Top Results for Morley

"April Is in My Mistress' Face" is a secular four-part madrigal by the English composer Thomas Morley, published in his First Book of Madrigals to Four Voices in 1594. Its brief text maps the seasons onto a woman's changing appearance: April in her face, July in her eyes, September in her breast, an...

"My bonnie lass she smileth" is a five-voice ballett by English Renaissance composer Thomas Morley, published in his First Book of Balletts to Five Voyces in 1595. Its light secular text, clear rhythmic profile, repeated sections, and characteristic "fa la la" refrains reflect the influence of the I...

Thomas Morley’s “Now is the Month of Maying” is a Renaissance madrigal for five voices, composed around 1595. This piece, part of his First Book of Ballets, captures the spirit of spring through its energetic rhythm and characteristic ‘fa-la’ melody. It was intended for performance in courtly settin...

A lively canzonet by Morley depicting the burning passion of love, characteristic of his playful, lighter style and his role in popularizing Italian forms in England.

Sweet Nymph, Come to Thy Lover is a secular vocal work by the English Renaissance composer Thomas Morley. It appeared in Morley's Canzonets to Three Voices, published in 1593, and reflects his adaptation of the light, concise Italian canzonetta tradition to English-language poetry. Written for three...

Expressive lament madrigal by Thomas Morley, reflecting the serious side of the English composer best known for his lighter canzonets and ballets of the 1590s.

"Hark, Alleluia" is a six-voice sacred choral work composed by the English Renaissance composer Thomas Morley. Active during the late 16th and early 17th centuries, Morley was a central figure in the Elizabethan era, best known for his secular madrigals and his editorial work on the famous anthology...

"April Is in My Mistress' Face" is a four-voice madrigal composed by the English composer Thomas Morley. Published in 1594, it is one of the most recognizable examples of the Italian madrigal style adapted for English audiences during the Renaissance. The piece sets a pastoral poem about a woman who...

"My Bonny Lass She Smileth" is an English ballett composed by Thomas Morley, published in his "First Book of Balletts" in 1595. As a prominent example of the English madrigal style, the piece features the characteristic nonsense syllables, specifically the "fa-la" refrain, that define the ballett ge...

'Lady, those cherries plenty' is a canzonet by English Renaissance composer Thomas Morley (1557-1602). Morley was instrumental in introducing Italian musical forms to English audiences during the Elizabethan era and published several influential collections of vocal music. His lighter works, includi...

"Hard by a Crystal Fountain" is an English madrigal for six voices by Thomas Morley, composed for the 1601 anthology The Triumphs of Oriana, a collection of 25 madrigals by various composers honoring Queen Elizabeth I. The text depicts pastoral imagery and concludes with the standard refrain "Then s...

"No, no, Nigella" is a lighthearted secular madrigal composed by the English Renaissance musician Thomas Morley. It is structured as a ballett, which is a type of vocal composition characterized by its dance-like rhythm, homophonic texture, and recurring "fa-la-la" refrains. Morley was instrumental...

“Sing We and Chant It” is an English ballett by Thomas Morley, published in his First Book of Balletts to Five Voyces in 1595. Adapted from the Italian ballett tradition, it uses a light secular text, regular dance-like rhythms, repeated sections, and characteristic “fa-la-la” refrains. The piece is...

“Fire, Fire” is an English madrigal by Thomas Morley that treats the conventional Renaissance image of love as a consuming flame. Its short exclamations and amorous language are reflected in animated imitation, quick exchanges among the voices, and shifts between contrapuntal and more chordal textur...

Mother Goose is a British pantomime script by John Morley, part of the repertoire of scripts associated with amateur and community theatre. Its story follows Mother Goose, her family, and the goose Priscilla as a demon tempts her with beauty and wealth, creating conflict between vanity and personal...

O Grief, Even on the Bud is a five-part English madrigal by Thomas Morley that presents grief in a serious and restrained vocal setting. The work differs in mood from the lighter, more comic madrigals with which Morley is often associated, using a lamenting text and expressive writing to emphasize e...

Sleeping Beauty is a pantomime script by John Morley based on the traditional fairy tale of a princess placed under an enchanted sleep. It is structured for the British Christmas pantomime tradition, which commonly combines spoken scenes, comic business, audience participation, music, and a storyboo...

Puss in Boots is a British pantomime script associated with John Morley, a prolific writer of traditional theatrical pantomimes. It adapts the familiar fairy tale of the intelligent cat who helps a poor master gain social status, while incorporating the comic dialogue, audience interaction, songs, a...

Goldilocks and the Three Bears is a full-length pantomime adaptation by British playwright John Morley. It retells the familiar fairy tale in a format intended for stage performance, with the music left to the director rather than fixed by the published text. The licensed script is listed for a cast...

Babes in the Wood is a British pantomime script by actor and writer John Morley, one of his adaptations of traditional fairy-tale and folklore subjects. The story centers on children endangered by a wicked uncle and is commonly staged with Robin Hood and Maid Marian as rescuers, linking the old tale...