In Nomine II
Fretwork
rec. 2017/18, St Mary Magdalen Church, Sherborne, UK
Reviewed as 24/96 download with pdf booklet from
hyperion-records.co.uk.
SIGNUM CLASSICS SIGCD576
[59:50]
Back in 1988 the Amon Ra label released a recording entitled In Nomine by a then little-known group called Fretwork (CDSAR029).
Though it was their second recording, it was the first to be released, and
it was well received. It contained all the music with that name by or
attributed to Thomas Tallis, together with music by other composers of the
sixteenth and seventeenth centuries. Since then, this Consort of Viols has
recorded with distinction for a variety of labels, either alone or in
support of others, as in the case of their recording of the verse anthems
of Orlando Gibbons, with Magdalena Consort and His Majesty’s Sagbutts and
Cornetts (SIGCD511 –
review
–
Autumn 2017/3).
That Gibbons recording contains three examples of the musical form known as
an In Nomine, a strange and peculiarly English affair, sixteen
examples of which are included on the new release. If the name
Alfonso Ferrabosco II makes you think him the odd one out, he was the son of an
Italian musician who had settled in England. (You have no doubt guessed
that he was Alonso Ferrabosco I.) Where the father was known for his
madrigals and sacred music, his (illegitimate) son was a viol player and
composer and so highly respected by Queen Elizabeth I that she refused to
allow him to leave to join his father when he returned to Italy.
The In Nomine derives from the Sarum plainsong Gloria tibi Trinitas, or, rather, from the Mass of that name by the
early Tudor composer John Taverner. At the words Benedictus qui venit in nomine Domini – blessed is he that
cometh in the name of the Lord – Taverner uses the plainsong almost
unadorned, and that was the point of origin of the instrumental form of
that name. Many more details can be found in the very good notes in the
booklet.
It may seem a very dull project to devote two whole CDs to arrangements of
this form – more, actually, if you count the odd items on the Gibbons and
other Fretwork recordings – but so varied and imaginative is the music on
both recordings that you are unlikely to doze off, especially if you try to
spot the underlying tune throughout these pieces. English composers became
as obsessed with the In Nomine as European composers would be at a
slightly later date with the tune La Folia, also known as Les Folies d’Espagne, and they did more interesting and more varied
things with their material.
The new recording is even more varied than before, with tributes from
modern composers Nico Muhly and Gavin Briars included. And Fretwork are the
masters and mistresses of the In Nomine. They have almost cornered
the market, though other groups contain examples in their recordings, such
as is the case with Phantasm’s collection of the consort music of Byrd
(Linn CKD372: Recording of the Month –
review
–
DL Roundup May 2011/2). In fact, with nothing by Byrd on the new Fretwork recording, I suggest
that you also check out the Linn recording or the earlier Amon Ra Fretwork
album, still available, on CD and download, which contains two In Nomines by Byrd.
I hope that this new recording will also encourage listeners to go back to
where it all began, with Taverner’s setting of the Missa Gloria Tibi Trinitas; there are fine recordings by The Tallis
Scholars (Gimell CDGIM045, with Magnificats: Recording of the Month
–
review
–
DL News 2013/15), Christ Church Cathedral Choir, Oxford (Avie AV2123, with other choral music by
Taverner –
review), Queen’s College Oxford (Signum SIGCD570, with other choral music by
Taverner –
Spring 2019/1
–
review)
and The Sixteen (Hyperion mid-price CDH55052, with Audivi vocem,
or 10-CD budget box CDS44401/10: Bargain of the Month –
review). Incidentally, Fretwork make a distinguished appearance in that highly
recommendable Hyperion Golden Age of English Polyphony box set.
We once suggested to a friend that she should listen to the Hyperion
recording of the music of Abbess Hildegard of Bingen, A Feather on the Breath of God (CDA66039). It was obvious that she
was sceptical about what to expect, but then sat entranced by that
beautiful recording. I’m not suggesting that the new Fretwork CD of sixteen
pieces on the same theme will be quite as ear-opening, but I think it may
not be far behind. Give it a try – and then go for Volume I.
Brian Wilson
Contents
Nico MUHLY (b.1981)
Slow (In Nomine in 5 Parts) [8:18]
Robert PARSONS (1535-1572)
In Nomine
IV à 7 [2:29]
In Nomine
V in 7 parts [3:03]
John BULL (c.1562-1628)
In Nomine
in 11/4 [5:37]
John BALDWIN (1560-1615)
Proportions to the Minim [2:31]
Upon In Nomine 1592 [1:36]
In Nomine
1606 [2:19]
Alfonso FERRABOSCO II (1575-1628)
In Nomine
in 6 Parts, No.1 [3:45]
In Nomine
in 6 Parts, No.2 [4:07]
In Nomine
Through All the Parts [5:47]
Gavin BRYARS (b.1943)
In Nomine
[9:16]
John WARD (c.1589-1638)
In Nomine
a5 [3:19]
Christopher TYE (1505-c.1573)
Reporte [1:46]
Howlde Fast [1:09]
In Nomine
‘Re la re’ [1:22]
Henry PURCELL (1659-1695)
Seven-Part In Nomine, Z.747, ‘Dorian’ [3:39]
