In 1975 Mike Oldfield had a top 10 hit with " In Dulci Jubilo" but this Latin song was performed as an instrumental. (Unlike the album version which fades up slowly and fades down slowly, the single was at the same volume for the entire length of the song.) This single is one of only three top 50 British hits to be sung fully in Latin (the others were both recordings of "Pie Jesu" from Andrew Lloyd Webber's Requiem firstly by Sarah Brightman and Paul Miles-Kingston in 1986, secondly as a minor hit by the 12-year-old Charlotte Church in 1998). Guitarist Bob Johnson had heard the song when he attended a folk-carol service with his father-in-law in Cambridge, and brought it to the attention of the rest of the band. 14, UK singles chart) with an a cappella recording of the song. British folk rock group Steeleye Span had a hit in 1973 (No.The complete text of " Gaudete", including the refrain: Carols could be on any subject, but typically they were about the Virgin Mary, the Saints or Yuletide themes. The Latin text is a typical medieval song of praise, which follows the standard pattern for the time – a uniform series of four-line stanzas, each preceded by a two-line refrain (in the early English carol this was known as the burden). No music is given for the verses, but the standard tune comes from older liturgical books. It was published in Piae Cantiones, a collection of Finnish/Swedish sacred songs published in 1582. Sweelinck wrote variations on John Dowland's internationally famous Lachrimae Pavane, and John Bull, the English keyboard composer, wrote a set of variations on a theme of Sweelinck, indicating the close connection between the different schools of composition across the English Channel.Gaudete ( English: / ɡ ɔː ˈ d iː t iː/ gaw- DEE-tee or English: / ɡ aʊ ˈ d eɪ t eɪ/ gow- DAY-tay, Ecclesiastical Latin: "rejoice " in Latin) is a sacred Christmas carol, thought to have been composed in the 16th century. ![]() His influence was international: for example, some of his music appears in the Fitzwilliam Virginal Book, which otherwise mainly contains the work of English composers. He was known in Germany as the "maker of organists" and was clearly in demand as a teacher. Even his vocal music, which is more conservative than his keyboard writing, shows a striking rhythmic complexity and an unusual richness of contrapuntal devices.Īs a teacher, his influence was perhaps as great as it was as a composer, since his pupils included the great North German school, including Jacob Praetorius, Scheidemann, Siefert, and Samuel and Gottfried Scheidt. Sweelinck was a master improviser, and acquired the informal title of the "Orpheus of Amsterdam." Over 70 keyboard works of his have survived, and many of them may be similar to the improvisations that residents of Amsterdam around 1600 were likely to have heard. In formal development, especially in the use of countersubject, stretto, and organ point (pedal point), his music was far beyond the works of Frescobaldi-its nearest predecessor-and looks ahead to Bach. Stylistically Sweelinck's music also brings together the richness, complexity and spatial sense of the Gabrielis, with whom he was familiar from his time in Venice, and the ornamentation and intimate forms of the English keyboard composers. ![]() Some of Sweelinck's innovations were of profound musical importance, including the fugue-he was the first to write an organ fugue which began simply, with one subject, successively adding texture and complexity until a final climax and resolution, an idea which was perfected at the end of the Baroque era by Bach. However, he was a skilled composer for voices as well, and composed over 250 works for voice (chansons, madrigals, motets and Psalms). Sweelinck represents the highest development of the Dutch keyboard school, and indeed represented one of the highest pinnacles attained in keyboard contrapuntal complexity and refinement before J.S. Sweelinck represents the highest development of the Dutch keyboard school Read Full Bio Jan Pieterszoon Sweelinck (April or May, 1562–October 16, 1621) was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras. Many of his family were musicians-principally organists-and he is known to have studied with Jan Willemszoon Lossy as well as Zarlino, the famous composer and theorist, in Venice. ![]() He was born in Deventer, Netherlands and died in Amsterdam. Jan Pieterszoon Sweelinck (April or May, 1562–October 16, 1621) was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras.
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