Queen Elizabeth I brought together the finest talent 
          in the land and created collections of consort, lute and keyboard music 
          that are still renowned today. Charivari agréable have 
          arranged for their core trio music that depicts the life of the queen: 
          "music from the court, an exhilarating depiction of a hunt, celebrations 
          from the queen’s coronation and the moving laments on her death" (Sayce). 
          If - depending upon your age - your pulse quickens at the mention of 
          the legendary Cortot/Thibaud/Casals, the Beaux Arts Trio or, say, the 
          Guarneri 
          Trio Prague or Gould 
          Piano Trio of today, allow yourself to consider, in a fully comparable 
          bracket of excellence, Oxford's multinational Heinrich/Ng/Sayce Trio. 
        
 
        
You will not be thinking upon those lines if you rely 
          upon Radio 3, as Colin 
          Booth complains in a well argued article in ‘Early 
          Music Review’ about institutional bias which downgrades early music 
          expertise. Yet readers of S&H will know that I have regularly 
          extolled the work of 
          Charivari agréable, a musical jewel in Oxford's crown. 
          Often these players are joined by others to form larger ensembles; here 
          they play solo, duo and trio changes on viols (treble, tenor and bass), 
          virginals, harpsichord, chamber organ and seven-course lute. This ensures 
          textural variety in mainly shortish pieces by ten composers plus the 
          ubiquitous anon (the longest is Hume's Lamentations at 
          seven mins) and they cover the whole gamut of emotions. I did need to 
          alter the volume once between tracks, and there is a minor discrepancy 
          between track numbers on my review copy (correct in the insert). All 
          three are formidable academics as well as being sensitive multi-instrumental 
          virtuosi, and presentation is comprehensive as usual with this series, 
          including details of all the instruments (modern copies) and with an 
          interesting essay by Linda Sayce about the death of Queen Elizabeth 
          I and the transition from Tudor to Jacobean epochs. 
      
   
        
        Peter Grahame Woolf