Wednesday, November 10, 2010

John Ward (ca. 1589~1638)- Consort music: Phantasm (SACD. 2009) (PCM 24bit-192kHz + RedBook rip)

    SACD to PCM 24bit-192kHz | FLAC, TRACKS | 2.89GB
    MP3 LAME VBR-245 V0 | 126MB | COMPLETE SCANS |  43MB
    Classical | Label: LINN | Catalog Number: CKD 339
    RAR 3% Rec. |,

     2010 Gramophone Award Finalist
    Finalist Early Music Album of the Year
    Classic FM Gramophone Awards 2010

    BBC Music Choice Chamber Award 
    BBC Music Choice - Chamber
    BBC Music Magazine

    Recorded at Wadham College Chapel, Oxford on the 15th~18th March 2009
    Engineered by Philip Hobbs
    Post production by Julia Thomas at Finesplice
    Cover painting: ‘Hearing', 1617 (oil on panel) by Jan Brueghel, the Elder (1568-1625)
    - Prado, Madrid, Spain / Giraudon / The Bridgeman Art Library
    Design by John Haxby
    Photos of Phantasm by Hanya Chlala
    JOHN WARD (CA. 1589~1638) 
    Consort music for five and six viols

    John Ward (ca. 1589~1638) has to put up with a name of such unadorned plainness that it is hard to believe he was a leading light in Jacobean viol consort music. Though wrongly demeaned on occasion today as a mere "amateur" composer (because he didn't hold a court or ecclesiastic appointment), connoisseurs in the seventeenth century were in no doubt about his stature. Writing almost forty years after his death in 1676, Thomas Mace names ‘Mr John Ward' as one of those ‘diverse famous Englishmen' of ‘very great eminence and worth' who composed fantasies ‘as fit monuments, and patterns for sober and wise posterity, worthy to be imitated and practiced'. To judge from the far flung transmission of his instrumental works in private 
    collections, Ward was indeed imitated and practiced for a good long while, though in 1676 only Purcell's final chapter in imitative consort music remained to be written some four years later after a period of intense study, perhaps even composed in response to Mace's ‘monumental' vision of the old English viol fantasy, filled with its ‘pathetical stories' and ‘divine raptures'.... linnrecords

    01. Fantasia No.1 a6 (VdGS 1) 03:25
    02. Fantasia No.3 a6 (VdGS 3) 03:34
    03. Fantasia No.6 a6 (VdGS 6) 04:02
    04. Fantasia No.2 a6 (VdGS 2) 02:55
    05. Fantasia No.4 a6 (VdGS 4) 03:37
    06. Fantasia No.5 a6 (VdGS 5) 02:38
    07. Fantasia No.7 a6 (VdGS 7) 03:23
    08. In Nomine No.1 a6 (VdGS 1) 03:53
    09. Fantasia No.1 a5 (VdGS 1) 03:01
    10. Fantasia No.2 a5 "La Rondinella" (VdGS 2) 03:47
    11. Fantasia No.3 a5 (VdGS 3) 03:30
    12. Fantasia No.4 a5 (VdGS 4) 03:00
    13. Fantasia No.5 a5 (VdGS 5) 03:07
    14. Fantasia No.6 a5 (VdGS 6) 02:50
    15. Fantasia No.7 a5 (VdGS 7) 03:33
    16. Fantasia No.8 a5 (VdGS 8) 03:08
    17. Fantasia No.9 a5 (VdGS 9) 03:17
    18. Fantasia No.10 a5 (VdGS 10) 03:18
    19. Fantasia No.11 a5 "Cor mio" (VdGS 12) 03:15
    20. Fantasia No.13 a5 "Non fu senze" (VdGS 14) 02:57
    21. Fantasia No.12 a5 "Leggiadra sei" (VdGS 13) 04:24
    22. In Nomine a5 (VdGS 14) 03:29
    23. In Nomine No.2 a6 (VdGS 2) 03:42
    Performer:  Phantasm

    Viol consort Phantasm performs fantasias in five or six parts by English composer John Ward (1589 - 1638) who wrote little else. The works summon the dancing gaiety as well as the dark, wood-panelled domesticity of Jacobean London; these were for the growing home-entertainment market. Phantasm plays with a slight expressive whine and delicate balance. There is a lightness in the musicians' bows that betrays the communal pleasure of performance and jaunty phrasing in the three fantasias built on Italian songs. The three In Nomines are more serious, the imitations now in agreement rather than the pass-the-parcel exuberance of some of the fantasiasClassic FM Magazine

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