Artist: Mahan Esfahani
Album: The Passinge mesures
Genre: Classical
Release Date: 2017
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:17:43
Total Tracks: 19
Total Size: 1,60 GB

Tracklist:

1-1. Mahan Esfahani – Tomkins: Barafostus Dreame (05:17)
1-2. Mahan Esfahani – Dowland; Anon: Can she excuse my wrongs? (02:04)
1-3. Mahan Esfahani – Gibbons: Pavin ‘M. Orlando Gibbons’ (04:15)
1-4. Mahan Esfahani – Gibbons: The woods so wild (04:10)
1-5. Mahan Esfahani – Farnaby: Fantasia (04:47)
1-6. Mahan Esfahani – Byrd: The nynth pavian and galliarde, the Passinge mesures, BK2 – 1: Pavian (06:16)
1-7. Mahan Esfahani – Byrd: The nynth pavian and galliarde, the Passinge mesures, BK2 – 2: Galliarde (03:45)
1-8. Mahan Esfahani – Farnaby: Nobodyes Gigge (02:12)
1-9. Mahan Esfahani – Bull: Chromatic pavan and galliard ‘Queen Elizabeth’s’ – 1: Pavan (05:22)
1-10. Mahan Esfahani – Bull: Chromatic pavan and galliard ‘Queen Elizabeth’s’ – 2: Galliard (02:42)
1-11. Mahan Esfahani – Byrd: Ut, re, mi, fa, sol, la, BK64 (06:29)
1-12. Mahan Esfahani – Anon: The Scottish gigg (02:21)
1-13. Mahan Esfahani – Tomkins: Pavana (05:33)
1-14. Mahan Esfahani – Farnaby: Wooddy-Cock (05:46)
1-15. Mahan Esfahani – Farnaby: Tell mee, Daphne (01:36)
1-16. Mahan Esfahani – Farnaby: Why aske you (02:14)
1-17. Mahan Esfahani – Bull: Fantasia ‘Mr Dr Bull’ (05:59)
1-18. Mahan Esfahani – Inglot: The leaves bee greene (03:25)
1-19. Mahan Esfahani – Anon: Variations on the Romanesca (03:21)

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This sensational recital—featuring some of the greatest keyboard music to emerge from these islands—is the perfect vehicle for Mahan Esfahani’s abundant talents. His accompanying booklet notes are an added bonus, guaranteed to inform, illuminate and provoke by turns.

Performed for the most part on a double-manual harpsichord made by Robert Goble & Son, Oxford (1990), kindly loaned by Bob Robertson and based on an instrument made by Carl Conrad Fleischer, Hamburg (1710); tracks 12, 15, 18 & 19 performed on virginals made by Huw Saunders, London (1989), kindly loaned by Huw Saunders and a copy of an instrument made by Thomas White, Old Jewry, London (1642). The temperament used for the recording was quarter-comma meantone, a’=408Hz.