Imaginario: De un Libro de Música de Vihuela

Imaginario: De un Libro de Música de Vihuela
Armonía Concertada
María Cristina Kiehr, Ariel Abramovich

with Jacob Heringman & John Potter
Outhere/Arcana A460. 61’37

album cover

This recording is based on an imaginarly Vihuela songbook as might have been published in Valladolid or Seville sometime around 1575. That premise is based on and inspired by seven surviving earlier vihuela songbooks, dating from between 1536 and 1576. Versions of pieces from those earlier songbooks have been arranged by lutenists Ariel Abramovich and Jacob Heringman in Spanish style. The result is an attractive and musically sensible reinterpretation of some delightful music, brilliantly performed by María Cristina Kiehr and Ariel Abramovich, with occasional contributions from Jacob Heringman and a single offering from John Potter. Continue reading

Secret History

John Potter: Secret History
Josquin/Victoria

ECM New Series ECM2119

It’s been a while since the names of John Potter and ECM have been linked in an ‘early music’ recording, the last being back in Potter’s Hilliard Ensemble days. This recording was made in 2011, and was the first time this group of musicians had got together. It pre-dates their later recording Amores Pasados published in 2015. The result is a radical re-think of Renaissance music performance, not least in reducing complex polyphony to just one or two vocal lines, sung by John Potter and Anna Maria Friman, the remaining voices being played on vihuelas (an early form of guitar, tuned like a lute) by Ariel Abramovich, Jacob Haringman, and Lee Santana. In the opening eight-part Mouton Nesciens mater for example, they sing the two paired superius lines, in the form of a canon at the fifth, very occasionally switching to one of the other six voices. The three vihuelas play the remaining pairs of voices, which are all also in the same strict canonic form. An extraordinary feat of contrapuntal writing, reduced to comparative simplicity.  Continue reading

Cifras Imaginarias

Cifras Imaginarias
Musica para Tañer a Dos Vihuelas
Ariel Abramovich, Jacob Heringman
outhere A428. 53’21

Cifras ImaginariasThis recording does exactly what it says on the cover, recreating an imaginary books of vihuela duets in the style and manner of the sole surviving example of such a collection. There are many examples of music for two lutes from the 16th century, but only one for two vihuelas. To make up for that omission, Ariel Abramovich and Jacob Heringman have joined forces to arrange a variety of pieces for two vihuelas in the style of the mid-16th century.

This is a fascinating recording on several levels. Firstly, it is a real delight to listen to. The sound of the two instruments combines and matches perfectly. Abramovich and Heringman play as one with an impressive sense of togetherness, and the recording also brings the two players aurally together. Even with headphones, it is not easy to pick out which instrument is which. The nature of the music is such that this is important. Continue reading

Amores Pasados

Amores Pasados
John Potter, Anna Maria Friman, Ariel Abramovich, Jacob Herringman
ECM New Series. 481 1555

AP coverWhat is a song? The music on this CD responds to that question by crossing the bridge between art song and pop song. It combines pieces from the English 16th century lute song repertoire with compositions influenced by those works by three present day musicians, more usually associated with rock music. We hear the Genesis keyboard-player, Tony Banks, reflect on Campion’s The cypress curtain of the night and Follow thy fair sun – as well as the Campion originals. Sting’s Bury me deep in the greenwood (written for the film, Robin Hood) is firmly in the lute-song tradition.

The CD opens with former Led Zeppelin bass-player, John Paul Jones’s 15 minute, three movement Amores Pasados, written in 1989 for Red Byrd. His No dormia, is a magically evocative, and almost medieval Continue reading