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Pastime with Good Company

A Madrigal Dinner Fund-Raising Event presented by The Chamber Singers

Mary E. Root, Director
Script by Kristen McDermott
With Special Guests Sforzandi

Saturday, April 25, 1998
Eastminster Presbyterian Church
Marietta, Georgia

The Setting: The Pig 'N' Thistle Tavern, situated in a remote hamlet somewhere between London and Bath. William Plunkett’s friends are preparing to celebrate his birthday.

Musical Program

Pastime with Good Company by King Henry VIII, arr. Catherine Bennett

Your Shining Eyes by Thomas Bateson (c. 1570- 1630)

As Late in My Accounting by Thomas Weelkes (? - 1623)

Follow Me, Sweet Love by Michael East (? - 1648)

Adieu, Sweet Amarillis by John Wilbye (1574-1638)

Let Go, Wby Do You Stay Me? by John Bennett (c. 1570-1615)

Rest, Sweet Nymphs by Francis Pilkington (? - 1638)

In These Delightful, Pleasant Groves by Henry Purcell (1658-1695)

The Madrigal

By Michaelene Gorney

The word "madrigal" typically refers to Italian vocal music of the 16th century. The derivation of the word, though unclear, indicates several possible origins: "pastoral song"; secular song (as opposed to spiritual); a song "in the mother tongue"; or one "belonging to Mother Church" (in which case the lusty spirit of many a madrigal strays far from its original purpose!). Through the madrigal, artists of the 16th century sought to develop a more refined poetry than previously in use, and to enhance its meaning with music. By the end of the 16th century, the music itself became exaggerated and mannered, employing musical "word-painting," dramatic effects, and vocal virtuosity. The madrigal was readily adopted in England, where composers adapted it to peculiarities of the English language and imbued it with the English penchant for merriment and melancholy.

Thomas Morley (1557-1603), himself a master of the Elizabethan madrigal, had this to say in A Plain and Easy Introduction to Practical Music: "The best kind [of light music] is termed madrigal, a word for the etymology of which I can give no reason, yet use showeth that it is a kind of music made upon songs and sonnets such as 'Petrarcha' and many other poets of our time have excelled in. This kind of music were not so much disallowable if the poets who compose the ditties would abstain from some obscenities which all honest ears abhor, and sometimes from blasphemies to such as this, 'ch'altro di te iddio non vogliom,' ('Other than thee I'll have no god.' [in an erotic context]), which no man (at least who hath any hope of salvation) can sing without trembling. As for the music, it is next unto the motet the most artificial and to men of understanding most delightful. If therefore you will compose in this kind, you must possess yourself of an amourous humor (for in no composition shall you prove admirable except you put on and possess yourself wholly within that vein wherein you compose), so that you must in your music be wavering like the wind, sometimes wanton, sometimes drooping, sometimes grave and staid, ofterwhile effeminate; you may maintain points and revert them, use triplas, and show the very uttermost of your variety, and the more variety you show the better shall you please."

Pastime with Good Company by King Henry VIII (yes, that one!), arr. Catherine Bennett
King of England from 1509-1547, Henry VIII is said to have played well several instruments and, per Henry Peacham, could "sing his part sure." He was also a composer, though of no great distinction compared to others of his day. His songs appear to date from 1509-1520, which means they were written by Henry between the ages of 18 and 30. His compositions comprise secular songs, instrumental pieces, and an antiphon.

Your Shining Eyes by Thomas Bateson (c. 1570- 1630)
Bateson was organist of Dublin Cathedral and apparently the first person to earn a Bachelor of Music degree from Trinity College there. He wrote two sets of madrigals, one in 1604 and one in 1618. Your Shining Eyes is taken from the first set.

As Late in My Accounting by Thomas Weelkes (? - 1623)
Composer, organist, and a most original and inventive madrigalist, Weelkes published four volumes of madrigals for three to six voices from 1597 to 1608, excelling particularly in works for six voices. The more, the merrier!

Follow Me, Sweet Love by Michael East (? - 1648)
Composer and organist, East's works include madrigals, music for viols, and church music.

Adieu, Sweet Amarillis by John Wilbye (1574-1638)
Wilbye was a composer in the service of Sir Thomas Kytson, Hengrave Hall, Suffolk. His two volumes of madrigals are among the finest by English composers. He contributed to The Triumphs of Oriana (1601), an anthology of madrigals, perhaps in honor of Elizabeth I, each of which ended with the words, "Then sang the shepherds and nymphs of Diana: Long live fair Oriana."

Let Go, Why Do You Stay Me? by John Bennett (c. 1570-1615)
Bennett published one set of four-part madrigals. He also contributed to The Triumphs of Oriana.

Rest, Sweet Nymphs by Francis Pilkington (? - 1638)
Composer, chorister, minor canon, and precentor of Chester Cathedral, Pilkington wrote ayres, two sets of madrigals, sacred partsongs, and pieces for viols and for lute.

In These Delightful, Pleasant Groves by Henry Purcell (1658-1695)
Organist, composer, chorister (what else?), and "keeper of the king's instruments" in 1683, Purcell was the most original and gifted English composer of these times. He wrote church music, odes for the court and for various occasions, sacred songs, over 100 secular songs (the only kind we're singing tonight) and theatre music. For laying the foundations of English opera, it is Purcell you must thank or not, as it pleases you.