Michael East (or Easte, Est, Este) (c. 1580–1648) was an English organist and composer. He was a nephew of London music publisher Thomas East (c. 1540–1608), although it was once thought that he was his son.^[1]

Love cannot dissemble, Fancy à2, No.1

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I as well as thou, Fancy à2, No.2

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Both alike, Fancy à2, No.3

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Hold right, Fancy à2, No.4

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Draw Out the End, Fancy à2, No.5

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Follow me close, Fancy à2, No.6

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Ut re my fa sol la, Fancy à2, No.7

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Dally not with this, Fancy à2, No.8

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The Nine Muses - Clio, the Muse of History, Fancy à3, No.9

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The Nine Muses - Melpomene, the Muse of Tragedy, Fancy à3, No.10

From the Fancies à2, à3 & à4 from the Seventh Set of Bookes (1638). Performed by Phillip W. Serna, Bass Viols

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In 1601, East wrote a madrigal that was accepted by Thomas Morley for publication in his collection The Triumphs of Oriana.^[2] In 1606, he received a Bachelor of Music degree from the University of Cambridge^[3] and in 1609 he joined the choir of Ely Cathedral, initially as a lay clerk.^[3] By 1618 he was employed by Lichfield Cathedral, where he worked as a choirmaster, probably until 1644, when the Civil War brought an end to sung services.^[4] Elias Ashmole was a chorister at Lichfield, and later recalled that "Mr Michael East … was my tutor for song and Mr Henry Hinde, organist of the Cathedral … taught me on the virginals and organ".^[5]

East's exact date of death is not known, but he died at Lichfield. His will was written on 7 January 1648 and proved on 9 May 1648. It mentions his wife Dorothy, daughter Mary Hamersly, and a son and grandson both named Michael.^[3]

His most highly regarded works are his five-part fantasies for viols:^[6] Thurston Dart is quoted as saying, "despite some slipshod part-writing, they are among the best five-part consorts of the time".^[3]

East was one of the most published composers of his era ^{[citation needed]}; he published seven groups of compositions:

• Groups 1 and 2: madrigals for three and five voices
• Groups 3 and 4: anthems, madrigals, pastorales, napolitans and fancies for four to six voices (including instrumental fancies for viol consort)
• Group 5: twenty three-part pieces for viol
• Group 6: anthems and sacred consort songs for five and six voices, together with a setting of a poem by Sir Henry Wotton, honouring Princess Elizabeth, daughter of James I.
• Group 7: viol works for two to four voices