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English type of choral song

A glee is a type of English part song composed during the Late Baroque, Classical, and early Romantic periods (roughly the Georgian era, taken together). The respectable and artistic character of glees contrasts with the bawdiness of the many catches which continued to be composed and sung well into the early years of the 19th century. The use of the countertenor voice on the upper part(s) in glees composed for men's voices, and on the Alto part(s) in those for mixed voices, is a particular characteristic of the form (the most famous exponent, known for his elegant ornamentation, was William Knyvett) and serves to distinguish glees from other male voice partsongs, which usually lack countrapuntal writing and have the top part taken by a tenor. This gives them a highest note around a major third below that of men's voice glees. Some care is required in interpreting the intended voicing of glees in contemporary editions, due to the gradual replacement, taking place at this time, of the C clef with the treble clef but often without the required octave transposition being specified.

The first song to be described as a glee was Turn, Amaryllis, to thy Swain by Thomas Brewer and a few so called glees were produced during the remainder of the 17th century but the heyday of the glee was in the years between 1750 and 1850. The form began to grow in importance with the establishment in the early 18th century of gentlemen's singing, or vocal music clubs in London from around 1726 when the Academy of Vocal Music (renamed the Academy of Ancient Music in 1731) was established. These clubs comprised select groups of enthusiasts whose members and guests included well known musicians, in particular organists and professional singing men from major churches in addition to the amateur gentlemen. Much of the music was for men's voices, and any soprano parts were usually sung by a small group of boys (church choristers). Ladies were rarely present except as listeners. Glees were scored for from three to eight voices and the more elaborate of them are ideally intended to be sung a cappella, one to a part, by professional choral or solo singers. The first of the great Georgian clubs specifically to embrace the glee was the Noblemen and Gentlemen's Catch Club of London, founded in 1761. Societies to sing, listen to and judge glees whilst dining and drinking became popular in the 18th century and remained so well into the 19th century. Glee clubs were at their most active during the second half of the 18th century, encouraging the production of new glees by awarding prizes to their composers. For example, in 1763 the Catch Club was offering four prizes annually—two for glees (one serious, one cheerful), one for a catch and one for a canon. If Warren's Collection is typical, the catches were usually smutty and the canons religious. Participation by Italian musicians resident in London seem to have been welcomed. Other clubs included the Hibernian Catch Club (Dublin), the Gentlemen's Glee Club (Manchester) and the Apollo Glee Club (Liverpool). Glees such as William Crotch's 'Mona on Snowdon calls' were sometimes introduced into stage productions. As the 19th century progressed, musical tastes changed along with social structures, and the glee as a musical form began to be replaced by the romantic part song, aimed at larger choirs. By the mid 20th century, the glee was seldom performed. Since then, however, professional singing groups have performed and recorded glees with some success.

From around 1850, as larger choral societies supplanted the earlier clubs, the term "glee club" was increasingly used in the U. S. A. to describe collegiate ensembles performing 'glees' and other light music in informal circumstances. As these glee clubs began more to resemble standard choirs during the 20th century, the tradition of singing glees in a social context faded.

https://www. academia. edu/24525258/James Hobson PhD Thesis MUSICAL ANTIQUARIANISM AND THE MADRIGAL REVIVAL IN ENGLAND 1726 1851 University of Bristol 2015
Brian Robins: Catch and Glee Culture in eighteenth century England. Publ. Boydell and Brewer 2006,
Hibernian Catch club: https://www. musicologyireland. com/jsmi/index. php/journal/article/view/169/172
Warren's Collection at IMSLP: https://imslp. org/wiki/A Collection of Catches%2C Canons and Glees (Warren%2C Thomas)
Samuel Webbe Snr. 's A Selection of Glees, Duets, Canzonets, etc. (3 Vols) at IMSLP https://imslp. org/wiki/A Selection of Glees%2C Duets%2C Canzonets%2C etc. (Webbe%2C Samuel)
Glees by various composers available for free download at cpdl: http://www. cpdl. org/wiki/index. php/Category:Glees
Glees available from publisher notAmos, some with free download: https://www. notamos. co. uk/
Glees, together with partsongs, available from DovetonMusic: http://dovetonmusic. com/Cat Glees & Partsongs. html
The Scholars' Book of Glees, ed. David Johnson. Publ. OUP 1985,
The English Glee, Ed. Percy M. Young. Publ. OUP 1990,
Ten Georgian Glees for four voices, ed. David Johnson. Publ. OUP 1981,