His Majestys Sagbutts and Cornetts-Grand Tour

Record and Artist Details

Composer or Director: José Ximénez, Biagio Marini, Samuel Scheidt, Giovanni de Macque, Tarquinio Merula, Dario Castello, Francisco Correa de Arauxo, Giovanni Bassano, Francisco de Peñalosa, Anonymous, Giovanni Battista Buonamente, Matthias Weckmann, Johann Hermann Schein, Johann Vierdanck

Label: Hyperion

Media Format: CD or Download

Mastering:

DDD

Catalogue Number: CDA66847

Tracks:

Composition Artist Credit
Sonata a 6 Giovanni Battista Buonamente, Composer
Giovanni Battista Buonamente, Composer
His Majestys Sagbutts and Cornetts
(La) Zorzi: Sinfonia grave Biagio Marini, Composer
Biagio Marini, Composer
His Majestys Sagbutts and Cornetts
Sonata a 4 Biagio Marini, Composer
Biagio Marini, Composer
His Majestys Sagbutts and Cornetts
Ciaccona Tarquinio Merula, Composer
His Majestys Sagbutts and Cornetts
Tarquinio Merula, Composer
Seconde stravaganze Giovanni de Macque, Composer
Giovanni de Macque, Composer
Timothy Roberts, Organ
Vestiva i colli Giovanni Bassano, Composer
Giovanni Bassano, Composer
His Majestys Sagbutts and Cornetts
Sonata duodecima Dario Castello, Composer
Dario Castello, Composer
His Majestys Sagbutts and Cornetts
Canzona a 6 Giovanni Battista Buonamente, Composer
Giovanni Battista Buonamente, Composer
His Majestys Sagbutts and Cornetts
Motets, Movement: O Domina sanctissima Francisco de Peñalosa, Composer
Francisco de Peñalosa, Composer
His Majestys Sagbutts and Cornetts
Canciones de clarines Anonymous, Composer
Anonymous, Composer
His Majestys Sagbutts and Cornetts
Tiento de segundo tono Francisco Correa de Arauxo, Composer
Francisco Correa de Arauxo, Composer
His Majestys Sagbutts and Cornetts
Batalla de octavo tono José Ximénez, Composer
His Majestys Sagbutts and Cornetts
José Ximénez, Composer
Toccata III Matthias Weckmann, Composer
Matthias Weckmann, Composer
Timothy Roberts, Harpsichord
Padouana Johann Hermann Schein, Composer
His Majestys Sagbutts and Cornetts
Johann Hermann Schein, Composer
Sonata, 'Als ich einmahl Lust bekam' Johann Vierdanck, Composer
His Majestys Sagbutts and Cornetts
Johann Vierdanck, Composer
Sonata à 4 Johann Vierdanck, Composer
His Majestys Sagbutts and Cornetts
Johann Vierdanck, Composer
Ludi Musici (excerpts), Movement: ~ Samuel Scheidt, Composer
His Majestys Sagbutts and Cornetts
Samuel Scheidt, Composer
Galliard Battaglia a 4 Samuel Scheidt, Composer
His Majestys Sagbutts and Cornetts
Samuel Scheidt, Composer
HMSC reads like an arcane government department but over the years this distinguished group has become deservedly recognized by its acronym for being consistently approachable. This skilfully constructed ‘tour’ of European consort activity in the sixteenth and seventeenth centuries is a case in point: whilst 14 largely unknown composers, performed on primitive instruments, can appear a mite unpromising for all but the cognoscenti, one only has to experience the variety of timbre, articulation and expressive nuance to realize that HMSC are, first and foremost, fine and imaginative chamber musicians. As Italy, the first port of call, reveals, in the right hands these instruments can resonate nobly with palpably rich textures in sonatas by the likes of Buonamente, tickle and tease in the modern monodic world of Marini, and dart about with easy and virtuosic precision in Bassano’s sophisticated Vestiva i colli. Here and elsewhere the cornettists Jeremy West and David Staff exhibit a lucid and collected understanding of what makes good musical sense. Such a lead is deftly followed by the sackbuts – Susan Addison’s in particular – whose lyrical side is heard to great effect in the Castello (the recorded sound differs from neighbouring numbers, a consequence, no doubt, of sessions spread out over two years).
But it is the easy dialogue of the ensemble, elasticity of phrasing and the capacity to shape the lines with colour and interest which repeatedly captivates; the Spanish selection contains an anonymous Canciones where Staff’s natural trumpet gives an added spice to proceedings. If I have any misgiving, it is that the perspective of the ensemble is often a touch too sweet and refined in an idiom which would have needed a more rasping and redoubtable demeanour to be heard outside – where a good deal of this music would have been performed. Much of the success of HMSC is down to Timothy Roberts’s sensitive arrangements, both preconceived and spontaneously at the keyboard; his realizations and contrapuntal reductions are always a joy, not to mention his solos which break up a well-paced programme. A strong recommendation.'

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