By Thomas Tomkins (1572-1656). Edited by Richard Proulx. For SAB Choir and piano reduction. Bible Reference: Psalm 51:1-2. Ars Antiqua. Sacred, Lent. Easy. 8 pages. Published by GIA Publications

Soloists (SSAB), mixed choir and organ

SKU: HL.49029532

Composed by Thomas Tomkins. Sheet music. Edition Schott. Score. 18 pages. Schott Music #ED 10609. Published by Schott Music (HL.49029532).

ISBN 9790220123870. 7.5x11.0x0.09 inches.

Mixed choir (SAATB) and organ

SKU: HL.49029792

Anthem. Composed by Thomas Tomkins. This edition: Saddle stitching. Sheet music. Edition Schott. Score. 12 pages. Schott Music #ED 11292. Published by Schott Music (HL.49029792).

ISBN 9790220120275. 8.25x11.5x0.046 inches. English.

SATB Choir

SKU: HL.14032502

Composed by Thomas Tomkins. Music Sales America. Sacred. Choral Score. 4 pages. Music Sales #NOV441037. Published by Music Sales (HL.14032502).

6.5x9.75x0.023 inches.

Soloists (SSAB), Mixed Choir and Organ

SKU: HL.49029533

Composed by Thomas Tomkins. This edition: Saddle stitching. Sheet music. Edition Schott. Score and Parts. Schott Music #ED 10609-01. Published by Schott Music (HL.49029533).

ISBN 9790220128349.

Choir

SKU: HL.14033795

Composed by Thomas Tomkins. Music Sales America. Sacred. Choral Score. Music Sales #NOV880012. Published by Music Sales (HL.14033795).

SKU: GI.G-RCP57

Composed by Thomas Tomkins. Classical. 20 pages. GIA Publications #RCP57. Published by GIA Publications (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 The Seventh to date is unpublished, and survives only in the form of an organ part, the vocal parts having been lost to history.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.

Keyboard

SKU: ST.K49

Composed by Various. Edited by Alan Brown. Piano & keyboard music. Selected from Musica Britannica Volume 96. Edited by Alan Brown. Keyboard collection. Stainer & Bell Ltd. #K49. Published by Stainer & Bell Ltd. (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?).