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 title of Classical Vienna is a bit misleading, and is not perhaps as you know might know it. Firstly the dates of the composers and pieces are rather late for the usual definition of the Classical period of music. Secondly, using an alternative meaning of the word ‘classical’, the combination of guitar and fortepiano is not exactly a mainstream aspect of Vienna’s musical life. For those not familiar with the sound world of period instruments, the notion of music for guitar and piano might seem bizarre. But as demonstrated on this recording, it works perfectly well. Gary Branch’s contribution to the extensive programme notes explains the history of the Viennese fortepiano and why it was suitable to balance with a guitar. 
If the composers aren’t familiar to you, some of the melodies will be in this selection of 19th century guitar pieces inspired by Scotland during the early Romantic era. Scotland was an influence to many artists and musicians of that period, famously Mendelssohn after the 1829 visit that produced the Scottish Symphony, Hebrides Overture and Fingal’s Cave. Giuliani Mauro is given most coverage, with six simple pieces, some of which are enlarged into a larger format by combining, repeating, and adding a prelude. Fellow Italian Lauigi Legnani has the most extended and elaborate pieces with his two variation sets on themes from Rossini’s opera La donna del lage, based on Sir Walter Scott’s poem on James V of Scotland. 
Andrew Benson-Wilson : Early Music Reviews + 