Daily entries from the 17th century London diary
If you would like to write a summary for this topic, email phil [at] gyford [dot] com
Wikipedia
Richard Dering (c. 1580–1630) — also Deering, Dearing, Diringus, etc. — was an English Renaissance and Baroque composer. Despite being English, he lived and worked most of his life in the Spanish-dominated South Netherlands owing to his Roman Catholic faith.
[edit] Biography
Dering was likely a Protestant in England in his early life, but later converted to Roman Catholicism during a trip to Italy in his early thirties. He was born the illegitimate son of Henry Dering of Liss, Hampshire. It is known that by 1610 he had traveled to Italy as well as gaining a BMus in that year from Christ Church, Oxford.
From 1612–16 he traveled with the British ambassador to Venice, and in 1617 it is known that he was organist to the community of English Benedictine nuns in Brussels. He returned to England in 1625 as organist to the Catholic Queen Henrietta Maria and 'musician for the lutes and voices' to Charles I.
Dering wrote three books of motets with continuo, two of canzonets and one of continuo madrigals, and is represented in many MSS and anthologies. His music shows varying degrees of Italian influence; the continuo madrigals and small concertato motets are very much in the idiom of Alessandro Grandi or d'India, with wayward modulations and dramatic expression; the Cantica Sacra (1618) contains 6-part motets that recall a more conventionally expressive Italian madrigal-like idiom.
Dering's music must have had a wide appeal, for much of it was brought out by the enterprising Antwerp publisher Pierre Phalèse the Younger between 1612 and 1628. Dering's two- and three-voice pieces were published in London by John Playford in 1662, long after the composer's death, but they may have been written in the Spanish Netherlands, for one has a text honoring St James as patron saint of Spain. It is likely that Dering took the pieces with him to England: they were certainly sung in Henrietta's chapel, and they were used for private devotion during the Commonwealth (when they were reputedly Oliver Cromwell's favorite music).
[edit] Discography
[edit] See also
[edit] External links
- A biography of Dering
- Free scores by Richard Dering in the Werner Icking Music Archive (WIMA)
- Free scores by Richard Dering at the International Music Score Library Project
| Persondata | |
|---|---|
| Name | Dering, Richard |
| Alternative names | |
| Short description | |
| Date of birth | 1580 |
| Place of birth | |
| Date of death | 1630 |
| Place of death | |
Annotations
-
Deering (Dering), Richard c1580-1630
“He was born the illegitimate son of Henry Dering of Liss, Hampshire. By 1610 he had traveled to Italy, gaining a BMus in that year from Christ Church, Oxford. 1612-16 he traveled with the British ambassador to Venice. In 1617 he was organist to the community of English Benedictine nuns in Brussels. He returned to England in 1625 as organist to the Catholic Queen Henrietta Maria and ‘musician for the lutes and voices’ to King Charles I.
“Dering wrote three books of motets with continuo, two of canzonets and one of continuo madrigals, and is represented in many MSS and anthologies. His music shows varying degrees of Italian influence; the continuo madrigals and small concertato motets are very much in the idiom of Grandi or d’India, with wayward modulations and dramatic expression; the Cantio Sacra (1618) contains 6-part motets that recall a more conventionally expressive Italian madrigal-like idiom.
“Dering’s music must have had a wide appeal, for much of it was brought out by the enterprising Antwerp publisher Pierre Phalèse between 1612 and 1628. Dering’s two- and three-voice pieces were published in London by John Playford in 1662, long after the composer’s death, but they may have been written in the Spanish Netherlands, for one has a text honoring St James as patron saint of Spain. It is likely that Dering took the pieces with him to England: they were certainly sung in Henrietta’s chapel, and they were used for private devotion during the Commonwealth (when they were reputedly Oliver Cromwell’s favorite music).” http://www.hoasm.org/IVM/Dering.html
-
Cantica Sacra. Ad Duas & Tres Voces composita, cum Basso continuo ad Organum, etc. Cantus Primus (Secundas). (Bassus.) (Bassus Continuus.)
Richard Dering
Godbid pro Joh. Playford
http://www.amazon.co.uk/exec/obidos/ASIN/B0000CV1DS/ -
Dering, Richard, 1580 (ca.)-1630.
Cantica sacra. Ad duas & tres voces composita, cum basso continuo ad organum. Authore Ricardo Deringo Regiæ majestatis quondam organistæ.
Londini : typis Guil. Godbid pro John Playford in vico vocato Inner Temple, apud quem prostant venales, M DC LXII. [1662]fo., [Four parts], [4], 24; [4], 13-25; [4], 25 [i.e. 24]; [4], 24 p. : music, typeset. In parts, each with separate dated title page. At head of title: Cantus primus, Cantus secundus, Bassus, Bassus continuus, etc. Page 24 of Bassus is mis-numbered 25. Leaf [A2] a dedication to Henrietta Maria
Fourteen Latin motets for two voices, ten for three voices, and one, the final, for four voices; all by Dering except the last which is by ‘Alex Grande’ [Alessandro Grandi] The additional voice part of Grandi’s motet is bound with Cantus Secundus and wrongly labelled ‘A3 Voc.’ The compositions are numbered consecutively 1-25. The ‘Bassus Continuus’ is sparsely figured.
Wing D1119
PL 1972-5. — Given to Pepys by Playford on Nov 22nd. 1662
“and there meeting Mr. Playford he did give me his Latin songs of Mr. Deering’s, which he lately printed.
” http://www.pepysdiary.com/archive/1662/11/22/Pepys retained in his library also:
Cantus. [Bassus.] [Basso Continuo.] Cantica sacra: containing hymns and anthems for two voices to the organ, both Latine and English. Composed by Mr. Richard Dering. Dr. Christoph: Gibbons. Dr. Benjamin Rogers. Mr. Matth: Locke, and others. The second sett.
London : printed by W. Godbid, for John Playford, 1674.fo., [4], 44; [4], 44; [4], 33, [1] p. : music typeset. In three parts; each with identical title page. The names of the contributors are bracketed together on title page.
For two voices, mostly cantus and bassus and figured basso continuo. The volumes contain 22 Latin motets and 18 English anthems, Playford’s ‘Laudate Dominum is added in each part book after ‘Finis’ but is included in the ‘Table of Latin Hymns.’
Wing (CD-ROM, 1996), D1120. Repertioire international des sources musicales, B/I/1 (1960) no. 1674(2)
PL 2026-8, the Pepys copy in paper wrappers with Ms. titles on respective top wrapper, ‘Cantus,’ ‘Bassus,’ ‘Basso Continuo.’