Poetical Humors
View record and artist detailsRecord and Artist Details
Composer or Director: Tobias Hume, Orlando Gibbons, Philippe Hersant, Thierry Tidrow, John Dowland, John Bull, Michael East
Genre:
Chamber
Label: Harmonia Mundi
Magazine Review Date: 10/2018
Media Format: CD or Download
Media Runtime: 62
Mastering:
DDD
Catalogue Number: HMM90 2610
Tracks:
Composition | Artist Credit |
---|---|
(Dr) Bull's Goodnight |
John Bull, Composer
John Bull, Composer Les inAttendus |
Myself |
John Bull, Composer
John Bull, Composer Les inAttendus |
Can she excuse |
John Dowland, Composer
John Dowland, Composer Les inAttendus |
Flow my Teares, 'Second Book of Ayres' No 2 |
John Dowland, Composer
John Dowland, Composer Les inAttendus |
In darknesse let mee dwell |
John Dowland, Composer
John Dowland, Composer Les inAttendus |
Shall I sue |
John Dowland, Composer
John Dowland, Composer Les inAttendus |
And I as well as thou |
Michael East, Composer
Les inAttendus Michael East, Composer |
Fantasia a 3 |
Orlando Gibbons, Composer
Les inAttendus Orlando Gibbons, Composer |
Galliard a 3 |
Orlando Gibbons, Composer
Les inAttendus Orlando Gibbons, Composer |
Lully Lullay |
Philippe Hersant, Composer
Les inAttendus Philippe Hersant, Composer |
Captain Humes Pavan |
Tobias Hume, Composer
Les inAttendus Tobias Hume, Composer |
Sweete Musicke |
Tobias Hume, Composer
Les inAttendus Tobias Hume, Composer |
Touch Me Sweetly |
Tobias Hume, Composer
Les inAttendus Tobias Hume, Composer |
What Greater Grief |
Tobias Hume, Composer
Les inAttendus Tobias Hume, Composer |
Into something rich and strange |
Thierry Tidrow, Composer
Les inAttendus Thierry Tidrow, Composer |
Author: William Yeoman
But what of this seemingly odd instrumental combination? We find nothing odd about the bandoneón and double bass. It’s all a matter of convention. Put aside your awareness of the accordion as ‘modern’, the gamba as ‘ancient’, and just listen. Their timbres, their ranges, their sonorities perfectly complement each other, as does these musicians’ profoundly poetical playing. Especially in the music of the Elizabethan and Jacobean periods, when the variegated, dark-hued sounds of mixed consorts of strings, winds and plucked instruments and the delicate plaints of the lute song were heard throughout the kingdom.
It is into this world that Les inAttendus plunge us, paying deference to the Elizabethan cult of melancholy with sweetly plangent performances of works by Gibbons and Dowland, as well as Hume and East. In Hume’s What greater grief, for example, swelling tones and reedy harmonies redolent of the portative organ usher in a programme where even such jaunty accordion solos like John Bull’s Goodnighte, originally for keyboards, evoke a sailor’s squeezebox yet are tinged with sadness and regret. Even the two superb works written especially for the duo, Thierry Tidrow’s Into something rich and strange and Philippe Hersant’s Lully lullay find their roots in the past while rendering it truly another land. Rich and strange indeed. It is fitting that Dowland’s In darkness let me dwell should bring the curtain down on this this gorgeous and moving recital.
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