An English Sett for Trumpet
Jonathan Freeman-Attwood (trumpet) & Daniel-Ben Pienaar (piano)
There’s no doubting the technical prowess of these two crack performers, and it’s hard not to share their guilty delight in this stolen booty: intonation and ensemble are spot-on, rhythms pulse,...
An English Sett for Trumpet
Jonathan Freeman-Attwood (trumpet) & Daniel-Ben Pienaar (piano)
Purchase product
There’s no doubting the technical prowess of these two crack performers, and it’s hard not to share their guilty delight in this stolen booty: intonation and ensemble are spot-on, rhythms pulse,...
About
Trumpeter Jonathan Freeman-Attwood and pianist Daniel-Ben Pienaar continue their ‘ear-ticklingly imaginative’ series of musical reinventions with a celebration of the golden era of English music.
Featuring heavyweights of the 16th and 17th centuries, such as Byrd, Gibbons, Tomkins, Lawes and Locke, the pair inspire arrangements by Timothy Jones which bring this music alive in a thrilling, entertaining and intimate chamber medium.
Performing on modern trumpet and Steinway piano, Freeman-Attwood and Pienaar relish the opportunity to challenge the established interpretation of these works.
They succeed by drawing on interpretative instincts, inclinations, and inflections gleaned from their wide performance experience, whilst deliberately referencing their accumulated knowledge of performance practices of the period.
Comprising mesmerizing dances, songs, fantasies and variations, this is a journey which re-ignites our appreciation and love for forgotten gems from the Elizabethan, Jacobean and Caroline worlds.
This is another must-have recording in Freeman-Attwood’s critically acclaimed ‘boundary-busting’ series.
Contents and tracklist
Awards and reviews
October 2018
There’s no doubting the technical prowess of these two crack performers, and it’s hard not to share their guilty delight in this stolen booty: intonation and ensemble are spot-on, rhythms pulse, and their virtuosity really takes wing in the exhilarating adaptation of Morley’s ‘Now is the month of Maying’, with its daringly elaborated variations.
September 2018
Freeman-Attwood’s tone itself is a joy: warmly glowing with a multitude of different colours, and deliciously sleek both in technical execution (listen to the cleanness of the ornamentation in Byrd’s Sixth Pavan and Gailliard and overall sound. Also deserving of undiluted praise are Timothy Jones’s arrangements.
