Edmund Turges News
composer
- England
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2024-03-29
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The Boston Musical Intelligencer
2016-02-08 00:34:03
Finely Finished Fragments from Blue Heron
[…] very affecting moments in William Cornysh’s “Adew mes amours,” the evening’s sole French-texted work. Sung by soprano Shari Alise Wilson and three other soloists, its concluding line achieved almost madrigalian intensity, surprising in a work of this early date. I was also impressed by Margot Rood’s very sweet singing in the anonymous “Madame d’amours” (English despite its opening line). A trio headed by countertenor Martin Near sang expressively in “Alas it is I” by Edmund Turges or STurges. The program notes informed us that this work is sometimes thought to be by Robert Fayrfax, but the latter’s “That was my woo” struck me as more turgid and rambling despite being well-sung. A slight reservation about one aspect of the program. The music by Mason, Sturmy, and Aston is preserved only in the Peterhouse Partbooks. This is a set of manuscripts now housed at Peterhouse College in Cambridge England, although originally […]
The Boston Musical Intelligencer
2014-12-14 20:31:49
Scholars Draw Hordes
[…] that at all, we stand, so the public can see us all and we sing really strong into the public, into big buildings, very big buildings. In his pre-concert talk, Phillips further demystified Tallis’s sound, explaining how in this music, minor thirds are tuned sharp and major thirds are a tiny bit flat. Friday’s program, entitled “Gaudeamus!” featured music of William Byrd (ca. 1540-1623), Josquin des Prés (ca. 1450-1521), and the mystery composer, Edmund Turges (b. ca. 1450), whose only surviving piece of music is the Magnifcat. Nothing is known about him. Even his name is subject to debate, (might it be Sturgis?) but, as the program notes tell us, “together with composers like Robert Fayrfax and John Browne, he formed part of an early flourishing of English polyphony epitomized by the music of the Eton Choirbook, embellish choral textures with new intricacy and contrapuntal complexity.” The concert opened […]
The Boston Musical Intelligencer
2012-04-22 21:32:17
[…] final “Ah gentle Jesu.” Two secular songs by Robert Fayrfax, who may have copied the manuscript that was owned by his family, are set to serious poems in the courtly love tradition. “Most clear of colour and root of steadfastness,” for soprano, alto, and tenor, featured extravagant melisma on the word “womanhood.” “That was my woe is now my most gladness” was an exquisite duet for alto and tenor. Fragments of the song by Edmond Turges, “Alas, it is I that wot not what to say,” were reused by John Browne in his Stabat Mater, the betrayal of Jesus finding its secular parallel in a courtly love theme of betrayal and abandonment. From a large miscellany of secular music, vocal and instrumental, English and foreign, from the courtly circle of the young Henry VIII we heard the lovely anonymous song “Madame d’amours” and the popular “Ah, Robin” by William Cornysh […]
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