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William Byrd was an English Renaissance composer. Considered among the greatest composers of the Renaissance, he had a profound influence on composers both from his native country and on the Continent. He is often considered along with John Dunstaple and Henry Purcell as one of England's most important composers of early music.
Sheet music is a handwritten or printed form of musical notation that uses musical symbols to indicate the pitches, rhythms, or chords of a song or instrumental musical piece. Like its analogs – printed books or pamphlets in English, Arabic, or other languages – the medium of sheet music typically is paper. However, access to musical notation since the 1980s has included the presentation of musical notation on computer screens and the development of scorewriter computer programs that can notate a song or piece electronically, and, in some cases, "play back" the notated music using a synthesizer or virtual instruments.
John Taverner was an English composer and organist, regarded as one of the most important English composers of his era. He is best-known for Missa Gloria tibi Trinitas and The Western Wynde Mass, and Missa Corona Spinea is also often viewed as a masterwork.
John Sheppard was an English composer of the Renaissance.
Alfonso Ferrabosco was an Italian composer. While mostly famous as the solitary Italian madrigalist working in England, and the one mainly responsible for the growth of the madrigal there, he also composed much sacred music. He also may have been a spy for Elizabeth I while he was in Italy.
Thomas Ashwell or Ashewell was an English composer of the Renaissance. He was a skilled composer of polyphony, and may have been the teacher of John Taverner.
Giles Farnaby was an English composer and virginalist whose music spans the transition from the Renaissance to the Baroque period.
Robert Parsons was an English composer of the Tudor period who was active during the reigns of King Edward VI, Queen Mary I and Queen Elizabeth I. He is noted for his compositions of church music.
William Mundy was a Renaissance English composer of sacred music and father of composer John Mundy. Over four hundred years after his death, William Mundy's music is still performed and recorded.
Henri Dumont was a baroque composer of the French school, born in the Southern Netherlands.
Nicholas Ludford was an English composer of the Tudor period. He is known for his festal masses, which are preserved in two early-16th-century choirbooks, the Caius Choirbook at Caius College, Cambridge, and the Lambeth Choirbook at Lambeth Palace, London. His surviving antiphons, all incomplete, are copied in the Peterhouse partbooks, which disappeared from view until some were rediscovered in 1850, and the rest only in 1926.
Giovanni Priuli was a Venetian composer and organist of the late Renaissance and early Baroque periods. A late member of the Venetian School, and a contemporary of Claudio Monteverdi, he was a prominent musician in Venice in the first decade of the 17th century, departing after the death of his associate Giovanni Gabrieli and ending his career at the Habsburg court in Austria. His music straddled the dividing-line between Renaissance and Baroque idioms.
The 'Gyffard' Partbooks are an important set of English Renaissance choral partbooks, containing pieces by composers such as Thomas Tallis and John Sheppard, as well as additional unnamed composers, which are not found in other sources.
Blue Heron, directed by Scott Metcalfe, is a professional vocal ensemble based in the Boston area. The ensemble presents an annual concert series in Cambridge, Massachusetts, and performs throughout New England as well as touring the US; it made its European debut in the United Kingdom in 2017.
The Dow Partbooks are a collection of five partbooks compiled by Robert Dow in Oxford around 1581–88. The collection includes mostly choral but also some instrumental pieces. At the end is an instrumental La gamba and a canon, both a 3 and apparently copied from Vincenzo Ruffo's book printed in Milan in 1564.
Drexel 4180–4185 is a set of six manuscript partbooks copied in Gloucester, England, containing primarily vocal music dating from approximately 1615-1625. Considered one of the most important sources for seventeenth century English secular song, the repertoire included represents a mixture of sacred and secular music, attesting to the partbooks' use for entertainment and pleasure, rather than exclusively for liturgical use.
Il Primo Libro delle Canzoni is a collection of instrumental Baroque canzonas by the Ferrarese organist and composer Girolamo Frescobaldi. It was published in two different editions in Rome in 1628, and re-issued with substantial revisions in Venice in 1634. The three editions of the Primo Libro contain a total of forty-eight canzonas for one, two, three or four instrumental voices in various combinations, all with basso continuo; as a result of revisions, sixteen of the canzonas exist in two substantially different versions.
The Peterhouse partbooks are a collection of English partbooks dating from the sixteenth and seventeenth centuries. They are named "Peterhouse" after Peterhouse in Cambridge, where the books were kept for some time, and are now preserved in the Cambridge University Library. They are handwritten manuscripts, all written on paper. At some point in the mid-eighteenth century, the books were rebound, although the foliation and indices remained unchanged.
The Oxford Book of Tudor Anthems is a collection of vocal scores of music from the Tudor era of England (c.1550-1625). It was published in 1978 by Oxford University Press and was compiled by the organist and publisher Christopher Morris (1922-2014), the editor of OUP who also was involved with the popular Carols for Choirs series of books in the 1970s. The preface was written by Sir David Willcocks.
Robert Johnson was a Scottish Renaissance composer and priest.
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