The Regis label regularly reissues recordings. These are especially
welcome if the original recordings are otherwise deleted. In this case the
need for a reissue escapes me, as the two recordings from which the music is
taken, are still available. The insert omits any information about the
recording dates or the original discs. There is also no information about
the artists involved.
The programme comprises music from two discs which were released by
Amon Ra. The recording by Fretwork, including the complete consort music by
Thomas Tallis, dates from 1987; the one by the Rose Consort of Viols, which
was devoted to Dowland, appeared in 1992. Obviously in both cases a part of
the original programme has been omitted. Fretwork's recording included some
keyboard music, and the Dowland disc songs and lute pieces, with Caroline
Trevor and Jacob Heringman. Those who love English consort music probably
have the original discs. If not, they should look for these rather than for
this compilation.
Having said that, the programme is well put together and delivers a
useful survey of the genre. A wide spectrum of consort music is represented.
At one end of the spectrum we find the 'ultra-objective', strictly
contrapuntal
In nomines, based on the music which John Taverner set
to the words "In nomine Domini' in the Benedictus from his
Missa Gloria
tibi Trinitas. More than 150 of such pieces by over fifty composers from
the English renaissance are known. Here we get the two settings by Tallis
and one each by Christopher Tye, John Taverner, Robert Parsons and John
Bull.
John Dowland's
Lachrimae Pavans are at the other end of the
spectrum. Their character is revealed by the original title:
Sevean
teares figured in sevean passionate pavans. No objectivity here, but a
strong expression of emotion, which is quite unique in the consort
repertoire of the English renaissance. They were highly influential, and the
characteristic falling motif returns in many compositions in England and
across Europe.
In addition we hear a number of fantasias, a more freely-flowing
kind of piece without a clear design and of a character which can differ
from one piece to the next. In contrast,
Fa la sol by William Cornysh
is based on a three-note motif. It is probably the oldest piece in this
collection as Cornysh lived and worked around 1500; some of his sacred works
are included in the Eton Choirbook. That means that this programme spans
about a century of instrumental music, Byrd and Bull representing the
generation from around 1600. Another contrast on this disc is the scoring:
some pieces have a dense five-part structure, such as Dowland’s
Lachrimae pavans and some
In nomines, others are more
transparent thanks to the scoring in three parts. In some pieces the viols
are joined by a lute.
The performances are outstanding. Fretwork is one of the best
ensembles in this kind of repertoire, and delivers incisive interpretations.
The expression of Dowland's
Lachrimae is perfectly conveyed by the
Rose Consort of Viols. The tempi are well chosen, and the sound is well
adapted to the passionate character of the music.
This disc could serve as an introduction to the genre of English
consort music. The programme notes are concise but informative. This disc
seems especially suited to newcomers who are not acquainted with this
repertoire.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
