Artist: Fretwork
Album: John Jenkins: Complete Four-Part Consort Music
Genre: Classical
Release Date: 2018
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:22:58
Total Tracks: 19
Total Size: 1,58 GB

Tracklist:

1-01. Fretwork – Fantasia No. 1 (03:23)
1-02. Fretwork – Fantasia No. 2 (03:57)
1-03. Fretwork – Fantasia No. 3 (04:03)
1-04. Fretwork – Fantasia No. 4 (03:38)
1-05. Fretwork – Pavan in D Minor (06:09)
1-06. Fretwork – Fantasia No. 5 (03:31)
1-07. Fretwork – Fantasia No. 6 (02:51)
1-08. Fretwork – Fantasia No. 7 (04:59)
1-09. Fretwork – Fantasia No. 8 (04:06)
1-10. Fretwork – Fantasia No. 9 (05:51)
1-11. Fretwork – Fantasia No. 10 (03:58)
1-12. Fretwork – Fantasia No. 11 (03:29)
1-13. Fretwork – Fantasia No. 12 (04:18)
1-14. Fretwork – Fantasia No. 13 (03:15)
1-15. Fretwork – Fantasia No. 14 (03:44)
1-16. Fretwork – Pavan in E Minor (06:38)
1-17. Fretwork – Fantasia No. 15 (04:35)
1-18. Fretwork – Fantasia No. 16 (04:55)
1-19. Fretwork – Fantasia No. 17 (05:28)

Download:

For a good third of a century, the Fretwork ensemble has been constantly sifting through the immensely rich repertoire for consort of violas, generally from the British sphere, from Taverner to Purcell — so, the 16th and 17th centuries — while never hesitating to commission entirely new works from modern-day composers. The combination of the viola’s “ancient” sound with modern writing brings forth the most unlikely sonic spheres… This album keeps both feet firmly in England’s 17th century with John Jenkins (1592-1678), famous in his own day, and consistently one of the most essential composers for any self-respecting viola player from the very start of his career — both in England and abroad, which is unusual in itself — thanks to his output of literally hundreds of pieces for various viola ensembles. A number of them were written for “family”-style consorts, in large part due to the ban on all forms of public music implemented by Cromwell’s religious dictatorship. Once the monarchy was restored, the fashion for groups of amateurs playing concert violas would endure long enough to bring fame and fortune to composers such as Jenkins. Here we will discover a language which is at once conservative in terms of form, and very daring, explosive even, in terms of content, rather like the work of a 17th century Haydn.