Pick two poets who seem to have nothing to do with each other — a Gothic American and a pastoral Englishman, say — and see where the catalogue actually joins them: overlapping years, shared ground, distinctive themes, and the poems that secretly rhyme.
John Farmer, born around 1570 and believed to have died sometime after 1601, perhaps as late as about 1605, occupies a curious and attractive place in the history of English Renaissance music. He was neither as prolific as Thomas Morley nor as institutionally prominent as William Byrd; he did not leave behind a large body of sacred music, a long record of court employment, or a biography richly documented by letters…
In the twilight of the English Renaissance, when the courts of Elizabeth I and James I shimmered with the brilliance of poetry, drama, and music, there walked among the candlelit halls and intimate chambers a quiet craftsman of song — Thomas Ford. Though his name may not echo as loudly through history as those of William Byrd or John Dowland, Ford’s artistry lingers in the delicate interweaving of melody and verse, i…
John Farmer:
english madrigals, christ church cathedral, edward somerset, fair phyllis, the first set of english madrigals, elizabethan society, renaissance music, madrigal genre.
Thomas Ford:
oxford, exeter cathedral, henry frederick, prince of wales, since first i saw your face, musicke of sundrie kindes, fair sweet cruel, chapel royal.
Poems that secretly rhyme
The closest poem-to-poem matches in critique space — the sort of kinship a listener hears before the catalogue admits it.