Gibbons then proceeds to a series of more "madrigalian" counterpoints, including a literal "division" of note-values into shorter ones on "the music of division," and a leap up an octave to reach the word "heaven."

Gibbons sets this exceedingly mournful text to a series of shifting musical textures that embody the transience of life that the poet is bewailing. [17][18] He is known to have married Joan Dyer, likely the sister of the James Dyer who married Gibbons' sister Elizabeth in 1600, by at least November 1602;[10] the couple did not have children. We are trying to build a definitive resource for all things Orlando Gibbons and welcome any contributions from the international community of Gibbomaniacs. O clap your hands

[20] Kerman even goes so far as to describe Ellis Gibbons as a "non-entity". [15] In April 1603, Gibbons' mother died and left him as executor and residuary legatee of her will. The extraordinary Silver Swan of the Bowes Museum in County Durham for some is linked to Orlando Gibbons wonderful song. The Silver Swan can be seen in the Science Museum’s Robots exhibition from 8 February 2017 – 23 March 2017, it will then return to The Bowes Museum in County Durham. 1604) William Holborne (fl. Almighty and Everlasting God May 1603) was an English composer of the late Renaissance who associated with the English Madrigal School.Born in Cambridge to a musical family, Gibbons was the second surviving son of William Gibbons, a town wait.By 1598 he was known to be living in Cambridge's High ward, and later the Market ward. At the age of 28 he became one of only two composers to contribute two pieces to The Triumphs of Oriana, a collection of 25 madrigals published in 1601. It arrives and ends as abruptly as death. Gibbons’s musical patron, Sir Christopher Hatton (b. circa 1579; d. 1619), is the top candidate for author to the words as he chose the texts for many of Gibbons’s madrigals. O. Gibbons Arranged by A. Pugh - Published by ... All three madrigals are great but Now is the Month of Maying will bring the house down!

Gibbons Arranged by A. Pugh - Published by Wonderful Winds. The full title of this wonderful book of music is Orlando Gibbons The first set of madrigals and mottets of 5. parts apt for viols and voyces. There used to be 16 tunes to it, but that was reduced to 8 in one refurbishment (one of them duplicated – no one knows why). [20] Based on stylistic evidence, Fellowes suggests that both madrigals are by the then 19 year old Orlando, but notes there is no valid evidence to support this claim. Madrigal, form of vocal chamber music that originated in northern Italy during the 14th century, declined and all but disappeared in the 15th, flourished anew in the 16th, and ultimately achieved international status in the late 16th and early 17th centuries.
[14] His will gave his properties as life estates to his wife Joan, with the remainder to his brother Edward; he gave a legacy of £20 to the child of his sister Elizabeth. Orlando's son, Christopher, was also a noted composer. Trust not too much Though composed as a madrigal, The Silver Swan is, in modern times, often performed as either a song for chamber choir or a song for soprano and viol consort. [4] At the time early baptisms were commonplace, so his actual date of birth was likely shortly before 30 November. These madrigals were Long live faire Oriana and Round about her Charret – although some have doubted his authorship; none of his other works survive. The Silver Swan who, living, had no note,
May 1603) was an English composer of the late Renaissance who associated with the English Madrigal School.

The physical Silver Swan however dates from 1773 some 160 years later. Ellis Gibbons was born to William and Mary[n 3] Gibbons in Cambridge and baptized on 30 November 1573 at Holy Trinity Church, Cambridge. The disjunct opening, redolent with suspensions and downward melodies, evokes the intricate textures of a viol consort; the later descent of the upper voice in long notes may represent the actual melody from a solo version. Orlando Gibbons only left a single complete collection of vocal music for posterity, yet his position within the constellation of English madrigalists is secure. Gibbons’s musical patron, Sir Christopher Hatton (b. circa 1579; d. 1619), is the top candidate for author to the words as he chose the texts for many of Gibbons’s madrigals. Now each flowery bank of May Probably the most recorded and the most performed Orlando Gibbons madrigal is the famous song The Silver Swan. Ah, dear heart, why do you rise? from the 1612 print Madrigals and Mottets is such a piece. [10] Orlando, who would become the most successful musician of the family,[11] was born in 1583 in Oxford,[12] although musicologist George A. Thewlis notes that Edward and Ellis were still living in Cambridge. After this extended passage comes the final line of text, "Only we die in earnest, that's no jest." One can’t help getting the feeling that Gibbons’s last line is a comment on the demise of the English madrigal form and the loss of the late Elizabethan musical tradition – which is exactly what was happening at the time. Commenting on the musical form, Philip Ledger notes that “in common with the lute-song, and unlike any true madrigal, it has two musical sections, the second one repeated, and new words are provided for this repeat”. The song was first published in Gibbons’s First Set of Madrigals and Motets of 5 parts in 1612 which he dedicated to Sir Christopher Hatton. [15][16] Any official employment Gibbons did have is unrecorded, and while it was likely music related,[14] there is no evidence for this. [15] He was probably buried in the parish of St Benet Paul's Wharf, London and while his cause of death is unknown, he may have succumbed to the plague which killed nearly a quarter of London's population that year.


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