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Parthenia: harpsichord & virginal music from 1613

Rebeka Ruso (treble & bass viol), Catalina Vicens (virginals/harpsichord)

Parthenia: harpsichord & virginal music from 1613
Vicens's playing is unhurried, even in galliards, but she maintains the music's spring and momentum through eloquently spread chords and rhythmic inflections; her timing of the tumbling flourishes...

Parthenia: harpsichord & virginal music from 1613

Rebeka Ruso (treble & bass viol), Catalina Vicens (virginals/harpsichord)

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96 kHz, 24 bit, FLAC/ALAC/WAV

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44.1 kHz, 16 bit, FLAC/ALAC/WAV

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320 kbps, MP3

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This release includes a digital booklet

Stream now Hi-RES 192 kHz, 24 bit
Vicens's playing is unhurried, even in galliards, but she maintains the music's spring and momentum through eloquently spread chords and rhythmic inflections; her timing of the tumbling flourishes...

About

PARTHENIA is a collection of pieces for harpsichord and virginal composed by the three famous English composers Byrd, Bull and Gibbons, printed in London in 1613 and dedicated to the marriage of Maria Stuart and King Frederick V. The Chilenian harpsichordist Catalina Vicens celebrates the 400-year anniversary of this unique edition of English renaissance keyboard music on her debut album. To make this already diverse collection even more colorful, she uses not less than six different instruments, 3 of which are 17th c. originals. Enjoy this delicate bouquet of early keyboard pieces played on virginals, harpsichords, spinettino and Muselaar, just as the royal couple may have enjoyed it for relaxation and amusement in good company.

Contents and tracklist

Awards and reviews

October 2013

Vicens's playing is unhurried, even in galliards, but she maintains the music's spring and momentum through eloquently spread chords and rhythmic inflections; her timing of the tumbling flourishes that climax certain sections brings both controlled and effective releases of tension.

23rd January 2014

this disc is a winner in every respect. Catalina Vicens plays brilliantly. She takes mostly rather moderate tempi, and that seems quite appropriate. She articulates well but still manages to keep the flow of the music. Her lucid style of playing results in a great transparency which allows the listener to follow the various lines of the polyphony.

Early Music Today

Thoughtful and persuasive performances.
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