Thomas Tomkins (1572–1656) was a Welsh-born composer of Cornish origins of … Read Full Bio ↴Thomas Tomkins (1572–1656) was a Welsh-born composer of Cornish origins of the late Tudor and early Stuart period. In addition to being one of the prominent members of the English Madrigal School he was a skilled composer of keyboard and consort music.
He was born in St David's in Pembrokeshire. His father was also a musician, a vicar choral of the cathedral of St Davids, and organist there; his three half-brothers were musicians as well, but none attained the fame of Thomas. In 1596 he was appointed as a choral instructor at Worcester Cathedral. He almost certainly studied with William Byrd for a time in London, as he dedicated a madrigal to him as his teacher. While in London he probably met Thomas Morley, as Morley included one of Tomkins' madrigals in his important collection The Triumphs of Oriana in 1601.
He became a Gentleman Ordinary of the Chapel Royal some time before 1620, and became senior organist there in 1625. He appears to have withdrawn from the post in about 1628. Apparently he was still employed by Worcester Cathedral for the next two decades, but when the city was captured by Parliamentary forces in 1646, during the Civil War, he lost his job, though he was allowed to continue living near the cathedral. Music (with the exception of the singing of metrical psalms) was abolished in all churches, and the Worcester Cathedral organ (which Tomkins had commissioned in 1614) was destroyed and the choir disbanded. Tomkins moved in with his son, and lived with him until his death on 9th June 1656.
He was born in St David's in Pembrokeshire. His father was also a musician, a vicar choral of the cathedral of St Davids, and organist there; his three half-brothers were musicians as well, but none attained the fame of Thomas. In 1596 he was appointed as a choral instructor at Worcester Cathedral. He almost certainly studied with William Byrd for a time in London, as he dedicated a madrigal to him as his teacher. While in London he probably met Thomas Morley, as Morley included one of Tomkins' madrigals in his important collection The Triumphs of Oriana in 1601.
He became a Gentleman Ordinary of the Chapel Royal some time before 1620, and became senior organist there in 1625. He appears to have withdrawn from the post in about 1628. Apparently he was still employed by Worcester Cathedral for the next two decades, but when the city was captured by Parliamentary forces in 1646, during the Civil War, he lost his job, though he was allowed to continue living near the cathedral. Music (with the exception of the singing of metrical psalms) was abolished in all churches, and the Worcester Cathedral organ (which Tomkins had commissioned in 1614) was destroyed and the choir disbanded. Tomkins moved in with his son, and lived with him until his death on 9th June 1656.
When David heard
Thomas Tomkins Lyrics
We have lyrics for 'When David heard' by these artists:
Eric Whitacre When David heard that Absalom was slain, he went up into…
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@user-hr1uc2ru3c
When David heard that Absalom was slain
He went up into his chamber over the gate and wept
And thus he said;
When David heard that Absalom was slain
He went up into his chamber over the gate and wept
And thus he said;
My son, my son
O Absalom my son
Would God I had died for thee!
@debbiemail1
All over the world people like myself who enjoy singing and can read music can now sing along with a recording of this calibre. Thanks to you posting it on You Tube.
@antoniusaetneus855
GREAT COMPOSER!
@aaronisaac9105
In terms of accuracy it's brilliant, but wish they'd slow the tempo. It's supposed to be melancholic and they're just rushing it. I know...breathing is impossible, but these guys are probably up to it!
@Yorksbass
"Supposed to be"? No such thing!
@HenryBertolucci
did I hear a natural F 3:01? (soprano, measure 61 first note) However, it sounded better than which is written :)
@MarkHoemmen
i think you're right! it sounds good that way
@felix-rebeccasaward3272
A couple of other recordings I've heard also make that variation. Not sure why, but it sounds better.
@therealzilch
I prefer the original F#, which makes a very poignant cross relation with the F♮ closely following it in the baritone voice- a very typical harmonic move for Tudor composers. But to each his own.
@HenryBertolucci
well pointed. either way we have an interesting false relation.
@Yorksbass
And indeed in 60, if you listen carefully! A difference of editions, I suspect.