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Fb2 Sacred Hymnes of 3, 4, 5 and 6 Parts(1615): v. 40: The English Madrigalists ePub

by John Amner,John Morehen

Category: Music
Subcategory: Photo and Art
Author: John Amner,John Morehen
ISBN: 0852498632
ISBN13: 978-0852498637
Language: English
Publisher: Stainer & Bell Ltd (November 9, 2000)
Pages: 168
Fb2 eBook: 1435 kb
ePub eBook: 1761 kb
Digital formats: azw lrf txt lrf

John Morehen (The English Madrigalists, 41); John Amner, Sacred Hymnes of 3, 4, 5 and 6 Parts (1615), ed. John Morehen (The English Madrigalists, 40); John Blow, Anthems IV.

John Morehen (The English Madrigalists, 41); John Amner, Sacred Hymnes of 3, 4, 5 and 6 Parts (1615), ed. John Morehen (The English Madrigalists, 40); John Blow, Anthems I.

The latest offering from The English Madrigalists series is the Sacred Hymnes of 3, 4, 5 and 6 Parts for .

The latest offering from The English Madrigalists series is the Sacred Hymnes of 3, 4, 5 and 6 Parts for Voyces and Vyols (1615) by John Amner. The release is significant- it is a modern publication of a collection hitherto omitted from Edmund H. Fellowes’ English Madrigal School series, and an attempt to increase the awareness of a name and works seldom heard in comparison to contemporary composers such as Morley, Gibbons, Wilbye, Weelkes and Tomkins.

Sacred Hymnes of 3, 4, 5 and 6 Parts (1615). London: Stainer & Bell, c2000. The English Madrigalists, 4. John Blow. Anthems IV: Anthems with Instruments.

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The madrigal part-books were in quarto, the lute-song books almost invariably foho. Furthermore, within this range of years, 1588 to 1630, such sets as John Amner's Sacred Hymns of J, 4, 5, and 6 Parts, 1615, which deal solely with sacred music, are excluded ; and Sir William Leighton's Tears or Lamentacions of a Sorrowfull Soule, 16 14, consisting almost entirely of biblical or semi-religious words, appeared to be out of place in.

AMNER, John, Organist and Master of the Choristers of Ely Cathedral . He succeeded George Barcroft in 1610, and held the appointments till his death in 1641. He took his degree as Bachelor in Music at Oxford in May 1613. In 1615 he printed his 'Sacred Hymns of 3, 4, 5, and 6 parts, for Voices and Vyols,' dedicated to his 'singular good lord and maister,' the Earl of Bath. He composed much church music. Three services and fifteen anthems are preserved in the books at Ely; and several other specimens of his skill are to be found in MS. elsewhere. Dickson's Cat. of Musical MSS. at Ely ; Rimbault, Bib. Madrigaliana.

John Amner (1579–1641) was an English composer

John Amner (1579–1641) was an English composer. A composer of sacred works, Amner was born in Ely and had a close association with Ely Cathedral, even before his employment there as Informator choristarum (1610–1641), through his relatives Michael and Ralph Amner, who were both lay clerks there. He received his Bachelor of Music from Oxford with the support of the Earl of Bath in 1613, and also from Cambridge in 1640.

John Amner (1579–1641) was an English composer In 1615, he published a collection entitled Sacred Hymnes of 3, 4, 5 and 6 parts for the Voyces and Vyols, which represents most of his known works

John Amner (1579–1641) was an English composer. In 1615, he published a collection entitled Sacred Hymnes of 3, 4, 5 and 6 parts for the Voyces and Vyols, which represents most of his known works. His other works include Preces (both for five voices), four settings of the daily canticles, several simple four-part anthems, slightly more complex five-part anthems, and verse anthems.

The volume of Sacred Hymnes of 3, 4, 5 and 6 Parts for Voyces and Viols (London: Edward Allde, 1615) by the East Anglian composer John Amner (1579-1641) is also very welcome, and Morehen's argument that it belongs within The English Madrigalists series is strengthened by th. .

The volume of Sacred Hymnes of 3, 4, 5 and 6 Parts for Voyces and Viols (London: Edward Allde, 1615) by the East Anglian composer John Amner (1579-1641) is also very welcome, and Morehen's argument that it belongs within The English Madrigalists series is strengthened by the fact that this composer was clearly much influenced by the secular forms of his. day (the ballet-in which "Fa la" is replaced by "Alleluia"-and canzonet in particular), although the pieces with viols are as much in the idiom of the verse anthem as of the consort song

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