Consort Brouillamini – The Woods so Wild (2020) [FLAC 24 bit, 96 kHz]

Consort Brouillamini - The Woods so Wild (2020) [FLAC 24 bit, 96 kHz] Download

Artist: Consort Brouillamini
Album: The Woods so Wild
Genre: Classical
Release Date: 2020
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 58:30
Total Tracks: 25
Total Size: 996 MB

Tracklist:

01. Consort Brouillamini – The Image of Melancholly (05:19)
02. Consort Brouillamini – The Fairie-Round (01:06)
03. Consort Brouillamini – Muy Linda (01:02)
04. Consort Brouillamini – Hermoza (01:13)
05. Consort Brouillamini – Watkins Ale (Arr. for Recoder) (00:38)
06. Consort Brouillamini – Rowland (Arr. for Recoder) (03:37)
07. Consort Brouillamini – La Volta (Arr. for Recoder) (01:44)
08. Consort Brouillamini – Pakington’s Pownde (Arr. for Recoder) (02:20)
09. Consort Brouillamini – Pawles Wharfe (Arr. for Recoder) (01:29)
10. Consort Brouillamini – The Woods so Wild (Arr. for Recoder) (03:27)
11. Consort Brouillamini – In Nomine XII: Crye (01:39)
12. Consort Brouillamini – In Nomine XV: Surrexit non est hic (02:57)
13. Consort Brouillamini – Hugh Ashton’s Maske (02:54)
14. Consort Brouillamini – The Second of the Temple (01:28)
15. Consort Brouillamini – The First of the Prince’s (01:24)
16. Consort Brouillamini – Cupararee or Grays’Inn (Arr. for Recoder) (02:14)
17. Consort Brouillamini – The First of the Temple antic (02:05)
18. Consort Brouillamini – The Second of the Temple antic (01:53)
19. Consort Brouillamini – O Mater Mundi (03:44)
20. Consort Brouillamini – Consort of Four Parts, Suite No. 3 en Fa Majeur: I. Fantazie (03:38)
21. Consort Brouillamini – Consort of Four Parts, Suite No. 3 en Fa Majeur: II. Courante (01:08)
22. Consort Brouillamini – Consort of Four Parts, Suite No. 3 en Fa Majeur: III. Ayre (01:10)
23. Consort Brouillamini – Consort of Four Parts, Suite No. 3 en Fa Majeur: IV. Saraband (00:54)
24. Consort Brouillamini – Pavan en sol mineur (Arr. for Recoder) (04:53)
25. Consort Brouillamini – Chacony en sol mineur (Arr. for Recoder) (04:23)

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The first feeling given by the English music of the 16th and 17th is a great uniqueness apparently preserved from any foreign influence, but yet English musicians were not totaly isolated from their continental fellow workers: For evidence, foreign musical forms like the Pavan, the Gaillard or the Madrigal all born in Italy were in use in England, foreign instrumentalists played in the court of England, handwritten or printed music from the continent was largely spread over England.

However, England always took the foreign idioms very cautiously. The main imitative process of music writing began only to be used at the very last end of the 16th century; the first innovations of the baroque style were adopted very gradually from the end of the 17th.

The English Renaissance, spread largely over the 17th century, has preserved a unique style of continental innovations, very rich and remarkable in the instrumental music which is without doubt one of the most accomplished of the period.

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