The King’s Singers and Fretwork celebrate Renaissance composers in Tom and Will — review

Tom and Will both died in 1623, a pair of composers with very different life stories. “Will” was William Byrd, aged over 80 at his death and renowned today for his great Catholic masses from the Protestant age of Elizabeth I. “Tom” was Thomas Weelkes, much criticised as choirmaster at Chichester Cathedral for his drunkenness and swearing, and dead at 47.

Posterity has brought these two Renaissance composers together to mark the 400th anniversary of their deaths. The year began with a fine disc of Byrd’s sacred music from Stile Antico. Now the pair share a disc courtesy of The King’s Singers and instrumental ensemble Fretwork.

The two discs are so different that one really wants both. With a few exceptions, the music here is non-religious — madrigals of amorous exploits, youthful indiscretions, courtship and melancholy, interspersed with instrumental numbers for a consort of viols.

The programme has been chosen with an eye to its entertainment value. “Who Made Thee Hob” is a rustic dialogue, sung with Cornish accents. “If Women Could Be Fair” warns of colluding with ladies of the night. “Thule, the Period of Cosmography” includes a vivid picture in music of a volcano in Iceland.

The contrasts are further accentuated by restlessly varying the number of voices and accompaniments, which can seem a touch contrived, but the standard is high. A bonus comes in the form of two new pieces, commissioned from James MacMillan and Roderick Williams, tributes in the Tudor manner to Tom and Will.

★★★★☆

‘Tom and Will’ is released by Signum Classics