Thomas Weelkes (1576–1623) and Thomas Tomkins (1572–1656) were prominent English composers of the late Renaissance and early Baroque periods. Both held esteemed positions as organists and contributed significantly to the rich tapestry of English choral music. Weelkes, known for his expressive madrigals and anthems, served as organist at Winchester College. Tomkins, a versatile composer and member of the Chapel Royal, left a substantial legacy with his compositions, spanning genres from madrigals to sacred choral works.
The settings of “When David Heard” by Weelkes and Tomkins provide a fascinating lens into the distinctive approaches of these contemporaneous composers. Weelkes’s rendition, characterized by expressive word-painting and vivid contrasts, reflects the emotional turmoil of King David upon hearing of Absalom’s death. The use of dissonance and chromaticism heightens the dramatic impact, capturing the anguish in David’s heart.
In contrast, Tomkins approaches the text with a more measured and contrapuntal style. His setting unfolds with intricate polyphony, showcasing a careful crafting of voices. Tomkins’s “When David Heard” maintains a sense of gravitas through controlled dissonance, allowing the listener to experience the grief at a more restrained yet deeply affecting level.
Weelkes’s dramatic flair and emotionally charged writing stand in contrast to Tomkins’s contrapuntal finesse and balanced restraint. The comparison of these settings offers insights into the diverse interpretative choices made by composers working within the same historical and cultural milieu.
In addition you may enjoy ‘O Jonathan’ by Weelkes – a similar text about David mourning the loss of his closest friend, Jonathan the son of Saul:
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