William BYRD (c. 1540 - 1623)
Walsingham
The Maiden’s Song [5:31]
Sir William Petre Pavan & Gaillard [7:49]
In Nomine [3:11]
Walsingham [8:32]
Susanna Fair [2:30]
The Queen’s Alman [3:27]
Fantasia in A [7:28]
Ut re mi fa sol la [7:21]
Clarifica me, Pater (111) [2:58]
My Lady Nevell’s Ground [4:45]
Fantasia in G [3:23]
Pavan in A [5:02]
Fantasia in D [4:44]
Memento salutis auctor [3:23]
Jean-Luc Ho (organ, harpsichord)
rec. 2014, L’Abbaye de Sainte-Amant-de-Boixe (Charente)
ENCELADE ECL1401 [70:14]
Amongst the impressive and prolific legacy of William Byrd,
the keyboard works hold an esteemed position. Listening to this recent release
from Encelade, I can understand why he is regarded by many as England's
greatest composer of music for the keyboard. The sheer scope, diversity, versatility
and imagination on display, in this well-chosen selection, confirm that this
music is forged with the stamp of quality. It certainly makes for a compelling
listen.
Byrd’s keyboard music is collected in three books: Parthenia, together
with works by John Bull and Orlando Gibbons, My Ladye Nevells Booke –
a collection of 42 works, compiled by the composer himself in 1591, and the
Fitzwilliam Virginal book, incorporating music by several composers. The music
Jean-Luc Ho has chosen for this recital derives mainly from the latter two,
with Sir William Petre Pavan & Gaillard being found in Parthenia. He has
selected two instruments for his performances: The Renaissance organ of L’Abbaye
de Sainte-Amant-de-Boixe, and an Italian harpsichord by Ryo Yoshida (2010),
after Trasuntino (1531). The alternation of organ and harpsichord for groups
of pieces provides contrast and enhances interest. Both are fine-sounding
instruments and showcase the ingenuity of the music and the expert skill of
the performer. This is the first time I have encountered Jean-Luc Ho, and
I see he has already recorded a CD of harpsichord works by Bach and Couperin
on Encelade.
Ho captures the spirit of the music in these idiomatic, stylish and rhythmically
potent performances. He employs an imaginative range of registrations in the
works played on the organ, adding colour and diversity. Ornaments are skilfully
executed, tastefully calibrated and never impede the musical flow. An example
is his stunning performance of My Lady Nevell’s Ground, the opening
piece of the Nevell book. It consists of six variations on a ground, each
of increasing complexity as the work progresses. Walsingham, from which the
album takes its name, is the longest piece here at nearly eight and a half
minutes. Existing in both Fitzwilliam and Nevell, it is made up of twenty-two
variations on a well-known Elizabethan song. Crisply articulated, with ornamentation
emerging with pristine clarity, it is one of the many highlights of the disc.
Ho allocates it to the harpsichord, the instrument he has chosen for The Queen’s
Alman. Here he uses a dark, sonorous registration. In Sir William Petre Pavan
& Gaillard, he makes a striking contrast between the sedate, dignified
and stately 2/4 Pavan, and the more animated 3/4 Galliard, with its dotted
and syncopated rhythm.
Encountering this music has been a revelation. Ho plays with commitment, resourcefulness,
imaginative flair and rhythmic vitality. These are convincing interpretations,
and set the bar high. The bright, resonant acoustic of L’Abbaye de Sainte-Amant-de-Boixe
confers a luminous sound on the proceedings. Delineation of lines and ornamental
detail is vividly captured, with both instruments being well-matched volume-wise
and spatially. Well-written annotations, in French and English, briefly discuss
each of the pieces. For lovers of Elizabethan keyboard music, this is a highly
desirable release, and has given me a great deal of pleasure.
Stephen Greenbank
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