I taught a class at King’s College 2016 on Elizabethan Music. These are the songs I used as examples.
|Vigilate||William Byrd||1589||English Renaissance||King’s Singers||Motet for 5 voices, from Cantiones Sacrae.|
|Browning My Dear||Clement Woodcock||1574||Elizabethan Consort Music, 1558-1603||Hespèrion XX, Jordi Savall||Instrumental, string consort|
|Have I Found Her||Francis Pilkington||1613||All At Once Well Met: English Madrigals||King’s Singers||Madrigal|
|It fell on a summer’s day||Dr. Thomas Campion, lyrics; Philip Rosseter, music||1601||Campion: Elizabethan Songs||Drew Minter countertenor – Paul O’Dette lute||Voice and lute, bawdy song. From “A Book of Ayres”.|
|Tan tara ran tara cries Mars own bloody rapier||Thomas Weelkes||1608||Waytes: English Music for a Renaissance Band||Piffaro||Shawms and sackbut, originally a madrigal for 3 voices|
|All as a sea||William Byrd||1588||William Byrd: Psalmes, Sonets & Songs, 1588||Anthony Rooley, The Consort of Musicke||Voice and string consort|
|April is in My Mistress’ Face||Thomas Morley||1594||The English Lute Song||Ron McFarlane Lute; Julianne Baird Soprano||Madrigal, Voice and lute|
|If ye love me||Thomas Tallis||1560||The Tallis Scholars sing Thomas Tallis||The Tallis Scholars||Anthem, 4 part acapella, text from John 14: 15-17 (KJV)|
The Agincourt Carol, or more properly Deo Gracias Anglia, can be found at:
In 1399, after John of Gaunt died, the king disinherited Gaunt’s son, Henry of Bolingbroke, who had previously been exiled. Henry invaded England in June 1399 with a small force that quickly grew in numbers. Claiming initially that his goal was only to reclaim his patrimony, it soon became clear that he intended to claim the throne for himself.
“My gracious lord, I come but for mine own.”
Henry Bolingbroke, The Tragedy of King Richard II, Shakespeare, 1597, Act 3, Scene 3
“He asketh nought but that is His.”
Christmas Carol: Now May We Singen as it Is, Trinity Roll, 1420
The Trinity Roll is a collection of carols including “Deo Gracias Anglia”, the Agincourt Carol. It is a scroll of parchment housed in Trinity College, Cambridge (Manuscript O.3.58). It was written about 1420, the year that King Henry concluded the Treaty of Troyes and became regent and heir apparent to the French throne, and then married Catherine of Valois.
“Deo Gracias Anglia” is obviously written to praise the King. Was “Now May We Singen as it Is” also written to praise the King’s father Henry IV by making a comparison to Christ? The carol begins:
This babe to us that now is born,
Wonderful works He hath ywrought,
He would not lose what was forlorn,
But boldly again it bought;
And thus it is,
For sooth I wis,
He asketh nought but that is His.
His ransom for us hath ypaid.
Good reason have we to be His.
So, the carol says directly that Christ ransomed us so we should serve him. Since He has already paid the price, “He asketh nought but that is His.”
The story of Henry Bolingbroke coming for what already belonged to him was well enough known 200 years later that it was included in the play. Wouldn’t it have been known 20 years later? Was this such a common phrase and concept that two similar references in 20 years is unsurprising, or is the lyricist intentionally echoing the famous story about the King’s father?
I don’t think we have enough information to prove it either way, but it is interesting.
I’m planning to focus this year’s Medieval Christmas on 15th century English carols. I may have to make a 15th century houpelande and chaperon. Four of them are from the Trinity Roll, at Trinity College, Cambridge, MS. O. 3. 58, from about 1420.
Alamire made an excellent recording of these carols.
|Nova, Nova||15th century English||Choir on chorus, solo on verses|
|Salutation Carol||15th century English||Choir on chorus, solo on verses|
|Coventry Carol||15th century English||4 part|
|This Endris Night||15th century English||Unison, 15 verses, Harp|
|There is no rose of such virtue||Trinity Roll||2 part|
|Now may we syngyn||Trinity Roll||2 part|
|Nowel sing we now||Trinity Roll||2 part|
|What tidings bringest thou messenger?||Trinity Roll||2 part|
These are the songs and program I’m planning for the Medieval Christmas Program 2015 service on December 6th.
|1||Laudemus Virginem||Llibre Vermeil de Montserrat, late 14th Century Catalan||Choir, 2 part canon|
|2||Verbum Caro Factum Est||Piae Cantiones 1582, probably 14th Century||Choir unison on chorus, solo verses, percussion, instruments|
|3||Nova, Nova||15th Century English||Choir unison on chorus, solo verses|
|4||Los Set Gotxs Estampie||Llibre Vermeil de Montserrat||Instrumental, Todd|
|5||In Dulci Jubilo||14th Century German||Choir, congregation, piano|
|6||Quem Pastores||14th Century German||Duet and harp|
|7||Mariam Matrem virginem||Llibre Vermeil de Montserrat||Choir unison on chorus, solo verses, organ|
|8||Cuncti Simus Concanentes||Llibre Vermeil de Montserrat||Choir unison on chorus, solo verses, percussion|
|9||Veni, Veni Emanuel||Lyrics 9th Century, music 15th Century French #211||Choir, congregation, piano|
|10||Splendens ceptigera||Llibre Vermeil de Montserrat||Choir, 2 part canon|
|11||Alle Psallite Cum Luya||Montpelier Codex||Trio, Instruments|
The Ansteorra Dance Consort is preparing these pieces:
Branle Simple, Thoinot Arbeau, http://sca.uwaterloo.ca/Hendricks/Arbeau/double.pdf
Branle Double, Thoinot Arbeau
Branle de Bourgoigne, Thoinot Arbeau
Branle Gay, Thoinot Arbeau
Branle de Chevaulx, Thoinot Arbeau, http://sca.uwaterloo.ca/Hendricks/Shawm/horse.pdf
Heart’s Ease, Playford, http://sca.uwaterloo.ca/Hendricks/Playford_new/heartsez.pdf
Half Hannikin, Playford, http://sca.uwaterloo.ca/Hendricks/Playford_new/halfhann.pdf
Hole in the Wall, Playford, http://sca.uwaterloo.ca/Hendricks/Playford_new/hole_sum.pdf
Gathering peascods, Playford, http://sca.uwaterloo.ca/Hendricks/Playford_new/peascods.pdf
The Ansteorra Instrumental Consort is preparing these pieces:
Dit le Bourguygnon, anon., http://sca.uwaterloo.ca/Hendricks/Renaiss/dit.pdf
Jouyssance vous donneray, Thoinot Arbeau, http://sca.uwaterloo.ca/Hendricks/Arbeau/jouyssan.pdf
Bergerette: Sans Roch, Tylman Susato, http://sca.uwaterloo.ca/Hendricks/Renaiss/bergeret.pdf
La Battaille (Pavane V), Tylman Susato, http://sca.uwaterloo.ca/Hendricks/Renaiss/battaill.pdf
La Morisque, Tylman Susato, http://sca.uwaterloo.ca/Hendricks/Shawm/moris_a.pdf
Grimstock, Playford, http://sca.uwaterloo.ca/Hendricks/Playford_new/grimstoc.pdf
Nuttmigs and Ginger, anon, http://sca.uwaterloo.ca/Hendricks/Holborne_waits/nutmegs.pdf
Now, o now I needs must part, John Dowland, http://sca.uwaterloo.ca/Hendricks/Dowland/nowonow2.pdf
These are the songs that the Ansteorra Vocal Consort is preparing:
April is in my Mistress Face, Thomas Morley, http://sca.uwaterloo.ca/Hendricks/Morley/april.pdf
Sing we and Chant it, Thomas Morley, http://sca.uwaterloo.ca/Hendricks/Morley/sing_we.pdf
Say Love if ever thou didst Find, John Dowland, http://sca.uwaterloo.ca/Hendricks/Holborne_waits/say_love.pdf
Belle qui tiens ma vie, Thoinot Arbeau, http://stcpress.org/miscellaneous/belle_qui/belle_qui_tiens_ma_vie.pdf
Una Sanosa porfia, Juan del Encina, http://sca.uwaterloo.ca/Hendricks/Renaiss/sanosa.pdf
Like as a farmer scat’ring seeds in Spring,
a noble Lady spread her kind words there,
and unexpectedly she seemed to bring
new life to ground so recently laid bare.
And if that ground seems lavishly well sown,
it is no fault of hers, but of her son.
She tarried but to gather in her own
and seeds, by chance, fell as she watched him run.
Or, was that seed yet dropped there by her choice
in hope that it may grow? And do I see
in her attentions and hear in her voice
what comes from her, or comes from my fancy?
Fancy or no, I’ll tend this seedling well.
What harvest comes, still only time will tell.
(Nov 20, 1994)