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NEW LONDON CONSORT Director, Philip Pickett 1 Joanne Lunn, Soprano Adrian Chandler

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NEW LONDON CONSORT Director, Philip Pickett 1 Joanne Lunn, Soprano Adrian Chandler Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. NEW LONDON CONSORT Director, Philip Pickett 1 Joanne Lunn, Soprano Adrian Chandler. Violín Philip Pickett, Flauta dulce Thomas Finucane, Cittern Jacob Heringman, Laúd Lynda Sayce, Bandora Catherine Finnis, Violo do gamba El New London Consort, cuya reputación como uno de los grupos más sobresalientes en la interpretación de música antigua es unánimemente reconocida en el mundo, desde hace cerca de 20 años interpreta el amplio, variado y colorido repertorio de la Edad Media, el Renacimiento y el Barroco, en programas cuidadosamente planeados que combinan la más rigurosa investigación con el entreteni­ miento. Cada uno de los integrantes de la agrupación tiene una sólida carrera como solista, pero todos comparten los mismos propósitos en cuanto a interpretación y estilo. Los Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. conciertos y grabaciones del NLC generalmente incluyen obras completamente desconocidas, y sus versiones de obras maestras ya familiares arrojan nuevas luces sobre aspectos cruciales de la interpretación. El NLC se presenta regularmente en las salas más respeta­ das de Londres y en los más importantes festivales y salas de Inglaterra, los Países Bajos, Francia, Alemania, Italia, España, Suiza, Yugoslavia, Grecia, Finlandia, Israel, Hong Kong y el Japón. Prácticamente todo el repertorio del grupo ha sido grabado por la BBC Radio 3 (más de 120 programas entre los cuales figuran seis conciertos Promenade). El NLC es repetidamente solicitado para interpretar la música de las producciones de la BBC Radio Drama. Ha actuado en las series de televisión Music in Time (4 programas) y Music in Camera, y ha musical izado, entre otras, seis películas sobre cuentos del Decamerón, más de la mitad de las aclamadas producciones de obras de Shakespeare realizadas por la BBC y otros importan­ 2 tes films tales como Ham/et, Lady jane, Robin Hood Prince ofThieves, Aman for a/l seasons, Nostradamus y A kid at the Court of King Arthur. Graba en forma exclusiva para el sello DECCA-L'Oiseau Lyre. En su vasta discografía figuran las Danzas de Terpsicore de Michael Praetorius; cuatro CDs (ganadores en 1988 y 1990 del Edison Award) con todas las canciones del ma- nuscrito original de Carmlna Burana; The De/ights of Posilipo; las Vísperas de /6/ O de Monteverdi; Trumpet Music de Biber y Schmelzer (Ritmo Award 1991); dos Cds con música asociada a las Peregrinaciones a Santiago (Edison Award 1993); Conciertos y Cantatas de Vivaldi; Conciertos de Telemann; canciones de peregrinos del Llibre Verme/l de Monserrat; una reconstrucción de Feast of Foo/s; L'Orfeo de Monteverdi; Dansereye de Susato (Ritmo Award y Diapason d'Or 1993); Requiem en fa menor de Biber; Venus y Adonis de Blow; los Conciertos Brandenburgueses de Bach; Ba/li de Monteverdi y Psyche de Locke, para mencionar solo unos pocos títulos. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. PHILIP PICKETI Director Empezó su carrera musical como trompetista. Su interés en las partes para trompeta de las obras de Bach y de otros compositores del Barroco fue estimulado por Anthony Baines y David Munrow quienes lo familiarizaron con todas las clases de instrumentos de viento de la música antigua. Fue así como se dedicó al conocimiento y ejecución de ellos, y muy pronto empezó a destacarse como su más sobresaliente intérprete en Gran Bretaña. Siendo estudiante en la Guildhall School of Music fue galardonado con la Medalla de Plata de la Worshipful Company of Musicians, el premio de la Maisie Lewis Foundation y el Wedgewood Award. Luego hizo su postgrado en Musicología bajo la orientación de lan Bent en el King's College de Londres. En 1972 fue nombrado Profesor de Flauta Dulce y de Práctica de Interpretación Histórica en Guildhall. Desde entonces ha desempeñado un papel fundamental en el Departamento de Música Antigua de esa institución, en la cual ha formado a los más 3 destacados especialistas de las nuevas generaciones. Como solista, Philip Pickett ha actuado y ha realizado grabaciones con importantes agrupaciones tales como la Academy of St Martin-in-the-Fields, English Chamber Orchestra, London Mozart Players, City of London Sinfonla, London Chamber Orchestra, London Bach Orchestra, English Consort y Polish Chamber Orchestra. Grabó todas las sonatas para flauta de Handel. los conCIer­ tos de Vivaldl y Telemann, y sonatas de compositores Italianos de los siglos XVII Y XVIII. Es además director del London's South Bank Summerscope Festival of Medieval and Renaissance Music; de la serie International Early Muslc Celebnty del Purcell Room; del Shakespeare Globe Theatre; del Aldeburgh Early Music Festival; de la Early English Opera Society y del South Bank Summer Early Music Festival. Escribe artículos sobre diferentes aspectos de la música antigua y barroca en las más respetadas publicaciones. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. JOANNELUN Soprano En 199 I fue elegida por la BBC como la Corista del Año, luego de lo cual empezó a recibir numerosas invitaciones para actuar en radio y televisión. Estudió en el Royal College of Music donde le fue concedida la beca Margaret Cable y otras importantes distinciones. Durante los últimos tres años ha aparecido con el New London Consort y con The Musicians of the Globe en conciertos y grabaciones. Ha cantado como solista con estas dos agrupaciones en el Queen Elizabeth Hall, el Aldeburgh Early Music Festival, el Utrecht Early Music Festival y el Shakespeare Globe Theatre. Sus compromisos recientes han incluído la Miso en si menor 4 de Bach, las Vísperas de I 6 I O de Monteverdi, El Mesías de Handel, la Miso en do menor de Mozart y Giustino de Vivaldi. Fue solista invitada para el Prom Praise en el Royal Albert Hall, y en junio tuvo el honor de cantar un progra­ ma con obras de Britten ante la Reina Madre en Clarence House. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Programa Música de los tiempos de Shakespeare: danzas y canciones para el teatro, la corte, la calle y la taberna IStrawberry leaves * ANÓNIMO (BL MS) ( It was a 19ver and his lass ** THOMAS MORLEY First Booke of Ayres 1600 ~ellingers Round * ANÓNIMO /Full Fathom five ROBERT jOHNSON (1583-1633) Folger Library MS Mhere the bee sucks * ROBERT jOHNSON Folger Library MS lMy Lord of Marche Pava n * LAUDER (c. I 600) VGalliard * ANÓNIMO v40w should I your true love know** ANÓNIMO Melodía tradicional (Walsingham) vLa Coranto * MORLEY Consort Lessons 1599/161 I 1I marriage would forswear ** jOHN MAYNARD ILaVolta * MORLEY Consort Lesson 1599/ I 61 I rlFarewell dear love * ROBERT jONES Firts Booke of Songes 1600 Lan she excuse my wrongs * MORLEY Consort Lessons 1599/ I 61 I V Mother Watkin's Ale ** ANÓNIMO 5 INTERMEDIO JO mistns myne MORLEY Consort Lessons 1599/161 I vO mistris myne THOMAS MORLEY (1557-1603) V'La bounette * ANÓNIMO (Mulliner Book c. 1560) fila doune celia * ANÓNIMO (Mulliner Book) ¡La shy nyze * ANÓNIMO (Mulliner Book) l,Üaphne ** ANÓNIMO / .;fhe jew's daunce RICHARD NICHOLSON (1570-1639) 4"'he poor soul sat sighlng ANÓNIMO BL MS /~utmegs and Clnger ANÓNIMO (Holmes Consort Books) Fayne would I wedd THOMAS CAMPION (1567- 1620) ~oe from my window MORLEY Consort Lessons 1599/ I 61 I INow is the month of Maying THOMAS MORLEY Instrumental Vocal-Instrumental . Santafé de Bogotá D.C., 6 de noviembre de 1996 CONCIERTO No. 52 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Notas al programa La vida musical en Inglaterra alcanzó su momento de mayor esplendor durante el reinado de Isabel I y la primera parte del de Jacobo 1. Un gran número de excelentes compositores escribió música para prácticamente toda ocasión, espacio y circunstancia -para danzar, para cantar. para la casa, la corte, el teatro, la iglesia para el intérprete hábil y el aficionado- y para toda clase imagina­ ble de agrupación. La intensa actividad musical de los últimos 20 años del siglo XVI se prolongó en los reinados de Jaime I y Carlos 1, y mucha música de la cual se pensaba recientemente que procedía de la época isabelina fue en realidad compuesta o publicada mucho después de 1603. Entre los instrumentos de cuerdas pulsadas usados en el Renaci­ miento el laúd fue el más popular; tanto que sustituyó al arpa como instrumento por excelencia de los nobles aficionados. En 1636 Mersenne escribía: «El laúd ha ganado mucha influencia sobre los demás instrumen­ 6 tos de cuerda porque la gente le ha dado gran ventaja en virtud a su excelencia y perfección. Un laudista tendrá éxito en cualquier cosa cuando toca su instrumento. Será capaz, por ejemplo, de representar las dos medias geométricas, la duplicación del cubo, la cuadratura del círculo, la proporción del movimiento de las estrellas y la velocidad de los cuerpos que caen» En los tiempos de Isabel y Jacobo la música instrumental estaba constituída en gran proporción por obras para laúd o teclado (fantasías, danzas y arreglos de piezas muy conocidas de música sagrada y profana), música para conjuntos de instrumentos afines o diferentes, y variaciones virtuosas sobre líneas de bajo ostinato (ground basses). Goe (rom my window (Aléjate de mi ventana) es un hermoso ejemplo de la riqueza, variedad y virtuosismo del repertorio de obras basadas en progresiones armónicas popula­ res cuyo propósito era demostrar la habilidad tanto del composi­ tor como del intérprete. Compositor e intérprete eran, por supuesto y muy a menudo, el mismo, por cuanto esta era esen­ cialmente una forma improvisatoria de hacer música. A pesar de que las «divisions on a ground» (divisiones sobre una línea de Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia.
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