NIGHTINGALE’S

OWN BROTHER

English music of the 16th and early 17th century for Renaissance traverso and virginal from Henry VIII's Songbook, Fitzwilliam Virginal Book, Cantiones quae ab argumento sacrae vocantur a.o. by William Byrd, Thomas Tallis, Thomas Morley

When William Byrd composed his musical elegy "Ye sacred Muses, ... Come down from crystal heav'ns above to earth where sorrow dwelleth" on the death of his friend Thomas Tallis in 1585, a 13-year period of fruitful collaboration between the two musicians in London lay behind him.

In 1575, the two had jointly composed and published the motets collection Cantiones quae ab argumento sacrae vocantur - a unique collaboration in music history. William Byrd is praised as "Nightingall's owne brother" in a poem of praise that precedes the virginal music collection "Parthenia". The rich musical culture of the Tudor period in England already blossomed under Henry VIII, numerous music prints for nobility and wealthy citizens are documents for a diverse and rich musical culture, at court there was an international and lively exchange of poets, artists, theologians, scientists and musicians. The transverse flute and the virginal were already widespread in the early 16th century as popular instruments at court and among the bourgeoisie - many Italian instruments found their way to England, even into the possession of Henry VIII and Elizabeth I, who made music on them themselves. "Nightingale's own brother" is an intimate insight into this musical culture between English folk song and complex counterpoint.

Johanna Bartz, Renaissance Traverso
Mira Lange, Virginal