Choral TBB chorus

SKU: CF.CM9638

Composed by John Bennet. Arranged by Russell L. Robinson. Fold. Performance Score. 4 pages. Duration 2 minutes. Carl Fischer Music #CM9638. Published by Carl Fischer Music (CF.CM9638).

ISBN 9781491157107. UPC: 680160915668. 6.875 x 10.5 inches. Key: A minor. English, English. Original.

Robinson's TBB arrangement of this beloved Bennett madrigal, originally published for four voices in 1599, has been changed from the original key of A minor to the key of D minor, making the ranges and texture more characteristic for TBB voices. A wonderful concert or festival staple piece!.
Weep, O Mine Eyes is a classic madrigal from the Renaissance period (circa 1400-1650). Although John Bennet's exact birth and death dates are unknown, we know that he was English and composed madrigals (non-sacred a cappella pieces) in the late 16th - early 17th centuries. Although, Bennet was not as prolific as other madrigal writers of the time, such as Thomas Morley, Weep, O Mine Eyes has certainly stood the test of time. Originally published in a book of 17 madrigals for four voices in 1599, this arrangement for TBB voices has been changed from the original key of A minor to the key of D minor, making the ranges and texture more characteristic for TBB voices. The original flavor of Bennet's four-part setting has been preserved, including the counterpoint (independent voices) where each voice is of equal importance. In Renaissance style no parts should over sing; the beauty of the melodic lines and text should come through and over singing will take away from the beauty. The EE vowel is sometimes problematic in the word weep. I suggest that you produce the EE vowel with OO on the lips and EE inside the mouth for better blend and to avoid a horizontal spreading of the vowel. Enjoy this wonderful madrigal!.
Weep, O Mine Eyes is a classic madrigal from the Renaissance period (circa 1400-1650). Although John Bennet's exact birth and death dates are unknown, we know that he was English and composed madrigals (non-sacred a cappella pieces) in the late 16th - early 17th centuries. Although, Bennet was not as prolific as other madrigal writers of the time, such as Thomas Morley, Weep, O Mine Eyes has certainly stood the test of time.Originally published in a book of 17 madrigals for four voices in 1599, this arrangement for TBB voices has been changed from the original key of A minor to the key of D minor, making the ranges and texture more characteristic for TBB voices.The original flavor of Bennet's four-part setting has been preserved, including the counterpoint (independent voices) where each voice is of equal importance. In Renaissance style no parts should over sing; the beauty of the melodic lines and text should come through and over singing will take away from the beauty.The EE vowel is sometimes problematic in the word weep. I suggest that you produce the EE vowel with OO on the lips and EE inside the mouth for better blend and to avoid a horizontal spreading of the vowel.Enjoy this wonderful madrigal!

(from Luca Marenzio Complete Four Voice Madrigals - GA.GM3215). By Luca Marenzio (1553-1599). Edited by John Steele. For SATB choir. Madrigal. Renaissance Voices. Octavo. Text Language: Italian. Published by Gaudia Music and Arts Publications

By The King's Singers. Arranged by Clifford Bartlett. For voice quartet (4 Part). King's Singer's Choral. Pop Vocal, Renaissance and Classical Period. Difficulty: medium. Vocal score (a cappela - four copies needed for performance). Vocal score. 80 pages. Faber Music #F100511. Published by Faber Music

SATB choir

SKU: ST.EM42

Composed by Nicholas Yonge. Edited by David Greer. Library Volumes. Edited by David Greer. Paperback. Madrigals. Collection. Stainer & Bell Ltd. #EM42. Published by Stainer & Bell Ltd. (ST.EM42).

ISBN 9790220223136.

This is the first ever complete published edition of a major madrigal collection that is essential to our understanding of the fruitful interaction of Renaissance Italian and English music.

In four, five and six voices, the 57 pieces of Musica Transalpina include 51 madrigals by Marenzio, Palestrina and others, the two parts of Byrd's 'La virginella', and four French chansons. Uniquely, the anthology also features singing translations of the original poems from the Italian into the vernacular, for which it was widely admired and circulated. As a printed source from which composers could learn the madrigal style and aesthetic, it was hugely influential in inspiring the 'golden age' of Tudor and Jacobean vocal music.

An important addition to The English Madrigalists series, Musica Transalpina of 1588 is not only of great scholarly interest but is also an outstanding addition to the repertoire that will delight contemporary singers no less than it enthralled those Elizabethans who first responded with such enthusiasm to its fine music and accessible 'Englished' texts.

Individual titles from this volume are available as Adobe PDF files...