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

“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

“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 *****

“There remains an intensity of passionate utterance in the most striking of Weelkes's works, balanced by a sober moderation in much else. He himself, as we learn from contemporary accounts, was not characterised by either moderation or sobriety, at least in his latter years, coming to his choir 'from the Taverne or Ale house' cursing and swearing 'most dreadfully'. You would never guess as much from the decorous verse anthems and evening canticles, but the intensity of the lament O Jonathan, which opens the present recital, might suggest a less bridled temperament, as might the concentrated fervour of Hosanna to the Son of David, which closes it.
Under Benjamin Nicholas, director of Tewkesbury Abbey's Schola Cantorum, the choir has developed a strong style, remarkable for its sense of personal (or corporate) commitment as for the sonority of its tone and the assurance of its delivery. The trebles splendidly vindicate the tradition that places them at the heart of English cathedral music. The men's voices are also powerful and resonant and the total effect is rich and forthright. If anything, the 'standard' level of volume is set too high – it is not until the sixth item, O how amiable are thy dwellings, that we find reassurance that the choir can sing quietly. Fine solo work and neat organ-playing are further assets, as is the introductory note by Dr Peter James.” Gramophone Classical Music Guide, 2010

“Committed performances reveal Tudor church music in it strongest colours. Weelkes is a composer to make you think again, and Tewkesbury Abbey currently has the choir to present him in strongest colours and with the most personal accent. The trebles splendidly vindicate the tradition that places them at the heart of English cathedral music. The men's voices are also powerful and resonant and the total effect is rich and forthright. Fine solo work and neat organ-playing are further assets, as is the introductory note by Dr Peter James.” Gramophone Magazine, April 2009

“angelic purity” The Guardian, December 2007

“The recording of Anthems by Thomas Weelkes is especially welcome as he is not over-represented in the catalogue...Excellent sound…” Classic CD, September 1996