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William LAWES (1602-1645) The Harp Consorts (complete) Consort 8 in G, Paven and divisions [8:08] Consort 7 in G, Air [2:10] Consort 3 in G, Allemande, Courante, Courante,
Sarabande Consort 11 in d, Fantasie [4:07] Consort 4 in d, Air, Air, Courante, Sarabande [6:30] Consort 9 in D, Paven and divisions [9:22] Consort 5 in D, Allemande, Courante, Courante,
Sarabande [6:39] Consort 6 in D, Allemande, Courante, Courante,
Sarabande [8:28] Consort 10 in g, Paven and divisions [8:40] Consort 2 in g, Air, Courante, Courante, Sarabande
[6:58] Consort 1 in g, Allemande, Courante, Courante,
Sarabande [6:08] Duo for Guitare et Harpe [6:08]
(with Alman by René Meangeau) [3:49]
Maxine Eilander (harp); Les Voix Humaines: (Stephen Stubbs (theorbo
and guitar); David Greenberg (baroque violin); Susie Napper and
Margaret Little (violas da gamba)) rec. Église Saint-Augustin
de Mirabel, Quebec,
Canada, December 2002 and April 2006.
ATMA ACD22372 [76:26]
The so-called “Harp Consorts” of William Lawes, court musician
to England’s King Charles I, stand as unique examples of an elegant genre begun
in the British court. It was tragically ended by the English Civil
War, a debacle that claimed the lives of both King and composer.
The works stem from a tradition of music for a mixed and specified
group of instruments, often called the “broken consort”. It first
appeared in 1599 with the Consort Lessons of Thomas Morley.
Lawes’ adaptation of Morley’s precedent places the harp in two
roles. The first is as a harmonic instrument placed in the center
of the texture as in the Fantasies and Pavens. In the other it
appears as a melodic instrument in dialogue with the violin and
the theorbo, the harp’s right hand providing an independent and
contrapuntal voice. The debate as to whether an Irish single or
French triple harp was the intended instrument for this elegant
music has been lengthy and heated. I will leave it to you, dear
reader to explore this question further in Stephen Stubbs’ thorough
and informative program note.
With
the arrival in England
in 1629 of Queen Henriette Marie, all things French became the
rage. This was particularly true in the fields of music and
dance, and we see that these suites are on the whole collections
of French dance music. Surely these works accompanied actual
dancing at the court. Nonetheless, the music is of such an elegant
nature that it must also have been enjoyed in intimate chamber
settings for its own sake. These instruments combine to make
such a sweet and gentle tone, that listeners, regardless of
their experience with early music, cannot help but come away
satisfied.
Lucky
are we indeed then that we have such a fine practitioner of
the harp as Maxine Eilander. More fortunate still are we to
have her team with her renowned husband Stephen Stubbs and their
musical friends to seek out, recreate and re-establish this
repertoire in its first complete recording. The balance and
nuance of this outstanding ensemble is as refined as the workings
of s Swiss time-piece. Ever mindful of his or her role in the
weave of this musical fabric, each player seems to understand
as by second nature when to play out, when to lead rhythmically
or when to take a back seat, waiting for his or her turn to
come again to the fore.
The
music itself is packed with variety, shifting easily from slow,
graceful and sometimes mournful Pavanes and Fantasies to the
more spritely dances of the suites. Interestingly, the ensemble
has chosen to group the works by key center instead of by their
(one supposes) chronological order. One might wonder how the
contrast of keys would affect a complete listening of well over
seventy minutes.
One
of the biggest appeals of this performance lies in the music’s
ability to function in both background and foreground. You can
put it on and go about your business, or you can listen intently
and find a wealth of fascinating melody and interplay between
the instruments. Regardless of how you choose to listen, this
fully packed disc is a garland of delights. After you hear this
charmer, you’ll certainly want to explore further examples of
consort music from this period by the likes of Coprario, Purcell,
Dowland, Jenkins and Hume. There are abundant recordings of
this music for you to enjoy. But start here. This music-making
is as close to perfection as you’ll ever get.
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