Thomas Morley: Difference between revisions
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: 17. {{NoCo|Where art thou wanton?}} | : 17. {{NoCo|Where art thou wanton?}} | ||
: 18. {{NoCo|What ails my darling}} | : 18. {{NoCo|What ails my darling}} | ||
: 19. {{NoCo|Say dear, will you not have me?}} | : 19. {{NoCo|Say dear, will you not have me?}} | ||
: 20. {{NoCo|Arise, get up my dear}} | : 20. {{NoCo|Arise, get up my dear}} | ||
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#{{NoCo|April is in my mistress' face}} | #{{NoCo|April is in my mistress' face}} | ||
#{{NoCo|Clorinda false}} | #{{NoCo|Clorinda false}} | ||
#{{NoCo|Why sit I here, alas, complaining}} | #{{NoCo|Why sit I here, alas, complaining}} | ||
#{{NoCo|Since my tears and lamenting}} | #{{NoCo|Since my tears and lamenting}} | ||
#{{NoCo|Help I fall}} | #{{NoCo|Help I fall}} | ||
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#{{NoCo|Now is the gentle season}} | #{{NoCo|Now is the gentle season}} | ||
#{{NoCo|The fields abroad}} (part 2 of number 9) | #{{NoCo|The fields abroad}} (part 2 of number 9) | ||
#{{NoCo|Come, lovers, follow me}} | #{{NoCo|Come, lovers, follow me}} | ||
{{Middle}} | {{Middle}} | ||
: 12. {{NoCo|O no, thou dost but flout me}} | : 12. {{NoCo|O no, thou dost but flout me}} | ||
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: 16. {{NoCo|O sweet alas what say you|O sweet, alas, what say you?}} (part 2 of number 15) | : 16. {{NoCo|O sweet alas what say you|O sweet, alas, what say you?}} (part 2 of number 15) | ||
: 17. {{NoCo|Hark, jolly shepherds}} | : 17. {{NoCo|Hark, jolly shepherds}} | ||
: 18. {{NoCo|Ho, who comes here|Ho! who comes here?}} | : 18. {{NoCo|Ho, who comes here|Ho! who comes here?}} | ||
: 19. {{NoCo|Die now, my heart}} | : 19. {{NoCo|Die now, my heart}} | ||
: 20. {{NoCo|Say gentle nymphs that tread}} | : 20. {{NoCo|Say gentle nymphs that tread}} | ||
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{{Middle}} | {{Middle}} | ||
: 7. {{NoCo|Leave now, mine eyes}} | : 7. {{NoCo|Leave now, mine eyes}} | ||
: 8. {{NoCo|Fire and lightning from heaven}} | : 8. {{NoCo|Fire and lightning from heaven}} | ||
: 9. {{NoCo|In nets of golden wires}} | : 9. {{NoCo|In nets of golden wires}} | ||
: 10. {{NoCo|O thou that art so cruel}} | : 10. {{NoCo|O thou that art so cruel}} | ||
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#{{NoCo|My bonny lass she smileth}} | #{{NoCo|My bonny lass she smileth}} | ||
#{{NoCo|I saw my lovely Phillis}} | #{{NoCo|I saw my lovely Phillis}} | ||
#{{NoCo|What saith my dainty darling|What saith my dainty darling?}} | #{{NoCo|What saith my dainty darling|What saith my dainty darling?}} | ||
#{{NoCo|Thus saith my Galatea}} | #{{NoCo|Thus saith my Galatea}} | ||
#{{NoCo|About the maypole}} | #{{NoCo|About the maypole}} | ||
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{{Bottom}} | {{Bottom}} | ||
===={{NoCo|Primo Libro dei Balletti}} - 1595==== | ===={{NoCo|Primo Libro dei Balletti}} - 1595==== | ||
(Italian version of "First Book of Ballets") | (Italian version of "First Book of Ballets") | ||
{{Top}} | {{Top}} | ||
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{{Top}} | {{Top}} | ||
#{{NoCo|Fly love that art so sprightly}} | #{{NoCo|Fly love that art so sprightly}} | ||
#{{NoCo|False love did me inveigle}} | #{{NoCo|False love did me inveigle}} | ||
#{{NoCo|Adieu, adieu you kind and cruel}} | #{{NoCo|Adieu, adieu you kind and cruel}} | ||
#{{NoCo|Love’s folk in green arraying}} | #{{NoCo|Love’s folk in green arraying}} | ||
#{{NoCo|Love took his bow and arrow}} | #{{NoCo|Love took his bow and arrow}} | ||
#{{NoCo|Lo where with flowery head}} | #{{NoCo|Lo where with flowery head}} | ||
#{{NoCo|O grief, e'en on the bud}} | #{{NoCo|O grief, e'en on the bud}} | ||
#{{NoCo|Sovereign of my delight}} | #{{NoCo|Sovereign of my delight}} | ||
#{{NoCo|Our Bonny-boots could toot it}} | #{{NoCo|Our Bonny-boots could toot it}} | ||
#{{NoCo|Ay me, the fatal arrow}} | #{{NoCo|Ay me, the fatal arrow}} | ||
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: 12. {{NoCo|Cruel, wilt thou persever}} | : 12. {{NoCo|Cruel, wilt thou persever}} | ||
: 13. {{NoCo|Said I that Amarillis}} | : 13. {{NoCo|Said I that Amarillis}} | ||
: 14. {{NoCo|Damon and Phillis}} | : 14. {{NoCo|Damon and Phillis}} | ||
: 15. {{NoCo|Lady you think you spite me}} | : 15. {{NoCo|Lady you think you spite me}} | ||
: 16. {{NoCo|You black bright stars}} | : 16. {{NoCo|You black bright stars}} | ||
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*{{NoCo|O sleep, fond fancy}} {{editions|2}} | *{{NoCo|O sleep, fond fancy}} {{editions|2}} | ||
Shown as a wordless “air” in Morley’s book. Thurston Dart set these words to it from a piece by Thomas Bateson published in his ''First Set of Madrigals'' (1604). | Shown as a wordless “air” in Morley’s book. Thurston Dart set these words to it from a piece by Thomas Bateson published in his ''First Set of Madrigals'' (1604). | ||
*{{NoCo|O fly not, love}} {{Editions|2}} {{NoCo|Haec dies}} is also set to this music. | *{{NoCo|O fly not, love}} {{Editions|2}} {{NoCo|Haec dies}} is also set to this music. | ||
===={{NoCo|First Book of Ayres}} - 1600==== | ===={{NoCo|First Book of Ayres}} - 1600==== | ||
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#{{NoCo|With my love my life was nestled}} | #{{NoCo|With my love my life was nestled}} | ||
#{{NoCo|I saw my lady weeping}} | #{{NoCo|I saw my lady weeping}} | ||
#{{NoCo|It was a lover and his lass}} | #{{NoCo|It was a lover and his lass}} | ||
#{{NoCo|Who is it that this dark night}} | #{{NoCo|Who is it that this dark night}} | ||
#{{NoCo|Mistress mine, well may you fare}} | #{{NoCo|Mistress mine, well may you fare}} | ||
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====Triumphs of Oriana - 1601==== | ====Triumphs of Oriana - 1601==== | ||
*{{NoCo|Arise, awake}} | *{{NoCo|Arise, awake}} | ||
*{{NoCo|Hard by a crystal fountain}} | *{{NoCo|Hard by a crystal fountain}} | ||
====Other secular music==== | ====Other secular music==== |
Revision as of 15:53, 24 November 2020
Life
Born: c. 1557
Died: 1602
Biography
The entry in Cathedral Music, Volume 1 (William Boyce) reads:
Thomas Morley was admitted Batchelor in Music at Oxford, 1588, and became Gentleman of the Royal Chapels to Queen Elizabeth, in 1592. He publish'd a learned Treatise in 1597, entitled A Plain and Easy Introduction to Practical Musicke, which he dedicated to William Bird, who had been his Master. He died in 1602.
View the Wikipedia article on Thomas Morley.
List of choral works
- For works at CPDL sorted alphabetically by title, see Thomas Morley compositions
Sacred music
Burial service
Other sacred music
Secular music
Canzonets or Little Short Songs to foure Voyces selected from Italian composers
E.H. Fellowes included these (un-numbered) in his edition of Madrigals to Four voices.
- My heart, why hast thou taken
- Still it frieth (3 editions available)
Canzonets to Three Voices - 1593
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The following pieces were included in a 2nd edition, published in 1606. |
Madrigals to Four Voices - 1594
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Canzonets to Two Voices - 1595
First Book of Ballets - 1595
Included in the 2nd edition published in 1600, the following piece is to seven voices |
Primo Libro dei Balletti - 1595
(Italian version of "First Book of Ballets")
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Canzonets or Litle Short Aers to Five and Six Voices - 1597
A Plaine and Easie Introduction to Practicalle Musicke - 1597
Included as an example, this piece was included by E. H. Fellowes in his re-publication of Canzonets to Three Voices.
- O sleep, fond fancy (2 editions available)
Shown as a wordless “air” in Morley’s book. Thurston Dart set these words to it from a piece by Thomas Bateson published in his First Set of Madrigals (1604).
- O fly not, love (2 editions available) Haec dies is also set to this music.
First Book of Ayres - 1600
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Triumphs of Oriana - 1601
Other secular music
Other works not listed above (See Template:CheckMissing for possible reasons and solutions)
Click here to search for this composer on CPDL
Publications
- Canzonets to Three Voices 1593
- Madrigals to Four Voices 1594
- Canzonets to Two Voices 1595
- First Book of Ballets 1595
- Primo Libro dei Balletti 1595 (Italian translation)
- Canzonets or Litle Short Aers to Five and Six Voices 1597
- First Book of Ayres 1600
External links
- Works by Thomas Morley in the Petrucci Music Library (IMSLP)