Tuesday, 2 May 2017

Purcell's Revenge

Blogger's Ref/ A Treasury of Early Music


Ref Music Web International

Henry PURCELL (1659-1695)
Purcell’s Revenge; Sweeter than Roses?
Moonlight on the Green by James Oswald / Scotch Tune (Purcell, Amphitryon, Z572) [2:14]
There’s not a swain on the plain (Rule a Wife and Have a Wife, Z 587), arr. Olivia Chaney [4:21]
Rondeau (Abdelazer, Z570) [1:48]
An Evening Hymn, Z193, arr. Ana Silvera [3:56]
Fantazia in four parts, No. 11 in G, Z742 [2:59]
A New Scotch Tune, Z655: Peggie I must love thee (Balcarres Lute Book) [2:12]
Sweeter than roses (Pausanias, Z585), arr. David McGuinness [3:25]
First Music: Hornpipe (The Fairy Queen, Z629) [1:01]
Fairest isle (King Arthur, Z628) [3:44]
Old Sir Simon the King (The Division Violin / Second Part of Musick’s Hand-maid) [3:54]
Jigg (Second Part of Musick’s Hand-maid) [0:57]
One charming night (The Fairy Queen) [3:42]
Close thine eyes, Z184, Jigg (Abdelazer) [3:06]
Music for a while (Oedipus, Z583) [3:42]
Cassiopeia - Olivia Chaney [4:11]
Halos - Ana Silvera [3:43]
The Plaint (The Fairy Queen) [6:01]
What shall I do to show how much I love her (Dioclesian, Z627) and variations by James Oswald, arr. David McGuinness [3:48]
Aminta one night had occasion to piss, Z430, arr. David McGuinness [2:22]
Hornpipe on a Ground (The Married Beau, Z603) [3:00]
Concerto Caledonia/David McGuinnessl Performers:
rec. 2013, Britten Studio, Snape, UK
Texts included
DELPHIAN DCD34161 [66:04]
This is a playful and occasionally exasperating disc from Concerto Caledonia under David McGuinness. Straight-ahead, no-nonsense Purcellians will be aghast at some of the things inflicted on their hero whilst the more broad-minded may well welcome the serious and indeed funnier moments - whilst also privately wondering why it all doesn’t work rather better than it does.

Given their folk basis the ensemble could hardly be expected to take an Academy of Ancient Music approach and the infusion of lyra d’amore, hurdy-gurdy, Nyckelharpa and harmonica will give you some idea of the sound-world explored by the group. There’s not a swain on the plain with its vocal folk ethos and ensuing expansive instrumental shows how the group wants to marry the Purcellian idiom to its own sonically inclusive one but it can be a dangerous business. An Evening Hymn is de-ground bassed, as it were, and turned, kicking and screaming, into a winsome ballad, with Ana Silvera’s vowels not sounding especially English. It strikes me, then, as strange that, having established their credentials here in a kind of folk-baroque concept album, they should then decide to invite a proper singer of such music, James Bowman, to join them in a couple of numbers. As we can hear in Sweeter than Roses his voice is now well, well past its best and his musicality, never to be doubted, is little compensation. Is the use of Bowman to offer ‘real’ Purcell or to acquire some kind of legitimacy for the project? I’m undecided.

Fairest Isle is folked, much as the Classics were Jazzed in the 1930s, or Loch Lomond swung but whilst the latter two worked, this doesn’t. It sounds limp. Still, if you’ve yet to encounter a harmonica over hurdy-gurdy then listen to the Jigg. One Charming Night however takes us to the verge of Rock chamber opera – electric guitar, piano, and then quite a melancholy folkloric dénouement with much rusticity in the vocalising.

I’ve enjoyed a couple of this ensemble’s discs before and I appreciate that as suppliers of so-called Nu-Folk (what’s wrong with ‘New Folk’?) they plough their own furrow. Some things are effective, especially that nexus between the more Arcadian aspects of Purcell’s writing and the rural-folk inspirations on which the ensemble draw. But too much of the singing also draws upon the clichés of the genre and I don’t necessarily mean, for instance, the elongated vowels that turn the word ‘safe’ into ‘sayyyyyfe’.

The documentation is excellent and there are some splendid photographs. Most of the performances are live but a couple come from the studio. Sample firrrrst.

Jonathan Woolf

Wednesday, 8 February 2017

TV Themes...

  A Treasury of Early Music   http://www.youtube.com/Searle8

TV themes which appear to have drawn something of their inspiration from Early Music.


Georges Delerue Thibaud Ou Les Croisades (1968)


The Shadow of the Tower about the reign of Henry VII (excellent drama especially the actor who played the King)


The theme of the Accursed Kings again written by Delerue


The ITV version of the classic Black Arrow. At present we do not have the full theme "song" of this series;.

Monday, 30 January 2017

Cristóbal de Morales - Parce mihi Domine - Hilliard Ensemble

A Treasury of Early Music   http://www.youtube.Searle8


Jan Garbaret and the Hilliard Ensemble  Parce mihi domine...plus saxophone...


The original Parce mihi domine............sans saxophone

The Hilliard Ensemble: Sax in the Middle Ages

The Hilliard Ensemble and Jan Garbarek talk to Adam Sweeting about blending music ancient and modern . 


Is it possible that the Hilliard Ensemble have solved the conundrum of circular time? Though their recorded catalogue is peppered with titles such as Popular Music from the Time of Henry VIII or Medieval English Music, and the quartet can sing Byrd or Josquin des Prez with rare expertise, they’ve been performing sizzlingly contemporary music since their earliest performances in the mid-Seventies. They’ve become closely associated with composers such as Arvo Pärt and Giya Kancheli, but it’s their still-evolving partnership with Norwegian jazz saxophonist Jan Garbarek that has brought them unexpectedly huge numbers of new listeners.

Their first collaboration, in 1994, was on a CD called Officium. Though it comprised exclusively early music, the mix of the Hilliards’ transcendent harmonising and Garbarek’s free-floating improvisations created something not quite categorisable. They thought it might sell a few hundred copies, s,o, when it did a million and a half the air was filled with the sound of jaws hitting the floor.
And it’s with Garbarek that the Hilliard Ensemble launches a tour of British cathedrals in Norwich on Saturday . The performance will be based on their third collaborative CD, Officium Novum, released last year on the ever-exploratory ECM label. It’s a mesmerising collection, encompassing music from 16th-century Spain alongside Russian and Armenian church music and new pieces by Pärt and Garbarek himself, all framed within the shimmering sound world the musicians concoct when they play together.

Garbarek gives much credit for the collaboration to ECM’s mastermind, Manfred Eicher. “Manfred asked us if we would like to do something together, and we were both curious and really open about trying it,” the saxophonist recalls. “We found this monastery in Austria, St Gerold’s. The Hilliards brought a batch of music, they chose one and started to sing, and I listened for a minute and then played along with them. It was very quick and spontaneous, which to me meant that it was the right thing to do.”

A few months later, they found some mutually agreeable dates and, with Eicher producing, returned to St Gerold’s and recorded their first disc in a couple of days.
Wisely, they have allowed the collaboration to develop in its own time. A second collection, the two-disc Mnemosyne, followed in 1999, on which the musicians stretched themselves across several more centuries and folk music from different continents.

Then more than a decade elapsed before Officium Novum eventually emerged, though the partnership had been expanding and deepening in the interim over the course of myriad live performances.

“We’ve always done a lot of concerts with Jan, and we’re always looking for new music to keep it interesting for ourselves and find new ideas,” says tenor Steven Harrold, the new boy in the Hilliard Ensemble after joining a mere dozen years ago. In a history going back more than 35 years, the Hilliards have had only five personnel changes, though countertenor David James is the sole survivor from the first line-up.

“The question was whether we had a sufficient body of music of the right type to make the album work,” adds baritone Gordon Jones. “Certainly, I was very reluctant to do another album just for the sake of it. There had to be some damn good reason.”

A recording is only ever a snapshot of how something sounded at a particular moment, albeit with some technical tweaking to make it sound as aurally ravishing as possible, but what the Hilliards and Garbarek particularly cherish about their music-making is the way it varies from concert to concert, depending on choice of material and the physical properties of the venue.

“In the concerts, we’ve introduced pieces with lots of improvisation from the Hilliards as well as myself,” says Garbarek. “We never captured the best moments of that on any tape, but I think it made our collaboration develop more strongly. It’s very inspiring for me to work with them.”
Tenor Rogers Covey-Crump adds: “Jan responds very strongly to the buildings we play in. One thing he loves about this project is that he gets to play in places he never otherwise sees, such as big churches and cathedrals.”

“In a big resonant acoustic, he can create a harmony by playing a really loud bass note and then adding an arpeggio above it, so you have this harmony hanging in the air,” says Gordon Jones.
Garbarek’s early adventures in improvised music were inspired by the frantic honkings and squawkings of free-jazzers such as Archie Shepp and Albert Ayler, though over the decades he has learned what to leave out to find the meaningful spaces within.

“That’s very true,” he says. “Now I go for a more transparent sound, not the 'sheets of sound’ that John Coltrane introduced. I had to find my musical voice in the way that Coltrane found his, and the way he developed his spirituality through his music is very interesting to me.”

Spirituality is surely a characteristic of the music Garbarek makes with the Hilliards, as they spin through the centuries to reach some sort of irreducible expressive core. It’s hard to put into words, but something about it speaks clearly to its listeners.

“It’s very important that the sound has a certain amount of space and reverberation,” says Garbarek. “The music often uses modal forms, which gives a lot of freedom for improvisation. Some of it’s religious music and some isn’t, but I think it’s important that all music should be spiritual in some way.” 

A self-portrait by Nicholas Hilliard (1577)

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The Hilliard Ensemble was a British male vocal quartet originally devoted to the performance of early music. The group was named after the Elizabethan miniaturist painter Nicholas Hilliard. Founded in 1974,[1] the group disbanded in 2014.[2]
Although most of its work focused on music of the Medieval and Renaissance periods, the Hilliard Ensemble also performed contemporary music, working frequently with the Estonian composer Arvo Pärt and included in its concerts works by John Cage, Gavin Bryars, Giya Kancheli, and Heinz Holliger.

History and performances[edit]

The group was originally founded by Paul Hillier, Errol Girdlestone, Paul Elliott, and David James, although the membership was flexible until Hillier left in the late 1980s. Since 1990 the core members were David James (counter-tenor), Rogers Covey-Crump (tenor/high tenor), John Potter (tenor), and Gordon Jones (bass), with one change: in 1998 John Potter was replaced by Steven Harrold.
The Hilliard Ensemble, under Paul Hillier, had an extensive discography with EMI's Reflexe early music series during the 1980s. The ensemble has since recorded mainly for the ECM label. In 1994, when popular interest in Gregorian chant was at its height, the ensemble released the CD Officium, an unprecedented collaboration with the Norwegian saxophonist Jan Garbarek. The disc became one of ECM's biggest-selling releases, reaching the pop charts in several European countries and receiving five gold discs in sales. Officium's sequel, the 2-CD set Mnemosyne, followed in 1999. The third album, Officium Novum, was released in 2010.[3][4]
Their recordings have also been included in Craig Wright's Listening to Music textbook for music students and music appreciation.
In 2005 the ensemble took part in the Rheingau Musik Festival's composer's portrait of Arvo Pärt, together with the Rostock Motet Choir.[5]
In 2008, The Hilliard Ensemble premiered Heiner Goebbels' avant-garde staged concert I went to the house but did not enter at the 2008 Edinburgh International Festival, repeated at the Berliner Festspiele.[6]
In 2009 the ensemble premiered five new works: Guido Morini's Una Iliade, Fabio Vacchi's Memoria Italiana, Steffen Schleiermacher's Die Beschwörung der Trunkenen Oase, Simon Bainbridge's Tenebrae and Wolfgang Rihm's Et Lux.
In September 2010, The Hilliard Ensemble joined the London Philharmonic Orchestra and Choir for the world premiere of Matteo D'Amico's Flight from Byzantium at the Royal Festival Hall, London. They also performed three pieces by Guillaume Dufay: Moribus et genere, Vergene bella and Lamentatio sanctae matris ecclesiae Constantinopolitanae.[7]
On 15 November 2010 the group appeared at Church of St. Paul the Apostle in New York to perform Kjartan Sveinsson's Cage a Swallow Can’t You but You Can’t Swallow a Cage.[8]
The Hilliard Ensemble decided to disband after 41 years and gave their final concert on 20 December 2014 at London's Wigmore Hall.[2][9]

Selected discography[edit]

EMI Reflexe[edit]

  • 1980: Lionel Power: Messen und Motetten (LP, EMI Reflexe 1C 069-46 402)
  • 1982: John Dunstable: Motets (EMI Reflexe CDC 7 49002 2)
  • 1983: Josquin Desprez: Motets and chansons (EMI Reflexe CDC 7 49209 2)
  • 1983: Schütz: Matthäus-Passion (EMI Reflexe CDC 7 49200 2)
  • 1984: J. S. Bach Motets (EMI Reflexe CDC 7 49204 2) with Knabenchor Hannover
  • 1984: Ockeghem: Requiem; Missa Mi-Mi (EMI Reflexe CDC 7 49213 2)
  • 1984: Palestrina: Canticum canticorum, Spiritual madrigals (EMI Reflexe CDS 7 49010 8)
  • 1985: Schütz: Schwanengesang (Opus ultimum) (EMI Reflexe CDS 7 49214 8) with London Baroque and Knabenchor Hannover
  • 1985: Lassus: Penitential Psalms (EMI Reflexe CDS 7 49211 8) with the Kees Boeke Consort
  • 1986: Dufay: Missa L'Homme armé, Motets (EMI Reflexe CDC 7 47628 2)
  • 1987: Draw on Sweet Night - English Madrigals (EMI Reflexe CDC 7 49197 2)
  • 1988: Ockeghem: Missa prolationum and Marian Motets (EMI Reflexe CDC 7 49798 2)
  • 1989: Josquin Desprez: Missa Hercules Dux Ferrariae (EMI Reflexe CDC 7 49960 2)


  • 1996: Perotin and the Ars Antiqua (HL 1001)
  • 1996: For Ockeghem (HL 1002) music by Ockeghem, Busnois and Lupi and translated excerpts from Lament on the Death of the Late Ockeghem by Guillaume Crétin
  • 1997: Antoine Brumel (HL 1003)
  • 1998: Guillaume Dufay - Missa Se la Face ay Pale (HL 1004)


  • 1986: Thomas Tallis: The Lamentations of Jeremiah (ECM 1341)
  • 1987: Arbos (ECM 1325) with the Staatsorchester Stuttgart Brass Ensemble under Dennis Russell Davies performing works of Arvo Pärt
  • 1988: Passio (ECM 1370) performing works of Pärt
  • 1989: Perotin (ECM 1385) performing works of Perotin
  • 1991: Tenebrae (ECM 1422-23)) performing works of Carlo Gesualdo
  • 1991: Miserere (ECM 1430) performing works of Pärt
  • 1993: The Hilliard Ensemble Sings Walter Frye (ECM 1476)
  • 1994: Officium (ECM 1525) with Jan Garbarek (Part 1 of the Officium-trilogy)
  • 1995: Codex Speciálník (ECM 1505)
  • 1996: A Hilliard Songbook - New Music for Voices (ECM 1614-15)
  • 1998: Lassus (ECM 1658) performing works of Orlande de Lassus
  • 1999: Mnemosyne (ECM 1700-01) with Jan Garbarek (Part 2 of the Officium-trilogy)
  • 2001: Morimur (ECM 1765) with Christoph Poppen
  • 2003: Ricercar (ECM 1774) with Christoph Poppen and Münchener Kammerorchester performing works of Bach and Weber
  • 2003: Tituli - Cathedral in the Thrashing Rain (ECM 1861) performing works of Stephen Hartke
  • 2004: Motets (ECM 2324) performing works of Guillaume de Machaut
  • 2005: Lamentate (ECM 1930) with Alexei Lubimov performing works of Pärt
  • 2007: Motetten (ECM 1875) performing works of Bach
  • 2008: Audivi Vocem (ECM 1936) performing works of Thomas Tallis, Christopher Tye and John Sheppard
  • 2010: Officium Novum (ECM 2125) with Jan Garbarek (Part 3 of the Officium-trilogy)
  • 2011: Song of Songs (ECM 2174) with the Rosamunde Quartett performing works of Boris Yoffe
  • 2012: Quinto Libro di Madrigali (ECM 2175) performing works of Gesualdo
  • 2013: Terje Rypdal: Melodic Warrior (ECM 2006)
  • 2013: Il Cor Tristo (ECM 2346) performing works of Roger Marsh, Bernardo Pisano and Jacques Arcadelt
  • 2014: Transeamus (ECM 2408)
  • 2015: Heinz Holliger: Machaut-Transkriptionen (ECM 2224) with Geneviève Strosser, Jürg Dähler and Muriel Cantoreggi


External links[edit]

Friday, 23 December 2016

Interesting, and Unusual Changes in the Singing of the Gaudete

A Treasury of Early Music   http://www.youtube.com/Searle8


Above link the Tenebrae version of Gaudete

Gaudete (English pronunciation: /ˈɡdt/; Ecclesiastical Latin: [gawˈdetɛ] "rejoice" in Latin) is a sacred Christmas carol, which is thought to have been composed in the 16th century, but could easily have existed as a monophonic hymn in the late medieval period, with polyphonic Alto, Tenor, and Bass parts added during the 15th century, particularly due to its Medieval Latin lyrics. The song was published in Piae Cantiones, a collection of Finnish/Swedish sacred songs published in 1582. No music is given for the verses, but the standard tune comes from older liturgical books.
The Latin text is a typical medieval song of praise, which follows the standard pattern for the time - a uniform series of four-line stanzas, each preceded by a two-line refrain (in the early English carol this was known as the burden). Carols could be on any subject, but typically they were about the Virgin Mary, the Saints or Christmastide themes.


The complete text of "Gaudete", including the refrain:
Gaudete, gaudete! Christus est natus
Ex Maria virgine, gaudete!
Rejoice, rejoice! Christ has born
(Out) Of the Virgin Mary – rejoice!
Tempus adest gratiæ
Hoc quod optabamus,
Carmina lætitiæ
Devote reddamus.
The time of grace has come—
what we have wished for,
songs of joy
Let us give back faithfully.
Deus homo factus est
Natura mirante,
Mundus renovatus est
A Christo regnante
God has become man,
(With) nature marvelling,
The world has been renewed
By Christ (who is) reigning.
Ezechielis porta
Clausa pertransitur,
Unde lux est orta
Salus invenitur.
The closed gate of Ezekiel
Is passed through,
Whence the light is raised,
Salvation is found.
Ergo nostra concio
Psallat iam in lustro;
Benedicat Domino:
Salus Regi nostro.
Therefore, let our preaching
Now sing in brightness
Let it give praise to the Lord:
Greeting to our King.
There are references to the Christ, Virgin Mary, Grace, Ezekiel and Salvation.


Steeleye Span[edit]

The electric folk group Steeleye Span had a hit in 1973 (No. 14, UK singles chart) with an a cappella recording of the song. Guitarist Bob Johnson had heard the song when he attended a folk-carol service with his father-in-law in Cambridge, and brought it to the attention of the rest of the band. (Unlike the album version which fades up slowly and fades down slowly, the single was at the same volume for the entire length of the song.)
This single is one of only three top 50 British hits to be sung fully in Latin (the others were both recordings of "Pie Jesu" from Andrew Lloyd Webber's Requiem; firstly by Sarah Brightman and Paul Miles-Kingston in 1986, secondly as a minor hit by the 12-year-old Charlotte Church in 1998). In 1975 Mike Oldfield had a top 10 hit with "In Dulci Jubilo" but this Latin song was performed as an instrumental. "Oh What a Circus" from the 1976 musical Evita, and a hit single performed by David Essex, includes a choral chant in Latin, based on the Catholic anthem "Salve Regina".
"Gaudete" is also one of only a handful of a cappella performances to become hit singles. (Other notable examples are "Only You," sung by the Flying Pickets, "After the Gold Rush," sung by Prelude and "Caravan of Love," sung by the Housemartins.) When "Gaudete" was performed on Top of the Pops, the resident dance troupe walked onto the set in medieval-style robes, holding candles, followed by the members of Steeleye Span.

Other recordings[edit]


  • The Swedish ensemble Joculatores Upsalienses on their album Woods, Women and Wine 1990, with emphasis also on the rhythm by using a drum. Jo.Ups. always used authentic, sometimes a bit unconventional, but always probable instruments or hand-clapping.
  • British vocal ensemble King's Singers recorded "Gaudete" for their 1990 A Little Christmas Music album.
  • The Boston Camerata, under the direction of Joel Cohen, recorded a version of "Gaudete" entitled "Gaudete, Gaudete" for the 1991 album A Renaissance Christmas.
  • An arrangement featuring the Choir of Clare College Cambridge, accompanied by a cello ensemble, descant recorder and medieval tabor under the direction of Geoffrey Simon, was recorded in 1996 for a CD entitled A Cello Christmas on the Cala Records label.
  • Irish choral group Anúna performed "Gaudete" on their 1996 CD, Omnis with a solo by Eurovision Song Contest (1996) winner Eimear Quinn.
  • In 1997 it was recorded by the female vocal group Mediæval Bæbes as part of their No. 2 selling classical recording Salva Nos and also on their Christmas themed recording Mistletoe and Wine (2003).
  • The Canadian traditional group Ceilidh Friends included a version on their 1997 Christmas album The Spirit of Giving.
  • Icelandic choir Kammerkór Hafnarfjarðar released a CD in 1998 called Gaudete. That CD contains mainly Christmas music from various parts of the world. "Gaudete" is the first track of the CD.
  • In 1999, harpist Kim Robertson offered a rendition of the song on her disc The Spiral Gate.
  • El Duende performed this song on Excelsis, Volume 2: A Winter's Song (1999).


  • The British boy choir Libera recorded "Gaudete" on their 2001 album Luminous, and performed the song on Aled Jones' DVD Aled's Christmas Carols in 2008.
  • A version using a male soloist was released on Anúna's CD and DVD Celtic Origins (2007) and was broadcast across the USA in 2007-2008 on PBS.
  • Tenebrae released a version arranged by Karl Jenkins, both with percussion and as a pure a cappella version in October 2004 on the album Gaudete.
  • German medieval rock band Schelmish performed "Gaudete" on their 2006 album Mente Capti.
  • Chris Squire and a choir recorded a rock version on the 2007 Christmas album Chris Squire's Swiss Choir.


  • Choral ensemble Anúna include the song in an arrangement by Michael McGlynn on the PBS Television special Anúna : Celtic Origins and the CD release of the same name (2007).
  • Irish Singer Liz Madden recorded a version on her 2010 album My Irish Home.
  • "Gaudete" was recorded a cappella by Pure Reason Revolution as a Christmas bonus track on their EP, "Valour" (2011).
  • British alternative rock band Cauda Pavonis included a recording of "Gaudete" on their 2012 Christmas EP entitled Saturnalia.
  • The Celtic group Celtic Thunder recorded "Gaudete" on their 2013 album Christmas Voices.
  • On 28 October 2013, British synthpop group Erasure released their electronic version of "Gaudete" as the first single off their Christmas-themed album Snow Globe. Their version reached the Top 30 in UK indie singles chart and the Top 40 in Billboard dance chart.[1]
  • British symphonic medieval folk rock band Serpentyne released an extended version of "Gaudete" on their 2014 album Myths and Muses.


  • In 2013 a parody arrangement of "Gaudete", called "Crudités",[2][3] was released by the British folk duet Blanche Rowen & Mike Gulston.
  • A parody of "Gaudete", replacing the original words of the verses by sex-related terms, was recorded by the German medieval metal band Potentia Animi on their 2004 album Das Erst Gebet.
  • In the TV comedy I'm Alan Partridge, Alan manages to take Jill from his production company on a date to an owl sanctuary. In the car on the way home, Alan promises Jill something that "will blow your socks off" before singing along to a version of Gaudete on the car stereo


External links[edit]