Cookie Control

This site uses cookies to store information on your computer.
I am happy to proceed
Image

GIBBONS: Consort and Keyboard Music / Songs and Anthems (Murray Khouri/ Rose Consort of Viols/ Tessa Bonner/ Timothy Roberts/ Timothy Roberts/ Timothy Roberts) (Naxos: 8.550603)


Buy + Add To Wish List + £4.99 (£6.99)

Shipping time: In stock | Expected delivery 1-2 days | Free UK Delivery
Orlando Gibbons (1583 - 1625)



Consort and Keyboard Music, Songs and Anthems


[1] Pavan a 6


[2] Galliard a 6


[3] Behold, thou hast made my days


[4] The Lord of Salisbury his Pavan and Galliard


[5] Fantasia No.1 for two trebles


[6] I weigh not Fortune's frown


[7] I tremble not at noise of war


[8] I see ambition never pleased


[9] I feign not friendship where I hate


[10] Preludium in G


[11] Go from my window


[12] Dainty fine bird


[13] Fair is the rose


[14] Fantasia No. 3 a 6


[15] Fantasia No. 5 a 6


[16] A Mask (The Fairest Nymph)


[17] Lincoln's Inn Mask


[18] Allmaine in G


[19] Fantasia No. 1 a 3 for the Great Double Bass


[20] Galliard a 3


[21] The silver swan


[22] In Nomine a 4


[23] Glorious and powerful God





The music and reputation of Orlando Gibbons have survived the ravages of time ratherbetter than those of some of his contemporaries. Hisservices and unaccompanied anthems have been a part of the central repertory of Englishcathedral choirs since his death, The silver swan[21] was quickly recognised as a classic madrigal by early twentieth century singers, andsome of his keyboard music was already available in a 'modern' if rather faulty edition by1847. It is, however, only relatively recently that his superb contributions to thetradition of English viol consort music have been fully recognised, as well as hisimportant position in the development of the verse anthem. This recording represents mostof the main areas of Gibbons' output, apart from the music for the English liturgy, andshows not only his consummate skill in handling complex contrapuntal textures, but alsothe variety of mood of his work, and the directly evocative response to the texts he set.



Like many sixteenth century composers, Orlando Gibbons camefrom a family of musicians. His father William was a wait (town band musician) in bothOxford and Cambridge, his eldest brother Edward was Master of the Choristers at King'sCollege, Cambridge, and then Succentor (responsible for the organ and choir) at ExeterCathedral, and another brother Ellis contributed two madrigals to 'The Triumphes ofOriana' in 1601. It was not surprising then that Orlando, born in Oxford in 1583, shouldfollow in their footsteps. He sang as a chorister at King's College, Cambridge and latertook the degree of Bachelor of Music there as well as receiving a Doctorate of Music fromOxford. It was, however, his move to London to become a Gentleman of the Chapel Royalaround 1603 that must have brought him to wider public notice, and the rest of his careerwas centred upon his duties as a 'royal' musician. By 1615 he was one of the two organistsof the Chapel Royal, and by 1625 had been promoted to be senior organist (his junior wasThomas Tomkins). In the meantime he had also accumulated the positions of 'one of hisMajesty's musicians for the virginals to attend in his highness privy chamber' and that oforganist of Westminster Abbey. Gibbons' sudden death (in 1625) of an apoplectic fit whileattending with the rest of the court upon Charles I as he greeted his new wife HenriettaMaria at Canterbury, deprived the nation of one of its most renowned and respectedmusicians.



We have no documentary evidence to suggest that Gibbons playedthe viol himself, but his family background must surely have provided him withopportunities to become familiar with the instruments and their music. Town waits like hisfather were normally competent viol and violin players as well as wind players, andbrother Edward certainly encouraged viol playing amongst the Exeter choristers. As asenior court musician, Orlando Gibbons may even have been a member of the King's PrivateMusick, and would certainly have worked with its number, who included some of the mostforward-looking players and composers of their time: Ferrabosco, Lupo (descendents ofitinerant Italian musical families), and the thoroughly English Coprario (born plain JohnCooper). These musicians, under the patronage of the future Charles I, who apparentlyplayed bass viol with them, were in a position to experiment with new musical styles andgenres.



By 1600 the viols, hitherto largely the domain of suchprofessional instrumentalists at court, were being cultivated by wealthy amateurs, andGibbons' fantasias, In Nomines and dances were circulated widely. Indeed he took theunusual step of publishing nine of his three part fantasias around 1620, 'Cut in Copper,the like not heretofore extant'. The six part fantasias recorded here bear witness toGibbons' versatility. No.3 [4] opens witha series of searingly dissonant suspensions before moving into more dance-Iike antiphonalideas and a strong final section. No. 5 [15]is perhaps less extrovert, but contains some tensely rising chromatic lines and a centralsection of great stillness and serenity. This spaciousness contrasts well with the closelyargued fantasia for two restlessly chattering trebles [5]. Several of Gibbons violconsorts make use of the extraordinary low register of 'the Great Double Bass', aninstrument a fourth lower than the conventional bass viol. We include a fantasia [19] and galliard[20] which combine this with a treble and a bass viol, the organ bindingtogether these rather disparate elements.





The other forms available to composers for viol consort were dances, the In Nomine and variations Go from my window [11] is a beautifully crafted set of ten variations on apopular tune initially heard in the lower treble part. Variation nine gives the two basses some excitingly fleet-footed running todo. The InNomine was a uniquely English phenomenon a fantasia based on a cantus firmuswhich used the plainsong ‘Gloria tibi Trinitas'. A section of the Benedictus of the mass of that name by John Taverner wastaken out of context as an instrumental piece, then imitated by most great Englishcomposers down to Henry Purcell. Gibbons’ only four part version [22] is probably astudent work and pays homage to Taverner's original by using several of the oldercomposer's ideas. The six part >pavan [1] and galliard[2] which open this recording show how functional "dance forms could beelevated in the hands of a master although they pay lip-service to the conventions, theseare fully fledged fantasias in all but name.



In his own lifetime Gibbons wasperhaps most renowned for his skill as a keyboard player. In 1624 the French ambassador referred to his playing at Westminster Abbeythe organ was touched by the best finger of that age, Mr. Orlando Gibbons, and the esteemhe enjoyed as a composer for keyboard is acknowledged by the inclusion of six pieces in Parthenia published about 1613, alongside works bythe much older Byrd and Bull. Both the Preludium [10] and the famous Lord of Salisbury his Pavan and Galliard [4] comefrom this source. They are masterpieces of structure, in which ideas develop organically,the florid decorative work seeming to grow quite naturally from its framework. The threeshorter keyboard works [16] – [18], played here on virginals, show a lighter side toGibbons’ musical character, though even here popular masque tunes are given somesplendidly suave settings.



Despite its title The First Set of Madrigals and Mottets (1612) wasGibbons' only published book of secular vocal music. Although t
Facts
Item number 8550603
Barcode 730099560320
Release date 01/01/2000
Category Vocal
Label Naxos Classics | Naxos Records
Media type CD
Number of units 1
Performers
Artists Timothy Roberts
Timothy Roberts
Timothy Roberts
Tessa Bonner
Composers Orlando Gibbons
Orchestras Rose Consort of Viols
Producers Murray Khouri
Disc: 1
Pavan
1 Pavan
Galliard
2 Galliard
Behold, thou hast made my days
3 Behold, thou hast made my days
The Lord of Salisbury his Pavan and Galliard
4 The Lord of Salisbury his Pavan and Galliard
Fantasia No. 1 for Two Trebles
5 Fantasia No. 1 for Two Trebles
I weigh not Fortune's frown
6 I weigh not fortune's frown
I tremble not at noise of war
7 I tremble not at noise of war
I see ambition never pleased
8 I see ambition never pleased
I feign not friendship where I hate
9 I feign not friendship where I hate
Preludium in G major
10 Preludium in G
Go from my window
11 Go from my window
Dainty fine bird
12 Dainty fine bird
Fair is the rose
13 Fair is the rose
Fantasia No. 3
14 Fantasia No. 3
Fantasia No. 5
15 Fantasia No. 5
A Mask: The Fairest Nymph
16 A Mask: The Fairest Nymph
Lincoln's Inn Mask
17 Lincoln's Inn Mask
Allmaine in G major
18 Allmaine in G
Fantasia No. 1 for the Great Double Bass
19 Fantasia No. 1 for the Great Double Bass
Galliard
20 Galliard
The silver swan
21 The silver swan
In Nomine
22 In Nomine
Glorious and powerful God
23 Glorious and Powerful God
Write your own review
You must log in to be able to write a review
If you like GIBBONS: Consort and Keyboard Music / Songs and Anthems (Murray Khouri/ Rose Consort of Viols/ Tessa Bonner/ Timothy Roberts/ Timothy Roberts/ Timothy Roberts) (Naxos: 8.550603), please tell your friends! You can easily share this page directly on Facebook, Twitter and via e-mail below.

You may also like.....

Image
£4.99 (£6.99)
Art & Music: Rembrandt - Music of His Time (Naxos: 8.558.118)
Image
£9.99
A TO Z OF CLASSICAL MUSIC
Image
£4.99 (£6.99)
TOMKINS: Consort Music for Viols and Voices (John Bryan/ Murray Khouri/ Red Byrd/ Rose Consort of Viols/ Timothy Roberts/ Timothy Roberts) (Naxos: 8.550602)
Image
£4.99 (£6.99)
BYRD: Consort and Keyboard Music / Songs and Anthems (Red Byrd/ Rose Consort of Viols/ Tessa Bonner/ Timothy Roberts/ Timothy Roberts) (Naxos: 8.550604)
Early Music (The Glory of) (Christopher Wilson/ Ensemble Villanella/ Joseph Payne/ Laurence Cummings/ Rose Consort of Viols/ Shirley Rumsey/ Timothy Roberts/ Timothy Roberts/ Unicorn Ensemble) (Naxos: 8.554064) 8554064 01/01/2000 £4.99 (£6.99)
Few in stock Buy +
LAWES: Consort Music for Viols, Lutes and Theorbos (David Miller/ Jacob Heringman/ Judy Lieber/ Rose Consort of Viols/ Timothy Roberts) (Naxos: 8.550601) 8550601 01/01/2000 £4.99 (£6.99)
DOWLAND: Consort Music and Songs (Catherine King/ Jacob Heringman/ John Bryan/ Rose Consort of Viols) (Naxos: 8.553326) 8553326 01/01/2000 £4.99 (£6.99)
Elizabethan Songs and Consort Music (Catherine King/ Rose Consort of Viols) (Naxos: 8.554284) 8554284 01/01/2000 £4.99 (£6.99)
Gloria: Classical Music for Reflection and Meditation (Naxos: 8.556702) 8556702 01/01/2000 £4.99 (£6.99)
My account
My cart: 0 items