Early Music Ensemble

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Gough, O: The World Encompassed

Gough, O: The World Encompassed

Sir Francis Drake’s Circumnavigation of the Globe 1577-80

During his journey to circumnavigate the globe Sir Francis Drake took four viol players with him, who played both for his devotions and to the native peoples around the world that they encountered.

Fretwork have commissioned British composer Orlando Gough to recreate this remarkable journey in sound, in a work for viol consort that combines music from 16th century England with the ‘sounds’ that these musicians would have heard and perhaps tried to recreate on their journey – from the rebab and the gamelan to the mesmerising chanting of the Native Americans. The result is a musical narrative of one of the most significant achievements of the English golden age and an evocation of the earliest musical encounters between east and west.

This premiere recording is interspersed with narration from The World Encompassed, one of the first literary accounts of the journey, read by Simon Callow.

“Ancient meets modern and east meets west in this weird but wonderful comes out polished and provocative on this double album...Gough imaginatively and freely evokes the sort of local music that Drake’s sailors might have heard in South America and Asia.” The Times, 26th May 2017

“Gough’s music is extraordinarily imaginative and evocative as he imagines the memories of local music from around the world” Early Music Review, May 2017

“It all adds up to an inventive musical travelogue” Financial Times, 16th June 2017 ***

“It’s a fascinating idea… Gough has met his brief handsomely and full marks go to Fretwork for seeing the initial inspiration and following it through to realisation” MusicWeb International, June 2017

“Narrator Simon Callow is terrific, Fretwork mesmerising” BBC Music Magazine, September 2017 ****

“It’s the musical equivalent of being asked to make a raft out of plastic bottles and paperclips, a challenge Gough meets with all his customary wit and invention. It’s also tremendous fun. This mixture of old and new, familiar and alien, really shouldn’t work; but, stitched together by Simon Callow’s characterful narration, it forms an exotic tapestry – a vivid portrait of the age of exploration” Gramophone Magazine, September 2017

Released or re-released in last 6 months

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Signum - SIGCD453

(CD - 2 discs)

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Peerson: A Treatie of Humane Love - Mottects or Grave Chamber Musique (1630)

Peerson: A Treatie of Humane Love - Mottects or Grave Chamber Musique (1630)

James Johnstone (organ)

I Fagiolini, Fretwork

Following on from Fretwork’s acclaimed release on Regent of Sublime Discourses (REGCD341), which featured the complete instrumental music of John Milton and Martin Peerson, I Fagiolini and Fretwork come together with organist James Johnstone for the première recording of Peerson’s A Treatie of Humane Love.

Newly edited by Richard Rastall, this collection of song settings of poetry by Sir Fulke Greville, focusses predominantly on the subject of love, making it an ideal counterpoint to St Valentine’s Day.

Martin Peerson (c1572–1651) has been known since the mid-20th century as an engaging and very performable composer with a highly individual voice; but in his own time he was much respected and published, perhaps the most able of those composers who were not in royal service.

This release is a major contribution to the discography of 17th century English music in incomparable performances from some of the world’s finest artists in the field.

“Fretwork’s musical mastery and I Fagiolini’s trademark incandescent sound are perfectly married in this repertoire…[the directors carry] the music from profundity to gentle humour, spotlighting varied textures and accents within these often-characterful vignettes…from the subtle colours of James Johnstone’s continuo tapestry to sumptuous low vocal notes, the clarity of recording is exceptional” BBC Music Magazine, April 2017 ****

“This sacred chamber music, mini sermons set for voices and viols, is persuasively presented by I Fagiolini and Fretwork, past masters at this kind of thing, with exquisitely detailed word-painting, authentic pronunciation, characterful delivery, and phrasing of the greatest delicacy – what a find!” Choir & Organ, May 2017

Regent - REGCD497



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Tune thy Musicke to Thy Hart

Tune thy Musicke to Thy Hart

Tudor & Jacobean music for private devotion


O ye little flock

A stranger here

Browne, J:

Jesu, mercy, how may this be?


Why do I use my paper, inke and penne?


Never weather-beaten sail

Croce, G:

From profound centre of my heart


I shame at mine unworthiness

Gibbons, O:

See, see, the Word is incarnate

Parsons, R:

In nomine a 4 No. 1

In nomine a 4 No. 2

Ramsey, R:

How are the mighty fallen


Purge me, O Lord


In nomine a 4


O Praise the Lord, All Ye Heathen

When David Heard

Stile Antico (joined by Fretwork) explore long-neglected repertory: the wealth of Tudor and Jacobean sacred music written for domestic devotion, rather than for church worship. Culled from collections intended for use in private homes, these pieces by Tomkins, Campion, Byrd, Tallis, Dowland, Gibbons and others, offer a unique insight into the turbulent religious climate of the time and the thriving musical culture at its heart.

Stile Antico is now established as one of the most original and exciting voices in its field. Much in demand in concert, the group performs regularly throughout Europe and North America. Their recordings are the best-sellers on the harmonia mundi label, winning awards including the Diapason d’or de l’année and the Preis der deutschen Schallplattenkritik, and have twice attracted GRAMMY nominations. Their release Song of Songs won the 2009 Gramophone Award for Early Music and reached the top of the US Classical Chart.

Few ensembles can match the breadth of Fretwork’s repertoire, which ranges from the first printed collection published in 1501 in Venice to music commissioned by the group this year. In the 25 years since its debut, Fretwork’s pioneering work has taken its members all over the world. Their consistently high standards have brought music old and new to audiences hitherto unfamiliar with the inspiring sound-world of the viol.

Fretwork’s acclaimed recordings of the classic English viol repertory – Purcell, Gibbons, Lawes, Byrd – have become the benchmark by which other performances are measured. Its arrangements of the music of J. S. Bach have garnered particular praise. Released in 2009, the harmonia mundi recording of Purcell’s Complete Fantazias won the Gramophone Award for Baroque Chamber Music.

“We are, perhaps, in a wood-panelled Elizabethan hall, where in the early 17th century the family of a large house gather for their private prayer. Voices and viols mix in harmony, ranging from the familiar simplicity of Thomas Campion's "Never weather-beaten sail" to the elaborate verse anthem by Orlando Gibbons's "See, see the word is incarnate"...Another triumph” The Observer, 29th January 2012

“The beautifully blended voices of Stile Antico give this music with all the intensity that its emotional content merits. But then every work here fairly burns itself on the heart.” Sunday Times, 12th February 2012

“the performances are wonderfully fresh, revelling in the harmonic false relations and affectingly attentive to the import of the words.” The Telegraph, 18th February 2012 *****

“a varied treasure trove of seldom heard but extremely affecting music, nicely sung and spliced together with some darkly-glittering string In Nomines played by Fretwork...[They] easily persuade us that there is such a thing as beautiful simplicity.” BBC Music Magazine, April 2012 ****

“Stile Antico's sleek tuning and supple attention to words, and the studio recording, intimate but not claustrophobic, do bring a carefully plotted span (over 120 years) of sacred styles into our listening rooms with rare success.” Gramophone Magazine, May 2012

“another winner from the 12-voice ensemble Stile Antico... The two pieces by Thomas Tomkins, O praise the Lord and When David heard, epitomise the expressive richness of the style. But the simplicity of Campion’s Never weather-beaten sail is also gorgeous, and there’s an unexpected rocking figure, John Browne’s much earlier Jesu, mercy, how may this be?, that becomes a real earworm. The contributions of the viol consort Fretwork are equally fine” Irish Times, 20th April 2012 *****

“The group's singing is, as ever, breathtakingly beautiful” Classical Music, 2nd June 2012 ****

GGramophone Magazine

Editor's Choice - May 2012

Super Audio CD


Hybrid Multi-channel

Harmonia Mundi - HMU807554



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Petrucci - Harmonice Musices Odhecaton

Petrucci - Harmonice Musices Odhecaton

Agricola, A:


Si dedero

De tous biens playne


La Spagna

Se congie pris

Numqua fue pena major

Je suis d'Alemagne

Dit le Bourguygnon

Fortuna desperata - cantus firmus early 16th Century

Brumel, A:

Fors seulement


Le Serviteur

Caron, P:

Helas que poura devenir


Adieu mes amours

Baises moy

La Bernardina

De tous biens playne


Fors seulement

Favus distillans


De tous biens plaine


La morra

J'ay pris amours



Vray dieu d'amours




Fors seulement

Jay pris amours

Tsat een meskin

Si sumpsero


Ave Maria


Fortuna desperata


Beati pacifici (De tous biens playne)



Harmonia Mundi - HMGold - HMG507291



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In Chains of Gold: The English Pre-Restoration Verse Anthem, Vol. 1

In Chains of Gold: The English Pre-Restoration Verse Anthem, Vol. 1

Orlando Gibbons – Complete Consort Anthems

Gibbons, O:

Behold, thou hast made my days

We praise Thee, O Father

In Nomine a 5 No. 1 in D minor

This is the Record of John

Great King of Gods

Do not repine, fair sun

In Nomine a 5 No. 2 in G minor

Glorious and powerful God

Blessed are all they that fear the Lord

O all true faithful hearts

Sing unto the Lord

In Nomine a 5 No. 3

See, see, the Word is incarnate

Lord, grant grace

Fretwork, His Majesty’s Sagbutts and Cornetts, Magdalena Consort, Peter Harvey

Leading performers of 17th-century music Fretwork, His Majesty’s Sagbutts and Cornetts and the Magdalena Consort (directed by Peter Harvey) combine forces under the artistic direction of William Hunt for this first complete recording of the consort anthems of Orlando Gibbons. Gibbons’ music is one of the artistic glories of the first Stuart reign. Amongst his sacred compositions, verse anthems such as This is the record of John and Behold, thou hast made my days are long acknowledged masterpieces, amongst the greatest in all English sacred music, but best known to most in their setting for choir and organ. Here they are presented together with an array of other great anthems, some of them scarcely known, in their more intricate and colourful versions for consort accompaniment.Following the instruction of such contemporary writers as Morley and Caccini, these radical new performances place communication of text at the forefront, seeking to rediscover the dramatic essence of the verse anthem that made it arguably the most effective musical creation of the English Reformation. With the incisive declamatory skill of several of the UK’s leading period performers, they reveal the extraordinary rhetorical and poetic power of this music, as it might have been heard in the Chapel Royal and the private domestic chapels of early 17th century England

Released or re-released in last 6 months

Signum - SIGCD511


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Scheduled for release on 10 November 2017. Order it now and we will deliver it as soon as it is available.

100 Komponisten, die man gehört haben muss

100 Komponisten, die man gehört haben muss

Maria Callas, Wim Becu (sackbut), Taverner Choir (chorus), Paul Nicholson (organ), Bud Owens (sackbut), Alan Wilson (organ), Choir of King's College, Cambridge, Cambridge King's College Choir (chorus), Fretwork/Christopher Wilson, Christopher Wilson (lute), Emmanuelle Haïm/Le Concert d`Astrée, Gerald Finley (baritone vocals), Taverner Players/Andrew Parrott, Georges Cziffra, Fabio Biondi (violin), Emmanuel Pahud/Berliner Barock Solisten, Emmanuel Pahud (flute), Patricia Petibon/Les Folies Françoises/Patrick Cohen-Akenine, Mikhail Pletnev (piano), Dorothea Röschmann (soprano vocals), David Daniels (counter-tenor vocals), Renaud Capuçon (violin), Jerome Ducros, Jérôme Ducros (piano), Maurizio Naddeo (cello), Ernesto Braucher (viola), Antonio Fantinuoli (cello), Enrico Casazza (violin), Jean-Bernard Pommier/Sinfonia Varsovia, Jean-Bernard Pommier (director), Jean-Bernard Pommier (piano), Michael Rabin (violin), Elisabeth Grümmer/Joseph Keilberth/Rudolf Schock/Lisa Otto/Karl Christian Kohn/Hermann Prey/Gottlob Frick/Ernst Wiemann/Fritz Hoppe/Wilhelm Walter Dicks, Roger Norrington, Rolando Villazon (tenor vocals), Frank Braley (piano), Gautier Capuçon (cello), Franck Braley (piano), Coro del Teatro alla Scala, Milano (chorus), Coro Del Teatro Alla Scala Di Milano (chorus), Franco Corelli (tenor vocals), Maria Callas (soprano vocals), Christa Ludwig (mezzo-soprano vocals), Nicola Zaccaria (bass), Wiener Johann Strauss-Orchester, Rotterdam Philharmonic Orchestra/Jeffrey Tate, John Ogdon (piano), Rudolf Buchbinder (piano), Ambrosian Chorus (chorus), Barbara Hendricks (soprano vocals), Erik Lundkvist (organ), Brussels National Opera Chorus (chorus), Ann Murray (mezzo-soprano vocals), Jessye Norman (soprano vocals), Philadelphia Orchestra, Christian Tetzlaff/Libor Pesek, Christian Tetzlaff (violin), Philharmonia Orchestra/Otto Klemperer, Willy Boskovsky, Wiener Johann Strauss Orchester, Choir of Mariinsky Theatre, Saint Petersburg (chorus), Terry Emery (drums), William Bennett (flute), Christopher Van Kampen (violoncello), Susan Tomes (piano), Marcia Crayford (violin), Jeremy Williams (violin), Roger Chase (viola), Ian Brown (piano), Danielle Millet (mezzo-soprano vocals), Mady Mesplé (soprano vocals), Theodor Guschlbauer/Orchestre Philharmonique de Strasbourg, Grace Bumbry/Choeurs de l'Opéra National de Paris/Orchestre de l'Opéra National de Paris/Rafael Frühbeck de Burgos, Choeurs de l'Opéra National de Paris (chorus), Grace Bumbry (mezzo-soprano vocals), Royal Liverpool Philharmonic Choir/Sir Charles Mackerras, André Cluytens/Philharmonia Orchestra, Sarah Chang (violin), Simon Keenlyside/Richard Studt/Stephen Farr/Winchester Cathedral Choir/Bournemouth Sinfonietta/Nancy Argenta/David Hill, Nancy Argenta (soprano vocals), Richard Studt (violin), Winchester Cathedral Choir (chorus), Simon Keenlyside (bass-baritone vocals), Stephen Farr (organ), Hermann Prey/Ilse Gramatzki/Eugen Hug/Brigitte Lindner /Edda Moser/Ursula Roleff/Thomas Frohn/Hans-Günter Lenders/Heinz Wallberg/Kölner Kinderchor/Gürzenich Orchester/Heinz Wallberg/Kölner Kinderchor/Gürzenich Orchester, Der Kölner Kinderchor (chorus), Hermann Prey (bass-baritone), Hans-Günter Lenders (chorus), Kölner Kinderchor (chorus), Brigitte Lindner (mezzo-soprano vocals), Edda Moser (soprano vocals), Hermann Prey (bass-baritone vocals), Ilse Gramatzki (mezzo-soprano vocals), Eugen Hug (mezzo-soprano vocals), Thomas Frohn (soprano vocals), Ursula Roleff (mezzo-soprano vocals), Philharmonia Orchestra/Sir Simon Rattle, Yehudi Menuhin, José Carreras/Philharmonia Orchestra/Riccardo Muti, Julian Byzantine (guitar), Anneliese Rothenberger/Gerald Moore, Gerald Moore (piano), Samson François (piano), Riccardo Muti/Philharmonia Orchestra, Anne Queffélec (piano), Aldo Ciccolini (piano), Hermann Prey/Edda Moser/Gisela Schunk, Gisela Schunk (narrator), Helen Donath (soprano vocals), Benno Kusche (bass-baritone vocals), Norbert Orth (tenor vocals), Friedrich Lenz (tenor vocals), Mariss Jansons, Dame Moura Lympany (piano), Natalie Dessay (soprano vocals), Royal Liverpool Philharmonic Orchestra/Sir Charles Mackerras, Nash Ensemble, Yuko Inoue (viola), Christopher van Kampen (cello), Elizabeth Layton (violin), Moray Welsh (cello), Orchestre de Paris/Jean Martinon, Victoria de los Angeles, Gabriel Moreno, Juan De Andia, Orquesta Nacional De España, Luis Villarejo, José Maria Higuero, Inès Rivadeneyra, Ana Maria Higueras, Carlo Cossutta, Victor de Narké, Lucero Tena (castanets), Michel Béroff (piano), Mady Mesplé/Albert Tétard/Cello Ensemble, Pierre Degenne (cello), Pierre Masson (cello), Jeanine Tétard (cello), Jean Barthe (cello), Albert Tétard (cello), Bernard Escavi (cello), Guy Besnard (cello), Jean Deferrieux (cello), Royal Liverpool Philharmonic Orchestra/Libor Pesek, Leonard Bernstein/Orchestre National de France, Janice Watson/James Bowman/Donald Maxwell/Bournemouth Symphony Chorus/Waynflete Singers/Highcliffe Junior Choir/Bournemouth Symphony Orchestra/David Hill, Bournemouth Symphony Chorus (chorus), Harolyn Blackwell/Glyndebourne Chorus/Craig Ruttenberg/London Philharmonic Orchestra/Sir Simon Rattle, Glyndebourne Chorus (chorus), Craig Ruttenberg (director), Harolyn Blackwell (soprano vocals), Ingo Metzmacher/Bo Skovhus/Angela Denoke/Jan Blinkhof/Chris Merritt/Frode Olsen/Chor der Hamburgischen Staatsoper/Kinderchor Cantilene/Philharmonisches Staatsorchester Hamburg, Kinderchor Cantilene (chorus), Sharon Isbin (guitar), Markus Häberling (horn), State Academic Mariinsky Theatre Choir, Michael Tilson Thomas, Christopher Warren-Green, Paavo Järvi, Simon Haram (soprano saxophone), John Harle (soprano saxophone), Tasmin Little/Martin Roscoe, Tasmin Little (violin), Martin Roscoe (piano)

Taverner Consort, Fretwork, Les Sacqueboutiers, Les Arts Florissants, Taverner Players, Scottish Ensemble, Europa Galante, Coro Del Teatro Alla Scala Di Milano, Nash Ensemble, Der Kölner Kinderchor, Chor des Bayerischen Rundfunks, Andrew Parrott, Sir David Willcocks, Emmanuelle Haïm, Stephen Cleobury, William Christie, Jonathan Rees, Fabio Biondi, Patrick Cohën-Akenine, Sir Philip Ledger, Alexander Briger, Sir Roger Norrington, Joseph Keilberth, Marcello Viotti, Tullio Serafin, Mic

Warner Classics - 9999343485

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Dowland: Tunes of Sad Despaire

Dowland: Tunes of Sad Despaire



By John Dowland/Thomas Simpson


My Lord of Dehims Lamentacio


Go Crystal tears

If my complaints could passions move

Sorrow, come

What If A Day

Poulton No. 79

Fine knacks for ladies

Go, nightly cares

In darkness let me dwell

In this trembling shadow cast

Away with these self-loving lads

Dr Case's Pavan

Poulton No. 12, diminutions for repeats by Eric Bellocq

From silent night

Come heavy sleep

All ye, whom Love or Fortune hath betray'd

Now, O now, I needs must part

Dominique Visse (countertenor)

Fretwork, Renaud Delaigue & Eric Bellocq

In the late 16th C, lute songs were known as ‘Ayres’ with John Dowland’s form of writing establishing a fashion of both composition and performance which was to last for 25 years.

The popularity of rhetoric and a fashion for melancholy spilled over to Dowland’s writing and he became one of the greatest advocates for this style.

This disc is a wonderful collection of his melancholic works (difficult to achieve as the composer himself never made a ‘collection’ as such), performed here by the fantastic Fretwork ensemble with countertenor Dominque Visse singing.

Dominque began his career at the age of 11 as a chorister in the Cathedral of Notre Dame and went on to study with Alfred Deller. He has since performed with other greats including more recently René Jacobs, Nigel Rogers and William Christie.

“In the final analysis, though in many ways infuriating, this is a brilliant and inspiring Dowland recital that cannot easily be ignored.” International Record Review

Satirino - SR121



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Grant The King A Long Life: English Anthems & Instrumental Music

Grant The King A Long Life: English Anthems & Instrumental Music


Hosanna to the Son of David

Pavan [1] - 'Mr Weelkes his Lacrimae'

What joy so true

All people clap your hands

Voluntarie I

Lord, to Thee I make my moan, anthem for 5 voices

When David Heard

Gloria in excelsis Deo

Pavan [3] - Mr Weelkes his 3. Pavin'

Give ear, O Lord

Most mighty and all-knowing Lord

O how amiable are thy dwellings

Voluntarie II

Alleluia, I heard a voice

O mortal man

Pavan [5]

Give the king thy judgements

Fantasy ‘for 2 Basses’

If King Manasses

O Lord, grant the king a long life

Thomas Weelkes was a notorious drunkard and blasphemer, in regular conflict with the authorities of Chichester Cathedral where he was organist, Informator Choristarum, and a singing-man from 1602 until his death in 1623. At least that is his modern reputation. But regardless of the man’s personal flaws, his music firmly stands as sublime.

He was the most notable composer of madrigals in his day, and one of the most prolific composers of church music. Featured here is a selection of his finest full and verse anthems as well as instrumental music for organ, viols, and solo voice, including a number of anthems in praise of King James I of England.

“There's both freshness and fire in these accounts, Skinner underscoring the music's dramatic and madrigalian qualities, and enhancing dynamic and textural contrasts to elating effect.” BBC Music Magazine, September 2012 *****

“the exquisite playing of Fretwork, especially in the three Pavans, is of such quality that it alone is well worth the price of the disc. And, given their own moment in the limelight in two of Weelkes's voluntaries, the two organists emerge as deeply sympathetic to this delightful music.” Gramophone Magazine, July 2012

“For the organ-accompanied verse anthems the soloists have been drawn from the choir...while in anthems such as 'What joy so true' the women affect the usual choirboyish quality though without the dangerously fragile intonation that usually accompanies such a strategy; the result is, well, affecting...Fretwork's highly musical phrasing complemented by dusky timbres and sharply delineated textures return to delight both ear and brain” International Record Review, July 2012

Obsidian Records - CD708



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100 x Klassik zu Ostern

100 x Klassik zu Ostern

Cambridge King's College Choir (chorus), London Classical Players/Sir Roger Norrington, Taverner Players/Andrew Parrott, Taverner Choir (chorus), Crispian Steele-Perkins/City of London Baroque Sinfonia/Richard Hickox, Fretwork/Christopher Wilson, Christopher Wilson (lute), Wim Becu (sackbut), Paul Nicholson (organ), Bud Owens (sackbut), Alan Wilson (organ), Gérard Lesne/Ensemble de violes Orlando Gibbons, Gérard Lesne (counter-tenor vocals), Emmanuelle Haïm/Le Concert d`Astrée, Susan Graham (mezzo-soprano vocals), European Voices (vocal ensemble), James Bowman (counter-tenor vocals), Christopher Robson (counter-tenor vocals), Choir Of The Age Of Enlightenment (chorus), Nancy Argenta/Nigel North, Nigel North (lute), Nancy Argenta (soprano vocals), Margaret Cable (mezzo-soprano vocals), Nicholas Danby (organ), Balázs Máté/Capella Agostino Steffani/Lajos Rovátkay, Balazs Maté (cello), Taverner Players (vocal & instrumental ensemble), Taverner Consort (vocal & instrumental ensemble), Taverner Choir, Bob Van Asperen, Carsten Lohff (harpsichord), Bernhard Klapprott (harpsichord), Bob van Asperen (harpsichord), Marcello Busi (harpsichord), Werner Jacob (organ), Nancy Argenta/Crispian Steele-Perkins/Ensemble Sonnerie/Monica Huggett, Crispian Steele-Perkins (trumpet), David Munrow/Carmel Kaine/Academy of St Martin-in-the-Fields/Sir Neville Marriner, David Munrow (recorder), Han de Vries/Alma Musica Amsterdam /Bob van Asperen, Han De Vries (oboe), Taverner Players/Andrew Parrott/John Toll, John Toll (organ), Maggie Cole (harpsichord), Jérôme Hantaï (viola da gamba), Stephanie Blythe (mezzo-soprano vocals), Monica Huggett/Rachel Beckett/Marion Scott/Orchestra of the Age of Enlightenment, Rachel Beckett (recorder), Marion Scott (recorder), Monica Huggett (director), Monica Huggett (violin), Ralph Kirshbaum (cello), Nederlands Kamerkoor (chorus), Michel Debost/Lionel Rogg, Lionel Rogg (harpsichord), Michel Debost (flute), Boston Early Music Festival Orchestra/Andrew Parrott, Ray Still/Academy of London/Richard Stamp, Ray Still (oboe), Fabio Biondi (violin), Maurizio Naddeo (cello), Ernesto Braucher (viola), Antonio Fantinuoli (cello), Enrico Casazza (violin), Mikhail Pletnev (piano), Véronique Gens (soprano vocals), Giovanni Scaramuzzino/Sonia Maurer/Europa Galante/Fabio Biondi, Sonia Maurer (mandolin), Giovanni Scaramuzzino (mandolin), Taverner Consort, Taverner Players, Taverner Consort & Players (vocal & instrumental ensemble), Jean-Jacques Kantorow/Orchestre d'Auvergne, Jean-Jacques Kantorow (violin), Chiara Bianchini/Alison Bury/Elizabeth Wallfisch/John Holloway/Taverner Players/Andrew Parrott, Chiara Banchini (violin), Michel Sanvoisin (recorder), The Sixteen/Harry Christophers, The Sixteen (vocal ensemble), Hespèrion Xx/Jordi Savall, Jordi Savall (viola da gamba), Hopkinson Smith (guitar), Montserrat Figueras/Hespèrion XX/Jordi Savall, Robert Clancy (vihuela), Antonio Barbera (drums), Harry Ries (trombone), Jordi Savall (director), Montserrat Figueras (soprano vocals), Charles Toet (trombone), Lorenzo Alpert (flute), Jordi Savall (viol), Paolo Pandolfo (viol), Sergi Casademunt (viol), Bruce Dickey (cornetto), Chorus of the Gulbenkian Foundation (chorus), La Simphonie du Marais/Hugo Reyne, Fritz Lehan/Consortium Musicum, Maurice André/Bernard Soustrot/Thierry Caens/Guy Touvron/Jean-Pierre Leroy/Ensemble Orchestral de Paris/Jean-Pierre Wallez, Guy Touvron (trumpet), Jean-Paul Leroy (trumpet), Thierry Caens (trumpet), Maurice André (trumpet), Bernard Soustrot (trumpet), Choeur Grégorien du Val-de-Grâce/Louis-Marie Vigne/Jean-Patrice Brosse, Jean-Patrice Brosse (organ), Les Demoiselles de Saint-Cyr/Emmanuel Mandrin, Sylvie Moquet (viola da gamba), Les demoiselles de Saint-Cyr (vocal ensemble), Emmanuel Mandrin (organ), Emmanuel Mandrin (director), Gérard Lesne/Mark Padmore/Josep-Miquel Ramon i Monzó/Il Seminario Musicale, Mark Padmore (tenor vocals), Josep-Miquel Ramon I Monzó (bass vocals), Bernard Gaudfroy (viola), Laurence Duval (viola), Françoise Rojeat (viola), Sylvette Gaillard (violoncello), Marion Middenway (violoncello), Jean-Luc Thonnerieux (viola), Françoise Couvert (violin), Andrée Mitermitte (violin), Valérie Mascia (violin), Isabelle Claudet (violin), Xavier Lambert (violin), Alain Pegeot (violin), Dominique Dujardin (violoncello), Danielle Salzer (organ), Yasuri Imamura (lute), Claire Decaux (bassoon), Rogério Goncalves (bassoon), Pierre Sechet (flute), Damien Guffroy (double bass), Jean Mallet (violin), Jean-Claude Veilhan (flute), Michel Vandenbroucque (oboe), Christophe Mazeaud (oboe), Michel Maldonado (double bass), Alain Viau (violin), Peter Harvey (bass-baritone vocals), Gilles Ragon (tenor vocals), Olivier Schneebeli (director), Oliver Schneebeli (director), Bernadette Charbonnier (violin), Philippe Couvert (violin), Marie-Christine Desmonts (violin), Dominique Visse (counter-tenor vocals), Joëlle Azoulay (violin), Franck Pichon (violin), Emmanuel Bardon (counter-tenor vocals), Jean-Paul Bonnevalle (counter-tenor vocals), Catherine Robin (soprano vocals), Isabelle Germain (soprano vocals), Emmanuelle Blasutta (soprano vocals), Euken Ostalaza (counter-tenor vocals), Marc Pontus (counter-tenor vocals), Arnaud Marzorati (bass), Pierre Corbel (bass), Bruno Blanchet (bass), Richard Biren (bass), Herve Niquet, Le Concert Spirituel (vocal & instrumental ensemble), Pascal Monteilhet (theorbo), Gérard Lesne/Il Seminario Musicale, Trio Sonnerie, Jerome Hantai, Jérôme Hantaï (bass viol), Isabelle Desrochers/Bernard Deletré/La Simphonie du Marais/Hugo Reyne, Isabelle Desrochers (soprano vocals), Bernard Deletré (baritone vocals), Patricia Petibon/Les Folies Françoises/Patrick Cohen-Akenine, Patricia Petibon (soprano vocals), Christian Tetzlaff (violin), Mark Bennett/Rachel Beckett/Paul Goodwin/Monica Huggett/Orchestra of the Age of Enlightenment, Mark Bennett (trumpet), Paul Goodwin (oboe), Elizabeth Wallfisch/Alison Bury/Orchestra of the Age of Enlightenment, Elisabeth Wallfisch (violin), Alison Bury (violin), Elizabeth Wallfisch (director), Sharon Isbin (guitar), English Chamber Orchestra/Sir Philip Ledger, Gustav Leonhardt (harpsichord), Christoph Prégardien (tenor vocals), Charles Brett (counter-tenor vocals), Christophe Rousset (harpsichord), Anner Bylsma/Orchestra of the Age of Enlightenment/Gustav Leonhardt, Anner Bylsma (cello), Chorus of Collegium Vocale, Ghent/Orchestra of the Age of Enlightenment/Philippe Herreweghe, Chorus of Collegium Vocale, Ghent (chorus), David Daniels/Orchestra of the Age of Enlightenment/Sir Roger Norrington, David Daniels (counter-tenor vocals), Margaret Cable (contralto vocals), Jill Feldman (soprano vocals), David Thomas (bass vocals), Emily Van Evera (soprano vocals), Joseph Cornwell (tenor vocals), Stephanie Blythe/Emmanuelle Haïm/John Nelson/Ensemble Orchestral de Paris, Emmanuelle Haïm (harpsichord), Della Jones/City of London Baroque Sinfonia/Richard Hickox, Della Jones (mezzo-soprano vocals), The Consort of Musicke, Anthony Rooley (director), The Consort Of Musicke (vocal & instrumental ensemble), Dame Emma Kirkby/Nigel Rogers/Rogers Covey-Crump/David Thomas/Taverner Consort/Taverner Choir/Taverner Players/Andrew Parrott, Arleen Augér (soprano vocals), Choir of King's College, Cambridge, Gerald Finley (baritone vocals), Monica Huggett/Raglan Baroque Players/Nicholas Kraemer, Nicholas Kraemer (director)

Fretwork, Taverner Players, Taverner Consort, Orlando Gibbons, Le Concert d'Astrée, Melante Amsterdam, Ensemble Sonnerie, Alma Musica Amsterdam, Europa Galante, Hespèrion XX, Circa 1500, Les Arts Florissants, Il seminario musicale, Les Pages De La Chapell, Stephen Cleobury, Sir Roger Norrington, Andrew Parrott, Emmanuelle Haïm, Gustav Leonhardt, Lajos Rovatkay, Sir Philip Ledger, Monica Huggett, Sir Neville Marriner, Bob van Asperen, John Nelson, Sigiswald Kuijken, Richard Stamp, Gérard Lesne, Fabio Biondi,

Warner Classics - 9996028085

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Sublime Discourses

Sublime Discourses

The Complete Instrumental Music of John Milton and Martin Peerson


Fantazia 1 (G minor) a 5 (M 16)

Fantazia 3 (G major) a 5 (M 18)

Fantazia 2 (A minor) a 5 (M 17)

In Nomine, If that a sinner’s sighs (M 15)

Fantazia 4 (D minor) a 5 (M 19)

Fantazia 5 (A minor) a 6 (M 20)


Fantasia Acquaintance (G minor) a 6 (P III/2)

Almaine (G minor) a 6 (P III/U3)

Fantasia Beauty (G major) a 6 (P III/4)

Almaine (G major) a 6 (P III/5)

Piper's Pavan

Fantasia Chowse (D major and minor) a 6 (P III/6)

Almaine (G major) a 6 (P III/7)

Fantasia Delicate (D minor) a 6 (P III/8)

Almaine (G major) a 6 (P III/9)

Alman (P VI/1)

Fantasia (D minor) a 6 (P III/10)

Almaine (D major) a 6 (P III/11)

Fantasia Attendite a 5 (P III/1)

The Fall of the Leafe

The Primerose (P VI/4)

Fantasia (D minor) a 6 (P III/15)

Fantasia (G major) a 6 (P III/12)

Almaine (G major) a 6 (P III/13)

Almaine (G major) a 6 (P III/14)

Numbering from the new edition by Professor Richard Rastall of the complete works of Martin Peerson and John Milton.

Michael Chance (countertenor) & Sophie Yates (virginals)


A major new release from 2009 Gramophone Award-winning artists, FRETWORK.

With additional contributions from Michael Chance and Sophie Yates.

The first recording of the complete instrumental music of two unjustly neglected 17th century English composers, Martin Peerson and John Milton (father of the poet).

Includes all the works for viol consort, all the solo keyboard works and the single song with viol consort accompaniment.

23 of the 25 items are new to the catalogue.

A significant and invaluable contribution to the discography of 17th century English music in incomparable performances from some of the world’s finest artists in this field.

Sadly this was one of the final recordings that Richard Campbell made with Fretwork before his death in March 2011.

“This apt album title never seems far away during these exquisitely conceived performances of 20 consort pieces in five or six parts. Fretwork play with gentle mastery of affect...Sophie Yates exercises her beguiling touch in four keyboard pieces by Peerson...The generation of composers active in the years prior to the English Civil War is somewhat forgotten, so this harmonious match of Rastall's scholarly research and Fretwork's fine musicianship is priceless.” Gramophone Magazine, February 2012

“Fretwork here unveils some obscure but engaging works from the golden age of English consort...Fretwork responds with playing that ranges from buoyant and capricious to episodes of high seriousness. Throughout, we hear the flawless technique and luminous sound that have helped to establish Fretwork's reputation as one of today's leading viol consorts.” BBC Music Magazine, March 2012 *****

Regent - REGCD341



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