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Цена: 1390 руб
...with lutenist Elizabeth Kenny
Pamela Thorby teams up with renowned lutenist Elizabeth Kenny for her fourth solo album on Linn, a sparkling exploration of French Baroque music.
The SACD layer is both 5.1 channel and 2-channel. The Studio Master files are 192 kHz or 88.2kHz / 24-bit.
Pamela Thorby - recorders
Elizabeth Kenny - lute
Recorded at The National Centre for Early Music, York, UK
from March 22nd - 24th 2009
Engineered by Philip Hobbs
Post-production by Julia Thomas, Finesplice, UK
All performing and recorded editions of these works have been made by Pamela Thorby and Elizabeth Kenny from facsimiles of the original manuscripts.
A Note from Pamela Thorby and Elizabeth Kenny
The recorder's presence in French opera and theatre productions from Lully onwards - where it was often employed to fine effect in evoking a pastoral mood or symbolizing love, death and lamentation - is in stark contrast to the relatively small number of solo works for the instrument. However the surviving solo repertoire by French Baroque composers living in France and England is of high quality and possesses a special beauty.
The French maker Peter Bressan (or Pierre Jaillard, as he was baptized), a contemporary of the celebrated maker Jean Jacques Rippert, came to England in 1688 and swiftly became a famous and esteemed maker of flutes, recorders and oboes. Many of his instruments survive including nearly fifty exquisitely crafted recorders, amongst them a soprano fourth flute in B-flat and ten voice flutes in D. The flûte de voix, or voice flute (a tenor recorder in D), was so called because its range was that of the soprano voice and although it is not specifically mentioned in more than a handful of pieces, the number of surviving instruments from makers such as Bressan and Stanesby suggests that there was a considerable market for a wide range of recorders. Thus third, fourth, fifth and sixth flutes - A-flat, B-flat, C and D recorders - were in demand alongside the most commonly used alto in F.
Bressan was a friend of James (or Jacques) Paisible, a highly successful recorder player, oboist and composer who brought the new three-piece recorder design to England in 1673. The impact of Paisible and his French colleagues on wind playing in England was considerable. Uffenbach, the German collector, amateur musician and traveller, praised Paisible as being a flautist "without equal". Paisible went on to live in London for more than forty years during which time he maintained a long association with the royal household. In John Blow's Venus and Adonis, Venus (sung by Mary ‘Moll' Davies, whose daughter by Charles II, Lady Mary Tudor, played the role of Cupid) sang her love duets to Adonis, whilst simultaneously intertwining her musical phrases with the recorder soloist, one James Paisible. Paisible married Mary Davies shortly after!
I can well imagine the impact those dashing French musicians would have made as they confidently displayed their abilities in their mother tongue. Their fluent and nuanced sound, the finesse of their agréments (ornaments) inflecting the mood, metre and structure of the music would have been a piquant addition to the melting pot of cosmopolitan London musical life.
© Pamela Thorby, 2010
I've always loved playing French music for its straight-to-the-heart singing melodies that seem to arise naturally from the physical makeup of the instrument or voices for which they are written. It's music to play by feel rather than by precept, which is why it's an entertaining paradox that it comes gift-wrapped in tightly-ordered treatises on everything from fingering to ornamentation. Dieupart's suites capture this peculiarly French blend of precision with abundant freedom. Published in Amsterdam, the title pages cover a range of options from harpsichord solo to violin to flute and for the accompaniment from viol or archlute. Well, actually the Amsterdam title page has Viole and Archilut, but the upper part too is designated "Violon et flute", although it finds its most personal expression on one or the other. When you apply the same logic to the bass you restore to the plucked instrument its complete role as both a melodic and harmonic support, sometimes more of one than the other, in the same way that the harpsichord in the solo version sometimes sings and sometimes riffs its own rhythmic accompaniment. And you can sneak some of the counterpoint from the harpsichord versions back in, especially when the recorder player has all the missing voices in her head, and asks for them like an imaginary friend to dialogue with...
I've also always enjoyed the story of Apollo and the nightingale, which goes something like this: Apollo challenged the lyrical bird to a contest. After many hours of the most heartfelt singing the bird's chest burst open and he died. Art 1, Nature 0. Art plus the nightingale Nature would equal Hotteterre's version of Le Rossignol en amour. Apollo's lyre here gives just the odd note on the guitar, calling a truce in the beauty wars. This sort of lightness around "Big Questions of Art and Beauty" is another reason to love this music, and is very handy for Caix d'Hervelois' Papillon/Butterfly. Soaring up with improbable but graceful and gracious velocity is something of a Thorby signature, to which one can only respond by closing one's eyes and reaching for something just a little bit higher. Then a bit higher still.
© Elizabeth Kenny, 2010