SKU: ST.K48

ISBN 9790220224454.

Complementary to K49, this collection is a unique offering of music by John Amner, Nicholas Carleton and John Tomkins that is the only surviving keyboard music by the respective composers. In addition to a pair of duets, in themselves an unusual feature from the period, there are two lengthy sets of variations, Amner's being a rare example of those on a metrical psalm or hymn-tune (possibly by Tallis in this case), John Tomkins's being more conventionally modelled on the variation sets of William Byrd. Nicholas Carleton's 'A verse of 4 parts' and 'Upon the sharp' include several examples of unusual chromatic notation and wide-ranging tonal schemes.

CONTENTS
Prelude (for two to play): Nicholas Carleton?
A verse (In nomine) for two to play: Nicholas Carleton
A verse of 4 parts: Nicholas Carleton
Upon the sharp: Nicholas Carleton
O Lord, in thee is all my trust: John Amner
John come kiss me now: John Tomkins.

SKU: HL.14024899

SKU: HL.14031079

SKU: HL.14024904

SKU: HL.14005825

English.

SKU: HL.14024902

SKU: LO.15-1815H

UPC: 000308069068.

A spirited and rhythmic arrangement with a fresh, contrasting middle section.

SKU: ST.MB96

ISBN 9790220223853.

This volume is the first of two intended to extend the coverage of keyboard music in Musica Britannica comprehensively into the first quarter of the 17th century. (The other, MB102, includes material from the two virginal books in the Fitzwilliam Museum, Cambridge.) The present edition contains music by anonymous and a dozen or so named composers, including the complete keyboard works of Nicholas Carleton, the surviving twenty 'Miserere' canons by Thomas Woodson, and the anonymous 'Pretty ways for young beginners to look on'. The 77 complete pieces are organised by genre, including preludes, plainsong settings, voluntaries, dances and character pieces. Drawing on 22 manuscripts which mostly also transmit music by Byrd and other noted virginalists, this residue of music from these sources shows great diversity and a pleasing level of technical skill and musical interest, sufficient to enhance our wider view of English Renaissance music.