Au Joly Bois

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Release Date: 24th Sep 2012
Catalogue No: RAM1201
Label: Ramée
Length: 64 minutes

Sermisy: Au joly bois

Work length3:19

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Nigel North, Kate Clark

Arcadelt: O felichi occhi miei

Work length2:15

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Nigel North, Kate Clark

Canova da Milano: 3 Fantasias

Work length1:52

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Nigel North

Sermisy: Tant que vivray

Work length2:10

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Nigel North, Kate Clark

Susato: Les miens aussi

Work length4:43

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Nigel North, Kate Clark

Canova da Milano: Ricercare

Work length1:29

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Nigel North

Palestrina: Pulchra es amica mea

Work length5:22

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Nigel North, Kate Clark

Wilder, P: Dump

Work length4:29

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Nigel North

Bassano, G: Ricercata terza

Work length2:27

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Kate Clark

Caccini, G: Sfogava con le stelle

Work length2:30

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Nigel North, Kate Clark

Frescobaldi: Canzona quarta per soprano e basso

Work length2:48

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Nigel North, Kate Clark

Joachim Thibaut de Courville: Si je languis d'un martire incogneu

Work length2:17

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Nigel North, Kate Clark

Guédron: Si jamais mon ame blessée

Work length1:30

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Nigel North, Kate Clark

Huygens: Que ferons-nous

Work length3:06

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Nigel North, Kate Clark

Visée: Prélude

Work length1:04

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Nigel North

Hotteterre: Rochers, je ne veux point

Work length2:46

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Nigel North, Kate Clark

Visée: Entrée des Espagnols de Mr. de Lully

Work length1:56

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Nigel North

Hotteterre: L'autre jour ma Cloris

Work length2:26

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Nigel North, Kate Clark

Visée: Logistille de Mr. de Lully

Work length1:34

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Nigel North

Hotteterre: Vous qui faites votre modelle

Work length1:43

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Freek Borstlap, Nigel North, Kate Clark

Hotteterre: Première suite

Work length12:34

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Freek Borstlap, Nigel North, Kate Clark

Prélude

Track length3:21

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Allemande "La Royalle"

Track length2:40

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Rondeau "Le Duc d'Orleans"

Track length2:19

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Sarabande "La d'Armagnac"

Track length2:44

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Gigue "La Folichon"

Track length1:30

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About
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About

In an age when thousands of recordings testify to the glorious history of the flute as a solo, chamber and orchestral instrument, and even as a marvelous vehicle for jazz, it is difficult to imagine that the flute did not always have a distinct identity and a dedicated repertoire. In fact, there was no such thing as a ‘flute repertoire’ until the early 18th century. Before this the flute was simply one of the ‘instruments bas’ or ‘soft instruments’ considered suitable mostly for indoor music of all kinds.

In fact, vocal polyphony comprised by far the greatest part of what was played by instrumentalists, for to imitate the human voice – the only instrument made by God – was their humble task. Instrumental music remained in the shadow of vocal music for a long time to come.

One particular development stands out as a feature of 16th century musical practice that seems to point towards the role that instruments would come to have in the future: this was the practice of improvising virtuosic embellishments known as ‘diminutions’ or ‘divisions’ upon a single melody line taken from a polyphonic vocal piece while the remaining parts were played on a lute. The perfect balance between equal parts is lost, but the immense power of a beautifully crafted melody is highlighted. The lute supports the whole with a harmony that is full of life and rhythmic intricacy.

Au Joly Bois

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