musica Dei donum
CD reviews
"Les flûtes d'Angleterre: The Delightfull Companion"
Frédéric De Roos (recorders)
La Pastorella
Dir: Frédéric De Roos
rec: Sep 2001, Our, Eglise
Ricercar - RIC 220 (2001; 63'00")
anon: Greensleeves to a Ground [5] f,m,q,s; Johney Cock the
Beaver [5] c,r; Pauls Steeple [5] h,m,q,s; Slow Ayre, Jig
& Bore [2] d; Slow Scotch Tune [3] h; Tollets Ground [5]
a,m,r,s; W Babell: Concerto nr 2 in D [8] b,j,k,m,n,o,s;
J Baston: Concerto nr 5 in D [7] b,j,k,l,m,n,o,s; R Carr:
Division upon an Italian Ground [1] i,p; W Croft: Sonata in G
g,m,q,s; Mr Hills: Division by Mr Hills [5] g;
G Keller: A Ground [4] h,p; A Parcham: Solo [4]
g,m,o,s; G Sammartini: Concerto a più Istromenti & la fluta
e,j,k,l,m,n,o,s; R Woodcock: Concerto nr 3 in D [6]
b,j,k,m,n,o,s
(Sources: [1] Carr, The Delightfull Companion, 1686; [2]
Synopsis Musicae, 1693; [3] Apollo's Banquet, 1701; [4] George
Bingham, ed, 50 airs anglais, 1702-1706; [5] The First Part of the
Division Flute, 1706; [6] Woodcock, XII Concertos in Eight Parts,
c1720-30; [7] Baston, Six Concertos in six parts, 1729; [8] Babell,
Concertos in 7 Parts, 1730)
Frédéric De Roos, flautino (a), sixth flute (b),
handfluyt (c), fourth flute (d), fifth flute (e),
alto in G (f), common flute (g), voice flute (h),
bass flute (i);
Dirk Vandaele (j), Marianne Herssens (k), violin;
Hans Devolder, viola (l);
Bernard Wolteche, cello (m);
Eric Mathot, double bass (n);
Philippe Malfeyt, archlute (o), theorbo (p),
guitar (q), cittern (r);
Guy Penson, harpsichord (s)
At the end of the 17th century, not only Italian music - in particular Italian
opera - was gaining popularity in England, but also the recorder. At the time
it was suggested that it was something like a "rebirth" after almost a century
of neglect. From the 1680's on a large number of collections of music for the
recorder was published, and collections with dance music for the violin were
reprinted with additional suggestions of the recorder as an alternative to the
violin.
Recorders of all sizes and ranges were used. Most music was composed or arranged
for the alto recorder, simply called common flute. But since John
Hungebut, who was the first to publish a recorder method, wrote that the
recorder can be carried in a man's pocket one wonders whether the alto recorder
was as 'common' as it was supposed to be. In his extensive and interesting
essay in the booklet, Jérôme Lejeune suggests that many pieces were expected to
be played in transposition, on smaller flutes (who could be carried in a
man's pocket), like the fourth, fifth and sixth flute. Hence the performance of
a number of pieces here on that kind of recorders, in particular the solo
concertos. It is known that their composers - like Babell, Baston and Woodcock -
published their concertos for recorders as transposing instruments.
This recording presents a cross-section of the repertoire played in England
around 1700. There are some solo concertos by English composers - John Baston,
William Babell, Robert Woodcock -, but also by Giuseppe Sammartini. Italian
music was very popular in England and works by Italian composers were published
in London. Therefore it is certainly justified to include a concerto by one of
them. But some English pieces were also strongly influenced by the Italian
style. For example, a Solo by Andrea Parcham, of whom even dates of
birth and death are unknown, is sounding like an Italian piece of the mid-17th
century, with its short, contrasting sections and sudden changes. But there are
also typical English dances, like the ground and the jig, and
divisions on popular tunes. Some are played on recorders only, others
with basso continuo. There is a nice variation in the scoring of the basso
continuo: harpsichord, archlute, theorbo, cittern and guitar are used,
alongside the cello and the double bass.
This is a very interesting recording, which gives a nice picture of musical
life around 1700. And most of the repertoire played here was destined for
amateurs. These must have been highly skilled players. So is Frédéric De Roos,
who is playing a whole number of recorders of different range, from the
flautino to the bass recorder. That, of course, wasn't a solo instrument,
but basically a consort-instrument. Just to demonstrate its sound one solo
piece has been played on it, which wasn't such a good idea.
The members of La Pastorella give excellent support in the concertos and the
playing of the basso continuo part is lively and energetic.
The title of this CD refers to the book Harmonie Universelle (1631) by
the French theorist Marin Mersenne, who called the recorder flûte
d'Angleterre (English flute). It was - at least in France - considered a
typically English instrument. It wasn't, of course, but England was a source of
a large and interesting repertoire for the recorder. This recording gives
conclusive evidence.
Johan van Veen (© 2002)