Buxtehude’s Easter cantata cycle, Membra Jesu Nostri, together with Bach’s Piece d’Orgue

A concert in memory of Timothy Symons, with Hereford Cathedral Choir, directed by Geraint Bowen. Music by Byrd, Gibbons, Tomkins and Lawes.

John Taverner’s Missa Gloria tibi trinitas, coupled with Sir John Tavener’s Nipson and The Hidden Face, with Iestyn Davies and Nicholas Daniel.

Music by Byrd, Gibbons, Amner, Tomkins and Holborne recreating the atmosphere of Christmas over 400 years ago… with Leicester’s leading chamber choir, Leicestershire Chorale.

Music by Byrd, Gibbons, Amner, Tomkins and Holborne recreating the atmosphere of Christmas over 400 years ago… with the Cotswold’s leading chamber choir, Cantores

Byrd’s masses 4 and 5 parts performed in an unique way by The Gesualdo Six, with Fretwork playing his consort music. Theatrical, interactive and exceptional.

Byrd’s masses 4 and 5 parts performed in an unique way by The Gesualdo Six, with Fretwork playing his consort music. Theatrical, interactive and exceptional.

Take Five makes a journey across the musical spectrum, stopping off at Bach, Debussy, Arvo Pärt, Michael Nyman, William Byrd, Kate Bush and, of course, Dave Brubeck.

Take Five makes a journey across the musical spectrum, stopping off at Bach, Debussy, Arvo Pärt, Michael Nyman, William Byrd, Kate Bush and, of course, Dave Brubeck.

Fretwork join with that extraordinarily wonderful vocal ensemble, The King’s Singers to celebrate the 400th anniversary of the deaths of Byrd & Weelkes, with new works by Sir James MacMillan and Roddy Williams

Fretwork join with that extraordinarily wonderful vocal ensemble, The King’s Singers to celebrate the 400th anniversary of the deaths of Byrd & Weelkes, with new works by Sir James MacMillan and Roddy Williams

The wonderful Ruby Hughes sings some of Byrd’s greatest consort songs.

Framing Byrd’s magnificent consort music with some of that of his friends and contemporaries, such as Tallis, Parsons and White.

Byrd’s masses 4 and 5 parts performed in an unique way by The Gesualdo Six, with Fretwork playing his consort music. Theatrical, interactive and exceptional.

Byrd’s masses 4 and 5 parts performed in an unique way by The Gesualdo Six, with Fretwork playing his consort music. Theatrical, interactive and exceptional.

An exceptional performance of Orlando Gough’s extraordinary work describing Drake’s 3-year circumnavigation in 1577 in musical terms. With Andreas Müller-Crepon, who recites the text in German.

A special performance only for Friends of Fretwork of Orlando Gough’s depiction of Sir Francis Drake’s circumnavigation of the globe in 1577-80. 16th century consort music by Taverner, White & Parsons; hymns, folk music is set against Gough’s imaginings of music from round the world. To become a Friend of Fretwork, click here.

A programme that celebrates William Byrd in the 400th year since he died in 1623, and the living talent of Gavin Bryars, whose In Nomine after Purcell we will play directly after it’s inspiration.

The King’s Singers represent the gold standard of vocal groups worldwide. Alongside the peerless viols of Fretwork, they perform a programme filled with beauty, drama and storytelling.

Their newly launched award-winning album Tom + Will marks 400 years since the death of two of England’s greatest composers – Thomas Weelkes and William Byrd – and combines their witty, rebellious songs with new music by towering contemporary composers Roderick Williams and James MacMillan.

This programme includes three songs by Elvis Costello, and possibly a new one…..

Byrd’s glorious six-part consort music, together with Weelkes’s Pavans.

We join with the wonderful Kings Singers again for the programme we recorded for Signum Records. Music by Byrd & Weelkes, with new music from James MacMillan and Roderick Williams.

Secret Byrd with The Gesualdo Six in Oxford

Fretwork join with singers from Winchester College to present a programme of music celebrating Thomas Weelkes, who had links with the college, and William Byrd.

A rare performance of Johann Sebastiani’s St Matthew Passion, published in Königsberg in 1672. It predates J. S. Bach’s more famous version by over half a century, and calls for more modest forces: four viols and organ accompany the Evangelist, while two violins join with Christus. Instead of Arias, Sebastiani sets well-known ‘Lied’, such as ‘O Lamb Gottes’ and ‘Innsbruck’. The chorus consists of five solo voices and the whole work lasts barely 90 minutes. Yet this gives an intimate and intense experience of Christ’s ultimate suffering and death.