Taffel Consort
William BRADE (1560-1630)
Paduana & Galliard à 6 in G [4:40]
Paduana, Galliard & Coranta à 5 in a minor [6:38]
Ballett à 5 in d minor [1:15]
Coral [6:21]
Paduana & Galliard à 6 in G [5:49]
Allmand & Coranta à 5 in d minor [1:26]
Paduana & Galliard à 6 in g minor [6:07]
Allmand à 5 in G [1:40]
Paduana & Allmandi à 6 in G [6:04]
Thomas SIMPSON (1582-1628?)
Intrada à 5 in d minor [1:37]
Courante & Volta à 5 in d minor [3:02]
Canzon à 4 in G [3:43]
Ballet & Volta à 5 in D [2:07]
Pavan & Galliard à 5 in d minor [5:28]
Canzon à 5 in C [3:42]
Ballett 'La mia Salome' à 5 in D [2:03]
Pavan 'Sachedevil's dolorosi' & Galliard à 5 in a minor [7:10]
Almande à 4 in C [1:40]
Mascarada à 5 in G [1:17]
Weser-Renaissance Bremen (Sarah Möller (transverse flute),
Veronika Skuplik, Irina Kisselova (violin), Hille Perl, Frauke Hess, Juliane
Laake, Marthe Perl (viola da gamba), Lee Santana (lute), Mark Wheeler
(cister), Johannes Gontarski (bandora), Manfred Cordes (organ))/Manfred
Cordes
rec. 11-13 March 2011, chapel of Brake Castle, near Lemgo, Germany.
DDD
CPO 999 952-2 [72:00]
Two English names and a German title - one may wonder what that is
about. It’s not so hard to explain: William Brade and Thomas Simpson
were two of various musicians/composers who went to Germany to look for
employment. Others, for instance John Dowland, returned to England after
some years but these two remained in Germany. Brade died in Hamburg; Simpson
in Copenhagen, where he spent the last years of his career.
It is useful to read the liner-notes as they give a good insight
into the political and cultural situation in northern Germany around 1600.
The many aristocratic courts guaranteed that there were plenty of
opportunities for performing musicians and composers to demonstrate their
skills. Musical establishments were not only responsible for performances of
sacred and secular music, they also reflected the status of their owner.
Aristocrats competed with each other to attract the best musicians
available. At the same time musicians had to live with a great amount of
insecurity. When an aristocratic ruler died and had no successor, his
property could come into the hands of another ruler who then might disband
the chapel. If that happened its members had to pack their things and move
to another place to look for a new job.
The central figure of the present disc is Ernst III, Count of
Holstein-Schaumburg (1569-1622) who had his residence in Bückeburg. It
was only in 1601 that he became ruler of his properties. When that happened
he immediately started to establish a chapel of his own. This comprised
singers and instrumentalists. Among the latter English musicians had a
special place and often performed together as a group. Both Brade and
Simpson were also part of this chapel. Brade entered the service of Count
Ernst in 1610. As much as the Count loved music and must have recognized
Brade's qualities, he didn't want to be exploited. When Brade asked for a
higher salary and threatened to go to Hamburg if he didn't get it Ernst
advised the Hamburg authorities not to tolerate this "mischievous, wanton
fellow". Even so, Brade left for Hamburg where he found employment. Simpson
became a member of the Count's chapel in 1615 and stayed there until the
death of his employer in 1622. He then went to Copenhagen where he entered
the service of the Danish court.
Obviously sacred music played a central role in the musical life of
this time. The repertoire which was performed at German courts is well
documented on disc. In comparison music which was written for entertainment
is given less attention. Dances such as those recorded here by
Weser-Renaissance are often associated with 'popular' music. They are to be
played using a large variety of instruments, including percussion. This
repertoire was first and foremost composed and published to be played in
aristocratic circles. The two composers represented here grew up with music
for viol consort. In Germany they adapted to the local conventions which
favoured the use of violins in the upper parts. Apart from an ensemble of
violins and viols music like this was often also played with a 'broken'
consort, comprising strings and/or a transverse flute and plucked
instruments. Sometimes a dialogue is created between two instruments, for
instance in
Allmand & Coranta à 5 in d minor by Brade
(track 6), where the two upper parts are played by violin and flute. In
Brade's
Allmand à 5 in G (track 8) we hear a combination of
plucked instruments: lute, cister and bandora.
The character of these dances is different. Some have clear
aristocratic traits, but some include popular elements. In his
Ballett La
mia Salome Simpson makes use of the echo technique - much liked in
North-German organ music - but also incorporates imitations of the bagpipe.
The next piece is completely different: the
Pavan 'Sachevil's
dolorosi' includes daring harmonies and strong dissonances. This is more
than just entertainment.
The title of this disc refers to a collection which was published by
Simpson and included not only pieces of his own but also compositions by
others. Only two pieces on this disc are taken from this source. The others
come from two other collections by Simpson and from three by Brade. For
those who would like to hear more do try a recording by Hespèrion XX
from 1981 (deutsche harmonia mundi) which is entirely devoted to music from
three collections by Brade. The Parley of Instruments devoted a disc to
Thomas Simpson in Hyperion's series "The English Orpheus", under the
suitable title "An Englishman Abroad".
Weser-Renaissance comprises transverse flute, two violins, four
viols, lute, cister, bandora and organ. They are lively and engaging,
technically flawless and with a very good sense of the rhythms of these
pieces. It is unlikely that they were meant for dancing, but they should be
played as if they were, and that is the case here. This is musical
entertainment of the highest order.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
