William Cornysh the Younger (1465 – October 1523) was an English composer, … Read Full Bio ↴William Cornysh the Younger (1465 – October 1523) was an English composer, dramatist, actor, and poet, and much more. In his only surviving poem, which was written in Fleet Prison, he claims that he has been convicted by false information and thus wrongly accused, though it is not known what the accusation was. He may not be the composer of the music found in the Eton Choirbook, which may alternatively be by his father, also named William Cornysh, who died c 1502. The younger Cornysh had a prestigious employment at court, as Master of the Children of the Chapel Royal and placed in charge of the musical and dramatic entertainments at court and during important diplomatic events such as at the Field of the Cloth of Gold and visits to and from the courts of France and the Holy Roman Empire, which he fulfilled until his death.
The Eton Choirbook (complied c 1490 - 1502) contains several works by Cornysh: Salve Regina (found in several other sources as well), Stabat mater, Ave Maria mater Dei, Gaude virgo mater Christi, and a lost Gaude flore virginali. The Caius Choirbook (c 1518-20) contains a Magnificat. Other sources refer to lost works: three Masses, another Stabat mater, another Magnificat, Altissimi potentia, and Ad te purissima virgo. He also produced secular vocal music and the notable English sacred anthem Woefully arrayed. There is also an extended and somewhat erudite three-part instrumental work based on steps of the hexachord and its mutations, Fa la sol, and another untitled piece. These secular works are found in the so-called Fayrfax Book (copied in 1501).
If all the earlier sacred music is by the same Cornysh (junior) as the secular music then he was a composer of some breadth, although not without parallel. The works by "Browne" in the Fayrfax Book display a similar difference in style to those by the John Browne of the Eton Choirbook, but are probably the same composer nonetheless. The occurrence of Cornysh's Magnificat (in the same style as the Eton works) falls nearly two decades after the death of the older Cornysh, and thus is far more likely the work of the younger Cornysh, by then by far one of the country's most important musicians. Furthermore, the works by Cornysh in the Eton Choirbook seem to be amongst the most "modern" in that collection. While they do not pursue the simplifiying approach of Fayrfax (an almost exact contemporary of Cornysh junior, and fellow at Court and Chapel), and remain in a more old-fashioned florid melodic style, they adopt proto-madrigalian manners (for example in the setting of words like "clamorosa", "crucifige" and "debellandum" in the Stabat mater) and have a particularly developed sense of tonal movement (for example, in the Stabat mater, the closing "Amen" features deliberate use of F sharps as leading notes to give a sense of tonal cadence into G, or employing E flats at "Sathanam" to give a tonal cadence onto B flat, emphasizing the "strong" nature of the text at that moment, employing the bass-movement V-I), as well as adopting a more modern sense of the expressive apoggiatura in melodic shapes and in bringing out the stresses of the Latin by such devices (for example, again the Stabat mater, the use of apoggiaturas in the Bassus part to express "ContriSTANtem et doLENtem" in the first few measures, and again at "Contemplari doLENtem cum filio?"), and the use of purely rhetorical gestures (such as the exclamation "O" by full choir in the middle of the soloists' section starting the Stabat mater). It is not impossible to see in these mannerisms the work of a great dramatist.
The works of John Browne are given pride of place in the Eton manuscript. It seems that in the examples given above that Cornysh may have been emulating Browne (his own Stabat mater features a celebrated madrigalian setting of "crucifige", and his O Maria salvatoris Mater features the exclamation "En" (="Oh") in a similar way to Cornysh's interjection in his Stabat mater).
Thus it seems that the Eton Cornysh was writing after Browne, and this would place his work amongst the later ones of the Eton Choirbook: additionally the approaches do not seem to be those of an older man, being much more suggestive of a young and original composer. The traditional ascription of all the works to Cornysh junior is the one more generally accepted. However, the possibility that the Eton works are the works of a generation earlier remains, and has interesting implications if true.
The musicologist David Skinner, in the booklet to The Cardinall's Musick's CD Latin Church Music [1], puts forward the proposition that the pre-Reformation Latin church music (including the works in the Eton manuscript) was composed by the father, whilst the son is the composer of the pieces in English and the courtly songs.
The Eton Choirbook (complied c 1490 - 1502) contains several works by Cornysh: Salve Regina (found in several other sources as well), Stabat mater, Ave Maria mater Dei, Gaude virgo mater Christi, and a lost Gaude flore virginali. The Caius Choirbook (c 1518-20) contains a Magnificat. Other sources refer to lost works: three Masses, another Stabat mater, another Magnificat, Altissimi potentia, and Ad te purissima virgo. He also produced secular vocal music and the notable English sacred anthem Woefully arrayed. There is also an extended and somewhat erudite three-part instrumental work based on steps of the hexachord and its mutations, Fa la sol, and another untitled piece. These secular works are found in the so-called Fayrfax Book (copied in 1501).
If all the earlier sacred music is by the same Cornysh (junior) as the secular music then he was a composer of some breadth, although not without parallel. The works by "Browne" in the Fayrfax Book display a similar difference in style to those by the John Browne of the Eton Choirbook, but are probably the same composer nonetheless. The occurrence of Cornysh's Magnificat (in the same style as the Eton works) falls nearly two decades after the death of the older Cornysh, and thus is far more likely the work of the younger Cornysh, by then by far one of the country's most important musicians. Furthermore, the works by Cornysh in the Eton Choirbook seem to be amongst the most "modern" in that collection. While they do not pursue the simplifiying approach of Fayrfax (an almost exact contemporary of Cornysh junior, and fellow at Court and Chapel), and remain in a more old-fashioned florid melodic style, they adopt proto-madrigalian manners (for example in the setting of words like "clamorosa", "crucifige" and "debellandum" in the Stabat mater) and have a particularly developed sense of tonal movement (for example, in the Stabat mater, the closing "Amen" features deliberate use of F sharps as leading notes to give a sense of tonal cadence into G, or employing E flats at "Sathanam" to give a tonal cadence onto B flat, emphasizing the "strong" nature of the text at that moment, employing the bass-movement V-I), as well as adopting a more modern sense of the expressive apoggiatura in melodic shapes and in bringing out the stresses of the Latin by such devices (for example, again the Stabat mater, the use of apoggiaturas in the Bassus part to express "ContriSTANtem et doLENtem" in the first few measures, and again at "Contemplari doLENtem cum filio?"), and the use of purely rhetorical gestures (such as the exclamation "O" by full choir in the middle of the soloists' section starting the Stabat mater). It is not impossible to see in these mannerisms the work of a great dramatist.
The works of John Browne are given pride of place in the Eton manuscript. It seems that in the examples given above that Cornysh may have been emulating Browne (his own Stabat mater features a celebrated madrigalian setting of "crucifige", and his O Maria salvatoris Mater features the exclamation "En" (="Oh") in a similar way to Cornysh's interjection in his Stabat mater).
Thus it seems that the Eton Cornysh was writing after Browne, and this would place his work amongst the later ones of the Eton Choirbook: additionally the approaches do not seem to be those of an older man, being much more suggestive of a young and original composer. The traditional ascription of all the works to Cornysh junior is the one more generally accepted. However, the possibility that the Eton works are the works of a generation earlier remains, and has interesting implications if true.
The musicologist David Skinner, in the booklet to The Cardinall's Musick's CD Latin Church Music [1], puts forward the proposition that the pre-Reformation Latin church music (including the works in the Eton manuscript) was composed by the father, whilst the son is the composer of the pieces in English and the courtly songs.
Salve Regina
William Cornysh Lyrics
We have lyrics for 'Salve Regina' by these artists:
All Angels Salve Salve Salve Salve Salve Salve Salve O Clement…
Alois Mühlbacher Salve Regina, mater misericordia,vita, dulcedo et spesi nost…
Apollo5 Salve Regina, mater misericordiae, vita, dulcedo et spes nos…
Arautos do Evangelho Salve, Regina, Mater misericordiæ, Vita dulcedo et spes nost…
Benedictine Monks of the Abbey of St. Maurice & St. Maur Clervaux Salve Regina, Mater misericordiae Vita, dulcedo et spes nost…
Beth Nielsen Chapman Salve Regina coelitum, O Maria! Sors unica terrigenum, O Ma…
Canto Católico Salve, Regina, Mater misericordiæ, Vita, dulcedo, et spes no…
Choeur Des Moines De l'Abbaye De Tamié Salve, Regina, mater misericordiæ. Vita, dulcedo et spes nos…
Choeur des Moines de Saint-Benoît-du-Lac Salve, Regina, Mater Misericordiae, vita, dulcedo et spes no…
Choir of the Abbey of Santo Domingo de Silos Sálve Regina, máter misericórdiae. Víta, dulcédo, et spes nó…
Coro De La Abadía Benedictina De Santo Domingo De Silos Salve, Regina, mater misericordiae; vita, dulcedo et spes no…
Debora Vezzani Salve Regina Madre di Misericordia Vita, dolcezza, speranza …
Dianne Dela Fuente Salve, Regina, mater misericordiae Vita, dulcedo, et spes no…
Die Priester Salve, Regina, Mater misericordiae Vita, dulcedo et spes nos…
E. Van Nevel - Currende Consort - Capella Sancti Michaelis Salve, Regina, mater misericordiae, vita, dulcedo et spes no…
Ensemble Organum Salve, Regina, mater misericordiae: Vita, dulcedo, et spes n…
Ensemble Pro Victoria & Toby Ward Salve Regina mater misericordiae, Vita dulcedo et spes nostr…
Estonian Philharmonic Chamber Choir Christopher Bowers-Broadbent and Paul Hillier Salve Regina, mater misericordiae; vita dulcedo et spes nost…
Fiona & Ben Salve, Regina Salve, Regina Misericordiae Vita, dulcedo Vit…
Francis Poulenc Salve Regina, Mater misericordiae, Vita, dulcedo et spes nos…
Franz Schubert / Robert Prizeman Salve Regina, Mater misericordiae Vita dulcedo et spes nost…
George Guest & St. John's College Choir Cambridge Salve Regina, Mater misericordiae Vita, dulcedo et spes nost…
Gerard van Maasakkers Op ′n junizaterdag volgen ze de moedervlag Ieder jaar van Va…
Giovanni Battista Pergolesi Salve Regina, mater misericordiae: vita, dulcedo, et spes no…
Harpa Dei Salve Regina, mater misericordiae Vita, dulcedo, et spes nos…
Harry Christophers Salve Regina, mater misericordiae, vita, dulcedo et spes nos…
Heinrich-Isaac-Ensemble Salve Regina mater misericordiae, Vita dulcedo et spes nostr…
Jamie Rivera Salve, Regina, mater misericordiae Vita, dulcedo, et spes no…
Jennifer Haben Salve Regina Mater misericordiae Vita dulcedo Et spes nostra…
John Michael Talbot Salve, Regina Mater misericordiæ Vita, dulcedo Et spes nostr…
Juliano Ravanello Salve regina misericordie Vita dulcedo et spes nostra salve.…
Lavan Mladi mare Salve regina, lavan čuvar devojaštva Kao da vuče…
Libera Salve Regina, Mater misericordiae Vita dulcedo et spes nost…
Michael Patrick Kelly Salve Regina, mater misericordiae Vita dulcedo, et spes nost…
Monks Of The Abbey Of Notre Dame Salve, Regína, Mater misericórdiæ, Vita, dulcédo, et spes no…
Niños Cantores de Villa de Cura Salve, Regina, Mater misericordiæ, vita, dulcedo, et spes no…
Robert Kochis Salve Regina Máter misericórdiae Víta dulcédo Et spes nóstra…
Schola regina Salve, Regína, mater misericórdiae vita, dulcédo et spes nos…
St. Agnes Choir Salve Regina, Mater misericordiae Vita, dulcedo et spes nost…
The Benedictine Monks Of Santo Domingo De Silos Salve Regina, Mater misericordiae vita, dulcedo et spes nost…
The Cathedral Singers Richard Proulx (conductor) Salve, Regina, mater misericordiae; Vita, dulcedo et spes no…
The Choir and Monks of Farnborough Abbey Salve Regina, Mater misericordiae Vita, dulcedo et spes nost…
The Eccentric Opera Salve, Regina, Mater misericordiæ, Vita, dulcedo, et spes n…
The Sixteen Salve Regina, mater misericordiae, vita, dulcedo et spes nos…
Unalei La tua visita (Ti vedo, dinanzi a me, ancora reale) Desideri…
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MrTchaikovsky
Vous avez une chaîne très belle; c'est une harmonie parfaite entre les compositions anciennes et modernes. Merci!
Pour ceux que le langage a désertés
Merci pour votre appréciation!
What's That Noise?
Love William Cornysh!
Uigliam
Il movimento delle parti polifoniche , il senso delle parole nella direzione degli slanci, le curve dei cromatismi, il timbro puro nei diversi registri vocali, la chiarezza degli intenti retorici nelle proporzioni di ogni frase di tutta la composizione che oltre ad incantare, "comunica" una sicura intelligenza... Tutto ci dice qualcosa di Grande, nel senso di Importante per noi. Qualcosa, probabilmente, di Necessario. Che va ben oltre l'espressione di un semplice Sentimento. Un tipo di bellezza che viaggia, portandoci con sé, in partenza già staccata da terra. È la Vera Bellezza, quella dello Spirito che, senza intimorirci, è qui per noi, ora, ed è una Concessione di Grazia. Per questo ci commuove.
klangschatten
Merci beaucoup!
dan cornish
A fellow cornish