An Excess of Pleasure
View record and artist detailsRecord and Artist Details
Composer or Director: Nicola Matteis, Henry Purcell, Anonymous, Christopher Simpson, Matthew Locke, Biagio Marini, John Blow, Francesco (Xaverio) Geminiani
Label: Linn Records
Magazine Review Date: 7/1993
Media Format: CD or Download
Media Runtime: 66
Mastering:
DDD
Catalogue Number: CKD010
Tracks:
| Composition | Artist Credit |
|---|---|
| Ayres for the Violin, Book 1 |
Nicola Matteis, Composer
Nicola Matteis, Composer |
| Ayres for the Violin, Book 4, Movement: Andamento con divisione |
Nicola Matteis, Composer
Nicola Matteis, Composer Palladian Ensemble |
| Ayres for the Violin, Book 4, Movement: Aria Amorosa Adagio (D minor): |
Nicola Matteis, Composer
Nicola Matteis, Composer Palladian Ensemble |
| Ayres for the Violin, Book 4, Movement: Grave Adagio |
Nicola Matteis, Composer
Nicola Matteis, Composer Palladian Ensemble |
| Ayres for the Violin, Book 4, Movement: Ground in D la sol re (sopra un basso per fare unno) |
Nicola Matteis, Composer
Nicola Matteis, Composer Palladian Ensemble |
| Ayres for the Violin, Book 4, Movement: Ground (sopra un basso Malinconico) |
Nicola Matteis, Composer
Nicola Matteis, Composer Palladian Ensemble |
| Broken Consort |
Matthew Locke, Composer
Matthew Locke, Composer Palladian Ensemble |
| Divisions on 'John come kiss me now' |
Christopher Simpson, Composer
Christopher Simpson, Composer Palladian Ensemble |
| Sonata |
John Blow, Composer
John Blow, Composer Palladian Ensemble |
| Ciaconna |
Anonymous, Composer
Anonymous, Composer Palladian Ensemble |
| (5) Scots Airs, Movement: Auld Bob Morrice |
Francesco (Xaverio) Geminiani, Composer
Francesco (Xaverio) Geminiani, Composer Palladian Ensemble |
| (5) Scots Airs, Movement: Lady Ann Bothwells' Lament |
Francesco (Xaverio) Geminiani, Composer
Francesco (Xaverio) Geminiani, Composer Palladian Ensemble |
| (5) Scots Airs, Movement: Sleepy body |
Francesco (Xaverio) Geminiani, Composer
Francesco (Xaverio) Geminiani, Composer Palladian Ensemble |
| Two in one upon a ground |
Henry Purcell, Composer
Henry Purcell, Composer Palladian Ensemble |
Composer or Director: Nicola Matteis, Henry Purcell, Anonymous, Christopher Simpson, Matthew Locke, Biagio Marini, John Blow, Francesco (Xaverio) Geminiani
Label: Linn Records
Magazine Review Date: 7/1993
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: CKH010
Tracks:
| Composition | Artist Credit |
|---|---|
| Ayres for the Violin, Book 1 |
Nicola Matteis, Composer
Nicola Matteis, Composer |
| Ayres for the Violin, Book 4, Movement: Andamento con divisione |
Nicola Matteis, Composer
Nicola Matteis, Composer Palladian Ensemble |
| Ayres for the Violin, Book 4, Movement: Aria Amorosa Adagio (D minor): |
Nicola Matteis, Composer
Nicola Matteis, Composer Palladian Ensemble |
| Ayres for the Violin, Book 4, Movement: Grave Adagio |
Nicola Matteis, Composer
Nicola Matteis, Composer Palladian Ensemble |
| Ayres for the Violin, Book 4, Movement: Ground in D la sol re (sopra un basso per fare unno) |
Nicola Matteis, Composer
Nicola Matteis, Composer Palladian Ensemble |
| Ayres for the Violin, Book 4, Movement: Ground (sopra un basso Malinconico) |
Nicola Matteis, Composer
Nicola Matteis, Composer Palladian Ensemble |
| Broken Consort |
Matthew Locke, Composer
Matthew Locke, Composer Palladian Ensemble |
| Divisions on 'John come kiss me now' |
Christopher Simpson, Composer
Christopher Simpson, Composer Palladian Ensemble |
| Sonata |
John Blow, Composer
John Blow, Composer Palladian Ensemble |
| Ciaconna |
Anonymous, Composer
Anonymous, Composer Palladian Ensemble |
| (5) Scots Airs, Movement: Auld Bob Morrice |
Francesco (Xaverio) Geminiani, Composer
Francesco (Xaverio) Geminiani, Composer Palladian Ensemble |
| (5) Scots Airs, Movement: Lady Ann Bothwells' Lament |
Francesco (Xaverio) Geminiani, Composer
Francesco (Xaverio) Geminiani, Composer Palladian Ensemble |
| (5) Scots Airs, Movement: Sleepy body |
Francesco (Xaverio) Geminiani, Composer
Francesco (Xaverio) Geminiani, Composer Palladian Ensemble |
| Two in one upon a ground |
Henry Purcell, Composer
Henry Purcell, Composer Palladian Ensemble |
Author: Iain Fenlon
This enterprising selection of largely unfamiliar works opens with Marco Uccellini's Aria sopra ''La Bergamasca'', an immediately attractive and spirited set of variations on a repeated bass pattern and a highly suitable opener for a carefully-chosen and surprisingly varied sequence. Indeed, from its origins in Italy at the beginning of the century, the combination of two melody instruments above a supporting basso continuo developed to become, in the shape of the trio sonata, one of the central forms of the baroque. All the composers on this record worked at one time in England, thus giving a rather tangential perspective on that development, but it is precisely such curiosities as Geminiani's delightful Scots Airs, despatched here with a breathtaking command of the intricate and demanding passagework, that give this selection its charm. In terms of style there could hardly be a greater contrast between this and Matthew Locke's eccentric and at times hauntingly melancholic Broken Consort in D, while Biagio Marini's Sonata breathes the entirely different air of Italian academicism.
A considerable part of the success of this record lies in the ingenuity and knowledge with which the pieces have been chosen, and the unsuspected and at times quite entrancing corners of the early baroque that they reveal, from the seemingly effortless counterpoint of Purcell's Two in one upon a Ground to the almost shocking modernity of the concluding Bizzarie by Matteis. The Palladian Ensemble is just two years old, but they have already attracted considerable critical acclaim for their stylish and committed performances. Here they play with verve and enthusiasm, but that is not to imply lack of either polish and subtlety; at times virtuosic, at others gently affective, this is playing of a high order in terms of both technique and imaginative power.'
A considerable part of the success of this record lies in the ingenuity and knowledge with which the pieces have been chosen, and the unsuspected and at times quite entrancing corners of the early baroque that they reveal, from the seemingly effortless counterpoint of Purcell's Two in one upon a Ground to the almost shocking modernity of the concluding Bizzarie by Matteis. The Palladian Ensemble is just two years old, but they have already attracted considerable critical acclaim for their stylish and committed performances. Here they play with verve and enthusiasm, but that is not to imply lack of either polish and subtlety; at times virtuosic, at others gently affective, this is playing of a high order in terms of both technique and imaginative power.'
An Excess of Pleasure
An Excess of Pleasure
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