Newe Vialles Old Viols
Newe Vialles
Barn Cottage Recordings BCR027. 65’26

Benjamin Hely (d.1699): Sonatas in G minor and B flat major
Christopher Simpson (c.1604-1669): Divisions in C major and F major
John Jenkins (1592-1678): Dances and Divisions in G minor
William Young (d.1662): Duos for two bass viols
Daniel Norcombe (c.1576-1655): Tregian’s Ground
Nicola Matteis (c.1650-after 1714): Pieces for guitar and continuo
and arrangements of tunes from Playford and Sumarte

The possibly confusing title of this recording needs some explanation. As I understand it, Newe Vialles is the group’s name and Old Viols the title of the recording. Newe Vialles was founded in 2015 by Henrik Persson and Caroline Ritchie, the name coming from the “Newe Vialles” of Henry VIII’s court which replaced the “old vialles” (rebecs or fiddles), starting a long tradition of English viol-playing. My previous reviews of Newe Vialles can be found here. For this recording, they are in their consort format, with Henrik Persson and Caroline Ritchie joined by Lynda Sayce (theobo and lute) and James Akers (baroque guitar). Their programme is music for two division viols, played on two original English viols by John Pitts (1675) and Edward Lewis (1703). The concept for the recording is stated as … “If the original owners of these viols had met, what music might they have played? The programme encompasses repertoire from the latest sonatas by Benjamin Hely (who himself owned a viol by Pitts) to divisions by Christopher Simpson and John Jenkins, duos by William Young, and arrangements of popular tunes and grounds from the time. An imaginary glimpse into a private music meeting in the early years of the 18th century.”

The detailed programme notes give information about the remarkable pair of viols and the fascinating programme reflecting the wide range of music likely to have been played at the time. This includes music from English viol players working on the continent, such as Daniel Norcombe and William Young. On the principle that such intimate viol music was intended for broadly domestic use, or otherwise for small spaces, they have used the more appropriately-sized theorbo, lute and guitar as accompaniment rather than a harpsichord. That said, their recording venue (see video link below) is a room large enough to accommodate not only a harpsichord but also a small organ. The recording acoustic is perhaps a little generous for the assumed original domestic setting, but the sound and recording quality (from Barn Cottage Recordings) are nevertheless impressive – as is the playing.

The programme is very well-balanced, and the accompaniments are well-chosen. There is a related recording from Henrick Persson playing the 1703 Edward Lewis, reviewed here. Both recordings were supported by the Continuo Foundation.