Jonathan Rees Alex McCartney

Tabea Debus OHRWURM a Ganassi soprano recorder in C by e Ganassi alto recorder in F by Monika Musch h Viola da gamba by Jane Julier OHRWURM Monika Musch f Baroque alto recorder in F by Ernst Meyer (Devon, 1993) after Colichon (1693) b Baroque soprano recorder in C by Ernst after Peter Bressan j ‘French’ theorbo by Lars Jönsson (2011), Tabea Debus recorders Meyer after Jacob Denner g Voice flute in D by Ernst Meyer after with additions by Klaus Jacobsen (2019) Jonathan Rees viola da gamba c Ganassi alto recorder in G by Monika Musch Peter Bressan k Baroque guitar by Klaus Jacobsen (2014) d Baroque alto recorder in G by Luca de Paolis after Stradivarius Alex McCartney theorbo & guitar after Peter Bressan

1 after Antonio Bertali (1605–1669), Ciaconna a c h k [3:59] 12 anon. (16th c.) * La Monica (Une jeune fillette) c h j k [5:31] Tarquinio Merula (1595–1665) and 13 Pierre-Francisque Carroubel Spagnoletta a h k [1:18] † (1567–1643) * (1556–1611/15) from Terpsichore, Musarum Aoniarum (, 1612) 2 (1685–1759) Lascia ch’io pianga g h j [4:11] from , HWV 7b 14 anon.* When Daphne did from Phoebus fly e h j [5:53] diminutions by Jacob van Eyck (c.1590–1657) Pietro Castrucci (1679–1752) in D minor, Op. 1 No. 10 f h j 3 Adagio [1:48] 15 (1659–1695) Fairest Isle g h j [2:26] 4 Allegro & Adagio [3:20] from King Arthur, Z 628 and Orpheus Britannicus (London, 1698) 5 Marcello (1673–1747) † Concerto in D minor: Adagio f h j [3:24] ornaments by J.S. Bach, from BWV 974 16 (1563–1626) The Earle of Essex Galiard [1:22] (Can she excuse my wrongs) a h j 6 (1656–1728) * Selection from Les folies d’Espagne b h j [8:48] from Pièces de viole, livre 2 (Paris, 1701) 17 trad. (Scots folk-tune) Auld Bob Morrice b h [1:47] from An Introduction to Good Taste in Musick 7 anon. Vuestros ojos tienen d’amor c h k [1:19] (Francesco Geminiani, 1749) from A Musicall Banquet (Robert Dowland, 1610) 18 George Frideric Handel Jig b h j [2:05] 8 Freya Waley-Cohen (b. 1989) Caffeine b [4:01] from , re di Persia, HWV 24 commissioned by Listenpony for Tabea Debus 19 Gareth Moorcraft (b. 1990) Diaries of the Early Worm e [5:12] 9 Antonio Soler (1729–1783) * Fandango in D minor, R 146 d h k [5:48] for Tabea Debus 10 Arcangelo Corelli (1653–1713) The Favourite Gigg in Corelli’s 5th Solo [2:05] 20 anon. (14th c.) Lamento di Tristano – La Rotta e [2:59] with Divisions by Sig. Valentini b h j

e j 11 Andrea Falconieri (1585–1656) La suave melodia, y su Corrente [3:02] Total playing time [70:28] from Il primo libro di canzone… (Naples, 1650)

Arrangements: *Tabea Debus, †Alex McCartney An exciting new collaboration Notes on the music: an ear(ly) worm

Young Classical Artists Trust (YCAT) has Following on from Tabea Debus, LSO Writing in 1668, Samuel Pepys describes languages and theological doctrine to memory. been at the forefront of international artist principal oboe Olivier Stankiewicz and something that we all know too well – the Partly this was to do with understandings of development since 1984 – nurturing and longstanding /piano duo Benjamin tendency for music to ‘get stuck’ in our minds: the brain and soul. Anatomical treatises in the launching some of the most significant careers Baker and Daniel Lebhardt join the Delphian seventeenth century describe the brain as on the world stage, including Ian Bostridge, family, with six more YCAT artists to be I was unable to think of any thing, but remained all wax upon which sensory perceptions were Alison Balsom, the Belcea Quartet, and announced in 2021 and 2022. The complete night transported, so as I could not believe that imprinted, an idea that goes back to Plato. The Delphian artists Sean Shibe and Philip Higham. collection will offer audiences across ever any musick hath that real command over the earworm perhaps traces the movement from the world an engaging and varied series soul of a man as this did upon me. folk music, a predominantly aural tradition, The present album inaugurates a partnership of albums, covering repertoire from the to the realm of music publishing. Two works between Delphian Records and YCAT which fourteenth century to the present day. Such tunes, so-called earworms, are known featured here, the Lamento di Tristano which will offer precious recording opportunities for to most of us. They go round and round in our transforms into a lively dance La Rotta, stand at the most promising young artists, combining Delphian and YCAT are indebted to the heads; sometimes we can feel them burrowing the beginning of this process. They are found in YCAT’s mission of developing careers at a generosity of Alastair and Liz Storey that deeper and deeper as if our minds were manuscript form in a collection that was owned world-class level with Delphian’s twenty- supports this partnership. made of soil. And while this might suggest by the Florentine Medici family. year-long reputation for bold, considered some sort of transhistorical closeness to programming. The partnership will give the Pepys, the concept of earworms can perhaps Music manuscripts from the seventeenth artists a unique experience – from initial freshly illuminate our understanding of music century suggest that regular exposure to folk concept planning, recording and editing to publishing, memory and repetitive musical songs and dances made some of them ‘stick’. the final packaged and digital product – and structures in a historical period far from our Some were immortalised in notated print. The will enhance both Delphian’s and YCAT’s www.ycat.co.uk own. In other words, what are the traces of Scots folk-tune Auld Bob Morrice, for example, commitments to nurturing their musicians’ earworms in musical practices? This album is documented several times between 1690 and artistic development and long-term careers. explores how tunes and dances wormed their 1792. It is included in Francesco Geminiani’s way into many aspects of music-making in violin tutor An Introduction to Good Taste in seventeenth- and eighteenth-century Europe. Musick, which uses familiar tunes to help ‘lovers of musick’ along in their quest to play ornaments The earworm wriggles curiously in the with ‘ease and certainty’. Many other collections conceptual gaps between music that was and tutor books of the seventeenth and Recorded on 12-13 February 2020 at Cover photography © Kaupo Kikkas memorised and music that was notated. Until eighteenth century presumably carried a similar @delphianrecords Broughton St Mary’s Parish Church, Edinburgh Design: John Christ the fifteenth century – when paper was a rare function of preserving improvised or embellished Producer/Engineer: Paul Baxter Booklet editor: John Fallas @delphianrecords 24-bit digital editing: Matthew Swan Delphian Records Ltd – Edinburgh – UK and expensive commodity – music was a earworm-like melodies for the next generation 24-bit digital mastering: Paul Baxter www.delphianrecords.com @delphian_records significant medium for memorising information. of players and listeners. In A Musicall Banquet, Session photography © William Campbell-Gibson This capacity was not limited to musical compiled by Robert Dowland in 1610, he records With thanks to Alastair & Liz Storey knowledge itself: music was used to commit a ‘varietie of delicious ayres’ from England, Notes on the music: an ear(ly) worm

France, and Spain, such as Vuestros ojos music compilations with adapted or translated transcription of the concerto for keyboard ‘sweet’ air into a dance while keeping melody tienen d’amor (‘Your eyes hold I know not what texts, as well as lines of added ornamentation. (BWV 974), particularly his ornamentation of and harmony unchanged. Antonio Soler’s solo of Love’). A Musicall Banquet also includes This layering seems to attest to a repurposing the Adagio, transforms the nature of Marcello’s keyboard Fandango in D minor brims with songs by the compiler’s father, John Dowland. of the earworm through time that made simple earworm-like melodies. Pietro Castrucci’s chromatics and unexpected harmonic shifts, ‘Can she excuse my wrongs’, from his First tunes both ‘stretch further’ as well as embed Sonata in D minor is a transcription for while always returning to the calm of the Book of Songs and Ayres (1597), conveys the themselves deeper into the cultural memory. recorder of his Violin Sonata Op. 1 No. 10, repeating harmonic progression. fluid transformation of consort pieces La Monica (or ‘Une jeune fillette’) was one such written some forty years before. Although into lute songs; indeed, it was published in both tune, popular throughout Italy, France, Germany no further ornaments are added in this In traversing the centuries, it might seem that forms. Not ten years later, Dowland republished and England from the sixteenth century until posthumous adaptation, the process of we have little in common with these brain- the song in Lachrimae, or Seven Tears as The the eighteenth. The song inspired variations by changing the instrumentation invites the player burrowing tunes and the modes and methods Earle of Essex Galiard for five-part consort many European composers, including Philipp to add idiomatic embellishments. of keeping them alive. But two contemporary and lute. Böddecker, William Byrd, Eustache de Caurroy, compositions, both written in 2019, testify to Bernardo Storace and Francesco Turini, all of Perhaps it was not only the minds of listeners the earworm’s secure place in modern life. Other composers and publishers also sought whose diminutions are featured in this version in which music got stuck, but their dancing Freya Waley-Cohen’s Caffeine is rooted in to preserve specific tunes beyond that for recorder and basso continuo. The anonymous limbs too. In the absence of sung text, the the Baroque structure of a rondo. Its recurring evening’s performance, and frequently cashed song When Daphne did from Phoebus fly repetition of an ostinato bass line, harmonic dance-like themes (or distant memories of in on their preservation. Amongst these tunes underwent a similar process. A version by the progression or melodic pattern in works such them) run like threads through the piece. With are not only Fairest Isle, one of Henry Purcell’s poet Jan Janszoon Starter, ‘Doen Daphne as the Ciaconna, Les folies d’Espagne its velocity and buzzing activity, it is as if our best-loved songs from King Arthur to a text d’overschoone Maeght’ (1622), was also known or the Spagnoletta imbued music with a earworm has had one cup too many perhaps. by John Dryden, but also many arrangements to the blind Dutch recorder player Jacob van Eyck. mesmerising rhythmic quality that almost Finally, Gareth Moorcraft’s Diaries of the Early from George Frideric Handel’s . The Van Eyck’s improvised variations on the song seemed to possess the bodies of performers Worm is based on fragments from medieval Jig from Siroe, re di Persia, for instance, is were taken down by dictation, thus ensuring and listeners. This is still apparent even when a troubadour songs. The piece takes us on a included in Peter Prelleur’s tutor book The their posterity. Meanwhile, The Favourite Gigg composition is only loosely based on a dance, journey from the early stages of an earworm, Modern Musick Master, or The Universal in Corelli’s 5th Solo, with Divisions by Sig. is a fusion of different styles, or deviates from charting its growing intrusiveness and finally Musician, published in 1730. Another favourite Valentini is one of many examples of virtuoso the original steps. For instance, in his La suave our liberation from it. of London audiences, Lascia ch’io pianga musicians layering Corelli’s music with ever more melodia, y su Corrente, the Neapolitan (‘Let me weep’) from Rinaldo, also featured in demanding embellishments. maestro di cappella Andrea Falconieri turns a © 2020 Tabea Debus & Mark Seow collections produced by John Walsh, which were aimed at amateur players. Embroidering on another’s compositions was common practice until at least the mid- In some cases, it was the combination of melody eighteenth century. and text that caused music to stick in minds. was clearly taken by Alessandro Marcello’s Songs resurface throughout Renaissance Oboe Concerto in D minor; Bach’s Biographies

With an equal focus by Young Classical Artists Trust in 2018 and the viol consorts Fretwork and Phantasm. Alex specialises in chamber music. on contemporary and joined the reciprocal Concert Artists Guild As a chamber musician and soloist he has His continuo playing has been described as , Tabea roster in the USA the following year. Awards performed at Wigmore Hall, the London ‘sinewy and sensuous’ (The Observer). Debus’s burgeoning career include the 2019 WEMAG Soloists Prize at Baroque Festival and the York, Lammermuir, In recital he accompanies artists such as Iestyn has taken her across Europe the Festspiele Mecklenburg-Vorpommern, Hastings and Bristol Early Music Festivals, Davies, Alison Balsom, Monica Huggett, Peter and through Asia, Colombia and first prizes at the 2019 SRP/Moeck as well as in venues across Europe. Whelan, Bojan Čičić, Sabine Stoffer (Ensemble and the USA. Highlights International Solo Recorder Competition, the Libro Primo) and Tabea Debus. He holds

© Kaupo© Kikkas include recitals at Wigmore 2014 International Johann Heinrich Schmelzer Jonathan has given historical performance principal positions in La Nuova Musica and Hall, at the London and York Early Music Competition and the 2011 Hülsta Woodwinds classes at the Royal Academy of Music, Poeticall Musicke, and he performs regularly Festivals, at Festspiele Mecklenburg- Competition. Guildhall School of Music, Royal Birmingham with most of the UK-based Baroque orchestras Vorpommern, Baroque at the Edge, and in the Conservatoire, the University of and a few further afield. Alex has recently Edinburgh International, Schleswig Holstein, Tabea teaches recorder at Wells Cathedral and the Royal Northern College of Music. performed Vivaldi’s Lute Concerto with both and Brecon Baroque festivals. Tabea has School, has led seminars at the Royal Academy He has devised and led music workshops and Brecon Baroque (Rachel Podger) and the Irish collaborated with , of Music, and collaborates with London children’s concerts for the Orchestra of the Baroque Orchestra. La Serenissima, Dunedin Consort, LSO Music Masters and other organisations for Age of Enlightenment, Brighton Early Music Soundhub, the English Chamber Orchestra workshops with children around the globe. Festival and others. For five years he directed Alex is a life member of The Royal Society of and WDR Rundfunkchor, amongst many and performed at Bristol’s acclaimed annual Musicians. others, and has appeared live on BBC Radio www.tabeadebus.com festival, Really Classical Relay. He is an 3’s In Tune and The Early Music Show. In 2019 Associate of the Royal Academy of Music. www.alexmccartney.co.uk she released her fourth album Favourites: Telemann and his Subscribers, a follow-up Jonathan Rees has www.jonathanreescello.co.uk to the highly acclaimed XXIV Fantasie per performed across the il Flauto (both on TYXart). globe as cellist and gamba player with the UK’s leading Lutenist Alex McCartney has Tabea studied at the Frankfurt University of historical performance and a busy performing schedule Music and Performing Arts with Prof Michael chamber ensembles. He which takes him to concert Schneider and at the Royal Academy of has performed as continuo halls across the world. He has

Music with Pamela Thorby. She graduated Helen© Wills / principal cellist and gamba released five solo recordings with the Principal’s Prize and continued her soloist with the Academy of Ancient Music, – the latest, Paladin, in 2019 association with the RAM as 2016–17 Meaker Orchestra of the Age of Enlightenment, (‘McCartney navigates these

Fellow. A former St John’s Smith Square, Dunedin Consort, The Sixteen, English Thomas© Abela complex works with ease’ Handel House and City Music Foundation National , Britten Sinfonia and La – Limelight). Alex is a BBC Introducing artist artist, she was selected for representation Nuova Musica, and has appeared with and performs on BBC Radio 3. Also available on Delphian

17th-Century Playlist Music in a Cold Climate: Sounds of Hansa Europe Ed Lyon, Theatre of the Ayre In Echo / Gawain Glenton DCD34220 DCD34206 Ed Lyon has been one of the UK’s most versatile and sought- In Echo is made up of some of Europe’s finest young early-music after soloists for over a decade. Now, for Delphian, comes his first solo specialists. Each a soloist in their own right, under director Gawain recording project, inspired by the immediacy, joy and freedom found in Glenton they have put together a fascinating snapshot of the musical seventeenth-century music. Joined by Theatre of the Ayre – a flexible and landscape during the heyday of the Hanseatic League. From London innovative ensemble led by the lutenist Elizabeth Kenny – he has conceived to Tallinn via Lübeck, , Bremen and the ports of Holland, his very own ‘playlist’: a live mixtape of the songs, simultaneously catchy Denmark and Sweden, the sixteenth- and seventeenth-century and sophisticated, which became earworms for the listeners of their day. composer-musicians represented by this recording each looked beyond their own shores and toward a sense of shared European culture and ‘It’s a lovely concept: an album of the seventeenth century’s greatest understanding. hits, where only the catchiest, most irrepressibly infectious dances and the swooniest ballads need apply … There’s a real sense of musical ‘consummate skill … The eclectic choices have been sequenced camaraderie here – of spontaneous conversations and mutual enjoyment intelligently to cultivate a well-paced variety of textures, moods and of skill’ — Gramophone, November 2019 styles’ — Gramophone, March 2018

Remember me my deir: Jacobean songs of love and loss Giovanni Stefano Carbonelli: Sonate da Camera, Vol 2 Fires of Love Bojan Čičić violin, The Illyria Consort DCD34129 DCD34214 Fires of Love follow in the footsteps of King James VI, deftly weaving With their debut recording on Delphian, Bojan Čičić and his Illyria Consort their way through Scotland’s rich tapestry of historic manuscripts to propelled the name of Carbonelli from obscurity into the classical charts, unveil attractive unsophisticated melodies, often heavily imbued with recapturing the excitement which the violinist-composer stirred up the French style, before travelling south to London, where James in eighteenth-century London. Now they bring to Carbonelli’s other and his musicians would have been taken aback by the highly active six surviving the same intelligence, sensitivity and sheer, theatre scene. Shakespeare’s texts give rise to compelling settings, exhilarating virtuosic brilliance with which they proved him to be so much from the plaintive ‘And will he not come again’, poignantly rendered more than just a ‘follower of Corelli’ or ‘contemporary of Vivaldi’. For good here by Frances Cooper, to the risqué joviality of ‘St Valentine’s Day’. measure they add in a fine concerto by the latter that bears Carbonelli’s As the Scots courtier-musicians nimbly traded French influence for name, demonstrating the respect in which he was held in his native Italy London’s ‘Englished’ Italian style, one wonders: did they regretfully before setting off to find his fame and fortune in England. look homewards? ‘Remember me, my deir …’ ‘superb and passionate … Čičić’s sound – sweet, slightly dry and ‘The performances are gentle, intimate and never less than beguiling’ exquisitely centred – is ideal for the taut beauty of Carbonelli’s solo lines’ — Sunday Times, December 2013 — BBC Music Magazine, September 2017 [on Vol 1] DCD34243