Mr. Tomkins His Lessons of Worth

Editorial Reviews

All Music Guide - James Manheim
Potential buyers who get hold of the booklet for this album, bristling with unfriendly footnotes and manuscript comparisons, may well be put off, but what's on the actual recording is not so specialist oriented. The "lessons of worthe" connected with British Renaissance composer Thomas Tomkins are neither all by Tomkins in fact, most are by other composers nor all lessons, although there are a few instructional pieces. Instead the program reproduces something rare in the Renaissance literature: a collection of pieces that a single composer considered worthy of appreciation and study. The album thus has a distinctive flavor in itself, with mostly serious pieces that get ...
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Editorial Reviews

All Music Guide - James Manheim
Potential buyers who get hold of the booklet for this album, bristling with unfriendly footnotes and manuscript comparisons, may well be put off, but what's on the actual recording is not so specialist oriented. The "lessons of worthe" connected with British Renaissance composer Thomas Tomkins are neither all by Tomkins in fact, most are by other composers nor all lessons, although there are a few instructional pieces. Instead the program reproduces something rare in the Renaissance literature: a collection of pieces that a single composer considered worthy of appreciation and study. The album thus has a distinctive flavor in itself, with mostly serious pieces that get away from the usual dance pairs; the two pavan-galliard pairs by John Bull and William Byrd are complex little pieces indeed. Many of the works exploit chromatic possibilities. On top of these general characteristics, French keyboardist Bertrand Cuiller makes a couple of unusual interpretive decisions. First, he relies on a notation by Tomkins himself in the Parisian manuscript from which the lessons of worth come, indicating probably that pieces should be kept together by final, by key as the modern age would say. Tomkins seems to refer to print rather than performance, but the concentration Cuiller achieves this way is intriguing. Second, and most striking for the average listener, is that for each group of pieces Cuiller uses a different instrument: a Dutch-Anglo harpsichord, a chime-like Spanish harpsichord, and a claviorganum, a comparatively rare harpsichord-organ contraption that gets spectacular results in the closing "Fantasia" of Bull track 11. This is not really meant to be an introductory disc of Renaissance English keyboard music, but it's an intriguing item for large collections and certainly for libraries.
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Product Details

  • Release Date: 8/9/2011
  • Label: Mirare France
  • EAN: 3760127221371
  • Catalog Number: 137
  • Sales rank: 277,680

Tracks

Disc 1
  1. 1 Chromatic Pavan and Galliard, for keyboard, MB 87 ("Queen Elisabeth's"): Pavan - John Bull & René Martin (6:06)
  2. 2 Chromatic Pavan and Galliard, for keyboard, MB 87 ("Queen Elisabeth's"): Galliard - John Bull & René Martin (2:58)
  3. 3 Offertory for keyboard - Thomas Tomkins & René Martin (12:12)
  4. 4 Robbin Hood, for keyboard - Thomas Tomkins & René Martin (5:15)
  5. 5 Pavan & Galliard ("Sir William Petre"), for keyboard in G minor No. 2, MB 3: Pavan - William Byrd & René Martin (5:26)
  6. 6 Pavan & Galliard ("Sir William Petre"), for keyboard in G minor No. 2, MB 3: Galliard - William Byrd & René Martin (1:55)
  7. 7 Felix namque (I), for keyboard - Thomas Tallis & René Martin (10:25)
  8. 8 Ut, Re, Mi, Fa, Sol, La, "For a Beginner," for keyboard - Thomas Tomkins & René Martin (1:05)
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Album Credits

Performance Credits
Bertrand Cuiller Primary Artist
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