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In Martin's mind, the madrigal was mainly a chamber contrapuntal form, best suited to small homogeneous forces and not necessarily limited to voices.
From the late 1580s onwards, the ‘craze’ for the madrigal , scored for a cappella voices or accompanied by one or more lutes, almost exactly mirrored the contemporary enthusiasm for the sonnet.
The form traveled all over Europe, and became particularly popular in England, where an accompanied variation of the madrigal , the lute song, took hold around the time of Shakespeare.
The Silver Swan is a madrigal that many of us have sung, but it is unlikely that Gibbons would have minded hearing it played as an instrumental piece - he himself suggested that his madrigals could by played by viols instead.
The music was drawn from his two most recent recitals recorded for Decca, a compilation of early-seventeenth-century English song and Italian madrigals and familiar folk songs from the British Isles.
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