Music of King Henry the VIII

00:00 Pastyme with good companye
02:16 Consort XII
03:13 Consort VIII
04:06 Adew madam et ma mastres *
05:50 Without dyscord
07:25 Consort XIII
08:53 Consort III
09:24 Whoso that wyll all feattes optayne
10:18 Whoso that wyll for grace sew
11:57 Consort II
12:52 Gentil prince de renom (a)
13:38 Gentil prince de renom (b)
15:06 Consort XVI
16:20 Consort IV
18:01 Thow that men do call it dotage
21:43 En vray amoure
22:51 Helas madam
23:50 If love now reynyd
25:47 Alac, alac what shall I do *
26:39 Consort XXII
27:41 Consort V
29:23 O my hart
30:13 Alas what shall I do for love *
31:23 The Tyme of youthe
32:01 Consort XV
32:53 Taunder naken *
35:28 Consort XXIII
36:06 Consort XIV
36:58 Lusti yough shuld us ensue *
British Museum Additional MS 31922
* Harmonice Musices Odhecaton
ST. GEORGE’S CANZONA
Directed by John Sothcott , in association with Francis Grubb
Philip Langridge, Tenor / John Whitworth, Baritone / Derek Harrison, Counter Tenor
Francis Grubb - Alto Rebec / Derek Harrison - Bass Rebec
John Lawes - Tenor Recorder and Tenor Crumhorn
Michael Oxenham - Cornetto, Recorders, Crumhorns
John Sothcott - Rebecs, Recorders, Soprano Crumhorn
Leila Ward - Bass Recorder, Tenor Crumhorn, Percussion
Music realised by John Sothcott
Caught up in a new and growing appreciation of our historic roots, the Tudor period - and Henry Tudor in particular - has recently become the focus of considerable interest. Consequently there is now no lack of opportunity to form an opinion, of the King in his various roles of Statesman, Religious Reformer or Lover. Regarding his abilities as a Musician, however, scant evidence is provided by concert programmes of the attractive cache of pieces which the archivists who created the so-called Henry VIII manuscript have preserved for our pleasure. All the more welcome therefore is this record of music by the Royal composer from which it becomes apparent that the earnest attention paid by Henry to his gift, secured his position in the musical hierarchy of the court as a master, who called upon his servants to do nothing that he was not himself able to do.
The source of most of Henry’s compositions - and of all of those featured here - is a collection of some 109 items of music that were performed at court during relatively happy years of the King’s reign which culminated at the Field of Cloth of Gold in 1520, when the French and English cultures typified by this manuscript, met in splended confrontation. The music is in the hand of a single scribe, but some of the texts are in another hand. No fewer than thirty-three pieces are inscribed ‘the Kynge h.VIII’, and about two thirds of these are songs expressive of the ever-popular courtly themes of despairing love and lusty delight. The royal pleasures of hunting, dancing and singing are also alluded to, together with a curious and somewhat prim moralisation on the King’s own contemporary domestic happiness and fidelity. Overt, but nontheless touching references to his youthfulness and sobriety are not lacking. Many of Henry’s pieces are short, but they embrace a surprising range of moods and often achieve considerable intensity of expression. The only extended instrumental piece is the polyphonically complex arrangement of the popular Flemish tune Taunder naken. The Melody appears in Odhecaton (1501) and is heard in the present version in the tenor crumhorn (middle) part, being enveloped in the elaborate movements of the treble rebec and bass crumhorn. Another piece connected with the Odhecaton is Gentil Prince. The three-voice unaccompanied version sung here, prior to the accompanied setting, is the original form of the chanson as it appeared in Odhecaton when Henry was but ten years old; and the arrangement in the Tudor manuscript differs from it only in respect of an added voice the work of the King. (In Medieval times the practice of furnishing additional parts to augment existing compositions was fairly common).
The links with Odhecaton and the appearance of other French texts in this volume place it firmly with its face towards the Medieval tradition. Italian innovations like the lute air and stately dance tune which mark the transalpine influences of the new school are absent. Accordingly viols were not yet popular at court and do not therefore make an appearance on this record; but other instruments more familiar to Henry are featured instead. The resulting texture (conditioned by the crumhorn and rebec in particular) is earthy rather than etheral, the latter quality being traditionally associated with the Elizabethan school of performance. Virtually nothing is known about the intended instrumentation of early Tudor music which is here sometimes performed by ‘family’ consorts (ie, three rebecs or three recorders) and sometimes by ‘broken’ consorts in which members of various instrumental families combine.

[@calefonxcalectric]

The presentation of the songs is equally varied, from unaccompanied voices, through voices doubled in part - or whole - by instruments, to a solo voice accompanied by instruments playing the lower parts. There is really no reason to suppose that there were any hard and fast rules about ‘orchestration’ and no doubt whatever forces were conveniently to hand were put to work. J.S. & F.G., February 1971 THE ST. GEORGE’S CANZONA Since there are no fixed rules about the composition of medieval and renaissance ensembles, most such bands will possess a highly individual character according to their membership. The St. George’s Canzona comprises musicians of fairly uniform versatility so that it is possible to mount several complete ‘family’ consorts (eg, crumhorns, recorders, fidels or rebecs) at will, in addition to the usual rangeof ‘broken’ consorts. Some of its instrumentalists are also singers, so that an extremely wide spectrum of sound is possible from this small group of artists. The St. George’s Canzona is associated with the St. George’s Elizabethan Theatre project through which the contemporary generation of Shakespearean actors in Britain seeks to re-establish the Globe Playhouse as a centre for the continuous and authentic production of Elizabethan drama. Its directors and advisers include George Murcell, Christopher Plummer, Eric Porter, and many other figures internationally known for their scholarship, artistic or administrative ability in the theatrical world. The immediate aim is to reconstitute the circular church of St. George in Islington, London, as an Elizabethan theatre, and to furnish it as a centre of learning. This initial stage will cost three quarters of a million pounds and is to lead ultimately to the construction of a modern theatre with the geometry of the Elizabethan playhouse on the original Bankside site, in the late 1970’s. The St. George’s Elizabethan Theatre Trust is at 53 Tufnell Park Road, London N7 OPS. The St. George’s Canzona is administered from 64 Vallance Road, London N22 4UB. ORYX (EXP 57) 1971

[@edwardgivenscomposer]

There is another good reason for family consorts imo - they had/have better odds of playing in tune than broken consorts. Nothing like the winds going sharp while the strings go flat!

[@djdarksidejungle559]

i love that medieval trill they play ya know its proper medieval music when its got that trill

[@sc2070]

Pastyme with good companye is straight 🔥🔥🔥

[@Classic_Swan]

Agreed🎉

[@victoriaspencer4602]

Love to hear my ancestors tunes❤

[@debussy3222]

Está era música de nobles, tus antepasados escuchaban música mucho más simple, de campesinos, flautas y temas populares en tabernas.

[@Bullcutter]

​@debussy3222 You are a rude little number, aren't you?! Insulting someone so blatantly!

[@edwardgivenscomposer]

One of my favorite Renaissance composers. Tuneful music and clever lyrics

[@donnaterkildsen7211]

so happy I found this music, a favorite time period

[@jayakumarkaarikuzhy4713]

Beauty of simple folk music is indescribable! Thanks for the opportunity to enjoy the beauty.

[@philippehoyez9398]

Court music!

[@BlostmaOfSeFaeder]

This has been keeping me going whilst studying for my history a levels 😂 thank you so much bro, kynge henri is always a pleasure to listen to

[@lindsaybarche9858]

The tenor soloist really has a lovely voice!

[@luciasona2231]

Piacevolissima raccolta di brani musicali con il suono del cromorrno e della rebecca. Davvero straordinario è il lavoro di raccolta e di riproduzione che è stato fatto. Grazie!

[@williamstephens9945]

Henry liked funky tunes.

[@thomasc390]

🎵 Wow! Hank's Playlist! Thank you! 🎵

[@ludovikpravoslavnik8785]

My lord, why speak thusly? Off with your head!

[@jensschroder3820]

Tolle Musik. Und ein faszinierender König 👑

[@davehoole9377]

Good music 🥂

[@jamiedominy4552]

This is my jam..eth.

[@mr.aldini6801]

Such a multifaceted individual

[@captebbtide]

And a complex, contradictory king, who thought little of having mistresses and adultery, but sent two of his wives without hesitation to the scaffold just for thinking they might have cheated on him!

[@Snidely]

Good Henry was on the throne for 35 years. During his reign, some 75,000 people were sentenced to death by him. That is an average of three a day. Look it up.

[@user-pq1np6jm2c]

I really enjoyed! 🤔 history of Henry8 thanks!

[@jasminstar1877]

This is what ı was looking for thanks from istanbul TÜRKİYE❤😍😘

[@taylorrowe2002]

also Eastern "Orthodox" are heretical schismatics who schism from the True Church in 1054 AD.

[@CherokeeBird]

Ah yes. DJ Von Volkswagen dropped this 🔥 in 1538. Good year, good memories ❤

[@embroideredragdoll]

Hate the guy with every fibre of my being but his music does low-key slap.

[@diarmuidkuhle8181]

You can be a piece of garbage as a human being and still have artistic talent. Nobody disputes Caravaggio was a genius painter, but he was also an outright criminal.

[@berndmensing8707]

Not only that he killed several of his wives but also one of the greatest philosophers Thomas More. But also, what I know, he stabilized England after the War of the Roses and his reign was not to bad for the normal people of England.

[@marechaldempire1377]

​@@berndmensing8707 Wrong Henry. Henry VII stabilised England after defeating the usurper Richard III who undid much of his brother's (Edward IV) hard work to stabilise England. Henry VIII was born in 1491, a good four years after the Wars of the Roses concluded at Stoke in 1487.

[@jacqueclouseau]

King Henry the VIII 👑 Ave!

[@angierondeau1626]

Great vibrations..xoxo ❤

[@masterklaw4527]

We makin it outta England with this one!

[@user-tr9hy9xf5i]

Straight out of ye Comptonshire.

[@sc2070]

@@user-tr9hy9xf5i 😂😂😂

[@ReplyToMeIfUrRetarded]

Splendid.

[@dejanstevanic5408]

Funny and nice. Thank you.

[@user-hq2lx3dk3q]

In honor of the true king, all hail king Henry

[@whitemughal2]

Henry VIII was a real rotter, and wouldn't be viewed very positively by the #MeToo crowd! But it would be fun to share a glass of fine claret with him while discussing affairs of state and listening to this excellent music.

[@trexspur5252]

Excellent, thank you!

[@lisastevens4873]

Henry u bad ass

[@jinz0]

pure bangers

[@amandagrayson389]

Thanks!

[@Barry_gutsandblackpowder_vr]

Idc if this is 1509 but this is fire 🔥

[@robinblankenship9234]

So, apparently the recorder was the king’s AXE.

[@user-xz7xk9dj4c]

💓💓💓💓💓💓💓💓🌹🌹

[@Snidely]

Awww play the blues home boy

[@coolballer42]

OUT OF THE PROTESTANT CHURCH WITH THIS ONE 🔥🔥🔥🔥🔥🔥🗣🗣🗣🗣

[@EuanWhitehead]

5:50 Forever online nerds are gonna cry with this one.

[@aucuneideejsp8891]

Hélas Madame 🌹👑🌹👑🌹👑

[@rdwaldsaxe-coburg666]

HENRY 8TH

[@sngsculture291]

👍🌞👍

[@aucuneideejsp8891]

Thow that men call it dotage 👌🌹

[@ryanbennett7989]

Music of the Spheres

[@asaadnaeem4121]

🌺🌺🌺🌺🌺🌺🌺🌺🌺🌺🌺🌺🌺🌺🌺

[@kurts5635]

This time period fascinates me but I think I'd go insane f this was the only music I was able to listen to on the daily. 😂

[@paloma4444]

Why? It is much better than modern junk. Plus, they didn't listen ONLY to court music.

[@debussy3222]

La música era un lujo increíble, debías contratar a un conjunto de músicos cada vez que querías escuchar un tema diferente. En esa época te debías conformar con comprar un laud o una flauta, y tocarla tu mismo si querías disfrutar de música o escuchar a los músicos callejeros populares.

[@AmadeusChaffe]

You wouldn't listen to it daily, listening to music wasn't that easy back then, hehe

[@TheTimeDetective42]

on your walkman or ipod?!

[@antomcmanus1775]

Well Bach was the same time period too TBF ......

[@user-vd5qc4qx7l]

Passetyme with gude companye, I love, and shall until I dye. Gruch who wyll, but none deny, So God be pleeyd, thus lyfe wyll I. For my pastaunce: Hunt, syng, and daunce, My hert ys sett! All gudely sport, Fore my comfort, Who shall me lett? Youth wyll have nedes dalyaunce, Of gude or yll some pastaunce. Companye me thynketh them best, All thouts and fansyes to dygest. For ydleness, Ys chef mastres Of vyces all: Than who can say, But myrth and play, Ys best of all? Companye with honeste, Ys vertu, vyce to flee. Companye ys gude or yll, But ev’ry man hath hys frewylle. The best ensyue, The worst eschew, My mynd shall be: Vertue to use, Vyce to refuse, Thus shall I use me!

[@user-tj2nt5ge9n]

Я пьяный на ломаном английском часто пою песню самого доброго и святого царя англии

[@pelayosquared]

Old Harry liked a few tunes between times when he was chopping of peoples' heads. A contemporary of Ivan the Terrible, he was the English tyrant.

[@maryfeldwick2505]

No, no. 🙂 He was no angel, but you must consider him in relation to the times he lived in. You cannot judge his actions by 2023 standards.

[@ringo688]

No wonder he executed 2 of his wives.(no excuse though )

[@nancyholub7554]

And they were perhaps happy to be rid of him and his music!