There is a tradition that the tune was composed by David Owen (1712–1741), a harpist and composer who lived near Porthmadog in Caernarfonshire. He was known locally as Dafydd y Garreg Wen (English: David of the White Rock). Y Garreg Wen was the name of the farm where he lived near Morfa Bychan. There is a tradition that as Owen lay on his death bed, he called for his harp and composed the tune of the haunting song. He died at the age of 29 and was buried at St Cynhaearn's Church near Porthmadog.
The first printed appearance of the melody is in Edward Jones's Musical and Poetical Relicks of the Welsh Bards (1784)
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| Garreg Wen near Porthmadog, home of the harpist Dafydd y Garreg Wen. |
In 1923 the British Broadcasting Company made its first broadcast in Wales, from "Station 5WA" in Cardiff. Mostyn Thomas opened the programme, singing Dafydd y Garreg Wen, and so it became the very first Welsh language song to be played on the air.
An arrangement for military massed bands is played annually during the national remembrance Sunday celebrations led by His Majesty the King each November in Whitehall.
Taken from Wikipedia.
Magnificat and Nunc Dimitis Thomas Morley
This rendition of the Magnificat and Nunc Dimittis is sung more like a psalm.
Thomas Morley (1557 – early October 1602) was an English composer, theorist, singer and organist of the Renaissance. He was one of the foremost members of the English Madrigal School. Referring to the strong Italian influence on the English madrigal, The New Grove Dictionary of Music and Musicians states that Morley was "chiefly responsible for grafting the Italian shoot on to the native stock and initiating the curiously brief but brilliant flowering of the madrigal that constitutes one of the most colourful episodes in the history of English music."
Living in London at the same time as Shakespeare, Morley was the most famous composer of secular music in Elizabethan England. He and Robert Johnson are the composers of the only surviving contemporary settings of verse by Shakespeare.
Morley was active in church music as a singer, composer and organist at St Paul's Cathedral. He was also involved in music publishing. From 1598 up to his death he held a printing patent (a type of monopoly). He used the monopoly in partnership with professional music printers such as Thomas East.
Life
Morley was born in Norwich, 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 1583. He may have been a Roman Catholic, but he was able to avoid prosecution as a recusant, and there is evidence that he may have been an informer on the activities of Roman Catholics.
It is believed that Morley moved from Norwich to London sometime before 1574 to be a chorister at St. Paul's Cathedral. Around this time, he studied with William Byrd, whom he named as his mentor in his 1597 publication A Plain and Easie Introduction to Practicall Musicke. Byrd also taught Morley's contemporary, Peter Philips. In 1588 he received his bachelor's degree from the University of Oxford, and shortly thereafter was employed as organist at St. Paul's in London. His young son died the following year in 1589. He and his wife Susan had three more children between 1596 and 1600.
In 1588 Nicholas Yonge published his Musica transalpina, the collection of Italian madrigals fitted with English texts, which touched off the explosive and colourful vogue for madrigal composition in England. Morley found his compositional direction at this time, and shortly afterwards began publishing his own collections of madrigals (11 in all).
Morley lived for a time in the same parish as Shakespeare, and a connection between the two has been long speculated, but never proven. His famous setting of "It was a lover and his lass" from As You Like It has never been established as having been used in a performance of Shakespeare's play during the playwright's lifetime. However, given that the song was published in 1600, there is evidently a possibility that it was used in stage performances.
While Morley attempted to imitate the spirit of Byrd in some of his early sacred works, it was in the form of the madrigal that he made his principal contribution to music history. His work in the genre has remained in the repertory to the present day, and shows a wider variety of emotional colour, form and technique than anything by other composers of the period. Usually his madrigals are light, quick-moving and easily singable, like his well-known "Now Is the Month of Maying" (which is actually a ballett); he took the aspects of Italian style that suited his personality and anglicised them. Other composers of the English Madrigal School, for instance Thomas Weelkes and John Wilbye, were to write madrigals in a more serious or sombre vein.
In addition to his madrigals, Morley wrote instrumental music, including keyboard music (some of which has been preserved in the Fitzwilliam Virginal Book), and music for the broken consort, a uniquely English ensemble of two viols, flute, lute, cittern and bandora, notably as published by William Barley in 1599 in The First Booke of Consort Lessons, made by diuers exquisite Authors, for six Instruments to play together, the Treble Lute, the Bandora, the Cittern, the Base-Violl, the Flute & Treble-Violl.
Morley's Plaine and Easie Introduction to Practicall Musicke (published 1597) remained popular for almost two hundred years after its author's death, and is still an important reference for information about sixteenth century composition and performance.
Thomas Morley was buried in the graveyard of the church of St Botolph Billingsgate, which was destroyed in the Great Fire of London of 1666, and not rebuilt. Thus his grave is lost.
Taken from Wikipedia
God So Loved The World John Stainer (1840-1901) taken from The Crucifixion.
“The Crucifixion: A Mediation on the Sacred Passion of the Holy Redeemer” was composed in 1887 and first performed on 24th February of that year. It was dedicated to his friend and pupil W Hodge and the choir of Marylebone Church. It is a sacred oratorio for tenor and bass soli, SATB choir and organ. W J Sparrow Simpson wrote the libretto. The work has been dismissed in the past, even Stainer himself calling it “rubbish” but it is continued to be a staple of church music since its first performance, especially around Easter. “God so loved the world” is one of the choral pieces, but the text can be used at any time in the church calendar, as it is reflecting part of the Eucharist.
Words: Based on John 3:16-17
God so loved the world, that He gave His only-begotten Son, that whoso believeth in Him should not perish, but have everlasting life. For God sent not His Son into the world to condemn the world; but that the world through Him might be saved.
Sir John Stainer (1840 – 1901) was an English composer and organist. He was very popular during his life, but now little of his music is performed other than “The Crucifixion”. He was the Heather Professor of Music at Oxford, and his training of choristers and organists set standard that remain influential today.
He was born in Southwark, London, son of a cabinetmaker. He was a chorister at St Paul’s Cathedral at the age of ten. At sixteen he was appointed organist at St Michael’s College, Tenbury. He was later organist at Magdalen College, Oxford and the St Paul’s Cathedral. Whilst at Magdalen he was allowed to study as long as it did not interfere with his duties as organist. He chose to do so and in 1864 gained his BA with his MA coming 2 years later. Due to poor eyesight he had to retire from St Paul’s whist in his forties and returned to Oxford to take up his chair. Queen Victoria honoured him with his knighthood in 1888 for his services to British music, the same year he retired from St Paul’s. He died unexpectedly whilst holidaying in Italy.
picture from Wikipedia
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