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Madame D'Amours: Music for 6 Wives of Henry VIII

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Audio CD, March 29, 2005
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Track Listings

Disc: 1

  1. Whilles lyve or breth
  2. My Lady Wynkfylds Rownde
  3. Nigra sum, for voice & chamber ensemble
  4. Adew le companye, for voice & chamber ensemble
  5. Blow thy horn, hunter
  6. My Lady Carey's Dompe (Royal, App. 58)
  7. Adiutorium nostrum
  8. Gagliarda 'La gamba'
  9. Blame Not My Lute
  10. Gentil Prince (from Odhecaton)
  11. En vray amoure, for 4 voices
  12. Kyng Harry the 8th Pavyn
  13. Madame d'amours
  14. Ricercare primo
  15. Duke of Somersett's dompe, for voice & chamber ensemble
  16. Anxi Bon Youre Delabonestren, for recorder
  17. Een Vroylic Wesen for 3 voices
  18. La danse de Cleves
  19. Time to pas with goodly sport
  20. Prince Edward's Paven
  21. Quam pulchra es
  22. The Kyng's Maske
  23. Adew madame, for voice & ensemble
  24. Pavyn of Albart, for voice & ensemble
  25. Galliard
  26. A Virgin and Mother
  27. Ashton's maske, for voice & ensemble

Product Details

  • Audio CD (March 29, 2005)
  • Number of Discs: 1
  • Label: Signum
  • ASIN: B00079RNIQ
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #449,037 in Music (See Top 100 in Music)

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18 of 22 people found the following review helpful By Maddy Evil on August 11, 2005
Format: Audio CD
This CD, which focuses on music from the court of Henry VIII (1509-47), is divided into 6 sections, each one corresponding to one of his 6 wives. The concept is both original and interesting, but unfortunately, it is inevitably problematic because most of the music with a direct connection to Henry's wives is either not known or has not survived (for example, the 'newe balads' sung by the 'qwyre' at Anne Boleyn's coronation in 1533 [Withington, 'English Pagaentry', i, 184]). Furthermore, the impracticality of such a programme is merely exacerbated by Philip Thorby's selection of music, which in many cases is unconvincing, and at times suggests a misunderstanding of both the musical sources and the function of music at Henry's court.

Firstly, the tracks taken from 'Henry VIII's MS' (c.1510-20) can only be connected with any degree of certainty to Catherine of Aragon (r.1509-33). Thus, for example, Cornyshe's 'Blow thi horne' (track 6) - presented here under Anne Boleyn (r.1533-6) - is clearly more convincing in the context of a court disguising like that celebrating the birth of the 'New Year's Boy' in 1511, where "the pageant rested before the Quene [Catherine], the forenamed forsters blew their hornes, then the deuise or pageant opened..." (Edward Halle). Similarly, in the Jane Seymour (r.1536-7) section, Henry VIII's "compositions" - 'Gentil Prince' and 'En vray amour' (tracks 11 + 12), erroneously credited here as "anon", contradicting HVIII's MS - are much better seen alongside Foreign Ambassadors' reports from early in Henry's reign, praising the King's musicianship (e.g. Giustinian, 1515, etc).
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Madame D'Amours: Music for 6 Wives of Henry VIII
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