Fretwork

Dowland Lachrimae

Fretwork
Asako Morikawa, Reiko Ichise, Liam Byrne, Richard Tunnicliffe & Richard Boothby - viols & Elizabeth Kenny - lute

John Dowland 1563 - 1626

Lachrimæ or seaven teares figured in seaven passionate pavans, with divers other pavans, galiards and allemandes, set forth for the lute, viols, or violons, in five parts.

The King of Denmark’s Galiard
The Earle of Essex’s Galiard
M John Langton’s Pavan

Sir John Souch his Galiard
Captaine Piper his Galiard

Piper’s Pavan for lute solo

M Henry Noell his Galiard
M Giles Hoby his Galiard

Sir Henry Umpton’s Funerall

Mrs Nichols Almand
Nicho. Gryffith his Galiard

Fantasia in G for lute solo

M. George Whitehead his Almand
M. Bucton his Galiard
Semper Dowland semper Dolens

I N T E R V A L

 Adrian Williams Teares to Dreams (2004)

John Dowland
Lachrimæ Antiquæ
Lachrimæ Antiquæ Novæ
Lachrimæ Gementes
Lachrimæ Tristes
Lachrimæ Coactæ
Lachrimæ Amantis
Lachrimæ Veræ

John Dowland, the finest lutenist of his generation and one of England’s greatest composers, was born 450 years ago in 1563. In 1604 he published the extraordinary collection of music for viols and lute called ‘Lachrimae’. Before a series of wonderfully lively galliards, many drawn from his songs, Dowland presents a transcendental journey based on his most famous song, ‘Flow my teares’. The falling 4th emblem is subjected to intense scrutiny and transformation, with a sequence that maps a voyage from despair to hope, from falling to rising, from minor to major.

As Dowland says in his dedication to Queen Anne of Denmark:

And though the title doth promise teares, unfit guests in these ioyfull times, yet no doubt pleasant are the teares which Musicke weepes, neither are teares shed alwayes in sorrow, but sometime in ioy and gladnesse.

Adrian Williams wrote Teares to Dreams in 2004 for the Cheltenham Festival. It is a beautiful and poignant reflection on Dowland’s pavans, employing the same forces, yet bringing a contemporary sensibility to the 17th century form.

Benjamin & Goehr

George Benjamin & Alexander Goehr

Fretwork - viols
Susan Bickley - voice
Tabea Zimmerman & Antoine Tamestit - violas
George Benjamin - piano

Alexander Goehr: Three Sonnets & Two Fantasias (2000)

Let me not to the marriage
Fantasia 1
The Silken Tent

George Benjamin: Piano Figures (2004)

Goehr: Three Sonnets & Two Fantasias (continued)

Fantasia 2
Why is my verse so barren?

Benjamin: Viola, viola (1997)

I N T E R V A L

Goehr: from Shadow of Night Op. 85 (2010)

Goehr: Sur terre, en l’air Op. 64 (1997) for viola & piano

Benjamin: Upon Silence (1991)

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

New Wine in Old Bottles

Fretwork with Clare Wilkinson

• John Joubert
  • The Fellowship of the Stretched String (2008)
• Peter Sculthorpe
  • Djililie (1995)
• Elvis Costello
  • Put away forbidden playthings (1995)
• Tan Dun
  • A Sinking Love (1995)
• Orlando Gough
  • Birds on Fire II (2001)

I N T E R V A L

• Michael Nyman
  • If
• Henry Purcell
  • Fantazy upon one note (1680)
• Barry Guy
  • Buzz (1995)
• Duncan Druce
  • Three Vaughn Settings (2007)
• Henry Purcell
  • In Nomine in 6 parts (1680)
• Gavin Bryars
  • In Nomine after Purcell (1995)
• Stephen Wilkinson
  • The Garden

The Art Of Fugue

Fretwork

Johann Sebastian Bach: Die Kunst der Fuge BWV 1080

• Contrapunctus 1
• Contrapunctus 3
  • Canon alla Ottava
• Contrapunctus 2
• Contrapunctus 4
  • Canon all Duodecima in Contrapunto all Quinta
• Contrapunctus 5
• Contrapunctus 6
• Contrapunctus 10
• Contrapunctus 9

I N T E R V A L

• Contrapunctus 7
  
  • Canon all Decima in Contrapunto alla Terza
• Contrapunctus 8
• Contrapunctus 11
  
  • Canon per Augmentationem in Contrario Motu
• Contrapunctus 14 (18)

Gibbons & Muhly

Orlando Gibbons & Nico Muhly

The Hilliard Ensemble

David James, Rogers Covey-Crump, Steven Harrold, Gordon Jones - voices

Fretwork

Liam Byrne, Asako Morikawa, Reiko Ichise, Richard Tunncliffe, Richard Boothby - viols

Orlando Gibbons
The silver swan
Fantasy in 4 parts for ye great dooble bass
Nay let me weep; Ne’er let the sun & Yet if that age
In Nomine in 5 parts

Nico Muhley
New Work for ATTB & 5 viols

i n t e r v a l

Gibbons
In Nomine in 5 parts
What is our life?

Gavin Bryars
Cadman Requiem

Dowland Lachrimae

Fretwork
Asako Morikawa, Reiko Ichise, Liam Byrne, Richard Tunnicliffe & Richard Boothby - viols & Elizabeth Kenny - lute

John Dowland 1563 - 1626

Lachrimæ or seaven teares figured in seaven passionate pavans, with divers other pavans, galiards and allemandes, set forth for the lute, viols, or violons, in five parts.

The King of Denmark’s Galiard
The Earle of Essex’s Galiard
M John Langton’s Pavan

Sir John Souch his Galiard
Captaine Piper his Galiard

Piper’s Pavan for lute solo

M Henry Noell his Galiard
M Giles Hoby his Galiard

Sir Henry Umpton’s Funerall

Mrs Nichols Almand
Nicho. Gryffith his Galiard

Fantasia in G for lute solo

M. George Whitehead his Almand
M. Bucton his Galiard
Semper Dowland semper Dolens

I N T E R V A L

 Adrian Williams Teares to Dreams (2004)

John Dowland
Lachrimæ Antiquæ
Lachrimæ Antiquæ Novæ
Lachrimæ Gementes
Lachrimæ Tristes
Lachrimæ Coactæ
Lachrimæ Amantis
Lachrimæ Veræ

John Dowland, the finest lutenist of his generation and one of England’s greatest composers, was born 450 years ago in 1563. In 1604 he published the extraordinary collection of music for viols and lute called ‘Lachrimae’. Before a series of wonderfully lively galliards, many drawn from his songs, Dowland presents a transcendental journey based on his most famous song, ‘Flow my teares’. The falling 4th emblem is subjected to intense scrutiny and transformation, with a sequence that maps a voyage from despair to hope, from falling to rising, from minor to major.

As Dowland says in his dedication to Queen Anne of Denmark:

And though the title doth promise teares, unfit guests in these ioyfull times, yet no doubt pleasant are the teares which Musicke weepes, neither are teares shed alwayes in sorrow, but sometime in ioy and gladnesse.

Adrian Williams wrote Teares to Dreams in 2004 for the Cheltenham Festival. It is a beautiful and poignant reflection on Dowland’s pavans, employing the same forces, yet bringing a contemporary sensibility to the 17th century form.

Musick’s Monument

Musick’s Monument

“The authors of such like compositions, have been divers famous English men, and Italians; some of which for their very great eminency and worth in that particular faculty, I will here name, viz. Mr Alfonso Ferabosco, Mr John Ward, Mr Lupo, Mr White, Mr Richard Deering, Mr William Lawes, Mr. John Jenkins, Mr Christopher Simpson, Mr Coperario and one Monteverdi, a famous Italian author.”

William Lawes: Consort set in 5 parts in F major
Fantasy, Pavan, Air

Richard Deering: Fantazy for 5 viols
John Ward: Fantazy No. 1 Dolce languir
William White: Fantasy for 5 viols No. 3

John Jenkins: Four-part aires
Almaine, Coranto, Aire

John Coprario: Fantazia for 5 viols Illicita Cosa

I N T E R V A L

Claudio Monteverdi: Dolcemente dormiva la mia Clori (Tasso)
from 2nd Book of madrigals (1590)
Ward: In Nomine in 5 parts

Christopher Simpson: Four-part aires
Pavin, Galliard, Aire, Saraband

Alfonso Ferrabosco II: Hexachord Fantasy in 4 parts
Thomas Lupo: Pavan in 3 parts

Lawes: Consort set in 5 parts in C major
Fantasy, Pavan, Air

Dowland Lachrimae

Fretwork
Asako Morikawa, Reiko Ichise, Liam Byrne, Richard Tunnicliffe & Richard Boothby - viols & Elizabeth Kenny - lute

John Dowland 1563 - 1626

Lachrimæ or seaven teares figured in seaven passionate pavans, with divers other pavans, galiards and allemandes, set forth for the lute, viols, or violons, in five parts.

The King of Denmark’s Galiard
The Earle of Essex’s Galiard
M John Langton’s Pavan

Sir John Souch his Galiard
Captaine Piper his Galiard

Piper’s Pavan for lute solo

M Henry Noell his Galiard
M Giles Hoby his Galiard

Sir Henry Umpton’s Funerall

Mrs Nichols Almand
Nicho. Gryffith his Galiard

Fantasia in G for lute solo

M. George Whitehead his Almand
M. Bucton his Galiard
Semper Dowland semper Dolens

I N T E R V A L

 Adrian Williams Teares to Dreams (2004)

John Dowland
Lachrimæ Antiquæ
Lachrimæ Antiquæ Novæ
Lachrimæ Gementes
Lachrimæ Tristes
Lachrimæ Coactæ
Lachrimæ Amantis
Lachrimæ Veræ

John Dowland, the finest lutenist of his generation and one of England’s greatest composers, was born 450 years ago in 1563. In 1604 he published the extraordinary collection of music for viols and lute called ‘Lachrimae’. Before a series of wonderfully lively galliards, many drawn from his songs, Dowland presents a transcendental journey based on his most famous song, ‘Flow my teares’. The falling 4th emblem is subjected to intense scrutiny and transformation, with a sequence that maps a voyage from despair to hope, from falling to rising, from minor to major.

As Dowland says in his dedication to Queen Anne of Denmark:

And though the title doth promise teares, unfit guests in these ioyfull times, yet no doubt pleasant are the teares which Musicke weepes, neither are teares shed alwayes in sorrow, but sometime in ioy and gladnesse.

Adrian Williams wrote Teares to Dreams in 2004 for the Cheltenham Festival. It is a beautiful and poignant reflection on Dowland’s pavans, employing the same forces, yet bringing a contemporary sensibility to the 17th century form.

Lamentations

Fretwork

Liam Byrne, Asako Morikawa, Reiko Ichise, Richard Tunnicliffe, Richard Boothby - viols

with

Alamire

Grace Davidson, Clare Wilkinson, Nicholas Todd, Simon Wall, Greg Skidmore, Robert Macdonald - voices

Lamentations

Robert Parsons
In Nomine
Ave Maria

Christopher Tye Rubum Quem
Robert White
In Nomine

Thomas Tallis
Lamentations of Jeremiah

INTERVAL

Robert White
Lamentations

Thea Musgrave
Wild Winter

Dowland & Purcell

Fretwork

Liam Byrne, Asako Morikawa, Reiko Ichise, Richard Tunnicliffe, Richard Boothby - viols

with

Nicholas Hurndall-Smith - tenor & Paul Chateauneuf - lute

John Dowland 1563 - 1626 & Henry Purcell 1659 - 1695

Dowland
The King of Denmarks Galiard
M. Henry Noell his Galiard
Shall I strive with words
Lachrimae Pavan - lute solo
Come again, sweet love doth now invite

Purcell
Music for a while
2 Fantazias in 4 parts
O Solitude

Dowland
I saw my lady weep
Sorrow stay
The Earle of Essex Galiard
Can she excuse my wrongs

I N T E R V A L

Purcell
Fantazia in 3 parts
Fantazia in 4 parts

Dowland
In darkness let me dwell
Fantasie: Lute solo
Captaine Digory Piper, his Galiard
If my complaints

Purcell
If love’s a sweet passion

2 Fantazias in 4 parts
The Evening Hymn

Gibbons & Muhly

Orlando Gibbons & Nico Muhly

The Hilliard Ensemble

David James, Rogers Covey-Crump, Steven Harrold, Gordon Jones - voices

Fretwork

Liam Byrne, Asako Morikawa, Reiko Ichise, Richard Tunncliffe, Richard Boothby - viols

Orlando Gibbons
The silver swan
Fantasy in 4 parts for ye great dooble bass
Nay let me weep; Ne’er let the sun & Yet if that age
In Nomine in 5 parts

Nico Muhley
New Work for ATTB & 5 viols

i n t e r v a l

Gibbons
In Nomine in 5 parts
What is our life?

Gavin Bryars
Cadman Requiem

Wigmore Hall 2012

Gibbons & Muhly

Wigmore Hall

2nd October 2012

The Hilliard Ensemble

Julia Doyle, Julie Cooper, David James, Rogers Covey-Crump, Steven Harrold, Gordon Jones - voices

Fretwork

Liam Byrne, Asako Morikawa, Reiko Ichise, Richard Tunncliffe, Richard Boothby - viols

Orlando Gibbons: The first set of Madrigals & Motets of 5 Parts, apt for Viols and Voyces, published 1612 & a new work by Nico Muhley

Trust not too much fair youth
O, that the learned poets of this time
What is our life?

How art thou thral’d
Dainty fine bird

I weigh not fortune’s frown nor smile

Fair is the rose
Fair ladies that to love

i n t e r v a l

Nico Muhley

My Days for ATTB & 5 viols

Orlando Gibbons

Now each flowery bank of May

Lais now old, that erst attempting lass
Ah dear heart

Nay let me weep

The silver swan

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

Bow Thine Ear

Robert Parsons
In Nomine
Ave Maria

William Byrd
Tribulationes civitatum

Christopher Tye
Rubum Quem
Robert White
In Nomine

Byrd
Ne Irascaris

INTERVAL

Orlando di Lassus
Susanne un jour
Nicholas Strogers
In Nomine
Clement Woodcock
In Nomine

Byrd
Browning

White
Lamentations

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

River Mouth Echoes

William Byrd
My mind to me a kingdom is
Browning

Carlo Gesualdo
Sparge la morte
Dolcissima mia vita
Beltà poi che t’assenti

Maja Solveig Ratkje
River Mouth Echoes (2001)

I N T E R V A L

Henry Purcell
Music for a while
Fantazy in 4 parts no. 8
Tan Dun
A Sinking Love (1995)

Sally Beamish
in dreaming

John Jenkins
Fantazy in 5 parts

Ralph Vaughan Williams
Silent Noon

Orlando Gough
Birds on Fire Part II (2001)

Musick’s Monument

Musick’s Monument

“The authors of such like compositions, have been divers famous English men, and Italians; some of which for their very great eminency and worth in that particular faculty, I will here name, viz. Mr Alfonso Ferabosco, Mr John Ward, Mr Lupo, Mr White, Mr Richard Deering, Mr William Lawes, Mr. John Jenkins, Mr Christopher Simpson, Mr Coperario and one Monteverdi, a famous Italian author.”

William Lawes: Consort set in 5 parts in F major
Fantasy, Pavan, Air

Richard Deering: Fantazy for 5 viols
John Ward: Fantazy No. 1 Dolce languir
William White: Fantasy for 5 viols No. 3

John Jenkins: Four-part aires
Almaine, Coranto, Aire

John Coprario: Fantazia for 5 viols Illicita Cosa

I N T E R V A L

Claudio Monteverdi: Dolcemente dormiva la mia Clori (Tasso)
from 2nd Book of madrigals (1590)
Ward: In Nomine in 5 parts

Christopher Simpson: Four-part aires
Pavin, Galliard, Aire, Saraband

Alfonso Ferrabosco II: Hexachord Fantasy in 4 parts
Thomas Lupo: Pavan in 3 parts

Lawes: Consort set in 5 parts in C major
Fantasy, Pavan, Air

Musick’s Monument

Musick’s Monument

“The authors of such like compositions, have been divers famous English men, and Italians; some of which for their very great eminency and worth in that particular faculty, I will here name, viz. Mr Alfonso Ferabosco, Mr John Ward, Mr Lupo, Mr White, Mr Richard Deering, Mr William Lawes, Mr. John Jenkins, Mr Christopher Simpson, Mr Coperario and one Monteverdi, a famous Italian author.”

William Lawes: Consort set in 5 parts in F major
Fantasy, Pavan, Air

Richard Deering: Fantazy for 5 viols
John Ward: Fantazy No. 1 Dolce languir
William White: Fantasy for 5 viols No. 3

John Jenkins: Four-part aires
Almaine, Coranto, Aire

John Coprario: Fantazia for 5 viols Illicita Cosa

I N T E R V A L

Claudio Monteverdi: Dolcemente dormiva la mia Clori (Tasso)
from 2nd Book of madrigals (1590)
Ward: In Nomine in 5 parts

Christopher Simpson: Four-part aires
Pavin, Galliard, Aire, Saraband

Alfonso Ferrabosco II: Hexachord Fantasy in 4 parts
Thomas Lupo: Pavan in 3 parts

Lawes: Consort set in 5 parts in C major
Fantasy, Pavan, Air

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

New Wine in Old Bottles

Fretwork with Clare Wilkinson

• John Joubert
  • The Fellowship of the Stretched String (2008)
• Peter Sculthorpe
  • Djililie (1995)
• Elvis Costello
  • Put away forbidden playthings (1995)
• Tan Dun
  • A Sinking Love (1995)
• Orlando Gough
  • Birds on Fire II (2001)

I N T E R V A L

• Michael Nyman
  • If
• Henry Purcell
  • Fantazy upon one note (1680)
• Barry Guy
  • Buzz (1995)
• Duncan Druce
  • Three Vaughn Settings (2007)
• Henry Purcell
  • In Nomine in 6 parts (1680)
• Gavin Bryars
  • In Nomine after Purcell (1995)
• Stephen Wilkinson
  • The Garden

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

The Silken Tent

Fretwork with Clare Wilkinson - voice

• William Lawes
  • Six part Consort Sett in C major
  • Fantazy, Fantazy, Air
• William Byrd
  • Where the blind
  • Turn our captivity
• Alexander Goehr
  • Three sonnets and two fantasies
• Orlando Gibbons
  • O Lord, in thy wrath
  • Two Fantasies in 6 parts

I N T E R V A L

• Arvo Pärt
  • Fratres
• Dmitri Shostakovitch
  • Prelude & Fugue
• Stephen Wilkinson
  • The Garden
• Claude Debussy
  • La fille aux cheveux de lin
• Hugo Wolf
  • Ein Altes Bild
• Edvard Grieg
  • Heimweh
• Orlando Gibbons
  • Now each flowery bank
  • Two Fantasies in 6 parts
• Benjamin Britten
  • O Waly, waly

Byrd, Gibbons, Lawes & Purcell

6 viols & voice

• William Byrd
  • Pavan & Galliard
  • Where the blind
  • Fantasy in 6 parts
  • Turn our captivity
• Orlando Gibbons
  • Two Fantasies in 6 parts
  • O Lord, in thy wrath
• William Lawes
  • 6-part Consort Sett in C major
  • Fantazy, Fantazy, Air

I N T E R V A L

• Lawes
  • 6-part Consort Sett in F major
  • Air, Fantazy, Air, Fantazy
• Gibbons
  • The Silver Swan
  • Two Fantasies in 6 parts
  • Now each flowery bank
  • What is our life?
• Henry Purcell
  • Fantazia in four parts
  • Music for a while
  • Fantazia upon one note
  • O Solitude
  • In Nomine in 7 parts

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

The Silken Tent

Fretwork with Clare Wilkinson - voice

• William Lawes
  • Six part Consort Sett in C major
  • Fantazy, Fantazy, Air
• William Byrd
  • Where the blind
  • Turn our captivity
• Alexander Goehr
  • Three sonnets and two fantasies
• Orlando Gibbons
  • O Lord, in thy wrath
  • Two Fantasies in 6 parts

I N T E R V A L

• Arvo Pärt
  • Fratres
• Dmitri Shostakovitch
  • Prelude & Fugue
• Stephen Wilkinson
  • The Garden
• Claude Debussy
  • La fille aux cheveux de lin
• Hugo Wolf
  • Ein Altes Bild
• Edvard Grieg
  • Heimweh
• Orlando Gibbons
  • Now each flowery bank
  • Two Fantasies in 6 parts
• Benjamin Britten
  • O Waly, waly

The World Encompassed

Sir Francis Drake’s Circumnavigation of the Globe 1577-80

When Drake set sail from Plymouth on 15th November 1577, he took with him four viol players: Simon Wood, Thomas Meckes, Richard Clarke & ‘George’, who almost certainly had no idea that they were about to embark on such an epic journey. The viols played music to accompany Drake’s private worship - he prayed for over an hour each day, and sang hymns to the viols; they also entertained him while he ate; he also used the pacific nature of the music to impress the natives in South America, and then also in Java, where the king retuned the favour:

One day amongst the rest, viz. March 21. Raia Donan coming aboard us, in requital of our musick which was made to him, presented our generall with his country musick, which though it were of a very strange kind, yet the sound was pleasant and delightful:

Fretwork have commissioned Orlando Gough (Birds on Fire) to use these scant facts to create a journey in sound that charts Drake’s remarkable feat. Music from the 16th century prior to Drake’s departure is woven seamlessly into a through-composed piece of music lasting 70 minutes. Drake stopped in Morocco, The Cape Verde Islands, Brasil, Argentina, Patagonia; passed through the Straights of Magellan (where he lost one of the sister ships, and another turned back, and where Drake’s ship, the Pelican, was renamed The Golden Hinde); then up the coast of Chile, Mexico, California, across the Pacific Ocean to the Moluccas, Java, then round Cape of Good Hope, Sierra Leone and finally Plymouth in September 1580.

The few hymns popularly sung at the time, published in 1562 & 3 by Sternhold & Hopkins, severe and austere, will be contrasted with the exotic and ‘strange’ music of these countries.  The structure of the work is as follows, with the original 16th century music:

• Leaving Plymouth
  • Robert Parsons: The Song Called Trumpets
  • Preserve us O Lord
• Mogador
  • John Taverner: In Nomine
• Maio Santiago Fogo
• Port Desire
  • Parsons: In Nomine
• Terra Incognita
  • The Humble Suit of a Sinner
• The Spanish Main
  • Parsons: De La Court
• Albion
• 180 Degrees: Homesickness
  • Pavin of Albarti
• Ternate
  • Picforth: In Nomine
• Java
  • Da Pacem Domine
• Reaching Plymouth
  • Parsons: The Song called Trumpets

Birds on Fire: Jewish music for viols

• Orlando Gough
  • ‘Birds on Fire’ part 1
• Salmone Rossi ‘Ebreo’
  • Hashkivenu
• Augustine Bassano
  • Pavan & Galliard 1
• Heironymus Bassano
  • Fantasia No. 1 in 5 parts
• Joseph Lupo
  • Pavan in 5 parts
• Thomas Lupo
  • Two Fantasias in 6 parts
• Philip van Wilder
  • Fantasia con e senza pause
• Leonora Duarte
  • 2 Symphonies in 5 parts
• Gough
  • ‘Birds on Fire’ part 2

I N T E R V A L

• A suite of pieces from the ‘Lumley Part Books’
  
  • Desperada
  • Pavan & Gallyard
  • Seconda desperada
  • Pavan & Gallyard of Albarti
  • Terza desperada
• Thomas Lupo
  • Fantasia in 6 parts
  • Pavan in 3 parts
  • Fantasia in 3 parts
  • Two Fantasias in 6 parts
• Orlando Gough
  • ‘Birds on Fire’ part 3
• Salmone Rossi ‘Ebreo’
  • Shir hamma a’lot

Purcell: Complete Fantazias

Henry Purcell 1659 - 1695

Fretwork

• Chacony
• Fantazia 4 in G minor 10th June 1680
• Fantazia 5 in B flat major 11th June 1680
• Fantazia 6 in F major 14th June 1680
• Fantazia 7 in C minor 19th June 1680
• Pavan in B flat major

• Fantazia 8 in D minor 22nd June 1680

• William Lawes (1602 - 1645)

  • Consort Set in F major
    Air, Fantazia, Air, Fantazia

I N T E R V A L

• Fantazia ‘upon one note’ for five viols
• 3 Fantazias in three parts
  • No.1 in D minor
  • No.2 in F major
  • No.3 in G minor
• Fantazia 9 in A minor 23rd June 1680
• Fantazia 10 in E minor 30th June 1680
• Pavan in A minor
• Fantazia 11 in G major 19th August 1680
• Fantazia 12 in D minor 31st August 1680
• In Nomine in six parts
• In Nomine in seven parts

The World Encompassed

Sir Francis Drake’s Circumnavigation of the Globe 1577-80

When Drake set sail from Plymouth on 15th November 1577, he took with him four viol players: Simon Wood, Thomas Meckes, Richard Clarke & ‘George’, who almost certainly had no idea that they were about to embark on such an epic journey. The viols played music to accompany Drake’s private worship - he prayed for over an hour each day, and sang hymns to the viols; they also entertained him while he ate; he also used the pacific nature of the music to impress the natives in South America, and then also in Java, where the king retuned the favour:

One day amongst the rest, viz. March 21. Raia Donan coming aboard us, in requital of our musick which was made to him, presented our generall with his country musick, which though it were of a very strange kind, yet the sound was pleasant and delightful:

Fretwork have commissioned Orlando Gough (Birds on Fire) to use these scant facts to create a journey in sound that charts Drake’s remarkable feat. Music from the 16th century prior to Drake’s departure is woven seamlessly into a through-composed piece of music lasting 70 minutes. Drake stopped in Morocco, The Cape Verde Islands, Brasil, Argentina, Patagonia; passed through the Straights of Magellan (where he lost one of the sister ships, and another turned back, and where Drake’s ship, the Pelican, was renamed The Golden Hinde); then up the coast of Chile, Mexico, California, across the Pacific Ocean to the Moluccas, Java, then round Cape of Good Hope, Sierra Leone and finally Plymouth in September 1580.

The few hymns popularly sung at the time, published in 1562 & 3 by Sternhold & Hopkins, severe and austere, will be contrasted with the exotic and ‘strange’ music of these countries.  The structure of the work is as follows, with the original 16th century music:

• Leaving Plymouth
  • Robert Parsons: The Song Called Trumpets
  • Preserve us O Lord
• Mogador
  • John Taverner: In Nomine
• Maio Santiago Fogo
• Port Desire
  • Parsons: In Nomine
• Terra Incognita
  • The Humble Suit of a Sinner
• The Spanish Main
  • Parsons: De La Court
• Albion
• 180 Degrees: Homesickness
  • Pavin of Albarti
• Ternate
  • Picforth: In Nomine
• Java
  • Da Pacem Domine
• Reaching Plymouth
  • Parsons: The Song called Trumpets

Purcell: Complete Fantazias

Henry Purcell 1659 - 1695

Fretwork

• Chacony
• Fantazia 4 in G minor 10th June 1680
• Fantazia 5 in B flat major 11th June 1680
• Fantazia 6 in F major 14th June 1680
• Fantazia 7 in C minor 19th June 1680
• Pavan in B flat major

• Fantazia 8 in D minor 22nd June 1680

• William Lawes (1602 - 1645)

  • Consort Set in F major
    Air, Fantazia, Air, Fantazia

I N T E R V A L

• Fantazia ‘upon one note’ for five viols
• 3 Fantazias in three parts
  • No.1 in D minor
  • No.2 in F major
  • No.3 in G minor
• Fantazia 9 in A minor 23rd June 1680
• Fantazia 10 in E minor 30th June 1680
• Pavan in A minor
• Fantazia 11 in G major 19th August 1680
• Fantazia 12 in D minor 31st August 1680
• In Nomine in six parts
• In Nomine in seven parts

The World Encompassed

Sir Francis Drake’s Circumnavigation of the Globe 1577-80

When Drake set sail from Plymouth on 15th November 1577, he took with him four viol players: Simon Wood, Thomas Meckes, Richard Clarke & ‘George’, who almost certainly had no idea that they were about to embark on such an epic journey. The viols played music to accompany Drake’s private worship - he prayed for over an hour each day, and sang hymns to the viols; they also entertained him while he ate; he also used the pacific nature of the music to impress the natives in South America, and then also in Java, where the king retuned the favour:

One day amongst the rest, viz. March 21. Raia Donan coming aboard us, in requital of our musick which was made to him, presented our generall with his country musick, which though it were of a very strange kind, yet the sound was pleasant and delightful:

Fretwork have commissioned Orlando Gough (Birds on Fire) to use these scant facts to create a journey in sound that charts Drake’s remarkable feat. Music from the 16th century prior to Drake’s departure is woven seamlessly into a through-composed piece of music lasting 70 minutes. Drake stopped in Morocco, The Cape Verde Islands, Brasil, Argentina, Patagonia; passed through the Straights of Magellan (where he lost one of the sister ships, and another turned back, and where Drake’s ship, the Pelican, was renamed The Golden Hinde); then up the coast of Chile, Mexico, California, across the Pacific Ocean to the Moluccas, Java, then round Cape of Good Hope, Sierra Leone and finally Plymouth in September 1580.

The few hymns popularly sung at the time, published in 1562 & 3 by Sternhold & Hopkins, severe and austere, will be contrasted with the exotic and ‘strange’ music of these countries.  The structure of the work is as follows, with the original 16th century music:

• Leaving Plymouth
  • Robert Parsons: The Song Called Trumpets
  • Preserve us O Lord
• Mogador
  • John Taverner: In Nomine
• Maio Santiago Fogo
• Port Desire
  • Parsons: In Nomine
• Terra Incognita
  • The Humble Suit of a Sinner
• The Spanish Main
  • Parsons: De La Court
• Albion
• 180 Degrees: Homesickness
  • Pavin of Albarti
• Ternate
  • Picforth: In Nomine
• Java
  • Da Pacem Domine
• Reaching Plymouth
  • Parsons: The Song called Trumpets

The World Encompassed

Sir Francis Drake’s Circumnavigation of the Globe 1577-80

When Drake set sail from Plymouth on 15th November 1577, he took with him four viol players: Simon Wood, Thomas Meckes, Richard Clarke & ‘George’, who almost certainly had no idea that they were about to embark on such an epic journey. The viols played music to accompany Drake’s private worship - he prayed for over an hour each day, and sang hymns to the viols; they also entertained him while he ate; he also used the pacific nature of the music to impress the natives in South America, and then also in Java, where the king retuned the favour:

One day amongst the rest, viz. March 21. Raia Donan coming aboard us, in requital of our musick which was made to him, presented our generall with his country musick, which though it were of a very strange kind, yet the sound was pleasant and delightful:

Fretwork have commissioned Orlando Gough (Birds on Fire) to use these scant facts to create a journey in sound that charts Drake’s remarkable feat. Music from the 16th century prior to Drake’s departure is woven seamlessly into a through-composed piece of music lasting 70 minutes. Drake stopped in Morocco, The Cape Verde Islands, Brasil, Argentina, Patagonia; passed through the Straights of Magellan (where he lost one of the sister ships, and another turned back, and where Drake’s ship, the Pelican, was renamed The Golden Hinde); then up the coast of Chile, Mexico, California, across the Pacific Ocean to the Moluccas, Java, then round Cape of Good Hope, Sierra Leone and finally Plymouth in September 1580.

The few hymns popularly sung at the time, published in 1562 & 3 by Sternhold & Hopkins, severe and austere, will be contrasted with the exotic and ‘strange’ music of these countries.  The structure of the work is as follows, with the original 16th century music:

• Leaving Plymouth
  • Robert Parsons: The Song Called Trumpets
  • Preserve us O Lord
• Mogador
  • John Taverner: In Nomine
• Maio Santiago Fogo
• Port Desire
  • Parsons: In Nomine
• Terra Incognita
  • The Humble Suit of a Sinner
• The Spanish Main
  • Parsons: De La Court
• Albion
• 180 Degrees: Homesickness
  • Pavin of Albarti
• Ternate
  • Picforth: In Nomine
• Java
  • Da Pacem Domine
• Reaching Plymouth
  • Parsons: The Song called Trumpets

Birds on Fire: Jewish music for viols

• Orlando Gough
  • ‘Birds on Fire’ part 1
• Salmone Rossi ‘Ebreo’
  • Hashkivenu
• Augustine Bassano
  • Pavan & Galliard 1
• Heironymus Bassano
  • Fantasia No. 1 in 5 parts
• Joseph Lupo
  • Pavan in 5 parts
• Thomas Lupo
  • Two Fantasias in 6 parts
• Philip van Wilder
  • Fantasia con e senza pause
• Leonora Duarte
  • 2 Symphonies in 5 parts
• Gough
  • ‘Birds on Fire’ part 2

I N T E R V A L

• A suite of pieces from the ‘Lumley Part Books’
  
  • Desperada
  • Pavan & Gallyard
  • Seconda desperada
  • Pavan & Gallyard of Albarti
  • Terza desperada
• Thomas Lupo
  • Fantasia in 6 parts
  • Pavan in 3 parts
  • Fantasia in 3 parts
  • Two Fantasias in 6 parts
• Orlando Gough
  • ‘Birds on Fire’ part 3
• Salmone Rossi ‘Ebreo’
  • Shir hamma a’lot

East Finchley Arts Festival

East Finchley Festival

Fretwork

Asako Morikawa, Liam Byrne, Richard Campbell, Reiko Ichise, Richard Tunnicliffe, Richard Boothby

viols

with

James Bowman

voice

J. S. Bach
Piece d’Orgue

Henry Purcell
Music for a while
Fantazy in 4 parts
John Jenkins: Fantasy No. 8 in a minor for 6 viols

William Byrd
Ye Sacred Muses Fantasia in 6 parts
Lullaby

Orlando Gibbons
O Lord, in thy wrath
Fantasy in 6 parts

Jenkins In Nomine No 2 for 6 viols

I N T E R V A L

Alfonso Ferrabosco
Di sei bassi

Christopher Simpson Duo in G major for 2 bass viols

William Lawes
Consort set in F major for 6 viols
Fantazy, Air, Fantazy, Air

Purcell Strike the viol O Solitude
In Nomine in 6 parts

Bach
Ricercar from The Musical Offering

The World Encompassed

Sir Francis Drake’s Circumnavigation of the Globe 1577-80

When Drake set sail from Plymouth on 15th November 1577, he took with him four viol players: Simon Wood, Thomas Meckes, Richard Clarke & ‘George’, who almost certainly had no idea that they were about to embark on such an epic journey. The viols played music to accompany Drake’s private worship - he prayed for over an hour each day, and sang hymns to the viols; they also entertained him while he ate; he also used the pacific nature of the music to impress the natives in South America, and then also in Java, where the king retuned the favour:

One day amongst the rest, viz. March 21. Raia Donan coming aboard us, in requital of our musick which was made to him, presented our generall with his country musick, which though it were of a very strange kind, yet the sound was pleasant and delightful:

Fretwork have commissioned Orlando Gough (Birds on Fire) to use these scant facts to create a journey in sound that charts Drake’s remarkable feat. Music from the 16th century prior to Drake’s departure is woven seamlessly into a through-composed piece of music lasting 70 minutes. Drake stopped in Morocco, The Cape Verde Islands, Brasil, Argentina, Patagonia; passed through the Straights of Magellan (where he lost one of the sister ships, and another turned back, and where Drake’s ship, the Pelican, was renamed The Golden Hinde); then up the coast of Chile, Mexico, California, across the Pacific Ocean to the Moluccas, Java, then round Cape of Good Hope, Sierra Leone and finally Plymouth in September 1580.

The few hymns popularly sung at the time, published in 1562 & 3 by Sternhold & Hopkins, severe and austere, will be contrasted with the exotic and ‘strange’ music of these countries.  The structure of the work is as follows, with the original 16th century music:

• Leaving Plymouth
  • Robert Parsons: The Song Called Trumpets
  • Preserve us O Lord
• Mogador
  • John Taverner: In Nomine
• Maio Santiago Fogo
• Port Desire
  • Parsons: In Nomine
• Terra Incognita
  • The Humble Suit of a Sinner
• The Spanish Main
  • Parsons: De La Court
• Albion
• 180 Degrees: Homesickness
  • Pavin of Albarti
• Ternate
  • Picforth: In Nomine
• Java
  • Da Pacem Domine
• Reaching Plymouth
  • Parsons: The Song called Trumpets

The World Encompassed

Sir Francis Drake’s Circumnavigation of the Globe 1577-80

When Drake set sail from Plymouth on 15th November 1577, he took with him four viol players: Simon Wood, Thomas Meckes, Richard Clarke & ‘George’, who almost certainly had no idea that they were about to embark on such an epic journey. The viols played music to accompany Drake’s private worship - he prayed for over an hour each day, and sang hymns to the viols; they also entertained him while he ate; he also used the pacific nature of the music to impress the natives in South America, and then also in Java, where the king retuned the favour:

One day amongst the rest, viz. March 21. Raia Donan coming aboard us, in requital of our musick which was made to him, presented our generall with his country musick, which though it were of a very strange kind, yet the sound was pleasant and delightful:

Fretwork have commissioned Orlando Gough (Birds on Fire) to use these scant facts to create a journey in sound that charts Drake’s remarkable feat. Music from the 16th century prior to Drake’s departure is woven seamlessly into a through-composed piece of music lasting 70 minutes. Drake stopped in Morocco, The Cape Verde Islands, Brasil, Argentina, Patagonia; passed through the Straights of Magellan (where he lost one of the sister ships, and another turned back, and where Drake’s ship, the Pelican, was renamed The Golden Hinde); then up the coast of Chile, Mexico, California, across the Pacific Ocean to the Moluccas, Java, then round Cape of Good Hope, Sierra Leone and finally Plymouth in September 1580.

The few hymns popularly sung at the time, published in 1562 & 3 by Sternhold & Hopkins, severe and austere, will be contrasted with the exotic and ‘strange’ music of these countries.  The structure of the work is as follows, with the original 16th century music:

• Leaving Plymouth
  • Robert Parsons: The Song Called Trumpets
  • Preserve us O Lord
• Mogador
  • John Taverner: In Nomine
• Maio Santiago Fogo
• Port Desire
  • Parsons: In Nomine
• Terra Incognita
  • The Humble Suit of a Sinner
• The Spanish Main
  • Parsons: De La Court
• Albion
• 180 Degrees: Homesickness
  • Pavin of Albarti
• Ternate
  • Picforth: In Nomine
• Java
  • Da Pacem Domine
• Reaching Plymouth
  • Parsons: The Song called Trumpets

Mad, Bad or Dangerous to Know

F r e t w o r k

Iestyn Davies voice

• William Lawes:
  • Consort sett in 6 parts in F
    Air, Fantazy, Air, Fantazy
• Carlo Gesualdo
  • Beltà, poi che t’assenti
  • Sparge la morte
  • Dolcissima mia vita
• John Dowland
  • The King of Denmark’s Galliard
  • Flow my tears/Lachrimae Antique
  • Can she excuse my wrongs?/The Earle of Essex Galiard
  • If my complaints/Captaine Piper his Galiard
  • Shall I strive with words

I N T E R V A L

• Lawes:
  • Consort sett in 6 parts in c
    Fantazy, Fantazy, In Nominy, Aire
• Hugo Wolf
  • Ein altes Bild
  • Gebet
• Henry Purcell
  • Fantazia in 4 parts
  • Music for a while
  • In Nomine in 6 parts
• Peter Warlock
  • Sleep
• Benjamin Britten
  • The trees they grow so high
  • O Waly, waly

The Art Of Fugue

Fretwork

Johann Sebastian Bach: Die Kunst der Fuge BWV 1080

• Contrapunctus 1
• Contrapunctus 3
  • Canon alla Ottava
• Contrapunctus 2
• Contrapunctus 4
  • Canon all Duodecima in Contrapunto all Quinta
• Contrapunctus 5
• Contrapunctus 6
• Contrapunctus 10
• Contrapunctus 9

I N T E R V A L

• Contrapunctus 7
  
  • Canon all Decima in Contrapunto alla Terza
• Contrapunctus 8
• Contrapunctus 11
  
  • Canon per Augmentationem in Contrario Motu
• Contrapunctus 14 (18)

The World Encompassed

Sir Francis Drake’s Circumnavigation of the Globe 1577-80

When Drake set sail from Plymouth on 15th November 1577, he took with him four viol players: Simon Wood, Thomas Meckes, Richard Clarke & ‘George’, who almost certainly had no idea that they were about to embark on such an epic journey. The viols played music to accompany Drake’s private worship - he prayed for over an hour each day, and sang hymns to the viols; they also entertained him while he ate; he also used the pacific nature of the music to impress the natives in South America, and then also in Java, where the king retuned the favour:

One day amongst the rest, viz. March 21. Raia Donan coming aboard us, in requital of our musick which was made to him, presented our generall with his country musick, which though it were of a very strange kind, yet the sound was pleasant and delightful:

Fretwork have commissioned Orlando Gough (Birds on Fire) to use these scant facts to create a journey in sound that charts Drake’s remarkable feat. Music from the 16th century prior to Drake’s departure is woven seamlessly into a through-composed piece of music lasting 70 minutes. Drake stopped in Morocco, The Cape Verde Islands, Brasil, Argentina, Patagonia; passed through the Straights of Magellan (where he lost one of the sister ships, and another turned back, and where Drake’s ship, the Pelican, was renamed The Golden Hinde); then up the coast of Chile, Mexico, California, across the Pacific Ocean to the Moluccas, Java, then round Cape of Good Hope, Sierra Leone and finally Plymouth in September 1580.

The few hymns popularly sung at the time, published in 1562 & 3 by Sternhold & Hopkins, severe and austere, will be contrasted with the exotic and ‘strange’ music of these countries.  The structure of the work is as follows, with the original 16th century music:

• Leaving Plymouth
  • Robert Parsons: The Song Called Trumpets
  • Preserve us O Lord
• Mogador
  • John Taverner: In Nomine
• Maio Santiago Fogo
• Port Desire
  • Parsons: In Nomine
• Terra Incognita
  • The Humble Suit of a Sinner
• The Spanish Main
  • Parsons: De La Court
• Albion
• 180 Degrees: Homesickness
  • Pavin of Albarti
• Ternate
  • Picforth: In Nomine
• Java
  • Da Pacem Domine
• Reaching Plymouth
  • Parsons: The Song called Trumpets

The World Encompassed

Sir Francis Drake’s Circumnavigation of the Globe 1577-80

When Drake set sail from Plymouth on 15th November 1577, he took with him four viol players: Simon Wood, Thomas Meckes, Richard Clarke & ‘George’, who almost certainly had no idea that they were about to embark on such an epic journey. The viols played music to accompany Drake’s private worship - he prayed for over an hour each day, and sang hymns to the viols; they also entertained him while he ate; he also used the pacific nature of the music to impress the natives in South America, and then also in Java, where the king retuned the favour:

One day amongst the rest, viz. March 21. Raia Donan coming aboard us, in requital of our musick which was made to him, presented our generall with his country musick, which though it were of a very strange kind, yet the sound was pleasant and delightful:

Fretwork have commissioned Orlando Gough (Birds on Fire) to use these scant facts to create a journey in sound that charts Drake’s remarkable feat. Music from the 16th century prior to Drake’s departure is woven seamlessly into a through-composed piece of music lasting 70 minutes. Drake stopped in Morocco, The Cape Verde Islands, Brasil, Argentina, Patagonia; passed through the Straights of Magellan (where he lost one of the sister ships, and another turned back, and where Drake’s ship, the Pelican, was renamed The Golden Hinde); then up the coast of Chile, Mexico, California, across the Pacific Ocean to the Moluccas, Java, then round Cape of Good Hope, Sierra Leone and finally Plymouth in September 1580.

The few hymns popularly sung at the time, published in 1562 & 3 by Sternhold & Hopkins, severe and austere, will be contrasted with the exotic and ‘strange’ music of these countries.  The structure of the work is as follows, with the original 16th century music:

• Leaving Plymouth
  • Robert Parsons: The Song Called Trumpets
  • Preserve us O Lord
• Mogador
  • John Taverner: In Nomine
• Maio Santiago Fogo
• Port Desire
  • Parsons: In Nomine
• Terra Incognita
  • The Humble Suit of a Sinner
• The Spanish Main
  • Parsons: De La Court
• Albion
• 180 Degrees: Homesickness
  • Pavin of Albarti
• Ternate
  • Picforth: In Nomine
• Java
  • Da Pacem Domine
• Reaching Plymouth
  • Parsons: The Song called Trumpets

The Silken Tent

Fretwork with Clare Wilkinson - voice

• William Lawes
  • Six part Consort Sett in C major
  • Fantazy, Fantazy, Air
• William Byrd
  • Where the blind
  • Turn our captivity
• Alexander Goehr
  • Three sonnets and two fantasies
• Orlando Gibbons
  • O Lord, in thy wrath
  • Two Fantasies in 6 parts

I N T E R V A L

• Arvo Pärt
  • Fratres
• Dmitri Shostakovitch
  • Prelude & Fugue
• Stephen Wilkinson
  • The Garden
• Claude Debussy
  • La fille aux cheveux de lin
• Hugo Wolf
  • Ein Altes Bild
• Edvard Grieg
  • Heimweh
• Orlando Gibbons
  • Now each flowery bank
  • Two Fantasies in 6 parts
• Benjamin Britten
  • O Waly, waly

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

from Shadow of Night

Fretwork with Michael Chance (alto)

• William Lawes
  • Consort Sett in C minor in 6 parts
  • Fatazia, Fantazia, In Nomine, Air
• Alexander Goehr
  • The Shadow of Night
• Lawes
  • Consort Sett in F major in 6 parts
  • Air, Fantazia, Air Fantazia

Byrd & Purcell

6 viols & voice

• Byrd
  • Pavan & Galliard in 6 parts
  • My mind to me a kingdom is
  • Fantasia in 6 parts
• Purcell
  • Music for a while
  • Fantazia 7 in C minor
  • O Solitude
• Byrd
  • Fantasia two in one the fourth abov
  • O Lord how vain
  • Browning
• Purcell
  • Fantazia ‘upon one note’ for five viols
  • ‘The Evening Hymn’

I N T E R V A L

• Byrd
  • Fantasia in 6 parts
  • O that most rare breast
• Purcell
  • If Love’s a sweet passion
  • Fantazia 10 in E minor 30th June 1680
  • Fantazia 11 in G major 19th August 1680
• Byrd
  • Constant Penelope
  • My mistress had a little dog
  • In Nomine in 5 parts
• Purcell
  • In Nomine in 6 parts
  • The Lament from ‘Dido & Aeneas’

Goldberg Variations

Johann Sebastian Bach
Aria mit verschiedenen Veränderungen BWV 988
‘Goldberg Variations’

• Aria
• Variatio 1
• Variatio 2
• Variatio 3 - Canone all’Unisono
• Variatio 4
• Variatio 5
• Variatio 6 - Canone alla Seconda
• Variatio 7 - al tempo di Giga
• Variatio 8
• Variatio 9 - Canone all Terza
• Variatio 10 - Fughetta
• Variatio 11
• Variatio 12 - Canone alla Quarta
• Variatio 13
• Variatio 14
• Variatio 15 - Canone alla Quinta: Andante_

I N T E R V A L

• Variatio 16 - Ouverture
• Variatio 17
• Variatio 18 - Canone alla Sesta
• Variatio 19
• Variatio 20
• Variatio 21 - Canone alla Settima
• Variatio 22 - Alla breve
• Variatio 23
• Variatio 24 - Canone all’Ottava
• Variatio 25 - adagio
• Variatio 26
• Variatio 27 - Canone alla Nona
• Variatio 28
• Variatio 29
• Variatio 30 - Quodlibet
• Aria

Divan

Fretwork

Nicholas Daniel – oboe & Michael Chance - alto

Divan

• Orlando Gibbons
  • Two fantasies in six parts
  • What is our life?
• Henry Purcell
  • Fantazia in four parts
  • O solitude
  • Fantazia upon one note
• Sally Beamish
  • Divan

I N T E R V A L

• John Woolrich
  • Three arias for solo oboe from the Book of Disquiet
• Gibbons
  • Two Fantasies in six parts
• Purcell
  • Music for a while
  • In nomine in six parts
  • In nomine in seven parts
  • The Evening Hymn
• Sir John Tavener
  • The Hidden Face

Purcell Fantazias & Songs

Fretwork

Clare Wilkinson voice

Henry Purcell 1659 - 1695

• Fantazia 4 in G minor 10th June 1680

• Fantazia 5 in B flat major 11th June 1680

• When I have often heard

• Fantazia 6 in F major 14th June 1680

• Fantazia 7 in C minor 19th June 1680

• O Solitude

• Fantazia 8 in D minor 22nd June 1680

• Fantazia ‘upon one note’ for five viols

• The Evening Hymn

I N T E R V A L

• Music for a while

• Fantazia 9 in A minor 23rd June 1680

• Sweeter than Roses

• Fantazia 10 in E minor 30th June 1680

• Fantazia 11 in G major 19th August 1680

• If Love’s a sweet passion

• Fantazia 12 in D minor 31st August 1680
• The Lament from Dido & Aeneas