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 | O królach polskich - Of Polish Kings Anon.
 O królach polskich [Of Polish Kings] [01:14]
 Seweryn KON 
              (?-?)
 [piece without title] [01:15]
 Duma [Elegy] [01:44]
 Valentin BAKFARK (1507-1576)
 Fantasia V [04:20]
 Czarna krowa [Black cow] [02:37]
 Fantasia VI [06:38]
 Albo juz dalej trwac nie moge [No longer can I bear] [03:47]
 Fantasia VII [07:48]
 Valentin HAUSMANN (c.1565/70-c.1614)
 Polnischer Tanz I [02:01]
 Polnischer Tanz II [00:50]
 Polnischer Tanz III [01:11]
 Diomedes CATO (before 1570-after 
              1607)
 Canzona Diomedis [01:36]
 Anon.
 Przez Twe swiete zmartwychwstanie [Through your holy resurrection] 
              [01:23]
 Nasz Zbawiciel [Our Saviour] [01:59]
 Nasz Zbawiciel Pan Bóg [God our Saviour] [01:52]
 Nasz Zbawiciel [Our Saviour] [03:22]
 Marcin Z WARTY (WARTECKI) (2nd half 
              16th C.)
 Nos autem gloriari oportet (Introitus de S. Cruce) [02:26]
 Jakub SÓWKA (SOWA) (?-1611)
 Kyrie paschale [01:00]
 Krzysztof KLABON (before 1550-after 
              1616)
 Kyrie, Christe, Kyrie ultimum [03:33]
 Piotr DRUSINSKI (?-1611)
 Preambulum I [01:17]
 Veni redemptor gentium [01:29]
 Preambulum II [01:14]
 Resonet in laudibus [01:52]
 Anon.
 O królach polskich [Of Polish Kings] [01:22]
 
  Canor Anticus (Marcin Zalewski, Aleksander Dlugajczyk, Wojciech 
              Zalewski, Maria Sarap, Kazimierz Gruszczynski, viola da gamba)/Marcin 
              Zalewski rec. December 1996 and January 1997, Grand Ballroom of Sapieha Palace, 
              Warsaw, Poland. DDD
 
  DUX 0761 [57:50]  |   
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                The musical past of the countries of Central and Eastern Europe 
                  is little known in other parts of the world. It seems only recently 
                  that discs with Polish music of the renaissance and baroque 
                  periods, performed by Polish ensembles, have reached the outside 
                  world. In the last two years or so I have reviewed several discs 
                  with Polish music which were originally recorded five years 
                  or longer ago. That is also the case here: the recording dates 
                  from 1997, but I had never heard of it nor of the ensemble before. 
                  It has now been reissued by Dux and sent to MusicWeb International 
                  to be reviewed. 
 There is one handicap in the research of the musical heritage 
                  of Poland. During World War II many manuscripts have been destroyed 
                  or have just disappeared, and as a result our knowledge of the 
                  music of the 16th and 17th centuries is limited. A number of 
                  pieces on this disc are also from manuscripts which are no longer 
                  available. Fortunately some of them had been copied or microfilmed 
                  before the war.
 
 In the renaissance instruments were mainly used to support singers. 
                  When purely instrumental music was performed, it mostly involved 
                  transcriptions of vocal music or dance music. Many transcriptions 
                  can be found in tablatures, in particular for organ. A large 
                  number of pieces on this disc are taken from such sources. The 
                  organ tablature of Jan of Lublin is a source regularly used 
                  by organists. But there is no reason whatsoever not to play 
                  these pieces on other instruments or, as here, with an instrumental 
                  consort.
 
 Consorts of instruments were very popular during the renaissance. 
                  They could comprise various instruments: violins, viols, recorders 
                  or cornetts and sackbuts. Musicians were practical in those 
                  days: they played music on whatever instrument they had at their 
                  disposal. In regard to consort music it was most common to play 
                  on instruments of one family. Mixing wind and strings - viols 
                  and recorders, for instance - was an exception.
 
 This disc brings various kinds of music which were part of the 
                  consort repertoire of those days. So there are some typically 
                  instrumental forms - especially used for keyboard music -, like 
                  the fantasia, the canzona and the praeambulum (or prelude). 
                  In addition we hear dances (Haussmann) and transcriptions of 
                  vocal pieces, including parts of the Mass. Many pieces are anonymous, 
                  but even where a name has come down to us most lovers of renaissance 
                  music probably won't have heard of them. The best-known composers 
                  in the programme are Valentin Bakfark and Valentin Haussmann. 
                  The former was a famous lutenist, born in Transylvania, and 
                  working for a while at the royal court in Poland. The latter 
                  was from southern Germany, and also spent some time in Poland. 
                  The latest music dates from the first decade of the 17th century. 
                  But at that time the new Italian concertante style hadn't reached 
                  Poland.
 
 I haven't always assessed recordings by Polish ensembles all 
                  that positively. It is different this time: I have very much 
                  enjoyed this disc. The five players of Canor Anticus give very 
                  fine performances on their viols, ranging from treble to bass. 
                  They produce a beautiful sound and the ensemble is excellent. 
                  The players are not afraid to explore the full dynamic range 
                  of their instruments. That is certainly right: there is no reason 
                  why renaissance music should be played at more or less the same 
                  dynamic level all the time. They shape the musical lines beautifully 
                  and the various voices of these polyphonic pieces are clearly 
                  discernable.
 
 The repertoire is another reason why this disc is commendable: 
                  even those who have a special interest in renaissance music 
                  won't hear much they already knew. There is just one well-known 
                  melody: the transcription of a setting of the hymn 'Resonet 
                  in laudibus' by Drusinski.
 
 Because of the quality of the music and the level of the performances 
                  this disc is a winner, and a worthwhile addition to any record 
                  collection.
 
 Johan van Veen
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