The Gesualdo Six, with director Owain Park, back row, centre
York Early Music Christmas Festival: The Gesualdo Six & Fretwork Viol Consort, Secret Byrd, National Centre for Early Music, York, December 2
THERE have been numerous commemorations of the 400th anniversary of the death of William Byrd this year. This was something else: imaginative, authentic and deeply moving. The singers of The Gesualdo Six and the viol consort Fretwork teamed up to present this opening salvo in the 2023 Christmas festival, a dramatised version of Byrd’s Mass for Five Voices.
When Byrd forsook the bright lights of London in 1593 and settled in the Essex village of Stondon Massey, he was close to the Byrd family’s native heath in Ingatestone, where he knew he could give his Catholic faith full rein.
He immediately set about composing three masses for private recusants there. The ‘Byrd Five-Part’, as it is colloquially known, was the last of the three, dating from 1595. It is written for good but not professional singers and represents the acme of his achievements in that deceptively simple style, one that ironically owes something to the cleaner, more homophonic material he had created for Protestant paymasters earlier in his career.
In this production by Bill Barclay, the audience was peripatetic, although able to sit if need be round the perimeter of what was originally St Margaret’s Church. There was a dining table set for eight on a central plinth from which the costumed Gesualdos (whose director is its bass, Owain Park) mainly performed. One of their number acted as priest and precentor and two audience members were invited to join them at table, where they sang from facsimiles.
The intervals between mass sections were filled with two six-part viol fantasias and an In Nomine from Fretwork, during which the singers circulated, made (silent) confessions or served vegetable soup to lucky punters. They sang the Benedictus on their knees.
Illumination was by candlelight (the exception was Fretwork’s electronic scores) and the air was faintly scented. So riveting was the vocal music that the audience remained completely still, moving only whenever the instruments started. Loud banging, as of government spies, resounded like rifle shots at the end of the mass – and candles were at once extinguished, adding to the secrecy.
There was the bonus of the Agnus Dei from the Byrd Four-Part, arguably the finest section from all his masses, which was beautifully shaped, matching the exquisite pianissimo of the five-part Agnus.
Thereafter the atmosphere lightened slightly with Byrd’s only pavan and galliard for viols, although there was a brief return to hair shirts with Infelix Ego (with viols entering at ‘Miserere’) and a happy concession to the season with ‘Haec Die’ (a grammatically correct title, although normally called Haec Dies).
This was the finest imaginable tribute to the great man. The singers blended superbly and Fretwork’s rhythmic verve brought the viol music to vivid life. Let us hope that all these commemorations lead to even wider appreciation of the most important figure of the English High Renaissance.
Review by Martin Dreyer
York Early Music Christmas Festival 2023 runs until December 9. Box office: ncemc.uk/yemcf/York Early Music Christmas Festival
The Gesualdo Six with director Owain Park, back row, centre
York Early Music Festival, The Gesualdo Six, National Centre for Early Music, York, July 15
THIS year’s abbreviated festival, which seems to have ended almost before it began, went out in style with The Gesualdo Six, another group whose visits to York are thankfully plentiful.
With a countertenor on the top line, supported by two tenors, a baritone and two basses, it is well geared for a programme of English motets, especially since its director, Owain Park, underpins them all with a firm, deep bass that would be the envy of any choir.
This was almost a roll call of the great names in Tudor music (without Orlando Gibbons), which also reached back to the early 15th century composer John Forest. He was at one time a prebendary of York before becoming Dean of Wells. His three-part motet Qualis Est Dilectus Est revealed his fondness for voices moving in thirds (once thought a quirky Anglicism).
Two tear-jerkers stood out at either end of the programme. Byrd’s Ave Verum Corpus, immediately following Tallis’s Te Lucis, was touchingly intimate, which added to the reverence it naturally engenders.
Even more telling was Tomkins’s When David Heard, with five voices conducted by Park, which wrung every last ounce of pain from David’s lament for his son Absalom, killed in battle. “Would God I had died for thee” was almost unbearably poignant.
Not all was so solemn. Weelkes’s setting of Psalm 47, All People, Clap Your Hands, was cheerful enough, but not quite as imaginative as the Gibbons version of this psalm. But the group really let rip in a full-throated account of Byrd’s Vigilate, merging neatly at its conclusion. The same composer’s Laudate, Pueri was equally joyful, a full-blooded account from all six singers.
In between came two hymns, by White and Tallis, with the latter’s setting of In Manus Tuas balancing an earlier one by John Sheppard that was extremely quiet, yet creamily controlled. Several times the precentor’s role was sung off-stage, which offered an extra dimension. And then there was the Tomkins. What a piece.
The Gesualdos are coming up on the inside of a longer-lived group from a well-known Cambridge college – and may soon overtake.
Review byMartin Dreyer
Available online on demand until August 13at ncem.co.uk/yemf.
Recorder virtuoso Olwen Foulkes at the recording of Ensemble Augelletti’s concert for Awaken. Picture: Ben Pugh
REVIEW: Awaken, National Centre for Early Music online, York, from various venues, March 27 and 28. Streaming until April 30 at www.ncem.co.uk/awaken
AWAKEN had all the right vibes. Five events over the weekend signalled the beginning of the end of our enforced hibernation. They also heralded the start of spring. As if in tune, the weather co-operated and turned warm and sunny.
All the concerts had been filmed in venues around York the previous week, but they had the feel of live events. We began with a peripatetic tour by the Gesualdo Six – a slight misnomer, since they are really seven with their director Owain Park, who also sings from time to time, though there are never more than six singers in action at once.
The group revelled in the free-wheeling motet style of four Englishmen by the name of John from the first half of the 15th century. The rhythmic verve of John Pyamour was nicely contrasted with a smoother take on John Forest and tenderness from John Plummer; all these were trios. But John Dunstaple’s quartet Veni, Sancte Spiritus outdid them all, a step ahead of his compatriots.
In Merchant Adventurers’ Hall, three Frenchmen from later that century sounded more calculating, more predictable, though Josquin des Prez’s attention to words in Nymphes des Bois – the only secular piece in the programme – was exquisite. It was good to hear, this time in the Hall’s chapel, John Thorne’s Stella Caeli, with neat passing harmonies and major-chord cadences that doubtless were heard in York Minster during his time as Master of the Choristers (1542-73).
Extracts from Lamentations by another three Frenchmen prepared us for Holy Week, with Brumel’s warmly autumnal Good Friday lection, without countertenors, topping the bill and bringing comfort amongst the sorrow. Byrd’s incomparable Infelix Ego, reflecting our current sufferings and sung under the Minster’s Great East Window, made a transcendent finale, its coda deeply affecting. The Gesualdos could not have got Awaken off to a better start.
Ensemble Augelletti: Octet of players homed in on music connected with John Baptist Grano
At the National Centre, recorder virtuoso Olwen Foulkes led the splendid Ensemble Augelletti, an octet of players who homed in on music connected with John Baptist Grano. He was principal trumpeter in the orchestra at the King’s Theatre, Haymarket where he premiered several Handel operas. He was also an operator who had a finger in several pies, but thrived even when in prison for debt.
Given the company he was keeping here, Grano’s own Sonata in F for recorder and continuo was relatively run-of-the-mill, though its Spirituoso was indeed spirited and the succeeding Largo eloquently plaintive. Foulkes was on top of her game throughout, as also in a concerto by John Baston, where her soprano recorder danced wittily in its final Presto.
In Handel’s Trio Sonata Op 2 No 4, Foulkes worked effectively in tandem with Ellen Bundy’s violin and all five players relished its closing, very English, jig. A final word for the supremely attentive cellist Carina Drury, a player I’d be happy to have on my team any time.
Staying in St Margaret’s Church (alias the National Centre), the viol consort Fretwork was joined by York countertenor Iestyn Davies in a programme of 16th century North German music, spearheaded by two arrangements of Vaughan Williams songs. Silent Noon was an odd opener and not heat-hazy enough, but The Sky Above The Roof was much more telling, though Davies’s diction was woolly. (His Latin later was marginally better, but his German admirably clear.)
Davies’s other contributions all concerned music connected with Holy Week and proved that lockdown has in no way hurt his evocative powers, his countertenor gliding smoothly over even the most taxing challenges. In a Lamento by Johann Christoph Bach, often described as JSB’s most talented forebear, he was pleadingly penitential, amid textual floods of tears. Franz Tunder’s Salve Mi Jesu was appropriately prayerful, finding genuine serenity in its peaceful ending.
Most potent of all was Christian Geist’s reaction to Holy Saturday, with semi-recitative for the biblical narrative, culminating in an aria of considerable power, which benefited from Davies’s operatic experience.
Iestyn Davies: “Countertenor glided smoothly over even the most taxing challenges”
Fretwork alone was rhythmically lively in Schein’s Seventh Suite from Banchetto Musicale (1617), notably in the vigorous syncopation of its galliard. The rapidly changing variations in Scheidt’s Canzon Super O Nachbar Roland were brilliantly negotiated, tremolandos and all, though it was a pity we were not given a chance to hear the song by itself.
It took a while to adjust to the sound of period instruments in Schubert’s mighty String Quintet in C, played by the Consone Quartet with Alexander Rolton as second cellist, also at the National Centre.
Let us dispose of the reservations first. Balance was never quite right, though I channelled the sound through my best speakers: we needed more from the outer voices, first violin and second cello. This was almost certainly a problem of microphone setting. There was also a disparity of approach between the cellists, one using more vibrato than the other.
The work got off to a cautious start, as if every effect was being over-calculated. Spontaneity began to surface with the repeat of the exposition. The second movement hovered to the point of stasis, with definition undermined by the second cello’s over-restrained pizzicato (probably microphones again).
Thereafter things changed very much for the better. The players began to enjoy themselves in a robust Scherzo. There was a slight loss of focus in the Trio, but caution was finally thrown to the winds when the Scherzo returned with even more verve. A strong, confident finale did much to compensate for the earlier diffidence and the acceleration towards the tape was neatly managed. I also enjoyed the encore, a sensitive setting of the song Frühlingsglaube (Faith In Spring), with cello to the fore.
Awaken’s finale shifted to St Lawrence Church, where Robert Hollingworth directed his vocal ensemble I Fagiolini (with some stiffening from former members of The 24) and the English Cornett and Sackbut Ensemble. The evening was entitled Super-Excellent, a word taken from the travel writer Thomas Coryat, preaching the wonders of Venetian music in 1608. Naturally, the programme was largely Italian or Italianate.
The Gesualdo Six with director Owain Park, back, centre: “Revelled in the free-wheeling motet style of four Englishmen by the name of John”
Hollingworth himself expounded on each piece in advance. He was most informative, but his enthusiasm sometimes led him to raise expectations unreasonably. Polychoral effects that were undoubtedly stunning in St Mark’s, Venice, were not quite so impressive in the less rewarding acoustic of St Lawrence.
Music by Giovanni Gabrieli appropriately framed the programme. With voices and instruments used interchangeably, Buccinate featured thrilling fanfares. No less stirring were the recurring Alleluyas in the multi-choir In Ecclesiis at the close, in a clever reconstruction by Hugh Keyte.
There were mass extracts from the Catalan composer Joan Cererols with three choirs overlapping, almost conversationally. Juan de Araujo, Spanish-born but working in South America, gave us an exciting Dixit Dominus, with jazzy rhythms heightened by strumming theorbo and guitar.
Solo tenor and bass respectively (no individual performers’ names were available) offered tastefully decorated motets by Grandi and Schütz, the latter an angry and sorrowful lament by David for Absalom, attended by four mournful sackbuts.
A florid cornett lit up a madrigal-style arrangement of a Palestrina ‘Ave Verum Corpus’. But for me the greatest surprise was Edmund Hooper’s verse anthem ‘O God Of Gods’, in a frankly superb reconstruction by William Hunt (who issued a recording of the work only last June). It proved that an Englishman could do it too.
Streaming of concerts is notoriously difficult, a path littered with potholes. Awaken was not perfect: there were occasional breaks in the sound and the odd unintended freeze-frame. Sometimes the camera lingered too long on an individual when what you wanted was to see the whole ensemble interacting. But it still served a vital role, reminding us how valuable live concerts are and renewing hope that they will soon return.
Above all, these events showed faith in musicians, many of them young, that despite everything we treasure their talents and will welcome them back with open arms (or the socially distanced alternative) just as soon as we are allowed. You have the rest of April to catch up with all these brave souls. I heartily recommend them.
Iestyn Davies: York countertenor will perform with viol specialists Fretwork at the Awaken weekend
THE National Centre for Early Music, in York, is to play host to an online celebration of music for springtime on March 27 and 28.
The weekend programme of Awaken will feature celebrated British musicians, working across a range of historic venues to mark “the unique association between the City of York and the exquisite beauty of the music of the past”.
The two days of festivities will begin with a musical whistle-stop tour led by the all-male vocal group The Gesualdo Six, directed by Owain Park at 1pm on March 27. Beyond These Shores: A York Tapestry will explore the musical “jewels in the crown” of Renaissance Europe, as revealed in the stained glass and manuscripts of the City of York.
The journey will show off some of the city’s most beautiful buildings, such as Holy Trinity Church, Goodramgate; St Olave’s Church, Marygate, and the mediaeval splendour of the Merchant Adventurers’ Hall, Fossgate.
At sixes and sevens: The Gesualdo Six with director Owain Park, middle, back row
The weekend’s grand finale, on March 28, will feature I Fagiolini in Super-Excellent, directed by Robert Hollingworth in a 7pm concert filmed in York. They will be joined by the English Cornett & Sackbut Ensemble to present a multi-choir extravaganza of music from the Italian Renaissance, taking a musical journey across Spain to the New World and back again.
Also appearing in Awaken will be York international countertenor Iestyn Davies, performing with the instrumental viol specialists Fretwork on March 27, as they bring light to the 17th century world of JC Bach and his contemporaries, interlaced with the 20th century genius of Ralph Vaughan Williams, in a 7pm programme entitled The Sky Above The Roof.
Directed by Olwen Foulkes, rising stars Ensemble Augelletti will make their York debut at the NCEM’s home, St Margaret’s Church, Walmgate, presenting A Spring In Lockdown on March 27 at 3pm, and BBC New Generation artists The Consone Quartet will perform Schubert’s Quintet in C major with cellist Alexander Rolton on March 28 at 3pm.
Looking forward to the reawakening weekend, NCEM director Delma Tomlin says: “As we gradually move into spring, we are delighted to bring you Awaken, which through music brings us the promise of hope, joy and warmth for the coming months.
“Through music, Awaken brings us the promise of hope, joy and warmth for the coming months,” says NCEM director Delma Tomlin
“Since the very first lockdown, we have continued to bring you some of the finest music streamed from our beautiful base of St Margaret’s Church. For Awaken, we’ve branched out further and are very excited to be able to show off some of the city’s architectural gems, which provide us with a fitting backdrop for the glorious music.
“We’re also pleased to welcome back some of our most popular performers and to introduce a few new faces. We hope you’ll join us for these sublime sounds of spring.”
Tickets cost £10 for individual online concerts or £40 for a weekend pass on 01904 658338, at ncem.co.uk or by emailing boxoffice@ncem.co.uk. Full programme details can be found at: ncem.co.uk/awaken. The concerts will be available on demand until April 30.
Before Awaken, The Gesualdo Six will mark Early Music Day by performing a 3pm concert on March 21, toasting the genius of Josquin des Prez, French composer of the Renaissance age. The live-stream from the NCEM will form part of the annual celebrations organised in association with the European Early Music Network, REMA.
The Consone Quartet: Performing Schubert’s Quintet in C major with cellist Alexander Rolton on March 28
The musicians taking part in Awaken will be:
The Gesualdo Six: Owain Park, director; Andrew Leslie Cooper, Guy James, countertenors; Josh Cooter, Joseph Wicks, tenors; Michael Craddock and Sam Mitchell, basses.
Ensemble Augelletti: Olwen Foulkes, recorders, director; Ellen Bundy, Alice Earll, violins; Elitsa Bogdanova, viola; Carina Drury, cello; Harry Buckoke, bass/gamba; Toby Carr, theorbo; Benedict Williams, harpsichord/organ
Fretwork: Richard Boothby, Emily Ashton, Joanna Levine, Asako Morikawa, Sam Stadlen, viols, with Iestyn Davies, countertenor.
Consone Quartet: Agata Daraškaite, Magdalena Loth-Hill, violins; Elitsa Bogdanova, viola; George Ross, cello, with Alexander Rolton, cello.
I Fagiolini: Robert Hollingworth,director; Martha McLorinan, Nicholas Mulroy, Matthew Long, Greg Skidmore, singers; William Lyons, Nicholas Perry, dulcians, shawms; Catherine Pierron, James Johnstone, organs; Eligio Quinteiro, Lynda Sayce, theorboes, guitars.
English Cornett & Sackbut Ensemble: Gawain Glenton, Conor Hastings, cornetts; Emily White, Miguel Tantos-Sevillano, Tom Lees, Hilary Belsey, Andrew Harwood-White, Adrian France, sackbuts.
At sixes and sevens: The Gesualdo Six…and director Owain Park (third from left, back row)
THE Gesualdo Six will lead the National Centre for Early Music’s celebrations for Early Music Day 2021 on March 21 by embarking on an online whistle-stop musical tour of York.
The Cambridge vocal consort’s concert will be a streamed at 3pm as part of a day when musical organisations throughout Europe will come together for a joyful programme of events to mark JS Bach’s birthday.
During its residency – an alternative G6 summit – The Gesualdo Six will spend almost a week in York performing in a variety of locations on a musical trek around the city that will be filmed and shared in March.
The film is designed to celebrate the beauty of this historic city and its musical influences, showcasing many of York’s venues that have been unable to open their doors since last March.
Directed by Owain Park, The Gesualdo Six brings together some of Britain’s finest young consort singers: countertenors Guy James and Andrew Leslie Cooper; tenors Josh Cooter and Joseph Wicks; baritone Michael Craddock and bass Sam Mitchell.
Formed in March 2014 for a performance of Gesualdo’s Tenebrae Responsories for Maundy Thursday in the chapel of Trinity College, Cambridge, the ensemble gave more than 150 performances at major festivals in the UK and abroad in its first five years.
The Gesualdo Six has been awarded the Choir of the Year prize at the Classical Music Digital Awards and its album Fading was awarded Vocal Recording of the Year by Limelight.
National Centre for Early Music director Delma Tomlin: Planning the programme for Early Music Day
Looking forward to the March residency, NCEM director Delma Tomlin says: “We are delighted to welcome our good friends The Gesualdo Six, who will be spending time in York, taking advantage of some of the atmospheric acoustics within the city walls and performing a concert, a very special treat for Early Music Day.
“The concert will be shared with our friends and colleagues in Europe and beyond, as we join together for this wonderful annual celebration.”
Against the backdrop of the Brexit severance from Europe, Delma says: “I’d also like to say a special thank-you to REMA, the Early Music Network in Europe, for their hard work helping to make sure the celebrations continue.”
She adds: “Other delights in store in March include performances by many artists who have supported us over this difficult year, recording behind closed doors at St Margaret’s Church [the NCEM’s home in Walmgate, York]. You might not be able to be with us in person, but we hope you can still join us for a feast of fabulous music.”
Director Owain Park welcomes the chance for The Gesualdo Six to undertake a residency in York. “After a challenging year, it has been a delight to put our minds to this incredibly exciting project,” he says.
“We have long admired the work of the NCEM in York and so it has been an immense privilege to curate a musical journey that weaves through the city’s historic venues. Chiming with the NCEM’s spring celebrations, we aim to highlight the extraordinary power of collaboration and unity in a world where the seeds of division are increasingly sown.”
Delma concludes: “Venues for the filming in York will be confirmed very soon. Please check our website, ncem.co.uk, and social media platforms for regular updates and more details of this year’s programme of Early Music Day celebrations.
“The NCEM has put in place many changes to ensure the safety and wellbeing of the artists, audience and staff. All performances and filming will take place following current Government Covid-19 guidelines.”
