Farrant Call to remembrance or Video SATB
Richard Farrant was a Gentleman of the Chapel Royal in the 1550s during the reign of Mary Tudor, taking up the post of Master of the Choristers at St George’s Chapel in 1564. In 1569 he became Master of the Choristers of the Chapel Royal.
Farrant exercised an important influence on church music, and may have been one of the pioneers of the verse anthem. Call to remembrance - although written in quite the opposite of the verse style - is a fine composition which shows considerable sensitivity in the setting of the words.
Gibbons Ah, dear heart or YouTube or YouTube Also in the Oxford Book of English Madrigals SATTB
A short but astonishingly moving madrigal from the 1612 Book of Madrigals and Motets, characterised by long lines and plangent part-writing.
Cavendish Come, gentle swains or YouTube Also in the Oxford Book of English Madrigals SSATB A delightful piece from the Triumphs of Oriana – the gentle music perfectly depicting the graceful text.
Thomas Weelkes Cease sorrows now or YouTube SAT
From Madrigals for 3,4,5 and 6 voices (1597). One of the composer's finest chromatic madrigals, this represents three minutes of exquisite and expressive melancholy.
Tomkins O yes! Has any found a lad? or YouTube Also in the Oxford Book of English Madrigals SATB
The lad in question is, of course, Cupid. There is some wonderful word-painting on 'flieth', with a sense of the singer's urgency prevails throughout the piece.
Tomkins See, see the shepherds' queen or YouTube Also in the Oxford Book of English Madrigals SSATB
A lively ballet, from Songs of 3,4,5 and 6 parts of 1622. Welsh-born Tomkins was a pupil of William Byrd and in 1596 was appointed organist of Worcester; in 1621 he also became a gentleman Ordinary of the Chapel Royal, necessitating dual duties in Worcester and London.
Farrant Call to remembrance or Video SATB
Richard Farrant was a Gentleman of the Chapel Royal in the 1550s during the reign of Mary Tudor, taking up the post of Master of the Choristers at St George’s Chapel in 1564. In 1569 he became Master of the Choristers of the Chapel Royal.
Farrant exercised an important influence on church music, and may have been one of the pioneers of the verse anthem. Call to remembrance - although written in quite the opposite of the verse style - is a fine composition which shows considerable sensitivity in the setting of the words.
Gibbons Ah, dear heart or YouTube or YouTube Also in the Oxford Book of English Madrigals SATTB
A short but astonishingly moving madrigal from the 1612 Book of Madrigals and Motets, characterised by long lines and plangent part-writing.
Cavendish Come, gentle swains or YouTube Also in the Oxford Book of English Madrigals SSATB A delightful piece from the Triumphs of Oriana – the gentle music perfectly depicting the graceful text.
Thomas Weelkes Cease sorrows now or YouTube SAT
From Madrigals for 3,4,5 and 6 voices (1597). One of the composer's finest chromatic madrigals, this represents three minutes of exquisite and expressive melancholy.
Tomkins O yes! Has any found a lad? or YouTube Also in the Oxford Book of English Madrigals SATB
The lad in question is, of course, Cupid. There is some wonderful word-painting on 'flieth', with a sense of the singer's urgency prevails throughout the piece.
Tomkins See, see the shepherds' queen or YouTube Also in the Oxford Book of English Madrigals SSATB
A lively ballet, from Songs of 3,4,5 and 6 parts of 1622. Welsh-born Tomkins was a pupil of William Byrd and in 1596 was appointed organist of Worcester; in 1621 he also became a gentleman Ordinary of the Chapel Royal, necessitating dual duties in Worcester and London.
Farrant Call to remembrance or Video SATB
Richard Farrant was a Gentleman of the Chapel Royal in the 1550s during the reign of Mary Tudor, taking up the post of Master of the Choristers at St George’s Chapel in 1564. In 1569 he became Master of the Choristers of the Chapel Royal.
Farrant exercised an important influence on church music, and may have been one of the pioneers of the verse anthem. Call to remembrance - although written in quite the opposite of the verse style - is a fine composition which shows considerable sensitivity in the setting of the words.
Gibbons Ah, dear heart or YouTube or YouTube Also in the Oxford Book of English Madrigals SATTB
A short but astonishingly moving madrigal from the 1612 Book of Madrigals and Motets, characterised by long lines and plangent part-writing.
Cavendish Come, gentle swains or YouTube Also in the Oxford Book of English Madrigals SSATB A delightful piece from the Triumphs of Oriana – the gentle music perfectly depicting the graceful text.
Thomas Weelkes Cease sorrows now or YouTube SAT
From Madrigals for 3,4,5 and 6 voices (1597). One of the composer's finest chromatic madrigals, this represents three minutes of exquisite and expressive melancholy.
Tomkins O yes! Has any found a lad? or YouTube Also in the Oxford Book of English Madrigals SATB
The lad in question is, of course, Cupid. There is some wonderful word-painting on 'flieth', with a sense of the singer's urgency prevails throughout the piece.
Tomkins See, see the shepherds' queen or YouTube Also in the Oxford Book of English Madrigals SSATB
A lively ballet, from Songs of 3,4,5 and 6 parts of 1622. Welsh-born Tomkins was a pupil of William Byrd and in 1596 was appointed organist of Worcester; in 1621 he also became a gentleman Ordinary of the Chapel Royal, necessitating dual duties in Worcester and London.
