The Broken Consort & Suites from Tripla Concordia
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Matthew Locke
The Broken Consort & Suites from Tripla Concordia
The Locke Consort
Label: Metronome Recordings Ltd
Catalogue No: METCD 1086
Discs: 1
The Broken Consort & Suites from Tripla Concordia
The Locke Consort
Label: Metronome Recordings Ltd
Catalogue No: METCD 1086
Discs: 1
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Matthew Locke (1622 – 1677) was the pre-eminent composer of the English Restoration period. Born in Exeter in 1620 he left England as he stuck to the “Old faith” during the Civil War and he probably spent some of his exile in the Netherlands. The first part of the Broken Consort was written in the year after the restoration of Charles II in 1660, the second part shortly afterwards. Charles II was a rhythmic king disliking any type of music to which he could not beat the time. He hated fantasies and was more inclined to the “French style” of music with an emphasis on dance music made popular by Lully – this led to the supercession of the older style of broken consort to a new grouping called the “Twenty-Four Violins”. Locke readily wrote some great dance music in the new style. And the two “Tripla Concordia” dance suites on this recording show great musical invention and humour.
The Locke Consort: John Wilson Meyer (violin); Mimi Mitchell (violin); Susanne Braumann (viola da gamba) and Fred Jacobs (theorbo) has a truly international reputation for championing the music of 17th century England. They met at international conservatory in the Netherlands coming from respectively England, USA, Germany and the Netherlands.
The recordings were made in the Protestant Church in Haarlem earlier this year. It follows Metronome’s highly acclaimed recording of the music of Robert de Visee with the theorbo player of the group Fred Jacobs.
"Delightful and unpretentious."
(Julie Anne Sadie for Gramophone)
"The ensemble is immaculate, and the versatility of these suites comes off very well. The idiosyncrasies of Locke's style are expressed, but not in an exaggerated demonstrative way. One of the features of the Locke Consort is the refinement and subtlety of their playing. This music has been written on the verge of renaissance and baroque, and it isn't that easy to find the right approach in this kind of repertoire. Strong dynamic shading, for instance, is certainly not appropriate, but that doesn't mean that everything has to be played at the same dynamic level. The members of The Locke Consort have got it just right."
(Johann van Veen for Musica Dei Donum, 2012)
The Locke Consort: John Wilson Meyer (violin); Mimi Mitchell (violin); Susanne Braumann (viola da gamba) and Fred Jacobs (theorbo) has a truly international reputation for championing the music of 17th century England. They met at international conservatory in the Netherlands coming from respectively England, USA, Germany and the Netherlands.
The recordings were made in the Protestant Church in Haarlem earlier this year. It follows Metronome’s highly acclaimed recording of the music of Robert de Visee with the theorbo player of the group Fred Jacobs.
"Delightful and unpretentious."
(Julie Anne Sadie for Gramophone)
"The ensemble is immaculate, and the versatility of these suites comes off very well. The idiosyncrasies of Locke's style are expressed, but not in an exaggerated demonstrative way. One of the features of the Locke Consort is the refinement and subtlety of their playing. This music has been written on the verge of renaissance and baroque, and it isn't that easy to find the right approach in this kind of repertoire. Strong dynamic shading, for instance, is certainly not appropriate, but that doesn't mean that everything has to be played at the same dynamic level. The members of The Locke Consort have got it just right."
(Johann van Veen for Musica Dei Donum, 2012)