Artist: Marianne Muller, Pau Marcos, Liam Fennelly
Album: Tobias Hume, Eric Fischer: Poeticall Musicke – Topographic Long-Range
Genre: Classical
Release Date: 2010
Audio Format:: FLAC (tracks) 24 bit, 88,2 kHz
Duration: 01:12:48
Total Tracks: 20
Total Size: 1,16 GB

Tracklist:

01. Marianne Muller – Captaine Humes Pavan (07:29)
02. Marianne Muller – A Soldier’s Gaillard (01:33)
03. Marianne Muller, Pau Marcos, Liam Fennelly – What Greater Griefe: premier couplet (02:19)
04. Marianne Muller – A Question (01:53)
05. Marianne Muller – An Answere (03:31)
06. Marianne Muller, Liam Fennelly – Touch me sweetly (01:52)
07. Marianne Muller, Pau Marcos, Liam Fennelly – The Virgins Muse (05:51)
08. Marianne Muller, Pau Marcos, Liam Fennelly – Musicke and Mirth (03:20)
09. Marianne Muller – Tinckeldum Twinckeldum (01:28)
10. Marianne Muller, Pau Marcos, Liam Fennelly – Sweet Musicke (06:55)
11. Marianne Muller – Good Again (04:44)
12. Marianne Muller, Liam Fennelly – Premier duo: Rock (04:37)
13. Marianne Muller – Geosophique Sources (02:01)
14. Marianne Muller – Geosophique Concordancia discordancium (05:18)
15. Marianne Muller – Geosophique Medius (02:10)
16. Marianne Muller – Geosophique De l’abrupt (05:14)
17. Marianne Muller – Geosophique Coda (02:28)
18. Marianne Muller, Pau Marcos – Deuxième duo (03:22)
19. Marianne Muller, Pau Marcos, Liam Fennelly – La clepsydre (03:56)
20. Marianne Muller, Pau Marcos, Liam Fennelly – What Greater Griefe: deuxième couplet (02:39)

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Marianne Muller – fierce player of viola da gamba, recently applauded for her outstanding interpretation of Folies d’Espagne of Marin Marais on Zig-Zag Territoires – brings us solo and consort pieces of Tobias Hume – captain and eccentric English composer of the XVII century. Committed to her instrument, Marianne Muller commissions to contemporary composers new pieces for viola di gamba…and Eric Fischer created a piece dedicated to Tobias Hume.Little is known of Hume’s life. Some have suggested that he was born in 1569 because he was admitted to the London Charterhouse in 1629, a pre-requisite to which was being at least 60 years old, though there is no certainty over this. He had made his living as a professional soldier, probably as a mercenary. He was an officer with the Swedish and Russian armies.His published music includes pieces for viols (including many solo works for the lyra viol) and songs. They were gathered in two collections, The First Part of Ayres (or Musicall Humors, 1605) and Captain Humes Poeticall Musicke (1607). He was a particular champion of the viol over the then-dominant lute, something which caused John Dowland to publish a rebuttal of Hume’s ideas.Hume was also known as a prankster, as some of his somewhat unusual compositions illustrate. His most notorious piece was “An Invention for Two to Play upone one Viole”. Two bows are required and the smaller of the two players is obliged to sit in the lap of the larger player. This work was notated in tablature and is indeed technically possible to play. His instructions to “drum this with the backe of your bow” in another piece, “Harke, harke,” constitute the earliest known use of col legno in Western music.Eric Fischer has composed more than 200 works, which range from pieces for solo instrument to symphonic form by way of every type of instrumental forces and the most diverse experiences, including chamber music, electronics, vocal works, incidental music for the theatre, improvised music and pieces for period instruments. His openness to encounters of all kinds has led to other highly unusual artistic exchanges.Discs anthologizing Tobias Hume have appeared for almost as long as Elizabethan and Jacobean music has been recorded. Discs presenting only Captain Hume – yes he was indeed, in his youth, a soldier – are much rarer although in 1997 Naxos did produce two discs mixing instrumental works, especially the viol pieces he is best known for, with various songs (Naxos 8554126 and 554127). What makes this well-filled recording valuable and unusual is that Hume’s music is coupled with a recent work for violas da gamba by Eric Fischer. His is a new name to me but from what the booklet biographies tell us he is a very prolific composer.
The CD opens with one of Captain Hume’s most played and recorded pieces, Captain Hume’s Pavan coupled here with a brief Soldier’s Gaillard. The former is a searching and deep meditation, which can only just be considered a Pavan. This is the most expressive account of it I have ever heard and sets the CD off on the right foot for me.
There are two major collections of Hume’s music The first part of Ayres in which the above two pieces can be found. This dates from 1605 and comprises mainly but not entirely pieces for solo viol. Then there is Captain Hume’s Poeticall musicke (1607) in which can be found pieces for viol consort or more especially two or three violas da gamba. The next pieces are from that collection. What Greater Grief might remind one of passages from Dowland’s recently published Lacrimae. This piece, better known in its solo vocal version (with words like “ there is no relief in deepest woe”) comes in what is called ‘Two couplets’; melancholic second part ends the CD. Also from this collection comes The Virgin’s muse for three viols is a lengthy and intense piece in fantasia form. It is preceded by an imitative dance-like miniature for two viols possibly based on a folk melody Touch me Sweetly.
A Question and its ensuing An Answere is not like a James Naughtie question: it is short and to the point with some quite aggressive phrases. The placatory Answere is much longer, uses some of the material from A Question and grows in confidence – all quite fascinating.
Musick and Mirth is almost a madrigal for three viols with its opening contrasted ideas being repeated with typical imitation. It is in triple time but with the second contrasting idea in duple time. These two melodies are then played attractively and with imagination. Tinckeldum Twinckeldum is a triple time dance for solo viol but so cleverly written in its two registers that it almost appears to be for two viols.
One of my favourite pieces on the disc is Sweet Music for three viols set as a Pavan in three sections. Perhaps Dowland is the inspiration. It is lyrical and clearly a tune with a not overly complex accompaniment. Its predominantly major mode is especially touching. It is followed by a solo piece from the ‘Ayres’, Good Again, presumably based on a pre-existing song, with its usual double-stopping, some left hand pizzicato passages and dance measures. Do I also detect some col legno?
Eric Fischer’s Topographic Long-Range falls into eight sections. It was commissioned by Muller. The opening Premier duo is a duet. It is jazz-inspired, highly syncopated and almost a perpetuum mobile. A five movement solo viol portion follows being headed as Les Géosophiques. This challenges the performer to use several extraordinary effects which the composer in his notes lists as quarter-tone melodies, glissandos, long measured sustained notes, simultaneity of unsynchronized fluxes! “Sources”, the first movement, sounds rather nocturnal. In “Concordancia discordancium canorum” we hear the glissandi and double-stoppings. In “Medius” we have harmonics and further haunting glissandi. “De l’arupt” incorporates quarter-tone double-stops. Finally the wonderful “Coda” has some finger percussion and all kinds of pizzicato effects. There follows a second duo which is partially syncopated and jazzy but also has haunting nocturnal moments. Finally we have “Le Clepsydre”, a weird and wonderful exploitation of wispy noises for all three viols. A truly extraordinary work and one, which, much to my surprise, held my attention.
The modernist Fischer and the modernist (for his time) Captain Hume make ideal bedfellows. All of the performances are remarkably true to the composers’ intentions and wonderfully conceived and created. –Gary Higginson, MusicWeb International