Spanish Gypsies - Celtic and Spanish Music in Shakespeare's England
A delightful medley, musically as well as musicologically, the 18 different instruments being combined with great imagination
View record and artist detailsRecord and Artist Details
Composer or Director: William Byrd, Anonymous, John I Playford, Antony Holborne, Giles Farnaby, Tobias Hume, Robert II Johnson
Label: Deutsche Harmonia Mundi
Magazine Review Date: 11/2000
Media Format: CD or Download
Media Runtime: 71
Mastering:
DDD
Catalogue Number: 05472 77516-2

Tracks:
Composition | Artist Credit |
---|---|
(The) English Dancing Master, Part 2, Movement: The Punks Delight (The New Way) |
John I Playford, Composer
Andrew Lawrence-King, Harp Harp Consort John I Playford, Composer |
(The) English Dancing Master, Part 2, Movement: Lulle me beyond thee (Northern Turtle) |
John I Playford, Composer
Andrew Lawrence-King, Harp Harp Consort John I Playford, Composer |
(The) English Dancing Master, Part 2, Movement: Scotch Cap |
John I Playford, Composer
Andrew Lawrence-King, Harp Harp Consort John I Playford, Composer |
Rowallan Manuscript, Movement: The Gypsy Lilt |
Anonymous, Composer
Andrew Lawrence-King, Harp Anonymous, Composer Harp Consort |
Rowallan Manuscript, Movement: Quadran Pavan: Gregory Walker |
Anonymous, Composer
Andrew Lawrence-King, Harp Anonymous, Composer Harp Consort |
(The) English Dancing Master, Part 1, Movement: The Wherligig |
John I Playford, Composer
Andrew Lawrence-King, Harp Harp Consort John I Playford, Composer |
(The) English Dancing Master, Part 1, Movement: The Spanish Jeepsie (Come follow) |
John I Playford, Composer
Andrew Lawrence-King, Harp Harp Consort John I Playford, Composer |
(The) English Dancing Master, Part 1, Movement: Pakington's Pound (Quodlibet with Parsons Farewell |
John I Playford, Composer
Andrew Lawrence-King, Harp Harp Consort John I Playford, Composer |
(The) (English) Dancing Master, Appendix, Movement: A new Scotch Jig (Divisions on 'The Woods So Wild' |
John I Playford, Composer
Andrew Lawrence-King, Harp Harp Consort John I Playford, Composer |
Irish Ho-Hoane |
Anonymous, Composer
Andrew Lawrence-King, Harp Anonymous, Composer Harp Consort |
Musick's Hande-Maide, Movement: An Ayre called Corke |
John I Playford, Composer
Andrew Lawrence-King, Harp Harp Consort John I Playford, Composer |
Musick's Hande-Maide, Movement: Sarabande to Corke |
John I Playford, Composer
Andrew Lawrence-King, Harp Harp Consort John I Playford, Composer |
Captaine Humes Poeticall Musicke, Movement: A Spanish Humour Lord Hayes favoret |
Tobias Hume, Composer
Andrew Lawrence-King, Harp Harp Consort Tobias Hume, Composer |
Muy linda |
Antony Holborne, Composer
Andrew Lawrence-King, Harp Antony Holborne, Composer Harp Consort |
Gregory Walker: Buffins |
Anonymous, Composer
Andrew Lawrence-King, Harp Anonymous, Composer Harp Consort |
Gregory Walker: Hay de Gie |
Anonymous, Composer
Andrew Lawrence-King, Harp Anonymous, Composer Harp Consort |
Trenchmore |
Anonymous, Composer
Andrew Lawrence-King, Harp Anonymous, Composer Harp Consort |
Spagnioletta |
Giles Farnaby, Composer
Andrew Lawrence-King, Harp Giles Farnaby, Composer Harp Consort |
Rownde Scottishe tune |
Anonymous, Composer
Andrew Lawrence-King, Harp Anonymous, Composer Harp Consort |
Mal Sims |
Giles Farnaby, Composer
Andrew Lawrence-King, Harp Giles Farnaby, Composer Harp Consort |
Lady Louthians Lilt |
Anonymous, Composer
Andrew Lawrence-King, Harp Anonymous, Composer Harp Consort |
Gypies Metamorphosed |
Robert II Johnson, Composer
Andrew Lawrence-King, Harp Harp Consort Robert II Johnson, Composer |
Gypsy's Round |
William Byrd, Composer
Andrew Lawrence-King, Harp Harp Consort William Byrd, Composer |
Author: John Duarte
The subtitle of this album says more about its content than does the main one. There is much titular reference to Spain and to gypsies, but only in ‘The Spanish Jeepsies’ do the two come together. It seems that in Shakespeare’s time Spanish popular tunes were perceived as being of gypsy origin. More to the point, the programme is skilfully devoted to showing the influence of Celtic and Spanish idioms on English popular music – a difficult, labyrinthine process that it’s not particularly helpful to try to summarise here, but it is well covered in Lawrence-King’s annotation.
Charles I’s Consorte opened the way for courtly instruments to ‘fraternise’ with humbler ones, creating a variety of new sounds, and the Harp Consort take full advantage of this ‘social’ freedom. The eight players form a kaleidoscope of broken consorts drawn from the 18 instruments (plucked, bowed, blown and percussed) at their disposal, producing a remarkable spectrum of sound from the ethereal (‘Lady Louthians Lilt’) to the downright boisterous (‘The Wherligig’). Only five of the 23 items last for more than four minutes but one never has the impression of a trayful of canapes deputising for a good meal.
When it comes to putting together a coherent and well-researched programme of assorted small-scale items, only Peter Holman springs to mind as Andrew Lawrence-King’s peer. Excellent recording is the icing on this delectable cake, one that takes 71 minutes to enjoy.'
Charles I’s Consorte opened the way for courtly instruments to ‘fraternise’ with humbler ones, creating a variety of new sounds, and the Harp Consort take full advantage of this ‘social’ freedom. The eight players form a kaleidoscope of broken consorts drawn from the 18 instruments (plucked, bowed, blown and percussed) at their disposal, producing a remarkable spectrum of sound from the ethereal (‘Lady Louthians Lilt’) to the downright boisterous (‘The Wherligig’). Only five of the 23 items last for more than four minutes but one never has the impression of a trayful of canapes deputising for a good meal.
When it comes to putting together a coherent and well-researched programme of assorted small-scale items, only Peter Holman springs to mind as Andrew Lawrence-King’s peer. Excellent recording is the icing on this delectable cake, one that takes 71 minutes to enjoy.'
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