Bonus (somewhat miscellaneous) video commentary: Tudor enthusiasts, this secular work exists in your favored era! While not written by or for the King in question, this melancholic piece was probably written whilst the ever fickle-in-love Henry VIII sat upon the throne of England.

When discovering music for the first – or the first of many – times, I find it especially enriching to the listening experience to imagine the world in which the composition was written. What was happening in the country? On the continent? This lugubrious plea dates from an notoriously chaotic time in British history. One marvels at the thought of Cornysh’s true source of inspiration in authoring the piece! "Ah, Robin, Gentle Robin," is sung from the perspective of an emotionally fragile and spiritually broken male, so desperate to discover the romantic status and inner feelings of his unrequited love, he begs the service of a messenger – in this case, a Robin – such enquiry is, of course, a futile hypothetical: the lovelorn answers his own fate “my lady is unkind..alack, why is she so?....She loveth another better than me, and yet she will say no…”

Sound familiar?

Text (public domain)
Ah, Robin, gentle Robin,
Tell me how thy leman doth,
And thou shalt know of mine.
My lady is unkind I wis, Alack why is she so? 
She lov'th another better than me, 
and yet she will say no.

Ah, Robin, gentle, Robin,
Tell me how thy leman doth
and thou shalt know of mine. 

I cannot think such doubleness 
for I find women true, 
In faith my lady lov'th me well 
she will change for no new.

Ah, Robin, gentle, Robin,
Tell me how thy leman doth
and thou shalt know of mine.
 

-William Cornysh, c.1465 - c.1523 

-Rose.