Orlando Gibbons

[smittims]

Just a reminder that he's This Week's Composer, at 1600 BST: a bit of a step up in quality, I think ,from last week's offering (where do they find them?).

I tried hard to discover what Tom McKinney and Donald MacLeod found (repeatedly) so 'extraordinary' about her music, but all I could hear was a rather decorous imitation-Mendelssohn, just like hundreds of other minor 19th-century composers. I could suppose only that the reason for devoting five hours of programming to this nonentity was Doctor Johnson's comment about a dog walking on its hind legs: 'one marvels, not that it is done well, but that it is done at all'.

[french frank]

I tried hard to discover what Tom McKinney and Donald MacLeod found (repeatedly) so 'extraordinary' about her music, but all I could hear was a rather decorous imitation-Mendelssohn, just like hundreds of other minor 19th-century composers. I could suppose only that the reason for devoting five hours of programming to this nonentity was Doctor Johnson's comment about a dog walking on its hind legs: 'one marvels, not that it is done well, but that it is done at all'.

I think the main point of CotW is to educate you. If what you learnt was that you didn't like the music and didn't think much of it, the programmes served their purpose. Your opinion is your own: it shouldn't affect whether a particular composer features or not. For sure, there will have been others who found the music worthwhile and enjoyable.

[oddoneout]

I think the main point of CotW is to educate you. If what you learnt was that you didn't like the music and didn't think much of it, the programmes served their purpose. Your opinion is your own: it shouldn't affect whether a particular composer features or not. For sure, there will have been others who found the music worthwhile and enjoyable.

That's one of the reasons I appreciate CotW - the chance to find out about composers I otherwise wouldn't encounter and then decide whether I want to listen to more. As you say there will be folk who liked what they heard of Maier-Rontgen, it isn't a case of right or wrong, just individual preference or inclination.

The Gibbons music played today brought back many happy memories of CEs and madrigal sessions.

[Padraig]

My favourite English composer. Beautiful programme. Such exposed music and so well executed by all performers.
Not a good time in poor old Ireland with the demise of the Gaelic system, nor in England with the Plague, so better to appreciate Orlando Gibbons.

I know I know . . . but it was not fully played . . .

The Silver Swan (Orlando Gibbons) – The Gesualdo Six - YouTube

[oddoneout]

My favourite English composer. Beautiful programme. Such exposed music and so well executed by all performers.
Not a good time in poor old Ireland with the demise of the Gaelic system, nor in England with the Plague, so better to appreciate Orlando Gibbons.

I know I know . . . but it was not fully played . . .

The Silver Swan (Orlando Gibbons) – The Gesualdo Six - YouTube

A lovely performance of a beautiful piece, thanks for the link. Much as I love it I find it hard to sing, as it gets me in the emotional jugular which plays havoc with voice control.

[hmvman]

That's one of the reasons I appreciate CotW - the chance to find out about composers I otherwise wouldn't encounter and then decide whether I want to listen to more. As you say there will be folk who liked what they heard of Maier-Rontgen, it isn't a case of right or wrong, just individual preference or inclination.

The recent series on Elizabeth Maconchy certainly educated me and made me appreciate this composer much more than hitherto. COTW also got me into Steve Reich's music many years ago.

[Mandryka]

I don't really know his vocal music, but I have explored his music for viols and keyboard - I'm listening this evening to Richard Egarr's poetic harpsichord CD.

[oliver sudden]

A lovely performance of a beautiful piece, thanks for the link. Much as I love it I find it hard to sing, as it gets me in the emotional jugular which plays havoc with voice control.

I go to work across a lake which is home to both swans and geese, so I think of this one very frequently indeed.

[Pulcinella]

I don't really know his vocal music, but I have explored his music for viols and keyboard - I'm listening this evening to Richard Egarr's poetic harpsichord CD.

I haven't checked what music was played, or which performances, but you might want to investigate these two splendid Naxos CDs:

https://www.prestomusic.com/classical/products/7954904--gibbons-consort-and-keyboard-music-songs-and-anthems#reviews

https://www.prestomusic.com/classical/products/7953242--gibbons-choral-and-organ-music

[smittims]

Frankie and oddoneout seem to be suggesting that there is no lower limit of quality which would bar a composer's music from meriting a week of programmes. My point was that there comes a level when one has to say, really this person isn't good enough, and we're only featuring her because she ticks a diversity box.

No problem with Maconchy; her music is clearly good enough,and Gibbons is a master whose music needs no promoting. But when it comes to Florence Price and last week's lady I think one has to ask why such nondescript music is getting so much attention.

[Dave2002]

My favourite English composer. Beautiful programme. Such exposed music and so well executed by all performers.
Not a good time in poor old Ireland with the demise of the Gaelic system, nor in England with the Plague, so better to appreciate Orlando Gibbons.

I know I know . . . but it was not fully played . . .

The Silver Swan (Orlando Gibbons) – The Gesualdo Six - YouTube

Like it - but is there a counting fault in there?

[smittims]

I shall always remember the Silver Swan for a performance I heard at a reunion at my old University. It was sung on a stage where I had given performaces many years before, and as the singers trooped off at the end I felt it was the close of a chapter, a swan song indeed. It is an intensely poignant piece.

[oddoneout]

Frankie and oddoneout seem to be suggesting that there is no lower limit of quality which would bar a composer's music from meriting a week of programmes. My point was that there comes a level when one has to say, really this person isn't good enough, and we're only featuring her because she ticks a diversity box.

No problem with Maconchy; her music is clearly good enough,and Gibbons is a master whose music needs no promoting. But when it comes to Florence Price and last week's lady I think one has to ask why such nondescript music is getting so much attention.

How does one make such judgements though about something that is so subjective? And who should make such judgements? A composer's work can be analysed for technical faults - but is that a good basis for rejection if the end result works for those listening/performing/using who, after all, are generally the point of the composition? The same applies to other arts - painting and writing fall into the same category of the difficulty of works which can perhaps objectively/technically be found wanting but are well and widely known and have a large following.
By all means dislike something, put forward technical reasons why it isn't as good as similar work by other composers, but ultimately it is better in my view to enable listeners, by programmes such as CotW , to make their own minds up. It is perfectly possible to know all the faults and reasons why one perhaps "shouldn't" like something - but still like it nonetheless.

[gurnemanz]

1. Classic 1975 L'Oiseau Lyre LP Madrigals & Motets 1612 from The Consort Of Musicke - Anthony Rooley, young Emma Kirkby and friends. Still around second hand. I have the v good value 3LPs on 2CDs English Madrigals set which includes Wilbye and Morley. Still available.

[Padraig]

I would recommend Concordia, Orlando Gibbons, Go From My Window. Metronome 2001.

Music for viols in two and six parts and consort songs (inc The Silver Swan)

'Ses fantasies pour six viols sont le plus beau fleuron de son oeuvre, l' equivalent a l'epoque de Jacques1er des quatuors a cordes de Mozart et de Haydn.'