THE CRIES OF LONDON & MUSIC FOR QUEEN ELIZABETH I – Denis Stevens, The Ambrosian Singers and Players (Digital Download) ORPHEUS

THE DOWNLOAD INCLUDES A BOOKLET WITH FULL NOTES AND TEXTS

THE AMBROSIAN SINGERS AND PLAYERS

Patricia Clark and Ursula Connors, Sopranos

Jean Allister, Contralto

Edgar Fleet and Leslie Fyson, Tenors

John Frost, Bass

Neville Marriner and Peter Gibbs, Violins

Leslie Malowany and Max Gilbert, Violas

Bernard Richards, Cello

DENIS STEVENS, Conductor

ABOUT “THE CRIES OF LONDON”

Centuries before our age of high-powered advertising and television commercials, it was up to the merchants, vendors, and pedlars of great cities to cry their wares and so attract the attention of prospective customers. The cries can still be heard today in some European cities, though they are rapidly losing ground because of the inevitable disappearance of ancient local traditions and the insistent encroachment of modern mechanical factors. In earlier times, cries were much more numerous and infinitely melodious, spilling over into the art-music of Italy, France, and England in such a way as to enshrine themselves in the cultural history of the country. Bridging the gap between functional folk-music and convivial polyphony, the Elizabethan and Jacobean settings of street cries convey some- thing of the bustling activity, the variegated attractions, and the sentimental side-shows of London thoroughfares in the age of Shakespeare, Jonson, Byrd, and Morley.

ABOUT “MUSIC FOR QUEEN ELIZABETH I”

Music has long been assumed to have played an important role during the reign of Elizabeth I, but the facts point to a less optimistic view of the scene, for political and religious struggles to some extent undermined the artistic life of England in the latter half of the 16th century. Even Byrd and Tallis, armed with a monopoly for printing music and music-paper, complained to the Queen that they were losing money heavily; so that one wonders how ordinary singers and fiddlers made ends meet. But the Queen took a personal interest in music, and encouraged concerts, songs and dancing at her court besides welcoming musical entertainment on her royal progresses. Morley’s Triumphes of Oriana, a collection of madrigals by most of the great composers of the time, pays tribute to Elizabeth in a garland of pastorals, those by Bennett and Hilton at the head and tail of this program being among the finest.

THE CRIES OF LONDON

THOMAS MORLEY (1557-1602)
1. A Pedlar’s Song: Will ye buy a fine dog? (Patricia Clark) 1:13

THOMAS RAVENSCROFT (c. 1590 – c. 1633)
2. The Painter’s Song: Where are you, fair maids? (Edgar Fleet) 1:42

3 The Bellman’s Song: Maids to bed
(John Frost) 0:58

THOMAS WHYTHORNE (c. 1528- – ?)
4. Buy new broom, buy new broom! (Edgar Fleet) 1:11

CHRISTOPHER TYE (c. 1500 – c. 1573)
5. In nomine, “Crye” 2:18

RICHARD DERING (c. 1580-1629/30)
6 The Cries of London 10:48

MUSIC IN HONOR OF QUEEN ELIZABETH I

JOHN BENNETT (A. 1600)
1. All creatures now are merry-minded 2:10

WILLIAM BYRD (1543-1623)
2. This sweet and merry month of May (a 4) 3:25
3. This sweet and merry month of May (a 6) 2:25

HENRY YOULL (A. 1600)
4. Each day of thine 1:18

JOHN BENNETT
5. Eliza, her name gives honour (Edgar Fleet) 2:24

WILLIAM BYRD
6. The Queen’s Alman 3:38

EDWARD JOHNSON (A. 1600)
7. Eliza is the fairest Queen (Patricia Clark) 2:42

THOMAS MORLEY
8. Blow, shepherds, blow 2:04

JOHN HILTON (d. 1608)
9. Fair Oriana, beauty’s queen 2:33