O królach polskich - Of Polish Kings
Anon.
O królach polskich [Of Polish Kings] [01:14]
Seweryn KON (?-?)
[piece without title] [01:15]
Duma [Elegy] [01:44]
Valentin BAKFARK (1507-1576)
Fantasia V [04:20]
Czarna krowa [Black cow] [02:37]
Fantasia VI [06:38]
Albo juz dalej trwac nie moge [No longer can I bear] [03:47]
Fantasia VII [07:48]
Valentin HAUSMANN (c.1565/70-c.1614)
Polnischer Tanz I [02:01]
Polnischer Tanz II [00:50]
Polnischer Tanz III [01:11]
Diomedes CATO (before 1570-after 1607)
Canzona Diomedis [01:36]
Anon.
Przez Twe swiete zmartwychwstanie [Through your holy resurrection]
[01:23]
Nasz Zbawiciel [Our Saviour] [01:59]
Nasz Zbawiciel Pan Bóg [God our Saviour] [01:52]
Nasz Zbawiciel [Our Saviour] [03:22]
Marcin Z WARTY (WARTECKI) (2nd half 16th C.)
Nos autem gloriari oportet (Introitus de S. Cruce) [02:26]
Jakub SÓWKA (SOWA) (?-1611)
Kyrie paschale [01:00]
Krzysztof KLABON (before 1550-after 1616)
Kyrie, Christe, Kyrie ultimum [03:33]
Piotr DRUSINSKI (?-1611)
Preambulum I [01:17]
Veni redemptor gentium [01:29]
Preambulum II [01:14]
Resonet in laudibus [01:52]
Anon.
O królach polskich [Of Polish Kings] [01:22]
Canor Anticus (Marcin Zalewski, Aleksander Dlugajczyk, Wojciech Zalewski,
Maria Sarap, Kazimierz Gruszczynski, viola da gamba)/Marcin Zalewski
rec. December 1996 and January 1997, Grand Ballroom of Sapieha Palace, Warsaw,
Poland. DDD
DUX 0761 [57:50]
The musical past of the countries of Central and Eastern Europe is little
known in other parts of the world. It seems only recently that discs with
Polish music of the renaissance and baroque periods, performed by Polish ensembles,
have reached the outside world. In the last two years or so I have reviewed
several discs with Polish music which were originally recorded five years
or longer ago. That is also the case here: the recording dates from 1997,
but I had never heard of it nor of the ensemble before. It has now been reissued
by Dux and sent to MusicWeb International to be reviewed.
There is one handicap in the research of the musical heritage of Poland. During
World War II many manuscripts have been destroyed or have just disappeared,
and as a result our knowledge of the music of the 16th and 17th centuries
is limited. A number of pieces on this disc are also from manuscripts which
are no longer available. Fortunately some of them had been copied or microfilmed
before the war.
In the renaissance instruments were mainly used to support singers. When purely
instrumental music was performed, it mostly involved transcriptions of vocal
music or dance music. Many transcriptions can be found in tablatures, in particular
for organ. A large number of pieces on this disc are taken from such sources.
The organ tablature of Jan of Lublin is a source regularly used by organists.
But there is no reason whatsoever not to play these pieces on other instruments
or, as here, with an instrumental consort.
Consorts of instruments were very popular during the renaissance. They could
comprise various instruments: violins, viols, recorders or cornetts and sackbuts.
Musicians were practical in those days: they played music on whatever instrument
they had at their disposal. In regard to consort music it was most common
to play on instruments of one family. Mixing wind and strings - viols and
recorders, for instance - was an exception.
This disc brings various kinds of music which were part of the consort repertoire
of those days. So there are some typically instrumental forms - especially
used for keyboard music -, like the fantasia, the canzona and the praeambulum
(or prelude). In addition we hear dances (Haussmann) and transcriptions of
vocal pieces, including parts of the Mass. Many pieces are anonymous, but
even where a name has come down to us most lovers of renaissance music probably
won't have heard of them. The best-known composers in the programme are Valentin
Bakfark and Valentin Haussmann. The former was a famous lutenist, born in
Transylvania, and working for a while at the royal court in Poland. The latter
was from southern Germany, and also spent some time in Poland. The latest
music dates from the first decade of the 17th century. But at that time the
new Italian concertante style hadn't reached Poland.
I haven't always assessed recordings by Polish ensembles all that positively.
It is different this time: I have very much enjoyed this disc. The five players
of Canor Anticus give very fine performances on their viols, ranging from
treble to bass. They produce a beautiful sound and the ensemble is excellent.
The players are not afraid to explore the full dynamic range of their instruments.
That is certainly right: there is no reason why renaissance music should be
played at more or less the same dynamic level all the time. They shape the
musical lines beautifully and the various voices of these polyphonic pieces
are clearly discernable.
The repertoire is another reason why this disc is commendable: even those
who have a special interest in renaissance music won't hear much they already
knew. There is just one well-known melody: the transcription of a setting
of the hymn 'Resonet in laudibus' by Drusinski.
Because of the quality of the music and the level of the performances this
disc is a winner, and a worthwhile addition to any record collection.
Johan van Veen
Largely unknown repertoire from the Polish renaissance, beautifully played
by a Polish viol consort