A number of early-music groups have chosen in recent years, to issue recordings of works chosen around a theme—rather like some of the best art exhibitions—and have achieved just acclaim for their efforts. Fretwork's topical Armada CD adds an important cultural vantage point on 1588 to the array that have appeared in recent months. There will surely be many who will want to experience this music in light of their heightened interest in this momentous event in the histories of England and Spain.
Recordings such as this also represent the fruit of imaginative socio-musicology and musicianship, especially critical when reviving music before 1600. Fretwork have diplomatically divided their selections between the two countries and several genres—instrumental solos, accompanied song and works for viol consort. Michael Chance bravely tackles sixteenth-century Spanish vowel sounds and Christopher Wilson proves himself an accomplished vihuelist. As with their earlier CDs, Fretwork have thoughtfully included one of the most famous of all English consort pieces, Bevin's Browning (on the tune The Leaves be Green) as well as such recherche works as Picforth's In Nomine and Parsons's exquisitely naive Pandolpho.
Of course, the attention to the Spanish repertoire is long overdue and in itself gives ample justification for the recording. Richard Boothby's Ortiz (unprepossessing music though it is) is imbued with an appealing, gently rhetorical quality; Wilson, a sympathetic accompanist on the lute, occasionally allows the syncopations in the vihuela solo by Fuenllana to threaten the pulse. However, the peculiarities of Antonio and Hernando de Cabezon's viol consorts invigorate the repertory, the songs of Fuenllana and Daza (the last known published work with the vihuela), so beautifully captured by Michael Chance, will excite further interest in Spanish song.
The relatively large dose of Byrd provides important ballast as well as providing a showcase for the versatility of both composer and ensemble: beginning with Byrd's celebratory Rejoice unto the Lord (composed for the accession of Queen Elizabeth I in 1586) for voice and viols, following later with harpsichord variations on the supposedly ribald Carman's Whistle, a little staidly done by Paul Nicholson, then the two poignant funeral songs Come to me, Grief (published in 1588) and In angel's weed (a deeply moving lament on the execution of Mary Queen of Scots), the listener is plunged deeply into the consciousness of that time.
Fretwork's ensemble is superb, their sound well poised—free of the emotional detachment once thought appropriate or the indulgent emotions of baroque music. Michael Chance blends his voice uncannily well with their sound and one hopes that he will do more with them. What a shame that the texts and translations of the songs were not included in the booklet.'