Notes to a program of Music in Shakespeare’s time
To many, the English Renaissance was the beginning of modern language, literature and music for the
English-speaking western world. Others, like C.S. Lewis, considered this time a continuation of work
begun by earlier writers. No matter the viewpoint, this was a time of artistic flowering in England under
the Tudors, especially Elizabeth I , who herself occasionally wrote poetry and played the lute. English
musicians of the time werepart of the same artistic movement as writers.
Many of the composers worked in the city of London, and were known
to Shakespeare who used their music in his plays. Music publication, begun on a large scale at the time,
helped preserve popular instrumental dances and cheerful, lively part-songs. The texts of some works,
however, are about spurned or unrequited love, appearing sad, but very beautiful and, ultimately,
uplifting for those who express feelings through the music.
The Composers
William Byrd (1543-1623) was a pupil of the famous English composer
Thomas Tallis. He became organist at Lincoln Cathedral by 1563, and from 1572 was the honorary
organist at the Chapel Royal, a position held jointly with Tallis. In 1575 he and Tallis jointly published a
collection of motets dedicated to Queen Elizabeth I. From 1587 to 1596, Byrd published several
important collections of English music. He left London for Essex in 1591, as member of the household of
his patrons, the Petres. Little is known of Byrd’s life apart from lawsuits over property and the fact that
his Roman Catholicism seems to have been protected at a time of anti Papism by his fame as a composer
and by friends in high places. He was an innovator in musical form and
technique in his liturgical works as well as in his solo songs and works for stage. He established an English
instrumental style of composition with works for strings but even more significant was his music for
string keyboard instruments (the English virginals) for which he developed a variation form.
Thomas Morley was one of his pupils.
Thomas Morley (1557-1602) received his Mus.B. from Oxford University in 1588. He was organist at St
Paul’s Cathedral, London c. 1589-92 and became a Gentleman of Chapel Royal in 1592. In 1598, he was
granted by Elizabeth I an exclusive License for 21 years to print song books of all kinds and music paper.
He published not only his own music but that of his contemporaries.
Publications include The Triumphs of Oriana (1601), A Plaine and Easie Introduction to Practicall Musicke
(1597) , Canzonets for 3 parts (1593), 1st Book of Canzonets, for 2 parts (1595) source for “Leave now
mine eyes” on our program, 1st Book of Consort Lessons (1599) - main source for our
arrangements of “My Lord of Oxenford”, “O Mistress Mine”, “Monsieurs Alman”, and “Now, O Now, I
needs must Part”.
John Dowland (1562-1626) was a singer and lutenist who from 1580 to 1584 was in service of the British
Ambassador to Paris. He was lutenist at courts at Brunswick, Hesse, Venice, Florence, and Nuremberg
1595, and lutenist to King of Denmark 1598-1606. Here turned to London, becoming lutenist to Lord
Howard de Walden1606-12 and musician to James I in 1612. Though noted in his day as a
virtuoso lutenist and singer, he is now recognized as a great composer, whose songs advanced the ‘art
song’. His printed songs numbered 87 of which 84 appeared in 4 volumes: 1597, 1600, 1603, 1612) and 3
in his son Robert’s Musical Banquet, 1614. Among his finest songs are “Come again Sweet Love” and
“Flow my Tears”.
Tobias Hume (1569-1645) was an English composer and army officer in the Swedish and Russian armies.
His 1605 publication had fanciful titles such as ‘Tickle me quickly’. This also included songs for
accompaniment by lyra viol. In 1607 his Captaine Hume’s Poeticall Musicke constituted the largest
published repertory of solo lyra viol music to that date. He played the viol and most likely wrote many of
the pieces for himself.
Robert Jones (Fl. 1597-1615) graduated with a music degree from Oxford in 1597 and in 1615 was living
in Blackfriars, London. He published 5 books of ayres for voice and lute (1600-10) and one of madrigals
(1607) and contributed to The Triumphs of Oriana (1601).
Thomas Campian (c 1567-1620) was a composer and poet. A lawyer’s son, he attended Peterhouse,
Cambridge, and joined Gray’s Inn in 1586. He also studied medicine, graduating from Caen University in
1605. By 1591 he was established in London as a writer and poet and from 1607 he supplied texts and
music for James I’s court masques. He published 120 lute songs with his own texts. some in conjunction
with Philip Rosseter. Campian’s melodies are elegant, distinctive, and the matching of words and music is
exceptional. He wrote a counterpoint treatise (1613-14).
Anthony Holborne (d. 1602) published The Cittharn Schoole in 1597, containing 58 pieces for cittern (a
wire strung, flat backed, pear shaped instrument played with a plectrum or pick) and bass viol; as well as
5-part Pavans, Galliards, Almans, and Short Aires (1599).
PROGRAM
I
My Lord of Oxenford’s Maske William Byrd (1543-1623)
(My Earl of Oxenford’s Marche)
settings by Thomas Morley
O Mistress Mine (from 12th Night)
Morley? (1557) settings by Byrd
Packington’s Pownde
Fitzwilliam Virginal Book
II
When Phoebus First did Daphne Love
John Dowland (1562-1626)
What if I Seek for Love of Thee
Robert Jones (fl. 1597-1615)
Can She Excuse my Wrongs?
Dowland
III
Touch me Lightly
Tobias Hume (1569-1642)
Tobacco (from Musical Humors, 1605)
Hume
IV
Coranto
Anonymous
Kemp’s Jig
Anonymous
Fairey Round
Anon. Anthony Holborne?
V
Flow my Teares (Lachrimae Pavin)
Dowland
Leave now Mine Eyes lamenting
Morley
Monsieurs Alman
Byrd? setting by Morley
VI
Since first I saw Your Face (1607)
Thomas Ford (d. 1648)
Come Again, Sweet Love
Dowland
Never Weather beaten Sail (c. 1613)
Thomas Campian (c.1567-1620)
VII
Now, O Now, I needs must Part
Dowland, setting by Morley
(The Frog Galliard)
and Dowland
Honeysuckle (or Hearts’ Ease)
A. Holborne (fl.1584-1602)