The Edward Lewis viol of 1703
Henrik Persson
Barn Cottage Recordings BCR028. 72’44

Hely Suite in A minor; Suite in A major
Brown Three Ayres
Telemann Fantasia no. 6 in G major; Fantasia no. 7 in G minor
Sumarte Prelude and Daphne, Monsieur’s Almain, Lachryme; Fortune my Foe
Anon Dances from the Williamsburg Musick Song Book
Anon Suite in D major from the Brünner MS
Hume Good Againe

A companion recording to Newe Vialles Old Viols, reviewed here, focuses on the 1703 Edward Lewis bass viol, played by Henrick Persson. The music is by Benjamin Hely, Thomas Brown, Telemann, Richard Sumarte and Tobias Hume, together with dances from the Williamsburg Musick Song Book of 1738 (the only known compositions for viola da gamba from an 18th-century American source) and traces the development of solo viol music from Hume up to the time of Telemann. There are 14 bass viols by Edward Lewis known to have survived to the present day, of which only seven are in performance condition. The one used on this recording is the only playable one in the UK, owned by the viol maker, Jane Julier, who loaned the instrument. The sound is absolutely gorgeous, with rich and resonant harmonics, here helped by a generous acoustic.

Henrick Persson has chosen an excellent programme to demonstrate the instrument and the important school of viol playing during the 17th and 18th centuries. I imagine that most of the composers will not be well known outside the viol-playing community, but are well worth the exposure they get here. Among the highlights are Richard Sumarte’s extended set of divisions on Fortune my Foe from the Manchester Gambe Book and the two remaining Suites by Benjamin Hely, found in The Complete Violist of c1699.

An anonymous four-movement Suite in D major comes from the Brünner MS, which may have links to the viol player Gottfried Finger. The 1738 Williamsburg Musick Song Book (aka James River Music Book) includes pieces found in Thomas Browne’s Compleat Musick-Master (pub 1704-22). The two Teleman Fantasias were only known from the original advertisements until 2015, when a copy was found. In typical genial Telemann style, they include elements of Polish and Moravian folk music.

Calonine Ritchie’s informative notes explore the background to the music, which covers most of the historic range of solo viol composition from Hume to Telemann. The final word goes to Tobias Hume and his Good Againe. Of obvious appeal to viol players, this is well worth a listen to anyone else interested in this rather niche genre of instrumental music.