William YOUNG (c.1610 - 1662)
An Englishman Abroad - Works for Viola da Gamba
Sonata Nona for 2 violins and bc in F [3:24]
Suite for 2 viole da gamba in g minor [11:50]
Sonata for violin, viola da gamba and bc in d minor [4:39]
Fantazie of 3 Parts for 3 viole da gamba No. 7 in d minor [4:43]
Prelude for lyra-viol [1:00]
Almain for lyra viol [2:36]
Sonata Terza for 2 violins and bc in g minor [7:33]
Divisions on a Ground for viola da gamba and bc in g minor [4:55]
Sonata for violin, viola da gamba and bc in D [5:25]
Suite for viola da gamba in d minor [8:19]
Sonata for violin, viola da gamba and bc in C [3:37]
Fantazie of Three Parts for 3 viole da gamba No. 5 in c minor [4:26]
Sonata for 2 viole da gamba in d minor [5:19]
Sonata Ottava for 2 violins and bc in G [4:43]
Hamburger Ratsmusik (Christoph Heidemann, Gabriele Steinfeld (violin), Simone
Eckert, Hermann Hickethier (viola da gamba), Ulrich Wedemeier (theorbo), Michael
Fuerst (harpsichord))/Simone Eckert
rec. 16-19 March 2009, Siemens-Villa, Berlin-Lichterfelde, Germany. DDD
CPO 777 569-2 [72:44]
Georg Muffat (1653-1704) is often considered the first real 'European' composer
in history as he combined French, Italian and German/Austrian elements in
his compositions. It is probably William Young who should be given the honour
of being the first 'European' composer. His oeuvre shows elements of English,
Italian and German/Austrian styles. The present disc includes examples of
these various elements.
Very little is known about Young. We don't know when and where he was born.
Nothing is known about his formative years. It is presumed that he had already
established himself as a composer before he left England. The reason for his
departure could have been religious. An English writer of the late 17th century
states that he was "bred in Rome", which means that he was raised as a Catholic.
Since the opportunities for Catholics were very limited it is not surprising
that he looked oversees for employment. This is just what English composers
of previous generations had done: Peter Philips, John Bull. From around the
middle of the century until his death Young worked at the court of Innsbruck
in the service of Archduke Ferdinand Karl. How exactly he came there is unknown.
His appointment as a member of the court chapel is remarkable, as almost all
its members were Italians. Their presence had a strong influence on Young's
development. His acquaintance with Italian music also came from a journey
by his employer whom he accompanied during visits to Parma, Modena, Mantua
and Florence. When King Charles II returned to England after the Restoration
Young also travelled back to his native country. This could be a further indication
that he shared the King's Catholic faith. It is not known whether he looked
for a job. If that was the case it was to no avail as he soon returned to
Innsbruck, where he died two years later.
During his years in Innsbruck Young had gained a reputation which reached
far beyond the Austrian region. The Swedish queen Christina, on her way to
Rome after her conversion to Catholicism, stayed some time in Innsbruck, and
was highly impressed by Young's playing. The French author Jean Rousseau ranked
Young among the leading gambists of Europe in his Traité de la Viole
(1687). The large number of copies of his compositions bears witness to his
reputation.
The subtitle of this disc is not correct: the programme comprises much more
than just music for viola da gamba. Hamburger Ratsmusik also play sonatas
with one or two violins. The three sonatas for violin, viola da gamba and
bc on this disc are the only survivals for this scoring from Young's pen.
These bear witness to the German manner. The scoring was very common in Germany,
and the three sonatas are not that different from the sonatas for the same
scoring by, for instance, Buxtehude. Three sonatas are scored for two violins
and bc, all from the only collection of music by Young which was printed in
his lifetime. These sonatas in particular bear witness to the influence of
the Italian style.
The two Fantazies are for three viols which are treated on an equal
footing. They are rooted in the English consort music and are stylistically
close to Matthew Locke. Here the upper part is played on the violin. This
is a legitimate option as consort music from around 1650 left it to the performers
to choose either the violin or the treble viol. A Prelude and an Almain
are for lyra-viol, or rather the viol 'played the lyra way'. This was a far
from exclusively English style of playing. Even so, it was more widespread
there than anywhere else.
Lastly two suites are played. The Suite in g minor is for two gambas
and begins with a long pavan, followed by allemande, air, sarabande and courante.
The Suite in d minor for gamba solo begins with a prelude, followed
by allemande, sarabande and a courante with variation. The French titles as
such are not an indication of a specific French influence. Such suites were
written in many countries in Europe, including England and Germany. The gravitas
of these suites shows their basically German touch.
Hamburger Ratsmusik have made a large number of recordings especially of lesser-known
compositions for viola da gamba, often in ensemble with other instruments.
This disc is another jewel in their crown. As far as I know this is the first
disc entirely devoted to the work of William Young. He was much praised as
a player and his oeuvre is a mixture of the various European styles then in
vogue.The recording was long overdue. Fortunately the performances are outstanding.
The contrasts within the sonatas are worked out perfectly. The gambists produce
a fine and passionate sound, with perfect ensemble. The violin in the pieces
for three viols is played with just the right amount of restraint. These are
no baroque pieces, and therefore do not call for strong dynamic shading.
The programme has been put together in such a way that there is a maximum
of variety. The quality of Young's music guarantees much enjoyment anyway.
This disc is a happy marriage of fine music, sensitive playing and informative
liner-notes.These help the listener put the music into perspective. In short,
this is an important and exemplary production.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
An important and exemplary production.