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The Broken Consort CD, Classica, Import

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CD audio, CD, Classica, 5 gen 2012
"Ti preghiamo di riprovare"
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Dettagli prodotto


Disco: 1

  1. 1. Fantazie
  2. 2. Courante
  3. 3. Ayre
  4. 4. Saraband
  5. 1. Fantazie
  6. 2. Courante
  7. 3. Ayre
  8. 4. Saraband
  9. 1. Fantazie
  10. 2. Courante
  11. 3. Ayre
  12. 4. Saraband
  13. 1. Fantazie
  14. 2. Courante
  15. 3. Ayre
  16. 4. Saraband
  17. 1. Fantazie
  18. 2. Courante
  19. 3. Ayre
  20. 4. Saraband
  21. 1. Fantazie
  22. 2. Courante (Ecchos)
  23. 3. Ayre
  24. 4. Saraband
  25. 1. Introduction
  26. 2. Saraband
  27. 3. Air
  28. 4. Le double
  29. 5. Gavot
  30. 6. Country dance
  31. 7. Symphony
  32. 8. Entry

Disco: 2

  1. 1. Pavan
  2. 2. Ayre
  3. 3. Courante
  4. 1. Pavane
  5. 2. Ayre
  6. 3. Galliard
  7. 1. Pavan
  8. 2. Ayre
  9. 3. Galliard
  10. 4. Ayre
  11. 5. Saraband
  12. 1. Pavan
  13. 2. Ayre
  14. 3. Corant
  15. 4. Chicona
  16. 1. Pavan
  17. 2. Galliard
  18. 3. Ayre
  19. 4. Corant
  20. 5. Jigg
  21. 1. Prelude
  22. 2. Fantasia
  23. 3. Chiconae
  24. 4. Air
  25. 5. Hornpipe
  26. 6. Gavot
  27. 7. Corant
  28. 8. Country dance

Descrizione prodotto

The Locke Consort

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1 di 1 persone hanno trovato utile la seguente recensione
4.0 su 5 stelle Locke's best, and well performed 9 ottobre 2013
Di J. Cyphers - Pubblicato su
Formato: Audio CD Acquisto verificato
Along with the four-part consort suites for viols, The Broken Consort represents the peak of Locke's chamber music. The title refers to the instrumentation: two violins, bass viol, and theorbo (bass lute) continuo that "breaks" the bass line with improvised divisions. According to the informative program notes, Locke composed these suites for Charles II's private music in 1661-2; however, the king, who had spent his formative years abroad, preferred dance music in the French style, so Part II of this series was probabaly abandoned. The Tripla Concordia suites, published about fifteen years later, show Locke's sucessful adaptation to this preferred style, which we probabaly know bestthrough Purcell's theatre music.

This is the only available recording of the complete Broken Consort, including the unfinished Part II, and it is very welcome. The Locke Consort obviously love this music, and play it with great style and sensitivity. However, compared with the earlier CD of Part I by The Parley of Instruments under Peter Holman, the recording seems dry and doesn't show the early-violin sound off to great advantage. Moreover, it seems that Locke intended the continuo to be played by multiple theorboes--as used by Holman's group--and an additional player on this part would have helped.
1 di 1 persone hanno trovato utile la seguente recensione
5.0 su 5 stelle Graceful Restoration consort music 14 gennaio 2017
Di Stephen Midgley - Pubblicato su
Formato: Audio CD
The instrumental music of Matthew Locke (1622-77) initially seems archaic for its time, looking back towards the viol consort works of Byrd, Dowland and William Lawes rather than forward to the later baroque of Purcell. That's until you start to listen more closely. The present two-disc set bring us the two complete parts of his series of Broken Consort suites, as well as two examples of his contributions to the multi-composer 'Tripla Concordia' collection. They are performed by the four players of the Locke Consort – two baroque violins, viola da gamba (or bass violin) and theorbo – an ensemble whose musicianship is outstanding - full of life, subtlety and charm, with lovely textures and a perfect balance.

The six suites of the First Part are all in consistent format of Fantazie, Courante, Ayre and Saraband. The Fantazie movements are the more extended, in several sections with especially beautiful fugato passages. The dances are full of graceful melodies, and the Sarabands are more lively than the usual stately tradition of this dance would suggest. The Tripla Concordia suite in G minor, which concludes the first disc, is a more extended work in the then-fashionable French style.

For the Second Part, on disc 2, the suites are more freely organised but just as fine to listen to. This time it's the opening Pavans that are the most substantial and developed movements. Suite no. 2 is especially attractive melodically, but the latter equally applies to the concluding Suite in G major from Tripla Concordia which again is full of fine, foot-tapping tunes.

This is lovely, soulful music, played beautifully by the musicians of the Locke Consort. Booklet notes are excellent and recorded sound is ideal. There is another recording of Part 1 of Locke's Broken Consort suites, played by the Wayward Sisters with a very different approach to instrumentation. This latter is worth hearing, but the present recording more accurately reflects Locke's intentions and, even if that were not so, I definitely prefer the Locke Consort's sensitive and beautifully balanced treatment. My thanks are also due to writer Alan Howard of the OUP's Early Music quarterly, whose excellent review first brought this music to my attention.

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