Tag: 16th century

Music of the Elizabethan Avant Garde from Add. MS 31390
LeStrange Viols
66:22
Olde Focus FCR912

[dropcap]I[/dropcap]n 2015 the excellent LeStrange Viols, from New York, placed us all in their debt with a fine debut disc of rewarding music composed by the neglected but estimable William Cranford (FCR905). Now they compound our debt by offering this selection from a manuscript in the British Library which is one of the most important of Elizabethan musical sources.

Why open the disc with the premiere on disc of In aeternum? It is a neglected work by the similarly neglected William Mundy, which survives only in this source, one of several with a Latin title but no text (like his O mater mundi  recorded by Hesperion XX) so it could be an instrumental fantasia or a choral motet. So why the sudden prominence? Probably because LeStrange Viols want listeners to discover that this is a work of surpassing beauty, and they play it accordingly. This is followed by the famous, or perhaps infamous, In nomine by the otherwise unknown Picforth. It is his only known work, but even his Christian name has not survived. Each of the five parts plays a single unchanging rhythmic value different from all other parts, yet this literally timeless work hangs together convincingly and mesmerizingly, sounding in many places like a cross between the famous Lento  of Howard Skempton and the studies for player piano by Conlon Nancarrow. In other recordings the “alto” part, which is in triple time and gives rise to more syncopations that the rest, is not always audible under the more active “treble”, but here the LeStranges play every part except the cantus firmus itself pizzicato. This could emerge as a mere gimmick, but it successfully points up what Picforth is up to here, and although it sacrifices some of the sonorousness of his part- writing, it achieves a scintillating clarity. Other interpretations are available.

Altogether there are 26 pieces on this recording, but before moving on to summarize the rest of the contents, I will mention the third work, partly to emphasize that the disc gets off to such a stunning start. This is John Taverner’s Quemadmodum, another work with a Latin title but for which no text survives in any source. Like Mundy’s In aeternum  it has been editorially fitted out in more than one edition with a convincing Latin text for vocal performance. If it is indeed by Taverner, it must be a late work judging by its stylistic debt to the Franco-Flemish school, and whether instrumental or vocal, it is one of the composer’s finest, and one of the best works of the Tudor period. Previous recordings by viols have all failed to do justice to Taverner’s wonderfully expressive part-writing in relation to the sonorities that he creates, but LeStrange’s interpretation is on a level with the best of those choral versions recorded by Contrapunctus, Magnificat and the Taverner Choir. The descending phrase that begins its second part “Sitivit anima mea” seems to have been borrowed by Byrd to begin the second part “Eheu mihi” of his eight-part psalm setting Ad Dominum cum tribularer.

I want to digress here briefly to discuss the attribution of Quemadmodum to Taverner, in the light of the work’s proximity on this disc to Mundy’s In aeternum  and their being in the same manuscript. There are many similarities between the two pieces, the most striking being the recurrence in both pieces, especially in In aeternum, of the short phrase a b c a (at whichever pitch, the second note sometimes flattened, the third sometimes sharp, though obviously not in the same phrase) which often proceeds again to b, hence a b c a b. Doubts have been expressed over the attribution of Quemadmodum  to Taverner, not least by Hugh Benham in his book about the composer (Aldershot: Ashgate, 2003, p. 249) who notes that one source (WB MCG) attributes it to Tye. It is in fact anonymous in 31390 itself. This leaves two other sources, in both of which it is attributed to Taverner (Benham, p. 57). Mundy’s In aeternum  survives only in 31390. Other pieces by Mundy and works by Tye also appear in 31390, as well as the original In nomine, here correctly attributed to Taverner and with a fifth part added. Quemadmodum  which as we have seen is anonymous in 31390, is Taverner’s most uncharacteristic work, if it is indeed by him. Tye is an even less likely composer, and nobody yet has proposed Mundy, but Quemadmodum  seems a little too old-fashioned to be by the same composer as In aeternum. Perhaps Mundy, younger by three decades, was impressed by Quemadmodum  – a cutting edge composition by English standards if by Taverner – and was inspired to incorporate some of its features, particularly melodies and sonorities, into his own work, while still imposing his own more modern stamp upon the latter.

The rest of the disc consists of either mainstream consort works, such as In nomines (highlights are the two pieces in seven parts by Parsons, the first of which has an alternative but discredited attribution to Byrd), and textless pieces that are known, or presumed, to have been composed for voices. One of the many charms of this disc is that several of the composers, like Picforth, are quite obscure, yet their music is most enjoyable. Edward Blankes, Clement Woodcock, Nicholas Strogers, Osbert Parsley, Mallorie and Brewster all receive their well-deserved day in the sun with some delightful consort music, and there are also appearances by prominent European composers such as Clemens, Croce, Wilder (albeit he was based in England) and Janequin, besides the less familiar Flemish composer Jacquet de Berchem – not to be confused with the now better-known older French contemporary Jacquet of Mantua. The majority of the Europeans’ works represented here are instrumental versions of songs.

It remains to mention three motets by major English composers which survive with their Latin texts but which appear in 31390 in an ostensibly instrumental garb. Sheppard’s Dum transisset  a6 is a Respond of surpassing beauty. The repeats are not included, neither is the intervening plainsong, but this still makes for a satisfying musical entity. Byrd is represented by two pieces. His first In nomine in five parts (an attribution to Mundy in one source is scored out) might originally have been composed for only four, with a fifth added possibly by the composer himself. The performance here is strikingly rustic compared with the urbanity of Fretwork’s version on their complete recording of Byrd’s consort music; interestingly Phantasm eschew the work altogether both on their own complete recording, and on their earlier disc which Byrd shares with Richard Mico, perhaps favouring the deleted attribution to Mundy. O salutaris hostia  is by a country mile Byrd’s – and indeed most other Tudor composers’ – most discordant piece, as the young musician – perhaps playfully, perhaps satirically, certainly determinedly – bulldozes a three-part canon through the work. More peacefully, Tallis’s O sacrum convivium is the most familiar of such pieces on the recording, but still disconcerting in this version not just for the ironed-out word-setting, but for some strikingly different accidentals, both present and absent in 31390, compared with the more familiar vocal version from his Cantiones sacrae  published jointly with Byrd in 1575.

LeStrange Viols’ performances are all that one could desire. This really is a delightful disc from beginning to end – the exuberant Me li Bavari  by Croce. Tempi are judicious, and balance such that all the parts can be heard clearly in both the prevailing polyphony and in the more occasional homophony. Nearly all the viols played are from the Caldwell Collection of Viols (in Oberlin, OH), instruments of the 16-18th centuries from England, Germany, France and Brabant. This recording is easy to obtain on the internet, and well worth purchasing.

Richard Turbet

The lute music of il Divino Francesco Canova da Milano (1497-1543), Vol. 2
72:02
BGS128 (7 60537 09045 4)

[dropcap]F[/dropcap]rancesco Canova da Milano’s ricercars and fantasias are freely composed polyphonic pieces, and consist largely of short sequences of musical ideas, each developed and explored. The present CD comprises 29 of them, which Nigel North arranges into sets according to key. The first set (Ness 6, 61, 67 65, 23) are all in F major. A distinctive feature of Francesco’s style is his constantly shifting harmonic vocabulary, heard to good effect in Ricercar 6. B naturals replace B flats to take us sharp side of the spectrum, and E flats replace E naturals to take us flat side. However, these shifts are too temporary to count as modulation to a different key, but rather they are chromatic touches to an enriched palette of chords in F major. An interesting example is Fantasia 61, which effectively ends with a perfect cadence (C – F) in bar 34, rounded off with a plagal cadence (B flat – F) in bar 36. However, to reach the B flat chord Francesco inserts a quick chord of E flat – a secondary subdominant – which exaggerates the move flat side for the plagal cadence. Many of Francesco’s pieces are similar in character, indeed some passages occur in more than one piece: the passage in bars 22-4 of Fantasia 61 is the same as bars 52-4 of Fantasia 67. For variety North adopts different speeds: Ricercar 6 is slow and rhapsodic. His rhythmic freedom is effective in clarifying phrasing and drawing attention to special chords, although sometimes it creates an unsettling jerkiness especially in descending scalic passages. Excitement is lost in bar 25, where four quavers are slowed down almost to the speed of crotchets elsewhere in the piece. In contrast, Fantasia 61 has no quavers, and North takes it at a fast and sprightly tempo. He corrects a dittographical error in Fantasia 65 by omitting bars 110-2: Arthur Ness in his collected Milano edition and Martin Shepherd in the Lute Society Milano series, both reproduce these bars, which I accept were wrongly duplicated in the original.

The G minor set (Ness 70, 71, 88, 55) begins with two beautiful miniature ricercars (70, 71) taken from Vincenzo Galilei’s Intavolatura de Lauto (Rome, 1563), published 20 years after Francesco’s death. Ricercar 70 begins with five rolled chords, and grows into imitative polyphony, with the theme heard at three different octaves. North strings his lute as Francesco did, that is with the 4th, 5th and 6th courses strung in octaves. When one of these courses is plucked, both notes will normally be heard, but it is possible to emphasise the lower octave by plucking with one’s right-hand thumb, or the upper octave by plucking with one’s index finger. In bar 31 of Ricercar 71, a low f# on the 4th course is marked with a dot for the note to be played with the index finger, but North appears to use his thumb, bringing out the lower octave instead. Fortunately this tiny detail does not detract from North’s thoughtful and expressive performance. In Ricercar 88 he changes c6 to a5, I think correctly, which coincidentally matches a similar passage in bars 55-7 of Ricercar 6; there are some beautifully placed chords in bar 27, but his rallentando at bar 51 loses the excitement of four fast cadential quavers.

The third set (Ness 78, 29, 91, 5) is in F major, and is played on a viola da mano tuned a tone higher than the lute. Both instruments were built by Malcolm Prior, and have a bright, clear tone, ideal for this repertoire. The earliest printed source of Francesco’s music is Intavolatura de Viola o vero Lauto  (1536), which mentions both instruments; it is likely that the music in Italian lute tablature was intended for the lute, and that the music in Neapolitan tablature was intended for the viola da mano, but both instruments have the same tuning, and they could be used interchangeably for any of Francesco’s music. North also uses the viola da mano for the last two sets (Ness 52, 21, 63, 20, 18, 19).

Some of Francesco’s pieces are quite short, lasting one minute or less. Ricercar 91 has a mere 29 bars, but North spins it out to 1’36” by playing it through twice. For track 14 he plays Ricercar 14, runs straight into Ricercar 74, and then goes back for a repeat of Ricercar 14, the whole thing lasting just 2’16”. Fantasia 25, on the other hand, is an extended work, made up of many sections, each developing a particular musical idea; most surprising and effective are three semibreve chords at bars 111-3, which temporarily call a halt to the constant hustle and bustle of quavers and semiquavers scurrying across the fingerboard. Fantasia 83 appears twice in Cambridge University Library Dd.2.11: on folio 16r (used by Ness in his edition), and folio 18r (used by Shepherd for the Lute Society Milano series). North plays the version on 18r, but he does not include c4 in the first bar, a note which Shepherd reinstates for the sake of imitation of the opening theme. The CD ends with a long Fantasia from the Castelfranco MS, which does not have a Ness number, because it was discovered after Ness’s edition was published.
This is North’s second CD devoted to the music of Francesco. The first was Dolcissima et Amorosa  (BGS 122). I hope he will be tempted to produce a third.

Stewart McCoy

Música para tañer a dos vihuelas
Ariel Abramovich, Jacob Heringman
53:21
Arcana A 428
Cabezón, Crequillon, Josquin, da Milano, da Modena, Palero, Vasquez, Verdelot, Willaert & Cancionero de Uppsala

[dropcap]A[/dropcap]riel Abramovich and Jacob Heringman have joined forces to produce an interesting and varied anthology of music from the 15th and 16th centuries arranged by them for two vihuelas. Very little music survives for this combination – a mere 17 pieces arranged by Enríquez de Valderrábano for vihuelas tuned at the unison, or a minor third, a fourth, or a fifth apart – but, as John Griffiths argues in his liner notes, vihuelas were almost certainly played together in a variety of social contexts, and the present CD gives an idea of what this lost repertory may have been like. The players use two vihuelas by Martin Haycock, both tuned to g’, and they take it in turns to play a bass vihuela in d’ by Marcus Wesche. The word “Cifras” in the title, literally means “figures”, and refers to the numbers used in tablature, and by association tablature or music notated in tablature.

The first track, Josquin’s Illibata Dei Virgo nutrix, shows how the five voices are distributed between the two vihuelas: Abramovich (vihuela in g’) plays voices I and IV, while Heringman (vihuela in d’) plays voices II, III and V. This is similar to how Valdarrábano distributes voices, and it works well here. (Some other intabulators, for example Phalèse, arranging music for two lutes, have each lute doubling the bass, which creates a fuller texture, but loses clarity of line.) The first six bars are played by Abramovich alone, followed by Heringman alone for the next six. In bars 57-65 there is interplay between pairs of voices: short phrases of four, five and six notes for voices II and V on the bass vihuela, are echoed by similar phrases for voices I and IV on the other instrument. Having two vihuelas enables polyphonic lines to be preserved, for example, in bars 13-14, where voices IV and V cross over each other. If this passage were played on a single instrument, the two melodic lines would be reduced to a meaningless repetition of chords. Other pieces by Josquin are Dulces exuviae, Pater Noster, and Ave Maria, all timeless and sublime. I assume the divisions in these pieces are the players’ own, because they are idiomatic and tasteful, enhance the music, and help maintain forward movement; many 16th-century intabulations have an excess of divisions, which almost become an end in themselves. Although Antonio de Cabezón describes his keyboard music as being “obras de musica para tecla, arpa y vihuela”, it is impossible to play most of it on a single vihuela: the overall range is too wide, and having divisions for both hands on the keyboard creates technical problems for a vihuelist. However, it does fit remarkably well on two vihuelas tuned a fourth apart for Thomas Créquillon’s Un gay bergier, a “Pavana Italiana”, and Claudin de Sermisy’s Dont vient cela. There are two pieces attributed to Juan Vasquez. The first, Dizen a mi que los amores he, is the five-part setting from the Uppsala manuscript. It has quite a few false relations, including a particularly squelchy one at bar 22. The duo have concocted their own ending of fast chords, which I don’t think enhances the overall mood of the piece. The second is the well-known De los álamos vengo, madre, played with invigorating gusto. I enjoyed listening to the CD – they play well together, and capture a variety of moods. The only frustrating thing was trying to navigate my way through the CD on my computer – the track numbers and titles are given in some curious eastern alphabet which is totally incomprehensible to me.

Stewart McCoy

Napolitane, balli e fantasie
Pino de Vittorio, La Lyra – Bor Zuljan
56:48
Arcana A450

[dropcap]T[/dropcap]he music of the blind Renaissance composer  Giacomo Gorzanis has evidently long been known in his native Italy due to availability in modern editions of his villanelle  and lute music, but this is the first period-instrument CD devoted exclusively to his work. The lute Recercars  and Fantasias  are delicate fare, whereas his songs have a rustic folky quality, enhanced by the rather naïve vocal style of Pino de Vittorio. Gorzanis was active in the north east of Italy, and to my ear his songs share features with the contemporary music of nearby Venice. I found that Pino de Vittorio’s rather breathy and couthie vocal production wore a bit thin after a while, and I wondered how a different approach would change the tone of some of the songs, but on the whole this was an entertaining CD of catchy music by a composer I had hitherto never heard of.

D. James RossBrian Clark