Composer: Henry Purcell
Works: Fantasia a 3 in D minor, Fantasia a 3 in F major, Fantasia a 3 in G minor, Fantasia a 4 in G minor, Fantasia a 4 in B flat major, Fantasia a 4 in F major, Fantasia a 4 in C minor, Fantasia a 4 in D minor, Fantasia a 4 in A minor, Fantasia a 4 in E minor, Fantasia a 4 in G major, Fantasia a 4 in D minor, Fantasia a 4 in A minor (fragment), Pavan a 4 for three violins, Chacony a 4 in G minor, Fantazia a 5 upon one Note in F major, In nomine a 6 in G minor, In nomine a 7 in D minor
Performers: London Baroque (Ingrid Seifert, Jean Paterson, Richard Gwilt, Irmgard Schaller, Mark Andrews, Charles Medlam, Richard Campbell)
Recording: January 2000, St. Martin’s, East Woodhay, Hampshire, England
Label: BIS
Henry Purcell, a luminary of the English Baroque, crafted his Fantasias for viols at a remarkably young age, displaying a precocious mastery of counterpoint that would resonate through the ages. Composed between 1680 and 1685, these works are not merely exercises in technique; they embody the rich tapestry of English musical thought during a time of cultural flourishing. Purcell’s Fantasias, often overshadowed by his more famous vocal works, are intricate explorations of harmony and texture that deserve to be held alongside the finest chamber music of the Western canon.
The London Baroque ensemble’s recording of these pieces, while utilizing modern instruments rather than the original viols, offers a refreshing perspective that captures the essence of Purcell’s vision. The decision to employ two violas alongside two violins in most of the four-part pieces creates a warm, resonant sound that mirrors the rich timbre associated with a viol consort. However, the clarity and articulation of the modern instruments allow for a more pronounced definition of the individual lines, particularly evident in the Fantasia a 4 in G minor, where the interplay between voices is both lively and engaging.
Interpretively, the ensemble strikes a commendable balance between vibrancy and introspection. The lively F major Fantasia a 4 is a case in point, where rhythmic vitality propels the music forward, showcasing Purcell’s penchant for energetic compositions. In contrast, the slower movements, such as the Pavan a 4, reveal a contemplative depth, as the players skillfully weave a tapestry of sound that is both cohesive and intricate. This approach emphasizes the music’s inherent contrasts, allowing the listener to appreciate the complexities of Purcell’s counterpoint without overwhelming the ear.
The recording quality is exemplary, with a remarkable clarity that brings out the nuances of each instrument. The engineers have crafted an acoustic space that feels intimate yet allows for the full range of dynamics to be explored. The balance between the instruments is particularly noteworthy; the violas’ blending with the violins produces an enveloping sound without sacrificing the distinct character of each voice. This effective engineering enhances the listening experience, making the disc a model of how to capture ensemble music.
When compared to notable recordings by ensembles such as Phantasm or Jordi Savall’s Hesperion XXI, this disc stands out not only for its compelling interpretations but also for its sonic purity. While traditionalists may advocate for the use of period instruments, the London Baroque’s approach demonstrates that thoughtful musicianship can transcend the limitations of instrumentation. Their performance of the Fantasia a 5 upon one Note in F major, with its fascinating exploration of thematic development, is particularly striking, illustrating how modern instruments can articulate Purcell’s intricate lines with both clarity and emotive power.
This recording by London Baroque is an outstanding contribution to the discography of Purcell’s chamber music. It brings to the fore the subtle beauty and complexity of the Fantasias, while inviting both lovers of viol music and enthusiasts of string quartets to engage with a unique interpretation of these remarkable pieces. The ensemble’s ability to evoke the spirit of Purcell’s time while employing modern sensibilities results in a compelling listening experience that merits a place in both the historical and contemporary repertoire.
