SKU: ST.MB83
ISBN 9790220221323.
John Ward's music for four viols shows less consistency of style than his work for five- or six-part consort. The smooth madrigalian lines of the six Oxford fantasias most clearly approach the accomplishment of his characteristic pieces for larger ensembles. The Paris fantasias, which with the In nomines also included in the collection feature uniquely in a single source in the Bibliotheque Nationale de France, are more variable in texture and idiom. The volume also includes six ayres for two bass viols and organ, brief, tuneful compositions in dance-like rhythm redolent of the almain.
SKU: ST.MB67
ISBN 9790220217784.
A contemporary of Gibbons and a noted madrigalist, Ward was also a prolific composer of consort music in the madrigalian style. This volume of extant instrumental works of five and six parts complements the collection of four-part fantasias and ayres for two bass viols and organ published in MB83.
SKU: ST.EM19
ISBN 9790220223860.
CONTENTS A satyr once did run away (SSAT) Come, sable night (SSATTB) Die not, fond man (SSAA (or T) TB) Flora, fair nymph (SSAT (or A) B) Fly not so fast (SSA) Free from Love's bonds (SSA (or T) B) Go, wailing accents (SSA) His heart his wound received (SSA) Hope of my heart (SSATB) How long shall I? (SST (or A) B) I have entreated (SSAATB) If the deep sighs (SSATTB) In health and ease am I (SSA (or T)) Love is a dainty (SSAT) My true love hath my heart (SSA) O divine love (SSAA (or T) TB) O my thoughts, surcrease (SAA (or T) T (or B)) O say, dear life (SSA (or T)) Oft have I tender'd (SSAT (or A) TB) Out from the vale (SSAT (or A) BB) Phyllis, the bright (SSATB) Retire, my troubled soul (SSATBB) Sweet Philomel (SSATB) Sweet pity, wake (SST (or A) B) There's not a grove (SSAT (or A) TB) Upon a bank of roses (SSATB) Weep forth your tears (SSATTB) Ye sylvan nymphs (SSA (or T) T (or B) B).
SKU: ST.Y221
ISBN 9790220221484.
Set of Parts. Score available in Musica Britannica Volume 83 (MB83).
SKU: ST.EM38
ISBN 9790220217807.
CONTENTS As sharps and flats (SSAT (or A) TB) Con mio (Deh non languire) (SSATB, Organ) Cruel unkind, O stay (SSATB) Down in a dale (SSATB) If heaven's just wrath (SSATTB) My breast I'll set (SSATB) No object dearer (SSATTB, Organ) Well-sounding pipes (SSAT (or A) T (or A) B).
SKU: ST.W8
ISBN 9790220217814.
SATB.
SKU: ST.Y319
ISBN 9790220224034.
John Blow: Mark how the lark and linnet sing, for two countertenors, two recorders and continuo Henry Hall: Yes my Aminta, 'tis too true, for soprano and bass voices, two recorders and continuo. The set contains 2 x Recorders 1 &2 and 2 x Instrumental Bass. The singers and keyboard continuo player perform from the full score (PC5). Offprints of the relevant ode(s) are available through the Made-to-Order Service if customers do not wish to purchase the whole volume. Performing edition corresponding with Purcell Society Edition Companion Series Volume 5.
SKU: ST.B946
ISBN 9780852499467.
Organist of Gloucester Cathedral from 1896 till his death in 1928, as well as composer, choir-trainer, adjudicator and teacher, Sir Herbert Brewer was involved for over three decades with the Three Choirs Festival, and his Memories of Choirs and Cloisters offers a vivid account of the planning and execution of the festivals in that time, those at Gloucester in particular. Though his professional life was spent exclusively in the provinces, his championing of contemporary music brought him into wide contact with composers and other artistic figures both from Britain and the continent, including Robert Bridges, Elgar, Glazunov, Rider Haggard, Parry, Quiller-Couch, Ravel, Saint-Saens and Sibelius (whose Luonnotar he premiered). John Morehen's fine new edition places Brewer's lively and insightful recollections of these and other encounters and connections in context for the modern reader, making the book an important addition to our fuller understanding of a remarkable period in British music. Neither a conventional autobiography nor a diary, but a collection of reminiscences compiled towards the end of his life, Brewer's Memories reveals a scrupulous and astute musician of great integrity, warm-hearted with a devotion to social justice and civic duty, and with a mischievous sense of humour.
SKU: ST.PC5
ISBN 9790220223440.
An extraordinary acknowledgement of the esteem with which the composer was regarded in his lifetime, the three surviving odes on the death of Henry Purcell are also in themselves among the finest works by his English contemporaries. John Blow's extended elegy 'Mark how the lark and linnet sing', which sets a poem by Dryden, modestly scored for two voices, two recorders and continuo, is a masterpiece displaying both the contrapuntal skill which Blow had taught Purcell and the florid declamatory style which Purcell had brought to perfection in such numbers as ''Tis Nature's voice' in Hail! bright Cecilia. Henry Hall's 'Yes my Aminta', laid out for similar forces, is an eloquent and finely crafted pastoral dialogue in the pathetic style, with words probably written by the composer himself. Grandest in conception is 'Come, come along for a dance and a song', by Jeremiah Clarke. Setting a conventional pastoral elegy penned by an unknown hand, it marshals three solo voices, chorus and full baroque orchestra in a sequence of contrasting movements - including both the song and the dance to which the title refers - which together form a lament at once arresting and poignant. The three works have not hitherto been presented together, and the Clarke appears for the first time in a modern critical edition - together with Godfrey Finger's hitherto unpublished 'Farewell' Suite in G minor, probably from his own lost ode on Purcell's death.
SKU: ST.EC19
ISBN 9790220216978.
There are particular problems of establishing authentic sources for much of Tye's music. Nonetheless, its high quality places him, with Taverner and Tallis, at the forefront of English 16th-century church music. This first volume of his work contains 15 full anthems, evening canticles, and his famous setting of texts from The Acts of the Apostles, dedicated to Edward VI.
SKU: ST.EC17
ISBN 9790220213748.
The music of John Sheppard, who was about ten years younger than Tallis, dates from the uncertain times of the Reformation and the reigns of Edward VI and Mary. Perhaps his most impressive work is to be found in his cantus firmus responds, which reflect the considerable musical importance that some choral foundations attached to Matins and Vespers on special feast-days in the last decades of the Sarum rite.
SKU: ST.Y295
ISBN 9790220223518.
The hymn tune Rhosymedre is the work of the nineteenth-century Anglican priest John David Edwards, who named it after the village of Rhosymedre in North Wales, where he served as the vicar for 43 years until his death in 1885. Vaughan Williams's organ prelude has been arranged for many different instrumental groups, including orchestra, string quartet and brass quintet, but not until now for brass band. This arrangement was prepared in 2008 to mark the 50th anniversary of the composer's death and was first performed by the Royal Northern College of Music Brass Band at the 2008 RNCM Festival of Brass, conducted by Christopher Houlding.
SKU: ST.K49
ISBN 9790220224461.
All eighteen pieces in this collection are reliably dated to the reign of James I, and whether by named composers or anonymous ones, appear in sources other than the notable virginal books preserved in the Fitzwilliam Museum, Cambridge. The contents demonstrate the variety of forms in the keyboard repertoire of this period, from plainsong-based compositions to dances by Orlando Gibbons. The 'Pretty ways for young beginners to look on', possibly by Thomas Tomkins, are a fascinating example of music contemporary to the time, written with the didactic purpose of instructing musicians in the techniques of counterpoint. CONTENTS Prelude in d: Edward Gibbons Gaudent in caelis: Anon. Miserere: Anon. Upon a plainsong: Attrib. Orlando Gibbons Verse in G: Anon. Fantasia in a: John (or Thomas) Holmes Fantasia in G: Attrib. Orlando Gibbons Fantasia in G: Anon. Pavan in e: Anon. Galliard in C: Anon. Galliard in F: Anon. Fortune my foe: Anon. Alman in F: Thomas Tomkins Ballet in G: James Harding, arr. Anon. Coranto in C: Anon. Jig in G: Anon. Tomboy: Anon. Pretty ways for young beginners to look on: Anon. (Thomas Tomkins?).