Gregoire Brayssing: Complete Music for Renaissance Guitar

Sometimes, it's all about the music. Because the music is all we have. Virtually nothing is known of Gregoire Brayssing. It's possible he was German. It's almost certain that he played the Renaissance guitar. And he definitely published Quart livre de tablature de guitarre in 1553. That's it.

The Renaissance guitar sits somewhere between the lute and the modern guitar. Unlike the lute, which had a bowl-shaped body, the Renaissance guitar is flat. Its body has a vague hourglass shape, like a modern guitar.

The lute had a neck that held the tuning pegs at a 90-degree angle. The Renaissance guitar's neck is straight, like a modern instrument. One of the biggest differences was the arrangement of strings. 

Lutes had pairs of strings, called courses, with a single string for the highest pitches. Renaissance lutes typically had 8-10 courses (17-21 strings total). The Renaissance guitar had but four courses (9 strings total). 

Different string arrangements meant different playing techniques.  Brayssing understood his instrument well. His music is a compendium of playing techniques that take full advantage of the guitar.

Fedrico Rossignoli is a specialist in Renaissance guitar and cittern. His playing is here is flawless. There's no sliding from note to note -- each plucked with precision. His runs are pristine. 

The Renaissance guitar sounds like a lute but with a slightly more robust resonance. And Rossignoli plays . He doesn't pluck the strings delicately, but strength, letting them ring.

Yes. This is a recording of incredibly obscure music by an unknown composer for an esoteric instrument. None of that matters. We have the music. This instrument playing these compositions is a beautiful sound. A sound that anyone can enjoy.

Gregoire Brayssing: Complete Music for Renaissance Guitar
Federico Rossignoli, Renaissance guitar
Brilliant Classics 96448

¡Sacabuche! Reveals Hidden Treasures from Habsburg and Bohemia

The early music ensemble ¡Sacabuche! presents a collection of music from the Habsburg Court. Giovanni Valenti, Antonio Bertali, and Pavel Josef Vejvonovsky may not be well-known today. But in the 1640s Bohemia, they were renowned for their instrumental virtuosity and composing skills.

¡Sacabuche! delivers some first-rate performances of this music. In addition to violin, theorbo, and organ, the ensemble features a brass section, with cornettos and sackbuts. 

I know I've said it before, but it's still true. I find the sound of sackbuts and cornettos soothing. They're the predecessors of trombones and trumpets. But they have a warmer, mellower sound than their modern counterparts.

Many of these works show the influence of Giovanni Gabrieli and no wonder. This collection features music from the Catholic courts of Austria and Czechoslovakia. Several of the composers are Italian, and either studied with Gabrieli or were familiar with his style while working in Italy. 

But this music isn't as florid as Gabrieli. The harmonies and counterpoint are simpler. And that, I think, is part of their charm. These are true early music gems.

I think anyone interested in early music should give this recording a listen.   

 Hidden Treasures: Seventeenth-Century Music of Habsburg and Bohemia
¡Sacabuche! - Linda Pearse, director
ATMA Classique ACD2 2798

Porfeti della Quinta perfectly perform Philippe Verdelot

Philippe Verdelot one of the composers credited with developing the Italian madrigal. Though French, he spent most of his professional life in Florence. His publications spread throughout Europe and set the model for this Renaissance vocal form.

Verdelot wrote mostly five- and six-voice madrigals. This release features some of his less-common four-voice madrigals. They were originally published in two volumes and later collected in a 1540 posthumous publication, Di Verdelotto / tutti li madrigali del primo et del secondo libro a quatro voci. 

Profeti dell Quinta delivers exceptionally beautiful performances of these madrigals. And their careful study of these works let their singing reveal all of Verdelot's subtleties. 

For Verdeolot (and his followers), madrigals were about illustrating poetry. The melodies are often through-composed, with the shape, rhythm, and even intervals in service of the words. 

Concepts such as darkness and light are reinforced with key choices and major or minor intervals. "Falling" might be sung over a descending scale; "halt" might bring the music to a sudden stop, and so on. 

The artistry in Porfeti della Quinta lies in their ability to understand the foundation of this music. And to let that foundation inform their performances. 

The result is a series of incredibly beautiful vocal quartets that beguile the ear. Texts are included in the booklet. So you can follow along and fully appreciate Verdelot's skill at word-painting. 

Or you can just listen to Porfeti della Quinta's singing, and receive the intent of the music without understanding a word of it. 

Philippe Verdelot: Madrigals for four voices
Porfeti della Quinta; Elam Rotem, director
Pan Classics PC 10422

Domenico Gerasani's Sensitive Performances of Cutting Lute Music

Little is known about the life of English lutenist Francis Cutting. He was a musician for the Howard family (Anne Boleyn's peeps), and one of his ten children, Thomas, also became a respected lutenist.

What is known is Cutting's music. He wrote "Packington's Pound," which has been recorded countless times by early music ensembles. He's also known for a set of variations, the "Divisions on Greensleeves."

Cutting wrote over fifty works for the lute, and this recording features a little over a third of them. Cutting's exceptional playing ability allowed him to create music with intricate polyphony and rapid scalework.

Domenico Cerasini seems to match Cutting in ability. His performances are calm and assured -- a player in full command of his instrument and the music. Cutting's music is quite intellectual and carefully constructed. Cerasini takes care to articulate the structure of each work. It's not just that melodic lines are brought to the fore. Supporting tones are also given different weights depending on their function.

Take "Four Divisions on Packington's Pound," for example. The melody is the loudest. But quite present is the ground bass, providing a firm foundation for the variations. Additional notes sound softer, providing a multi-layered texture to the music.

This is an excellent portrait of Francis Cutting, both as a composer and as a performer. Domenico Gerasani brings these delicate masterworks to life.

Francis Cutting: Lute Music
Domenico Gerasani, lute
Brilliant Classics 96099

Francis Cutting Lute Music - Tudor Treasures

Little is known about the life of English lutenist Francis Cutting. He was a musician for the Howard family (Anne Boleyn's peeps), and one his ten children, Thomas, also became a respected lutenist.

What is known is Cutting's music. He wrote "Packington's Pound," which has been recorded countless times by early music ensembles. He's also known for a set of variations, the "Divisions on Greensleeves."

Cutting wrote over fifty works for the lute, and this recording features a little over a third of them. Cutting's exceptional playing ability allowed him to create music with intricate polyphony and rapid scalework.

Domenico Cerasini seems to match Cutting in ability. His performances are calm and assured -- a player in full command of his instrument and the music. Cutting's music is quite intellectual and carefully constructed. Cerasini takes care in articulating the structure of each work. It's not just that melodic lines are brought to the fore. Supporting tones are also given different weights depending on their function.

Take "Four Divisions on Packington's Pound," for example. The melody is the loudest. But quite present is the ground bass, providing a firm foundation for the variations. Additional notes sound softer, providing a multi-layered texture to the music.

This is an excellent portrait of Francis Cutting, both as a composer and as a performer. Domenico Gerasani brings these delicate masterworks to life.

Francis Cutting: Lute Music
Domenico Gerasani, lute
Brilliant Classics 96099

Paulo Biordi Revives Lyra Viol Music by Ferrabasco

Alfonso Ferrabasco (the younger) was --despite his name -- an English composer and viol virtuoso. He was active in the courts of both Elizabeth I and James I and well-known in the London music scene. His father emigrated to England in 1592 and achieved fame as a madrigalist.

The lyra viol is a member of the viola da gamba family of stringed instruments. Viols superficially resemble modern stringed instruments (which would supplant them). The lyra viola was a small bass viol used almost exclusively in England.

The instrument usually had six strings (although that could vary). The lyra viol also had different sets of tunings, that changed its range and timbre.

The works on this album are all short dance pieces. Ferrabasco specified which tuning to use for each piece. Paulo Biordi has grouped works together by tuning, effectively creating little dance suites.

Biordi is a master of this instrument. His bowings are clean, yielding a pure, sustained tone. The extreme low register never sounds muddy, and the melodies have a singing quality to them.

The album was recorded with two lyra viols; one an original bass viol from 1768, the other a modern reproduction of a 1624 instrument.

What struck me was how great the character of the instrument changed between tunings. The sound could be deep and resonant like a cello, or light and warm like a viola (a modern one, that is). 

All in all, a fascinating recording. Highly recommended for fans of Renaissance music.

Alfonso Ferrabasco (The Younger): Lessons for the Solo Lyra Viol
Paulo Biordi: lyra viol
Dynamic CDS 7652

"Two Lutes with Grace" informative and entertaining

It's a clever title. "Two Lutes with Grace" refers to Marc Lewon and Paul Kieffer (lutes), and Grace Newcombe (vocal). And it's a valuable release.

In the late 1400s, lute duos were one of the most common forms of professional ensembles. Lewon and Kieffer carefully reconstruct what music these duos may have performed, using current musicological findings. The resulting album is both informative and entertaining.

The plectrum in the title refers to an elongated pick. Using a plectrum gave the lute a cleaner and louder sound than using one's fingertips. And using two instruments further increased the volume, as well as allowing for fuller harmonies and complex counterpoint.

When Lewon and Kieffer play matched lutes, the sound amplification is evident. In a way, the effect reminded me of piano four hands. It's a sound that's close to the solo instrument, but somehow bigger and fuller.

While some of the works were originally written for the lute (or lute duet), others are arrangements of songs. Vocalist Grace Newcomb provides context. Each of her selections is followed by the same piece in a lute duo version.

Lewon and Kieffer further vary the texture by occasionally matching a lute with a gittern. This smaller member of the lute family is also played with a plectrum. It has a slightly different timbre than the lute (as well as a higher range). The interplay between the two instruments is easy to hear, making the tracks stand out from the homogenous sound of the two lute selections.

Lewon and Kieffer play with precision and sensitivity. Although continually playing staccato, both connect lines through their phrasing. This keeps the music from devolving into an unending barrage of notes.

Newcomb sings in with a slightly dark mezzo-soprano. As is common with early music practices, she eschews vibrato. Her voice contrasts nicely with the accompanying lutes, delivering the melodies with exceptional beauty.

Highly recommended -- especially for those only familiar with solo lute recordings. 

Two Lutes with Grace: Plectrum Lute Duos of the Late 15th Century
Marc Lewon, Paul Kieffer, lute; Grace Newcombe, voice
Naxos 8.573854 

Robert Ballard Lute Music played with elegance and taste

Robert Ballard II was a lute virtuoso who also happened to have a pretty good gig. He was a music tutor to a young Louis XIII. His father and cousin ran a prestigious music publishing house in Paris.

And they, of course, published young Robert's two collections of lute works.

Lutenist Richard Kolb performs 30 of the 56 pieces from Le Premier livre de luth. Kolb funded this project through Kickstarter, and I think the investors got their money's worth.

It's elegant music, full of well-crafted counterpoint and tuneful melodies. Kolb notes that Ballard's music seems balanced between the late Renaissance and early French Baroque. And so it is.

Kolb performs with a 10-course lute. In some passages, it seems as if everyone's playing a different line!

The lute is close-mic'd, giving it a clean, intimate sound. Finger motions (and occasionally breathing) can be heard. To me, those sounds add to the performance, creating a sense of intimacy.

Kolb writes, "Ballard's music comes across to me as having an easygoing charm and unaffected gracefulness." Indeed so -- especially in Kolb's performances.

Robert Ballard: Premier livre de luth, 1611
Richard Kolb, lute
Centaur

Polish Lute Music of the Renaissance offer rare treats

Lute-playing was all the rage in the 1600s. The Italian, French, and English schools are well-represented with recordings. But other European courts were active musical centers. This release features lute music from Poland. It's an interesting blend of both cosmopolitan styles and native folk traditions.

Joachim Held performs with precision and delicacy. His interpretations are subtle but distinct. I heard clear differences between the works based on Italian models and those drawing from Polish dances. The album includes music by three prominent Polish lutenists, as well as a collection of anonymous works from Polish manuscripts.

The earliest known composer on the album is Jakub Polak. Active in the late 1500s, Polak served in the court of Henry III, both in Poland and France. Polak was renowned for his improvisations.  A hint of that can be heard in his written music, which has a fluidity to it.

The Italian composer and lutenist Diomedes Cato spent his professional life in Poland and Lithuania. His music follows the Italianate style. He also incorporated Polish dance music into his compositions.

Polish lutenist Albert Dlugoraj was a contemporary of Cato. Unlike Cato, his life was unsettled. He escaped his employer, the nobleman Samuel Zborowski. He was eventually returned. Dlugoraj then sent incriminating letters to the king, leading to Zborowski's execution. Dlugoraj fled to Germany to escape family retribution. Amid all this turmoil, he composed a large body of lute music, most of it quite fine. Several of his works set Polish melodies and dances.

Held's instrument is well-recorded, which for me added to the enjoyment of the music. The mic is close enough to capture the vibrations of the notes, while minimizing extraneous sounds, such as finger scrapings.

If you're familiar with Western European lute music, many of these pieces will sound familiar (but not overly so). The ones based on Polish folk music have a slightly exotic sound to them. I'd recommend this release to anyone interested in early music.

Polish Lute Music of the Renaissance
Joachim Held, lute
Hannsler Classics

La Rossignol: Arie e Danze Cortigiane

La Rossignol is a collection of dancers, singers, and musicians devoted to performing Renaissance and Baroque dances. "Aire e Danze Cortigiane" presents some of the tunes they perform on stage.

The selections aren't especially ground-breaking. Many early music groups have recorded music from Tielman Susato, Pierre Attaignant, Ambrosius Dalza, and Thoinot Arbeau.

The collection of instruments La Rossignol uses isn't particularly outre. The ensemble features lute, spinetta, viola da gamba, chitarra moresca, flauto, and assorted percussion. The overall ensemble blend, to me, sounds somewhat middle of the road.

So what does make this release stand out? The performances. I think it's because the musicians of Rossignol play for dancers. This is dance music, after all, and La Rossignol delivers. Every track, whether slow or fast, had a strong pulse that continually pushed forward.
I often caught myself tapping my foot to the music. Mission accomplished.

I was initially irritated that there were no liner notes with my review copy. Nothing about the history of Renaissance dance music, or the composers, or the publications. But maybe there's a reason for that. All you can do with this release is listen to the music and take it for what it is. Nineteen tracks of music that make you want to dance. If only I knew how to bransle....

La Rossignol
Ill Millenio 

Pacoloni Ensemble performance of Thysius Lute Book rings true

Dutch philosopher, theologian, and musician Adriaan Smout collected over 900 compositions from the late 1500s. This massive collection made its way to John Thysius, a book collector, for whom the collection is named.

The collection is a virtual cross-section of European lute music. While most of the sources aren't listed, modern scholars have traced works back to various English, French, Italian, and German sources.

The Pacoloni Ensemble takes an imaginative approach in their programming. The disc is carefully sequenced for context. Most tracks contrast with the ones that preceded them. A few form a miniature suite of similar pieces.

The ensembles vary the sound by using one to four lutes. Different combinations yield different timbres. And a few tracks also use percussion for added energy.

There's a roughness to the playing I found appealing. When the four lutes are playing together, attacks aren't always precise. To me, that seems more appropriate to the way these works would have been originally heard.

These lute pieces were written for amateur music-making. The Pacoloni Ensemble gives us an idea of what these pieces would have sounded like (had they been played by exceptionally gifted amateurs).

Adriaan Smout: Thysius Lute Book
Pacoloni Ensemble
Brilliant Classics 95821

Johannes de Lublin Tablature - A snapshot of 16th Century keyboard music

The 1540 "Tablature of Jan de Lubin" is one of the largest collections of 16th Century keyboard music. It's possible that a good portion of it was written, transcribed, and/or arranged by Johann de Lublin. The bound collection includes many other pieces that added after the fact (and possibly after de Lublin's death).

Corina Marti sorts through it all, presenting a well-balanced selection of thirty-nine works from the book. Marti plays a Renaissance harpsichord, which has a substantially different sound than its Baroque descendant.

The range is smaller, and the sound much more robust. There's a roughness to the instrument that goes quite well with the modal harmonies of the music. (Not the best description, but that's my reaction to it.)

The album includes works from a variety of sources. There are settings of music by Antoine Brumel, Josquin des Prez, and Ludwig Senfl, just to name a few. Music from French, Italian and German sources are included, but to me, the most interesting pieces are the Polish ones. There's a folk-like vitality to these pieces that make them especially appealing.

If you're at all interested in early music, this disc should be in your library. It's a nice complement to other historic collections, such as the Fitzwilliam Virginal Book. A thoughtful program of historically important music well-performed -- of course I recommend it.

Johannes de Lublin: Tablature
Keyboard music from Renaissance Poland
Corina Marti, Renaissance harpsichord
Brilliant Classics 95556

Sandro Volta Gives Unvarnished Performance of Petrucci Lute Music

Ottavio Petrucci was not the first music publisher. But he was the first to figure out how to print complex polyphonic scores. This release collects from his Intavolatura di Liuto (lute tablatures) -- a genre that blossomed thanks in part to Petrucci's innovations.

Lutenist Sandro Volta performs music by Francesco Spinacino, Joan Ambrosio Dalza, and Franciscus Bossinensis. Each composer has a slightly different style. Each composer's works are presented in a block, so it's easy to hear those style changes as one moves through the recording.

Francesco Spinacino 's music was the subject of the Libro primo and Libro secondo of 1507. Spinacino wrote complex, free-flowing ricercares. Included is his most famous work, the "Recercare de tutti li toni" which modulates through all the modes.

The Libro quarto of 1508 collected music by Joan Ambrosio Dalza. Dalza wrote lute music in popular dance forms as well as more formal polyphonic compositions. Dalza's music is simpler than Sinacino's and has an appealing directness to it.

Franciscus Bossinensis had two volumes of Tenoir e contrabassi published in 1509 and 1511. Each of these selections was preceded by a short ricercare, that served as a prelude. Six of them are presented here.

Volta is a masterful performer, a seasoned recording artist, and a Grand Prix du Disque winner. This is material he knows and plays well. And yet, I didn't like this recording as much as I thought I would.

I fault the recording. Listening through a high-performance system, I was distracted by extraneous sounds such as grunts, scrapes, and clicks. Sometimes such sounds can add to the authenticity of a performance. In this case, they didn't (at least for me).

When I played the recording through my everyday system, those issues became almost inaudible, and I enjoyed the music much more. It's a minor quibble, but one to be aware of if you have a high-performance audio system.

Otherwise, I recommend this recording for collecting some of the earliest and most influential lute music from the Petrucci catalog.

Petrucci - Intavolature di Liuto
Tablatures for Lute
Spinacino, Dalza, Bossinensis
Sandro Volta, renaissance lute
Brilliant Classics 95262

Blue Heron complete outstanding Peterhouse Partbooks series

In the 1540s Thomas Bull compiled partbooks for the Canterbury Cathedral Choir. They were only in use for a few years, as Edward II dissolved professional choirs. The books were stored in Peterhouse College and all but forgotten.

Blue Heron has brought this music back to life, with scholarly research and committed performances. This is the fifth and final volume of their traversal through the Peterhouse Partbooks.

The centerpiece of the release is an anonymous Missa sine Nomine. It's a model of English Renaissance choral writing. The contrapuntal writing is a bit restrained. But each line is beautifully crafted, making for a pleasing whole.

Also included are works by composers who are all but ciphers today - Hugh Sturmy, Robert Hunt, and John Mason. Even so, it's thrilling to hear this music. Each piece is a finely crafted gem.

Blue Heron performs to their usual high standard. The ensemble has a warm, rich sound. The recording venue provides just the right amount of ambiance -- enough to give the music a luminous glow, without smearing the individual lines.

Highly recommended.

Music from the Peterhouse Partbooks, Vol. 5
Blue Heron; Scot Medcalf, director
Blue Heron

Thomas Tallis, Katherine Parr, and Songs of Reformation

To fully appreciate the music on this release, you should read the liner notes. To appreciate Thomas Tallis' artistry, you just have to listen.

This release features Tallis compositions written for the nascent Church of England. The music reflects the latest scholarship, which shines new light on Tallis and his catalog.

The text for Se lord and behold is now believed to be written by Queen Katherine Parr in 1544. It was set to an early version of Tallis' Gaude gloriosa.

The liner notes go further into the origins of the work, and the historical evidence behind the current view. The release also includes later version of Gaude gloriosa dei mater for comparison.

The third major work on the album is a setting of the Litany, also from 1544. It's definitely music of its time. The cantor asks the Lord to not only take away the congregation's sins, and protect His servant Henry VIII, but also to deliver them from "the tyranny of the bishop of Rome and all his detestable enormities.(!)"

Though the text is somewhat heavy-handed, Tallis' music remains sublimely buoyant and beautiful. Also included are some shorter Reformation hymns for voices and instruments.

Alamire has a rich, full ensemble sound that's well-suited to this music. They're recorded in a large space that lets the sound decay in a satisfying fashion. Fretwork performs to their same high standards as well. Lines are cleanly executed, and there's a wonderful warmth to the ensemble's overall sound.

The musicological and historical content of this release is important. But what really makes it is the of the music and the of the performances.

Thomas Tallis: Queen Katherine Parr and Songs of Reformation
Alamire; Fretwork
Obsidian CD716

Alla Piffaresca - La Rossignol masters of the dance

La Rossignol puts together an engaging collection of Renaissance secular music. If you're a fan of early music, many of their selections will be familiar.

There are dances from Tielman Susato's 1551 "Danserye" and Michael Praetorius' 1621 "Terpsichore." The selections from Thoinot Arbeau, Adrian Le Roy and Pierre Phalèse are also found on many releases.

So what makes this collection different? The instrumental line up varies from track to track. A full ensemble, dominated by winds, is followed by another for lute and single percussion. A few of the selections even feature vocalists.

And of course, the performances of La Rossignol itself makes this an album worthy of attention. La Rossignol is not only concerned with renaissance music but renaissance dance as well. They perform in costume and strive for authenticity in dress, movement, and sound.

There's a ragged quality to their playing that (to my ears) sounds perfectly convincing. This isn't art music they're performing -- just tunes for an evening's entertainment. The performances are loose but full of energy. It's the kind of sound I like to think would get a 16th Century crowd out on the dance floor.

If you enjoy early music, I recommend adding All Piffaresca to your collection.

Alla Piffaresca
Mische del Rinascimento per alta e bassa capella
La Rossignol
III Millenio CDA 1046

Praetorius Lutherische Choralkonzerte - Models of Clarity

This release is part of CPO's "Music from Wolfenbüttel Castle" series. And in this case, it's especially fitting.

It was at Wolfenbüttel that Michael Praetorius served Henry Julius, Duke of Brunswick-Lüneburg. Praetorius served as court organist and composer. When Frederick Ulrich succeeded Julius, Praetorius remained. He was buried Wolfenbüttel.

Julius and Ulrich were staunch Lutherans, as was Praetorius (his father had studied with Luther). This release presents a selection of Praetorius' Lutheran chorales. Praetorius was familiar with Giuseppe Gabrieli's compositions. These works show that influence.

Like Gabrieli's canzonas, these chorales rely on contrast. They often separate the chorus into two smaller antiphonal ensembles. Some of the chorales also use cantus firmus, following the technique of Johann Walter for Lutheran choral music.

Clarity of the message was the overriding priority in early Lutheran church music. Praetorius holds to that ideal in these work. Though the settings are engaging, imaginative, and sometimes complex, the texts remain clear and easy to understand.

The Weser-Renaissance Bremen maintains that tradition. They perform these works in a straightforward manner that sounds absolutely authentic. The recording space in Wolfenbüttel Castle has an intimate ambiance that adds warmth to the ensemble's sound. The sound and performances seemed to transport me back to the early 1600s when these works were new.

Michael Praetorius: Lutherische Choralkonzerte
Weser-Renaissance Bremen; Manfred Cordes, director
CPO 555 064-2

Cosmography of Polyphony Surveys the Renaissance

Webster's defines cosmography as "a description of the world." In "Cosmography of Polyphony," the Royal Wind Music describe their world of renaissance music through their concert repertoire. This ensemble of twelve recorder players presents music from Johannes Ockeghem (early 1500s) through Johann Sebastian Bach (mid-1700s).

Playing polyphonic vocal works on instruments was standard practice in the renaissance (as was doubling vocal parts with instruments). So Maria Martinez Ayerz's arrangements are within the realm of early music performance practices.

The ensemble presents a nice variety of styles, too. There's a highly chromatic madrigal by Carlo Gesualdo, as well as cheerier fare by Anthony Holborne.

The Royal Wind Music performs with an astounding precision and unity of vision. At times the ensemble sounds like an organ or calliope played by a single individual. Ayerza's arrangements use many different types of recorders, and not every one gets played in every selection. It's that subtle variety that I most appreciated as I listened to this recording.

A worthy musical cosmography, indeed.

Cosmography of Polyphony: A Musical Journey through Renaissance Music with 12 recorders 
Music by Johann Sebastian Bach, Antoine Brumel, Hernando de Cabezón, Alfonso Ferrabosco, Carlo Gesualdo, Nicolas Gombert, Anthony Holborne, Alonso Lobo, Johannes Ockeghem, Osbert Parsley, Pierre Phalèse, Jan Pieterszoon Sweelinck, Adrian Willaert 
The Royal Wind Music 
Petri Arvo, Hester Groenleer, María Martínez Ayerza: artistic directors 
Pan Classics PC 10377

Thomas Tomkins - Anthems and Canticles

Daniel Hyde and the Choir of Magdalen College, Oxford, along with the early music ensemble Phantasm, present an interesting program of music by Thomas Tomkins.

Five anthems for choir and viols (as opposed to just an organ) are the showpieces here, and rightly so. Tomkins' use  of the consort is more imaginative than just simply mimicking keyboard accompaniment.

Tomkins adds and subtracts instruments to subtly shade the ensemble sound as it sometimes supports and sometimes plays in opposition to the choir. Also included are various consort works, showing Tomkins' consummate skill at instrumental composition.

The Choir of Magdalen College sings in a straightforward fashion. The soloists have a rough quality to their delivery, which sounds completely authentic to me. Phantasm plays with precision and authority. Viols tend to have a wispy sound (compared to modern stringed instruments), but there's nothing anemic about Phantasm.

That solid instrumental work coupled with the not-quite-polished sound of the choir really brings these works to life. These gritty performances have a beauty all their own. And  that earthy beauty I found thoroughly appealing.

Thomas Tomkins: Anthems and Canticles
Choir of Magdalen College, Oxford; Phantasm; Daniel Hyde, conductor
Opus Arte OACD9040D

Rare renaissance gems from Blue Heron

The Blue Heron Choir is on a mission: they want to bring to life music that has gone unheard since the reign of Henry VIII. The Peterhouse Partbooks (stored in Peterhouse College, Cambridge) were compiled in 1540 by Thomas Bull.

Written for liturgical use at the Canterbury Cathedral. Since these were performing copies, the music is carefully transcribed with no illuminations or distracting graphic elements.

Bull's collection contains over seventy choral works, fifty of which are unique to the partbooks. The partbooks were only in use for seven years. Under Edward II, professional church choirs were dissolved, and the books stored away and forgotten -- until now.

The center piece of the album is the Missa Spes nostra by Robert Jones. Known more for his lute songs and madrigals, this mass is a masterwork of English renaissance polyphony. Jones shifts back and forth between modes, giving the work a slightly modern sound (at least to my ears).

Also included is a work by Nicholas Ludford, and one by Robert Hunt. Hunt is something of a cipher. Only two of his works are known -- and both only from the Peterhouse Partbooks. His setting of the Stabat mater is expressive and effective, letting the words dictate the course of the music. Perhaps because of that, some of his harmonies are quite surprising, but never out of context. This is a gem that deserves to enter the sacred choral repertoire.

This fourth volume in the Peterhouse Partbooks series continues the same high standards of the previous three. Blue Heron has a smooth ensemble blend, with especially strong sopranos. That's important, as many of these works have wide leaps in the upper registers, which these singers take with apparent ease and hit with laser-like accuracy.

The recording's cleanly recorded, with just the right amount of ambiance to carry the cadences into the following phrases. Yet I never had trouble discerning the various lines as the weave contrapuntally in and out of each other.

Robert Jones: Missa Spes nostra; Nicholas Ludford: Ave cujus conceptio; Robert Hunt: Stabat mater
Music from the Peterhouse Partbooks, Vol. 4
Blue Heron Renaissance Choir; Scott Metcalfe, director
BHCD 1005