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The Division Flute
[Part 1] Reading's Ground [04:57] Paul's Steeple, a division on a Ground [04:31] Faronells Ground [02:41] Old Simon the King [02:25] Tollet's Ground [07:34] Green sleeves to a Ground [03:40] Johney Cock thy Beavor [03:04] A Division on a Ground [02:14] A Division on a Ground by Mr Eccles [02:07] A Division on a Ground by Mr Finger [03:54] A Division on a Ground by Mr Banister [02:09]
[Part 2] A Ground by Mr Finger [03:34] A Division to a Ground by Mr Solomon Eccles [03:49] A Division on a Ground [04:04] A Ground by Mr Solomon Eccles [02:19] A Division on a Ground [02:19] An Italian Ground [02:31]
Emma Murphy
(recorder); William Lyons (recorder; dulcian); Emilia
Benjamin (viola da gamba); Richard Campbell (viola
da gamba; guitar); David Miller (theorbo; guitar); Steven
Devine (harpsichord)
rec. January, October 2006, Phoenix Sound, Pinewood Studios,
UK. DDD SIGNUM
CLASSICS SIGCD125 [57:17]
The
genre represented on this disc was very popular in England
from the 16th to the early decades of the 18th century.
It was by no means an exclusively English genre. The principle
of writing variations on a certain melody over a 'basso
ostinato' - a repeated bass pattern - developed simultaneously
and largely independently in Italy, Spain and England during
the 16th century. It was the subject of treatises, the
most famous of which is 'Trattado de glosas' (1553) by
the Spanish viol virtuoso Diego Ortiz.
In
England this genre remained popular well into the 18th
century. This is reflected in publications like Christopher
Simpson's 'The Division Viol or the Art of Playing Ex tempore
upon a Ground' (1659) and 'The Division Violin', printed
in 1684 by Playford. The latter was followed by further
editions until the 1730s. The music here comes from another
collection, printed in two volumes from 1706 to 1708 by
John Walsh, 'The Division Flute'. It not only bears testimony
to the continuing popularity of the genre, but also of
the recorder - the instrument for which these pieces were
set. In a time when elsewhere - in France, Germany and
Italy - the recorder was overshadowed by the transverse
flute, it still enjoyed great popularity in England.
Perhaps
one would think that a whole disc of this kind of music
is a bit too much of the same, but there is no need for
fear. What is impressive is how much variety there is within
this single genre. There are several reasons for this.
The first is that there is a lot of difference between
the various grounds: the romanesca, the folia, the passacaglia,
the passamezzo and the bergamasca. Secondly the thematic
material composers used also varies dramatically. Works
based on folk tunes or ballads appear alongside more sophisticated
pieces by composers who were equally at home in genres
like the concerto and the sonata, such as the Moravian-born
Gottfried (or Godfrey) Finger.
One
should not listen to this disc in expectation of deep expression,
daring harmony or dramatic contrast. This music was meant
to entertain the player(s). That doesn't mean this is simple
music: some of the variations are very virtuosic, and this
gives some indication of the technical skills of the recorder
players in England around 1700. Henry Purcell - himself
a composer of divisions on a ground - may have written
that "Composing upon a Ground is a very easie thing
to do" - it certainly doesn't sound that way.
The
music isn't just entertaining for the musicians, though,
the listeners also should enjoy it. This isn't only because
of the quality of the repertoire, but also because of the
interpretations. The musicians give very fine performances,
with technical precision and great flamboyance and a good
sense of rhythmic pulse. There is also a nice variety in
the use of instruments: Emma Murphy plays two different
recorders - soprano and alto - and the basso continuo is
realised with various combinations of theorbo, guitar,
viola da gamba and harpsichord.
This
disc brings just under an hour of entertainment of the
highest order.
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