John JENKINS (1592-1678)
Four-Part Consorts
Phantasm
rec. 2012, St Martin's Church, East Woodhay, Newbury, UK
Reviewed as a stereo 16/44 download with pdf booklet from Outhere
LINN RECORDS CKD677 [76:15]
When Matthew Locke died in 1677, Henry Purcell realised that an era had come to an end: "What hope for us remains now he is gone?" Music for a consort of instruments was an important part of that era in the history of music, and English music in particular. Although consort pieces were written before William Byrd, it was he who was the first composer to write a considerable number of works of this kind. Consort music was mainly written for private entertainment among friends. The demand for consort music must have been huge, considering the amount of pieces written by composers of the first half of the 17th century. This may well reflect the growing wealth in Britain which allowed people to buy instruments to play this kind of repertoire.
Among the many composers of the 17th century in England, John Jenkins is one of the most remarkable. He reached the exceptional age of 86 which means that he experienced the many trials and tribulations in politics and society including the Commonwealth and the Restoration. He also saw the aesthetics change from the late Elizabethan era to the period we call 'Baroque'. And these changes left their mark in his oeuvre.
He left over 800 compositions, but that is practically all we know about him. No portrait, very little biographical detail - he didn't even make efforts to get his music printed. Apart from pieces which were included in contemporary collections his music was not printed before the 20th century. From what was written about him one gets the impression he was a very modest character. His pupil Roger North wrote: "Mr Jenkins was a very gentile and well bred gentleman, and was allways not onely welcome, but greatly valued by the familys wherever he had taught and convers't. He was constantly complaisant in every thing desired of him ..." When after the Restoration he became part of the Private Musick at court he was payed until his death, even though he wasn't able to play anymore due to his age - a sign of the high respect he enjoyed.
Earlier in his career he never held a position at the court. He rather moved among aristocratic circles, and we may therefore assume that almost all his music was written for amateurs. However, that doesn't mean that his compositions are rather simple. We should not underestimate the skills of non-professional players. After all, music was an important part of the education of members of the higher echelons of society, and playing the viol was highly popular. The large amount of music for viol consort written before the Restoration attests to that.
Jenkins' oeuvre shows a wide variety of forms. In the category of instrumental music we find fantasias, fantasia-suites and fantasia-air sets, In nomines, airs and divisions as well as music for one to three lyra viols. The ensemble Phantasm recorded the complete four-part consort music. However, that requires a bit of specification. The work-list in <i>New Grove</i> includes many more pieces in four parts, for instance fantasia-suites for two treble viols, bass viol and organ. These are not counted, probably because the organ has a supportive role. Laurence Dreyfus, in his liner-notes, states: "[The] intricacy of Jenkin's part writing tested the skill of even experienced players. It was therefore common for a domestic chamber organ to shadow the consort, providing an accompaniment that ensured musical cohesion and served as a convenient tuning machine. (...) Jenkins's organ parts are no more than 'short scores' duplicating some of the viol lines". This explains why the organ participates only in eleven of the 19 pieces recorded here.
Dreyfus also points out that the seven keys Jenkins uses (C major and minor, D major and minor, E minor, F major, A minor) are connected to 'humours', or, with the German term, <i>Affekte</i>. "For Jenkins, F major projects ebullient high spirits and equable contentment, while C minor explores strife, pathos and conflict with a martial edge". He also notes that these consorts hardly include any pauses. "Jenkins's players rarely take a break. They are, it seems, eternally busy".
Obviously, that reqiures the utmost concentration of the players. Phantasm, one of the major ensembles in the field of music for viol consort, meets the requirements of these consorts with impressive ease. The nearly unendless flow of this music is perfectly realised. As its members work closely together for many years, one can be assured that the ensemble is impeccable. This is consort playing of the highest level. And Jenkins was a composer of high repute for a reason. This is brilliant music and belongs to the top of what was written for viol consort in 17th-century England.
As a postscript, the year of recording is correct; I have asked the record company for confirmation. This recording has been on the shelf for ten years. The music industry moves in mysterious ways.
Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen
Contents
Fantasy No. 12 in D [4:17]
Fantasy No. 16 in D minor [4:11]
Fantasy No.14 in D [3:25]
Fantasy No. 10 in A minor [3:41]
Fantasy No. 13 in D [3:22]
Pavan in D minor [5:18]
Fantasy No. 15 in C [4:28]
Fantasy No. 8 in C minor [4:15]
Pavan in E minor [5:51]
Fantasy No. 11 in A minor [3:29]
Fantasy No. 4 in D minor [3:53]
Fantasy No. 1 in C minor [3:38]
Fantasy No. 6 in F [2:53]
Fantasy No. 7 in C minor [5:14]
Fantasy No. 5 in F [3:31]
Fantasy No. 9 in C minor [3:51]
Fantasy No. 2 in C minor [3:56]
Fantasy No. 3 in C minor [2:52]
Fantasy No. 17 in F [4:03]
