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Quite the picture!

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Well done Mr Cale. You manage to find the most blessed Sublime music ever written. Thank you.

Heaven escaping from noise of rock and rap.

The performance of Ars Antiqua music was so good in 1968? Was this performance released on LP?

Check in to your kitchen, because you can hear the bacon frying in the pan!

Like the first light of dawn, this music opens your eyes to new promises and to all the wonders of nature. Evocative of powers beyond observation, these pieces pull the strings of the heart, attract nostalgia and awaken the loves, the skinned lives and torpor of tormented watchmen 🧙🧚🐯

Handel's magic (!) Excellently performed! J.S.Bach wanted to meet the "music icon" Handel all his life. Mozart, J. Haydn,...,Beethoven, Schubert considered Handel "the greatest composer of all time"!

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How beautiful! Thank you.

A música parece celestial. Obrigado por tudo, inclusive a "Londres com montanhas". 🇧🇷

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Thank you! This is a delightful collection of works, with skilled performances. And thank you also for the extensive notes about the instruments and dances.

Amazing, wondrous work of beauty to marvel at. God-given talent used at its best unto the original style from the hands of Tomaso Giovanni Albinoni. I love listening to it

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A pleasure to listen to, thank you.

00:00:00 01. *Messe de Nostre Dame* _ Kyrie 00:08:15 02. Gloria 00:13:05 03. Credo 00:20:17 04. Sanctus 00:24:03 05. Agnus Dei 00:26:54 06. Ite, Missa Est 00:28:24 07. *9 Weltliche Werke* _ Ballade Nr. 18: De Petit Po 00:30:13 08. Rondeau Nr. 1: Doulze Viaire Gracieus 00:31:50 09. Ballade Nr. 26: Donnez, Signeurs 00:35:09 10. Ballade Nr. 31: De Toutes Flours 00:38:13 11. Rondeau Nr. 10: Rose, Lis, Printemps 00:42:57 12. Ballade Nr. 39: Mes Esperis Se Combat 00:45:08 13. Virelai Nr. 17: Dame, Vostre Doulz Viaire 00:48:07 14. Ballade Nr. 16: Dame, Comment 00:50:02 15. Rondeau Nr. 21: Quant Je Ne Voye Ma Dame

Thank you

Thomas Morley, who “did shine as the Sun in the Firmament of our Art, and did first give light to our understanding with his Praecepts”, was born (probably in London) about 1557, and lived in the city almost exclusively until his death in 1603. Ravenscroft’s tribute to him, quoted above, was not an isolated one; Morley’s renown as a composer was enhanced in his forties by the publication of ¨A Plaine and Easie Introduction to Practical Musicke¨, while his social status was enhanced by the grant of a royal licence to print music and music-paper. Thus, while the earlier entries in the parish registers of St. Helen’s, Bishopsgate describe him as ‘musician’, the later ones firmly insist on the term ‘gentleman’. His first important professional appointment was at St. Paul’s Cathedral, where he became organist in, or shortly before, 1591. In the following year he was made a Gentleman of the Chapel Royal, and it was about this time that he began to compose, edit, and publish the nine volumes of songs and instrumental music that have since placed him in the front rank of the Elizabethan madrigalists. The compositions chosen for this disc afford a sampling of his principal madrigalian publications, which began with the ¨Canzonets or Little Short Songs to Three Voyces¨ of 1593 and reached a peak in 1597 with the volume of ¨Canzonets or Little Short Aers to Five and Sixe Voyces¨, a great landmark in Morley’s career. Notable in Morley’smadrigals are his wit and the freshness and spontaneity of his melodic lines. The elegiac ¨Hark, Alleluia¨ shows Morley in a more serious vein, commemorating the death of a music-loving courtier, Henry Noel. To Tovey, John Wilbye is the “classic” among madrigal composers. There is no need to question this considered opinion in the face of the 65 madrigals by Wilbye that now survive, for their quality is uniformly high and their reputation well deserved. If there is a question, it is the slightly baffling one concerning Wilbye’s generous life-span of 64 years and his consequently sparse average output of one madrigal per year. He was born in 1574 at Diss in Norfolk, and by his eighteenth year he had entered the service of Sir Thomas Kytson of Hengrave Hall, a stately Elizabethan manor (still standing today) situated not very far from Bury St. Edmunds. There he lived and worked, apart from occasional visits to his master’s town house in London, until 1628, when he removed to Colchester to serve Lady Rivers, the daughter of Sir Thomas Kytson. Wilbye died in 1638, a man of considerable means, with landed property in his birthplace and around Bury St. Edmunds. He is mentioned by Henry Peacham in ¨The Compleat Gentleman¨ along with a select handful of English composers as “inferior to none in the world... for depth of skill and richness of conceit”. In his six-part madrigals, Wilbye reaches fabulous heights of technique and inspiration. The sensitive declamation of ¨Ah, cannot sighs¨ is a model of its kind, while the transition in ¨Stay, Corydon¨ from solemn antiphony to rapid imitation not only matches the conceit of the lyric but also makes for a satisfying musical balance. In ¨Draw on, sweet night¨, Wilbye has penned a masterpiece beyond compare, in which sustained beauty of line is more than matched by harmonic richness and variety of texture. Notes by Denis Stevens

Buon giorno amici della musica ,da grande appassionato di trio sonate che ho udito per la prima volta a 14 anni ,poi piano piano ho conosciuto Albinoni ,Corelli e altri ,Purcell , le ho ascoltate spesso , sebbene sia stato di origine inglese e imitare lo stile italiano non sia stato una passeggiata ,il suo trio sonata sono una firma , da non perdere per temperamento e stile ,per nulla noiose ,sono un banco di prova ,non facili da interpretare tra adagi allegri e gravi ,il suo stile fugato mescolati ,questa opinione me le ero già fatta tempo addietro . Lo stile armonico carismatico di queste composizioni di cui mi tolgo tanto di cappello da violinista per hobby così dovrebbero essere ,e che ho sempre sostenuto assieme a quelle di Corelli sono le migliori .valutando altre simili per gusti e sensazioni personali , per altro uguali a questi due citati , non posso fare paragoni ,altro genere ,quando si parla di trio sonate ,non esiste un solo genere ,alcune interpretazioni proposte da altri compositori non si avvicinano minimamente ,ma il modello proposto da Corelli ,Purcell e aggiungo Albinoni ovviamente mi sembra che ne abbia scritte meno ,dove li trovate uguali o simili ??

Who is the painting by?

I've been a fan of Early Music for years but have never heard of Mr Hume...I'm glad to have finally discovered him.

Amazing, wondrous work of beauty to marvel at. God-given talent used at its best unto the original style from the hands of Tomaso Giovanni Albinoni. I love listening to it ❤

Lovely!

Apparently, female altos no longer exist.

Thank you for bringing us this unusual production, with lovely music and the talents of so many accomplished actors.

Cool music that gives me strength

Music in Renaissance England was written either for the Church, the Court or the home and, although most composers provided domestic music, nearly all of them were also attached to the Court. Orlando Gibbons, for example, was Organist of the Chapel Royal from 1605 until his death in 1625. It was customary in the Chapel Royal at this period to sing the Collect for the day during the Communion service; ¨O God, the King of Glory¨ is a setting of the Collect for the Sunday after Ascension Day: ¨O God, the King of Glory, which has exalted thy only Son, Jesus Christ our Lord, with great triumph unto thy kingdom in heaven: We beseech thee, leave us not comfortless; but send to us thine Holy Ghost to comfort us, and exalt us unto the same place whither our Saviour Christ is gone before, who liveth and reigneth with thee and the Holy Ghost, now and evermore, Amen¨. It is for five voices, with solos for treble, tenor and two countertenors, and an independent accompaniment for organ. Domestic music usually involved a consort of either Viols or voices or else a combination of the two, and was often based on dance forms. A pavan was a slow dance in duple time and the ¨Dovehouse Pavan¨, which is scored for treble, alto, two tenor and bass Viols, was written by Alfonso Ferrabosco II (born с. 1575; died 1628) the son of an Italian musician who, during the reign of James I, was appointed one of the King’s Musicians for the Violin. A composition designed for a solo singer accompanied by a consort of viols was called a consort song, and these were often set to words of a religious or penitential nature. The music of ¨O Lord, how vain is¨ by William Byrd who, although a Catholic, was made a Gentleman of the Chapel Royal at the age of 27 and remained one until his death. The words of this song are by Sir Philip Sidney: ¨O Lord, how vain are all our frail delights; How mixed with sour the sweet of our desire; How subject oft to Fortune’s subtle slights; How soon consumed like snow against the fire. Sith in this life our pleasures all be vain, O Lord, grant me that I may them disdain. How fair in show where need doth force to wish; How much they loathe when heart hath them at will; How things possessed do seem not worth a rish, Where greedy minds for more do covet still. Sith in this life, etc.¨ Keyboard music was also popular and the first volume of it to be published in England (¨Parthenia¨, 1612-3) contained pieces by Byrd, Gibbons and John Bull. Both Byrd and Gibbons published dances called ¨Lord Salisbury's Pavan¨ in this volume, but they are similar only in name. Byrd’s piece is in two sections, each made up of two phrases of music; Gibbons’ is a more complex piece, being in three sections of which the second is quieter and has less movement than the outer ones. The most common form of vocal consort music was the madrigal. It was introduced into England when two sets of Italian madrigals were published in London with English words. In 1601, another Gentleman of the Chapel Royal, Thomas Morley (born с. 1557; died 1603) published a collection of madrigals written by English composers in honour of Queen Elizabeth I, entitled ¨The Triumphs of Oriana¨. It was modelled on an Italian collection called ¨Il Trionfo di Dori¨ which had appeared in 1592. One of the finest of the English set is ¨As Vesta was from Latmos hill descending¨ by Thomas Weelkes (one of the few major composers who did not hold a royal appointment - he was Organist of Chichester Cathedral). Much of this madrigal’s charm lies in the word-painting with which Weelkes has depicted the verse: ¨As Vesta was from Latmos hill descending, She spied a maiden queen the same ascending, Attended on by all the shepherds swain, To whom Diana’s darlings came running down amain, First two by two, then three by three together, Leaving their goddess all alone, hasted thither; And mingling with the shepherds of her train, With mirthful tunes her presence entertain. Then sang the shepherds and nymphs of Diana, Long live fair Oriana!¨ Morley himself contributed two madrigals to the collection, one of which was ¨Hard by a crystal fountain¨. This is really a reworking of a madrigal by Giovanni Croce from ¨Il Trionfo di Dori¨, which had already appeared among the Italian works published in London. Morley has used most of Croce's musical material, which he has expanded and given greater vitality; the English words are probably by Nicholas Yonge: ¨Hard by a crystal fountain, Oriana the bright lay sleeping. The birds they finely chirped, the winds were stilled; Sweetly with these accenting, the air was filled. This is that fair whose head deserveth А crown which Heaven for her reserveth. Leave shepherds, your lambs keeping Upon the barren mountain. Nymphs, attend on her and leave your bowers; She the shepherds life maintains and yours. Then sang the shepherds, etc.¨ The keyboard music of John Bull (born c. 1562, died 1628) is probably the most virtuosic instrumental music of the English Renaissance. This is shown in the ¨Prelude and In Nomine¨, where the prelude is a short piece in which the movement of the upper and lower parts gradually increases. An In Nomine is a peculiarly English composition, being a kind of fantasia built around the plainsong ¨Gloria tibi Trinitas¨, as it was originally used in John Tavener’s mass of the same name. In his In Nomine, Bull places the plainsong in the upper part, while the accompanying lower parts become more and more agitated. Thomas Tomkins (born 1572; died 1656) was, like Bull, an Organist of the Chapel Royal; ¨Lady Folliott’s Galliard¨ is a quick triple-time dance in two sections. As a young man, Byrd was closely associated with Thomas Tallis, another famous composer. ¨Ye sacred Muses¨ is a consort song written by Byrd in memory of Tallis, who died in 1585; the words are possibly by Byrd himself: ¨Ye sacred Muses, race of Jove, Whom Music’s lore delighteth, Come down from crystal heavens above To earth where sorrow dwelleth In mourning weeds, with tears in eyes; Tallis is dead and Music dies.¨ Byrd’s ¨In Nomine¨ is one of several he wrote for five-part viol consort. The plainsong appears in long notes as a cantus firmus in the middle part, while the others move freely around it. A consort of viols was sometimes also used to accompany verse anthems in the Chapel Royal. Gibbons’ ¨Great Lord of Lords¨ is such a piece; the anthem was originally written to words referring to King James I´s journey to Scotland, but new words in honour of the Trinity were provided in 1893 by H. R. Bramley: ¨Great Lord of Lords, supreme immortal King, O give us grace to sing thy praise Which makes earth, air and heaven to ring. O word of God from ages unbegun, The Father's only Son, with them іп pow’r, In substance Thou art one. O Holy Ghost, whose care doth all embrace, Thy watch is o’er our race; Thou source of life, Thou spring of peace and grace. One living Trinity, one unseen light, The earth is thine; Thy light beholds alike The bounds of depth and height.¨ John Buttrey Turnabout TV 34017S

First large-scale composition on a freely written bass voice, it's practically considered the dawn of counterpoint and harmony as we know them.

Thanks for uploading this.

So nice music from other times.. and so nice in our times ❤ Thanks from Argentina!

I love this music it’s so beautiful

Thank you for sharing this elegant music with us. I appreciated the copious notes you added and pinned in the comments.

The melody is so nice It attracts me

Magnifique...

Incredibly beautiful and most restful. Thank you so much for bringing this music to us.

Music coming from another time and another space into our reality in the " here and now "...🎉❤

William Byrd is one of those composers whose accomplishments in any one of the several genres in which he worked would rank him among the supreme masters of his time. The high quality of his vocal music, both sacred and secular, is easily matched by that of the consort and keyboard works heard in this recording. There already existed a long and distinguished tradition of vocal polyphony in England which Byrd could draw upon, expand and transform into his own special blend of contrapuntalvirtuosity and profound intensity of feeling. His instrumental music, especially that for keyboard, is perhaps an even greater achievement, in that he had virtually no predecessors of his stature. What he created was seldom equalled and never surpassed by his contemporaries and successors. Kenneth Elliot, whose edition of the consort music is used in these performances, sums up the distinguishing qualities of these works: ¨Byrd’s undoubted technical mastery is matched equally by the expressiveness of his music, his astonishing rhythmic vitality, and his unerring sense of harmonic rhythm, formal structure and climax...¨ A more naive but no less enthusiastic tribute was offered by John Baldwin, the scribe who so elegantly copied Byrd’s pieces into ¨Ladye Nevells Booke¨: ¨Famous men be abroad, and skilful in the arte I do confesse the fame and not from it starte; But in Ewroppe is none like to our Englishe man, Which doth so farre exceede, as trulie I it scan As ye cannot finde oe his equale in all thinges Throughe out the worlde so ide, and so his fame now ringes. With fingers and with penne he hath not now his peere; For in this worlde so wide is none can him come neere, The rarest man he is in musicks worthy arte That now on earthe doth live: I speake it from my harte. Or heere to forth hath been or after him shall come None such I feare shall rise that may be calde his sonne...¨ The largest group of Byrd’s works for consort is comprised of fantasies for from three to six viols. The predilection for this form is explained by Thomas Morley in his ¨Plaine and Easie Introduction to Practicall Music¨: “The most pricipall and chieftest kind of music which is made without a dittie is the fantasie, that is when a musician taketh a point at his pleasure and wresteth it and turneth it as he list, making either much or little of it according as shal (sic) seem best in his own conceit. In this may more art be shown than in any other music, because the composer is tied to nothing but that he may add diminish and alter at his pleasure...” The fantasy seems to have developed both from the instrumental performance of motets and from the Italian ricercare. Almost any kind of piece (except a dance) based on newly-invented material (¨made without a dittie¨) could be termed a ¨fancy¨ or ¨fantasia¨. The basic structure is a series of points of imitation often varied and extended by scale-passages and dance-like interludes. In general, Byrd’s fantasies are more extensively developed as the number of parts increases: thus the Fantasia à 5 is more than four times the length of the Fantasia à 3. The shortest piece included here is actually the first Fantasia à 4, only 29 measures in length. Slowly ascending four-note scales are pitted against a series of brief episodes in quicker motion. The other four-part fantasy (the missing treble has been reconstructed by K. Elliott) and the Fantasia à 3 display a ternary structure in which an increase in energy is brought about by syncopation or triplet figures in the middle of the piece, subsiding in a shorter closing section. The Fantasia à 5 may be an earlier work because of its “archaic”’ canonic features. A version for keyboard is included in ¨My Ladye Nevells Booke¨ as ¨A Lesson of Voluntary¨. The In Nomines and other cantus firmus settings are related to both fantasy and ground: there is a series of points of imitation, and there is a “dittie”, but unlike the ground, the given melody is unmeasured and heard in its entirety only once. This more or less determines the length of the piece, and indeed In Nomines tend to be of a uniform duration. Offertories, antiphons and hymns such as ¨Felix namque¨ and ¨Clarifica me Pater¨ were popular as subjects for both consort and keyboard settings, but ¨Gloria tibi trinitas¨ was the melody that drew the best efforts from the greatest number of composers. This is one of the five psalm-antiphons for the first Vespers on the feast of Trinity, and was the basis for Taverner’s 6-part mass ¨Gloria tibi Trinitas¨. The ¨In nomine¨ section from the Sanctus of this mass became the object of many contrapuntal settings, and its popularity continued into the late 17th century, when it received its final homage from Purcell’s genius. The fourth part-book of the British Museum’s copy of the Pavana à 5 is missing, but has been reconstructed from a keyboard version. The pavan, “a kind of staid music ordained for grave dauncing” in Morley’s definition, is normally in three sections, each repeated. In lute and harpsichord settings these repeats are often elaborately varied, sometimes necessitating a very slow tempo. Here the predominately simple homophonic texture suggests a piece meant to be danced to. Two types of ground were common in Elizabethan times: a bass line carrying harmonic implications, or a short melodic phrase which may appear in any voice. Byrd’s wonderful Prelude and Ground makes use of both practices. A shorter form of this ground appears in other sources, including the ¨Dublin Virginal Book¨, and was known as ¨The Queenes good Night¨. There is also a keyboard version in ¨My Ladye Nevells Booke¨, similar but not identical to Byrd’s consort version. This latter is undoubtedly superior, in its exuberant invention and rich tonal effects. ¨Browning¨, or ¨The leaves be green¨ appears in numerous manuscript sources, testifying to its well-deserved popularity - as one scribe wrote on his copy, “A most Excellent piece: laus deo”. Three different texts are known for this short but memorable tune. ¨Browning Madame, browning Madame so merrily wee sing browning Madame, The fayrest flower in garden greene, is in my loues breast full comely seene, And with all others compare she can, Therfore now let vs sing Browning Madame.¨ (Ravenscroft: ¨Deuteromelia¨, 1609) ¨The leaves be greene the nuts be browne They hang so high they will not come downe¨ (British Museum Add. MSS 17792-6) ¨The rose is red the leaves are grene God save Elizabeth ovr Qveene¨ (London Museum: Delft plate, 1600) It is in his virginal music that Byrd’s inventive genius is most impressive, for although not a single keyboard composer of note preceded him, his style is fully idiomatic and assured. Firmly rooted in the contrapuntal tradition of vocal polyphony, he yet displays an exquisite sensitivity to the tonal resources of the harpsichord. His inventive figuration never sinks to the crabbed and mechanical passage-work of many of his contemporaries, nor does he indulge in technical display for its own sake, like some of his successors. Three of the many forms cultivated by Byrd are included here: the song-variation, the dance and the medley. All the pieces come from the famous ¨My Ladye Nevells Booke¨. This elegant manuscript is unique for its time in presenting a carefully written group of representative pieces by a single composer, most probably under his direct supervision. That the composer is Byrd makes it all the more precious. Byrd’s song-variations are especially delightful in that one never has the feeling that the tune, whatever its low-class origin, is treated condescendingly: no matter how elegant the polyphonic treatment, the tune is never allowed to lose its basic identity, and is whole-heartedly accepted for what it is. This is a very different approach from the later “theme and variations” idea. The simplest presentation of the “theme” often comes at the end of the piece rather than at the beginning, and the first statement is already a ¨variation¨. As in the fantasy, a large-scale ternary structure is discernible, often with triplet figuration introduced into the middle section, and frequently there is a coda in a more homophonic style. Two of the four keyboard pieces here are variations: ¨The woods so wild¨ and ¨Lord Willoughby's welcome home¨ (called ¨Rowland¨ in the ¨Fitzwilliam Virginal Book¨). The medley, often programmatic, is represented by only a few specimens in the virginals repertoire. Byrd’s is the only known musical representation of the ¨Barley Break¨, although there exist plenty of references to it in Elizabethan literature. This country game was played in a cornfield or stack-yard by three couples, one of which had to stay in a middle den called “sell”. The object was to catch the others, who were allowed to “break” and change partners; but if caught, they had to replace the couple in “hell”. The bawdy aspects of this game, frequently alluded to by contemporary writers, seem absent from Byrd´s healthy, good-humored depiction. One of the loveliest of Byrd’s dance-pairs, ¨The Third Pavan and Galliard¨ are related not by thematic or harmony identity (as Morley observed they often were), but by style and character, much as Scarlatti’s sonata-pairs are related. The songful Pavan is varied by the “division” technique, leaving the melodic shapes unaltered. The Galliard is also subjected to divisions in the treble, and is characterized by exuberant alternation of 3/2 and 6/4. EDWARD SMITH Musical Heritage Society, Inc. (MHS 3460)

The only word to describe this music is Sublime . Thank you.

Really awesome! I loved the old-time speeches from the addresses and speeches, and also the music, along with the history of the Spanish Armada and others! Thank you so much for posting this, and keep up the great work!

How i feel myself when woke up at 2 pm

Под нежные звуки музыки барокко можно представить себя в полихромных мраморных залах Версаля

DIEU🌹💛🇻🇦✝️🇻🇦💛🌹 ACCUEILLEZ DÉSORMAIS DANS VOTRE PARADIS🍒🧸🍋🎶🌻,L'ÂME IMMENSÉMENT🌹🧭🌍🎻💡🔎🇬🇧💛 BELLE DE MONSIEUR DE HAENDEL 🕊💐🌿🍒🍋🎶⛑🎻🇻🇦✝️🇬🇧🕯🍒🌺🥰✒📃📚💡💛🙋‍♂️!!!

Cómo se llama este album?

5:34 I heard this theme in Chespirito's sketch "The new governor" from 1981

We are getting out of the catholic church with this one 🔥🔥💀💀💀

musica maravillosa

The music ☺ The painting 😨

maravilloso