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Also Available by PAMELA THORBY on Linn Records Baroque Recorder

Also Available by PAMELA THORBY on Linn Records Baroque Recorder

Also AvAilAble bY PAMELA THORBY on linn RecoRds 341 CKD

Baroque Recorder Concertos Handel Recorder Sonatas CKD 217 CKD 223

Garden of Early Delights CKD 291 THE NIGHTINGALE AND THE BUTTERFLY LOUIS CAIX D’HERVELOIS (1680–1759) Deuxième Suite in G Major 1. Prélude Tendrement...... 1.35 2. ...... 2.22 3. Musette ...... 1.33 Discover the world of Linn Records 4. Papillon Vite ...... 1.40 Linn Records is home to some of the world’s finest classical talent. As extensive as it is diverse, 5. La Lionnoise Gravement...... 2.37 the catalogue boasts an array of exceptional performers ranging from the Scottish Chamber 6. La Fanatique Vivement...... 0.50 , Dunedin Consort and Fitzwilliam Quartet to James Gilchrist and Pamela Thorby. 7. Air Tendre ...... 3.15 Linn Records classical recordings have received great critical acclaim and numerous awards and plaudits. In 2009 ‘Mozart Symphonies 38- 41’ by the SCO and Sir Charles Mackerras won ROBERT DE VISÉE (c.1650–1725) the prestigious BBC Magazine ‘Disc of the Year’ and the ‘Critics’ Award’ at the Classical 8. Passacaille (ms Vaudry de Saizenay: late 17th century)...... 2.41 BRITs. Further successes include the Dunedin Consort’s recording of Handel’s ‘Messiah (Dublin Version, 1742)’ which was named ‘Baroque Vocal Album of the Year’ at the Classic FM Gramophone Awards in 2007 and won the ‘Baroque Award’ at the 2008 Midem Awards. ANNE-DANICAN PHILIDOR (1681–1728) ‘Sonate pour la flûte à bec’ in D minor Linn recordings are all available to download at high resolution from the award-winning website 9. Lentement ...... 2.44 www.linnrecords.com ...... 1.22 10. Fugue Downloads can be enjoyed on the Linn DS range of products which are the first digital stream 11. ...... 1.37 players to deliver specialist performance and convenience completely in with how 12. Les notes égales et détachez...... 1.21 people live. Linn DS products offer maximum freedom of choice for customers. All Linn systems 13. Fugue...... 1.50 are modular, upgradeable and expandable, so choosing Linn is an investment in an authentic specialist system. Linn retailers are trained to the highest standard to help you select the best CHARLES DIEUPART (c.1667–c.1740) system to meet your current and future needs through expert demonstration and consultation, Suite No.1 in A Major ‘pour une flûte de voix’ installation and after-sales service. Linn standards ensure that whichever system you choose, 14. Ouverture...... 5.38 you will experience the thrill and emotion of the original performance like never before. 15. Allemande...... 3.27 Linn, GLASGOW ROAd, WAteRfOOt, GLASGOW G76 0eQ UK 16. Courante...... 1.30 t: +44 (0)141 307 7777 f: +44 (0)141 303 5007 17. ...... 2.20 e: [email protected] w: www.linnrecords.com / www.linn.co.uk 18. ...... 0.43 19. Menuet...... 0.57 20. ...... 1.51

215 “Exotic colours and delicious dissonances show that restraint is out: excess ROBERT DE VISÉE (c.1650–1725) is in…a fine balance of scholarship, technology and first-rate performance…” Suite in D minor (ms Vaudry de Saizenay: late 17th century) Elizabethtaughtfor twoyearsatthe Hochschuleder Künste,Berlin, is 21. Prélude...... 1.33 22. OuverturedelaGrotte de Versailles ...... 2.05 professor of at theRoyal AcademyofMusic, and is aLecturer in 23. Courante...... 1.51 PerformanceatSouthampton University, UK. 24. Sarabande...... 3.15 25. Gigue ...... 1.01 26. Contredanse...... 1.27

FRANÇOIS COUPERIN (1668–1733) Pitch: A415 27. Le Rossignol-en-amour Lentement, Instruments et très tendrement, quoy que mesuré ...... 3.22 (Troisième Livre de pièces de clavecin Quatorzième Ordre) Caix d’Hervelois (tracks 1~7): ‘Terton’ in CbyYuzuru Fukushima(1996) CHARLES DIEUPART (c.1667–c.1740) afterVenerebyMartin Haycock (1998) Suite No.6 in F minor ‘pour une flûte du quatre’ de Visée(tracks 8and 21~26): 28. Ouverture...... 4.24 theorbo afterItalian originalsbyKlaus Jacobsen(1994) 29. Allemande...... 2.36 Philidor (tracks 9~13): 30. Courante...... 1.20 ‘Bressan’altorecorderinFbyFredMorgan(1992) 31. Sarabande...... 2.37 theorbo afterItalian originalsbyKlaus Jacobsen(1994) 32. Gavotte...... 0.45 33. Menuet...... 1.03 Dieupart (tracks 14~20): 34. Gigue ...... 1.23 voiceflute( in D) by Fred Morgan (1992) theorbo afterItalian originalsbyKlaus Jacobsen(1994) FRANÇOIS COUPERIN (1668–1733) Couperin (tracks 27,35and 36): 35. Le Rossignol Vainqueur Très Légèrement ...... 2.00 voiceflute(tenor recorded in D) by Fred Morgan (1992) / 36. Double du Rossignol...... 3.33 by Yuzuru Fukushima(2000) (Troisième Livre de pièces de clavecin Quatorzième Ordre) 5course baroque guitarbased on Venetian model by KlausJacobsen(1995) Recorded at the national Centre for ,York, UK Dieupart (tracks 28~34): from March22nd–24th 2009 ‘Bressan’fourthflute(soprano recorder in B-flat)byTim Cranmore(2008) Producedand engineered by Philip Hobbs archlute afterVenerebyMartin Haycock Post-production by Julia thomas, Finesplice, uK

14 3 THE NIGHTINGALE AND THE BUTTERFLY PAMELA THORBY recorders ELIZABETH KENNY archlute, theorbo, baroque guitar he recorder’spresenceinFrench operaand theatreproductions from Lully Tonwards–whereitwas oftenemployed to fine effect in evokingapastoral mood or symbolizinglove, deathand lamentation –isinstark contrast to therelatively small number of solo worksfor theinstrument. However the survivingsolorepertoirebyFrench Baroque composerslivinginFranceand England is of highquality and possesses aspecialbeauty. TheFrench makerPeter Bressan (or PierreJaillard, as he wasbaptized), a contemporaryofthe celebratedmaker Jean JacquesRippert, came to England in 1688 and swiftly became afamous and esteemed makerofflutes, recorders and . Many of hisinstruments survive includingnearly fifty exquisitely craftedrecorders,amongstthem asoprano fourthfluteinB-flat and ten

voiceflutes in D. Theflûtedevoix, or voiceflute(atenor recorder in D), was n to so called becauseits rangewas that of thesoprano voiceand although it is ugh

not specificallymentioned in morethanahandful of pieces, thenumber of Ha d

survivinginstruments from makers such as Bressan and Stanesby suggests ar that therewas aconsiderable market forawiderange of recorders. Thus third, y rich

fourth, fifth and sixthflutes –A-flat,B-flat,Cand Drecorders –wereindemand yb

alongsidethe mostcommonly used alto in F. enn hK

Bressan wasafriend of James (or Jacques) Paisible,ahighlysuccessful bet recorder player,oboistand composer whobroughtthe newthree-piecerecorder liza fE

designtoEngland in 1673.The impact of Paisible and hisFrench colleagues on oo

wind playinginEngland wasconsiderable.Uffenbach, theGerman collector, Phot

413 Pamela beganteachingthe recorder at theGuildhallSchoolofMusic amateur musician and traveller, praised Paisible as beingaflautist “without and DramainLondon shortly aftergraduatingand is nowaGSMD Visiting equal”.Paisible went on to live in London formorethanforty yearsduring Professor,givingmasterclasses abroad (mostrecently in Portugal,Italyand which time he maintained alongassociation with theroyal household.InJohn France) and in theUK(includingthe RoyalWelsh CollegeofMusic and Drama, Blow’s Venus and Adonis,Venus (sungbyMary‘Moll’ Davies, whosedaughter York University, Birmingham UniversityCentrefor Early MusicPerformance by CharlesII, Lady Mary Tudor, played theroleofCupid) sangher loveduets and Research, Birmingham Conservatoireand Chetham’sSchoolofMusic in to Adonis, whilstsimultaneouslyintertwiningher musicalphrases with the Manchester). recorder soloist, one James Paisible.Paisible married Mary Davies shortly www.pamelathorby.com after! Ican well imagine theimpact thosedashingFrench musicians wouldhave made as they confidently displayedtheir abilities in their mother tongue. ELIZABETH KENNY Their fluent and nuanced sound, thefinesseoftheir agréments (ornaments) ElizabethKennyisone of ’sleadingluteplayers.Her playinghas been inflectingthe mood, metreand structureofthe musicwould have been a described as “incandescent” (Music and Vision), “radical” (The Independenton piquant addition to themeltingpot of cosmopolitan London musicallife. Sunday)and “indecently beautiful” (Toronto Post). In over adecadeoftouring she hasplayedwithmanyofthe world’sbestperiod instrumentgroups and © Pamela thorby,2010 experienced many differentapproaches to musicmaking. She is aprincipal player and initiatorofseventeenth-century projectswiththe Orchestraofthe ’vealwaysloved playingFrench musicfor itsstraight-to-the-heart Age of Enlightenmentand hasplayedwithviolconsort Concordia sinceits Imelodies that seem to arisenaturallyfromthe physicalmakeup of the founding. Elizabethhas builtchamber musicand recital partnershipswitha instrumentorvoices forwhich they arewritten. It’s musictoplaybyfeel number of distinguished artists and retains astronginternational connection rather than by precept, which is whyit’sanentertainingparadox that it with William Christie’sLes ArtsFlorissants. comes gift-wrapped in tightly-orderedtreatises on everything from fingering Herresearch interestshaveled to criticallyacclaimed recordings to ornamentation. Dieupart’ssuitescapture this peculiarly French blend of of Lawes, Purcelland Dowland, and to develop ideas such as the‘Masque of precision with abundantfreedom. Published in Amsterdam, thetitlepages Moments’which she took to festivalsinEngland and Germanyin2007-8. She coverarange of options from harpsichordsolotoviolin to flute and forthe is creatingaconcert version of John Blow’s Venus and Adonis in which Pamela accompanimentfromviolorarchlute. Well, actuallythe Amsterdamtitlepage Thorby takesaprominentpart. AsoloCD‘FlyingHorse:Music from theML has Viole and Archilut,but theupper part tooisdesignated “Violon et flute”, Lutebook’was released by Hyperion Records. BBCMusic Magazine said: although it finds itsmostpersonalexpression on one or theother.When you

12 5 applythe same logic to thebass yourestore to thepluckedinstrumentits PAMELA THORBY complete role as bothamelodic and harmonic support, sometimes moreof Pamela Thorby is unique amongstrecorderplayers in thebreadth and variety one than theother,inthe same waythatthe harpsichordinthe solo version of her work and is widelyregardedasthe UK’smoststylish and creative sometimes singsand sometimes riffs itsown rhythmic . And recorder virtuoso.She can be heardonnumerous recordings of musicranging youcan sneak some of thecounterpointfromthe harpsichordversions back in, from themedievalperiod to thepresent dayand hastoured internationally especiallywhen therecorderplayerhas allthe missingvoices in her head, and as aconcertosoloist, chamber musician and orchestral player.She has asks forthem likeanimaginaryfriend to dialoguewith… appeared many times as asoloistatmajor UK festivalsand venues including I’vealsoalwaysenjoyed thestory of Apolloand thenightingale,which theRoyal Albert Hall, WigmoreHall, Birmingham SymphonyHall, Snape goes something likethis: Apollochallenged thelyricalbirdtoacontest.After Maltings, Usher Hall, TheSage and CadoganHall. She performs regularlyin many hoursofthe mostheartfelt singingthe bird’schestburst open and he recital and as asoloistwithleadingensembles such as theEnglish Concert, died. Art 1, Nature 0. Art plusthe nightingale Nature wouldequal Hotteterre’s La Serenissimaand ConcertoCaledonia. version of Le Rossignol en amour.Apollo’slyreheregivesjustthe oddnoteon Pamela’s ability to assimilatemanystylesofmusic and loveof theguitar, callingatruce in thebeauty wars.Thissort of lightness around “Big improvisation have ledtoperformances with thePerfect Houseplants and Questions of Art and Beauty” is another reason to lovethismusic, and is very jazz pianistHuw Warren, on ’hugely successful albums, handyfor Caix d’Hervelois’ Papillon/Butterfly.Soaringupwithimprobable on film and TV soundtracks and she hasrecently released ‘Ammonite’,an but graceful and gracious velocity is something of aThorby signature,to album of her ownfolk/jazz-inspired compositions. TheGrand Tourists is a which one can only respond by closing one’seyesand reachingfor something new, flexible group forPamela to shareher genre-hoppingmusicality with just alittlebit higher.Then abit higher still. fellow musicians acclaimed in their field of oldand newmusic of allkinds. © elizabeth Kenny,2010 Pamela wasthe drivingforce behind thePalladian Ensemble, touring worldwideand recordingten acclaimed albums forLinn Records, which have garnered sixprestigious Diapason d’Orawards. Hersolorecordings on Linn are‘Baroque Recorder Concertos’ (Linn CKD 217) with Sonnerie (Gramophone Critic’sChoice); ‘Handel Recorder Sonatas’ (LinnCKD 223) with RichardEgarr (BBC MusicMagazine Chamber MusicDiscofthe Monthand aGramophone Critic’sChoice); and ‘Gardenof Early Delights’ (Linn CKD 291) with harpistAndrew Lawrence-King(“Thisis Paradise indeed” Gramophone).

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PhotoofPamela Thorby by Jim Poyner Vi Jo fir ANNE-DANICAN ins to Ha th ha pl in be and pa pl Son be he co re so ha de of gr CHARLES ha ayin ay wa sc co ew efi ur lo fo gin dica st rt rps ve Les mor nd inheri trumen on er s Conc rd re nn of an rd En and do na el ne ichor each of g er Pe Di ti te ed st te al th ian hi glish Se ne lt gl th dt eupart on ,s th ti and th em te ert th he DIEUP se ige et bas wo e in ts tal and ar di e dh at su gs e1 ot so ail sF end mig nt to .D or an Vi ab Su is tian nH it Ha id wa lo 702 is he wn ,a ra ef ART’s as ta ol e, and ieupart’ an ef it s as en ym. of st ra fa and ons. nçais ha e. PHILIDOR nd amous of hi nd ,a Bach Coun de se el edi jo tion th hi ob dy el sf Co low nd mb ,g ye el fr in He er’ sl en emen tion ort eu eq ’s et avo re dc flue (1 if te so sp ly cop di tr to or ém fe lli” 727), ue Andr e. to unes se ss ep st ons of tt rd in ll os ches nt Ear ts nt En ied d: be . ig came in e, re th of erin fo it ia whi ed id ré of gu bot éD vo me gl neur se wa ion lier e ul th la tr er Sa ss and. be ic is co en th go nu a. efi ch hs an ned nd ab of fr efl ,h nd he in st uc nce eAM Ha in et wh ican om fd le ucce he rs ew wid d th wich, ju ha Les ut he Th Fr and wk ta rt suc anc him of eo dge speci ei as ad s ench efi el ta sP ss nd Ph aj ins Gr ound pe nt ve yd ce em ugh gi s, se prim or ful we is ilid ais si ands rs ss rf rw gu by fied re lf he is tin ha xt su or re te ov bus t, ib port tribut ed e he or no in hi aril hs fir )w rps me it or guished emen le pu di be lm Ha s t ea l’ iness En th ga st ,L ui it aîné ed tion d ye ne [l ichor fo bl in eC ht ut ess] ni te re gl ed fo oeill in at ished re th ts mp gf bois and si se ur he ,A re onc Si end al at an in each ( dm no ash dc ou loy th fa co et x and e-h us nne be d as ert mi er and ea 17 ve su onc gn rd ac ed eo us de el ion ou fo e, 01 vo su rtu ly itt er ega af ac wa iza ic re Sp at fa se ert oup Gan th wa ur it es to fo ourt of of re fo sac ompos hi bl s, Court, iri no nt et an sa sh sam ra ,a rk de le st ei sd th t, in mu tu ma he ve nd ud he hfl ll et is ompos ll Pe nB of cl el ea eyb obs em rt si nn type yt ook av period. er th pl wou em pus wh th ut ur (1 cians. ye ach an ay oar cu in hem er ec 725) and ei et “h ar ber er ch, on ed gs de in, er ld re of of ’s n d o e e s , , 7 The ‘Sonate pour la flûte à bec’ in Dminor comes from hisfirstbook of Le Rossignol-en-amour and Le Rossignol Vainqueur come from pieces, thetitlepage of which mentions thetransverseflute, recorder, Couperin’s fourteenth ordre, aset of movements with titlesrelatingto and with bassocontinuo (published in , 1712). Thissonataactually birds. The rossignol,ornightingale,isabirdhistoricallyassociatedwith specifies performanceonthe recorder.Ifany French recorder work can be love and romance. Couperin first depictsthe nightingale in lovethrough a considered comparable in qualitytothoseofHandel or Barsanti, Philidor’s slow,beautiful melody which he indicatesshould be played very tenderly.He sonata achievesthatwhilstmaintaininganessentialFrench character. repeats themovementinthe form of a double,orornamentedversion, which heightens itscharacter.Inafootnote, Couperin suggests that theupper part LOUIS CAIX D’HERVELOIS wasaviola da gambistwho is thoughttohavebeen maybeentrustedtoaflute, givingthe movementamorebird-likecharacter apupil of . Hisrelationship to theFrench de Caix family of and sonority.Inthe other movement, Le Rossignol Vainqueur,asthe title playersistentative,but hisabilities were not. If hiseight books of pieces for suggests,the nightingale is victorious in love. Itsupbeatmood is realised in thevioland pardessus de viole areany indication, he wasanexcellent player theform of agigue. of bothinstruments. Alongsidehis worksfor theviol, Caix d’Hervelois published twobooks Likemanymusicians workingatthe French Court, ROBERT DE VISÉE wasa of suites forthe transverseflute, thelatter(Deuxième recueil,Paris, 1731) multifaceted instrumentalist, composer and teacher.Heismostrecognized as containingthe Suite in G Major.Its movements reflect traditional aguitaristand theorbistwho published twobooks of musicfor theguitarand types, while some aregivendescriptive titles. Papillon (‘butterfly’) is written one forthe theorbo and lute.His business at court included beingpart of the as aspiritedgavotte with themelodypart imitatingthe flutteringofthe continuo group forproductions of operas and opera-balletsbyJean-Baptiste butterfly’swings. La Lionnoise is asultry Gravement,perhaps referringto Lully.Some of themoredramatic and ouvertures, such as this one, Lyons, thecitywheresome of Caix d’Hervelois’lateworks were published. La made their wayintohis repertoireassolopieces, useful forthe occasions on Fanatique,anenergetic gigue, only hintsatwho or what‘thefanatic’ might which he wascommanded to perform late at night in Louis XIV’s bedchamber. have been. © Bernard Gordillo,2010 FRANÇOIS COUPERIN wasthe mostfamous French Baroque composer to write forthe . Hisworks also included sacred and secular vocalmusic, All performing and recorded editions of these works as well as asubstantialamountofinstrumental . Hispieces have been made by Pamela Thorby and Elizabeth Kenny forsoloharpsichord(thefour livres, or books, made up of 27 ordres, and L’art from facsimiles of the original manuscripts. de toucher le clavecin)are monumental in their scopeofmusicalinvention, their originalityand their ingenuity.Theyrun thegamut of expression and challengethe performer as fewothersdo.

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