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Le Parler et le Silence: Music for flute consort and lute from the late 16th to the early 18th centuries – The Attaignant Consort (2013) [Official Digital Download 24bit/88.2kHz]

Le Parler et le Silence: Music for flute consort and lute from the late 16th to the early 18th centuries – The Attaignant Consort (2013)
FLAC (tracks) 24 bit/88.2kHz  | Time – 01:08:16 minutes | 1,11 GB | Genre: Classical
Official Digital Download – Source: Qobuz | © RAMÉE / Outhere Music
Recorded: May, 2011 at the church of Notre-Dame de l’Ascension, Bra-sur-Lienne, Belgium

This recording is the sequel to The Attaignant Consort’s first disc – Madame d’amours (RAM 0706) – and the third and last ina series of three recordings presenting the art of the Renaissance flute, both as solo instrument (RAM 1201) and as a consort instrument from the late fifteenth century until the middle of the seventeenth. This disc places the accent on the musical transition of the seventeenth century, and shows how the consort of flutes adapted to the new styles of composition, which pushed it to the very limits of its possibilities. This recording illustrates the repertory for flute consort from its beginnings, including examples of the first instrumental fantasias, of airs de cour in four voices, a suite of English songs, bicinia, and finally French airs enriched with Baroque ornaments from the early eighteenth century.
The ATTAIGNANT CONSORT was co-founded in 1998 by Kate Clark, Frédérique Chauvet, Marion Moonen and Marcello Gatti. Mathieu Langlois joined the ensemble in 2008. Drawn together by a fascination with the renaissance flute, they have collaborated over many years with the Italian flute-maker Giovanni Tardino, exploring the sound world of this, until now, little-known instrument. The ensemble’s work has been greatly enriched by their long-standing collaboration with distinguished English lutenist Nigel North, begun in 2007. Each of the musicians in the Attaignant Consort has a multi-facetted musical career independent of the Consort: above all performers, their combined portfolios comprise outstanding achievements in the fields of teaching, conducting, ensemble direction, editing, writing and musicology. They come together for performances as the Attaignant Consort, sharing a deep love of the poetry and music of the Renaissance and early baroque. The Attaignant Consort works from facsimile editions of original part-books rather than scores, and performs as often as possible from memory, mindful of the aural tradition of learning in which many sixteenth-century instrumentalists were educated. The ensemble not only performs written diminutions from the period, but also those composed specially for it by Kate Clark. The ensemble’s first CD Madame d’amours was released on the Ramee label, to broad critical acclaim, in October 2007.

The Attaignant Consort wisely refrains from explaining what they mean by “Speaking and Silence.” Is it the music that speaks, the notes preceded and followed by silence? The tradition of polyphony that would shortly give way to the primacy of homophonic music? The fantasias and arrangements of vocal works, soon to give way to more thoroughly structured works composed for winds? The Renaissance and Baroque flutes (heard here in instrumental families styled after 16th and 18th century models) that would be stilled with the advent of newer models? Regardless, the Attaignant Consort supplies a fascinating program to illustrate the subtitle of their latest release.
As with their earlier albums, Le Parler et le Silence follows the modern practice in many live performances of forming discrete groups of selections that espouse some form of common identity along with internal and external contrasts. An example is the three Sweelinck arrangements—two witty bicinia or teaching pieces, each in two parts, based on French texts, followed by a learned but sweet five-part setting of Psalm 9. These three pieces, with their high order of imitative art, in turn lead into a section of five English works, the break of continuity illustrated by leading off with an arrangement of Francis Pilkington’s strictly homophonic madrigal My choice is made . The English pieces are in fact a microcosm of secular Elizabethan English music media, presenting madrigals, lute songs, and consort fantasias with variations in diminution. Each succeeding section in turn reveals careful attention to programming for formal diversity and central ideas, whether by nation, individual composer, or (as the program ends with a sonata da chiesa by Boismortier) increasingly formalized structure. In short, this isn’t one of those albums that sports an undifferentiated-four-recorders-as-one sound, but a program of diverse origins, thoughtfully explored by anywhere from solo instruments to full ensemble.
The Attaignant Consort appears not to have been reviewed in these pages, before. It was formed in 1998. Three out of four of their original members are still in the group. While recorder consorts aren’t exactly rare, this ensemble brings both a textural variety and touch of class to everything they do. Lutenist Nigel North’s eloquent performances contribute to the former; unpressured tone and sculpted phrasing, to the latter. The engineering is reasonably dry, close and balanced, with the lute never getting lost behind the Attaignants. Highly recommended. –Barry Brenesal, FANFARE

1. Giovanni Pierluigi da Palestrina (1526-1594) / Giovanni Bassano (c. 1558-1617) – Pulchra es amica mea
2. Giovanni Bassano – Fantasia
3. Luzzasco Luzzaschi (c. 1545-1607) – Canzon decima
4. The Knight of the Lute – Fantasie
5. Gioseffo Guami (1542-1611) – Canzon settimadecima
6. Girolamo Frescobaldi (1583-1643) – Fantasia seconda
7. Jan Pieterszoon Sweelinck (1562-1621) – L’enfant Amour
8. Jan Pieterszoon Sweelinck – Yeux qui guidez mon ame
9. Jan Pieterszoon Sweelinck – Psalm 9
10. Francis Pilkington (1565-1638) – My choice is made
11. Thomas Morley (1557-1602) – Fantasia La Tortorella
12. John Dowland (1563-1626) – Galliard (Sleep wayward thoughts)
13. Thomas Lupo (1571-1627) – Fantasia
14. Orlando Gibbons (1583-1625) – Fantasia
15. Robert Ballard (1575-c. 1650) – Première entrée
16. Charles Tessier (1550-c. 1610) – Si le penser de mon ame
17. Antoine Boësset (1587-1643) – Si c’est un crime que l’aymer
18. Pierre Guédron (c. 1563-c. 1621) – Esprits qui soupirez
19. Pierre Guédron – O destin par trop rigoureux
20. Pierre Guédron – Si le parler et le silence
21. Robert de Visée (c. 1655-c. 1732/33) – Chaconne des Harlequins de Mr Lully
22. Michel Lambert (1610-1696) – Ritournelle de Ma bergère
23. Antoine Boësset / Jacques-Martin Hotteterre (1674-1763) – Si c’est un crime que l’aymer
24. Michel Lambert (1610-1696) – Ritournelle de L’amour, le seul amour
25. Robert de Visée – Prélude
26. Robert de Visée – Chaconne
27. Jacques-Martin Hotteterre – Fanfare à trois flutes
28. Jacques-Martin Hotteterre – Brunette en trio L’amant le plus fidelle
29. Jacques-Martin Hotteterre – Air anglois à trois flutes
Joseph Bodin de Boismortier (1689-1755)
30.-33. Sonata No 1 in G minor – Adagio – Presto – Adagio – Allegro

The Attaignant Consort:
Marcello Gatti, Kate Clark, Frédérique Chauvet, Mathieu Langlois, Renaissance and baroque flutes
Nigel North, lute



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