Ars Britannica: Old Hall Manuscript, Madrigals, Lute Songs

Various Artists (Composer), Pro Cantione Antiqua (Performer) | Format: Audio CD

Product Details

• Performer: Pro Cantione Antiqua
• Composer: Various Artists
• Audio CD (March 9, 1993)
• Number of Discs: 2
• Label: Teldec / Das Alte Werk
• ASIN: B000000SCS
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #404,580 in Music (See Top 100 in Music)

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2 of 2 people found the following review helpful:

5.0 out of 5 stars a voice teacher and early music fan, November 15, 2009

By 

George Peabody "Ariel" (U.S.A.) - See all my reviews
(VINE VOICE)    (TOP 1000 REVIEWER)   

This review is from: Ars Britannica: Old Hall Manuscript, Madrigals, Lute Songs (Audio CD)

A 1980 COMPILATION OF EARLY ENGLISH MUSIC BOTH SACRED AND SECULAR; SURELY A MUST FOR THE EARLY MUSIC LOVER.
The achievements of English composers during the Middle Ages and Renaissance were unsurpassed anywhere in Europe. The series Ars Britannica explores this repertory and illustrates some of its treasures; it aims to show the essential vitality and continuity of the English musical tradition. The compositions on these two CD's consist of two categories: Sacred music from the Old Hall Manucript and Madrigals & Lute Songs. They demonstrate all the major genres, techniques and styles cultivated by English composers during the early 15th century. They also evince the varied nature of English sacred polyphony during this period.

Apart from the pieces by John Dunstable, these compositions survive in the OLD HALL MANUSCRIPT (London, British Library). It is one of the few remaining insular musical sources of the period, and probably belonged to the household chapel of Thomas, Duke of Clarence. It is a collection of polyphonic settings of the Gloria, Credo, Sanctus and Agnus, with some interpolated isorhythmic motets and votive antiphons; most of the works are English, although there are a few pieces by Italian and French composers.

Robert Clibury's 'Agnus' typifies the simpler kind of Mass movement in Old Hall, with three voices moving mainly in note-against-note fashion. Pycard's 'Gloria' is more elaborate; three lively voices(two of them in canon) sing the text above two more sustained supporting lines. French influence is evident in Lionel Power's ambitious 'Credo', with its syncopation and ornamented dissonance; the alternation of duet and tutti is however, characteristically English. Other composers on the Old Hall manuscript are John Cooke, John Forest and Thomas Damett. Since there is no evidence that any instrument apart from the organ participated in the performance of sacred music at this time, these works are performed by voices alone, with an organ doubling some of the sustained textless lines.

The MADRIGALS and AYRES illustrate two aspects of a native tradition of secular vocal music which extended back to the earlier 16th century. They also show how certain composers reacted to the stimulus produced by greater exposure to Italian and French music. The MADRIGAL was essentially a polyphonic and entirely vocal genre which employed musical contrasts and expressive devices to reflect the changing moods and imagery of its text. The AYRE or part-song was more homophonic, with the melody in the top voice and a strongly harmonic bass, and it made little or no attempt to underline the nuances of the poem. The AYRE could be performed either by a vocal group or by a solo singer accompanied by an instrument, often the lute. In the interpretations on this recording a cappella performance alternates with a vocal ensemble accompanied by lute and viol, and with a solo singer accompanied by the lute. Traditional traits are more evident in the AYRE than in the MADRIGAL.

There are 32 songs in all. Some of the more familiar songs are: Thomas Morley's "Hark, Jolly Shephers", "Die now, my heart"; William Byrd's "Come, woeful Orpheus", Francis Pilkington's "Diaphenia"; John Dowland's "Fine Knacks for Ladies", "Sweet, stay awhile"; Thomas Campion's "Never Weather-beaten Sail", "Jack and Joan". Other composers on this portion are: Thomas Tompkins, Robert Jones, Thomas Weelkes and John Willbye.

The Pro Cantione Antiqua was Great Britian's leading early music ensemble of solo male voices, prior to the advent of the Tallis Scholars. It is an ensemble composed of soloists, all of whom had experience as choral singers. As individuals, the singers are established names in the recording venue. The ensemble specializes in Renaissance music; and, rightly so, as it is their interpretations of music from this era which have made this group well-known and much respected.

There are 14 singers in all on this recording, and they are: countertenors, Paul Esswood, Kevin Smith, Richard Hill and Charles Brett; tenors: James Griffett, James Lewington, Ian Partridge, and Ian Thompson; basses: Brian Etheridge, Michael George, Christopher Keyte, Christopher Underwood, Stephen Roberts and David Thomas. Most of these singers are still singing, although the personnel of this group has changed from year to year. Some years were better than others. But this compilation is certainly worth your attention if you are an Early Music Lover, and thus far it has not been reissued; let's hope that it will be at some point.

It includes an excellent booklet with outstanding liner notes, of which I tapped into at times to write this review; and there is a complete text. All of this information is in English, German and French.