THE

ENGLISH MADRIGAL SCHOOL

Transcribed, Scored and Edited by

REV. EDMUND HORACE FELLOWES

M.A., Mus.Bac, Oxon.

V O L . V.

ORLANDO GIBBONS

First Set of

MADRIGALS AND MOTETS OF FIVE PARTS (Published in 1612)

LONDON:

STAINER AND BELL, LTD., 58, BERNERS STREET, OXFORD STREET, W.

1914

THE^ENGLISH MADRIGAL SCHOOL.

LIST OF SUBSCRIBERS To VOLUMES V.-VIII.

Dr. Guido Adler, Proressor of Musical Research in Vienna University.

W. G. Alcock, Esq., M.V.O., Mus .Doc, Organist and Composer to His Majesty's Chapels Royal.

B, C. Allchin, Esq., Organist of Hertford College, Oxford.

Hugh P. Allen, Esq., Mus .Doc , Choragus of Oxford University, Organist and Fellow of New College, Oxford.

The Right Hon. Viscount Alverstone, G.C.M.G., D.C.L., formerly Lord Chief Justice of England.

E. Amphlett, Esq. W. Anstice, Esq. Mrs. Argles. Godfrey E. P. Arkwright, Esq. Miss Marian Arkwright, Mus. Doc. Frl. Amaiie Arnheim. Franck Arnold, Esq.

Mus .Doc , Organist of York

Organist of Norwich

Miss R. Baines. E. L. Bainton, Esq. E. C. Bairstow, Esq,

Minster. The Right Hon. A. J. Balfour, M.P. , F.R.S. (2 copies). H. L. Balfour, Esq., Mus.Bac. Granville Bantock, Esq., Professor of Music in Birming­

ham University ; Principal of the Birmingham and Midland School of Music.

Mrs. Baring (Miss Marie Hall). John Barker, Esq. Harold A. Barnes, Esq. Sir John Barran, Bart., M.P. Noel Bar well, Esq. (3 copies). Frank Bates, Esq., Mus.Doc.

Cathedral. J. T. Bavin, Esq. J. W. Bayard, Esq. Mrs. Richard Bayley. Rev. George Bell, Mus.Doc. Francis J. Belton, Esq. P. V. M. Benecke, Esq., Fellow of Magdalen College,

Oxford. Lionel Benson, Esq. Rev. W. P. Besley. Rev. Henry Bewerunge. Sir William E. Bigge. Birmingham Public Libraries. Birmingham and Midland Institute. Birmingham University Library. W. H. Blake, Esq. Adrian C. Boult, Esq. The Hon Stuart Bouverie. Mrs. H. T. Bowlby. R. E. Brandt, Esq. Rev. Canon A. J. Brewster. Sir Frederick Bridge, C.V.O., Mus.Doc, King Edward

Professor of Music in London University ; Gresham Professor of Music; Organist of Westminster Abbey.

Joseph C. Bridge, Esq., Mus. Doc., Professor of Music in Durham University; Organist of Chester Cathedral.

Robert Bridges, Esq., Litt.D., Poet Laureate. W . Denis Browne, Esq.

Percy C. Buck, Esq., Mus .Doc , Professor of Music in Trinity College, Dublin ; Director of Music, Harrow School.

F. C. Butcher, Esq., Mus.Bac, Organist and Music Master, Hoosac School, New York, U.S.A.

L. S. R. Byrne, Esq.

Capt. Maurice Caillard. Sir Vincent H. P. Caillard. Cardiff University College Library. F. Clive Carey, Esq. (2 copies). Rev. T. B. Carter. Sir Francis Champneys, Bart., M.D. The City Glee Club. J. B. Clark, Esq. Rev. Allan Coates. Mrs. Somers V. Cocks. H. C. Colles, Esq., Mus.Bac. The Hon. Mrs. Henn Collins. Mrs. A. S. Commeline. Waddington Cooke, Esq. Sir Edward C. Cooper. Rev. E. C. Corfe, Canon and Precentor of Truro

Cathedral. Rev. C. E. Couchman. Sir Homewood Crawford, Past Master of the Musicians'

Company. Rev. G. B. Cronsljaw, Fellow ol Queen's College,

Oxford. Rev. H. A. Cumberlege. W. H. Cummings, Esq., Mus.Doc, F.S.A., formerly

Principal of the Guildhall School of Music. Rev. Hugh C. R. Cunnynghame.

Ernest Darby, Esq., Mus. Bac Harold E. Darke, Esq. Rev. T. H. Davis, Mus .Doc , Prebendary and Organist

of Wells Cathedral. The Hon. Mrs. Horace Darwin. H. Walford Davies, Esq., Mus .Doc , Organist and

Director of the Choir at the Temple Church. Richard C. Davis, Esq. Messrs. Dawson and Sons. Miss N. Day. Miss Emily Daymond, Mus. Doc

»E. J. Dent, Esq., Mus.Bac, formerly Fellow of King's College, Cambridge (2 copies).

Thomas L. Devitt, Esq. George R. Dodds, Esq., Mus.Bac. Dundee, Albert Institute. Thomas F. Dunhill, Esq. Durham Cathedral Libiary. E. O. Dykes, Esq.

Clifford B. Edgar, Esq., Mus.Bac, B .Sc , Master of the Worshipful Company of Musicians.

Dr. Alfred Einstein. ' S i r Edward Elgar, O M., LL.D. , Mus .Doc , formerly

Professor of Music in Birmingham University. William Ellis, Esq., Mus.Bac Baron Oscar E. von Ernsthausen. Rev. B. C. S. Everett.

Ill

SI 1700

W. A* Everington, Esq Alfred J. Eyre, Esq.

G. A. Falk, Esq. The Lady Farrer. The Hon. Everard Feilding. Miss A. Fellowes. F. Fellowes, Esq. Mrs. W. M. Fletcher. Lionel H. Franceys, Esq. H. A. Fricker, E s q , Mus.Bac , Organist of Leeds

Town Hal l ; Chorus master of the Leeds Musical Festival.

Walter Ford, Esq. Archibald Fox, Esq. Arthur M. Fox, Esq., Mus.Bac. Miss Ruth Fry. J. A. Fuller-Maitland, Esq., F.S.A. H. Sanderson Furniss, Esq. Miss M. A. Fyffe.

H. T. Gerrans, Esq., F.S.A., Fellow of Worcester College, Oxford.

The Right Hon. Viscount Gladstone, G.C.M.G., Governor-General of South Africa (4 copies).

Henry N. Gladstone, Esq. The Hon. Hugh Godley. A. M. Goodhart, Esq., Mus.Bac. Alan Gray, Esq , Mus .Doc , Organist of Trinity

College, Cambridge. H. Plunket Greene, Esq.

W. H. Hadow, E s q , Mus .Doc , Principal of Arm­strong College, Newcastle-on-Tyne.

Rev. S. Hailstone. Mrs. W. M. Hale. Miss A. Hamilton. Professor Dr. Angul Hammerich, Professor in the

Copenhagen University. Rev. J. Hampton, Warden of St. Michael's College,

Tenbury, and Precentor of Hereford Cathedral. Herbert Hankinson, Esq. W. H. Harris, Esq., Mus Doc Basil Harwood, Esq., Mus .Doc, late Organist of

Christ Church, Oxford. E. N. Hay, Esq., Mus.Bac. A. C. Heberden, Esq., Mus.Bac , Organist and Music

Master, Marlborough College. C. B. Heberden, Esq., D.C.L. , Principal of Brasenose

College, Oxford. Lionel Helbert, Esq. Sir Alexander Henderson, Bart. (4 copies). The Lady Dorothy Henley. W. W. Hewitt, Esq. J. B. Hichens, Esq. Rev. L. D. Hildyard. Arthur F. Hill, Esq., F.S.A., Past Master of the

Worshipful Company of Musicians, Miss Cecilia Hill. Mrs. W. S. Hodgkinson. Rev. Morris O. Hodson. A. Gordon Hood, Esq. Rev. E. C. Hoskyns. The Lord Howard De Walden. Miss E. Hughes. Hubert W. Hunt, Esq., Organist of Bristol Cathedral. C. Hylton-Stewart, Esq., Mus Bac John W. Ivimey, Esq., Mus.Bac.

B. V. Jackson, Esq. Professor Dr. Zdzislaw Jachimecki, of Cracow. Mrs. Jenkins (3 copies) Miss H. Mary Jenkins. Miss Ashton Jonson.

F. Ashton Jonson, Esq Miss Phoebe Jull.

C. Karlyle, Esq. Lady Kenyon. George Kirkwood, Esq., M D. Professor Dr Kopfermann, Director Konegal Bibliothek,

Berlin. Baron Alexander Kraus, jun.

F St. John Lacy, Esq., Professor of Music, Cork University.

F. G. Larkin, Esq. G. S. Leach, Esq. A. C. Lee, Esq. Leeds Free Library. Mrs. Leng. Dr. Hugo Leichtentritt, of Berlin. W. H. Leslie, Esq. (4 copies). H G. Ley, Esq., Mus.Bac, Organist of Christ Church,

Oxford. Miss G. M Liddell. Rev. R. C. B. Llewellyn. G. S. L. Lohr, Esq. C. Lowry, Esq., Headmaster of Tonbridge School. Miss Luard. Rev. E. P. Luard. W. L. Luttman, Esq., Mus.Bac , Organist of St. Alban's

Cathedral. Rev. The Hon. Edward Lyttelton, D.D., Headmaster

of Eton College.

Mrs. Macartney. The Lady Valda Machell. George A. Macmillan, Esq. W. E. F. Macmillan, E^q. Magdalen College, Oxford, Library. Rev. J. P. Mahaffy, C.V.O., D.D., D.C.L., Mus .Doc,

Fellow of Trinity College, Dublin. Mrs. Alexander Maitland. E. Hugo Mallet, Esq. (2 copies). Manchester, Thomas Watson Libiary. Professor Dr. E. Mandyczevvski, Vienna. A. E. VV. Marshall, Esq. Francis D. Marshall, Esq. Samuel S Martyn, Esq., Mus.Bac. Sir John D. McClure, LL.D. , Mus.Doc, Headmaster

of Mill Hill School. Miss G. E. M Cormick. Robert F. M'Ewen, Esq. (2 copies). Madame H. Middleton. P. Napier Miles, Esq , formerly President of the Bristol

Madrigal Society. Miss A. L. Mixer, Mus.Bac. Rev. H. O. Moore. Charles Morley, Esq. Rev. Miles Moss. C. S. Myers, Esq , M.D., D.Sc.

T. Neale, Esq. The Hon. Alice Neville. Mrs. F. Stirling Newall. Newcastle-on-Tyne Literary and Philosophical Society. Newcastle-on-Tyne Public Library. H. F. Nicholl, Esq. Edward W. Nicholls, Esq. Edward Nicol, Esq. Sydney H. Nicholson, Esq., Mus.Bac , Organist of

Manchester Cathedial. J. E. Nixon, Esq., Fellow of King's College, Cambridge. Humphrey Noble, Esq.

Dermod O'Brien, Esq. Mrs. Orde.

IV

Oriel College, Oxford, Library. Lady Ottley. The Oxford and Cambridge Musical Club. The Oxford University Musical Union.

Sir C. Hubert H. Parry, Bart., C.V.O., D.C.L , Mus D o c , Director of the Royal College of Music ; formerly Professor of Music in Oxford University.

Rev. A. H. S. Pattrick. Ernest Payne, Esq. W. A. Pickard-Cambridge, Esq., formerly Fellow of

Magdalen College, Oxford. Cecil Powell, Esq. Miss Mabel Price.

Helen, Countess of Radnor (2 copies). Miss Ramsbotham. Rev. A. Ramsbotham. Bernard F. Ramsey, Esq., Mus .Bac , Music Master of

Falconbury School. Mrs. Hastings Rashdall. H. S. Rawson, Esq. Reading University College Library. Dr. A. Mayer Reinach, Director of the Conservatoire

Kiel. H. W. Richards, Esq , Mus.Doc. Bruce L. Richmond, Esq. O. L. Richmond, Esq., Fellow of King's College, Cam­

bridge Professor Hugo Riemann, Mus .Doc , Proressor of

Music in Leipzig University. G, Stuart Robertson, Esq. J. J. Robinson, Esq. F. B. Rogers, Esq., Organist and Master of Music,

Felsted School. L. J. Rogers, Esq., Mus .Bac , Professor of Mathe­

matics in Leeds University. Cyril B. Rootham, Esq., Mus .Doc , Oiganist of St.

John's College, Cambridge. Daniel W. Rootham, Esq., Conductor of the Bristol

Madrigal Society. L. T. Rowe, Esq. The Royal College of Music. Royal Holloway College Library.

F. V. Schuster, Esq. C. Kennedy Scott, Esq. J. S. Scott, Esq. Sir Alfred S. Scott-Gatty, K.C.V.O., F.S.A., Garter

King of Arms. Cecil J. Sharp, Esq. Geoffrey T. Shaw, Esq., Mus.Bac , H.M. Inspector of

Music to the Board of Education. J. J. Simpson, Esq. G. H. Smith, Esq., Mus.Doc Arthur Somervell, Esq., Mus .Doc , H.M. Inspector of

Music to the Board of Education. O. G, Sonneck, Esq. Mons. H. le Soudier. W. A. Soyer, Esq. W. Barclay Squire, Esq., F.S.A., Keeper of the Library,

British Museum. Sir Charles V. Stanford, D.C L., Mus .Doc , Professor

of Music in Cambridge University. W. K. Stanton, Esq. R. Sterndale-Bennett, Esq., Master of Music, Upping­

ham School. A. B. Stevens. Esq., M.B.

Oscar W. Street, Esq., Hon. Secretary of the Madrigal Society.

The Hon. Richard Strutt (2 copies). H. PI. Stubbs, Esq. Kenneth R. Swan, Esq. E T. Sweeting, Esq , Mus .Doc , Oiganist and Master

of Music, Winchester CoJege. Heibert W. Symes, Esq., President of the Madiigal

Society.

C. Sanford Terry, Esq , Piofessor of History in Abei-deen University.

R. R. Terry, Esq., Mus .Doc , Organist and Director of the Music, Westminster Cathedral.

R. J. E. Tiddy, Esq. Signor Fausto Torrefranca, Editor of the Rivista

Musicale Italiana, Turin. Donald F . Tovey, Esq. J. B. Trend, Esq.

Miss Maud Usborne (4 copies).

Albert Visetti, Esq. Mrs. E. L. Voyniez.

Ernest Walker, Esq., Mus .Doc , Director of Music, Balliol College, Oxford.

S H Walrond, Esq : T. H. Warren, Esq , D.C.L., Litt.D., President of

Magdalen College, and Professor of Poetry in Oxford University.

A. T. Watei house, Esq. Miss Florence E. Waterhouse, Mus. Bac. Miss Weisse. Messrs. P. & G. Wells. Miss M. Brown Westhead. Westminster Public Libraiy. Miss Annie T. Weston. Malcolm White, Esq. Rev. C. J. Whitehead. Henry C. Whitehead, Esq. W. G. Whittaker, Esq., Mus.Bac. Miss Margaret Williams.

* R. Vaughan Williams, Esq , Mus.Doc Alfred H. Willink, Esq. G. A. Wills, Esq. Henry H. Wills, Esq. Herbeit Wiseman, Esq. Dr. Johannes Wolf, Professor in the Berlin University. Dr. Werner Wolffheim, of Berlin. A. Rawlinson Wood, Esq., Mus.Bac , Director of

Music, Denstone College. Sir Henry J. Wood, Conductor of the Queen's Hall

Orchestra. R. T. Woodman, Esq. Robert Woodward, Esq. H. E. Wooldridge, Esq., formerly Slade Professor of

Fine Art in Oxford University. Mons. Alfred Wotquenne, Professor in the Conserva­

toire Royale de Musique, Brussels. E. G. P. Wyatt, Esq. Mrs. Wythes

Yale (U.S.A.) University Library. H. O. Yeatman, Esq. G. F. W. Yeats, Esq. Miss C. Yeoman. Mrs. William Younger.

V

PREFACE TO VOL. V.

I T has not been thought necessary to reprint in each volume of this Series the full explana­tion of the methods adopted by the Editor, especially as the Preface to Volume I. is published separately, and can be obtained separately by those who have not a copy of

that volume. It is very important, however, to emphasize that a thorough grasp of the prin­ciples which are explained in detail in that treatise is absolutely indispensable for a clear understanding and practical use of this Edition, and particular attention is directed to. the paragraph on Rhythm and Barring.

The musical illustrations there employed are drawn exclusively from the works of Thomas Morley, but the principles which they illustrate apply to the whole of this Series.

The following points are fully dealt with under separate headings :—

i. Clefs. 5. Repeat Marks. 2. Words. 6. Time-signatures. 3. Expression. 7. Key-signatures. 4. Rhythm and Barring. 8. Accidentals.

9. Pianoforte Score.

Though I have used every endeavour to reproduce an accurate version of the original text throughout this Series, I am aware that in a work of this magnitude it is almost inevitable that some misprints should escape detection in reading the proofs. I shall be glad to have any such misprints brought to my notice so that they may be corrected in future editions. I shall also welcome any information as to the authorship of any of the lyrics and sonnets not hitherto identified.

Orlando Gibbons' fame, as one of the greatest English musicians of any period, rests chiefly upon his compositions for the Church, which were voluminous. Among his instrumental writings may be mentioned his Fantasias for strings, which are said to be the first music printed in England from engraved plates, and also the celebrated collection called " Parthenia," in the production of which he collaborated with William Byrd and John Bull. It is greatly to be deplored that many of Gibbons' magnificent anthems should not be in much more general use than is the case in our English Cathedrals and Collegiate Chapels.

Volume V. of the English Madrigal School Series includes the only set of madrigals pub­lished by Orlando Gibbons, and this Set consists entirely of works in five parts. It was pub­lished in 1612. He made no contribution to Morley's " Triumphs of Oriana."

Much of the music in this Set requires the employment of counter-tenor, or male alto voices for satisfactory interpretation. An interchange of parts may excusably be effected in certain instances with the object of dealing with the awkwardness of compass for practical purposes; but no such alterations have been printed in this Edition. Such a course would have precluded the performance of these madrigals in their original form on such occasions as when male alto voices might be available, or when they might be played on string instruments, the composer having expressly designed them " for viols and voices."

On the title-page Gibbons described these compositions as " Madrigals and Motets," without specifying in detail which he classed as madrigals, and which as motets. His employment of the term Motet is, as stated in the article on " Motet" in Grove's Dictionary of Music, a singular return to the old use of the word in its application to secular song, the term being similarly used by Martin Peerson in 1630. Peerson speaks of " grave chamber music," and possibly in this sense Gibbons regarded such a grave series as Nos. 3 to 6 of this volume as a Motet. Indeed, the majority of the numbers in this Set are characterized by a severe or " grave " sentiment, a serioias vein of musical expression being called for by the words. These words in themselves are of high literary merit: many of the lyrics or sonnets, together with selections from all the chief madrigal writers, have been reprinted in recent times in " Lyrics from the Song-books of the Elizabethan age," by A. H. Bullen, and in Sir Sidney Lee's " Elizabethan Sonnets" ; but those authorities have only succeeded in assigning a definite authorship in a small proportion of cases. I am indebted to Mr. Cyril Brett for many useful suggestions in connection with the lyrics and sonnets printed in Volumes V. to VIII. of the present Series.

EDMUND H. FELLOWES, THE CLOISTERS, WINDSOR CASTLE.

April, 1914.

LYRICS AND SONNETS

SET TO MUSIC BY

ORLANDO GIBBONS

In his First Set of Madrigals and Motets.

I.

The silver Swan who living had no note, When death approached unlocked her silent throat ; Leaning her breast against the reedy shore Thus sung her first and last, and sung no more : " Farewell all joys, O death come close mine eyes, More geese than swans now live, more fools than wise."

II.

0 that the learned poets of this time, Who in a love-sick line so well can speak,

Would not consume good wit in hateful rhyme, But with deep care some better subject find.

For if their music please in earthly things, How would it sound if strung with heavenly.strings ?

III.

(the first part.)

1 weigh not Fortune's frown nor smile, I joy not much in earthly joys,

I seek not state, I reck not style, I am not fond of Fancy's toys,

I rest so pleased with what I have, I wish no more, no more I crave.

Joshua Sylvester (i563-1618).

IV.

(the second part.)

I tremble not at noise of war, I quake not at the thunder's crack,

I shrink not at a blazing star, I sound not at the news of wrack,

I fear no loss, I hope no gain, I envy none, I none disdain.

Joshua Sylvester (1563-1618).

1

V.

(the third part.)

1 see Ambition never pleased, I see some Tantals starve in store,

I see Gold's dropsy seldom eased, I see each Midas gape for more,

I neither want nor get abound, Enough's a feast, content is crowned.

Joshua Sylvester (1563-1613).

VI.

(the fourth part.)

I feign not friendship where I hate, I fawn not on the great for grace,

I prize, I praise a mean estate Nor yet too lofty nor too base.

This, this is all my choice my cheer, A mind content and conscience clear.

Joshua Sylvester (1563-1613).

VII.

(the first part.)

How art thou thralled, O poor despised creature ? Sith by creation ; Nature made thee free.

O traitorous eyes, to gaze so on her feature That quits with scorn thy dear lost liberty.

VIII.

(the second part.)

Farewell all joys, O hell Now restless cares my pillow ;

Sweet myrtle shades, farewell; Now come sad Cypress and forlorn loves' willow.

She smiles, she laughs, she joys at my tormenting. Break then poor heart, tossed on Despair's black billow

O let me die lamenting.

IX.

Dainty fine bird that art encaged there, Alas, how like thine and my fortunes are * Both prisoners be, and both singing, thus Strive to please her that hath imprisoned us . Only thus we differ, thou and I, Thou liv'st singing, but I sing and die.

11

X.

(the first part)

Fair ladies that to Love captived are, And chaste desires do nourish in your mind,

Let not her fault your sweet affections mar, Nor blot the bounty of all Womankind.

Edmund Spenser (1553-1599).

XL

(the second part.)

'Mongst thousands good one wanton Dame to find, Amongst the Roses grow some wicked weeds.

For this was not to love, but lust inclined ; For love doth always bring forth bounteous deeds, And in each gentle heart desire of Honour breeds.

Edmund Spenser (1553-1599).

XII.

Now each flowery bank of May Woos the streams that glides away ; Mountains, fanned by a sweet gale, Loves the humble looking dale; Winds the loved leaves do kiss ; Each thing tasteth of love's bliss. Only I, though blest I be To be loved by destiny, Love confessed by her sweet breath, Whose love is life, whose hate is death.

XIII.

Lais now old, that erst attempting lass, To Goddess Venus consecrates her glass, For she herself hath now no use of one; No dimpled cheeks hath she to gaze upon ; She cannot see her springtime damask grace, Nor dare she look upon her winter face.

XIV.

What is our life ? a play of passion. Our mirth the music of division. Our mothers' wombs the tiring houses be, Where we are dressed for this short Comedy. Heaven the judicious sharp spectator is, That sits and marks still who doth act amiss. Our graves, that hide us from the searching sun, Are like drawn curtains when the play is done. Thus march we, playing, to our latest rest; Only we die in earnest, that's no jest.

Walter Raleigh (1552-1618).

iii

XV. Ah dear heart, why do you rise ? The light that shines comes from your eyes. The day breaks not, it is my heart, To think that you and I must part. 0 stay, or else my joys will die, And perish in their infancy.

Attributed to John Donne (1573-1631).

XVI. Fair is the Rose, yet fades with heat and cold. Sweet are the Violets, yet soon grow old. The Lily's white, yet in one day 'tis done. White is the Snow, yet melts against the Sun. So white, so sweet was my fair Mistress' face, Yet altered quite in one short hour's space. So short-lived beauty a vain gloss doth borrow, Breathing delight to-day, but none to-morrow.

XVII. {the first part.)

Nay let me weep, though others' tears be spent, Though all eyes dried be, let mine be wet.

Unto thy grave 111 pay this yearly rent, Thy lifeless corse demands of me this debt.

1 owe more tears than ever corse did crave ; I'll pay more tears than ere was paid to grave.

XVIII. (the second part.)

Ne'er let the Sun with his deceiving light Seek to make glad these watery eyes of mine.

My sorrow suits with melancholy night. I joy in dole, in languishment I pine.

My dearest friend is set, he was my Sun, With whom my mirth, my joy, and all is done.

XIX. (the third part.)

Yet if that age had frosted o'er his head, Or if his face had furrowed been with years,

I would not so bemoan that he is dead, I might have been more niggard of my tears.

But O, the Sun new rose is gone to bed, And Lilies in their spring-time hang their head.

XX. Trust not too much, fair youth, unto thy feature ;

Be not enamoured of thy blushing hue. Be gamesome whilst thou art a goodly creature;

The flowers will fade that in thy garden grew. Sweet Violets are gathered in their Spring, White Primit falls without enpitying.

IV

NOTES.

The words were probably selected for Gibbons by Sir Christopher Hat ton, and it is even possible that he was the author of some of the lyrics, but nothing more than selection is actually implied in Gibbons' dedication to Hat ton.

Many of these lyrics, together with selections from all the madrigal writers, have been printed in recent times in A. H. Bullen's " Lyrics from the Song-books of the Elizabethan age," and in Sir Sidney Lee's " Elizabethan Sonnets."

I I I . -VI .—Words by Joshua Sylvester, from Epigrams and Epitaphs (vide Grosart 's edition of Sylvester's Works, Vol. II . , 340).

IV.—Line 4, sound=$woon. I t is also spelt " swound " in one of the part-books.

X.-XI .—Words by Edmund Spenser, from the " Fairy Queen." Book I I I . , Canto 1.

XII .—Line 2, glides ; line 4, loves. The use of the third person singular of the verb in place of the plural is an idiom which is not uncommon in Elizabethan literature, and is to be found in Shakespeare, e.g., in Richard II . , Act II . , Scene 3, lines 4, 5 :

" These high wild hills and rough uneven ways Draws out our miles and makes them wearisome."

There are many similar examples in the works of all the madrigalists, and the idiom is pre­served throughout this Edition. cj. xvii., line 6, and Wilbye's First Set, No. x., line 4 : " M y eyes presents me with a double doubting."

XI I I .—In a note on this lyric Bullen (p. 225) states that it is imitated from Plato's epigram [Anthol. Grsec vi. 1] :—

'H aroftapbv yeXdcrcKra m6' 'EXAaSos, r) TOP epaarcov €(Tfx6v ilTL 7Tpo6vpOLS AoLS e^OVOTa V€C0Vj

rfj Hcxjiir) TO KtiToiTTpov ' eVet TOLT) p.ev opacrOat ovK €0€X<*> ' O'LT] b' r\v ivapos ov bvpapai

or from Ausonius' translation " De Laide dicante Veneri speculum suum " [Epig. lv. in S. Walkefs Corpus Poetarum Latinorum, ed. 1894].

. Lais anus Veneri speculum dico; dignum habeat se Aeterna aeternum forma, ministerium.

At mihi nullus in hoc usus, quia cernere talem Qualis sum, nolo; qualis eram, nequeo.

Line 1, attempting=all-tempting.

XIV.—Words by Sir Walter Raleigh.

XV.—Words variously at tr ibuted to John Donne and John Dowland, and with more probability to the latter. I t is a stanza prefixed to Donne's poem entitled " Break of Day," in Stowe, MS. 961, in the edition of 1669 [vide H. J . C. Grierson's edition of Dr. Donne's Works, Vol. L, 432]. This poem begins :

" 'Tis true, 'tis day. What though it be ? "

A comparison of the text of the stanza in Orlando Gibbons' version, printed in 1612, with tha t printed by Professor Grierson, shows several textual variants.

XVII.—Lines 4 and 5, cors^—corpse. Though derived from the Latin corpus the p was a comparatively modern addition to the mediaeval French word cors. In the sixteenth century he English word was spelt corse and coarse. Corse still remains a somewhat archaic and Oetic form of the modern corpse, which word is itself often pronounced without the p in wading.—Murray's New English Diet., Vol. II . , 1026.

XX.—The words were evidently suggested by Vergil [Eclogue II . , lines 17, 18] :

" O formose puer, nimium ne crede colori! Alba legustra cadunt vaccinia nigra leguntur."

Line 6, Primit=privet (ligustrum). The word in this exact form is not included in Murray's New English Dictionary. Other mediaeval forms are prim-print, primp and pr im; and, dialecti-cally, privet is still called called prim or primmy [Britten and Holland's " English Plant-n a m e s " ] . Murray, in a note, adds, that it has been suggested that privet is a corruption of " primet," but that Prior, in his " Names of Plants ," is in error in stating it \o be a name for Cie primros^.

Line 6,j enpiiying. To enpity is an obsolete verb, meaning to affect with compassion [Murray's N^w English Diet., Vol. I I I . , 937]. In the musical antiquarian Society's edition of Gibbons' madrigals the particle " e n " was joined to " w i t h o u t , " thus making nonsense of the passage.

The

First Set

of

MADRIGALS

AND MOTTETS

of 5. Parts : apt for

Viols and Voyces

NEWLY COMPOSED by Orlando Gibbons, Batche-

ler of Musicke, and Organist of his Maiesties Honourable Chappell

in Ordinarie

London : Printed by Thomas Snod ham

the Assigne of W. 'Barley 1612 .

T O T H E R I G H T WOR-thy, my much Honoured friend,

Syr Qhristopher Hatton^ Knight of the Ho­nourable Order of the Bath.

SYR

It is proportion that beautifies every thing, this whole Universe consists of it, and Musicke is measured by it, which I have endeavoured to observe in the composition of these few Ayres, but cannot in their Dedication : for when I compare your many favours with my demerits, your curious Eare with these harsh Notes, there appears so plaine a disproportion betweene them, that I am afraid, least in offring to your Patronage Songs in some tune, my action herein should be out of all tune :' yet I have made bould to honour them with your Name, that the world may take notice, rather of my want of abilitie, then good-will to be gratefull. By which little outward demonstration, you may easily guesse at the greatnesse of my inward affection, as skilfull Geometricians doe observe the true stature of the whole body by sight of the foote onely. Experience tels us that Songs of this Nature are usually esteemed as they are well or ill performed, which excellent grace I am sure your unequalled love unto Musicke will not suffer them to want, that the Author (whom you no lesse love) may be free from disgrace. They were most of them composed in your owne house, and doe there­fore properly belong unto you, as Lord of the Soile ; the language they speake you provided them, I onely furnished them with Tongues to utter the same : they are like young Schollers newly entred, that at first sing very fearefully, it requires your Patience therefore to beare with their imperfections : they were taught to sing onely to delight you, and if you shall take any pleasure in them, they have their end, and I my wish, a full recompence for my passed labours, and a greater encouragement to present you with some future things more worthy your Patronage : till which opportunity I rest

Yours ever to command ORLANDO GIBBONS.

xvn VOI . V.

TABLE OF CONTENTS

MADRIGALS AND MOTETS OF FJVE PARTS

PAGE

•I . The silver swan . . . . S.A.A.(or T.), B.(or T.), B. I

2. O that the learned poets . . S.S.A,(or T.), A.(or T.), B. 4

3. I weigh not fortune's frown {the first part) S.S.A.T.(or A.), B. 12

4. I tremble not at noise of war {the second part of No. 3) S.S.A.T.(or A.), B. 19

5. I see Ambition never pleased {the third part of Aro. 3) SS.A.T.B. 26

6. I feign not friendship (the fourth part of No. 3)

S.S.A.T.(or A.), B. 34

•7. How art thou thralled (the first part) . S.S.for A.), T.T.B. 42

8. Farewell all joys (the second part of No. 7) S.S.A.(or T.), A.(or T.), B. 48

9. Dainty fine bird S.S.T.(or A.), T.B. 54

10 Fair ladies that to love (the first part) . . SS.A.A.B. 59

11. Mongst thousands good (the second part of No. 10)

S.S.A.T.(or A.), B. 65

•12. Now each flowery bank of May . . S.S.T.(or A.), T.B 72

13. Lais now old S.A.T.T.(or A.), B. 8r

.14. What is our life? S.A.A.(or T.), T B. 88

15. Ah dear heart . . . . S.A.A.(or T.), A.(or T.), B 99 •16. Fair is the rose S.A.(or S.), A.T.B. 103

17. Nay let me weep (the first part)

S. A.(or S.), T.(or A.), T.(or A.), B. 113

18. Ne'er let the sun (the second part of No. 17) S.A.T.(or A.), T.B. 121

19 Yet if that age the third part of No. 17) S.S.(or A.), T.(or A.), T.B. 130

20. Trust not too much fair youth . , S.S.T.for A.), T.B. 138

VOL. V.

INDEX

Ah dear heart .

Dainty fine bird .

Fair ladies that to love

Fair is the rose

Farewell all joys .

How art thou thralled .

I feign not friendship .

I see Ambition never pleased

I tremble not at noise of war

I weigh not Fortune's frown

Lais now old.

Mongst thousands good

Nay let me weep .

Ne'er let the sun .

Now each flowery bank of May

O that the learned poets

The silver swan

Trust not too much fair youth

What is our life ?

Yet if that age

VOL V.

THE

ENGLISH MADRIGAL SCHOOL.

The Madrigals of THOMAS MORLEY, ORLANDO GIBBONS, J O H N WILBYE and J O H N FARMER

are also published separately, and may be obtained from all Music-sellers or

STAINER & BELL, LTD., 58, BERNERS STREET, LONDON, W.

ENGLISH MADRIGAL SCHOOL.

THE SECULAR VOCAL WORKS OF THOMAS MORLEY Edited by EDMUND H. FELLOWES.

Price for the Four Volumes Complete - 23s. 6d. net.

Volume I. FIRST BOOK OF

Price Complete (with Preface), 7s. 6d. CANZONETS TO TWO VOICES.

Go ye my Canzonets. S.S. or T.T. When lo by break of morning. S.S. or T.T. Sweet nymph come to thy lover. S.S. or T.T. I go before my darling. S.S. Miraculous love's wounding. S.S. or T.T. Lo here another love. S.S. or T.T. Leave now mine eyes lamenting. S.T. . .

Price, id . 2d. id . 2d. 2d. 2d. id .

Fire and Lightning. S.S. or T.T Flora, wilt thou torment me ? S.S. or T.T In nets of golden wires. S.T. 0 thou t h a t a r t so cruel. S. (or A.) T. . . 1 should for grief and anguish. S. (or A.) A. (or T.)

or T.B

Price, i d . id .

id . id .

id .

CANZONETS OR LITTLE SHORT SONGS TO THREE VOICES. ^ Price.

See mine own sweet jewel. S.S.A. (or T.) or T.T.B. . . 2d. J o y doth so arise. S.S.T 3d. Cruel you pull away too soon. S.S.A. (or T.) or T.T.B. 4d. Lady those eyes. S.S.A. (or T.) or T.T.B 3d. Hold out my hear t . S.S.T. 3d. Good morrow fair ladies of the May. S.S.A. (or T.) or

A.T.B 3d. Whither away so fast ? S.S.A. (of T.) or T.B.B 4d. Blow shepherds blow. S.A. (or T.) T 3d. Deep lamenting. S.T. (or A.) B . . . . . . . . . 4d. Farewell disdainful. S.A.T. . . 3d. O fly not . S.S.T 3d. Thirsis let p i ty move thee. S.S. (or A.) A. (or T.) . . 3d. Now must I die recureless. S.S. (or A.) T. . . . . 3d.

Price. Lady if I through grief. S. (or A.) A. (or T.) B . . . 3d. Cease mine eyes. S.A. (or S.) T. . . . . . . . . 3d. Do vou not know ? S.A.T. (or B.) . . . . . . 2d. Where a r t thou, wanton ? S.S.A. (or T.) or T .T.B. . . 3d. W h a t ails my darling ? S.S.A. or T.T.B 3d. Say dear will you not have me ? S.S. (or A.) A. (or T.)

or T.B.B 2d. Arise get up . S.S. (or A.) T 3d. Love learns by laughing. S.S.A. (or T.) or T .T .B . . . i d . This love is b u t a wanton fit. S.S.A. or T .T .B. . . . . i d . Though Philomela lost her love. S.S. (or A.) A. (or T.)

or T.B.B id . Spring-time mant le th every bough. S. (or A.) A. (or T.)

T. (or B.) i d .

Volume II Price Complete, 5s. 6d. FIRST BOOK OF MADRIGALS TO FOUR VOICES.

Price. April is in my mistress ' face. S.A. (or S.) T. (or A.) B. . . 2d. Clorinda false. S.A. (or S.) T.B 3d. Why sit I here complaining ? S.S.A.T. . . . . . . 4d. Since-my tears and lamenting. S.A. (or S.) A. (or T.) B . 2d. Help I fall. S.A.A. (or T.) B 2d. Lady why grieve you still me ? S.S.A.T 3d. In dew of roses. S.S.A.T. (or A.) 3d. In every place. S.A. (or S.) T.B 2d. Now is the gentle season. S.A.T.B. . . . . . . 2d. The fields abroad. S. (or A.) A. (or T.) T.B 2d. Come lovers follow me. S.S.A.T. . . . . . . 3d. 0 .no thou dost b u t flout me. S.S.A.T 3d. 1 will no more come to thee. S.S.A.T. (or B.) . . . . 3d.

Price Besides a fountain. S.S.A.T 3d, Spor t we my lovely treasure. S.S.A.T. . . . . . . 3d, O sweet alas wha t say you ? S.S.A.T. . . . . . . 3d Hark jolly shepherds. S.S.A.T 3d Ho who comes here. S.S.A.A. (or T.) . . . . . . 4d Die now my heart . S.A. (or T.) T.B 4 d Say gentle nymphs. S.A. (or T.) T. (or B.) B 3d, Round around about a wood. S.S.A.T. . . . . . . 3d, On a fair morning. S.A.A.B. . . . . . . 3d,

TWO CANZONETS from MORLEY'S ITALIAN COLLECTION My heart why has t thou taken ? S.S.S.A. (or T.) Still i t frieth. S.S.S. (or A.) T

Volume III. CANZONETS OR LITTLE SHORT

F O R F I V E V O I C E S . Fly love t ha t a r t so sprightly. S.S.A.(or T.) T. (or B.) False love me did inveigle. S.S, (or A.) T. (or A.) T. Adieu adieu you kind and cruel. S.A.T.T.B. Love's folk in green arraying. S.S.A.T. (or A.) B . Love took his bow and arrow. S.A.A. (or T.) T .B . Lo where with flowery head. S.A.A. (or T.) T .B . O grief even on the bud. S. A.T.T. (or B.) B . . . Sovereign of my delight. S.S.A. (or S.) A. (or T.) B . Our bonny-boots could toot i t . S .A .T .T .B . . . . Ay me the fatal arrow. S.A.A. (or T.) A. (or T.) B . My nymph the dear. S.A. (or S.) A. (or T.) T .B . Cruel wilt thou persever ? S.A.A. (or T.) T .B. . . Said I t ha t Amarillis ? S.S. (or A.)- T . (or A.) T.

A.) B . . . Damon and Phillis. S.S. (or A.) T. (or A.) T. (or B.)

Price Complete, 6s. od. AIRS TO FIVE AND SIX VOICES.

B. \ B .

(or

B .

Price. 2d. 4 d . 3d. 3d. 3d. 2d. 2d. 3d. 3d. 2d. 3d. 2d.

2d. 3d.

Lady you think you spite me. S.S. (or A.) A. (or T.) T. (or B.) B

You black bright stars. S. (or A.) T. (or A.) B. (or T.) B. I follow lo the footing. S.S.A. (or S.) A. (or T.) T. (or B.)

F O R S I X VOICES. Stay heart run not so fast. S.S.A.T. (or A.) T.B. Good love now fly thou to her. S.S.A.T. (or A.) T.B. . . Ladies you see time flicth. S.S.S.A. (or T.) B. (or T.) B. Hark ; Alleluia. S.A. (or T.) A. (or T.) T. (or B.) B. (or T.)

B

Price.

2d.

6d.

3d.

TWO MADRIGALS from the TRIUMPHS OF ORIANA. Arise awake. S.A.T. (or A.) T.B. 4 d . Hard by a crystal fountain. S.S.A. (or S.) T. (or A.) T.B. 6d.

Price Complete, 4s. 6d. FIRST BOOK OF BALLETS TO FIVE VOICES.

Price. I Price. 2d. My lovely wanton jewel. S.S. (or A.) A.T. (or A.) B . . . 3d. 2d. You tha t wont to my pipe's sound. S.S.A.T. (or B.) B . . . 2d. 2d. Fire ! Fire ! S.S.T. (or A.) T.B 4d. i d . Those dainty daffadillies. S.A.T. (or A.) B.B 2d. 3d. Lady those cherries plenty. S. (or A.) T. (or A.) T.T. 2d. (orB.) B 3d. 2d. I love alas I love thee. S.A. (or T.) A. (or T.) B.B. . . 2d.

Lo she flies. S.S.A.T.B 3d. 3d. Leave alas this tormenting. S.A. (or S.) A.T. (or A.) B. 3d. 2d. Why weeps alas ? S.A, (or S.) T. (or A.) T. (or A.) B. . . 2d. 2d. Phillis, I fain would die now {a Dialogue to seven voices). 3d. I S.S.A.A.T.T.B 6d.

Volume IV.

Dainty fine sweet nymph. S.S.A. (or T.) T.B Shoot false love I care not , rfS.S.A. (or T.) T. (or B.) B . Now is the month of Maving. S. (or A.) A.T.T. (or B.) B . Sing we and chant i t . S.S. (or A.) A. (or T.) T. (or B.) B . Singing alone. S.A. (or T.) A. (or T.) T. (or B.) B . . . No no Nigella. S.S.A. (or T.) T . (or B.) B My bonny lass she smileth. S.A. (or S.) A. (oi* T.) T .B . I saw my lovely Phillis. S.A. (or S.) A. (or T.) T. (or A.)

B What saith my dainty darling ? S.S.A. (or S.) A. (or T.) B. Thus saith my Galatea. S.A, (or S). A, (or T) . T.B. . . About the Maypole. S.A. (or S.) T.T.B

The Preface is issued separately. Price 6d.

STAINER & BELL, LIMITED, 58, Bcrncrs Street, London, W.