There is an evergreen quality about the consort music of John Jenkins. It is well constructed, coherent and without the quirks that pass for exoticism in the music of his lesser English contemporaries. The six viol players and organist of the Rose Consort assemble in different combinations, joining forces in the delicate opening Pavan and the masterful closing In Nomine. In their concept and projection of tone, they present an interesting contrast to other contemporary groups, British and foreign. Their bow strokes are softly articulated, enabling them to blend their instrumental timbres while maintaining a certain independence. If the ensemble colours that emerge are pastel and translucent, they are no less pleasing than the richer, more blended and sensuous ones achieved by other groups. Indeed, they wear very well.
The virtuosity of the C major divisions for two basses is delightfully understated, as are those of the Air and Corant of the A minor Fantasia-Suite, in which Jenkins treats the organ as an obbligato instrument. Likewise, the inevitable melancholy of such pieces as the E minor Fantasia never descends to the morose. Delicacy of expression prevails—even in the Newarke Seidge (a programmatic piece with battle scenes dominating the Pavan, and lamentation the Galliard). Elsewhere, rhythmically lively passages of imitation, echo (in the A minor Corant and the D minor Ayre) and syncopation (in the second C minor Fantasia and the D minor Coranto) are similarly performed with refined detachment. On the evidence here, theEnglish consort repertory is enjoying a second and well-deserved renaissance.'