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A1 JOHN JENKINS Fantasias
A1 JOHN JENKINS Fantasias: Nos. 1–12 a 6. In nomines: Nos. 1–2 a 6. Pavan in F. Bell Pavan in a • Phantasm (period instruments) • LINN 556 (Download: 66=07) JOHN WARD Fantasias: Nos. 1–7 a 6; Nos. 1–12 a 5. In nomines: Nos. 1–2 a 6; a 5 • Phantasm (period instruments) • LINN 339 (Download: 77=57) I am dealing with these two releases together because neither is new and both have been reviewed previously, though one of them, the Jenkins, not in its current incarnation. So let me sort things out. First, if a record labelʼs numbering scheme means anything, one assumes that the higher the number the more recent the recording. Not so in this case. The Jenkins release, bearing the number 556, was recorded in 2005; the Ward, bearing the number 339, was recorded in 2009. The Jenkins was originally released on Avie, the label under which Brian Robins reviewed it in 30=2, so we know this is a reissue on the Linn label. The Ward was reviewed by Barry Brenesal in 334, shortly after it was released as the same Linn BKD 339 as it appears here, so it has to be assumed that this is not a transfer from another label but an original Linn recording. This no doubt eXplains the higher number for the earlier recorded Jenkins: Linn acquired the Avie recording and reissued it on its own label in 2016, seven years after the Ward. This does not eXplain, however, why we are now seeing recordings made eight and 12 years ago, and previously reviewed, turn up for review again. -
Impact Case Study (Ref3b) Page 1
Impact case study (REF3b) Institution: University of Oxford Unit of Assessment: 35 Music, Drama, Dance and Performing Arts Title of case study: The social, cultural and economic impact of practice-led early music research 1. Summary of the impact Practice-led performance research at Oxford fosters dynamic, interactive relationships between academics and professional ensembles that are of huge cultural and economic impact to a wide variety of beneficiary groups. This case study presents two internationally recognised research-led groups – Phantasm and the Choir of New College, Oxford – whose work offers strong examples of social and cultural impact, including: a significant contribution to public understanding of English and European musical and cultural heritage; increased public access to previously inaccessible repertories; contribution to the local economy and tourism industry in Oxford; and the provision of unique educative opportunities for instrumentalists and singers. 2. Underpinning research The University of Oxford is a world-leading centre for performance, and the Faculty of Music hosts several internationally renowned practitioners and performance researchers. Professor Laurence Dreyfus (Lecturer in Music and Fellow of Magdalen College since 2005) and Professor Edward Higginbottom (Lecturer in Music and Director of Music at New College since1976) lead this community. Dreyfus‟ research has focussed on interpretations of J.S. Bach and English consort music of the 16th and 17th centuries, while Higginbottom has published on the organ and early French music. Both have a strong interest in performance practice and research in this area. Prior to arriving at Oxford, Dreyfus' research considered the close interrelationship between theory, compositional practice and performance in early music, e.g. -
Viols and Objects
Music We’d Like to Hear 7.30 pm 18 July 2014 co-produced with Sound and Music St Mary-at-Hill, Lovat Lane, London VIOLS & OBJECTS Phantasm: Mira Benjamin Laurence Dreyfus John Lely Emilia Benjamin Tim Parkinson Jonathan Marson Markus Trunk Mikko Perkola Markku Luolajan-Mikkola Daniel Hyde William Lawes 1602–45 Salisbury, England Consort Sett I a5 in g I Fantazya II On the Playnsong III Aire Christian Wolff b. 1934 Nice, France Another (2012) ‘At least two people, play independently, more or less heterophonically ...’ Consort Sett II a5 in a I Fantazy (No 1) II Fantazy (No 2) III Aire Taylan Susam b. 1986 Amsterdam, Netherlands for sesshū tōyō (2008) ‘sounds: light like a brushstroke of ink’ Consort Sett III a5 in c I Fantazia II Aire (No 1) III Pavan IV Aire (No 2) [interval] Alvin Lucier b. 1931 New Hampshire, US Chambers (1968) ‘Collect or make large and small resonant environments ... Find a way to make them sound ...’ Consort Sett IV a5 in F I Fantazy II Pavan III Aire Antoine Beuger b. 1955 Oosterhout, Netherlands three drops of rain / east wind / ocean (2006) haiku by fukuda kodojin (1865–1944), probably the last poet and artist in the japanese literati tradition Consort Sett V a5 in C I Fantazy II Pavan III Aire Phantasm, an award-winning consort of viols, was founded in 1994 by Laurence Dreyfus and has become recognised as the most exciting viol consort active on the world scene today. The ensemble catapulted into international prominence when its debut CD of works by Henry Purcell won a Gramophone Award for the Best Baroque Instrumental Recording of 1997. -
John Ward Phantasm
JOHN WARD Fantasies & Verse Anthems PHANTASM Choir of Magdalen College, Oxford JOHN WARD (c.1589–1638) Fantasies & Verse Anthems 1. Fantasia 2 a4 (VDGS 22) 2:13 2. Praise the Lord, O my soul 8:17 3. Fantasia 5 a4 (VDGS 25) 2:49 4. Mount up, my soul 7:04 5. Fantasia 1 a4 (VDGS 21) 2:53 6. Down, caitiff wretch (Part 1) 5:40 7. Prayer is an endless chain (Part 2) 5:27 8. Fantasia 3 a4 (VDGS 23) 2:25 9. How long wilt thou forget me, O Lord 4:51 10. Fantasia 4 a4 (VDGS 24) 3:11 11. Let God arise 6:13 12. Fantasia 6 a4 (VDGS 26) 2:53 13. This is a joyful, happy holy day 5:50 Total Running Time: 60 minutes 2 PHANTASM Laurence Dreyfus Recorded in the director and treble viol Chapel of Magdalen College, Oxford, UK, 6–9 May 2013 Emilia Benjamin Produced by treble and tenor viols Philip Hobbs (fantasies) and Jonathan Manson Adrian Peacock (anthems) tenor viol Engineered by Mikko Perkola Philip Hobbs bass viol Post-production by Julia Thomas with guests Cover image Emily Ashton Henry Frederick, Prince of Wales tenor and bass viols With permission from the President and Fellows of Magdalen College, Oxford Christopher Terepin tenor viol Design by gmtoucari.com Choir of Magdalen College, Oxford directed by Daniel Hyde 3 Fantasies a4 & Verse Anthems In his ambitious and accomplished music for voices and viols, John Ward (c.1589–1638) offers a privileged glimpse of a special moment in English music history. -
Lawes: Consorts to the Organ
CONSORTS TO THE ORGAN WILLIAM LAWES WILLIAM LAWES (160 2–1645) CONSORTS TO THE ORGAN LAURENCE DREYFUS treble viol and director WENDY GILLESPIE treble viol JONATHAN MANSON tenor viol EMILIA BENJAMIN tenor viol MIKKO PERKOLA tenor and bass viols MARKKU LUOLAJAN-MIKKOLA bass viol with DANIEL HYDE organ 2 Set a5 in g 1 I Fantazya a5 .....................3:06 2 II On the Playnsong a5 ...........4:14 3 III Aire a5 ..........................1:25 Set a5 in a 4 I Fantazy a5 (No. 1) .............5:09 5 II Fantazia a5 (No. 2) .............2:49 6 III Aire a5 ..........................1:56 Set a5 in c 7 I Fantazia a5 .....................3:12 8 II Aire a5 (No. 1) .................1:38 9 III Paven a5 ........................6:31 bk IV Aire a5 (No. 2) .................1:27 Set a5 in C bl I Fantazy a5 ......................2:25 bm II Paven a5 ........................5:06 bn III Aire a5 ..........................2:18 Set a6 in g bo I Paven a6 ........................6:35 bp II Fantazy a6 ......................3:18 bq III Aire a6 .........................2:10 Set a6 in F br I Aire a6 (No. 1) .................2:29 bs II Fantazy a6 (No. 1) .............4:56 bt III Aire a6 (No. 2) ................1:35 ck IV Fantazy a6 (No. 2) .............3:08 Set a6 in B flat cl I Fantazy a6 ......................4:24 cm II Aire a6 .........................2:38 cn III Inominy a6 .....................4:26 3 William Lawes Consorts to the Organ – A Guide to the Perplexed No amount of historical study prepares one for the originality and daring of William Lawes’s Consorts to the Organ . -
Parthenia | Consort of Viols
PARTHENIA | CONSORT OF VIOLS Beverly Au, bass viol Lawrence Lipnik, tenor viol Rosamund Morley, treble viol Lisa Terry, bass viol with SARAH CUNNINGHAM, treble viol MUSICA UNIVERSALIS: Musical Invention in the Age of Discovery P R O G R A M D R A F T Ludwig Senfl motet a5 De profundis Thomas Stoltzer OctoTonorum Melodiae – eight enthralling fantasias on the eight ecclesiastical modes Heinrich Isaac Der Hund a3 Senfl Tandernack a5 *** ** Edward Blankes Fantasy a5 Anonymous Elizabethan Dances Robert Parsons Fantasia De la court William Cornish Fa la sol a3 William Mundy In nomine a5 Christopher Tye Dum transisset Sabatum III William Byrd In nomine a5 Byrd Fantasia on “Browning” a5 SATURDAY, May 5, 2012 at 8 p.m. Picture Ray Studio, New York City BIOGRAPHIES Sarah Cunningham is recognized as one of the foremost viola da gamba players worldwide. She was co- founder, with Monica Huggett, of Trio Sonnerie, with whom she recorded most of the important chamber music for violin and viol, much of it for the first time, and toured on four continents between 1982 and 1997. She was invited by Sir James Galway to collaborate on his CDs of Bach's flute music, and toured with him in Europe and the USA. Her solo CDs were released on ASV and EMI/Virgin Classics, and she has appeared as recitalist from Helsinki to Vancouver. As concerto soloist she recorded works by Telemann with The Orchestra of the Age of Enlightenment under Monica Huggett. She has toured and recorded with John Eliot Gardiner, William Christie, Simon Rattle, Trevor Pinnock, Ton Koopman, Gustav Leonhardt, Roger Norrington; with viol consorts Les Filles de Sainte Colombe, Fretwork, Phantasm, Hesperion XX, Parthenia, and the Carthage Consort; and medieval ensembles Sequentia and Virelai. -
Download Booklet
Linn Records Label of the Year ‘Linn is the very model of a modern record company, ensuring that the highest standards are maintained from the studio right through the company’s CKD 372 very impressive digital store.’ JAMES JOLLY, EDITOR-IN-CHIEF, GRAMOPHONE LINN, GLASGOW ROAD, WATERFOOT, GLASGOW G76 0EQ UK t: +44 (0)141 303 5027/9 f: +44 (0)141 303 5007 e: [email protected] d Christe qui Lux es a4 (I) ...............................2.50 PHANTASM (CA. 1540~1623) f In nomine a5 (II) (‘on the sharp’) ...........2.32 WILLIAM BYRD LAURENCE DREYFUS director, treble viol g Christe qui Lux es a4 (II) ..............................2.42 WENDY GILLESPIE treble & tenor viols Complete Consort Music h In nomine a4 (II) .................................................2.35 JONATHAN MANSON tenor viol j Fantasia a6 (II) .....................................................5.08 MARKKU LUOLAJAN-MIKKOLA bass viol q Fantasia a3 (III) ...............................................................................1.04 k Miserere a4 ............................................................1.33 MIKKO PERKOLA tenor & bass viols w Browning a5 (The leaves be green) ...............................4.37 l Fantasia a4 (I) .......................................................2.22 EMILIA BENJAMIN tenor viol e Te lucis a4 ..........................................................................................2.20 ; Christe qui Lux es a4 (III) ............................1.07 Recorded at r In nomine a5 (III) ...........................................................................2.31 -
Music and Politics in 17Th-Century England | Prifysgol Bangor University
09/26/21 Music and Politics in 17th-century England | Prifysgol Bangor University Music and Politics in 17th-century England View Online Albright, Daniel. 2007. Musicking Shakespeare: A Conflict of Theatres. Vol. Eastman studies in music. Rochester: University of Rochester Press. Ashbee, Andrew. 1986. Records of English Court Music. Snodland, Kent: A. Ashbee. ———. 1991. The Harmonious Music of John Jenkins. London: Toccata. ———. 1998. William Lawes (1602-1645): Essays on His Life, Times, and Work. Aldershot, England: Ashgate. Ashbee, Andrew, and Peter Holman. 1996. John Jenkins and His Time: Studies in English Consort Music. Oxford: Clarendon Press. Austern, Linda P. n.d. Music in English Children’s Drama of the Later Renaissance. Taylor & Francis, 1992. Aylmer, G. E. 1961. The King’s Servants: The Civil Service of Charles I, 1625-1642. London: R. & K. Paul. ———. 1965. The Struggle for the Constitution, 1603-1689: England in the Seventeenth Century. [Rev. ed.]. Vol. The History of England series. London: Blanford Press. ———. 1972. The Interregnum: The Quest of Settlement, 1646-1660. Vol. Problems in focus series. London: Macmillan. ———. 1973. The State’s Servants: The Civil Service of the English Republic, 1649-1660. London: Routledge and Kegan Paul. ———. 1986. Rebellion or Revolution?: England, 1640-1660. Vol. OPUS. Oxford [Oxfordshire]: Oxford University Press. ———. 1989. The Personal Rule of Charles I 1629-40. Vol. New appreciations in history. London: Historical Association. ———. 2002. The Crown’s Servants: Government and Civil Service under Charles II, 1660-1685. Oxford: Oxford University Press. Aylmer, G. E., J. S. Morrill, and Standing Conference for Local History. 1979. The Civil War and Interregnum: Sources for Local Historians. -
Johann Sebastian Bach the Well-Tempered Consort – II
MENU Johann Sebastian Bach The Well-Tempered Consort – II PHANTASM 1 Credits Tracklist Programme note EN DE FR Biographies Johann Sebastian Bach The Well-Tempered Consort – II PHANTASM MENU Recorded in Post-production Inside Images Magdalen College Oxford, UK, Julia Thomas © Marco Borggreve on 4–7 August 2020 Recording Producer & Engineer Design Cover Image Philip Hobbs stoempstudio.com Couple III (2019) by Alexander Polzin (b. 1973) 3 MENU PHANTASM LAURENCE DREYFUS treble viol & director EMILIA BENJAMIN treble viol JONATHAN MANSON tenor viol HEIDI GRÖGER bass viol MARKKU LUOLAJAN-MIKKOLA bass viol Thank you Phantasm wishes to thank the President and Fellows of Magdalen College Oxford, UK, for permission to make this recording in the College Chapel. We also wish to acknowledge the support of Ralph Woodward (Cambridge, UK) for engraving the editions. 4 Johann Sebastian Bach (1685–1750) 70:05 MENU The Well-Tempered Consort – II 1 — Prelude No. 16 in G minor BWV 885 (from The Well-Tempered Clavier Book 2) 1:51 2 — Fugue No. 16 in G minor BWV 885 (from The Well-Tempered Clavier Book 2) 2:53 3 — Fugue No. 1 in C major BWV 870 (from The Well-Tempered Clavier Book 2) 1:51 4 — Fugue No. 2 in C minor BWV 871 (from The Well-Tempered Clavier Book 2) 2:00 5 — Prelude No. 4 in C sharp minor BWV 873 (from The Well-Tempered Clavier Book 2) 3:59 6 — Fugue No. 4 in C sharp minor BWV 873 (from The Well-Tempered Clavier Book 2) 2:27 7 — Prelude No. 12 in F minor BWV 857 (from The Well-Tempered Clavier Book 1) 2:15 8 — Fugue No. -
Phantasm Elizabeth Kenny Phantasm Elizabeth Kenny Lute
JOHN DOWLAND LACHRIMAE OR SEVEN TEARS PHANTASM ELIZABETH KENNY PHANTASM ELIZABETH KENNY LUTE John Dowland (1563?–1626) Lachrimae or Seven Tears q Lachrimae Antiquae ............................................................................................................................. 4:02 w Lachrimae Antiquae Novae ............................................................................................................ 3:28 e Lachrimae Gementes ......................................................................................................................... 3:36 r Lachrimae Tristes .................................................................................................................................... 3:50 t Lachrimae Coactae ............................................................................................................................... 3:17 y Lachrimae Amantis ............................................................................................................................... 3:56 u Lachrimae Verae ..................................................................................................................................... 4:02 i Mr Nicholas Gryffith his Galliard ................................................................................................ 1:47 o Sir John Souch his Galliard ........................................................................................................... 1:30 a Semper Dowland semper Dolens ............................................................................................ -
Royal Consort
WILLIAM LAWES THE ROYAL CONSORT PHANTASM WILLIAM LAWES THE ROYAL CONSORT THREE CONSORTS TO THE ORGAN WILLIAM LAWES (1602–1645) Royal Consort Sett No. 1 in d 2@ Corant (32) .............................. 1:52 q Aire (2) ........................................ 1:38 2# Corant (33) .............................. 1:20 w Alman (3) ................................... 1:46 2$ Morriss (34) ............................. 0:39 e Corant (4) .................................. 1:42 2% Saraband (35) ....................... 0:49 Corant (5) .................................. 0:53 r Royal Consort Sett No. 8 in C t Saraband (6) ........................... 0:43 2^ Aire (50) ..................................... 2:18 Royal Consort Sett No. 4 in D 2& Alman (51) ............................... 1:27 y Paven (22) ................................ 4:54 2* Corant (52) .............................. 2:08 u Aire (23) ..................................... 1:22 2( Corant (53) .............................. 0:44 i Aire (24) ..................................... 2:01 3) Saraband (54) ....................... 0:31 Aire (25) ..................................... 2:02 o Royal Consort Sett No. 9 in F Corant (26) .............................. 1:16 a Paven (55) ................................ 6:33 Corant (27) .............................. 1:32 3! s Aire (56) ..................................... 1:43 d Saraband (28) ....................... 0:30 3@ 3# Alman (57) ............................... 1:42 Royal Consort Sett No. 3 in d 3$ Corant (58) ............................. -
Review of Andrew Ashbee, the Harmonious Music of John Jenkins, Vol
Review of Andrew Ashbee, The Harmonious Music of John Jenkins, vol. 2 ANGOR UNIVERSITY (2019) Cunningham, John The Viola da Gamba Society Journal PRIFYSGOL BANGOR / B Published: 11/01/2021 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Cunningham, J. (2021). Review of Andrew Ashbee, The Harmonious Music of John Jenkins, vol. 2 (2019). The Viola da Gamba Society Journal, 14, 99-103. Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 29. Sep. 2021 Andrew Ashbee, The Harmonious Musick of John Jenkins: Volume Two: Suites, Airs and Vocal Music (London: Toccata Press, 2020) ISBN: 978-0-907689-47-8; hardcover price £45 (£35 if you buy from Toccata!) John Jenkins (1592–1678) stands as one of the most important composers in seventeenth-century England. Born during the reign of Elizabeth I, his long life witnessed the accession of the Stuart line, bloody Civil War, Interregnum and Restoration.