Category: Recording

The Queen’s Six
62:19
resonus RES10164
Music by Byrd, Gibbons, Morley, Tallis, Tomkins & Weelkes

[dropcap]T[/dropcap]he Royal Court in question is that of England and the ‘Her’ is Elizabeth I, although the programme also takes us into the reign of her successor, James VI/I. The Queen’s Six present a varied and pleasant programme of polyphonic madrigals and more homophonic strophic songs, including several items from the iconic Triumphs of Oriana. The six male voices produce a mellow and nicely blended sound, and if the two altos at the upper end of their range occasionally produce a rather unrelentingly opaque tone the lower voices are splendidly rounded. I also have the feeling that the relatively narrow dynamic range might be due to the limitations of the upper voices. Notwithstanding, the articulation in rapid passages is superb and the many fa-la-las are rendered with suitable joie de vivre. In addition to the expected mock-bucolic fare we have the more interesting Thule the Period of Cosmography/The Andalusian Merchant  by Thomas Weelkes and the same composer’s Death has deprived me  as well as Tallis’ considerable hit When shall my sorrowful sighing slake  and Tomkins’ extraordinary Music divine, all given passionate and moving accounts. This is The Queen’s Six’s ‘difficult second album’ – their debut album (“Music of the Realm” RES10146) establishing them as the new boys on the block – and they have passed the test with flying colours.

D. James Ross

Taverner Choir & Players, Andrew Parrott
79:20
Avie AV2352
Music by Aston, Cornysh, Henry VIII, Anon + chant

[dropcap]T[/dropcap]he Taverner Western Wind mass was the first music of the period I had seen and heard while I was in Cambridge (1958-61). For later scores, refer to Early English Church Music 30 & 35. The Mass has a wide range (G2, C2, C3 & F4), with a range from top C to bottom F– so no justification is required for raising to a minor third, as used to be the custom. The ecclesiastical items take the main part, but there are refreshingly short secular pieces. The approach is primarily music rather than religion, often with secular breaks, such as the between the the Gloria, Credo, Sanctus and Agnus, though the Kyrie & Gloria naturally follow (the former is chant and not linked to the Taverner mass). The choir comprises SATB (5433) with female sopranos and altos, which Andrew Parrott has generally favoured: the balance is excellent. The soloists in the smaller pieces are Emily Van Evera and Charles Daniels.

The Mass ends at No l1 and is followed be a series from “The Music of the Court of Henry VIII” (Musica Britannica, 18) from nos. 12 and 14-16, edited by my main teacher at Magdalene, John Stevens (whom I got to know very well), which accounts for my early enthusiasm. Subsequently, I was more interested in Andrew Parrott in Oxford. Yow and I  (12) is a typical chorus/verse (a format familiar for modern churches using strumming guitars) by Cornysh Jr, though the verses are simple improvisations. Aston’s keyboard Hornpipe  (13) is impressive (from Mus.Brit. lxvi no. 36) but Cornysh’s Fa la sol  (15) is a substantial and elaborate piece (6’ 58”) and is followed by Henry VIII’s Taunder naken, one of many versions throughout Europe.

Taverner returns for Audivi vocem  (17) and Dum transisset sabbatum  (19). The former is for high voices (G2, C1, C2, C2), with the top part hoisted an octave above the chant. The plainsong was sung by trebles, despite the tenor pitch (EECM 30 prints it as octave treble). The latter is for C4, C4, C4, F4: the two upper parts are similar, the third part is a cantus firmus and the lowest is a typical bass. The booklet is full of information without being too complicated. The layout is likely to refresh the mind and the performers are excellent, aided by the learned director, Andrew Parrott.

Clifford Bartlett