Elizabethan & Jacobean Consort Music
View record and artist detailsRecord and Artist Details
Composer or Director: James Lauder, William Brade, John Jenkins, Thomas Campion, Anonymous, Charles Coleman, Thomas Morley, William Byrd, John Maynard, Thomas Lupo, Antony Holborne, David Melvill
Label: Linn
Magazine Review Date: 4/1994
Media Format: CD or Download
Media Runtime: 58
Mastering:
DDD
Catalogue Number: CKD011
Tracks:
Composition | Artist Credit |
---|---|
(The First Booke of) Balletts to Five Voyces, Movement: Now is the month of maying |
Thomas Morley, Composer
Catherine Bott, Soprano Michael George, Bass New London Consort Philip Pickett, Conductor Thomas Morley, Composer |
(The First Booke of) Ayres or Little Short Songs, Movement: It was a lover and his lasse |
Thomas Morley, Composer
Catherine Bott, Soprano New London Consort Philip Pickett, Conductor Thomas Morley, Composer |
(The First Booke of) Ayres or Little Short Songs, Movement: Misteresse mine, well may you fare |
Thomas Morley, Composer
Catherine Bott, Soprano New London Consort Philip Pickett, Conductor Thomas Morley, Composer |
Tarleton's Jig |
Anonymous, Composer
Anonymous, Composer New London Consort Philip Pickett, Conductor |
This Merry Pleasant Spring |
Anonymous, Composer
Anonymous, Composer Catherine Bott, Soprano New London Consort Philip Pickett, Conductor |
My Lord of Oxenford's Mask |
William Byrd, Composer
New London Consort Philip Pickett, Conductor William Byrd, Composer |
(12) Wonders of the World, Movement: The Batchelar: How many things? |
John Maynard, Composer
Catherine Bott, Soprano John Maynard, Composer Michael George, Bass New London Consort Philip Pickett, Conductor |
(12) Wonders of the World, Movement: The Maide: I marriage would forsweare |
John Maynard, Composer
Catherine Bott, Soprano John Maynard, Composer Michael George, Bass New London Consort Philip Pickett, Conductor |
Coral |
William Brade, Composer
New London Consort Philip Pickett, Conductor William Brade, Composer |
Why sigh'st thou, shepherd |
John Jenkins, Composer
Catherine Bott, Soprano John Jenkins, Composer Michael George, Bass New London Consort Philip Pickett, Conductor |
My Lord of Marche Paven |
James Lauder, Composer
James Lauder, Composer New London Consort Philip Pickett, Conductor |
(A) Galliard |
Anonymous, Composer
Anonymous, Composer New London Consort Philip Pickett, Conductor |
Did you not once, Lucinda, vow? |
Charles Coleman, Composer
Catherine Bott, Soprano Charles Coleman, Composer Michael George, Bass New London Consort Philip Pickett, Conductor |
Reade's Almain |
Antony Holborne, Composer
Antony Holborne, Composer New London Consort Philip Pickett, Conductor |
Masque Music II and III |
Thomas Lupo, Composer
New London Consort Philip Pickett, Conductor Thomas Lupo, Composer |
Fourth Booke of Ayres, Movement: Faine would I wed a faire young man |
Thomas Campion, Composer
Catherine Bott, Soprano New London Consort Philip Pickett, Conductor Thomas Campion, Composer |
Barafostus' Dreame |
Anonymous, Composer
Anonymous, Composer New London Consort Philip Pickett, Conductor |
Watkin's Ale |
Anonymous, Composer
Anonymous, Composer Catherine Bott, Soprano New London Consort Philip Pickett, Conductor |
Nutmigs and Ginger |
Anonymous, Composer
Anonymous, Composer New London Consort Philip Pickett, Conductor |
O lusty May |
David Melvill, Composer
Catherine Bott, Soprano David Melvill, Composer Michael George, Bass New London Consort Philip Pickett, Conductor |
Author: Lindsay Kemp
As often with Pickett, the way instruments are used is central to his approach. Although he himself is responsible for many of the arrangements here, his starting-point is the so-called consort of six—treble and bass viols, cittern, bandora, lute and flute. Taking a lead, however, from an incomplete set of late-sixteenth-century partbooks held in the Cambridge University Library (some of whose arrangements—we are not told which, unfortunately—are included here), he replaces the treble viol with a violin and the flute with his own instrument, the recorder. This basic ensemble is used and varied with customary imagination and humour, and though the degree of freedom and orchestrational input may cause frowns in some quarters, there is no denying that it brings some deliciously effective results. I particularly enjoyed
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