In Nomine: English Consort Works
View record and artist detailsRecord and Artist Details
Composer or Director: Alfonso II Ferrabosco, Thomas Tallis, John Taverner, William Byrd, John Baldwin, John Bull, Christopher Tye, Robert I Parsons, Robert I Johnson, William Cornysh, Thomas Preston
Label: Amon Ra
Magazine Review Date: 3/1988
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: CSAR29
Tracks:
| Composition | Artist Credit |
|---|---|
| In Nomine a 4 No. 1 |
Thomas Tallis, Composer
Fretwork Thomas Tallis, Composer |
| In Nomine a 4 No. 2 |
Thomas Tallis, Composer
Fretwork Thomas Tallis, Composer |
| Libera nos, salva nos |
Thomas Tallis, Composer
Fretwork Thomas Tallis, Composer |
| Fantasia a 5 |
Thomas Tallis, Composer
Fretwork Thomas Tallis, Composer |
| Solfaing Song a 5 |
Thomas Tallis, Composer
Christopher Wilson, Lute Fretwork Thomas Tallis, Composer |
| (19) In Nomines, Movement: Trust |
Christopher Tye, Composer
Christopher Tye, Composer Fretwork |
| (19) In Nomines, Movement: Crye |
Christopher Tye, Composer
Christopher Tye, Composer Fretwork |
| Fa la sol a 3 |
William Cornysh, Composer
Fretwork William Cornysh, Composer |
| In Nomine a 4 |
John Baldwin, Composer
Fretwork John Baldwin, Composer |
| In Nomine a 5 |
John Bull, Composer
Christopher Wilson, Lute Fretwork John Bull, Composer |
| Fantasia a 3, C No. 3 |
William Byrd, Composer
Fretwork William Byrd, Composer |
| In Nomine |
John Taverner, Composer
Christopher Wilson, Lute John Taverner, Composer |
| O lux beata trinitas |
Thomas Preston, Composer
Christopher Wilson, Lute Fretwork Thomas Preston, Composer |
| Ut re me fa sol |
Robert I Parsons, Composer
Fretwork Robert I Parsons, Composer |
| Fantasia No. 5 |
Alfonso II Ferrabosco, Composer
Alfonso II Ferrabosco, Composer Christopher Wilson, Lute |
| Fantasia a 4 |
Alfonso II Ferrabosco, Composer
Alfonso II Ferrabosco, Composer Christopher Wilson, Lute Fretwork |
Composer or Director: Alfonso II Ferrabosco, Thomas Tallis, John Taverner, William Byrd, John Baldwin, John Bull, Christopher Tye, Robert I Parsons, Robert I Johnson, William Cornysh, Thomas Preston
Label: Amon Ra
Magazine Review Date: 3/1988
Media Format: CD or Download
Media Runtime: 60
Mastering:
DDD
Catalogue Number: CD-SAR29
Tracks:
| Composition | Artist Credit |
|---|---|
| In Nomine a 4 No. 1 |
Thomas Tallis, Composer
Fretwork Thomas Tallis, Composer |
| In Nomine a 4 No. 2 |
Thomas Tallis, Composer
Fretwork Thomas Tallis, Composer |
| Libera nos, salva nos |
Thomas Tallis, Composer
Fretwork Thomas Tallis, Composer |
| Fantasia a 5 |
Thomas Tallis, Composer
Fretwork Thomas Tallis, Composer |
| Solfaing Song a 5 |
Thomas Tallis, Composer
Christopher Wilson, Lute Fretwork Thomas Tallis, Composer |
| (19) In Nomines, Movement: Trust |
Christopher Tye, Composer
Christopher Tye, Composer Fretwork |
| (19) In Nomines, Movement: Crye |
Christopher Tye, Composer
Christopher Tye, Composer Fretwork |
| Fa la sol a 3 |
William Cornysh, Composer
Fretwork William Cornysh, Composer |
| In Nomine a 4 |
John Baldwin, Composer
Fretwork John Baldwin, Composer |
| In Nomine a 5 |
John Bull, Composer
Christopher Wilson, Lute Fretwork John Bull, Composer |
| Fantasia a 3, C No. 3 |
William Byrd, Composer
Fretwork William Byrd, Composer |
| In Nomine |
John Taverner, Composer
Christopher Wilson, Lute John Taverner, Composer |
| O lux beata trinitas |
Thomas Preston, Composer
Christopher Wilson, Lute Fretwork Thomas Preston, Composer |
| Ut re me fa sol |
Robert I Parsons, Composer
Fretwork Robert I Parsons, Composer |
| Fantasia No. 5 |
Alfonso II Ferrabosco, Composer
Alfonso II Ferrabosco, Composer Christopher Wilson, Lute |
| Fantasia a 4 |
Alfonso II Ferrabosco, Composer
Alfonso II Ferrabosco, Composer Christopher Wilson, Lute Fretwork |
Author:
Many thanks to Fretwork—the English consort to watch—for having dignified the native In Nomine with a CD. For the uninitiated, In Nomines are instrumental compositions popular in England during the sixteenth and seventeenth centuries, in which counterpoints are woven around a cantus firmus derived from the Sarum antiphon Gloria tibi Trinitas. The earliest and one of the best known of In Nomines, by Taverner concludes the disc. Although there is no dearth of examples (over 150 survive), nearly half the works on the CD are based on other themes. These include, for the first time on record, the three works which comprise the complete consort music of Tallis (one of them recently discovered in fragmentary form and convincingly reconstructed by our own John Milsom). So it represents a selective compendium of English cantus firmus compositions for instruments. Another disc, presenting other In Nomines by such worthy composers as Gibbons, Lawes, the younger Ferrabosco and Purcell, must surely be planned.
The viol players of Fretwork play together beautifully in the contrasting homophonic and imitative textures that characterize this music, the treble playing in particular is sweet and amenable to subtle nuances. Christopher Wilson's lute adds definition to the consort timbre (which in fact changes in terms of personnel and instrumentation from one work to the next) and variety with three solo movements including one by Byrd with a single treble viol. Warwick Edwards provides a note both interesting and informative.
A number of the In Nomines stand out, among them those given the titles Crye and Trust by Tye (the most prolific composer in this genre) and those of Byrd and the elder Ferrabosco—both masterful in their expressiveness and vitality. Fretwork never hesitate in the face of the arcane chromaticisms arising from the counterpoint, so characteristic of English music of this era, and here prominent in the works based on other cantus firmi by Parsons and Preston. The Franco-Flemish-inspired Solfaing Song a 5 of Tallis is more tuneful than most of these works, an aspect which the ensemble nicely exploits. Cornyshe's Fa la sol a 3, lasting almost six minutes, affords the group the opportunity to demonstrate their skill in sustaining larger structures. Fretwork show themselves to be well in control of the elements and aesthetics of this repertory.'
The viol players of Fretwork play together beautifully in the contrasting homophonic and imitative textures that characterize this music, the treble playing in particular is sweet and amenable to subtle nuances. Christopher Wilson's lute adds definition to the consort timbre (which in fact changes in terms of personnel and instrumentation from one work to the next) and variety with three solo movements including one by Byrd with a single treble viol. Warwick Edwards provides a note both interesting and informative.
A number of the In Nomines stand out, among them those given the titles Crye and Trust by Tye (the most prolific composer in this genre) and those of Byrd and the elder Ferrabosco—both masterful in their expressiveness and vitality. Fretwork never hesitate in the face of the arcane chromaticisms arising from the counterpoint, so characteristic of English music of this era, and here prominent in the works based on other cantus firmi by Parsons and Preston. The Franco-Flemish-inspired Solfaing Song a 5 of Tallis is more tuneful than most of these works, an aspect which the ensemble nicely exploits. Cornyshe's Fa la sol a 3, lasting almost six minutes, affords the group the opportunity to demonstrate their skill in sustaining larger structures. Fretwork show themselves to be well in control of the elements and aesthetics of this repertory.'
In Nomine: English Consort Works
In Nomine: English Consort Works
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