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| NI 6255 |
Some purists may question the use of virginals and organ given that, normally, 16th century songs would have had a simple lute accompaniment. Indeed, John Dowland left nothing in keyboard form, yet the boundaries between lute repertoire and that of the domestic keyboard instruments by the 17th century were not particularly fixed with contemporaries making arrangements of other composer’s works.
The other issue that might very well worry some is that the
organ used, a very fine instrument by the organ builders Goetze and Gwynn Ltd www.goetzegwynn.co.uk , in the Church
of St John the Baptist, Marldon, Devon, www.marldonhistory.co.uk/html/marldonhist.html
based on two 18th century organs, uses Thomas Young’s tuning
system from the late 18th/early 19th century. Given the paucity
of completely original organs of the period, combined with 17th
century contemporary attitudes concerning arrangements, it does not seem inappropriate
to perform these works in such a form. With the remarkably fine results on this
recording such potential issues do not present any problem for me.
William Byrd’s Prelude opens this disc with David Ponsford drawing some
particularly fine sounds from the virginals, a copy of a Flemish instrument
dating from 1645, made in 1979 by the frim of John Feldberg www.johnfeldbergworkshop.co.uk
and recently restored.
The songs of John Dowland
appropriately feature strongly on this disc, given that he was one of the
greatest composers of song in that era and that the 450th
anniversary of his birth falls this year. Two of his songs feature next with Simon
Ponsford showing much character in his voice in Can she excuse my wrongs? with steady pitch and just a little
vibrato at certain parts of his range. He has such a well-controlled upper
register and this performance is so full of dynamism. He gives us a lovely Time stands still with long drawn pure tones and a sensitive
accompaniment from David Ponsford (virginals).
Philip Rosseter is
represented by his song Shall I come if I swim? which again
highlights Simon Ponsford’s characterful presentation as well as some lovely
phrasing. David Ponsford changes to the organ for Byrd’s wonderful Fantasia in
C in a first class performance full of flow, with beautiful phrasing and
excellent choice of registration.
David Ponsford continues with the organ, accompanying Simon
Ponsford in Dowland’s I saw my lady weep with Ponsford
handling Dowland’s tricky word setting so well before Dowland’s lively Wilt thou, unkind, thus reave me? Returning to the virginals, David Ponsford is supremely accomplished in Byrd’s Rowland, or Lord
Willoughby’s Welcome home, beautifully done. Thomas Campion’s lovely hymn like Never
weather beaten sail is a great success, finely sung with such purity of
voice as, indeed, is the only unattributed piece in this recital, Miserere, my Maker, with Simon
Ponsford’s wonderful high notes capturing the gently sorrowful nature of this
piece.
Orlando Gibbons’ Fantasy in A minor receives a fine
performance from David Ponsford at the organ, allowing the music to rise and
flourish without over embellishing – a grand simplicity.
Robert Johnson is
represented here by three songs Where the
bee sucks, nicely done with varying rhythms, Full fathom five, a song that brings the best from Simon Ponsford
with long pure lines in this, another beautifully simple setting and Come, heavy sleep where this
countertenor shows his pure beauty of voice with a natural character that gives
such a Jacobean period sound to his voice. Time does indeed stand still.
Perhaps Byrd’s
best known instrumental piece The
woods so wild is played by David Ponsford (virginals) with a lovely
rhythmic bounce and wonderful articulation.
Dowland returns
again with two more songs, In darkness
let me dwell where David Ponsford sets the opening scene before Simon
Ponsford enters in this well known, typically Elizabethan melancholic song.
Here Simon Ponsford has power, purity, fine articulation and such natural feel
for the words. Were every thought an eye
showing a great flexibility.
Thomas Tomkins is
represented by A sad pavane for these
distracted times, written in 1649, only days after the execution of King
Charles I. David Ponsford playing the virginals draws so much from his
instrument, a range of textures that is remarkable for such a small instrument
of limited compass. Thomas Ford is a composer that I am unfamiliar with,
but his Since first I saw your face is an attractive song, full of life,
particularly in this performance.
Dowland returns again
with Flow my tears, perhaps the most
famous of Dowland’s tunes that he also used in his instrumental work Lachrimae, or Seaven Teares and
encapsulates so much of the fashionable Elizabethan melancholy. These two
artists keep the music flowing ahead without dallying in a performance of
directness and pathos. Dowland is in
a happier mood with Fine knacks for
ladies where Simon Ponsford shows the fun of this setting.
More fine playing from David Ponsford in Byrd’s Ut re mi fa sol la with such fine phrasing in this lovely little
piece.
Dowland returns
for the two final pieces on this disc, Awake,
sweet love, with some fine singing from Simon Ponsford in this fast flowing
piece, nicely phrased and Now, O now I
needs must part, a suitable work to end this recital with Dowland returning
to his melancholy mood and both artists pacing this just right with fine
singing and sensitive accompaniment.
These artists are given a lovely recording from the Parish
Church of St John the Baptist, Marldon, Devon and there are informative booklet
notes by David Ponsford with full English texts.
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