In-depth look of "Go from my Window"

Orlando Gibbons takes a simple tune that goes G-G-A-B-A-G..., and makes so many different variations, each unique. I love all of them, from beginning to the end!
There isn't one point in which you cannot hear the main melody. Within six parts, either one or two voices have the melody, while others accompany, or answer in fifth above. From the very beginning to the measure 64, it is always one voice at a time that has the main melody, while others decorate or accompany. Let's look at the very beginning of this piece for an example.

Second Treble has the main melody-mared with the red rectangle- while others have accompaniment. It is notable that they imitate each other. They are usually three quarters descending. It seems like the basic idea of this figure comes from the first tenor in the first measure, three quarters: E-D-C. This figure comes back in first treble in third measure, and the inverse of this figure comes in first treble in third measure, along with treble-making it voice crossing. Other voices are either slightly different variations of this figure, or harmony. 

After the second Treble finishes off her melody line, the melody is now passed off to the first Bass in the measure 17. Again, the melody line is marked with red rectangle below.

As you can see, instead of three quarter notes figure, this time there is an introduction of dotted quarter notes. As the melody goes on, inner voices primarily have a dotted quarter note followed by three eight notes figure, imitating each other in the following measures below(marked with blue rectangles).

As you might have noticed, the imitation gets more complex, even invading the melody line. 

For each variation, a different voice (instrument) gets a melody, and the other voices have imitations of certain figure. 

This continues until measure 64. And there is a pause, and starting at measure 65, here comes the beauty of this piece. The melody is distributed all over the voices, and there are more than one primary figure that voices imitate each other. When you just look at the parts, you might not realize that there is even melody in this passage, but when you listen to it, you can clearly hear the melody- they are carefully planned. 

This extremely complicated polyphonic texture somehow makes sense when you listen to it- they all decorate the melody and make a beautiful harmony. All the figures that made a primary character for each variation have merged in this variation. There are a lot of elision- while one phrase end, the beginning of other phrase overlaps, so the music never ends; it sounds like carefully intertwined puzzle. 

There are much more to talk about Gibbons' wondrous work, but I think this is enough for now!