Composer: Thomas Tomkins
Works: Barafostus’ Dream; Pavan of Three Parts; Galliard of Three Parts; Miserere; A Sad Pavan for These Distracted Times; Worcester Brawls (Worster Braules); What If a Day; Fancy for Two to Play; Fancy; Pavan; The Lady Folliott’s Galliard; Fancy; Toy Made at Poole Court; Pavan Earl Strafford; Galliard Earl Strafford; Fortune My Foe; Ground; In Nomine; Ground
Performers: Carole Cerasi (harpsichord)
Recording: December 2000, East Woodhay
Label: Metronome MET CD 1049
Thomas Tomkins, a luminary of the English keyboard repertoire in the early 17th century, stands as a bridge between the traditions of the late Renaissance and the burgeoning Baroque. His music, rich with intricate counterpoint and emotional depth, reflects not only the stylistic influences of his mentor, William Byrd, but also the broader cultural shifts occurring in England during his long life—he lived to the impressive age of 94. This recording, featuring harpsichordist Carole Cerasi, showcases a selection of Tomkins’ keyboard works, offering a window into a period marked by both turmoil and creativity.
Cerasi’s interpretation begins with “Barafostus’ Dream,” a vibrant and technically demanding piece that sets a vigorous tone for the program. While her facility with the fast passages is commendable, the sense of musicality sometimes falters in the pursuit of speed; the piece, though lively, can feel overly rushed. This is particularly evident in the opening phrases, where clarity of thematic material is occasionally sacrificed. The contrast to the subsequent “Pavan of Three Parts” is illuminating. Here, Cerasi adopts a more measured tempo, allowing the delicate textures and nuances of Tomkins’ writing to emerge. The simplicity and melodic charm of this piece resonate beautifully, showcasing her ability to convey the emotional landscape embedded in the music.
Cerasi excels in the more contemplative works, especially in “A Sad Pavan for These Distracted Times.” This piece, with its poignant harmonies reminiscent of John Dowland’s melancholic musings, benefits from Cerasi’s sensitive touch and expressive phrasing. The emotive depth she brings to the performance is compelling, and her ability to navigate the subtle dynamics adds layers of meaning to Tomkins’ already rich harmonic language. Moreover, when interpreting “What If a Day,” Cerasi’s ornamentation shines, as she carefully employs embellishments without detracting from the piece’s inherent grace. Her arabesques are deftly placed, enhancing the variations while maintaining a transparent texture that allows the listener to appreciate the underlying structure.
The recording quality is commendable, with a clear, resonant sound that allows the vibrant tonal palette of both the harpsichord and virginal to emerge fully. The balance between the instrument and the acoustic space is well-managed, providing a sense of intimacy that serves the music well. However, the engineering occasionally falters during the faster passages, where the clarity of individual notes can blur, detracting from the overall impact. This is a minor critique, though, as the overall listening experience remains satisfying.
When compared to other recordings of Tomkins’ keyboard works, Cerasi’s performance stands out for its emotional engagement and clarity of interpretation. While some renditions might opt for a more vigorous approach, Cerasi’s choices lean towards a nuanced exploration of the emotional undercurrents present in Tomkins’ music. Notably, her treatment of the “Ground” pieces showcases her ability to maintain interest over repetitive structures, which can often challenge performers: the interplay of thematic material is handled with skill, bringing forth both the complexity and simplicity inherent in Tomkins’ writing.
This recording provides a well-rounded representation of Tomkins’ keyboard oeuvre, skillfully interpreted by Carole Cerasi. Her strengths shine in the slower, more lyrical pieces where emotional expression is paramount, while the faster works occasionally reveal a tendency towards haste. Despite these minor reservations, the disc ultimately affirms Tomkins’ position as a pivotal figure in English music and Cerasi’s role as an insightful interpreter of his art. The combination of historical context, technical prowess, and emotional depth in this recording makes it a significant contribution to the understanding of this important composer.
