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English Madrigal School

The English Madrigal School was the brief but intense flowering of the musical madrigal in England, mostly from 1588 to 1627, along with the composers who produced them. The English madrigals were a cappella, predominantly light in style, and generally began as either copies or direct translations of Italian models. Most were for three to six voices.

Style and Characteristics

Most likely the impetus for writing madrigals came through the influence of Alfonso Ferrabosco, who worked in England in the 1560s and 1570s in Queen Elizabeth's court; he wrote many works in the form, and not only did they prove popular but they inspired some imitation by local composers. The development that caused the explosion of madrigal composition in England, however, was the development of native poetry — especially the sonnet — which was conducive to setting to music in the Italian style. When Nicholas Yonge published Musica transalpina in 1588, it proved to be immensely popular, and the vogue for madrigal composition in England can be said to truly have started then.

Musica transalpina was a collection of Italian madrigals, mostly by Ferrabosco and Marenzio, fitted with English words. They were loved, and several similar anthologies followed immediately after the success of the first. Yonge himself published a second Musica transalpina in 1597, hoping to duplicate the success of the first collection.

While William Byrd, probably the most famous English composer of the time, experimented with the madrigal form, he never actually called his works madrigals, and shortly after writing some secular songs in madrigalian style returned to writing mostly sacred music.

The most influential composers of madrigals in England, and the ones whose works have survived best to the present day, were Thomas Morley, Thomas Weelkes and John Wilbye. Morley is the only composer of the time who set verse by Shakespeare for which the music has survived. His style is melodic, easily singable, and remains popular with a cappella singing groups. Wilbye had a very small compositional output, but his madrigals are distinctive with their expressiveness and chromaticism; they would never be confused with their Italian predecessors. Weelkes was also a composer of expressive and sometimes chromatic music (and also a skilled composer of church music) but he unfortunately had an early burnout, losing his battle with alcoholism and depression.

The last line of Gibbons' Silver Swan of 1612,
"More Geese than Swans now live, more Fools than Wise."
is often considered to be a lament for the death of the English tradition.

Madrigals continued to be composed in England through the 1620s, but the air and "recitative music" rendered the style obsolete; somewhat belatedly, characteristics of the Baroque style finally appeared in England. While the music of the English Madrigal School is of generally high quality and has endured in popularity, it is useful to remember that the total output of the composers was relatively small: Luca Marenzio in Italy alone published more books of madrigals than the entire sum of madrigal publications in England, and Philippe de Monte wrote more madrigals (over 1100) than were written in England during the entire period.

Composers

The following list includes almost all of the composers of the English Madrigal School who published works. Many of these were amateur composers, some known only for a single book of madrigals, and some for an even smaller contribution.

Further reading

Sources

A madrigal is a setting for two or more voices of a secular text, often in Italian. The madrigal has its origins in the frottola, and was also influenced by the motet and the French chanson of the Renaissance.
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A Cappella (Italian: “in the church style”) music is vocal music or singing without instrumental accompaniment, or a piece intended to be performed in this way.
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Anthem
Il Canto degli Italiani
(also known as Fratelli d'Italia)


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Alfonso Ferrabosco (Alfonso Ferrabosco (I); his son, Alfonso Ferrabosco the younger was also a composer) (baptized January 18, 1543 – August 12, 1588) was an Italian composer.
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Elizabeth I (7 September 1533 – 24 March 1603) was Queen of England, France (in name only), and Ireland from 17 November 1558 until her death. She is sometimes referred to as The Virgin Queen, Gloriana, or Good Queen Bess
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sonnet" derives from the Provençal word "sonet" and the Italian word "sonetto," both meaning "little song." By the thirteenth century, it had come to signify a poem of fourteen lines that follows a strict rhyme scheme and logical structure.
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Nicholas Yonge (c. 1560 – buried October 23, 1619) was an English singer and publisher. He is most famous for publishing the Musica transalpina (1588), a collection of Italian madrigals with their words translated into English.
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Luca Marenzio (also Marentio) (October 18? 1553? – August 22, 1599) was an Italian composer of the late Renaissance. He was one of the most renowned composers of madrigals, and wrote perhaps the finest examples of the form in its late stage of development, prior to its
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William Byrd (c. 1540 – 4 July 1623) was an English composer of the Renaissance. He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his keyboard works are said to have marked the beginning of the Baroque organ and
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Thomas Morley (1557 or 1558 – October 1602) was an English composer, theorist, editor and organist of the Renaissance, and the foremost member of the English Madrigal School.
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Thomas Weelkes (baptised 25 October 1576 – buried 1 December 1623) was an English composer and organist. He became organist of Winchester College in 1598, moving to Chichester Cathedral. His works are chiefly vocal, and include madrigals, anthems and services.
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John Wilbye (baptized 7 March 1574, d. September 1638) was an English madrigal composer. He was born at Brome in Norfolk, the son of a tanner, and received the patronage of the Cornwallis family. It is thought that he accompanied Elizabeth Cornwallis to Hengrave Hall near Bury St.
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William Shakespeare

The Chandos portrait, artist and authenticity unconfirmed. National Portrait Gallery, London.
Born: April 1564 (exact date unknown)
Stratford-upon-Avon, Warwickshire, England
Died: 23 March 1616
Stratford-upon-Avon, Warwickshire, England
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In music chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. These may be unrelated or as secondary pitches.
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Orlando Gibbons (baptised December 25 1583 – June 5 1625) was an English composer and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day.

Gibbons was born in Oxford.
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The silver swan is probably the most famous madrigal by Orlando Gibbons, and is scored for 5 voices (SATBarB) (in most sources, though some give SSATB). It is based on the legend that mute swans sing only just before death (see Swan song).
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Air (French for "aria"; also ayr, ayre), a variant of the musical song form, is the name of various song-like vocal or instrumental compositions.

Popular examples include the Air from the 3rd Orchestral Suite, BWV 1068 (Air on the G String
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Recitative /rɛsɪtə'ti:v/ (also known by its Italian name "recitativo" (/retʃita'ti:vo/) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms of ordinary speech.
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Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750.[1] This era is said to begin in music after the Renaissance and was followed by the Classical music era.
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Philippe de Monte (1521 – July 4, 1603) was a Flemish composer of the late Renaissance. He wrote more madrigals than any other composer of the Renaissance, and was one of the most influential composers of the form.

Life

He was born in Mechelen.
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John Bennet (c 1575–after 1614) was a composer of the English madrigal school. His madrigals include All creatures now as well as Weep, O Mine Eyes.
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