Composer: Anonymous, John Dowland, William Byrd, John Bull, Orlando Gibbons, Peter Philips, John Munday, William Tisdale
Works: Passamezzo Pavan, Passamezzo Galliard, Randall-Johnson’s Medley, Lachrymae, Galliard: Can she excuse?, La Volta, In nomine XII, Chi passa, Amarilli di Julio Romano, The Third Pavane, The Third Galliard, Tregian’s Pavane, Tregian’s Galliard, Variations on the Romanesca, My Lady Carey’s Dompe, Pavan in g, Dr. Bull’s My Selfe, Pavan in a, Vaulting Galliard, Pavan in d, Galliard in d, The Italian Ground, Robin, Pavana, Lord Willobies Welcome Home, Mrs. Katherin Tregian’s Paven, The Tenth Pavian: Mr. W. Peter
Performers: Howard Schott, Peter Watchorn, harpsichord
Recording: June 15, 1996, Southern Vermont College, Bennington, VT
Label: Musica Omnia
The music of Tudor and Jacobean England emerges as a remarkable tapestry of sound that reflects the splendor of its era, marked by a flourishing of keyboard compositions. This recording, spanning the vibrant 16th century, presents a well-curated selection of works predominantly from the prolific pens of figures like William Byrd, John Bull, and Orlando Gibbons. Their creations, alongside numerous anonymous works, illuminate a historical milieu where music served as both a personal expression and a medium for courtly entertainment, celebrated in the royal courts and drawing upon a rich cultural heritage.
The performances on this set are executed on a single-manual Ruckers harpsichord, a choice that lends clarity and a warm resonance to the pieces. The opening tracks showcase anonymous works such as the Passamezzo Pavan and Galliard from Tisdale’s Virginal Book, which are imbued with a rhythmic vitality. The nuanced interplay between the pavan’s stately gait and the galliard’s animated dance reveals the performers’ adept grasp of historical dance forms. Particularly striking is Byrd’s La Volta, a piece that dances through its lively motifs with an infectious exuberance, perfectly suited for the instrument’s capabilities.
Dowland’s Lachrymae stands out not only for its melancholic beauty but also for the intricate ornamentation employed in the arrangement by William Randall. The interpretive choices here reflect a deep understanding of the piece’s emotional landscape, allowing the listener to appreciate the delicate balance between sorrow and complexity. The ornamentation, carefully articulated, enhances the work’s poignancy, showcasing the performer’s technical finesse while remaining true to Dowland’s emotional core.
The second disc introduces Gibbons’ Pavan in g, a masterclass in lush sonority and subtle harmonic interplay. The gentle arpeggios evoke a sense of tranquility that contrasts sharply with Bull’s exhilarating Vaulting Galliard. The latter, despite its brevity, bursts forth with a spirited energy that is both captivating and technically demanding, allowing the performers to demonstrate their command of rhythm and articulation. Gibbons’ The Italian Ground further exemplifies the intelligence of the variations, each iteration building upon the last with increasing complexity, providing a rich listening experience.
Sound quality and engineering merit commendation; the recording captures the instrument’s timbral nuances with remarkable clarity. The separation of voices and the resonance of the harpsichord are rendered faithfully, creating an immersive auditory landscape that invites repeated listening. Musica Omnia’s innovative inclusion of the “Beyond the Notes” CD further enriches the experience, offering invaluable context and insights into the music and composers. This supplementary material serves as an engaging educational tool, elucidating the historical and musical significance of the pieces presented.
This compilation stands as a significant contribution to the understanding and appreciation of English keyboard music from the Tudor and Jacobean periods. The thoughtful selection of works, combined with the performers’ expertise and the recording’s outstanding quality, positions this release not only as a commendable introduction for the unacquainted listener but also as a captivating offering for the seasoned aficionado. The marriage of historical insight and musical artistry makes this album an essential addition to any classical music collection.
