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Morley - Canzonettas in Three Parts - For Recorders (Or Other Instruments)

Connect to Spotify Dismiss. Search Search. Related Tags renaissance classical early music Add tags View all tags. Artist images. Thomas Morley 5, listeners Related Tags renaissance classical early music Thomas Morley or — October was an English composer, theorist, editor and organist of the Renaissance, and the foremost member of the English Madrigal School. He was the most famous composer of secular music in Elizabethan England, and the composer of the only surviving contemporary settings of verse by Shakespeare. Morley was born in Norwich, in East Anglia, the son of a brewer.

Most likely he was a singer in the local cathedral from his boyhood, and he became master of choristers there in However, Morley evidently spent some time away from East Anglia, for he… read more.

APPENDIX B from "The English Madrigal Composers" by Edmund Horace Fellows

Thomas Morley or — October was an English composer, theorist, editor and organist of the Renaissance, and the foremost member of the English Madrigal School. He was the mos… read more. He was the most famous composer of secular music in Elizabet… read more.


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Similar Artists Play all. Total playing time is about eight minutes. Ann says: 'I was encouraged to write a second recorder septet by the success of the first. I think that reasons for its success included that there are still very few recorder septets in existence, and even fewer of only moderate difficulty.

This piece is in five, very contrasting movements. Total playing time is about nine minutes. Ann says: 'I wrote these miniatures to celebrate the 30th birthday of the U3A group based at Monmouth. I am the musical director of the recorder ensemble within Monmouth U3A, and the instrumentation reflects the recorders we regularly use. We are a large ensemble, including great bass and contrabass recorders, and those recorders are essential in these miniatures.

The seven miniatures explore a variety of moods and, in a reference to the birthday, they are all exactly thirty bars long. The pieces are of no more than moderate difficulty, and work equally well played one-to-a-part, or by a several-to-a-part recorder orchestra.

Spring-time mantleth every bough (Thomas Morley)

This mildly jazzy concerto was composed in , originally using a treble recorder soloist. A one-to-a-part orchestra would work well, but the balance will still be fine with several-to-a-part. The ensemble parts are never more than moderately hard, although unsurprisingly the solo part needs a very good player..


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This is a collection of five spirituals which are available in other May Hill Edition titles with various instrumentations. They are here rearranged for seven recorders and sound good whether one-to-a-part or in a larger ensemble. The arrangements are easy, but interesting, and they are particularly suited to an 'easy recorder orchestra' group.. This fairly easy setting of the poem by Alfred Tennyson is dedicated to Ann Lyall.. There is also a version MHEb for treble recorder and piano..

Spring-time mantleth every bough

Philis, I fain would die now Morley, Thomas 7. Four Canzonettas Morley, Thomas arr.

Supplementary Information

Ann says: 'This version gives a robust and sonorous view of these little gems. A stimulating, challenging and rewarding exploration of some different ways in which quintuple metre is used in Balkan music. The variety is surprising, ranging from wild and frenetic through sedate and folksy to graceful and stately.. Kyrie Palestrina arr. Resonet in laudibus Praetorius, Michael arr. Canzon a 7 Priuli, Giovanni 7. William Tell Overture Rossini, G arr. One of the pieces, 'Carla', is particularly simple and beautiful, consisting almost entirely of crotchets, spelling out a hypnotic and attractive chord sequence.

I liked 'Carla' immediately, and many ways of developing it suggested themselves to me. At the risk of gilding the lily, and with Dietrich's permission, I have therefore written this 'report' on his piece, a report in this sense being an archaic term for a piece written in response to another. Playing time is about five minutes.

This piece, by Johann Heinrich Schmelzer? Ann Marshall rearranged the sonata for an eight-foot orchestra, included in the Autumn Recorder Orchestra Weekend, which took place in October The instrumentation became two each of tenors, basses and great basses and a contrabass. She also added a part for subcontrabasses which, although optional, adds a great deal to the music. Total playing time is about seven minutes..