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It contains words and full music for some 60 of the madrigals and songs of the English Madrigal School. When selecting works for this book, Ledger decided to represent the major composers of 16th-century English music such as William Byrd and Thomas Morley with several madrigals, alongside individual works by lesser-known composers.
In the fifth book of madrigals, using the term seconda pratica (second practice) Monteverdi said that the lyrics must be "the mistress of the harmony" of a madrigal, which was his progressive response to Giovanni Artusi (1540–1613) who negatively defended the limitations of dissonance and equal voice parts of the old-style polyphonic madrigal ...
Fair Phyllis (also Fair Phyllis I saw, Fair Phyllis I saw sitting all alone) is an English madrigal by John Farmer. The music is polyphonic and was published in 1599. The madrigal contains four voices and uses occasional imitation. It also alternates between triple and duple beat subdivisions of the beat in different parts of the work.
For his texts, Arcadelt chose poets ranging from Petrarch (and his setting of a complete canzone, as a set of five interrelated madrigals, was the predecessor of the vogue for madrigal cycles), Pietro Bembo, Sannazaro, to Florentines Lorenzino de'Medici, Benedetto Varchi, Filippo Strozzi, and Michelangelo himself, to others such as Luigi ...
Madrigal/song: 40–59: Il secondo libro de madrigali (Second Book of Madrigals, 20 pieces, details table E below) 5 voices: Monteverdi, Venice 1590, repub. 1607, 1621: Texts: Torquato Tasso, Girolamo Casoni, Guarini and others [3] 1592: Madrigal/song: 60–74: Il terzo libro de madrigali (Third Book of Madrigals, 15 pieces, details table F ...
The English Madrigal School was the intense flowering of the musical madrigal in England, mostly from 1588 to 1627, along with the composers who produced them. The English madrigals were a cappella , predominantly light in style, and generally began as either copies or direct translations of Italian models.
"The Silver Swan" is Gibbons's best-known song, [10] with biographer Edmund Fellowes suggesting it is perhaps the most famous English madrigal. [2] He further described it as "a favourite wherever madrigals have been sung", and noted that it was among the few pieces to retain relevance during the composer's posthumous loss in popularity before ...
The power pop band Shoes covered the song for the 1989 Buddy Holly tribute album Everyday Is a Holly Day. [12] Jimmy Gilmer and the Fireballs released a recording of the song in 1964 on the album Buddy's Buddy. [13] Mike Berry recorded the song in 1999 for the tribute album Buddy—A Life in Music, released on the Hallmark label. [14]