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Amsterdam Loeki Stardust Quartet|Consort Songs

Consort Songs

Amsterdam Loeki Stardust Quartet, David Miller and Connor Burrowes

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Consort Songs Teares or Lamentacions of a sorrowfull Soule is the publication where Sir William Leighton uses the term consort song for the first time. During the reign of Queen Elizabeth, the genre of the consort song already appeared in certain collections from the 1580s, which contain several examples of a song-form for a high solo voice accompanied by four instruments. A few early four-part consort songs survive, but five-part texture seems to have become standard almost from the inception of this form. The consort song emerged from the assimilation and expansion of the English ayre and the highly popular Italian madrigale. To the simpler and ingratiating manner of the lute ayre, a more contrapuntal and expressive style of the madrigal was added. The musical importance of the consort song rests largely upon its development by the composer William Byrd, who regarded it as the standard means of setting vernacular poetry. In his songs almost every vocal phrase is anticipated, supported and imitated by a dense stream of notes that flows round it. Although Byrd presented most items in his published collections as fully vocal compositions, about half of them are in fact consort songs, which Byrd stated as being originally made for instruments to express the harmony, and one voice to pronounce the ditty. There will always remain an attractive amount of uncertainty when trying to reveal the beauty of a composition in all its colours. Searching for a favourable lighting means experimenting with historic tone colours and adding or omitting elements. Both the recorder and the soprano voice of a boy are known to have been established during the time of publication of consort songs, and the vocal part always lies within the range of a boys voice, either treble or mean (alto). Naturally these songs have had performances in more than one appropriate rendering, according to availability of different voices and instruments.

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Consort Songs

Amsterdam Loeki Stardust Quartet

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1
The Second Book of Songes: No. 3. Sorrow, Sorrow, Stay, lend True Repentant Tears
00:05:34

Anonymous, Lyricist - Copyright Control, MusicPublisher - John Dowland, Composer - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Connor Burrowes, Soloist, MainArtist - William Wigthorpe, Composer

2006 Channel Classics Records 2006 Channel Classics Records

2
Courant
00:01:30

Copyright Control, MusicPublisher - John Dowland, Composer - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

3
Wretched Albinus (Upon the Fall of the Earl of Essex, 1601)
00:02:30

Anonymous, Lyricist - Copyright Control, MusicPublisher - William BYRD, Composer - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Connor Burrowes, Soloist, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

4
With Lilies White (An Elegy for Lady Magdalen Montague, d.1608)
00:02:38

Anonymous, Lyricist - Copyright Control, MusicPublisher - William BYRD, Composer - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Connor Burrowes, Soloist, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

5
Aria
00:02:43

Copyright Control, MusicPublisher - John Dowland, Composer - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

6
Complain with Tears
00:02:14

Anonymous, Composer, Lyricist - Copyright Control, MusicPublisher - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Connor Burrowes, Soloist, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

7
When Shall My Sorrowful Sighing Slake
00:02:05

Thomas Tallis, Composer - Copyright Control, MusicPublisher - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

8
In a Merry May Morn
00:01:27

Anonymous, Lyricist - Copyright Control, MusicPublisher - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Richard Nicholson, Composer - Connor Burrowes, Soloist, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

9
When May Is in His Prime
00:02:10

Anonymous, Composer - Richard Edwards, Lyricist - Copyright Control, MusicPublisher - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Connor Burrowes, Soloist, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

10
Taffel Consort: No. 37. Male Content
00:01:01

Copyright Control, MusicPublisher - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Thomas Simpson, Composer

2006 Channel Classics Records 2006 Channel Classics Records

11
This Merry Pleasant Spring
00:01:37

Anonymous, Composer, Lyricist - Copyright Control, MusicPublisher - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Connor Burrowes, Soloist, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

12
Ye Mortal Wights (Venus Her Lamentation for Adonis)
00:04:50

Anonymous, Lyricist - Copyright Control, MusicPublisher - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - William Cobbold, Composer - Connor Burrowes, Soloist, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

13
Taffel Consort: No. 1. Paduan
00:03:24

Copyright Control, MusicPublisher - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Thomas Simpson, Composer

2006 Channel Classics Records 2006 Channel Classics Records

14
Taffel Consort: No. 11. Volta
00:01:00

Copyright Control, MusicPublisher - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Thomas Simpson, Composer

2006 Channel Classics Records 2006 Channel Classics Records

15
Like as the Day
00:02:55

Anonymous, Lyricist - Copyright Control, MusicPublisher - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Connor Burrowes, Soloist, MainArtist - Patrick Mando, Composer

2006 Channel Classics Records 2006 Channel Classics Records

16
The Paradise of Dainty Devices: How Can the Tree
00:03:10

Thomas, Lyricist - Anonymous, Composer - Copyright Control, MusicPublisher - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Connor Burrowes, Soloist, MainArtist - Lord Vaux, Lyricist

2006 Channel Classics Records 2006 Channel Classics Records

17
Fantasia for 4 Viols and Organ, VdGS No. 7
00:06:23

John Jenkins, Composer - Copyright Control, MusicPublisher - David Miller , MainArtist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

18
Pavan à 5 No. 4 in G Minor, "Four-Note Pavan"
00:03:31

Copyright Control, MusicPublisher - David Miller , MainArtist - ben jonson, Lyricist - Amsterdam Loeki Stardust Quartet, Ensemble, MainArtist - Alfonso Ferrabosco Jr., Composer - Connor Burrowes, Soloist, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

Album review

Consort Songs Teares or Lamentacions of a sorrowfull Soule is the publication where Sir William Leighton uses the term consort song for the first time. During the reign of Queen Elizabeth, the genre of the consort song already appeared in certain collections from the 1580s, which contain several examples of a song-form for a high solo voice accompanied by four instruments. A few early four-part consort songs survive, but five-part texture seems to have become standard almost from the inception of this form. The consort song emerged from the assimilation and expansion of the English ayre and the highly popular Italian madrigale. To the simpler and ingratiating manner of the lute ayre, a more contrapuntal and expressive style of the madrigal was added. The musical importance of the consort song rests largely upon its development by the composer William Byrd, who regarded it as the standard means of setting vernacular poetry. In his songs almost every vocal phrase is anticipated, supported and imitated by a dense stream of notes that flows round it. Although Byrd presented most items in his published collections as fully vocal compositions, about half of them are in fact consort songs, which Byrd stated as being originally made for instruments to express the harmony, and one voice to pronounce the ditty. There will always remain an attractive amount of uncertainty when trying to reveal the beauty of a composition in all its colours. Searching for a favourable lighting means experimenting with historic tone colours and adding or omitting elements. Both the recorder and the soprano voice of a boy are known to have been established during the time of publication of consort songs, and the vocal part always lies within the range of a boys voice, either treble or mean (alto). Naturally these songs have had performances in more than one appropriate rendering, according to availability of different voices and instruments.

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