Imaginario: De un Libro de Música de Vihuela
María Cristina Kiehr, Ariel Abramovich
with Jacob Heringman & John Potter
Outhere/Arcana A460. 61’37
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
Musica para Tañer a Dos Vihuelas
Ariel Abramovich, Jacob Heringman
outhere A428. 53’21
This 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
Pellingmans’ Saraband: Twenty waies upon the bels
Music by Thomas Ravenscroft, Thomas Robinson, John Johnson, Robert Smith, Nicholas Lanier, Thomas Campion, and Anon.
The distinguished viola da gamba and lute performers, Susanna Pell and Jacob Heringman, have been musical colleagues for some 27 years, and husband and wife since 1999. But it is only comparatively recently that they have started performing together as a duo, generally near to their home in Richmond, North Yorkshire: a very welcome addition to the non-London musical scene. This is only their second CD together although, on the basis of this excellent offering, I would hope for many more.
The basis for their programme is ‘circular music’, here represented by ‘grounds and rounds’ in the form of instrumental grounds (divisions/variations), lute songs based on grounds, and rounds from Thomas Ravenscroft, here sung four male singers. For the lute songs, they are joined by the excellent soprano, Faye Newton (pictured). The exquisite clarity and focus of her voice fits the musical style perfectly. Continue reading
Anne Boleyn’s Songbook
Alamire, David Skinner
Sam Wanamaker Playhouse, 13 Sept 2015
Having recently dusted off ‘The Spy’s Choirbook’, a manuscript by Alamire in the British Library, David Skinner and Alamire have now turned their attention to a manuscript that (arguably) belonged to Anne Boleyn, currently in the Royal College of Music (MS1070). The inscription ‘Mistres ABolleyne nowe this’ indicates the link to Anne, the ‘Mistres’ suggesting that the songbook was started before she became Queen in 1533 – and, I suggest, also before she became Marquess of Pembroke in 1532, and possibly before 1525 when her father was elevated to the peerage as a Viscount, or 1529 when he was created an Earl, both ranks giving Anne a courtesy title. ‘Nowe thus’ is her father’s motto.
David Skinner’s informative and user-friendly chats between the pieces of the concert explained his reasoning that this was indeed Anne’s songbook, not least on the basis of the contents of the book. The suggestion is that the book was started in Anne’s youth, during her time at the court of Margaret of Austria (Governor of the Haspburg Netherlands) in Mechelin, or when she was in the household of the Queen of France. Composers such as Compère, Brumel, Mouton and Josquin were all Franco-Flemish composers that Anne would have been familiar with during these times. A second layer of the book has clear references to later incidents in Anne’s complex life, not least to the early relationship between her and Henry VIII. One such example was the song Jouyssance vous donneray with the words ‘I will give you pleasure, my dear … everything will be good for those who wait’ – there is a suggestion that this is a song that Anne herself sang to Henry – who (we were gleefully told) she apparently pleasured “in the French manner” before their marriage. Continue reading