Started by Mandryka, October 27, 2015, 01:42:21 AM
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Quote from: Mandryka on January 20, 2016, 10:38:47 PMI wish I had your knack of telling what is off and on stylistically.
Quote from: Que on January 20, 2016, 10:44:59 PMYou don't seem to have any difficulty in determining what you like and not. Q
Quote from: Mandryka on January 20, 2016, 10:19:59 PMThe striking thing about this CD is that it is uncompromisingly oneric. For Egarr, Gibbons is a romantic before his time, and the music is an exploration of the most profound and mysterious states of soul. Egarr is helped in this respect by a poetic virginal. And he is helped by a fabulous technique - like no other active harpsichord player I can I can think of, Egarr can vary attack and touch. An early recording in Egarr's career I think (it's a Globe CD), but it's one which seems to me to be more in the spirit of his Louis Couperin than his Froberger. See what you think.
Quote from: (: premont :) on January 21, 2016, 02:43:45 AMoneiric may be a bit overstated IMO
Quote from: Mandryka on January 21, 2016, 08:28:04 AMI wonder if you have heard Egarr's Frescobaldi CD also on Globe. I've just started to listen to it and it seems to have some of the same qualities as his Gibbons.
Quote from: (: premont :) on January 21, 2016, 01:06:17 PMA very touching style, not like anything else.
Quote from: Mandryka on January 30, 2016, 06:10:58 AMPieter-Jan Belder plays a large selection of music by Giles Farnaby, being the latest instalment of his Fitzwilliam Book series, released last week. Half dedicated to Farnaby, the other half to Bull. This is just my initial impression. It's a bit heavy, a bit clunky even, a bit samey in terms of texture, a bit too much like he's decided on a pulse and he's sticking to it. In short, this is reductive: Farnaby reduced to virtuoso music for harpsichordists rather than soulful poetry for dreamers.
Quote from: Mandryka on January 30, 2016, 11:19:59 PMBrace yourself for some big claims, probably incorrect, proposed for refutation. Peter Philips, mate of Sweelinck and of Frescobaldi, was a composer on the cusp of a major style revolution. It's not clear whether his music is best seen as stile antico, that's to say played voix égales to reveal complex counterpoint. Or whether it's best done madrigal style, picking on one voice to act as main melody, to be supported by a sort of basso continuo. Belder is in the stile moderno, madrigalesque school I think. Anneke Uittnbosch and maybe Siegbert Rampe are more like stile antico.The interesting case is Elizabeth Farr. What distinguishes her style in Philips (and even more so in Byrd) is the arpeggiation. Basically, she plays British music like it's French, with broken chords buzzing around, which serve to mark out a pulse.(Now get ready for the bit I'm not sure of) The result is something which is a sort of half way house between voix égales and basso continuo. The prominence of a simple melody remains: it doesn't sound like a motet for keyboard.
Quote from: Mandryka on February 05, 2016, 10:38:16 AMThe way Tilney plays the enormous partita called The Second Ground is both courageous and extraordinary. He completely eschews any attempt to draw the listener in by means of drama or rhetoric. Instead it's like a flânerie in music, a long and pointless shaggy dog story. Whether the music, and the performer, can bear such an austere, modest, self effacing treatment is something I leave as a question without an answer: I have certainly enjoyed it more with repeated listening, but it certainly confounds expectations. At first I thought that Asperen's Swellinck Fantasias on NM were close to the Tilney style here, but Asperen's more dramatic. Maybe Egarr playing Froberger's capricci and toccatas is closer. Anyway we have something unique in this new Byrd CD, and something quite challenging.
Quote from: Mandryka on February 09, 2016, 12:54:49 PMI find these consorts by Matthew Locke more inventive and surprising on the whole than Lawes's and even Ward's. Ensemble de Violes Orlando Gibbons is impeccable - refined and focused, serious. Maybe you could criticise them for obliterating any quintessentially English buffoonery and grotesqueness from the music, but you can't have it all ways at once. Lovely CD of lovely music. Surprisingly the music is later than Lawes, but seems quite interesting in all the voices - certainly there are unexpected harmonies and changes of direction - but always in the best possible taste, as Cupid Stunt would have said.
Quote from: Que on February 10, 2016, 10:13:52 AMI'm confused - didn't you just start a viols thread? Q
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