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vestry, assaulted
Gibbons, the report saying: he "did violently and sodenly without cause runne uppon Mr Gibbons took up and threw him doune uppon a standard... and withall he tare his band from his neck". Other than this, the relative normality of Gibbons's life suggests he maintained good relations with his employers and fellow musicians. His patron Hatton seems to have become a close friend. In fact, Hatton and his wife, Alice Fanshawe, were probably the namesakes of two of Gibbons's two eponymous children. Other close acquaintances throughout his life included Wray, his father-in-law John Patten and his older brother Edward. It is also possible Gibbons had a particularly close relationship with Prince Charles; Gibbons's death's "formal observation, investigation, and reporting, perhaps suggests how close he may have been to the new king."
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Gibbons as "senior organist." The same writer refers to a letter from Camden to
William Piers from 18 May 1622 that says Gibbons is a Doctor of Music. Harley suggests that the authenticity of the letter is uncertain, since the original does not survive; he suggests that Camden could have written something such as "Gââââs," which an editor assumed to mean Gibbons. The most convincing piece of evidence is thought to be the absence of mention of the supposed doctorate of music on Gibbons's Cambridge monument, erected in his memory when he died. Although the existing evidence seems to support the conclusion that he never achieved a doctorate in music, there is no indisputable evidence to confirm it.
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829:. He died at age 41 in Canterbury and was buried in Canterbury Cathedral. His death was a shock to his peers and brought about a post-mortem, although the cause of death aroused less comment than the haste of his burial and his body's not being returned to London. His wife Elizabeth died a little over a year later, in her mid-30s, leaving Orlando's eldest brother, Edward to care for the orphaned children.
1077:, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board.
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248:, it was assumed that Gibbons was born in Cambridge but baptized in Oxford. Modern historians have proved the claim that he was born in Cambridge to be incorrect. Not only was the baptismal record shown to be authentic, but it was discovered that Orlando's parents both resided in Oxford at the time of his birth, confirming that Orlando was born in Oxford and baptized at St. Martin's, Oxford.
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240:, erected soon after his death. It is even possible that Gibbons himself thought that he was born in Cambridge, since he spent most of his life there and only the first four to five years of his life in Oxford. Matters are made more confusing as his father had lived in Cambridge for at least ten years before the birth of Gibbons. Therefore, even though 17th-century biographer
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398:. 1603 was a year of mixed fortunes: he received his first position as a professional musician, but in the same year both his mother and his brother Ellis died. The plague may have been what his brother Ellis succumbed to. Eventually Gibbons's awaited vacancy occurred with the death of Arthur Cook in January 1605, and on 21 March 1605 he secured the prestigious position of
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While in Oxford, William and Mary had
Orlando as probably the seventh of nine surviving children. There is no surviving record of the date of his birth, but he is recorded as being baptised at St. Martin's on Christmas Day 1583. It would be consistent with the normal practice of the time that Gibbons
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Gibbons's music may give some insight into his character. His career was primarily centered around court, where he seems to have been increasingly successful. Indeed
Gibbons's Chapel Royals post at age 19, and then 21, would have been an impressive feat, comparable to Byrd becoming the organist and
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England. Bull on the other hand had to flee the country while chief organist of the Chapel Royal on charges of adultery. One incident in
Gibbons's life, however, is described by Harley as "the most bizarre event of Gibbons's career". A complaint in 1620 reported that Henry Eveseed, a yeoman of the
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There is little known about
Gibbons's personality or character. Harley names this, along with the period between his time in the Choir of King's and his appointment at the Chapel Royal (1599â1603), as the largest gaps in the modern understanding of Gibbons. The lives of his contemporaries Byrd and
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was published around 1620 and dedicated it to Edmund Wray. This seemingly random dedication has provoked much speculation. It may be because Wray could secure
Gibbons a better post, or it may be an action of gratitude for having already secured him the post for the royal privy chamber of the King.
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by at least 1615. The same year he received two grants from King James I, worth 150 pounds total. These grants were: "For and in consideration of the good and faithful service heretofore done unto ourself by
Orlando Gibbons our organist, and divers other good causes and considerations us thereunto
314:, was a promising composer but died prematurely, and his third brother, Ferdinando, eventually took their father's place as a wait. Not much else is known about Orlando Gibbons's youth, but being born into a musical family he was almost certainly instructed on a keyboard instrument and perhaps the
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later collectively published music and since Bull was a student of Byrd's, Gibbons may very well also have been. Regardless of how his musical education came about, Gibbons was known to be composing music by the end of his time at the choir in 1599, at age 15â16. There is nothing known of
Gibbons
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as the composerâs qualifying exercise for the degree. Other musicologistsâPeter Le Huray, John Harper and John Harleyâexpress some doubt whether
Gibbons received a doctorate. Specifically, Harley cites a record in the Cheque book of the Chapel Royal that refers to William Heather as "doctor" but
471:. Gibbons dedicated the entire set of works to Hatton: " were most of them composed in your owne house, and doe therefore properly belong unto you, as Lord of the Soile; the language they speake you provided them, I onely furnished them with Tongues to utter the same name". The English musician
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Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits a command of three- and four-part counterpoint. Most of the fantasias are complex, multi-sectional pieces, treating multiple subjects
93:
and Ferdinandâwere musicians and Orlando was expected to follow the tradition. It is not known under whom he studied, although it may have been with Edward or Byrd, but he almost certainly studied the keyboard in his youth. Irrespective of his education, he was musically proficient enough to be
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was born no more than a week before his baptism. Gibbons's father had previously lived in Cambridge where he was also the head of the town waits and around 1588, when Orlando was 4â5 years old, the Gibbons family moved back to Cambridge and William resumed his previous post there.
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or Viol da Gamba. It is likely that Gibbons, along with Coperario, was able to write for this ensemble and had pieces premiered by it. In addition to this, Gibbons probably gained a 3rd position in September 1619, attending the royal privy chamber of James I. His next major work,
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with Elizabeth in 1613 and the couple was accompanied by a vast entourage, including Coperario and the harpist Daniel Callinder. A list of attendants includes "Gibbons", which presumably refers to Orlando Gibbons, meaning that the composer spent some time in the capital of the
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728:"On the 17th of May, Orlando Gibbons, one of the organists of his majesty's chapel, did supplicate the venerable congregation that he might accumulate the degrees in music; but whether he was admitted to the one, or license to proceed in the other, it appears not."
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334:, meaning he paid reduced fees but had to do various menial tasks. From 1598â99 Gibbons's name appeared sporadically in the chorus member logs, suggesting that, if not a clerical error, he continued to sing from time to time, perhaps for special occasions.
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1280:, pp. 57â58). Fellowes's account is almost certainly a typo. Immediately before Fellows's account he discusses events of 1619, and immediately after events of 1621. Additionally, Eveseed became a yeoman in 1611, after Fellow's supposed date of 1602.
402:, as the junior chapel organist. Edward Gibbons's friendship with the former organist, Arthur Cook, and the senior chapel organist, John Bull, may have helped his younger brother secure this position. Gibbons kept the position until the end of his life.
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1021:, alternating with full chorus. The soloist is required to demonstrate considerable technical facility, and the work expresses the text's rhetorical force without being demonstrative or bombastic. He also produced two major settings of
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championed Gibbons's music, and named him as his favourite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of."
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in his early twenties. Each of the four positions he held centered around his ability as a keyboardist. Contemporary accounts hold him in high regard in this respect; during a 1624 visit from the French ambassador,
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noted that it is unlikely Gibbons was an actual resident of Hatton's household, although their friendship suggests that Hatton may have set a room aside for him to compose. The death of King James's son, Prince
491:, was a considerable shock to the English, as many considered him a promising heir to the Kingdom. James in particular went into a deep depression; many wrote works to mourn Henry's death, including writers
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The birthdates of two of his sisters, Thomasine and Elizabeth, are uncertain leading to the possibility of Gibbons being the eighth or youngest surviving sibling. Their first child, Richard, died as an
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Bull make Gibbons's life seem comparably dull. Byrd frequently found himself in courtâonce even against Gibbons's father Williamâin disputes over property or accusations that he was Catholic in post-
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and Gibbons name appears at this time in a cheque book of the Chapel. Gibbons was a Gentleman Extraordinary (unpaid substitute) awaiting the vacancy of a paid position. Earlier that year King
55:. The best known member of a musical family dynasty, by the 1610s he was the leading composer and organist in England, with a career cut short by his sudden death in 1625. As a result,
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in the Chapel Royal, and probably well acquainted with Gibbons, which would have helped to bring about the marriage. When John Patten died in 1623, he made Gibbons his sole heir,
1213:, p. 3) noted that Richard is assumed to be a descendent of the Gibbons family, as no surviving Oxford records list any other freeman of the time whose surname was Gibbons.
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as junior organist. This was probably the most important position Gibbons had taken in his career thus far and on 7 May 1625 he officiated at the funeral of King James I.
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and left 200 pounds for his children. Later in 1606, Orlando graduated from Cambridge with the degree of Bachelor in Music. Gibbons and his wife lived in Woolstaple (now
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chair, and in return the university awarded him the honorary degrees of bachelor in music and doctor of music, even though he was not known to be a musician. The author
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Gibbons's composition teacher is also unknown. It is possible he continued study with Edward, though there is no record of this. Another possible composition teacher is
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claimed that the oeuvre of Gibbons: "all attested not merely to a significant figure in music's past but to a composer who can still speak directly to the present."
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200:, while his madrigals and viol fantasies are popular among early music ensembles. By the 21st-century almost all of his music has been published and recorded.
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imitatively. Gibbons's approach to melody, in both his fantasias and his dances, features extensive development of simple musical ideas, as for example in
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Duffin, Ross W. (March 1993). "Princely Pastimes, or a Courtly Catch, being the History of Another Musical Fragment at Case Western Reserve University".
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1025:, the Short Service and the Second Service, an extended composition combining verse and full sections. Gibbons's full anthems include the expressive
318:. At the age of 12, he became a member of Edward's Choir of King's on 14 February 1596. He was a regular member of the choir until some time in the
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1292:, "Death and posthumous reputation") speculates that the attack by Eveseed perhaps influenced Gibbons later death from a brain haemorrhage.
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614:. Such works suggest that he was well associated throughout the court and that he was aiming for a permanent post. Frederick returned to
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said upon entering Westminster Abbey that "At the entrance, the organ was touched by the best finger of that age, Mr. Orlando Gibbons."
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While once assumed to be fact, there is now much doubt whether Gibbons received a Doctorate of Music in May 1622. In 1692, Wood stated:
263:. Richard's son William was probably born in 1540 and at some point married Mary, whose maiden name is unknown. By 1567, William became
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as a whole suggests he was comfortable composing in the genres he had established himself in, rarely adventuring to unexplored genres.
236:. This was accepted as fact by his contemporaries, stated in multiple early biographies and even recorded on his memorial monument in
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341:, who was at least 40 years his senior and the most respected English composer at the time. Gibbons and Byrd along with the composer
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By the 1610s Gibbons had become a composer of high repute and the most outstanding organist in England. He became a close friend of
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and musicologists Fellowes and David Mateer state unequivocally that Gibbons was awarded a doctorate along with Heather, and cite
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By the late 1610s Gibbons was undoubtedly the most important musician and composer at court as Byrd had been long-retired in
571:, which included works by the older composers, Byrd and Bull. This publication was to celebrate the marriage of the Princess
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by at least 19 May 1603. The Chapel Royal was a sizable group of priests and musicians who attended to the Monarch and
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Throughout his professional career, Gibbons maintained good relations with many important people of the English court.
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An attempt towards recovering an account of the numbers and sufferings of the clergy of the Church of England
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1005:, all to English texts (the best known being "Great Lord of Lords"). Perhaps his best-known verse anthem is "
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Harper, John (December 1983). "Orlando Gibbons: The Domestic Context of His Music and Christ Church MS 21".
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interpreted this as implying that Hatton wrote some or all of the poems that Gibbons set to music in his
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however, increased attention has come to his other compositions, with his keyboard works championed by
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His future appointments as a keyboardist mean that he almost certainly received early instruction in
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Orlando was born into a musical family: not only was his father a musician, but his oldest brother,
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1197:, p. 34) for instance, where Gibbons is said to be born in Cambridge without noting any doubt.
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In 1613 Gibbons had six works published in the first printed collection of English keyboard music,
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1073:...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the
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in late 1614. In 1617 Gibbons gained the position as keyboard player in an ensemble, organised by
129:, Gibbons was the youngest contributor to the first printed collection of English keyboard music,
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to Gibbons. The next few years saw the publishing of various works by Gibbons, firstly his 1612
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and is only known to be a "copy from a lost original once in the possession of a Mrs. Fussell."
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Turbet, Richard (JanuaryâMarch 2000). "Orlando Gibbons: Music in Printed Editions 1625â1925".
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Josephson, Nors S. (1998â2002). "Interrelationships between the London Street Cry Settings".
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as well as both full and verse anthems, and especially by teaching music to his oldest son,
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In 1606 Gibbons married Elizabeth Patten on 17 February. Her father, John Patten, was a
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in which Gibbons provided the tunes for most of the songs. The same year he succeeded
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This uncertainty has continued until the present day. Gibbonsâs 8-part full anthem,
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in France on 1 May. Gibbons and other Chapel Royal members had begun travelling to
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International Association of Music Libraries, Archives and Documentation Centres
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Gibbons's abilities had reached the point to allow him become a musician of the
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by their brother Edward may have been a tribute a to the victims of the plague.
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Fantazia Ă 2, VdGS No.3, Cambridge. King's College, Rowe Mss.112-13 (ca.1620)
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1276:, p. 38) reports this complaint as being filed in 1602, not 1620 like
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1217:, p. 3) nevertheless characterises the connection as "fairly certain".
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711:. The Prince himself was thought to have occasionally joined on either the
623:. Gibbons seems to have taken Bull's place, who was in financial jeopardy.
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at Cambridge by 1567. From 1580 to 1588 he lived in Oxford, where he was a
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2778:. Vol. II (3rd ed.). London: Printed for F.C. and J. Rivington.
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was for Prince Henry's burial, though there is no firm evidence for this.
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Orlando Gibbons and His Family: The Last of the Tudor School of Musicians
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149:", the 8-part full anthem "O Clap Your Hands Together" and 2 settings of
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anthem "O clap your hands together" (after Psalm 47) for eight voices.
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had ascended to the throne; in all likelihood Gibbons took part in the
3561:
3476:
3388:
3187:
3109:
3080:
3049:
3017:
5783:
5053:
4594:
4037:
3610:
3120:"Gibbons, Orlando (bap. 1583, d. 1625), composer and keyboard player"
1333:
1124:
916:
Fantasia Ă 3, VdGS No.3GB, Oxford. Christ Church, Mss.732-35 (ca.1630)
898:
Fantasia Ă 4, VdGS No.1GB, Oxford. Christ Church, Mss.732-35 (ca.1630)
647:
moving". Gibbons continued writing for James I, composing the anthem
446:
362:, who raised the annual salary of Gentleman of the Chapel Royal from
233:
177:
4048:
3367:
Thewlis, George A. (January 1940). "Oxford and the Gibbons Family".
2993:
2031:
825:
on 31 May when Gibbons suddenly succumbed to an illness, probably a
453:. Though Hatton was a minor figure in court, he became an important
232:. Until the early 20th-century he was believed to have been born in
25:
17th-century copy of a lost original portrait by an unknown artist.
5835:
5810:
5758:
5743:
5716:
5534:
5509:
4579:
3630:
3553:
3179:
3101:
3072:
3041:
3009:
2546:"The Choir of King's College, Cambridge Âť History of the Choi"
1241:
994:
583:
include various anthems dedicated to senior nobles and clergy: the
468:
165:
44:
3681:
461:
from the patronage of Hatton. One of the Madrigals in the set was
21:
5956:
5763:
5733:
5701:
5691:
5644:
5619:
5614:
5549:
5529:
953:
813:
During late May 1625, the English court was preparing to receive
135:, and published other compositions in his lifetime, notably, the
40:
4836:
1209:
first brought Richard's existence to the attention of scholars.
5915:
5773:
4599:
3453:
Vining, Paul (October 1977). "Orlando Gibbons: The Portraits".
3028:(January 1970). "Two English Musicians at Heidelberg in 1613".
1010:
584:
523:
454:
422:
410:
406:
391:
229:
62:
was not as large as that of his contemporaries, like the elder
985:
Gibbons wrote a large number of keyboard works, around thirty
244:
discovered a record of an "Orlando Gibbons" being baptised in
81:
Gibbons was born into a musical family where his father was a
5800:
5795:
5768:
5634:
5539:
2926:
The Oxford Book of Tudor Anthems: 34 Anthems for Mixed Voices
2662:
1018:
680:
331:
256:
2094:
2092:
5681:
5629:
5599:
5594:
5579:
5559:
1245:
990:
949:
876:
on Gibbons's death that he had "the best hand in England".
712:
387:
315:
47:
and keyboard player who was one of the last masters of the
3271:"Heather, William (c. 1563â1627), musician and benefactor"
2441:
2439:
251:
The Gibbons family can be traced back to Richard Gibbons (
102:
as junior organist by 1605. By 1606 he had graduated from
3538:
Vining, Paul (November 1983). "Gibbons and His Patrons".
2424:
2314:
2312:
2089:
1953:
1951:
1949:
1897:
1895:
1893:
1844:
1842:
1655:
1653:
1651:
1649:
1634:
1610:
1463:
1461:
1459:
503:
and the retired Byrd. Among these was probably Gibbons's
2478:
1407:
1405:
1403:
1388:
1323:
1321:
1090:
Gibbons's death, on 5 June 1625, is regularly marked in
948:
Performed by Phillip W. Serna, Treble, Tenor & Bass
2514:
2502:
2468:
2466:
2436:
2412:
2402:
2400:
2239:
2237:
2235:
2220:
2198:
2196:
2194:
2140:
2116:
1992:
1990:
1975:
1924:
1922:
1866:
1827:
1707:
1697:
1695:
1693:
1680:
1678:
1676:
1674:
1672:
1670:
1668:
1622:
1564:
1562:
1560:
1558:
1556:
1554:
1552:
1550:
1548:
139:(1612) which includes the best known English madrigal:
2680:
A General History of the Science and Practice of Music
2619:
Twelve Good Musicians: From John Bull to Henry Purcell
2336:
2324:
2309:
2297:
2285:
2208:
1946:
1890:
1878:
1839:
1646:
1586:
1533:
1521:
1456:
1422:
1420:
778:
Gibbons' memorial in Canterbury Cathedral designed by
6033:
2584:
2490:
2181:
2179:
2067:
2065:
1793:
1791:
1789:
1497:
1485:
1432:
1400:
1318:
655:
in celebration of the King's 1617 visit to Scotland.
43: 25 December 1583 â 5 June 1625) was an English
6197:
Choristers of the Choir of King's College, Cambridge
2526:
2463:
2397:
2373:
2273:
2261:
2249:
2232:
2191:
2164:
2152:
2128:
2104:
2077:
2019:
1987:
1963:
1934:
1919:
1854:
1815:
1803:
1774:
1764:
1762:
1760:
1758:
1743:
1731:
1719:
1690:
1665:
1598:
1574:
1545:
1306:
1111:." Gibbons paved the way for a future generation of
579:. Gibbons's compositions written around the time of
164:
Gibbons developed Byrd's foundations of the English
2902:
Orlando Gibbons and the Gibbons Family of Musicians
1509:
1473:
1444:
1417:
745:was sung on 17 May 1622 at the degree ceremony for
632:
The Teares and Lamentatacions of a Sorrowfull Soule
3422:
3322:
3269:
3196:
3118:
2830:
2706:
2563:
2176:
2062:
1786:
1755:
691:, for the privy chamber of Prince Charles (later
125:, even became close friends. Along with Byrd and
6093:
2974:The Editors of Encyclopaedia Britannica (2020).
2657:(in French). Vol. 4 (2nd ed.). Paris:
671:, employer of Gibbons, as Prince of Wales after
441:, the second cousin and heir of the more famous
220:'s drawing of, Orlando Gibbons's baptism place,
16:English composer and keyboard player (1583â1625)
224:, dated sometime before its renovations in 1820
3865:
3313:
3240:
2391:
1164:This portrait is kept at Faculty of music and
326:(summer term) of the same year he enrolled at
6172:Master of the Choristers at Westminster Abbey
4852:
4064:
3851:
3697:
2929:. Oxford University Press, Music Department.
1248:later in life suggests he studied it as well.
817:, whom the now King Charles I of England had
2394:, "3. In the southern Netherlands, 1613â28".
1061:In one interview, Gould compared Gibbons to
349:
208:
121:were supportive patrons and others, such as
26:
6132:English classical composers of church music
511:. It is also possible that the full anthem
467:, often considered the most famous English
432:
161:which he held for 2 years until his death.
4859:
4845:
4071:
4057:
3858:
3844:
3704:
3690:
1166:The Bate Collection of Musical Instruments
1053:In the 20th century, the Canadian pianist
172:. This generation included his oldest son
3586:International Music Score Library Project
2875:
2683:. Vol. II (4th ed.). New York:
2538:
2520:
259:active in Oxford; by 1549/50 he became a
3611:List of compositions by Gibbons, Orlando
3492:
2991:
2825:
2701:
2590:
2430:
2342:
2330:
2318:
2303:
2291:
2098:
1957:
1901:
1884:
1848:
1659:
1640:
1616:
1592:
1539:
1467:
1411:
1394:
1327:
1273:
1190:
1115:by perfecting Byrd's foundations of the
836:
773:
769:
662:
353:
282:
212:
145:. Other important compositions include "
20:
3615:Digital Image Archive of Medieval Music
3366:
3343:10.1093/gmo/9781561592630.article.04294
3277:Oxford Dictionary of National Biography
3217:10.1093/gmo/9781561592630.article.11092
3126:Oxford Dictionary of National Biography
2943:
2714:Oxford Dictionary of National Biography
2669:
2214:
1206:
1182:
1082:
974:List of compositions by Orlando Gibbons
6094:
3537:
3528:
3452:
3420:
3395:
3267:
3162:
3116:
3087:
3056:
2973:
2922:
2899:
2837:(2nd ed.). Hamden: Archon Books.
2740:
2612:
2569:
2496:
2484:
2472:
2457:
2445:
2418:
2406:
2379:
2279:
2267:
2255:
2243:
2226:
2202:
2185:
2170:
2158:
2146:
2134:
2122:
2110:
2083:
2025:
2013:
1996:
1981:
1969:
1940:
1928:
1913:
1872:
1860:
1833:
1821:
1809:
1797:
1780:
1749:
1737:
1725:
1713:
1701:
1684:
1628:
1604:
1580:
1568:
1527:
1515:
1503:
1491:
1479:
1438:
1426:
1382:
1367:
1342:
1312:
1289:
1277:
1214:
1210:
1194:
94:appointed an unsalaried member of the
4840:
4078:
4052:
3839:
3685:
3324:"Bull [Boul, Bul, Bol], John"
3255:Verlag Corpusmusicae, GmbH: 139â180.
3194:
2851:
2808:The History of Keyboard Music to 1700
2640:
2532:
2056:
1768:
1186:
3024:
2992:Anderton, H. Orsmond (1 June 1912).
2804:
2762:
2727:10.1093/odnb/9780192683120.013.10598
2654:Biographie universelle des musiciens
2508:
2460:, "Death and posthumous reputation".
2071:
1450:
749:. Heather had financially supported
733:
6117:Alumni of King's College, Cambridge
3807:List of Westminster Abbey organists
3711:
1043:Lord Salisbury's Pavan and Galliard
755:Camden Professor of Ancient History
753:'s creation and maintenance of the
13:
3521:
3207:. Revised by John Harper. Oxford:
963:Problems playing these files? See
886:
308:Choir of King's College, Cambridge
271:and head of the town waits there.
203:
14:
6213:
5899:historically informed performance
4866:
4007:Priscilla Bunbury's Virginal Book
3570:
3166:(April 1951). "Orlando Gibbons".
2967:Journal and encyclopedia articles
2356:"Orlando and Christopher Gibbons"
634:with 2 contributions by Gibbons,
509:First Set of Madrigals and Motets
459:First Set of Madrigals and Motets
137:First Set of Madrigals and Motets
6202:English male classical organists
6187:17th-century classical composers
6152:English male classical composers
6079:
6067:
6055:
6043:
6017:
6008:
6007:
4820:
4811:
4810:
4346:Giovanni Pierluigi da Palestrina
3977:Clement Matchett's Virginal Book
3820:
3819:
3634:
3253:American Institute of Musicology
1107:, dubbed him to be the "English
1092:King's College Chapel, Cambridge
938:
920:
902:
531:
522:
6127:Burials at Canterbury Cathedral
3982:Elizabeth Rogers' Virginal Book
2885:. University of Chicago Press.
2703:Maitland, John Alexander Fuller
2575:
2348:
1283:
1267:
1251:
1230:
1220:
1200:
640:O Lord, I lift my heart to Thee
287:16th-century Cambridge (Map by
98:in May 1603 and a full-fledged
6192:17th-century English musicians
6182:17th-century English composers
6142:16th-century English composers
3592:Free scores by Orlando Gibbons
3582:Free scores by Orlando Gibbons
3443:10.1093/OBO/9780199757824-0172
2882:Conversations with Glenn Gould
1916:, "Early career and marriage".
1262:How hath ye City sate solitary
1175:
1158:
792:Hymnes and Songs of the Church
697:Alfonso Ferrabosco the younger
658:
636:O Lord how do my woes increase
1:
6167:Gentlemen of the Chapel Royal
6157:English Renaissance composers
5400:
5202:
5024:
4889:
4089:List of Renaissance composers
3972:Anne Cromwell's Virginal Book
3531:for an extensive bibliography
2986:EncyclopĂŚdia Britannica, Inc.
2947:Glenn Gould: Music & Mind
1146:
1135:, the English pioneer of the
577:Frederick V of the Palatinate
400:Gentleman of the Chapel Royal
358:Employer of Orlando Gibbons,
274:
100:gentleman of the Chapel Royal
4012:Susanne van Soldt Manuscript
3596:Choral Public Domain Library
3360:UK public library membership
3307:UK public library membership
3234:UK public library membership
3156:UK public library membership
2923:Morris, Christopher (1978).
2811:. Indiana University Press.
2734:UK public library membership
1299:
1244:. His idiomatic writing for
1097:Oxford Book of Tudor Anthems
832:
507:from the recently published
252:
228:Orlando Gibbons was born in
170:subsequent English composers
7:
6162:English classical organists
3633:(public domain audiobooks)
1103:Musicologist and composer,
10:
6218:
6147:English madrigal composers
4719:Petrus Phalesius the Elder
4534:English Virginalist School
4017:Dublin Virginal Manuscript
3867:English Virginalist School
3751:This Is the Record of John
3604:by Orlando Gibbons at the
2944:Payzant, Geoffrey (1986).
2624:Cornell University Library
2600:
2392:Neighbour & Jeans 2001
2016:, "Career in court music".
1139:. The modern music critic
1007:This Is the Record of John
971:
872:stated in a letter to Sir
683:and Bull had left for the
427:St Margaret's, Westminster
246:St Martin's Church, Oxford
222:St Martin's Church, Oxford
147:This Is the Record of John
49:English Virginalist School
6137:Composers for harpsichord
6122:English Baroque composers
5987:
5944:
5854:
5674:
5653:
5518:
5395:
5197:
5022:
4883:
4877:List of Baroque composers
4874:
4790:
4742:
4669:
4608:
4562:
4509:
4501:Jan Pieterszoon Sweelinck
4384:
4271:
4183:
4095:
4086:
4030:
3987:Fitzwilliam Virginal Book
3964:
3873:
3815:
3789:
3760:
3728:
3719:
3670:
3657:
3649:
3644:
2879:; Cott, Jonathan (2005).
2792:
1048:
602:, as well as anthems for
350:Early career and marriage
328:King's College, Cambridge
209:Birthplace and background
104:King's College, Cambridge
3627:Works by Orlando Gibbons
3499:"Music: Orlando Gibbons"
3421:Turbet, Richard (2016).
3195:Huray, Peter Le (2001).
2855:(1990). Tim Page (ed.).
2605:
1151:
879:
718:Fantasies of Three Parts
433:Publishing and patronage
4529:English Madrigal School
3802:English Madrigal School
3448:(subscription required)
3435:Oxford University Press
3335:Oxford University Press
3282:Oxford University Press
3209:Oxford University Press
3131:Oxford University Press
2981:EncyclopĂŚdia Britannica
2719:Oxford University Press
997:(the best-known being "
653:Do not repine, fair sun
53:English Madrigal School
5952:Common practice period
4371:TomĂĄs Luis de Victoria
4175:Oswald von Wolkenstein
3992:My Ladye Nevells Booke
3290:10.1093/ref:odnb/12849
3268:Mateer, David (2008).
3139:10.1093/ref:odnb/10598
2858:The Glenn Gould Reader
2675:Novello, Joseph Alfred
2642:FÊtis, François-Joseph
1181:See early accounts in
1088:
891:
846:
783:
739:
676:
439:Sir Christopher Hatton
371:
346:from then until 1603.
310:. His second brother,
295:
225:
123:Sir Christopher Hatton
33:
31:
6177:Musicians from Oxford
5874:British Baroque music
4391:Transition to Baroque
4336:Pierre de Manchicourt
3941:Ferdinando Richardson
3430:Oxford Bibliographies
3117:Harper, John (2008).
2900:Harley, John (1999).
2614:Bridge, Sir Frederick
2521:Gould & Cott 2005
1123:, who in turn taught
1071:
1001:"), and many popular
890:
840:
819:married through proxy
815:Queen Henrietta Maria
777:
770:Final years and death
726:
666:
594:, the wedding anthem
513:I am the resurrection
499:as well as composers
357:
302:, was a composer and
286:
216:
30:
24:
5292:Jacquet de La Guerre
5222:Bodin de Boismortier
4421:Girolamo Frescobaldi
4228:CristĂłbal de Morales
3722:List of compositions
3398:Fontes Artis Musicae
2805:Apel, Willi (1997).
2750:. London: Knaplock.
1170:University of Oxford
1027:O Lord, in thy wrath
621:Electoral Palatinate
596:Blessed are all they
541:Along with Gibbons,
477:Madrigals and Motets
238:Canterbury Cathedral
218:James Sargant Storer
6102:16th-century births
5884:early music revival
5455:Frederick the Great
4539:Florentine Camerata
4511:Composition schools
4170:Gaspar van Weerbeke
3997:Parthenia Inviolata
3469:10.1093/ml/58.4.415
3456:Music & Letters
3381:10.1093/ml/XXI.1.31
3369:Music & Letters
2827:Fellowes, Edmund H.
2659:Firmin Didot Frères
2550:www.kings.cam.ac.uk
2511:, pp. 320â323.
859:choirmaster of the
841:Bust of Gibbons in
786:Some time in 1623,
651:and the court song
421:) which was in the
194:early music revival
68:transitional figure
5184:TorrejĂłn y Velasco
4734:Thomas Vautrollier
4714:Ottaviano Petrucci
4689:Pierre Attaingnant
4679:Hieronymus Andreae
4486:Michael Praetorius
4471:Claudio Monteverdi
4461:Giovanni de Macque
4456:Luzzasco Luzzaschi
4426:Alfonso Fontanelli
4316:Francisco Guerrero
4291:Antonio de CabezĂłn
4203:Thomas Crecquillon
4185:Middle (1470â1530)
4165:Johannes Tinctoris
4105:Alexander Agricola
3797:Christopher Hatton
3330:Grove Music Online
3204:Grove Music Online
3198:"Gibbons, Orlando"
3036:(1523): 29+31â32.
2906:Ashgate Publishing
2774:Athenae Oxonienses
2708:"Gibbons, Orlando"
2646:"GibbonsâKazynski"
2581:Grove 1900, pp. 71
1075:Salisbury Galliard
892:
847:
784:
677:
649:Great King of Gods
443:Christopher Hatton
372:
296:
226:
176:, who would teach
34:
32:
6031:
6030:
5993:Renaissance music
5661:Baroque orchestra
4834:
4833:
4431:Giovanni Gabrieli
4258:Philippe Verdelot
4155:Johannes Ockeghem
4097:Early (1400â1470)
4080:Renaissance music
4046:
4045:
4022:The Mulliner Book
3946:Nicholas Strogers
3833:
3832:
3680:
3679:
3671:Succeeded by
3664:Westminster Abbey
3645:Cultural offices
3548:(1689): 707â709.
3541:The Musical Times
3424:"Orlando Gibbons"
3358:(subscription or
3352:978-1-56159-263-0
3315:Neighbour, Oliver
3305:(subscription or
3299:978-0-19-861412-8
3244:Musica Disciplina
3232:(subscription or
3226:978-1-56159-263-0
3174:(1298): 160â164.
3168:The Musical Times
3154:(subscription or
3148:978-0-19-861412-8
3096:(1690): 767â770.
3090:The Musical Times
3030:The Musical Times
2998:The Musical Times
2994:"Orlando Gibbons"
2976:"Orlando Gibbons"
2957:978-0-88780-145-7
2936:978-0-19-353325-7
2915:978-1-840-14209-9
2892:978-0-226-11623-5
2868:978-0-679-73135-1
2861:. Vintage Books.
2844:978-0-208-00848-0
2818:978-0-253-21141-5
2732:(subscription or
2694:978-0-486-21049-0
2671:Hawkins, Sir John
2633:978-1-112-52076-1
2487:, p. 31, 75.
2448:, pp. 75â76.
2433:, pp. 38â39.
2421:, pp. 57â58.
2360:Westminster Abbey
2125:, pp. 58â59.
2101:, pp. 37â38.
1984:, pp. 39â40.
1875:, pp. 35â36.
1836:, pp. 32â33.
1716:, pp. 27â28.
1631:, pp. 16â17.
1397:, pp. 32â33.
1385:, "Introduction".
1370:, "Introduction".
1131:and most notably
1113:English composers
1105:Frederick Ouseley
1085:, pp. 82â83)
1039:Pavane in D minor
1009:", which sets an
943:
925:
907:
861:Lincoln Cathedral
843:Westminster Abbey
827:brain haemorrhage
804:Westminster Abbey
763:O clap your hands
743:O clap your hands
415:residuary legatee
255:1577), who was a
159:Westminster Abbey
108:Bachelor of Music
6209:
6084:
6083:
6082:
6072:
6071:
6070:
6060:
6059:
6058:
6048:
6047:
6046:
6039:
6021:
6011:
6010:
5926:polychoral style
5841:sonata da chiesa
5402:
5204:
5026:
4891:
4861:
4854:
4847:
4838:
4837:
4824:
4814:
4813:
4694:Vittorio Baldini
4671:Music publishing
4446:Hans Leo Hassler
4401:Gregorio Allegri
4356:Cipriano de Rore
4331:Vicente Lusitano
4326:Orlando di Lasso
4281:Jacques Arcadelt
4248:Pierre de la Rue
4243:Josquin des Prez
4223:ClĂŠment Janequin
4218:Antoine de FĂŠvin
4208:Antonius Divitis
4150:Johannes Martini
4125:Guillaume Du Fay
4073:
4066:
4059:
4050:
4049:
3860:
3853:
3846:
3837:
3836:
3823:
3822:
3706:
3699:
3692:
3683:
3682:
3650:Preceded by
3642:
3641:
3638:
3637:
3565:
3516:
3514:
3512:
3501:
3480:
3449:
3446:
3426:
3417:
3392:
3363:
3356:
3326:
3310:
3303:
3273:
3264:
3237:
3230:
3200:
3191:
3159:
3152:
3122:
3113:
3084:
3053:
3021:
3004:(832): 367â369.
2988:
2961:
2940:
2919:
2896:
2872:
2848:
2836:
2822:
2787:
2777:
2759:
2737:
2730:
2710:
2698:
2666:
2650:
2637:
2594:
2588:
2582:
2579:
2573:
2567:
2561:
2560:
2558:
2556:
2542:
2536:
2530:
2524:
2518:
2512:
2506:
2500:
2494:
2488:
2482:
2476:
2470:
2461:
2455:
2449:
2443:
2434:
2428:
2422:
2416:
2410:
2404:
2395:
2389:
2383:
2377:
2371:
2370:
2368:
2366:
2352:
2346:
2340:
2334:
2328:
2322:
2316:
2307:
2301:
2295:
2289:
2283:
2277:
2271:
2265:
2259:
2253:
2247:
2241:
2230:
2229:, p. 64â66.
2224:
2218:
2212:
2206:
2200:
2189:
2183:
2174:
2168:
2162:
2156:
2150:
2149:, p. 62â63.
2144:
2138:
2132:
2126:
2120:
2114:
2108:
2102:
2096:
2087:
2081:
2075:
2069:
2060:
2054:
2029:
2023:
2017:
2011:
2000:
1994:
1985:
1979:
1973:
1967:
1961:
1955:
1944:
1938:
1932:
1926:
1917:
1911:
1905:
1899:
1888:
1882:
1876:
1870:
1864:
1858:
1852:
1846:
1837:
1831:
1825:
1819:
1813:
1807:
1801:
1795:
1784:
1778:
1772:
1766:
1753:
1747:
1741:
1735:
1729:
1723:
1717:
1711:
1705:
1699:
1688:
1682:
1663:
1657:
1644:
1643:, p. 34â35.
1638:
1632:
1626:
1620:
1619:, p. 29â31.
1614:
1608:
1602:
1596:
1590:
1584:
1578:
1572:
1566:
1543:
1537:
1531:
1530:, pp. 5, 7.
1525:
1519:
1513:
1507:
1501:
1495:
1489:
1483:
1477:
1471:
1465:
1454:
1448:
1442:
1436:
1430:
1424:
1415:
1409:
1398:
1392:
1386:
1380:
1371:
1365:
1346:
1340:
1331:
1325:
1316:
1310:
1293:
1287:
1281:
1271:
1265:
1255:
1249:
1234:
1228:
1224:
1218:
1204:
1198:
1185:, p. 573),
1179:
1173:
1162:
1117:English madrigal
1086:
945:
944:
927:
926:
909:
908:
889:
870:John Chamberlain
759:Sir John Hawkins
737:
628:William Leighton
600:Earl of Somerset
573:Elizabeth Stuart
535:
526:
473:Frederick Bridge
322:of 1598. In the
254:
6217:
6216:
6212:
6211:
6210:
6208:
6207:
6206:
6092:
6091:
6090:
6080:
6078:
6068:
6066:
6056:
6054:
6050:Classical music
6044:
6042:
6034:
6032:
6027:
6004:
6000:Classical music
5996:
5983:
5940:
5936:Galant Schemata
5850:
5749:concerto grosso
5670:
5649:
5521:
5514:
5391:
5227:G. B. Bononcini
5193:
5018:
4887:
4879:
4870:
4865:
4835:
4830:
4807:
4799:
4786:
4738:
4724:Girolamo Scotto
4709:Antonio Gardano
4665:
4604:
4558:
4505:
4496:Heinrich SchĂźtz
4491:Philippe Rogier
4441:Orlando Gibbons
4393:
4389:
4380:
4376:Giaches de Wert
4366:Christopher Tye
4321:Claude Le Jeune
4311:Claude Goudimel
4306:Nicolas Gombert
4301:Andrea Gabrieli
4296:Jacobus Clemens
4267:
4263:Adrian Willaert
4193:Martin Agricola
4179:
4115:Antoine Busnois
4110:Gilles Binchois
4091:
4082:
4077:
4047:
4042:
4026:
3960:
3951:William Tisdale
3916:William Inglott
3911:Orlando Gibbons
3906:Richard Farnaby
3869:
3864:
3834:
3829:
3811:
3785:
3756:
3744:The Silver Swan
3724:
3715:
3713:Orlando Gibbons
3710:
3676:
3667:
3655:
3635:
3606:Mutopia Project
3573:
3568:
3524:
3522:Further reading
3519:
3510:
3508:
3496:(11 May 1984).
3483:
3447:
3357:
3353:
3304:
3300:
3231:
3227:
3164:Howard, Michael
3153:
3149:
2964:
2958:
2937:
2916:
2893:
2869:
2845:
2819:
2795:
2790:
2731:
2695:
2648:
2634:
2608:
2603:
2598:
2597:
2589:
2585:
2580:
2576:
2568:
2564:
2554:
2552:
2544:
2543:
2539:
2531:
2527:
2519:
2515:
2507:
2503:
2495:
2491:
2483:
2479:
2471:
2464:
2456:
2452:
2444:
2437:
2429:
2425:
2417:
2413:
2405:
2398:
2390:
2386:
2378:
2374:
2364:
2362:
2354:
2353:
2349:
2341:
2337:
2329:
2325:
2317:
2310:
2302:
2298:
2290:
2286:
2278:
2274:
2266:
2262:
2254:
2250:
2242:
2233:
2225:
2221:
2213:
2209:
2201:
2192:
2184:
2177:
2169:
2165:
2157:
2153:
2145:
2141:
2133:
2129:
2121:
2117:
2109:
2105:
2097:
2090:
2082:
2078:
2070:
2063:
2055:
2032:
2024:
2020:
2012:
2003:
1995:
1988:
1980:
1976:
1968:
1964:
1956:
1947:
1939:
1935:
1927:
1920:
1912:
1908:
1900:
1891:
1883:
1879:
1871:
1867:
1859:
1855:
1847:
1840:
1832:
1828:
1820:
1816:
1808:
1804:
1796:
1787:
1779:
1775:
1767:
1756:
1748:
1744:
1736:
1732:
1724:
1720:
1712:
1708:
1700:
1691:
1683:
1666:
1658:
1647:
1639:
1635:
1627:
1623:
1615:
1611:
1603:
1599:
1591:
1587:
1579:
1575:
1567:
1546:
1538:
1534:
1526:
1522:
1514:
1510:
1506:, pp. 3â4.
1502:
1498:
1490:
1486:
1478:
1474:
1466:
1457:
1449:
1445:
1441:, pp. 5â9.
1437:
1433:
1425:
1418:
1410:
1401:
1393:
1389:
1381:
1374:
1366:
1349:
1341:
1334:
1326:
1319:
1311:
1307:
1302:
1297:
1296:
1288:
1284:
1272:
1268:
1256:
1252:
1235:
1231:
1225:
1221:
1205:
1201:
1191:Maitland (1889)
1180:
1176:
1163:
1159:
1154:
1149:
1087:
1081:
1051:
999:The Silver Swan
976:
970:
969:
961:
959:
958:
957:
956:
946:
939:
936:
930:
929:
928:
921:
918:
912:
911:
910:
903:
900:
893:
887:
882:
874:Dudley Carleton
835:
772:
747:William Heather
738:
732:
661:
604:Godfrey Goodman
563:
562:
561:
560:
538:
537:
536:
528:
527:
505:Nay let me weep
489:Henry Frederick
484:Edmund Fellowes
479:. However, the
464:The Silver Swan
435:
394:of the 25 July
380:royal household
352:
320:Michaelmas term
277:
269:city councillor
211:
206:
204:Life and career
142:The Silver Swan
85:, his brothersâ
37:Orlando Gibbons
17:
12:
11:
5:
6215:
6205:
6204:
6199:
6194:
6189:
6184:
6179:
6174:
6169:
6164:
6159:
6154:
6149:
6144:
6139:
6134:
6129:
6124:
6119:
6114:
6109:
6104:
6089:
6088:
6076:
6064:
6052:
6029:
6028:
6026:
6025:
6015:
5997:
5989:
5988:
5985:
5984:
5982:
5981:
5980:
5979:
5974:
5969:
5964:
5954:
5948:
5946:
5942:
5941:
5939:
5938:
5933:
5928:
5923:
5921:notes inĂŠgales
5918:
5913:
5908:
5903:
5902:
5901:
5896:
5891:
5881:
5876:
5871:
5870:
5869:
5858:
5856:
5852:
5851:
5849:
5848:
5843:
5838:
5833:
5828:
5823:
5818:
5813:
5808:
5803:
5798:
5793:
5788:
5787:
5786:
5781:
5776:
5771:
5766:
5761:
5751:
5746:
5741:
5736:
5731:
5730:
5729:
5724:
5714:
5709:
5704:
5699:
5694:
5689:
5684:
5678:
5676:
5672:
5671:
5669:
5668:
5666:Basso continuo
5663:
5657:
5655:
5651:
5650:
5648:
5647:
5642:
5637:
5632:
5627:
5622:
5617:
5612:
5607:
5602:
5597:
5592:
5587:
5582:
5577:
5572:
5567:
5562:
5557:
5552:
5547:
5542:
5537:
5532:
5526:
5524:
5516:
5515:
5513:
5512:
5507:
5502:
5497:
5492:
5487:
5482:
5477:
5472:
5467:
5462:
5457:
5452:
5447:
5442:
5437:
5432:
5427:
5422:
5417:
5412:
5406:
5404:
5393:
5392:
5390:
5389:
5384:
5379:
5374:
5369:
5364:
5359:
5354:
5349:
5344:
5339:
5334:
5329:
5324:
5319:
5314:
5309:
5304:
5299:
5297:Leclair l'aĂŽnĂŠ
5294:
5289:
5284:
5279:
5274:
5269:
5264:
5259:
5254:
5249:
5244:
5239:
5234:
5229:
5224:
5219:
5214:
5208:
5206:
5195:
5194:
5192:
5191:
5186:
5181:
5176:
5171:
5166:
5161:
5156:
5151:
5146:
5141:
5136:
5131:
5126:
5121:
5116:
5111:
5106:
5101:
5096:
5091:
5086:
5081:
5076:
5071:
5066:
5061:
5056:
5051:
5049:H. I. F. Biber
5046:
5041:
5036:
5030:
5028:
5020:
5019:
5017:
5016:
5011:
5006:
5001:
4996:
4991:
4986:
4981:
4976:
4971:
4966:
4961:
4956:
4951:
4946:
4941:
4936:
4931:
4926:
4921:
4916:
4911:
4906:
4901:
4895:
4893:
4881:
4880:
4875:
4872:
4871:
4864:
4863:
4856:
4849:
4841:
4832:
4831:
4829:
4828:
4818:
4800:
4796:Medieval music
4792:
4791:
4788:
4787:
4785:
4784:
4783:
4782:
4777:
4772:
4767:
4762:
4752:
4746:
4744:
4740:
4739:
4737:
4736:
4731:
4729:Tielman Susato
4726:
4721:
4716:
4711:
4706:
4704:Valerio Dorico
4701:
4696:
4691:
4686:
4681:
4675:
4673:
4667:
4666:
4664:
4663:
4658:
4653:
4648:
4643:
4638:
4633:
4628:
4623:
4618:
4612:
4610:
4606:
4605:
4603:
4602:
4597:
4592:
4587:
4582:
4577:
4572:
4566:
4564:
4560:
4559:
4557:
4556:
4551:
4546:
4544:Franco-Flemish
4541:
4536:
4531:
4526:
4521:
4515:
4513:
4507:
4506:
4504:
4503:
4498:
4493:
4488:
4483:
4478:
4473:
4468:
4463:
4458:
4453:
4448:
4443:
4438:
4436:Carlo Gesualdo
4433:
4428:
4423:
4418:
4413:
4408:
4406:Thomas Campion
4403:
4397:
4395:
4382:
4381:
4379:
4378:
4373:
4368:
4363:
4358:
4353:
4351:Costanzo Porta
4348:
4343:
4341:Hans Neusidler
4338:
4333:
4328:
4323:
4318:
4313:
4308:
4303:
4298:
4293:
4288:
4283:
4277:
4275:
4269:
4268:
4266:
4265:
4260:
4255:
4250:
4245:
4240:
4235:
4230:
4225:
4220:
4215:
4213:Costanzo Festa
4210:
4205:
4200:
4198:Antoine Brumel
4195:
4189:
4187:
4181:
4180:
4178:
4177:
4172:
4167:
4162:
4157:
4152:
4147:
4142:
4140:Heinrich Isaac
4137:
4132:
4130:John Dunstaple
4127:
4122:
4120:Loyset Compère
4117:
4112:
4107:
4101:
4099:
4093:
4092:
4087:
4084:
4083:
4076:
4075:
4068:
4061:
4053:
4044:
4043:
4041:
4040:
4034:
4032:
4028:
4027:
4025:
4024:
4019:
4014:
4009:
4004:
3999:
3994:
3989:
3984:
3979:
3974:
3968:
3966:
3962:
3961:
3959:
3958:
3956:Thomas Tomkins
3953:
3948:
3943:
3938:
3933:
3931:Martin Peerson
3928:
3923:
3918:
3913:
3908:
3903:
3898:
3896:Benjamin Cosyn
3893:
3888:
3883:
3881:John Blitheman
3877:
3875:
3871:
3870:
3863:
3862:
3855:
3848:
3840:
3831:
3830:
3828:
3827:
3816:
3813:
3812:
3810:
3809:
3804:
3799:
3793:
3791:
3787:
3786:
3784:
3783:
3777:
3771:
3764:
3762:
3758:
3757:
3755:
3754:
3747:
3740:
3732:
3730:
3726:
3725:
3720:
3717:
3716:
3709:
3708:
3701:
3694:
3686:
3678:
3677:
3672:
3669:
3656:
3651:
3647:
3646:
3640:
3639:
3623:
3622:
3618:
3617:
3608:
3599:
3589:
3578:
3577:
3572:
3571:External links
3569:
3567:
3566:
3554:10.2307/961451
3534:
3523:
3520:
3518:
3517:
3505:New York Times
3494:Rockwell, John
3489:
3488:
3487:
3482:
3481:
3463:(4): 415â429.
3450:
3418:
3393:
3364:
3351:
3311:
3298:
3265:
3238:
3225:
3192:
3180:10.2307/935033
3160:
3147:
3114:
3102:10.2307/962243
3085:
3073:10.2307/898924
3067:(3): 911â924.
3054:
3042:10.2307/952296
3026:Dart, Thurston
3022:
3010:10.2307/907324
2989:
2970:
2969:
2968:
2963:
2962:
2956:
2941:
2935:
2920:
2914:
2897:
2891:
2873:
2867:
2849:
2843:
2823:
2817:
2801:
2800:
2799:
2794:
2791:
2789:
2788:
2768:Bliss, Phillip
2760:
2738:
2699:
2693:
2667:
2638:
2632:
2609:
2607:
2604:
2602:
2599:
2596:
2595:
2583:
2574:
2562:
2537:
2535:, p. 438.
2525:
2513:
2501:
2499:, p. 415.
2489:
2477:
2462:
2450:
2435:
2423:
2411:
2396:
2384:
2372:
2347:
2335:
2323:
2308:
2296:
2284:
2272:
2260:
2248:
2231:
2219:
2217:, p. 573.
2207:
2190:
2175:
2163:
2151:
2139:
2127:
2115:
2103:
2088:
2076:
2061:
2030:
2018:
2001:
1986:
1974:
1962:
1945:
1933:
1918:
1906:
1889:
1877:
1865:
1853:
1838:
1826:
1814:
1802:
1785:
1773:
1754:
1742:
1730:
1718:
1706:
1689:
1664:
1645:
1633:
1621:
1609:
1597:
1585:
1573:
1544:
1532:
1520:
1508:
1496:
1494:, p. 160.
1484:
1472:
1455:
1453:, p. 406.
1443:
1431:
1416:
1399:
1387:
1372:
1347:
1332:
1317:
1315:, p. 287.
1304:
1303:
1301:
1298:
1295:
1294:
1282:
1274:Fellowes (1951
1266:
1250:
1229:
1219:
1207:Thewlis (1940)
1199:
1189:, p. 1),
1174:
1156:
1155:
1153:
1150:
1148:
1145:
1129:Pelham Humfrey
1079:
1050:
1047:
1013:text for solo
993:, a number of
960:
947:
937:
932:
931:
919:
914:
913:
901:
896:
895:
894:
885:
884:
883:
881:
878:
834:
831:
780:Nicholas Stone
771:
768:
751:William Camden
736:, p. 406)
730:
705:Robert Johnson
693:King Charles I
660:
657:
592:Lord Salisbury
588:Lord Salisbury
553:and published
540:
539:
530:
529:
521:
520:
519:
518:
517:
501:John Coperario
497:George Chapman
434:
431:
351:
348:
276:
273:
210:
207:
205:
202:
182:Pelham Humfrey
119:Prince Charles
15:
9:
6:
4:
3:
2:
6214:
6203:
6200:
6198:
6195:
6193:
6190:
6188:
6185:
6183:
6180:
6178:
6175:
6173:
6170:
6168:
6165:
6163:
6160:
6158:
6155:
6153:
6150:
6148:
6145:
6143:
6140:
6138:
6135:
6133:
6130:
6128:
6125:
6123:
6120:
6118:
6115:
6113:
6110:
6108:
6105:
6103:
6100:
6099:
6097:
6087:
6077:
6075:
6065:
6063:
6053:
6051:
6041:
6040:
6037:
6024:
6020:
6016:
6014:
6006:
6005:
6002:
6001:
5995:
5994:
5986:
5978:
5975:
5973:
5970:
5968:
5965:
5963:
5960:
5959:
5958:
5955:
5953:
5950:
5949:
5947:
5943:
5937:
5934:
5932:
5929:
5927:
5924:
5922:
5919:
5917:
5914:
5912:
5909:
5907:
5904:
5900:
5897:
5895:
5892:
5890:
5887:
5886:
5885:
5882:
5880:
5877:
5875:
5872:
5868:
5865:
5864:
5863:
5860:
5859:
5857:
5853:
5847:
5844:
5842:
5839:
5837:
5834:
5832:
5829:
5827:
5824:
5822:
5819:
5817:
5814:
5812:
5809:
5807:
5804:
5802:
5799:
5797:
5794:
5792:
5789:
5785:
5782:
5780:
5777:
5775:
5772:
5770:
5767:
5765:
5762:
5760:
5757:
5756:
5755:
5752:
5750:
5747:
5745:
5742:
5740:
5737:
5735:
5732:
5728:
5725:
5723:
5720:
5719:
5718:
5715:
5713:
5710:
5708:
5705:
5703:
5700:
5698:
5695:
5693:
5690:
5688:
5685:
5683:
5680:
5679:
5677:
5675:Musical forms
5673:
5667:
5664:
5662:
5659:
5658:
5656:
5652:
5646:
5643:
5641:
5638:
5636:
5633:
5631:
5628:
5626:
5623:
5621:
5618:
5616:
5613:
5611:
5608:
5606:
5603:
5601:
5598:
5596:
5593:
5591:
5588:
5586:
5583:
5581:
5578:
5576:
5573:
5571:
5568:
5566:
5563:
5561:
5558:
5556:
5553:
5551:
5548:
5546:
5543:
5541:
5538:
5536:
5533:
5531:
5528:
5527:
5525:
5523:
5517:
5511:
5508:
5506:
5503:
5501:
5498:
5496:
5493:
5491:
5488:
5486:
5483:
5481:
5478:
5476:
5473:
5471:
5470:Padre Martini
5468:
5466:
5463:
5461:
5458:
5456:
5453:
5451:
5448:
5446:
5443:
5441:
5438:
5436:
5433:
5431:
5428:
5426:
5423:
5421:
5418:
5416:
5415:C. P. E. Bach
5413:
5411:
5408:
5407:
5405:
5398:
5394:
5388:
5385:
5383:
5380:
5378:
5375:
5373:
5370:
5368:
5365:
5363:
5360:
5358:
5355:
5353:
5350:
5348:
5345:
5343:
5340:
5338:
5335:
5333:
5330:
5328:
5325:
5323:
5320:
5318:
5315:
5313:
5310:
5308:
5305:
5303:
5300:
5298:
5295:
5293:
5290:
5288:
5285:
5283:
5280:
5278:
5275:
5273:
5270:
5268:
5265:
5263:
5260:
5258:
5255:
5253:
5250:
5248:
5245:
5243:
5240:
5238:
5235:
5233:
5230:
5228:
5225:
5223:
5220:
5218:
5215:
5213:
5210:
5209:
5207:
5200:
5196:
5190:
5187:
5185:
5182:
5180:
5177:
5175:
5172:
5170:
5167:
5165:
5162:
5160:
5157:
5155:
5152:
5150:
5147:
5145:
5142:
5140:
5137:
5135:
5132:
5130:
5127:
5125:
5122:
5120:
5117:
5115:
5112:
5110:
5107:
5105:
5102:
5100:
5097:
5095:
5092:
5090:
5087:
5085:
5082:
5080:
5077:
5075:
5072:
5070:
5067:
5065:
5062:
5060:
5057:
5055:
5052:
5050:
5047:
5045:
5042:
5040:
5037:
5035:
5032:
5031:
5029:
5021:
5015:
5012:
5010:
5007:
5005:
5002:
5000:
4997:
4995:
4992:
4990:
4989:M. Praetorius
4987:
4985:
4982:
4980:
4977:
4975:
4972:
4970:
4967:
4965:
4962:
4960:
4957:
4955:
4952:
4950:
4947:
4945:
4942:
4940:
4937:
4935:
4932:
4930:
4927:
4925:
4922:
4920:
4917:
4915:
4912:
4910:
4907:
4905:
4902:
4900:
4897:
4896:
4894:
4886:
4882:
4878:
4873:
4869:
4868:Baroque music
4862:
4857:
4855:
4850:
4848:
4843:
4842:
4839:
4827:
4823:
4819:
4817:
4809:
4808:
4805:
4804:
4803:Baroque music
4798:
4797:
4789:
4781:
4778:
4776:
4773:
4771:
4768:
4766:
4763:
4761:
4758:
4757:
4756:
4753:
4751:
4748:
4747:
4745:
4741:
4735:
4732:
4730:
4727:
4725:
4722:
4720:
4717:
4715:
4712:
4710:
4707:
4705:
4702:
4700:
4697:
4695:
4692:
4690:
4687:
4685:
4684:Andrea Antico
4682:
4680:
4677:
4676:
4674:
4672:
4668:
4662:
4659:
4657:
4654:
4652:
4649:
4647:
4644:
4642:
4639:
4637:
4634:
4632:
4629:
4627:
4624:
4622:
4619:
4617:
4614:
4613:
4611:
4607:
4601:
4598:
4596:
4593:
4591:
4588:
4586:
4583:
4581:
4578:
4576:
4573:
4571:
4568:
4567:
4565:
4563:Musical forms
4561:
4555:
4552:
4550:
4547:
4545:
4542:
4540:
4537:
4535:
4532:
4530:
4527:
4525:
4522:
4520:
4517:
4516:
4514:
4512:
4508:
4502:
4499:
4497:
4494:
4492:
4489:
4487:
4484:
4482:
4479:
4477:
4476:Thomas Morley
4474:
4472:
4469:
4467:
4466:Luca Marenzio
4464:
4462:
4459:
4457:
4454:
4452:
4449:
4447:
4444:
4442:
4439:
4437:
4434:
4432:
4429:
4427:
4424:
4422:
4419:
4417:
4414:
4412:
4409:
4407:
4404:
4402:
4399:
4398:
4396:
4392:
4387:
4383:
4377:
4374:
4372:
4369:
4367:
4364:
4362:
4361:Thomas Tallis
4359:
4357:
4354:
4352:
4349:
4347:
4344:
4342:
4339:
4337:
4334:
4332:
4329:
4327:
4324:
4322:
4319:
4317:
4314:
4312:
4309:
4307:
4304:
4302:
4299:
4297:
4294:
4292:
4289:
4287:
4284:
4282:
4279:
4278:
4276:
4274:
4270:
4264:
4261:
4259:
4256:
4254:
4253:John Taverner
4251:
4249:
4246:
4244:
4241:
4239:
4238:Jacob Obrecht
4236:
4234:
4231:
4229:
4226:
4224:
4221:
4219:
4216:
4214:
4211:
4209:
4206:
4204:
4201:
4199:
4196:
4194:
4191:
4190:
4188:
4186:
4182:
4176:
4173:
4171:
4168:
4166:
4163:
4161:
4158:
4156:
4153:
4151:
4148:
4146:
4143:
4141:
4138:
4136:
4133:
4131:
4128:
4126:
4123:
4121:
4118:
4116:
4113:
4111:
4108:
4106:
4103:
4102:
4100:
4098:
4094:
4090:
4085:
4081:
4074:
4069:
4067:
4062:
4060:
4055:
4054:
4051:
4039:
4036:
4035:
4033:
4029:
4023:
4020:
4018:
4015:
4013:
4010:
4008:
4005:
4003:
4000:
3998:
3995:
3993:
3990:
3988:
3985:
3983:
3980:
3978:
3975:
3973:
3970:
3969:
3967:
3963:
3957:
3954:
3952:
3949:
3947:
3944:
3942:
3939:
3937:
3936:Peter Philips
3934:
3932:
3929:
3927:
3924:
3922:
3921:Thomas Morley
3919:
3917:
3914:
3912:
3909:
3907:
3904:
3902:
3901:Giles Farnaby
3899:
3897:
3894:
3892:
3889:
3887:
3884:
3882:
3879:
3878:
3876:
3872:
3868:
3861:
3856:
3854:
3849:
3847:
3842:
3841:
3838:
3826:
3818:
3817:
3814:
3808:
3805:
3803:
3800:
3798:
3795:
3794:
3792:
3788:
3781:
3778:
3775:
3772:
3769:
3766:
3765:
3763:
3759:
3752:
3748:
3745:
3741:
3739:
3738:
3734:
3733:
3731:
3727:
3723:
3718:
3714:
3707:
3702:
3700:
3695:
3693:
3688:
3687:
3684:
3675:
3666:
3665:
3661:
3654:
3648:
3643:
3632:
3628:
3625:
3624:
3621:Miscellaneous
3620:
3619:
3616:
3612:
3609:
3607:
3603:
3600:
3597:
3593:
3590:
3587:
3583:
3580:
3579:
3575:
3574:
3563:
3559:
3555:
3551:
3547:
3543:
3542:
3536:
3535:
3533:
3532:
3530:
3529:Turbet (2016)
3507:
3506:
3500:
3495:
3491:
3490:
3485:
3484:
3478:
3474:
3470:
3466:
3462:
3458:
3457:
3451:
3444:
3440:
3436:
3432:
3431:
3425:
3419:
3415:
3411:
3407:
3403:
3399:
3394:
3390:
3386:
3382:
3378:
3374:
3370:
3365:
3361:
3354:
3348:
3344:
3340:
3336:
3332:
3331:
3325:
3320:
3316:
3312:
3308:
3301:
3295:
3291:
3287:
3283:
3279:
3278:
3272:
3266:
3262:
3258:
3254:
3250:
3246:
3245:
3239:
3235:
3228:
3222:
3218:
3214:
3210:
3206:
3205:
3199:
3193:
3189:
3185:
3181:
3177:
3173:
3169:
3165:
3161:
3157:
3150:
3144:
3140:
3136:
3132:
3128:
3127:
3121:
3115:
3111:
3107:
3103:
3099:
3095:
3091:
3086:
3082:
3078:
3074:
3070:
3066:
3062:
3061:
3055:
3051:
3047:
3043:
3039:
3035:
3031:
3027:
3023:
3019:
3015:
3011:
3007:
3003:
2999:
2995:
2990:
2987:
2983:
2982:
2977:
2972:
2971:
2966:
2965:
2959:
2953:
2949:
2948:
2942:
2938:
2932:
2928:
2927:
2921:
2917:
2911:
2907:
2903:
2898:
2894:
2888:
2884:
2883:
2878:
2874:
2870:
2864:
2860:
2859:
2854:
2850:
2846:
2840:
2835:
2834:
2828:
2824:
2820:
2814:
2810:
2809:
2803:
2802:
2797:
2796:
2785:
2781:
2776:
2775:
2769:
2765:
2764:Wood, Anthony
2761:
2757:
2753:
2749:
2748:
2743:
2739:
2735:
2728:
2724:
2720:
2716:
2715:
2709:
2704:
2700:
2696:
2690:
2686:
2682:
2681:
2676:
2672:
2668:
2664:
2660:
2656:
2655:
2647:
2643:
2639:
2635:
2629:
2625:
2621:
2620:
2615:
2611:
2610:
2592:
2591:Rockwell 1984
2587:
2578:
2571:
2566:
2551:
2547:
2541:
2534:
2529:
2523:, p. 65.
2522:
2517:
2510:
2505:
2498:
2493:
2486:
2481:
2475:, p. 76.
2474:
2469:
2467:
2459:
2454:
2447:
2442:
2440:
2432:
2431:Fellowes 1951
2427:
2420:
2415:
2409:, p. 57.
2408:
2403:
2401:
2393:
2388:
2382:, p. 12.
2381:
2376:
2361:
2357:
2351:
2345:, p. 50.
2344:
2343:Fellowes 1951
2339:
2333:, p. 45.
2332:
2331:Fellowes 1951
2327:
2321:, p. 44.
2320:
2319:Fellowes 1951
2315:
2313:
2306:, p. 41.
2305:
2304:Fellowes 1951
2300:
2294:, p. 40.
2293:
2292:Fellowes 1951
2288:
2282:, p. 68.
2281:
2276:
2270:, p. 67.
2269:
2264:
2258:, p. 43.
2257:
2252:
2246:, p. 66.
2245:
2240:
2238:
2236:
2228:
2223:
2216:
2211:
2205:, p. 65.
2204:
2199:
2197:
2195:
2187:
2182:
2180:
2173:, p. 42.
2172:
2167:
2161:, p. 63.
2160:
2155:
2148:
2143:
2137:, p. 59.
2136:
2131:
2124:
2119:
2113:, p. 58.
2112:
2107:
2100:
2099:Fellowes 1951
2095:
2093:
2086:, p. 51.
2085:
2080:
2074:, p. 31.
2073:
2068:
2066:
2058:
2053:
2051:
2049:
2047:
2045:
2043:
2041:
2039:
2037:
2035:
2028:, p. 43.
2027:
2022:
2015:
2010:
2008:
2006:
1999:, p. 40.
1998:
1993:
1991:
1983:
1978:
1972:, p. 39.
1971:
1966:
1960:, p. 39.
1959:
1958:Fellowes 1951
1954:
1952:
1950:
1943:, p. 35.
1942:
1937:
1931:, p. 37.
1930:
1925:
1923:
1915:
1910:
1904:, p. 38.
1903:
1902:Fellowes 1951
1898:
1896:
1894:
1887:, p. 37.
1886:
1885:Fellowes 1951
1881:
1874:
1869:
1863:, p. 33.
1862:
1857:
1851:, p. 36.
1850:
1849:Fellowes 1951
1845:
1843:
1835:
1830:
1824:, p. 32.
1823:
1818:
1812:, p. 31.
1811:
1806:
1799:
1794:
1792:
1790:
1783:, p. 30.
1782:
1777:
1770:
1765:
1763:
1761:
1759:
1752:, p. 21.
1751:
1746:
1740:, p. 16.
1739:
1734:
1728:, p. 28.
1727:
1722:
1715:
1710:
1704:, p. 29.
1703:
1698:
1696:
1694:
1687:, p. 75.
1686:
1681:
1679:
1677:
1675:
1673:
1671:
1669:
1662:, p. 35.
1661:
1660:Fellowes 1951
1656:
1654:
1652:
1650:
1642:
1641:Fellowes 1951
1637:
1630:
1625:
1618:
1617:Fellowes 1951
1613:
1607:, p. 18.
1606:
1601:
1595:, p. 28.
1594:
1593:Fellowes 1951
1589:
1583:, p. 11.
1582:
1577:
1571:, p. 24.
1570:
1565:
1563:
1561:
1559:
1557:
1555:
1553:
1551:
1549:
1542:, p. 17.
1541:
1540:Fellowes 1951
1536:
1529:
1524:
1517:
1512:
1505:
1500:
1493:
1488:
1481:
1476:
1470:, p. 33.
1469:
1468:Fellowes 1951
1464:
1462:
1460:
1452:
1447:
1440:
1435:
1428:
1423:
1421:
1414:, p. 32.
1413:
1412:Fellowes 1951
1408:
1406:
1404:
1396:
1395:Fellowes 1951
1391:
1384:
1379:
1377:
1369:
1364:
1362:
1360:
1358:
1356:
1354:
1352:
1345:, "2. Works".
1344:
1339:
1337:
1330:, p. 55.
1329:
1328:Fellowes 1951
1324:
1322:
1314:
1309:
1305:
1291:
1286:
1279:
1275:
1270:
1263:
1260:
1254:
1247:
1243:
1239:
1233:
1223:
1216:
1212:
1208:
1203:
1196:
1192:
1188:
1184:
1183:Hawkins (1853
1178:
1171:
1167:
1161:
1157:
1144:
1142:
1141:John Rockwell
1138:
1134:
1133:Henry Purcell
1130:
1126:
1122:
1118:
1114:
1110:
1106:
1101:
1099:
1098:
1093:
1084:
1083:Payzant (1986
1078:
1076:
1070:
1068:
1064:
1059:
1056:
1046:
1044:
1040:
1034:
1032:
1031:Ascension Day
1028:
1024:
1020:
1016:
1012:
1008:
1004:
1003:verse anthems
1000:
996:
992:
988:
983:
981:
975:
968:
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830:
828:
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793:
789:
788:George Wither
781:
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764:
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748:
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719:
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686:
685:Low Countries
682:
674:
673:Daniel Mytens
670:
665:
656:
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650:
645:
644:Edmund Hooper
641:
637:
633:
629:
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622:
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613:
612:Anthony Maxey
609:
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419:Bridge Street
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183:
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54:
50:
46:
42:
38:
29:
23:
19:
5998:
5991:
5962:Architecture
5911:Folk baroque
5906:Figured bass
5879:counterpoint
5855:Other topics
5727:18th-century
5722:17th-century
5347:D. Scarlatti
5164:A. Scarlatti
5134:J. Pachelbel
4943:
4885:Transitional
4801:
4794:
4765:Architecture
4699:Jacob Bathen
4440:
4416:John Dowland
4286:William Byrd
4160:Leonel Power
3910:
3891:William Byrd
3735:
3712:
3658:
3653:John Parsons
3598:(ChoralWiki)
3545:
3539:
3526:
3525:
3509:. Retrieved
3503:
3460:
3454:
3428:
3401:
3397:
3375:(1): 31â33.
3372:
3368:
3328:
3275:
3248:
3242:
3202:
3171:
3167:
3124:
3093:
3089:
3064:
3058:
3033:
3029:
3001:
2997:
2979:
2946:
2925:
2901:
2881:
2877:Gould, Glenn
2857:
2853:Gould, Glenn
2832:
2807:
2773:
2746:
2742:Walker, John
2712:
2679:
2661:– via
2652:
2618:
2586:
2577:
2565:
2553:. Retrieved
2549:
2540:
2528:
2516:
2504:
2492:
2480:
2453:
2426:
2414:
2387:
2375:
2365:28 September
2363:. Retrieved
2359:
2350:
2338:
2326:
2299:
2287:
2275:
2263:
2251:
2222:
2215:Hawkins 1853
2210:
2166:
2154:
2142:
2130:
2118:
2106:
2079:
2059:, "1. Life".
2021:
1977:
1965:
1936:
1909:
1880:
1868:
1856:
1829:
1817:
1805:
1776:
1745:
1733:
1721:
1709:
1636:
1624:
1612:
1600:
1588:
1576:
1535:
1523:
1518:, p. 5.
1511:
1499:
1487:
1482:, p. 9.
1475:
1446:
1434:
1429:, p. 7.
1390:
1308:
1290:Harper (2008
1285:
1278:Harley (1999
1269:
1261:
1259:verse anthem
1253:
1232:
1222:
1215:Harley (1999
1211:Harley (1999
1202:
1195:Bridge (1920
1177:
1160:
1102:
1095:
1089:
1074:
1072:
1060:
1052:
1042:
1038:
1035:
1026:
1015:countertenor
984:
979:
977:
962:
857:
848:
812:
796:John Parsons
791:
785:
762:
742:
740:
727:
723:
717:
678:
667:Portrait of
652:
648:
639:
635:
631:
625:
608:William Laud
595:
587:
580:
566:
564:
554:
543:William Byrd
512:
508:
504:
481:musicologist
476:
462:
458:
436:
404:
376:Chapel Royal
373:
339:William Byrd
336:
297:
278:
250:
242:Anthony Wood
227:
192:. Since the
190:sacred music
163:
140:
136:
131:
115:King James I
112:
96:Chapel Royal
80:
64:William Byrd
58:
36:
35:
18:
6112:1625 deaths
6107:1583 births
5931:Style brisĂŠ
5867:Chamber pop
5862:Baroque pop
5806:grand motet
5779:passacaglia
5590:lautenwerck
5585:harpsichord
5555:double bass
5522:Instruments
5480:Mondonville
5312:A. Marcello
5242:F. Couperin
5189:VejvanovskĂ˝
5139:J. Playford
5119:J.-B. Lully
5084:Charpentier
5039:d'Anglebert
4924:Frescobaldi
4888:and early (
4755:Renaissance
4750:Early music
4646:Netherlands
4626:Elizabethan
4481:Jacopo Peri
4451:Alonso Lobo
4411:John Cooper
4273:Late (1530)
4233:Jean Mouton
4145:Jean Japart
4135:Walter Frye
3965:Collections
3926:John Munday
3780:Christopher
3602:Free scores
3576:Free scores
3319:Jeans, Susi
2984:. Chicago:
2570:Morris 1978
2555:28 February
2497:Vining 1977
2485:Harley 1999
2473:Harley 1999
2458:Harper 2008
2446:Harley 1999
2419:Harley 1999
2407:Harley 1999
2380:Harley 1999
2280:Harley 1999
2268:Harley 1999
2256:Bridge 1920
2244:Harley 1999
2227:Harley 1999
2203:Harley 1999
2186:Mateer 2008
2171:Bridge 1920
2159:Harley 1999
2147:Harley 1999
2135:Harley 1999
2123:Harley 1999
2111:Harley 1999
2084:Harley 1999
2026:Harley 1999
2014:Harper 2008
1997:Harley 1999
1982:Harley 1999
1970:Harley 1999
1941:Bridge 1920
1929:Harley 1999
1914:Harper 2008
1873:Harley 1999
1861:Harley 1999
1834:Harley 1999
1822:Harley 1999
1810:Harley 1999
1798:Harper 2008
1781:Harley 1999
1750:Harley 1999
1738:Harley 1999
1726:Harley 1999
1714:Harley 1999
1702:Harley 1999
1685:Harley 1999
1629:Harley 1999
1605:Harley 1999
1581:Harley 1999
1569:Harley 1999
1528:Harley 1999
1516:Harley 1999
1504:Harley 1999
1492:Howard 1951
1480:Harley 1999
1439:Harley 1999
1427:Harley 1999
1383:Harper 2008
1368:Turbet 2016
1343:Harper 2008
1313:Harley 1999
1240:and/or the
1187:FĂŠtis (1866
1137:Baroque era
1121:Christopher
1055:Glenn Gould
866:John Hacket
852:Reformation
709:Thomas Lupo
701:Thomas Ford
689:John Cooper
659:Late career
545:(left) and
451:Elizabeth I
324:Easter term
198:Glenn Gould
174:Christopher
72:Renaissance
6096:Categories
5945:Background
5831:recitative
5739:concertato
5707:canzonetta
5570:fortepiano
5545:clavichord
5495:Sammartini
5475:MysliveÄek
5435:Boccherini
5425:W. F. Bach
5420:J. C. Bach
5217:J. S. Bach
5144:H. Purcell
5064:Cabanilles
4979:Monteverdi
4954:Kapsberger
4944:O. Gibbons
4939:C. Gibbons
4934:V. Galilei
4914:J. Dowland
4904:G. Caccini
4780:Philosophy
4775:Literature
4743:Background
4609:Traditions
4585:Magnificat
4575:Intermedio
4519:Burgundian
3674:Thomas Day
3668:1623â1625
3433:. Oxford:
3333:. Oxford:
3280:. Oxford:
3129:. Oxford:
2950:. Formac.
2904:. London:
2717:. Oxford:
2622:. London:
2533:Gould 1990
2057:Huray 2001
1769:Huray 2001
1147:References
1109:Palestrina
1029:, and the
972:See also:
965:media help
823:Canterbury
808:Thomas Day
790:published
734:Wood (1692
630:published
616:Heidelberg
493:Ben Jonson
396:coronation
370:40 in 1604
293:Hogenberg)
275:Early life
57:Gibbons's
6074:Biography
5977:Sculpture
5894:ensembles
5889:festivals
5784:sarabande
5712:capriccio
5654:Ensembles
5485:L. Mozart
5387:de Zumaya
5322:Pergolesi
5302:Locatelli
5287:Heinichen
5272:Gorczycki
5267:Geminiani
5247:Delalande
5169:Stradella
5124:M. Marais
5104:Froberger
5069:Carissimi
5059:Buxtehude
5014:Sweelinck
4595:Offertory
4524:Colorists
4386:Mannerism
4038:Virginals
4002:Parthenia
3886:John Bull
3874:Composers
3776:(brother)
3770:(brother)
3737:Parthenia
3408:: 42â47.
3362:required)
3309:required)
3236:required)
3158:required)
2784:847943279
2766:(1815) .
2736:required)
2673:(1963) .
2616:(2009) .
2509:Apel 1997
2072:Dart 1970
1451:Wood 1692
1300:Citations
1125:John Blow
1063:Beethoven
995:madrigals
987:fantasias
833:Character
713:Bass-Viol
675:, c. 1623
581:Parthenia
568:Parthenia
556:Parthenia
547:John Bull
449:of Queen
447:favourite
343:John Bull
234:Cambridge
178:John Blow
132:Parthenia
127:John Bull
78:periods.
70:from the
6013:Category
5990: â
5972:Painting
5836:ricercar
5811:madrigal
5791:fantasia
5759:courante
5744:concerto
5717:chaconne
5610:recorder
5535:carillon
5505:Telemann
5450:Corrette
5445:F. Brixi
5430:F. Benda
5362:Telemann
5327:Pisendel
5277:Graupner
5212:Albinoni
5149:Reincken
5114:Legrenzi
5099:Diletsky
5023:Middle (
4929:Gabrieli
4816:Category
4793: â
4656:Portugal
4580:Madrigal
4554:Venetian
4031:See Also
3825:Category
3660:Organist
3631:LibriVox
3511:23 April
3414:23509038
3321:(2001).
3261:20532424
2829:(1951).
2756:79528970
2744:(1714).
2705:(1889).
2644:(1866).
1242:virginal
1080:â
1023:Evensong
845:, London
800:organist
731:â
626:In 1614
598:for the
469:madrigal
261:hanaster
166:madrigal
155:organist
151:Evensong
110:degree.
45:composer
6062:England
6036:Portals
6003:â
5957:Baroque
5826:prelude
5764:gavotte
5734:chorale
5702:canzona
5692:cantata
5645:violone
5625:trumpet
5620:theorbo
5615:sackbut
5550:cornett
5530:bassoon
5520:Musical
5460:Galuppi
5382:Zelenka
5372:Vivaldi
5357:Tartini
5332:Porpora
5317:Pepusch
5257:Fischer
5232:Caldara
5179:Torelli
5174:Strozzi
5094:Corelli
5074:Cavalli
5044:Bassani
4999:Scheidt
4949:d'India
4899:Allegri
4806:â
4636:Germany
4616:British
3790:Related
3613:at the
3594:in the
3588:(IMSLP)
3584:at the
2770:(ed.).
2677:(ed.).
2601:Sources
1227:infant.
1168:at the
954:Violone
806:, with
798:as the
669:Charles
551:James I
409:of the
392:anthems
384:James I
360:James I
306:of the
106:with a
76:Baroque
74:to the
6023:Portal
5916:monody
5774:minuet
5687:ballet
5640:violin
5575:guitar
5490:Quantz
5397:Galant
5352:Seixas
5342:Rameau
5337:Quantz
5282:Handel
5237:Campra
5154:Sabini
5129:Muffat
5089:Clarke
5034:Amodei
5009:SchĂźtz
5004:Schein
4974:Merula
4969:Michna
4919:Franck
4909:Coelho
4826:Portal
4651:Poland
4631:France
4621:Cyprus
4600:Pavane
4394:c.1600
3774:Edward
3761:Family
3562:961451
3560:
3486:Online
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2793:Modern
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1067:Webern
1049:Legacy
1011:Advent
980:oeuvre
585:pavane
455:patron
423:parish
411:vestry
407:yeoman
366:30 to
304:master
300:Edward
257:glover
230:Oxford
87:Edward
59:oeuvre
6086:Music
5967:Dance
5846:suite
5821:opera
5801:fugue
5796:folia
5769:gigue
5754:dance
5697:canon
5635:viola
5605:organ
5565:flute
5540:cello
5500:Soler
5465:Hasse
5440:Boyce
5403:1720)
5377:Weiss
5367:Vinci
5307:Lotti
5252:Fasch
5205:1700)
5109:Kerll
5079:Cesti
5027:1650)
4994:Rossi
4964:Lawes
4959:Landi
4892:1600)
4770:Dance
4661:Spain
4641:Italy
4570:Carol
4549:Roman
3782:(son)
3768:Ellis
3729:Music
3558:JSTOR
3473:JSTOR
3410:JSTOR
3404:(1).
3385:JSTOR
3257:JSTOR
3184:JSTOR
3106:JSTOR
3077:JSTOR
3060:Notes
3046:JSTOR
3014:JSTOR
2798:Books
2685:Dover
2663:IMSLP
2649:(PDF)
2606:Early
1238:organ
1152:Notes
1019:tenor
991:viols
952:with
950:Viols
880:Music
681:Essex
388:hymns
332:sizar
330:as a
312:Ellis
289:Braun
91:Ellis
41:bapt.
5816:mass
5682:aria
5630:viol
5600:oboe
5595:lute
5580:harp
5560:drum
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5410:Arne
5199:Late
5159:Sanz
5054:Blow
4984:Peri
4590:Mass
4388:and
3527:See
3513:2020
3347:ISBN
3294:ISBN
3221:ISBN
3143:ISBN
2952:ISBN
2931:ISBN
2910:ISBN
2887:ISBN
2863:ISBN
2839:ISBN
2813:ISBN
2780:OCLC
2752:OCLC
2689:ISBN
2628:ISBN
2557:2020
2367:2022
1257:The
1246:viol
1193:and
1065:and
1041:and
989:for
978:His
707:and
638:and
610:and
590:for
495:and
390:and
316:viol
291:and
265:wait
184:and
117:and
83:wait
51:and
5262:Fux
4760:Art
3662:of
3629:at
3550:doi
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3465:doi
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3286:doi
3213:doi
3176:doi
3135:doi
3098:doi
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3069:doi
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3006:doi
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575:to
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