Elizabethan Consort Music
View record and artist detailsRecord and Artist Details
Composer or Director: Robert I Parsons, Nicholas Strogers, Innocento Alberti, Anonymous, Clement Woodcock, William Daman, John Taverner, William Mundy, Robert White
Label: Alia Vox
Magazine Review Date: 2/1999
Media Format: CD or Download
Media Runtime: 66
Mastering:
DDD
Catalogue Number: AV9804
Tracks:
Composition | Artist Credit |
---|---|
Pavin of Albarti |
Innocento Alberti, Composer
Hespèrion XX Innocento Alberti, Composer Jordi Savall, Viol |
Gallyard |
Innocento Alberti, Composer
Hespèrion XX Innocento Alberti, Composer Jordi Savall, Viol |
Di sei soprani |
William Daman, Composer
Hespèrion XX Jordi Savall, Conductor William Daman, Composer |
In Nomine V |
Robert White, Composer
Hespèrion XX Jordi Savall, Viol Robert White, Composer |
O mater mundi |
William Mundy, Composer
Hespèrion XX Jordi Savall, Viol William Mundy, Composer |
In Nomines a 7, Movement: IV |
Robert I Parsons, Composer
Hespèrion XX Jordi Savall, Viol Robert I Parsons, Composer |
In Nomines a 7, Movement: V |
Robert I Parsons, Composer
Hespèrion XX Jordi Savall, Viol Robert I Parsons, Composer |
(The) Songe called Trumpetts |
Robert I Parsons, Composer
Hespèrion XX Jordi Savall, Viol Robert I Parsons, Composer |
Quemadmodum |
John Taverner, Composer
Hespèrion XX John Taverner, Composer Jordi Savall, Viol |
Browning my dere |
Clement Woodcock, Composer
Clement Woodcock, Composer Hespèrion XX Jordi Savall, Viol |
In Nomines a 5 |
Clement Woodcock, Composer
Clement Woodcock, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: In Nomine a 5 |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: Desperada |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: Gallyard I |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: Allemande |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: Ronda |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: La represa I |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: Gallyard II |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: Allemana d'amor |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: Dance I |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: Pavana I |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: Brandeberges |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: Pavana II |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: Gallyard III |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
Elizabethan Consort Music, Movement: Dance II |
Anonymous, Composer
Anonymous, Composer Hespèrion XX Jordi Savall, Viol |
In Nomines a 6 |
Nicholas Strogers, Composer
Hespèrion XX Jordi Savall, Viol Nicholas Strogers, Composer |
Author:
In common with other recordings made by Hesperion XX of consort music, these performances are highly sonorous and imaginatively realized. Savall orchestrates the repeats of the dances and chansons, usually beginning with a drum, a solo treble viol or lute and then building up the layers of sound with each restatement. Here, more than in any of their previous recordings, the tambour and tambourines are used to great effect, not merely to mark the beat, but, as in the anonymous Allemande in track 7 or the Brandeberges, to presage the mood of the piece.
The manuscript contains a fascinating array of pieces: numerous In Nomines which climax in the astonishingly rich seven-part settings by Robert Parsons contrast with transcriptions of bawdy chansons, the evergreen Browning my dere, an ethereal fantasy by William Daman for six treble viols (surely a collectors’ item), William Mundy’s eponymous O mater mundi (intended as a pun?) and the sublimity of John Taverner’s Quemadmodum. And, as listeners will discover, there is more. This is music fit for a courtly Sunday Elizabethan banquet, with a bit of dancing thrown in, should you wish to entertain in that style.
For my taste, the slower pieces are performed rather too seamlessly and the balance between solo instrument – such as the lute in the first and second tracks or the treble viol in track 21 – and the rest of the ensemble does not always seem natural. The recording does offer a wonderful glimpse of the variety of music enjoyed at the court of Elizabeth I; it is a one-off and should be treasured as such.'
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