Author Topic: English Renaissance and Baroque Instrumental Music  (Read 8527 times)

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Offline (: premont :)

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Re: English Renaissance and Baroque Instrumental Music
« Reply #80 on: March 14, 2017, 03:52:00 PM »


Alina Rotaru's vision of Byrd, Gibbons and Bull is angry. She pounds out the music in a one dimensional way, there's no emotional complexity here. Accents are forceful.  She likes to play fast. Rhythms are fairly rigid. It's thrilling but jejune.

Anyway that's my conclusion after two listens. I posted something like this yesterday but deleted it because I feared I may be doing her an injustice. But no. I hope someone will point out the error of my ways.

In fact I've come across this conception of English music before, in a live performance of Bull's Walsingham Variations by Leon Berben. Bull and Byrd had a lot to feel angry about - but did Gibbons?

She's playing some sort of German harpsichord I believe, I haven't found more details.

She plays a single manual German harpsichord by Thomas and Barbara Wolf 1995 after Christian Vater 1738.

I did not associate to "angry" when listening to it, but found the playing more straightforward and less charming than the playing on her Sweelinck and Froberger CDs. I shall relisten.
res severa verum gaudium

Offline Jeffrey Smith

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Re: English Renaissance and Baroque Instrumental Music
« Reply #81 on: March 14, 2017, 06:56:09 PM »
I am finishing up a runthrough of the L'Oiseau Lyre Medieval/Renaissance set. It contains enough items of interest that it should warrant the attention of anyone interested in the period in general. But it warrants mention on this thread because a substantial number of the performances are English music through 1650 or so. About ten are instrumental, and another half dozen or so are vocal.
Mi Verry Joy (Songs of the 15th century) *
Holborne Pavans and Galliards **
A Musical Banquet **
Morley Ayres and Madrigals**
Wilbye First and Second Sets of Madrigals**
Corprario Funeral Tears and Consort Music**
Gibbons Madrigals and Motets **
Music from the Time of Elizabeth I ***
Byrd Consort Music **
Byrd My Lady Nevells Booke (selection)#
Cozens Lute Book •
Fitzwilliam Virginal Book (selection) (double CD)#
Lawes Setts for violins and division viols **
Maynard Twelve Wonders of the World **
Dowland First book of songs **
Dowland Lachrymae **
Jenkins Consort Music **

* Medieval Ensemble of London
** Consort of Music
***Academy of Ancient Music
• Anthony Rooley, lute
# Christopher​ Hogwood, keyboards​

The Byrd Music Consort and the Lawes are described as being "first international CD release", and of the rest, I think only the Dowland recordings are in general circulation.
« Last Edit: March 14, 2017, 07:01:22 PM by Jeffrey Smith »

Offline Mandryka

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Re: English Renaissance and Baroque Instrumental Music
« Reply #82 on: April 05, 2017, 09:19:37 AM »


Revisiting this recording of music by Peter Philips by Emer Buckley after experiencing Rubsam's Bach on Lautewerck has made me realise why this is such an important recording. I don't think I'm deluding myself. Emer Buckley has found a way of making the voices independent and a way of putting them in a responsive and lively relation. She's greatly aided in this by her harpsichord - I don't know what it is because I haven't kept the booklet - because the timbre of the lower notes seem noticeably distinct from that of the higher ones, like different registers almost.
Wovon man nicht sprechen kann, darüber muss man schweigen

Offline Mandryka

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Re: English Renaissance and Baroque Instrumental Music
« Reply #83 on: April 13, 2017, 10:51:44 PM »


Paolo Pandolfo, here with Robert Smith, has invented a new way of playing gamba. Instead of making the notes sing forth, he grazes the strings with his bow to produce an encapsulated sound. The result is a music with more air, music which is more like a whispered conversation than an aria.

They use the new technique ubiquitously in this CD, which mostly consists of sets of variations.  It is the main tool in their expressive armoury.

The result is both fascinating and annoying. Fascinating because the music sounds like no one else and hence as a taste of some new things which can be done with English viol music it is a valuable new CD. But the annoying problem is that there isn't enough variety in the music to make the recording a rewarding experience in itself. If only they had combined the encapsulated bowing with more traditional cantabile playing to add expressive variety. It's easy for me to talk of course, maybe it's not possible to make the music cohere if you do that. 

In a way the Pandolfo bowing reminds me of Glen Gould's staccato piano touch, which he too maybe used too often and too exclusively. 
Wovon man nicht sprechen kann, darüber muss man schweigen

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