Flora Gave Me Fairest Flowers
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Composer: John BennetComposer: William Byrd
Composer: John Dowland
Composer: Michael East
Composer: John Farmer
Composer: Orlando Gibbons
Composer: Thomas Morley
Composer: Robert Ramsey
Composer: Thomas Tomkins
Composer: Thomas Vautor
Composer: Thomas Weelkes
Composer: John Wilbye
Conductor: John Rutter
Edition: Music CD
CD Release Date: 2003-08-01
Music Label: Collegium
Soundtracks:
- Thomas WEELKES: Hark, all ye lovely saints above
- William BYRD: Though Amaryllis dance in green
- John BENNET: Round about in a fair ring
- Thomas TOMKINS: Adieu, ye city-prisoning towers
- Thomas WILBYE: Flora gave me fairest flowers
- Thomas VAUTOR: Sweet Suffolk owl
- Thomas WEELKES: As Vesta was from Latmos hill descending
- William BYRD: Lullaby
- William BYRD: This sweet and merry month of May
- Thomas MORLEY: Now is the month of maying
- John FARMER: A little pretty bonny lass
- Thomas MORELY: Fyer, fyer!
- Thomas TOMKINS: Too much I once lamented
- Thomas MORLEY: My bonny lass she smileth
- Thomas WEELKES: Ha ha! this world doth pass
- Michael EAST: Quick, quick, away, dispatch
- Orlando GIBBONS: Dainty fine bird
- John DOWLAND: Come again! Sweet love doth now invite
- Thomas VAUTOR: Mother, I will have a husband
- Thomas WILBYE: Draw on, sweet night
- Robert RAMSEY: Sleep, fleshly birth
- Thomas WILBYE: Weep, weep, mine eyes
- Thomas WEELKES: Death hath deprived me
- Orlando GIBBONS: The silver swan
- Thomas WILBYE: Adieu, sweet Amaryllis
Description of Flora Gave Me Fairest Flowers
"an absolute joy" - Music and Musicians Hi-Fi News and Record Review Record of the Month The sixteenth-century madrigal was an Italian form. The term 'madrigal' was loosely applied to a wide variety of music, but generally denoted a polyphonic setting for four or more voices of an amorous or pastoral text which was closely depicted in the music. Thomas Morely transplanted the form into England in the 1590s; this marked the beginning of the brief but brilliant flowering of the English madrigal. Between the 1590s and the early 1620s, twenty composers published a total of 36 books of madrigals, after which the form virtually disappeared. Some of these composers, such as Morely and Weelkes, followed the Italian model closely; others, such as Byrd and Gibbons, mostly stayed with the simpler English form of the consort song, where the tune remains in one voice, word-painting is not used, and strophic form is preferred to the continuous structure of the madrigal proper. Among the twenty-one items selected for this recording there are examples of several types of piece,! ranging from true Italianate madrigals such as Too much I once lamented, via more popular 'balletts' such as Fyer, fyer!, to the simple part-songs like A little pretty bonny lass. The variety, imagination, and inspired blending of poetry and music characteristic of the best of the 'English Madrigal School' afford a particular kind of delight in performance, shared equally by singer and listenerGospel CDs
- Styles > Christian & Gospel
- Classical > General
- Featured Composers, A-Z > ( B ) > Byrd, William
- ( D ) > Dowland, John
- ( G ) > Gibbons, Orlando
- Historical Periods > Baroque (c.1600-1750) > General
- Early Music > General
- Renaissance (c.1450-1600) > General
- Opera & Vocal > General
- Vocal Non-Opera > Partsongs
- Songs & Lieder > Madrigals
- General
- Miscellaneous > Holiday > General Christmas
- Dowland, John - Works by Dowland
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