Morley: April is in My Mistress' Face

This page lists all recordings of April is in My Mistress' Face, by Thomas Morley (1557-1602) on CD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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Traditional Glees & Madrigals

Traditional Glees & Madrigals


Sweet and low

The Kiss


Come let us join the roundelay

Bishop, H R:

Foresters sound the cheerful horn

Bridge, Frederick:

The Goslings

Two Snails


Though Amaryllis dance in green


Come, gentle swains

Cooke, B:

Epitaph On A Dormouse

Cooke, T:

Strike The Lyre


As torrents in summer

Gibbons, O:

Ah, dear heart

O That The Learned Poets


Fyre! Fyre

April is in My Mistress' Face

My bonny lass she smileth

Paxton, W:

Breathe Soft, Ye Winds


There is a paradise on earth

O who will o'er the downs so free

Waters of Elle

Ramsey, R:

Sleep, fleshy birth

Smart, G T:

The Squirrel

Sullivan, A:

The long day closes


Music divine, proceeding from above


Sweet Suffolk Owl


Hark All Ye Lovely Saints

Thus Sings My Dearest Jewel

Alto - ALC1095



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An Immortal Legacy

An Immortal Legacy


Choral Dances from Gloriana, Op. 53


The sweet and merry month of May

Laudibus in sanctis


Tallis Canon

Gibbons, O:

The Silver Swan


The Strathclyde Motets: Sedebit Dominus Rex

The Strathclyde Motets: Mitte manum tuam


April is in My Mistress' Face


Tunes for Archbishop Parker's Psalter

Salvator mundi

O nata lux de lumine 5vv

O sacrum convivium

Loquebantur variis linguis

Veni creator: Come Holy Ghost


A Child of Our Time

16th-century England was a place of much religious change. It was a dangerous and confusing time and it is testament to their incredible skill and musical mastery that composers like Tallis and Byrd were able to produce such magnificent works in such troubled times. Their music left a lasting legacy, influencing some of our most celebrated 20th- and 21st-century composers and surviving over half a millennium to be performed as widely today as they have ever been.

This disc features some of the best-loved classics of Tudor and Jacobean church music together with madrigals by Tallis, Byrd and Gibbons. They are performed alongside pieces by Britten, Tippett and MacMillan including the Five Spirituals from A Child of Our Time and the Choral Dances from Gloriana. The Sixteen has performed this repertoire around the world over the last six years and is one of the ensemble’s most popular concert programmes.

Coro - COR16111



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Morley: Madrigals and Canzonetta for 2-5 voices

Morley: Madrigals and Canzonetta for 2-5 voices


Lo, where with flowery head

Damon and Phyllis squared

O Grief, even on the bud

Those dainty daffadilles

Sweet nymph, come to thy lover

Flute duet in C major

I love, alas I love thee

Sayd I that Amarillis

Leave, alas, this tormenting

Leave now mine eyes

Flute duet in G minor

O sleep, fond fancy

Deep lamenting

Miraculous Love's wounding

April is in My Mistress' Face

Spring tyme mantleth every bough

Flora wilt thou torment mee?

Now is the month of maying

Flute duet in F major

My bonny lass she smileth

Ensemble Amaryllis

Morley was born in Norwich, in East England, the son of a brewer. Most likely he was a singer in the local cathedral from his boyhood, and he became master of choristers there in 1583. However, Morley obviously spent some time away from East England, for he later referred to the great Elizabethan composer of sacred music, William Byrd, as his teacher; while the dates he studied with Byrd are not known, they were most likely in the early 1570s. In 1588 he received his bachelor’s degree from Oxford, and shortly thereafter was employed as organist at St. Paul’s in London. His young son died the following year in 1589. In addition to his madrigals, Morley wrote instrumental music, including keyboard music (some of which has been preserved in the Fitzwilliam Virginal Book), and music for the broken consort, a uniquely English ensemble of two viols, flute, lute, cittern and bandora, notably as published by William Barley in 1599 in The First Booke of Consort Lessons, made by diuers exquisite Authors, for six Instruments to play together, the Treble Lute, the Bandora, the Cittern, the Base-Violl, the Flute & Treble-Violl.

In this all Danish cast with the Ensemble Amarillis, we hear a beautiful cast in seldom heard music from the time of William Byrd.

United Classics - T2CD2012078



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Ye sacred muses - an elegy for Thomas Tallis

Lullaby, my sweet little baby

Come to me, grief, for ever

I Thought That Love Had Been A Boy

Crowned with flowres I saw faire Amarillis


The Leaves Be Greene


Can she excuse my wrongs? (First Booke of Songes, 1597)

Now, O now, I needs must part

Flow my teares (Lacrimæ)

Fine knacks for ladies

In darkness let me dwell

Galilei, V:

La Volta

Gibbons, O:

The Silver Swan

Fantasia of four parts


The Fairie-round



April is in My Mistress' Face


Under The Greenwood Tree

The Indian Queen


If love's a sweet passion (from The Fairy Queen, Z628)

Fairest Isle (from King Arthur)

Man is for the woman made (from The Mock Marriage, Z605)

Dance for the Haymakers (from The Fairy Queen, Z628)

An Evening Hymn 'Now that the sun hath veiled his light', Z193

Lawrence Zazzo (countertenor)

Paragon Saxophone Quartet

A tantalising fusion of ancient and modern, ‘Byrdland’ explores the world of the Renaissance song accompanied by a modern-day saxophone quartet. All the songs on the disc were written by the great composers working in England in

the 16th and 17th centuries. Recent recordings by artists as diverse as Sting and Brian Asawa have partnered the singer with the more traditional lute.

“Zazzo's interpretation of the text and tasteful shaping of melody would grace any kind of performance style, and it is intriguing to hear some tenderly realised polyphonic lines delineated by the Paragon Saxophone Quartet. Byrd's "Lullaby" and Gibbon's "The Silver Swan" get an attractive alternative life here. ...a rare example of successfully reinventing "early" music.” Gramophone Magazine, October 2007

“…the elegant phrasing and sumptuous tonal character of the Paragon Quartet's playing… combines the warm intimacy of a viol consort with the fruit richness of shawms and crumhorns. Zazzo has one of the most flawless, beautifully-controlled voices you could wish to hear. ...his sound and technique rival even Scholl's and his diction is excellent in this astute mixture of familiar and lesser-known pieces.” BBC Music Magazine, Proms 2007 ****

Landor Records - LAN280



Usually despatched in 4 - 5 working days.

Music and Sweet Poetry Agree

Music and Sweet Poetry Agree

16th & 17th century English Songs


O Death Rock me Asleep

This Merry Pleasant Spring


In Winter Cold

Whereat an Ant

Ambitious Love

O God that guides the cheerful sun


As by the Streams of Babylon

Never weather-beaten sail


Time stands still

Can she excuse my wrongs? (First Booke of Songes, 1597)

Awake, sweet love


Who Keeps in Compass his Desires


Fire, Fire!

Suite in B flat major

The Marigold (Mark How the Blushful Morn)


Suite in D minor 'For his majesty's sagbutts and cornetts'


April is in My Mistress' Face


Sweeter than Roses (from Pausanius, the Betrayer of his Country, Z585)

Three Parts upon a Ground in D major - Z731

Here the deities approve, Z339


Adieu, sweet Amaryllis

Matthew White (countertenor)

Analekta - AN29918

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