Great Malvern Priory will host a free lunchtime concert by musicians from Royal Birmingham Conservatoire on Thursday 15th June under the direction of Elizabeth Pallett. ‘Shakespeare’s Musick’ will present Songs and Ballads of the Elizabethan Age featuring lutes, recorders, virginals and viols.
Deborah Roberts has sent us details of the music she would like to cover for her workshop in Worcester on 1 September – there are too many pieces here for just a day, so let us know when you book if there’s something you would particularly like to do!
Book through Eventbrite or send us a cheque (see our Events page for details).
Music from renaissance Europe
The migration of musical trends via travelling musicians
Summary: Musicians have always travelled. Many during the Renaissance spent their entire lives moving from country to country, and court to court where they mingled with other musicians from all over Europe, sharing ideas, trends and new techniques. This workshop looks at some of the really big ‘stars’ whose names and music were widely known – and even copied – as well as some lesser-known, but fascinating and influential composers in their day, whom history failed to do justice.
The Franco-Flemish school
The first renaissance ‘trend’ to really hit Europe came from composers born in Northern France and the Low Countries. Large numbers of them travelled to Italy and worked in a variety of cities, notably Ferrara, Florence and Rome. Franco-Flemish polyphony is characterised by rich sonority with quite complex inner structure. It’s wonderfully rewarding to sing. The most famous composer to emerge from this school was Josquin des Prez, who actually clarified the style and had a huge impact on the next generation of composers throughout Europe
Josquin des Prez Tu solus qui facis mirabilia (SATB) Salve Regina (SATB)
Cipriano de Rore Descendi in hortum meum (SSAATTB)*
Palestrina and the Roman school
Franco-Flemish music had a strong influence on Italian composers, and Palestrina is famed for having perfectly combined the rich polyphonic style of the previous generation with an Italian tunefulness. Although Spanish, Tomas luis de Victoria spent most of his life in Rome, only returning to his native country towards the end of his life. His style shows influences from both countries
P. Da Palestrina Agnus Dei from the Missa Brevis
Tomas Luis de Victoria 3 Tenebrae Responsories
Seniores Populi (SATB)
Tamquam ad latronem (SATB) Caligaverunt oculi mei (SATB)
Introit from the Requiem (SSATTB)
The Iberian style to the New World
Via mission centres often run by Jesuits, much Iberian music was exported to the New World, eventually leading to great musical centres such as Mexico
Juan Gutiérrez de Padilla Stabat mater (SATB)
Meanwhile in Britain
British polyphony had quite a distinctive style until after the Reformation and a lot of that was to do with the choral tradition and the choir schools that trained boy trebles to such a high standard. Thomas Tallis lived under five monarchs during his long life and wrote for both the Catholic and Anglican churches. His pupil and friend, William Byrd, shared his Catholic faith, and both would have encountered the many Italian composers who visited or lived in London during the reign of Elizabeth 1st.
Thomas Tallis In manus tuas (SATBarB)
8th tune from Archbishop Parker’s Psalter – God grant with grace
9th tune from Archbishop Parker’s Psalter – Why fumeth in sight
The European connection
To end, a famous connection between 2 composers: Phillipe de Monte, born in Belgium but worked mostly in Italy, England and Austria, wrote Super flumina, and sent it to William Byrd, who responded with a 2nd part: Quomodo cantabimus. Both pieces reflecting on the misery of exile.
Phillipe de Monte Super flumina babylonis (SATB – SATB)
We’re delighted to present a renaissance music singing day with Deborah Roberts on Saturday 1 September in Worcester .
Deborah was a longstanding member of the Tallis Scholars. Turning to choral directing, in 1990 she founded, with Tessa Bonner, Musica Secreta, an ensemble of female voices and continuo, to research and perform a rapidly expanding repertoire of music which has helped re-establish the role of women as performers, interpreters and composers of music from the 16th and 17th centuries. She is also musical director of Brighton Early Music Festival Consort of Voices, an ensemble of solo and consort singers formed from semi-professional, student and experienced amateur singers, and runs courses in Triora, Italy. Deborah is co-founder and director of the Brighton Early Music Festival.
This is a fantastic opportunity to study renaissance repertoire from around Europe with a specialist singer and director in the field.