SKU: HL.49029532
ISBN 9790220123870. 7.5x11.0x0.09 inches.
SKU: HL.49029792
ISBN 9790220120275. 8.25x11.5x0.046 inches. English.
SKU: HL.14032502
6.5x9.75x0.023 inches.
SKU: HL.49029533
ISBN 9790220128349.
SKU: HL.14033795
SKU: GI.G-RCP57
Edited by Edward Tambling Thomas Tomkins wrote no fewer than seven services: three full and four verse settings. The first two full services, as numbered in the posthumous publication of ‘Musica Deo Sacra’ (1668), are straightforward settings in the central Elizabethan style. The First Service is in the major mode, and the Second Service in the minor: the Third Service is a radical departure in style from these settings and is presented as a ‘Great Service’ in homage to Tomkins’ ‘ancient and much reverenced master, William Byrd’. The Fourth and Fifth are verse services, and a further two are present only in manuscript sources: the Sixth Service received its first modern publication in this series (CP17), edited and reconstructed by Peter James. The Seventh to date is unpublished, and survives only in the form of an organ part, the vocal parts having been lost to history. This numbering system of one to seven is misleading, however, as it confuses the chronology of the compositions: some attempt to clarify this ordering is given in a table at the end of this edition in order to address this matter. Tomkins’ relatively late death places him well into the seventeenth century, at a time when musical fashions were changing and the Civil War was altering the course of British History. However, it is correct to describe him as ‘the last Elizabethan’, as his style remained conservative, as did the genres with which he worked and cultivated. ‘Musica Deo Sacra’ is supposed to have been supervised by his son Nathaniel, and collates much of Tomkins’ music not found in other sources. As such, it is a valuable resource for the material it contains, and is also a landmark in music publishing, in that it presents the first known printed organ book set in moveable type on two staves, an unrewarding process which seems to have caused considerable trouble for its printer, William Godbid. Even John Barnard in preparing his ‘First of Selected Church Musick’ (1641) did not go to the trouble of printing an organ part to supplement his vocal partbooks, instead providing his customers with a blank manuscript book into which the already ubiquitous organ parts could be copied by hand. As a result, Tomkins’ source as a whole contains a number of errors, but all of which can be corrected without distortion to the musical text, and the composer’s intention can be realised without too much difficulty. In addition to the note on the ordering of the various services by Tomkins, I have endeavoured to give some brief information concerning the pitch of church music of this period with regards to the organ part, a subject much misunderstood and obfuscated by variously contradictory information. It is hoped that this new edition of Tomkins’ First Evening Service will fill a need for short, attractive settings of the canticles for Evensong, furthering an appreciation of the music of the last great composer of the Renaissance era in Britain.
SKU: ST.K49
ISBN 9790220224461.
All eighteen pieces in this collection are reliably dated to the reign of James I, and whether by named composers or anonymous ones, appear in sources other than the notable virginal books preserved in the Fitzwilliam Museum, Cambridge. The contents demonstrate the variety of forms in the keyboard repertoire of this period, from plainsong-based compositions to dances by Orlando Gibbons. The 'Pretty ways for young beginners to look on', possibly by Thomas Tomkins, are a fascinating example of music contemporary to the time, written with the didactic purpose of instructing musicians in the techniques of counterpoint. CONTENTS Prelude in d: Edward Gibbons Gaudent in caelis: Anon. Miserere: Anon. Upon a plainsong: Attrib. Orlando Gibbons Verse in G: Anon. Fantasia in a: John (or Thomas) Holmes Fantasia in G: Attrib. Orlando Gibbons Fantasia in G: Anon. Pavan in e: Anon. Galliard in C: Anon. Galliard in F: Anon. Fortune my foe: Anon. Alman in F: Thomas Tomkins Ballet in G: James Harding, arr. Anon. Coranto in C: Anon. Jig in G: Anon. Tomboy: Anon. Pretty ways for young beginners to look on: Anon. (Thomas Tomkins?).
SKU: ST.EC5
ISBN 9780852495339.
Published posthumously in 1668, probably by the composer's son Nathaniel, Musica Deo Sacra is a monumental collection of the work of Thomas Tomkins, pupil of William Byrd and a major contributor to the wealth of Anglican music produced in the half-century before the Commonwealth. The first volume contains the 11 verse anthems written for special occasions.
SKU: FL.FX072590
Instruments: 2 C/Bb Trumpets 3 Trombonesou 2 Cornets 3 Sackbuts; Difficuly Level: Grade 3; Duration: 2 mn 15 s; Musical Style: Classical, Baroque; Category: Arrangement; Composer: Thomas TOMKINS; Arranger: Olivier LACHURIE.
SKU: HL.50487389
ISBN 9790080129821. B/5 (17x24) inches. English. Thomas Tomkins; Janos Dobra.
SKU: HL.50487391
ISBN 9790080129845. B/5 (17x24) inches. English. Thomas Tomkins; Janos Dobra.
SKU: HL.14041957
This work was inspired by a keyboard piece of the same name, A Sad Paven for these Distracted Tymes by Thomas Tomkins (1572-1656). Tomkins had a long association with Worcester Cathedral, where he was organist - appointed magister choristarum in 1596 - and lived within the precincts until shortly before his death. At the same time, he was organist of the Chapel Royal. When the city of Worcester surrendered to Cromwell's parliamentary forces in 1646, Tomkins had to watch the hasty dismantling of his cathedral organ and the abolition of all choral services. These were the 'distracted tymes' of the 'sad paven' which he wrote in enforced retirement at Worcester. Parts. Score also available (14037561).
SKU: HL.50487390
ISBN 9790080129838. B/5 (17x24) inches. English. Thomas Tomkins; Janos Dobra.
SKU: ST.EC37
ISBN 9790220216886.
Tomkins employs the psalter for the texts of eight of these anthems, one of which has an alternative Latin text of unknown origin. Four anthems set biblical passages, two are settings of prayers, and one, originally a secular song, is a setting of Sanctus and alleluias.
SKU: ST.MB59
ISBN 9790220216794.
Though best known for his cathedral services and anthems, Tomkins was also an assiduous composer of music for viol consort; this volume makes available for the first time a collected critical edition of his work in this genre.
SKU: OU.9780193954014
ISBN 9780193954014. 12 x 8 inches.
For SSAATB unaccompanied One of Tomkins's most striking works, this setting of an anonymous devotional text appears in print for the first time. The work is distinctly madrigalian, with several sudden shifts of tonality, changes of texture, and decorative passages.
SKU: ST.EM18
ISBN 9790220216930.
Though better known as a composer of church and keyboard music, Tomkins wrote secular vocal music that offers a compendium of all the various styles: canzonets, balletts, madrigals and 'sacred songs'. Each was dedicated to one of his relatives, a friend or a colleague. The names of these 28 dedicatees form a fascinating list at the end of the book.CONTENTS Adieu, ye city-poisoning towers (SSATB) Cloris, whenas I woo (SSATB) Come, shepherds sing with me (SSATB) Fond men, that do so highly prize (SST (or A)) Fusca, in thy starry eyes (SSATB) How great delight (SST) It is my well-beloved's voice (SSATTB) Love, cease tormenting (SSA (or T)) Music divine (SSATTB) No more I will thy love (SATB) O let me die for true love (SATB) O let me live for true love (SATB) Oft did I marle (SSAATB) Our hasty life away dost post (SST) Oyez! Has any found a lad? (SATB) Phyllis, now cease to move me (SSATB) Phyllis, yet see him dying (SSATB) See, see the shepherds' Queen (SSATB) Sure there is no god of love (SSA) The fauns and satyrs tripping (SSATB) To the shady woods (SSATB) Too much I once lamented (SSATB) Turn unto the Lord (SSATTB) Was ever wretch tormented? (ST (or A) TB) Weep no more, thou sorry Boy (SATB) When David heard (SAATB) When I observe (SSAATB) Woe is me (SSATBB) Yet again, as soon revived (SAT (or A) B).
