Two Madrigals

Program Note:

One of the most popular forms taken over from Italy was the madrigal, traditionally a texted, contrapuntal work for four to six voices. A group of English composers emerged as specialists in this new medium, principally Thomas Morley and Thomas Weelkes (1576-1623). Weelkes’ 100+ madrigals show an abiding interest in text painting—the use of musical gestures that mimic specific words or their meaning. Many birds are referenced in “The Nightingale,” though the cuckoo gets the final word. The piece represents early-17th-century riffing at its virtuosic best. Similarly, “As Vesta was from Latmos Hill Descending” revels in ample text painting as all voice parts use rapid falling scales for the words “came running down amain.” Weelkes divides the texture accordingly as the text refers to “two by two” and “three by three”; I’ll let you guess what will happen when the words “leaving their goddess all alone” appear. The work closes with a lengthy, jubilant peroration on “long live fair Oriana.” The excessive dwelling on this phrase seems overblown until we realize that Oriana was a nickname for Elizabeth I, and the entire passage is Weelkes’ homage to the virgin queen.

The Nightingale, the Organ of delight
The Nightingale, the Organ of delight,
the nimble Lark, the Blackbird, and the Thrush,
and all the pretty choristers of flight,
that chant their Music notes in ev'ry bush:
Let them no more contend who shall excel,
the Cuckoo is the bird that bears the bell.


As Vesta was from Latmos hill descending
As Vesta was from Latmos hill descending,
She spied a maiden Queen the same ascending,
Attended on by all the shepherds' swain,
To whom Diana's darlings came running down amain,
First two by two, then three by three together,
Leaving their goddess all alone hasted thither;
And mingling with the shepherds of her train,
With mirthful tunes her presence entertain.
Then sang the shepherds and nymphs of Diana,
Long live fair Oriana!

(c) Jason Stell