This disc from Deux-Elles is sheer proof that
the harpsichord, virginals and the organ are most expressive instruments
and these works from Matthew Locke show their high status in the
field of seventeenth century keyboard music. The talented Lancastrian,
Terence Charlston, effortlessly achieves real spirit and soul
to this recital and will win many new followers for composer Matthew
Locke.
A leading English composer of the mid-seventeenth
century, the Exeter born Matthew Locke wrote numerous and varied
published works mainly consisting of sacred and secular choral
music. As a young man Locke was a chorister at Exeter Cathedral
under Edward Gibbons and in 1661 was appointed as ’Composer in
Ordinary to the King (Charles II)’ and later received other prestigious
Court honours including ’Organist to the Queen’.
In 1648 Locke visited the Low Countries and was
clearly influenced by the range of music that he came across.
Following the example of the King, who had been in exile abroad,
Locke developed a taste for French dances. Much of Locke’s musical
output which he wrote for projects outside the Royal Court is
lost, although a significant number of works remain including
his complete keyboard works which are included on this release.
Locke’s surviving body of keyboard music consists
mainly of dance suites for everyday use and a smaller number of
organ voluntaries. The largest amount of Locke’s keyboard works
are contained in his book Melothesia (or, ‘the setting of Melody‘)
published in 1673 although several other sources are included,
as was the practice of the time. Locke included the works of other
composers in Melothesia and Charleston has incorporated three
keyboard pieces by William Gregory to place the suite in its proper
context. Locke’s music wouldn’t fill a dance floor with gyrating
bodies yet there is a consistent and impressive rhythmic momentum
that gives a genuine kudos to these impressive compositions.
Charleston’s well chosen modern copies of single
manual Italian and a double manual Flemish harpsichords, English
virginals by David Law and the refurbished organ of Trinity College,
Cambridge are exceptionally presented and warmed-toned, offering
a pleasant and realistic sound and a most satisfying listening
experience. The booklet notes by soloist Terence Charleston are
most comprehensive and informative and include some technical
information on the instruments which may interest some listeners.
Charleston’s secure playing is clear and even-toned
with sensitive phrasing and dynamics, admirably nurturing the
individual character of the works. I have not previously heard
Charleston on disc and his playing is of the highest quality.
These performances could hardly be bettered and this release from
Deux-Elles is one to be treasured.
Michael Cookson