A Noble Noyse of Musicke John BULL (c.1562-1628) In Nomine IV [4:39] Thomas TALLIS (c.1505-1585) Iam lucis orto sidere [1:31] John REDFORD (c.1486-1547) O lux beata Trinitas [1:36] Richard ALLISON (c.1560-c.1610) Quadran Pavan [5:26] anon (England,
16th C) In Paradise [2:16] anon (England, 16th
C) I love unloved [5:19] WILLIAM Mure of Rowallan (1594-1657) Kathrein Bairdie [1:24] Gypsies Lilt [2:32] Ouer the Dek Davie [1:38] Corn Gaird(es) [0:56] William BYRD (1543-1623) Fantasia I a 6 [5:48] Anthony HOLBORNE (c.1545-1602) Galliard The Teares of the Muses [1:30] William BYRD Ave verum corpus [2:59] John COPRARIO (c.1570-1626) Fortune and glory [3:52] John DANYEL (1564-c.1626) Can doleful notes? [2:08] Time, cruel time [1:53] Thomas CAMPION (1567-1620) Author of light [2:53] Thomas TALLIS When shall my sorrowful sighing slack [2:43] Edward COLLARD (fl.
1598) Go from my window [3:45] John BULL English toy [1:19] Irish toy [1:49] anon (England,
16th C) Farewell the Bliss [3:58]
Field (alto); Paul Leenhouts (recorder); Israel Golani
(lute); Johan Hofmann (harpsichord); Matthias
The Royal Wind Music (Stephanie Brandt; Erik Bosgraaf;
Lena Chatzigrigoriou; Jon Daniels; Arwieke Glas; Hester
Groenleer; Miako Klein; Matthijs Lunenburg; María Martínez
Ayerza; Amy Power; Monika Ruusmaa; Ann-Katrin Seifert (renaissance
rec. June 2004, Reformed Church of Fransum, Netherlands.
the Reformed Church of Uttum, Germany. DDD LINDORO
must admit that I don't particularly like discs of this
type. It contains no less than 22 pieces which are very
different in character and scoring. That guarantees great
variety which in itself is not a bad thing. But when most
pieces are very short the programme threatens to lack coherence
and become a short-winded. And that is the problem here,
disc is different from what I had expected. The cover gives
only the name of The Royal Wind Music and therefore I was
looking forward to listening to this ensemble. I heard
the ensemble for the first time during the Early Music
Festival in Utrecht in 2007, and I was very impressed.
It consists of 12 recorder players which perform music
written between 1500 and 1640. Everyone who is not a stranger
in the world of early music knows how hard it is to create
a well-blended sound with a consort of recorders and at
the same time to keep the ensemble in tune. On this evidence
they have no problems in this regard. In addition their
performances are splendid.
the ensemble plays in only six of the 22 items. The other
pieces involve guests, who play on organ, harpsichord -
from what I hear it is not a virginal contrary to the booklet’s
account of things - lute and solo recorder. In addition
there are some contributions from the alto Christopher
is in this disc’s favour is the choice of repertoire: the
most popular pieces have been avoided, and instead we get
a series of pieces which have probably never been recorded
before. These include the lute pieces by William Mure of
Rowallan. Also composers such as Richard Allison and Edward
Collard are not frequently recorded. John Coprario, John
Danyel and Thomas Campion are a little better-known and
their inclusion is something to cherish. Some of the music
is regularly performed, like the keyboard works by Bull
and Tallis. William Byrd's motet 'Ave verum corpus' may
belong to his most popular sacred works but here it is
performed in an intabulation at the organ.
pieces appear in arrangement. John Danyel's song 'Time,
cruel time' is played on the recorder and the lute, and
his song 'Can doleful notes?', from a collection for lute,
viol and voice, is performed here with the harpsichord
accompanying the voice. The latter arrangement is one of
the least satisfying items on this disc.
consort music is performed with recorders, a completely
legitimate option, as a consort of recorders was quite
common in England in the early 17th century. But I am not
sure that it is justified to play these pieces with more
than one instrument per part. In the songs for voice and
consort - Coprario's 'Fortune and glory' and the last item,
the anonymous 'Farewell the bliss' - the balance between
the voice and the recorder consort is less than ideal.
don't want to give the impression that this is a bad disc.
That is certainly not the case, as the performances are
generally rather good. But there are some things which
make this disc less satisfying than it could have been.
In addition to the things I have already mentioned I refer
to the recording technique. Especially when listening through
headphones the amount of background noise is sometimes
irritating. That is particularly the case in some of the
lute pieces. When the sound of the lute is very soft or
there is a short pause the noise almost disappears only
to return when the lute plays again. As a result there
is a constant ebb and flow in the noise (in 'Gypsies Lilt',
track 8). The reverberation at the end of every piece is
quickly cut off which produces a very unnatural effect.
don't understand why only the first two lines of 'Can doleful
notes?' by Danyel are sung, whereas the booklet gives eight.
And why are the texts pronounced in modern English? Aren't "love" and "move" (Coprario,
'Fortune and glory') supposed to rhyme?
short, I am in two minds about this disc. The pros are
the choice of lesser-known or even unknown pieces and the
general level of the performances. The cons are the sometimes
unsatisfying arrangements, the lack of coherence and the
less than ideal recording. It's up to you to decide whether
the pros outweigh the cons.
Founding Editor Rob Barnett Senior Editor
John Quinn Seen & Heard Editor Emeritus Bill Kenny Editor in Chief
Vacant MusicWeb Webmaster
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