Author Topic: English Renaissance and Baroque Instrumental Music  (Read 13813 times)

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Offline Que

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Re: English Renaissance and Baroque Instrumental Music
« Reply #120 on: November 18, 2017, 04:55:55 AM »
Que - I was in touch with Peter Watchorn quite recently, and he told me that he'll be recording vol 2 of the Bull series in the very near future

Wow, that's good news!  :)

Considering that the 1st volume was recorded 8 years ago, I'd given up on a sequel.....

Q

Edit: Oops, that was 8 years ago, not 18.....
« Last Edit: November 18, 2017, 07:53:28 AM by Que »
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Offline JCBuckley

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Re: English Renaissance and Baroque Instrumental Music
« Reply #121 on: November 18, 2017, 06:55:12 AM »
Wow, that's good news!  :)

Considering that the 1st volume was recorded 18 years ago, I'd given up on a sequel.....

Q

I've just dug out the last email I received from Peter, dated September. Quote: "Goldbergs and Art of Fugue still to go. John Bull is next. Volume 2 will contain the twelve In Nomine settings and the Hexachord Fantasias"

Offline milk

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Re: English Renaissance and Baroque Instrumental Music
« Reply #122 on: November 18, 2017, 07:27:57 AM »

Quite a good survey here. Interesting variety of instruments. Lively, intense performances. Almost psychedelic at times (maybe it's those meadow mushrooms)! I'm a fan of Sempe anyway.

Offline Que

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Re: English Renaissance and Baroque Instrumental Music
« Reply #123 on: November 18, 2017, 07:46:29 AM »
I've just dug out the last email I received from Peter, dated September. Quote: "Goldbergs and Art of Fugue still to go. John Bull is next. Volume 2 will contain the twelve In Nomine settings and the Hexachord Fantasias"

Absolutely great..... :) 

I guess in the past years Watchorn was distracted by his Bach project....

Q
À chacun son goût.

Offline Mandryka

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Re: English Renaissance and Baroque Instrumental Music
« Reply #124 on: November 26, 2017, 05:49:12 AM »
"Global" review of the Phantasm Tye (which I haven't heard) here, though it's a great shame that it doesn't take into account Spirit of Gambo's recording, which I like very much (in so much as I like Tye at all!)

http://wunderkammern.fr/2017/11/26/frettes-folles-la-musique-pour-consort-de-christopher-tye-par-phantasm/

I was particularly struck by the comment that

Quote
rendent justice à l’inventivité d’aventure un peu folle de Tye mais offrent également un écho très convaincant de la personnalité à la fois défiante, un brin arrogante dans la conscience de son originalité tout en étant soucieuse de plaire qui semble avoir été la sienne.

though I fear that being "soucieux de plaire" could kill the music, especially with their "ton plus direct et une fluidité plus allante [compared with Jordi] sans pour autant presser excessivement le pas ou demeurer à la surface des œuvres." We'll see.

The criticism of Savall that his Tye is "d’une beauté parfois un rien trop hiératique." is interesting given the new Archeron Gibbons. Maybe viol music is religious after all, in some sense. In truth I have no idea what's idiomatic and what isn't in English music.
« Last Edit: November 26, 2017, 05:51:10 AM by Mandryka »
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Offline Que

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Re: English Renaissance and Baroque Instrumental Music
« Reply #125 on: November 26, 2017, 06:22:59 AM »
"Global" review of the Phantasm Tye (which I haven't heard) here, though it's a great shame that it doesn't take into account Spirit of Gambo's recording, which I like very much (in so much as I like Tye at all!)

I like The Spirit of Gambo.
Thanks for pointing out their Tye album, I wasn't aware! :)



Quote
The criticism of Savall that his Tye is "d’une beauté parfois un rien trop hiératique." is interesting given the new Archeron Gibbons. Maybe viol music is religious after all, in some sense. In truth I have no idea what's idiomatic and what isn't in English music.

Neither does Savall.....  8)

Q
« Last Edit: November 26, 2017, 11:25:16 AM by Que »
À chacun son goût.

Offline milk

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Re: English Renaissance and Baroque Instrumental Music
« Reply #126 on: November 28, 2017, 03:01:20 PM »
Interesting interview of Jeremy Denk by Leonard Lopate (of WNYC) during which Denk performs William Byrd and makes the case that rhythmic freedom was realized in early music and, to a certain extent, lost in succeeding periods. 
http://www.wnyc.org/story/pianist-jeremy-denk-plays-live/

Offline milk

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Re: English Renaissance and Baroque Instrumental Music
« Reply #127 on: December 08, 2017, 07:26:20 PM »

I was about to begin this text with something like this: "True minimalists lived in the 16th – 17th centu- ries." And then I thought you might say: "Hmm, there he goes again talking about that minimalism." And it’s true: the word is so unfit. Human language is very limited, and every time we attempt to express something important we discover that our language simply doesn't work.
How can we explain what this music sounds like? How can we explain that it is more contemporary than contemporary music?
How can we explain that in the sounds written 300 – 400 years ago one can hear the whole volume of all European music of several centuries, as well as everything we now call ethnic music, from bagpipes and Celtic fiddles to Indian sitars?
A refined scent of jazz, and a punk band playing in a club around the corner. A dramatism stronger than Beethoven's, and the larger-than-life boundless space of a rock ballad.
As for the compositional technique, it is pretty simple. Composers of that time used to write the same things over and over again: exercises of sorts, endless variations on a chord sequence. Not only does this never get boring, but the longer you listen, the less you want it to stop. Each variation opens a door in front of you, and you walk through this endless enfilade and realize that it is none other but a way home.
And this, you could say, is minimalism.
All compositions included in this album were written certainly not for piano. The works of William Byrd are for the virginal (a British modification of the harpsichord). The works of Johann Pachelbel are for organ (Chaconne), and for strings (Canon). I play them on a modern piano, and I treat the scores with a lot of freedom. I don't change even a single note but for some reason it sounds as if it was written this morning.
The recording was made on a 1959 Steinway B. Each composition has its own sonic atmosphere. The way this piano responds to different types of touch and different playing styles is amazing. I emphasized all the distinctions through studio processing. It would make no sense to describe them with words. Just listen. - Anton Batagov
« Last Edit: December 08, 2017, 07:58:22 PM by milk »

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