Why not here: Music for two Lyra Viols

Leavened by toe-tapping dance music, immaculately recording and executed with exquisite refinement and rapport, this musical anatomy of melancholia paints a beguiling portrait of an age and preoccupations — BBC Music Magazine, September 2016, 4 out of 5 stars More…

Release Date: 10th Jun 2016
Catalogue No: ACC24317
Label: Accent

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Ford, T: Musicke of Sundrie Kindes: Pavan and Galiard (M. Maines Choice)

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Ford, T: Forget me not

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Ford, T: The Baggepipes (Sir Ch. Howards delight)

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Ford, T: Why not Here, m. Crosse his Choice

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Ford, T: Cate of Bardy

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Ford, T: A Paven - Sir Richard Westons delight

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Ford, T: An Almaine M. Westovers farewell

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Ferrabosco, A II: Alman

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Ferrabosco, A II: Galliard

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Ferrabosco, A II: Coranto

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Ferrabosco, A II: The Spanish Pavan

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Jenkins, J: Fantasia

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Daniel, J: Passymeasures

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Daniel, J: A Fancy

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Holborne: Goe from my window

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Allison: Goe from my Window

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Lawes, W: Pavane

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Lawes, W: Aire

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

Ford, T: Whipit and Tripit - M. Southcotes Jig

Hille Perl (viola da gamba), Friederike Heumann (viola da gamba), Lee Santana (renaissance lute) & Michael Freimuth (renaissance lute)

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About

Around 1600 composers of English music for viols followed a specific style direction known as lyra viol music. From the time between 1601 and 1692, 18 printed sources as well as more than 50 manuscripts sources have survived to the present day. The lyra viol is not primarily a different instrument, to be distinguished from a normal viol, but the term rather refers to a style of playing: the art of playing “lyraway” as the title pages of many of the sources indicate. The main characteristics of this kind of playing are the use of the chordal playing, implied polyphony with a changing number of voices, the use of plucked strings as well as bowed sounds and the use of a multitude of different tuning systems (scordatura): in the sources we find almost 60 different ways of tuning the viol. A small bass viol or a large tenor would be generally used for this kind of playing. It became the solo bowed instrument par excellence during the course of the 17th century.

Friedricke Heumann and Hille Perl began playing as a duo during the solar eclipse of the year 1999 in Paris. Their speciality is incredible music for two viols.

Reviews

September 2016

Leavened by toe-tapping dance music, immaculately recording and executed with exquisite refinement and rapport, this musical anatomy of melancholia paints a beguiling portrait of an age and preoccupations

26th June 2016

Perl and Heumann alluringly play items melancholic and spirited by Ford, John Jenkins, Alfonso Ferrabosco and others from the period, relishing the decorative complexities.

Why not here

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