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• • • • Concerto Antico by Richard Harvey Guitar and Piano Version © 1994 Fireworks Music Ltd. Unlock key for synthesia. Richard Harvey composed Concerto Antico to celebrate the genius of his good friend, guitar virtuoso John Williams, in a way that would complement and contrast with the staples of the guitar repertoire, while stretching John’s technique to the limit. Bhaag milkha bhaag. It is a suite of tunes based on old dance and song forms from different parts of Europe that has toured the world and become a favourite of the Classic FM audience.
Richard Harvey Concerto Antico
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30 minutes Instrumentation: o Solo Guitar o Piano.
Richard Harvey attends the premiere of. Background information Born ( 1953-09-25) 25 September 1953 (age 64) London, England Occupation(s) Multi-instrumentalist and Instruments Various Years active 1970s–present Associated acts Richard Harvey (born 25 September 1953) is a Award–winning English and. Originally of the mediaevalist group, he is best known now for his and. He is also known for his guitar concerto Concerto Antico, which was composed for the guitarist and the London Symphony Orchestra. In April 2012, UK radio listeners voted Richard Harvey's Concerto Antico into the for the first time. Contents • • • • • • Early life and career [ ] Born in London, Harvey soon became involved in music, learning the when he was four years old, switching first to and later playing in the British Youth Symphony Orchestra. By the time he graduated from London's in 1972, he was accomplished on the recorder, and other mediaeval and -era instruments, as well as the and various keyboards.
In the years since our last substantial surveys of recorder discs (Early Music, xxxiii/3 (2005), pp.532–3, and xxxvi/4 (2008), pp.645–7), a large number of new CDs have appeared, with some evidence of a change in repertory focus; most of the discs feature British and Dutch ensembles, suggesting that these are the recorder’s current centres of gravity. Several early instruments have developed significant modern repertories, both stimulating their players with technical and musical challenges, and providing composers with new sonorities with which to experiment. Interest comes and goes depending on which performers are in the driving seat—the 1960s and 70s may have been the high point of new harpsichord music, for example. The early instrument now generating most contemporary compositions is probably the recorder, partly because amateurs, more so than other ‘early’ performers, seem willing to engage with it. Significantly, a third of the discs covered here include such pieces, giving the recorder a voice stretching from the Middle Ages right into the present. We begin in the Renaissance, with recordings from some of the best professional consorts.
The largest ensemble here is The Royal Wind Music, directed by Paul Leenhouts. With a dozen players and a vast battery of instruments from the highest to the lowest, they are able to indulge in some ‘organ-stop’ scoring on The flute-heaven of the gods (Lindoro mpc-0119, issued 2009, 65′). The music is drawn from vocal, consort and keyboard originals by Sweelinck, Dowland, Brade, Van Eyck, Scheidt, Bach and many others. The rich doubled sonorities and numerous low instruments mean this disc sounds unlike any of the others here, and is well worth seeking out.
With many 16th- and 17th-century pieces being relatively brief, ensembles often seek out a theme to bind their repertory together. The next four discs have selected music that is principally British, and all supplement the basic recorder consort scoring with additional instruments and/or singers. On Music for the Queen of Scots (Deux-Elles dxl1144, rec 2009, 62′) the four members of The Flautadors are joined by percussionist Corrina Silvester to offer a well-thought-out selection of material—much of it from vocal sources—of a broadly Scottish kind (Peebles, Black, Fethy, Johnson, Lauder). This is supplemented by French pieces (Certon, Sermisy, Arbeau and so on) reflecting Mary Queen of Scots’s years in France in the 1550s. The music is arranged as a satisfying chronological narrative, taking in the various musical, cultural and political concerns of the time, and the performances are polished and elegant.
Flautando Köln provide a programme that is chronologically broader and geographically narrower in Ye sacred muses: Music from the House of Tudor (Carus 83.433, rec 2008, 64′); this programme includes (understandably from the point of view of musical history) the early 17th century and the first Stuart king too. Six pieces by Henry VIII—five musical, one spoken—begin the programme, followed by works by Byrd, Holborne, Dowland, Simpson, Patrick and Robert Johnson, ending with Byrd’s moving elegy on the death of Tallis that gives the disc its title. Five pieces from the Bassano family reflect the immigrant musical community of Tudor England. Lute, flute and countertenor provide variety from the consort scoring, and the disc’s more energetic performances make it a nicely contrasting foil to The Flautadors’ CD.
The young continental ensemble L’Art du Bois take the repertory well into the 17th century in Musical humours & lamentations (Et’cetera ktc1418, rec 2009, 60′), with more Holborne, Dowland and Simpson (both Thomas and Christopher), ending up with Blow and Purcell, plus migrants to England Matteis and Corbetta. Three of the six instrumentalists play recorders, with a viola da gamba and two pluckers. There is some over-orchestration, folksiness and excess percussion applied—a rather continental take on the English Renaissance, which does not always quite suit the music. However, it is all well played and recorded, and makes an attractive programme. Finally in this section, another mixed ensemble including recorders, the Quadriga Consort from Austria, offer Songs from the British Isles (Gramola 98878, rec 2009, 76′), which takes some of these ideas to their logical conclusion. Scotland and Ireland provide the bulk of the (mostly anonymous) music, and it is rather hard to describe the sound of this disc: folk/pop vocal delivery combined with Celtic percussion and Lord of the Rings harmonies (the arrangements are by the group’s director, harpsichordist Nikolaus Newerkla), all on early instruments. Quite fun, but quite odd too.
A fifth CD, Recorders Greate and Smale (Ramée 0907, rec 2008, 66′), is subtitled ‘Music for the English court recorder consort’ but actually falls just outside the above grouping because only two of the composers are English. The remainder (Fevin, Isaac, van Wilder, Verdelot, Arcadelt, Lassus, Ruffo, Willaert, the Ferraboscos and several others) are continental, the justification being that this type of vocal music likely formed the core of the royal ensemble’s repertory, based upon surviving manuscripts. The six members of Mezzaluna use two matched sets of Renaissance recorders made by Adrian Brown, based on instruments now in Vienna. The sound is exceedingly homogenous and attractive.
Two further discs stay with national themes, this time of Italy and Germany. Brisk Recorder Quartet’s The spirit of Venice (Globe glo5235, rec 2007–9, 61′) includes transcriptions of Francesco Bendusi, Andrea Gabrieli, Adrian Willaert, Claudio Merulo and Vivaldi. The reason for the remaining composers is that they all ‘have a connection with Venice’; how widely this has been drawn can be seen from their names: Mainerio, Courtois, Sandrin, Janequin, de Rore and Erbach. There are also new works from one of the group’s players, Saskia Coolen (2007), and from Renske Vrolijk (2008)—the latter, Ghost Wall, involves some electronic processing of a vocal line sung by Johannette Zomer. Brisk have been performing together for more than quarter of a century, and their ensemble sense is predictably flawless. B-Five Recorder Consort’s Geld Macht Musik: Musik für die Familie Fugger (Coviello Classics cov21105, rec 2010, 60′) is a musical portrait of the art-loving Augsburg merchant family (the disc’s title means ‘Money Power Music’), based on related manuscripts now in Vienna. The composers include Senfl, Appenzeller, Brumel, Josquin, Richafort, Finck and Hofhaimer, and tenor Johannes Weiss contributes to three works. Whether the music is sacred or secular, the tone is predominantly serious and sober, and this talented young ensemble captures the mood well.
Jacob van Eyck’s collection Der Fluyten Lust-hof may contain music of surprising sophistication and appeal, as Eric van Bosgraaf’s 2006 set on Brilliant Classics showed, but packaging entire discs of unaccompanied recorder music is something of a marketing challenge. Two new CDs solve this problem by contextualizing the music and accompanying it with alternative settings of the same melodies by composers such as Dowland, William Lawes and Robert Jones. This is done very effectively on Jacob van Eyck: Pleasure garden (Eloquentia el1126, rec 2010, 62′), where van Eyck’s diminutions alternate with or are superimposed on the original melodies (in the Dutch versions the composer would have known), in a convincingly improvisatory manner. Soprano Johannette Zomer and Luis Beduschi (recorder) divide the honours, accompanied by viols, virginals and harp. A charming disc. Around Jacob van Eyck (Phaedra ph92068, rec 2010, 71′), from the Ardalus Ensemble under the direction of recorder player Karin Ketels, does something rather similar. It provides more and shorter pieces drawn from a wider range of originals, with a slightly more folksy approach to performance, including some percussion.
Three discs here are devoted to Baroque solo sonatas, by Telemann, Loeillet and Ulrich. The most familiar repertory comes on Georg Philipp Telemann: Sonatas and sonatinas (Dabringhaus und Grimm mdg905 1893–6, rec 2010, 68′); Heiko ter Schegget is accompanied by Mieneke van der Velden (viola da gamba), Benny Aghassi (bassoon) and Zvi Meniker (harpsichord). As well as the relatively well-known sonatas twv41: d5, c2, c5, f1 and f2, we hear two sonatinas (nos.2 and 5) from the set of Nouvelles sonatines (c.1730), the missing continuo parts for which have only recently been discovered, and the canonic sonata twv41: b3, with recorder and bassoon in dialogue. All is tastefully and neatly done. Loeillet is another name to set the recorder-player’s pulse racing, and on Loeillet de Gant: Recorder sonatas (Naxos 8.572023, rec 2008, 74′) Daniel Rothert provides a ‘best of’ selection comprising eight appealing solo sonatas from the opp.1–4 chamber collections (1710–16) of the ‘Ghent’ member of the Loeillet family. The influence of Corelli is strong without being overpowering, and Rothert’s sweet tone is well supported here by Ketil Haugsand (harpsichord) and Vanessa Young (cello). Johann Ulrich (1677–1742) is a deeply obscure name, so ensemble Lux Borea’s recording of Ulrich: VI Sonaten à flauto con cembalo (Euridice eucd63, rec 2010, 74′) is most welcome. The music is as one might expect from this place (the court of Anhalt-Zerbst) and time (1716): heavily Italianate with a few quirky touches. As well as the six sonatas expertly played by Paul Wählberg (recorder), harpsichordist Andreas Edlund contributes two keyboard suites, which have a slightly more French accent.
Staying with 18th-century repertory we have Michala Petri’s Virtuoso Baroque (OUR Recordings 6.220604, rec 2011, 68′), which is a 20th-anniversary celebration disc for Petri and her regular accompanist Lars Hannibal (archlute). Three of the works are straight recorder sonatas (Handel in By, Telemann in D minor and Vivaldi/Chédeville in G major from Il Pastor fido), two are from the violin (Tartini’s ‘Devil’s Trill’ Sonata and Corelli’s ‘La Folia’) and one is from the flute (Bach’s (attributed) C major, played here in F). The opening work is that mysterious curiosity, the ‘Vitali’ violin Chaconne in G minor, which is quite hard to credit as a genuine Baroque work at all, despite the existence of an early 18th-century manuscript source in Dresden. One need say no more about the performances than that they fully live up to the disc’s title.
The combination of a treble recorder and a plucked instrument works well in terms of both balance and tonal contrast, and the La Tour Baroque Duo (Tim Blackmore and Michel Cardin) from New Brunswick, Canada, also make use of this combination in Les caractères de la danse (La Tour lt1-11cd, rec 2010, 73′). The disc’s title (from Rebel’s work of that name) and cover painting (Nicolas Lancret) suggests French repertory, but only three of the 20 or so pieces are from that country; most are in fact Italian, including theorbo solos by Kapsberger and Castaldi. The longest works are Corelli’s op.5 no.10 sonata, Rebel’s Les caractères de la danse and Hotteterre’s Suite op.5 no.3. While I am not convinced by the disc’s loose musical structure—it is rather like a concert of the artists’ personal favourites—the performances are an unalloyed delight.
A second disc from the excellent Flautando Köln is devoted to arrangements of music by Bach and his sons: Musik für Blockflötenensemble (Carus 83.360, rec 2009, 56′). Johann Sebastian’s organ works provide the basic quarry (the Dorian Toccata and Fugue, the Prelude and Fugue in C minor and the Fugue in G major), and there are also four fugues from Die Künst der Fuge, which all transcribe well, allowing for the fact that the bass has no real weight. More surprising perhaps are a quintet by Johann Christian (op.19 no.3) and the first of Wilhelm Friedemann’s flute duets; the latter sounds more effective on recorders than the former.
Flanders Recorder Quartet’s Banchetto musicale (Aeolus ae-10156, rec 2006, 81′) provides a convenient transition from the old to the new. Borrowing its title from Schein, it is organized as an international musical banquet that passes from Schein, Merula and Bach via Vaughan Williams (his Suite for Pipes, 1939) to impressive commissioned works by Piet Swerts, Jan Van der Roost and Frans Geysen (in which various drinks bottles are brought into musical use). The playing is delightfully slick but always stylish and musical.
The 20th-century British recorder repertory owes much of its existence to individual performers who badgered composers into writing new works, especially Carl Dolmetsch (1911–97). Dolmetsch had a hand in the creation of pieces on all four of the next discs, and it seems fitting that the first of these directly reflects music commissioned by him for his annual Wigmore Hall concerts between 1939 and 1965. Songs of yesterday (BIS bis-cd-1785, rec 2009, 67′), performed by Dan Laurin (recorder) and Anna Paradiso (harpsichord/piano), includes sonatas, sonatinas and other works from six significant mid-century British composers: Edmund Rubbra, Lennox Berkeley, York Bowen, Herbert Murrill, Walter Leigh and Cyril Scott. The idiom reflects both prevailing taste and Dolmetsch’s own: English pastoral with an occasional edge, and most of the composers seem happier writing accompaniments for piano (Berkeley, Bowen, Leigh and Scott) rather than harpsichord. This is a repertory that has been seriously neglected, and Laurin’s very persuasive advocacy should help restore its place.
The Flautadors have gathered together all of Rubbra’s recorder output on Rubbra: The complete recorder works (Dutton Vocalion cdlx7142, rec 2003, 74′), filling out the disc with Britten’s ‘complete recorder works’, which amount to the short Alpine Suite (1955) and three dances, two arranged from Gloriana by Imogen Holst. The scoring of the Rubbra works is quite varied, and other performers taking part include Patricia Rozario (soprano), the Dante Quartet, Laurence Cummings (harpsichord) and Susanna Pell (viola da gamba). For the three pieces based on early songs, we are also given the Machaut, Josquin and Vásquez originals. Hearing all this music back to back reminds us that Rubbra’s prodigious technique was inclined to overwhelm his imagination, but his best works, such as Meditazioni sopra ‘Cœurs Désolés’ (1949), are likely to persist in the contemporary recorder repertory.
One significant name in British 20th-century recorder music not yet mentioned is Gordon Jacob (1895–1984), and a recent Naxos disc, Gordon Jacob: Chamber music with recorder (Naxos 8.572364, rec 2009, 75′), puts him in perspective with five pieces featuring recorder and one (played by Fontanella) for consort; three are world première recordings. The lion’s share of the work goes to Annabel Knight, accompanied by Robin Bigwood (harpsichord/piano) and the Maggini String Quartet. Jacob’s philosophy was to treat the recorder ‘as a perfectly normal musical instrument, which it is, and not in any way as a museum piece’. This is a fine disc, making an excellent case for Jacob’s good-natured music.
A significant recorder work from the Gordon Jacob canon that falls outside the Naxos programme is his Suite for Recorder and Strings of 1957, and by happy coincidence this appears on a new disc of English recorder concertos (OUR Recordings 6.220606, rec 2011, 59′), along with Malcolm Arnold’s Concerto op.133 and a new work by Richard Harvey, Concerto Incantato (2009). The booklet note offers the latter as a hostage to fortune by describing it as ‘a new concerto for the Harry Potter generation’, and it certainly reflects Harvey’s experience as a film-music composer. Like the Arnold Concerto it was written for Michala Petri, who is accompanied here by the City Chamber Orchestra of Hong Kong under Jean Thorel. As with John Turner’s recent discs of ‘English recorder concertos’ (White Line) and ‘British recorder concertos’ (Dutton), the Petri recital makes a very good case for the recorder to be considered just another normal concerto soloist.
Although the recorder’s contemporary voice can seem perhaps reactionary, several ensembles are doing their best to bring the sound of the instrument right up to date, and the final two discs in this group bring together works by younger composers from Britain, The Netherlands and elsewhere. Consortium5’s Tangled pipes (Nonclassical nonclss008, issued 2010, 71′) brings together commissions from Kathryn Butler, Richard Lannoy, Brooks Frederickson, Darren Bloom, Brian Inglis, Kim Ashton and Luke Styles, played on matched consorts of Renaissance and Baroque recorders, perhaps paradoxically given the extended techniques demonstrated here—flutter-tonguing, heavy attacks, percussive effects and so on. There are some fascinating sounds to be heard here, and a surprising bonus in the form of pop-influenced remixed versions of the works, made by Gabriel Prokofiev and Richard Lannoy.
An equivalent Dutch slant on the contemporary repertory can be heard on Brisk Recorder Quartet’s Vintage Brisk (Globe glo5220, rec 2006, 75′), which reflects that ensemble’s commissioning of new music over the past two decades; many of the pieces were written for the group’s anniversary celebrations. The composers include Huba de Graaff, Calliope Tsoupaki, Bart Visman, Michiel Mensingh and Dean Manneke. On the evidence of this disc, the Dutch take on the modern recorder is more melodic than textual, at least in comparison with ‘Tangled pipes’; some electronic processing is also used in de Graaff’s amusing series of frog portraits, The Brisk Frog Project. Jazz and dance music are among other influences, and piano and voices (the Egidius Quartet) appear to interesting effect. Between them, these two complementary CDs and that from the Flanders Recorder Quartet (above) provide evidence of the stimulating directions contemporary recorder composition is taking.
Websites
Aeoluswww.aeolus-music.com
BISwww.bis.se
Caruswww.carus-verlag.com
Coviello Classicswww.covielloclassics.de
Dabringhaus und Grimmwww.mdg.de
Deux-elleswww.deux-elles.co.uk
Dutton Vocalionwww.duttonvocalion.co.uk
Eloquentiawww.eloquentia.fr
Et’ceterawww.etcetera-records.com
Euridicewww.euridice.no
Globewww.globerecords.nl
Gramolawww.gramola.at
La Tourwww.earlymusicstudio.ca
Lindorowww.lindoro.es
Naxoswww.naxos.com
Nonclassicalwww.nonclassical.co.uk
OUR Recordingswww.ourrecordings.com
Phaedrawww.phaedracd.com
Raméewww.ramee.org
© The Author 2012. Published by Oxford University Press. All rights reserved.