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 . These works, the pinnacle of Lawes’s achievement, are for many an acquired taste, for in each of his Sets (collections of pieces in the same key) the composer goes out of his way to alienate both players and listeners, at least before one decides to enter into Lawes’s zany universe. One senses a restlessness in the compositional impulse and a straining for novelty at all costs: such attitudes might easily have produced musical nonsense. To solve the puzzle of Lawes, one might focus on Lawes’s influences and his social context, but they in no way account for his wayward musical personality. Attuned to his topsy-turvy world, one begins to hear in every piece an undiscovered place which hadn’t been mapped before. The clarity of utterance is remarkable, for in overturning venerable rules of dissonance treatment, and deforming classical ideas found in the works of Orlando Gibbons and others, Lawes persuades you that backward is forward, that chaos is ordered, that ugly is beautiful. Lawes wrote his viol consorts while serving the Stuart monarch Charles I (160 0–1649), who appointed him ‘musician in ordinary’ for the King’s ‘Lutes, Viols and Voices’ in 1635. (The best scholarship is found in John Cunningham’s The Consort Music of William Lawes, 160 2–1645 , 2010.) Apprenticed earlier by Edward Seymour, Earl of Hertford (153 9–1621) to John Coprario who taught Charles the bass viol, Lawes began working for the court before his o fficial appointment, and over time gained access to the inner sanctum of the courtly musical establishment. Whereas violin and wind bands performed in spaces set up for dancing and grand entertainments such as the Banqueting House in Whitehall Palace, viol consorts to the organ would have performed in more secluded venues such as the King’s Privy Apartments where small organs were located. The prestigious nature of these private performances – along with the

4 personal support of the king which Lawes enjoyed – freed the composer’s musical imagination in ways far beyond the aesthetic confines of a country house, the Inns of Court or an Oxford College, where the values of musical peers would have been far more conventional, judgmental, even condemning. Whereas Lawes takes musical risks in other instrumental collections – such as his popular Royal Consorts – it’s in the Consorts to the Organ where he is able to experiment most boldly because the preponderance of high-style pieces such as ‘artificial’ fantasies, stately pavans, and arcane In Nomines. According to John Cunningham’s most recent dating, Lawes began composing the viol consorts around 1636 and completed them around 1639. The organ parts to the consorts are fully written out and consist mostly in doubling the viol parts, but Lawes also gives the organ independent passages of great ingenuity which produce striking changes of texture and sonority. It is not easy to write about music that gives rein to so many fascinating and anarchic distortions but I offer some random observations as a kind of ‘Guide to the Perplexed’. I. Set a5 in g Track 1 – Fantazya a5 All fantasies in the consort tradition begin with a ‘point’ of imitation, themes repeated throughout all the parts, which sets the tone of a movement. It may, for example, be vocal in character, evoke a sacred work, or a dance type of various kinds. What it mustn’t be is bizarre and outlandish. But that’s exactly how Lawes opens his collection: an awkward enunciation of a rising fourth which puts the accent on the wrong syllable followed by an even uglier wide leap upwards like a distorted mirror image – a very unpromising start, guaranteed to deny pleasure and to evoke bemusement. Lawes loves to indulge awkwardly in ambiguities of mode, suggesting both the major and minor (as in 1:17–1:22 ). Overall, the fantasy

5 presents an unrelentingly dark vision without a single cadence in the major, a stark opening to an unusual collection. Track 2 - On the Playnsong a5 Though he pretends to have based a piece on a Gregorian chant, Lawes has made up the ‘playnsong’! The technique in similar In Nomines binds the composer’s counterpoint to a strict cantus firmus , but the genre becomes a sham if the pre- existing tune in long notes can be altered at will. Outrageous, sacrilegious even, and yet one of the most haunting pieces in the repertoire. The ‘English cadence’ with its piquant false relations was a staple of polyphony since the 16th century, but never has a closing passage with its mixture of sharps and flats – there were no natural signs in the 17th century – sounded more eerie than at 0:3 8–0:46 . Lawes composes musical cascades as spiteful outbursts (beginning at 2:04 ), since he combines the notes of two triads which don’t go together – D minor and F major – like wheat and chaff tossed together with disdain. The incongruous, if welcome, move to the warmer major mode ( 2:4 0–2:50 ) invites a sunny respite after the unrelieved gloom, so that the reversion to melancholy ( 2:53 ) is all the more painful and touching. The otherworldliness of this odd piece can also be heard in the ghostly organ shadow which appears unbidden at rare moments (such as at 2:5 6–3:19 ). Track 3 – Aire a5 Lawes dabbles in harmonic ugliness even near the beginning of a tuneful Aire (0:0 6–0:07 ), evoking something modern and stilted at the same time: a newly deformed version of an old English cross-relation. A cheeky theme made of repeated pairs of quavers ( 0:4 4–0:54 ) has the treble viols imitate uncouth violins. Why this display of brash country manners is so satisfying remains a mystery.

6 II. Set a5 in a Track 4 - Fantazy a5 (No. 1) An elegy on a plaintive opening theme with an octave rise in the middle is lyrical yet unsingable. Some moments ( 0:3 2–0:36 ) are simply unredeemable as normative music, so unsightly are the harmonies. How does Lawes convince us to enjoy such offensive counterpoint? The hope of the major mode is dashed with regularity but the sonority of viols exploited for their rich density. What a mistake to say Lawes isn’t a contrapuntist merely because he avoids the usual tricks of imitation! This is music dependent on the circulation of peculiar materials. There is an outpouring of sad utterances, then a gentle cascade ( 2:2 0– 2:24 ) with the added sixth note of the scale, a bizarre collection of pitches at this time. Virtually all the modulations to the neighbouring key (C major) are thwarted and revert to the minor. We play an early version of this fantasy (never before recorded) with an extended passage that Lawes later excised ( 3:1 4– 4:15 ). (The later, more suave version is available for download on www.linnrecords.com/ recording-lawes.aspx .) In this more expansive state, a tale of woe unravels with greater eloquence, and sets the stage somewhat differently for the timid and resigned cries of ‘Ohimé!’ – ‘Alas!’ – answered each time by a passionate duo (4:1 6–4:33 ). At the end of the piece ( 4:51 to the end) is a solemn if incongruous church cadence, brilliantly counterpoised by the opening of the next fantasy. It’s fascinating that Lawes attains a connectedness in this fantasy, as if he’s related a coherent narrative. Track 5 - Fantazia a5 (No. 2) Lawes is grotesque in this playful canzona opening muttered by two basses at close ‘fugeing’ range. They are answered by an angelic choir in the upper viols, but darker forces threaten, and some of this fantasy actually sneers at its listeners. An example is the impudent chromatic rising figure ( 0:24 ) with the third player entering at the ‘wrong’ time, as if making an elementary counting error ( 0:26 ). The treble viol retorts with an ungainly Scotch snap ( 0:3 0– 0:31 ), almost spiteful 7 in response. A fanfare of trumpets ( 1:07 ) heralds an idealised mirage before turning malevolent ( 1:13 ). There are some children’s games before passionate outbursts (beginning 1:2 7–1:35 ) replicate the replies to the Ohimé exclamations from the previous fantasy. Some fun with rising scales turns serious, even ominous, ( 1:5 7– 2:23 ), but it is the mercurial shifts between light and shadow which mark an ever nervous disposition. Track 6 – Aire a5 After the anarchy, some neatness and order. Order but not unalloyed sweetness, as the treble viols stretch for their high notes, especially in the B section. (All the aires are in two repeated strains, A and B.) The organ doesn’t only accompany but is a kind of backdrop to the structural platform of the piece. There is a Lawesian love of the repeated note figures in dueting intervals of tenths ( 1:0 2– 1:07 ). Perhaps the repeated notes originated in Italian violin music but Lawes turns them into something austere, English, and poignant. III. Set a5 in c Track 7 – Fantazia a5 By far the craggiest opening in the collection, the first theme struggles against Fate. The equally jagged second point over a pedal tone ( 0:52 ) is devastating in the rawness of its barren harmonies. A heraldic fanfare ( 1:17 ) arrives incon gru - ously and dissolves into playful gestures in the major ( 1:35 ). They are interrupted by a bizarre revisiting of an old English faburden made to act like a rude taunt (1:4 0–1:50 ), and the passage culminates in an ill-mannered cadence ( 1:50 ). A move to the major ( 2:14 ) sweetens the atmosphere and lovely cascades of falling thirds (in coupled tenths) promise the purest bliss ( 2:1 9–2:36 ), but hopes are dashed in a cruel turn to darkness over a disturbing pedal with the intervals expanding to foul diminished fourths ( 2:47 ), an obsessional cry for help. The last three notes ( 3:01 –3:08 ) are surely an audible signature ‘at the bottom of the page’ enunciating ‘Wílliám Láwes’. (Like ‘Rach-ma-ni-noff’?) 8 Track 8 – Aire a5 (No. 1) Beginning with a ‘courtesy’ in which dancers bow low before their patrons, this aire evokes Spain in its flamboyance, pride and imperiousness. The low Cs of the bass viol are prominent in pronouncing dark judgments to which this music bears witness. Obsessional counterpoint in the B section signals an infernal upheaval rather than the compliant gestures of courtly dance. Track 9 – Paven a5 This is Lawes’s masterpiece, a take on Dowland’s Lachrymae recast in an expansive and expressive Baroque mould. There are three repeated strains in a pavan – for convenience, A, B, and C – and each sheds tears with a distinctive, ineffable sadness. Like many great composers, Lawes makes even the major mode sound melancholy ( 1:2 2–1:38 ). In the B section the implied crescendo from the static tranquillity of E flat major to G major is extraordinary, and the murky mixed mode of falling and rising thirds a marvel of harmonic writing and novel textures (2:3 3–2:54 ). In the C section, Lawes sounds his trademark of three unisons ( 4:16 ), except they now spark a glorious set of close imitations over a pedal ( 4:2 6– 4:40 ) before a plunge into the darkest void. While reinventing the rules of counter- point, Lawes permits himself an unprecedented baring of the soul. Track 10 – Aire a5 (No. 2) Some tunefulness here amidst a mannish bucking of the tide, but also a valiant coarseness in the repeated notes ( 0:0 9– 0:13 ). If Lawes intended some humour in the taunting call and responses in the B section ( 0:4 5– 0:47 ), he should have thought twice about his menacing bass line descent ( 0:4 8– 0:52 ).

9 IV. Set a5 in C Track 11 – Fantazy a5 A bouncy jocularity recalls the game of real tennis, where balls ricochet in a hypnotic display ( 0:3 8– 0:58 ). The metaphor of life as a tennis game is found in a much anthologised poem by William Lathum (1634): If in my weak conceit, (for selfe disport), The world I sample to a Tennis-court, Where fate and fortune daily meet to play, I doe conceive, I doe not much misse-way. All manner chance, are Rackets, wherewithall They bandie men like balls, from wall to wall: Some over Lyne, to honour and great place: Some Under Lyne, to infame and disgrace; Some with a cutting stroke, they numbly send Into the hazard placed at the end; Resembling well the rest which all they have, Whom death hath seiz’d, and placed in their grave. Might this reflection on life’s hazards have inspired Lawes’s otherwise incon - gruous linking of bounciness and melancholy? The mixture shocks us with its lack of preparation (at 1:02 ) until an equally abrupt return to dreamy positivity (at 1:27 ). Another Lawes trademark is the interrupted cadence ( 1:5 0–1:53 ), where everyone but the bass drops out on the last note. This interruption ushers in a weirdly comforting apotheosis heard as if in a bizarre dialect, a kind of mangled ‘Amen’ ( 1:5 4–2:21 ). Track 12 – Paven a5 Lawes heads for sunny, green pastures, though one can’t ignore a strong whiff of the sheep. The stillness of lone voices in a country landscape, the gentle rustling of leaves, the topoi of sleep, and the languorous duets of shepherd/lovers: these 10 are the topics Lawes evokes via close fugeing on the same pitches, and a sense of calm engendered by the blissful key of C which the slow paven favours by its undulating walking steps. The movement of virtual dancers proceeds in both directions, but more forward than back. The C section confronts the pastoral trope with bold defiance and harmonic challenges but is happy to keep the peace in the end. Track 13 – Aire a5 Lawes loves breaking the consort into combative pairs of viols ( 1:0 3–1:10 ). He is also infatuated with extended harmonic notes called pedal points. Note here the high, then low, pedal point as a place for joy to run riot ( 1:1 4–1:31 ). The exaggerated pleasure of five string players gesticulating wildly leads to broad smiles at the close. V. Set a6 in g Track 14 – Paven a6 Lawes transforms the pavan into a hieratic procession of mourning, out of which strident voices issue orders and tearful elegies are recited. Claims are asserted and demands made, because the instruments refuse to relinquish the tell-tale note which begins their points ( 1:5 0–1:53 ). Another incomplete cadence (at 4:43 ) gives way to a vehement upsurge ( 4:4 5–4:58 ), creating a poignant curtailment all the more striking because anyone can supply the missing notes. It’s as if the thought is too painful to be uttered in full. Track 15 – Fantazy a6 Surely the most brilliant piece in the collection, this fantasy is infused with the daemonic driving rhythms which propel the consort breathlessly forward. Still inhabiting the dark world of the preceding pavan, Lawes adds brutality to his affective pedal points ( 0:4 2– 0:54 ), with each viol vying for supremacy amidst rancorous disorder. An unexpected organ outburst outmanoeuvres two raucous

11 bass viols ( 0:5 4–1:08 ) and introduces a regal set of voices demanding to be heard. The treble viols react angrily ( 1:0 8–1:12 ) as if to silence impudence. This is tragic, theatrical music, even if subject and plot remain mysterious. Pairs of viols in alternation ( 1:1 8–1:26 ) proclaim their control, but succumb to conflict and confrontation. Only lament and resignation remain ( 1:53 to the end), with pathos weighing heavily in the repeated note figures and dissonant-rich harmonies. Track 16 – Aire a6 Lawes’s obsessional behaviour figures in the angry repeated points ( 0:1 7–0:20 ) of this companion piece, which are answered imperiously by the false relations of the treble viols ( 0:2 0– 0:24 ). Strife and the diffuse sounds of battle abound in the B section, and one senses the smell of muskets and roar of canons. In the greatest of Lawes’s mad pedal points ( 1:0 1– 1:24 ), the two bass viols alternately strike their low D strings nine times in succession ( 1:1 4–1:23 ) amidst a hyperventilated fracas of dissonant false relations. Far from a glorification of war, there is only anguish about its inevitable discord. VII. Set a6 in F Track 17 – Aire a6 (No. 1) Lawes visits the countryside with an evocation of dance tunes and country fiddles, but there are too many people playing the song at the wrong time: musicians behaving badly. The second strain sings a snippet of a traditional English tune – later named by Cecil Sharpe as the ‘Country Garden’ ( 1:0 7– 1:09 ) – but the melody moves onto a sour note and dissolves mischievously into the Lawesian trope of the embarrassing omitted pitch ( 1:1 0–1:12 ). Fanfares and their echoes mix strangely into the boisterous country scene ( 1:2 3–1:28 ), but all’s well that ends well.

12 Track 18 – Fantazy a6 (No. 1) Another of Lawes’s greatest works, this fantasy is the most compelling simulacrum of rise and fall in the entire repertory. Amid a stillness devoid of a clear subject – borrowing liberally from Orlando Gibbons’s Fantasy No. 2 a6 (MB 32) – Lawes depicts an awakening of the world out of the building blocks of harmony ( 0:0 0– 1:15 ). Never content with just the three triadic scale steps (1, 3, and 5), he treats the added sixth note of the scale (as in 0:1 7–0:20 ) as a consonance, which lends an odd incongruity but also a mystery to the harmony. As the bass viols have tuned their bottom string down to low C, this allows for deeper sonorities than usual ( 0:24 and 0:4 9– 0:55 ). With a quickened diminution of the pulse, the music has fully ‘woken up’ with its tugging ‘bindings’ (or suspensions) ( 1:1 5–1:30 ) leading to a heartrending cadential figure ( 1:3 2–1:42 ). The tuneful gait of a country gentleman appears ( 1:4 2–2:12 ), recalling the previous Aire, but this sign of conventional activity dissolves (at 2:41 ) into watery scalar descents in waves of patterned quavers in marked contrast to the ascending figures of the opening. A striking motivic point on three downward pitches heard in contrasting pairs (at 3:2 5–3:37 ), finally in ominous faburden, tells a riddle which requires resolution. The resolution is the extraordinary final section which inverts the opening trope of rising chords and, in Lawes’s most touching creation, gently falling and over - lapping triadic figures beckon the world back to a restful slumber ( 3:47 to 4:32 ). Track 19 – Aire a6 (No. 2) This is how Lawes expresses ease and charm, though the B section is scored so densely that it lumbers rather than dances gracefully. Rich density in the counterpoint wins out in the end. Track 20 – Fantazy a6 (No. 2) An undistinguished, even banal, opening point in major tries on its variant minor clothing ( 0:3 4– 0:40 ). Still, there is a warmth and humour once one accepts

13 Lawes’s weird combination of voices. After the organ accompanies the two undistinguished basses ( 1:3 5–1:42 ), Lawes introduces a frenetic set of materials: a syncopated figure with mad string crossing alongside an ugly counter subject in crotchets. The activity heats up as if heading for oblivion. The competition among the six viols feels pointless until Lawes abruptly calls a halt to the chaos and administers a fatal harmonic shock (at 2:34 ) which writhes with pain. In the most dissonant music he ever wrote, mixing modes promiscuously ( 2:3 3–2:54 ), Lawes signs his name to another vintage close ( 2:5 6–3:03 ). VIII. Set a6 in B flat Track 21 – Fantazy a6 Finally a sojourn, long overdue, in the Elysian fields. This fantasy is the closest Lawes ever comes to the generous euphony of his elder contemporary John Jenkins (159 2–1678). Still, Lawes can’t avoid revealing his more ragged personality at various junctures: the mixed-mode cadences in the wrong key (such as at 1:1 6–1:30 ), a cadence with a daring augmented sixth ( 2:1 5–2:24 ), and the trope of the conspicuous missing note ( 2:2 9–2:36 ). He seems to yearn for the sweetness of life in Jenkins’s musical universe, and outdoes even Jenkins in the depiction of warmth in which the music harmoniously bathes ( 3:23 to the end). Track 22 – Aire a6 Equable spirits and good-natured high-jinks mark the opening material in this aire. The idea to move from B flat to the foreign destination of G minor/major was foreshadowed in the preceding fantasy but Lawes now uses the move for a strange kick in the teeth at the end of the A section. The B section heads even further away into the non-existent key of B flat minor ( 1:0 7–1:14 ) before the competitive interplay between the treble viols brings the aire to a close suspended in mid-air.

14 Track 23 – Inominy a6 Still suffused with the glow of B flat major, this In Nomine expounds on holiness and awe, despite a nearly ceaseless commotion in the moving parts circling effortlessly around the plainchant. Had anyone dared to write a piece in this key before? Another foray into B flat minor (at 1:51 –1:56 ) is a mere diversion before a sunny major cadence ( 1:5 9–2:01 ) followed by heavenly strands of interwoven voices graced by free organ counterpoint ( 2:01 –2:56 ). One has the strong impression of weightlessness, a freedom from worry and doubt. Dramatic events occur with scant preparation (at 3:11 –3:20 ), but they too fade once Lawes launches his most heartfelt peroration ( 3:4 2–4:15 ). Relieved of all cares, one sighs thank - fully, with hushed silence the only apt response.

© Laurence Dreyfus

We would like to thank the President and Fellows of Magdalen College (Oxford) who provided generous funding for Phantasm’s residency in the College as well as for research into the primary sources, costs of transport and tuning of the portative organ (built by Kenneth Tickell) and other costs associated with the making of this recording.

RECORDED AT ST MARTIN’S CHURCH, EAST WOODHAY (BERKSHIRE), UK FROM THE 30TH AUGUST – 1ST SEPTEMBER 2011 ENGINEERED BY PHILIP HOBBS ASSISTANT ENGINEER: ROBERT CAMMIDGE POST-PRODUCTION BY JULIA THOMAS AT FINESPLICE COVER PAINTING: WILLIAM LAWES (OIL ON CANVAS), FOLLOWER OF ANTHONY VAN DYCK, (159 9– 1641) / FACULTY OF MUSIC COLLECTION, OXFORD UNIVERSITY / THE BRIDGEMAN ART LIBRARY PHOTOGRAPHY OF PHANTASM BY MARCO BORGGREVE PHOTOGRAPH OF DANIEL HYDE BY SIMON TOTTMAN

15 PHANTASM , an award-winning consort of viols, was founded in 1994 by Laurence Dreyfus. The ensemble cata - pulted into international prominence when its debut CD of works by Henry Purcell won a Gramophone Award for the Best Baroque Instrumental Recording of 1997. Specialising in music from the 16th to the 18th centuries, the ensemble have been applauded across the globe for their moving performances, which embrace the eloquent fantasies of Byrd and Gibbons, the magical works of Lawes and Purcell, and even arrangements of Bach and Mozart. Since 1997, they have released twelve further recordings which have won several awards, including a further Gramophone Award in 2004 for the music of Orlando Gibbons, and have become recognised as the most exciting viol consort active on the world scene today. Their first recording on the Linn label – named Gramophone ’s Label of the Year in 2010 – was devoted to the consort works of the 17th-century composer John Ward and was ‘Editor’s Choice’ in BBC Music Magazine as well as a finalist for the 2010 Gramophone Early Music Award. Their next recording, Byrd’s Complete Consort Music , won a Diapason d’Or, was BBC Music Magazine ’s ‘CD of the Month’, was Gramophone ‘Editor’s Choice’ (September 2011), won a Gramophone Award nomination (2011) as well as a nomination for an International Classical Music Award (2012), and entered the US Billboard Charts after a glowing review on National Public Radio. The consort has performed in festivals and on concert series throughout the world, in cities such as Prague, Tokyo, and Washington DC. Recent engagements

16 have included the Barcelona Early Music Festival, the Bergen International Festival, the Lufthansa Early Music Festival in London, Mazovia Baroque in Warsaw, the Stockholm Early Music Festival, the Vantaa Festival, the Utrecht Early Music Festival and concerts at the Brussels Palais des Beaux Arts and in Ghent’s De Bijloke concert hall. A live broadcast for the European Broadcasting Union in October 2011 brought Phantasm’s artistry to millions of listeners through Europe. Phantasm’s international membership (from Britain, Finland and the US) have been based at the University of Oxford since 2005 when they were appointed Consort-in-Residence. In autumn 2010, they took up a new association as Consort-in-Residence at Magdalen College, where they perform, develop viol consort playing among the students, and collaborate with Magdalen College Choir. WWW.PHANTASM.ORG.UK

LAURENCE DREYFUS , treble viol and director, was born in Boston, Massachusetts (US). After cello studies with Leonard Rose at the Juilliard School in New York, he turned to the viol, studying with Wieland Kuijken at the Royal Conservatoire at Brussels, which awarded him its Diplome supérieur with highest distinction. As a bass viol player, he has recorded CDs of Bach’s viola da gamba sonatas, Marais’s Pièces de violes and Rameau’s Pièces de clavecin en concert (all on Simax), and collaborated with Silvia McNair in a Grammy-winning album of Purcell songs (on Philips). As a musicologist, he has published Bach’s Continuo Group and Bach and the Patterns of Invention

17 (Harvard, 1987 and 1996); the latter won the Kinkeldey Award from the American Musicological Society for the best book of the year. Dreyfus taught at Yale, the University of Chicago, Stanford, and the Royal Academy of Music before becoming Thurston Dart Professor in 1995 at King’s College London. In 2002 he was elected a Fellow of the British Academy, and in 2005 took up a University Lectureship at the University of Oxford in conjunction with a Tutorial Fellowship in Magdalen College. He received the title of Professor at Oxford in 2006. His latest book, Wagner and the Erotic Impulse , was published by Harvard University Press in October 2010.

WENDY GILLESPIE , treble viol, was born in New York and, after attending Wellesley College and the Amsterdam Conservatoire, began her performing career with the New York Pro Musica Antiqua. Since then she has played all over the world with leading ensembles including Les Filles de Sainte-Colombe, the Ensemble for Early Music, Ensemble Sequentia, the Waverly Consort and the English Concert. She has participated in over 80 recordings for Virgin Classics, Decca, Nonesuch and Harmonia Mundi among others. Whilst her specialty lies in consort music, Gillespie has participated in many performances of both medieval and contemporary music. Gillespie was a founding member of the viol consort Fretwork, and appeared with them worldwide, having won both a Grand Prix du Disque and a Gramophone Award. President of the Viola da Gamba Society of America, she is also Professor at Indiana University at the Early Music Institute.

18 JONATHAN MANSON , tenor viol, was born in Edinburgh and received his formative training at the International Cello Centre in Scotland under the direction of Jane Cowan, later going on to study with Steven Doane and Christel Thielmann at the Eastman School of Music in New York. A growing fascination for early music led him to Holland, where he studied viola da gamba with Wieland Kuijken. For ten years he was the principal cellist of the Amsterdam Baroque Orchestra, with whom he performed and recorded more than 150 Bach cantatas and, together with Yo-Yo Ma, Vivaldi’s Concerto for two cellos. As a concerto soloist, he has recently appeared at Wigmore Hall, Carnegie Hall and the South Bank Centre. Jonathan is an active chamber musician, performing reper toire from the Renaissance to the Romantic, and a long-standing partner ship with the harpsichordist Trevor Pinnock has led to critically acclaimed recordings of the Bach gamba sonatas and, together with Rachel Podger, Rameau’s Pièces de clavecin en concert . In recent years they have joined forces with the flautist Emmanuel Pahud, leading to two recordings of Bach and successful tours of Europe, the US and the Far East. Jonathan lives in Oxfordshire and is a professor at the Royal Academy of Music.

19 EMILIA BENJAMIN , tenor viol, studied at the Guildhall School of Music and Drama. She spent a year at the Brussels Conservatoire with Wieland Kuijken and is a core member of Sonnerie, playing viol, violin and viola. Emilia discovered her desire to be a professional musician (rather than just a dilettante violinist) when she took up the treble viol while studying History of Art at the University of East Anglia. She went on to study the viol with Sarah Cunningham and Baroque violin with Micaela Comberti in London, before going to Brussels. In addition to her two main instruments, Emilia also plays viola and lirone and now performs frequently on all four instruments. Her musical life has covered a wide range: Rennaissance viol consort music with Phantasm and Concordia, English divisions and French Baroque repertory through to Mozart quartets, Bach concertos and Mendlessohn piano quartets with Sonnerie, Italian opera on the viol and lirone with Glyndebourne, Early Opera Company, Norwegian State Opera and Frankfurt Oper, Baroque orchestral and chamber playing with the Irish Baroque Orchestra, the Amsterdam Baroque Orchestra, Florilegium and the Orchestra of the Age of Enlightenment. She has also played at Shakespeare’s Globe for Measure for Measure and Anne Boleyn . Emilia has featured on two Gramophone Award-winning CDs: Biber violin sonatas with Monica Huggett and the Brandenburg Concertos with Trevor Pinnock, in which she played solo viola in Concerto No. 6.

20 MIKKO PERKOLA , tenor and bass viols, studied viola and viola da gamba at the Sibelius- Academy and at the Royal Conservatory in The Hague. His teachers were Arvo Haasma, Markku Luolajan-Mikkola and Wieland Kuijken. Perkola has given concerts and recorded chamber music in Europe with the Norwegian Baroque Orchestra, the Icelandic Chamber Orchestra, Concerto Palatino, Helsinki Baroque Orchestra, Battalia, Retrover, Ensemble Severin, and recitals with Wieland Kuijken, Laurence Dreyfus, Topi Lehtipuu, Hans-Ola Ericsson, Anna Lindal and Markku Luolajan-Mikkola. He has recorded Bach’s gamba sonatas (on Naxos) with harpsichordist Aapo Häkkinen and Rameau’s Pièces de clavecin en concert with him and Petri Tapio Mattson (on Alba). Mikko is both a singer and composer in the Finnish group Tekijä Tuntematon, which interprets poems in a modern idiom. His wide range in music making includes collaborations with artists from different fields, from early music to multimedia and solo performances of contemporary music with amplified viol.

21 MARKKU LUOLAJAN-MIKKOLA , bass viol, studied cello with Arto Noras at the Sibelius Academy in Helsinki, which awarded him its diploma in 1983. An interest in Baroque music led him to a summer course in Norway with Laurence Dreyfus and later to Holland where he studied with Wieland Kuijken at the Royal Conservatory of The Hague and received postgraduate diplomas in viola da gamba and Baroque cello. He is active as a chamber musician and has given many solo recitals throughout Europe and Asia. His recording of Marais’s Suitte d’un Goût d’Étranger (on ALBA) won a national award for excellence in his native Finland, and his CD of contemporary gamba music, Gamba Nova , won the Emma Award for the best classical CD in Finland in 2008. Other solo CDs have likewise garnered critical acclaim, including discs of virtuoso viol music by Forqueray and Bach’s gamba sonatas, the latter issued by BIS. His special interest is in commissioning contemporary music composed for the bass viol as well as in designing and commissioning modern reproductions of viols and other string instruments built to his specifications for his company Lu-Mi Strings (www.lumi-strings.fi). Markku has been the artistic leader of the Finnish Baroque Orchestra since 2010 and founded the Vantaa Music Festival the same year. As a cellist, he performs on period cellos in a wide range of repertoire, including works for cello and violin by Bach, as well as by Baroque and Romantic composers.

22 DANIEL HYDE , organ, held the Organ Scholarship at King’s College, Cambridge, and graduated with First Class Honours in Music. As an organist he won prizes in the RCO Performer of the Year 2002, playing the Guilmant Symphony for Organ and Orchestra with the BBC Philharmonic. His recitals have included Easter at King’s and the St Davids Festivals, Gloucester, Durham and Derby Cathedrals, Huddersfield Town Hall and Westminster Abbey. With the Britten Sinfonia he has twice performed the Poulenc Concerto , and his recording of the Hindemith Concerto has received widespread critical acclaim. As an accompanist he has appeared regularly with the BBC Singers on Radio 3 and at the Proms. In August 2010 he made his solo debut at the BBC Proms, performing the J.S. Bach’s Canonic Variations . Formerly Assistant Conductor of the London Bach Choir, he is also active as an orchestral conductor, having worked with the Britten Sinfonia, Academy of St Martin in the Fields and the City of London Sinfonia. His first post as a Director of Chapel Music was at Jesus College, Cambridge. In 2009 Daniel was appointed Informator Choristarum , Organist and Fellow in Music at Magdalen College, Oxford, where he is a University Lecturer in the Faculty of Music. At Magdalen, he is responsible for training the renowned choir of men and boys which sings six services a week during term time and pursues a busy schedule of tours and concerts as well as recording for Harmonia Mundi.

23 CKD 399

r e e d D r u v n i a C o t a

, t a s l r v u d y e o o t a n i s n b o v l a n a

i

n

n M e r w

t o k u K

o a o u i . o c U d d i

d

o s g Q u c 3 o . t t u E n P

s i S 0 d m p

s M . r

S 6

u n u s o . i s

c D

7 t

r i c D d p y s

G R e i e d s s

n e t r b e v a R r Y i u

d u e t n l W a o r e k n o l

B e e i

O O M

r l l s s o n

d

o u G a t

p t c @ C w e M t r

o S e l m e o

o

a f t m A o A b E r o m i I d h n L u s i R o t c e

s o . t L R

o : G s n c o

s C a . t e L , b o m n

I o T d s e a r p r N e e

d O n l

t C o r 7 t W g e i s b O

r N 0 c s o . y I a F 0 n o L e e c l e s i r l

5 R e

e L b

m f a n

r b v

E

y 3 v t r e n o a n T e 0 i l a

l

i u e N h n A 3 .

i t

a v h o l

d i e

. t 1 w W v l i l O r

e 4 , d w a

e w r v a w

1 n D

d

) i e w o w o E i f

s A

0 e

s t w ( h c k l L

i w O n o s a c t i c t a l

4

s l R

a a - B

a

4 e d u o

r d i n t c a y + W o A h n i

m v t o D : t a o

a O

f s l d L

t

d e I x c R n n G u s a i r r i o i a S t s e A w e 7 A s s

m

m s A u 2 o r s

e v e V L a 0 W t d o D d n

m o r 5 f e m i

G A

l

n l -

c i , u

o u N 3 e n t n a s l r S 0

b o s i

n o l H i u t 3 O

y D e n

a

r s L

R 1 D v O m

y S o e e i t

t 4 n t i J f O e l L

1 s a r C n a i ) C i

l r a o 0 g A L s l E u ( o i

e f p R . q

4

y x R t 4 m

N e i e . l

i o N h + d I t c n c :

L a . t a a – f s o

l c

y d

n t d r i u l a w o o a o c o l y u

e d n q r w w d n o D o n n i d N l a C WILLIAM LAWES CONSORTS TO THE ORGAN CKD 399 6 2 8 1 7 5 6 8 5 8 0 9 6 5 8 4 8 6 6 4 5 9 9 5 1 3 3 2 2 0 1 3 1 1 2 5 3 0 2 3 2 0 1 2 0 4 : : : : : : : : : : : : : : : : : : : : : : : 1 3 1 6 1 2 5 2 6 3 2 2 4 1 3 4 2 4 3 4 1 5 2 ...... )

...... 5 ...... 5

a

4

S )

...... ) ) ) 6 2 ...... g 1 2 1

...... 1

n . 4

. .

.

E – ) 4 . o o ) ) ) o o : o e s 1 2 2 2 1 c ...... 7 N

n n . . . N 0 7 . . . . N N a N

( ......

y :

( ( 6 ( o o

m o o

r E 5

W a 6 1 A 5 5 ...... o l 5 6 6 6 6 5 a M f ( a N N

...... a a I r N N

a a a a a a

T e ( ( ...... ( ( P 5 5 6

a P

A

y

a a

G a a a G i y y y y y y y i d 5 5 5 6 6 6 6 5 5 e n

N e z z z z z z z z z . i I r a a a a a a a a a h g n n n e a a a a a a a a a

Y t n L e S t t t t t t t t t e e e i m A

e e e e e e e e e r R n i L v v v r r r r r r r r r e n n n n n n n n n o

n t g i i i i i i i i i P a a a s a a a a a a a a a

n n a T E L

A F A P A F P A P F A A F A F F A I F O A F F M O A n

T o & i I I I I I I I M

I I I I I I I O s V V I I I I I I I I I I I I I I i R g I I I I I I I T c I I I I I I I I I n e i r x i k m n o p q s t k l m n l r P A E . M 6 7 8 9 b b b b b b b b c c c c 1 2 3 4 5 b b O M

T I D e f S i t c g g a D L H

F

S

. a C r r

l L

o e n n n n f f y

n i i i i n

c a i

T

i l i

s

p 5 5 5 N 6

u L

B 6 c 5 a a a s a

M i

a

a I d – t

t t n

t

s t i t t e e e O e c

d O e e r a 6 S o S p S S c S S a m e

W C T o R

c t

n . e d y n r i n a r L S

o d . o S n

U t f a E c t

o

s e e

s l y h r k o i t r n

i a d a n v

i s

m n l d s e e o

o n d s d i d a a a a v

r e

b t M y l

s . a e o l l s 2 r i A p o 1 a a l

v i

L 0

e s l b o v 2 i

e S M b

o O

o

s v l i d g r O D n

K d v b o n a o r e l

C R

K e c . a n o l

n r I r

i c r a S O e b D o e e r t t M g C D e

h R C n o

- t r r A R

e S n E n S t N o d N t

O n e

U R i n d t O

A i L C E a E F

r

N I J S E t N I b Y D P A c P y A R N N e E Y L M I H r 2 S L N

i

A l

R 1 L A H O E N D

e O

0

- I

J

M D L K n 2 s r e y a l P D C d n a D C A S l l a n o s y a l L P

L U n M . N s L

R E E I L a B N d E I W

r E S 9 h L E N N A H C I T L U M D I R B Y C H

G A , o C B N 9 P U

W - c

N

i D H 3 e A t Y K S

W l E A T R

O I

D u : D D K

D R

A , n K L B M N R I n h

D K U i N E K

s t E C i L I A i A M C

O W h A S L W J E M M T w C

N A G R O E H T O T S T R O S N O C

9 9 3 D K C

S E W A L M A I L L I W r e v o 6 c 2

e 1 r D e x x u v t K 0 y 7 o c 3 7 i 2 C p 1 m + + b