Now into it's seventh volume, Pieter-Jan Belder's series continues to uncover more works from the Fitzwilliam Virginal Book. In this volume he turns his attention to the works of father and son Giles and Richard Farnaby, William Byrd, and selected anonymous works. The book and it's manuscripts provide us with an insight into Elizabethan and early Jacobean socio-cultural life. After the dissolution of the monasteries in 1536 by Henry VIII followed by Mary Tudor's blood-soaked crackdown, it was clear that being a Protestant in Tudor England was risky business. Once Queen Elizabeth took the throne in 1558, she established a moderate form of Protestantism and halted the campaign of religious persecution. But the damage was already done, and many composers decided to steer clear of religion altogether and focus their efforts on secular music. The Fitzwilliam Virginal Book is a vital record of such works. Compiled in the late 1700s, the book today resides in a dedicated museum in Cambridge. The first section of this release surveys Giles Farnaby's musical output. Bony Sweet Robin is a setting of a popular Renaissance tune and Sir Walter Raleigh once in a letter to Robert Dudley, 1st Earl of Leicester wrote that Dudley was in the Queen's favor, describing him as 'her Sweet Robin'. This graceful arrangement is Continental in it's nature and similar to the Italian madrigal, with a conjunct and cantabile melody line and through-composed structure. As for Richard Farnaby, the four pieces recorded here are all that survives of his output. Nobodyes jig is his best-known work; a playful dance which requires a skilled performer to successfully execute the fast-paced polyphonic music. The final part features works by Byrd as well as anonymous works including almans, pavans, and keyboard arrangements of lute pieces and popular ballads.
Now into it's seventh volume, Pieter-Jan Belder's series continues to uncover more works from the Fitzwilliam Virginal Book. In this volume he turns his attention to the works of father and son Giles and Richard Farnaby, William Byrd, and selected anonymous works. The book and it's manuscripts provide us with an insight into Elizabethan and early Jacobean socio-cultural life. After the dissolution of the monasteries in 1536 by Henry VIII followed by Mary Tudor's blood-soaked crackdown, it was clear that being a Protestant in Tudor England was risky business. Once Queen Elizabeth took the throne in 1558, she established a moderate form of Protestantism and halted the campaign of religious persecution. But the damage was already done, and many composers decided to steer clear of religion altogether and focus their efforts on secular music. The Fitzwilliam Virginal Book is a vital record of such works. Compiled in the late 1700s, the book today resides in a dedicated museum in Cambridge. The first section of this release surveys Giles Farnaby's musical output. Bony Sweet Robin is a setting of a popular Renaissance tune and Sir Walter Raleigh once in a letter to Robert Dudley, 1st Earl of Leicester wrote that Dudley was in the Queen's favor, describing him as 'her Sweet Robin'. This graceful arrangement is Continental in it's nature and similar to the Italian madrigal, with a conjunct and cantabile melody line and through-composed structure. As for Richard Farnaby, the four pieces recorded here are all that survives of his output. Nobodyes jig is his best-known work; a playful dance which requires a skilled performer to successfully execute the fast-paced polyphonic music. The final part features works by Byrd as well as anonymous works including almans, pavans, and keyboard arrangements of lute pieces and popular ballads.
5028421956480
Fitzwilliam Virginal Book 7 (3pk)
Artist: Pieter-Jan Belder
Format: CD
New: Not in stock
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1. Alman R. Johnson Set By Farnaby Cxlvii
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2. Grounde Ccxl
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3. Bony Sweet Robin Cxxviii
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4. A Gigge Cclxvii
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5. Fantasia Ccxxxiv
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6. Praeludium Ccxlvi
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7. Fantasia Ccviii
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8. The Flatt Pavan Cclxxxiv
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9. Fantasia Ccxcvi
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10. The L. Zouches Maske Ccxxxix
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11. Fantasia Ccxxix
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12. Tower Hill Ccxlv
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13. Fantasia 'ay Me, Poore Heart' Ccxxxiii
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14. Daphne Cxii
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15. Fantasia Ccxxxviii
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16. Rosseters Galliard Cclxxxiii
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17. Walter Erle's Paven Ccxxxv
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18. Spagnioletta Liv
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19. Up Tails All (Giles) Ccxlii
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20. A Duo (Richard) Ccxlviii
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21. Put Up Thy Dagger, Jemy (Giles) Cxxvii
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22. Nobodyes Gigge (Richard) Cxlix
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23. Hanskin (Richard) Ccxcvii
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24. Why Aske You (Giles) Cclxxxvi
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25. Fayne Would I Wedd (Richard) Cxcvii
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26. Pavana 'delight' E. Johnson Set By Byrd Cclxxvii
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27. Galiarda Cclxxviii
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28. Miserere A3 Clxxvi
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29. Miserere A4 Clxxvii
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30. Callino Casturame Clviii
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31. The Earl Of Oxford's Marche Cclix
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32. Pavana 'bray' Xci
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33. Galliard Xcii
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34. Fortune Lxv
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35. Alman Clxiii
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36. Galliard Clxiv
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37. Monsieur's Alman Lxi
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38. Monsieur's Alman Variatio. Lxii
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39. Alman Clvi
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40. A Gigg Clxxxi
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41. Pavan Cclvi
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42. Ut, Mi, Re Cii
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43. Wolsey's Wilde Clvii
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44. Praeludium XXIV
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45. Alman Lxiii
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46. Corranto Ccxli
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47. Pescodd Time Cclxxvi
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48. The Ghost Clxii
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49. O Mistris Myne Lxvi
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50. Sir John Gray's Galliard Cxci
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51. Gipseis Round Ccxvi
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52. Malt's Come Down Cl
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53. A Medley Clxxiii
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54. Corranto Lady Riche Cclxv
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55. Heaven And Earth Cv
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56. Praeludium Cli
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57. A Toye Cclxviii
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58. Why Aske You Clxi
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59. Allemanda Cclxxiv
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60. Praeludium Cxx
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61. Corranto Cclxvi
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More Info:

Now into it's seventh volume, Pieter-Jan Belder's series continues to uncover more works from the Fitzwilliam Virginal Book. In this volume he turns his attention to the works of father and son Giles and Richard Farnaby, William Byrd, and selected anonymous works. The book and it's manuscripts provide us with an insight into Elizabethan and early Jacobean socio-cultural life. After the dissolution of the monasteries in 1536 by Henry VIII followed by Mary Tudor's blood-soaked crackdown, it was clear that being a Protestant in Tudor England was risky business. Once Queen Elizabeth took the throne in 1558, she established a moderate form of Protestantism and halted the campaign of religious persecution. But the damage was already done, and many composers decided to steer clear of religion altogether and focus their efforts on secular music. The Fitzwilliam Virginal Book is a vital record of such works. Compiled in the late 1700s, the book today resides in a dedicated museum in Cambridge. The first section of this release surveys Giles Farnaby's musical output. Bony Sweet Robin is a setting of a popular Renaissance tune and Sir Walter Raleigh once in a letter to Robert Dudley, 1st Earl of Leicester wrote that Dudley was in the Queen's favor, describing him as 'her Sweet Robin'. This graceful arrangement is Continental in it's nature and similar to the Italian madrigal, with a conjunct and cantabile melody line and through-composed structure. As for Richard Farnaby, the four pieces recorded here are all that survives of his output. Nobodyes jig is his best-known work; a playful dance which requires a skilled performer to successfully execute the fast-paced polyphonic music. The final part features works by Byrd as well as anonymous works including almans, pavans, and keyboard arrangements of lute pieces and popular ballads.