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Spanish Gypsies - Celtic & Spanish Music In Shakespeare's England
A delightful medley, musically as well as musicologically, the 18 different instruments being combined with great imagination.
The subtitle of this album says more about its content than does the main one. There is much titular reference to Spain and to gypsies, but only in âThe Spanish Jeepsiesâ do the two come together. It seems that in Shakespeareâs time Spanish popular tunes were perceived as being of gypsy origin. More to the point, the programme is skilfully devoted to showing the influence of Celtic and Spanish idioms on English popular music â a difficult, labyrinthine process that itâs not particularly helpful to try to summarise here, but it is well covered in Lawrence-Kingâs annotation.
Charles Iâs Consorte opened the way for courtly instruments to âfraterniseâ with humbler ones, creating a variety of new sounds, and the Harp Consort take full advantage of this âsocialâ freedom. The eight players form a kaleidoscope of broken consorts drawn from the 18 instruments (plucked, bowed, blown and percussed) at their disposal, producing a remarkable spectrum of sound from the ethereal (âLady Louthians Liltâ) to the downright boisterous (âThe Wherligigâ). Only five of the 23 items last for more than four minutes but one never has the impression of a trayful of canapes deputising for a good meal.
When it comes to putting together a coherent and well-researched programme of assorted small-scale items, only Peter Holman springs to mind as Andrew Lawrence-Kingâs peer. Excellent recording is the icing on this delectable cake, one that takes 71 minutes to enjoy.
-- John Duarte, Gramophone [11/2000]
The subtitle of this album says more about its content than does the main one. There is much titular reference to Spain and to gypsies, but only in âThe Spanish Jeepsiesâ do the two come together. It seems that in Shakespeareâs time Spanish popular tunes were perceived as being of gypsy origin. More to the point, the programme is skilfully devoted to showing the influence of Celtic and Spanish idioms on English popular music â a difficult, labyrinthine process that itâs not particularly helpful to try to summarise here, but it is well covered in Lawrence-Kingâs annotation.
Charles Iâs Consorte opened the way for courtly instruments to âfraterniseâ with humbler ones, creating a variety of new sounds, and the Harp Consort take full advantage of this âsocialâ freedom. The eight players form a kaleidoscope of broken consorts drawn from the 18 instruments (plucked, bowed, blown and percussed) at their disposal, producing a remarkable spectrum of sound from the ethereal (âLady Louthians Liltâ) to the downright boisterous (âThe Wherligigâ). Only five of the 23 items last for more than four minutes but one never has the impression of a trayful of canapes deputising for a good meal.
When it comes to putting together a coherent and well-researched programme of assorted small-scale items, only Peter Holman springs to mind as Andrew Lawrence-Kingâs peer. Excellent recording is the icing on this delectable cake, one that takes 71 minutes to enjoy.
-- John Duarte, Gramophone [11/2000]
A delightful medley, musically as well as musicologically, the 18 different instruments being combined with great imagination.
The subtitle of this album says more about its content than does the main one. There is much titular reference to Spain and to gypsies, but only in âThe Spanish Jeepsiesâ do the two come together. It seems that in Shakespeareâs time Spanish popular tunes were perceived as being of gypsy origin. More to the point, the programme is skilfully devoted to showing the influence of Celtic and Spanish idioms on English popular music â a difficult, labyrinthine process that itâs not particularly helpful to try to summarise here, but it is well covered in Lawrence-Kingâs annotation.
Charles Iâs Consorte opened the way for courtly instruments to âfraterniseâ with humbler ones, creating a variety of new sounds, and the Harp Consort take full advantage of this âsocialâ freedom. The eight players form a kaleidoscope of broken consorts drawn from the 18 instruments (plucked, bowed, blown and percussed) at their disposal, producing a remarkable spectrum of sound from the ethereal (âLady Louthians Liltâ) to the downright boisterous (âThe Wherligigâ). Only five of the 23 items last for more than four minutes but one never has the impression of a trayful of canapes deputising for a good meal.
When it comes to putting together a coherent and well-researched programme of assorted small-scale items, only Peter Holman springs to mind as Andrew Lawrence-Kingâs peer. Excellent recording is the icing on this delectable cake, one that takes 71 minutes to enjoy.
-- John Duarte, Gramophone [11/2000]
The subtitle of this album says more about its content than does the main one. There is much titular reference to Spain and to gypsies, but only in âThe Spanish Jeepsiesâ do the two come together. It seems that in Shakespeareâs time Spanish popular tunes were perceived as being of gypsy origin. More to the point, the programme is skilfully devoted to showing the influence of Celtic and Spanish idioms on English popular music â a difficult, labyrinthine process that itâs not particularly helpful to try to summarise here, but it is well covered in Lawrence-Kingâs annotation.
Charles Iâs Consorte opened the way for courtly instruments to âfraterniseâ with humbler ones, creating a variety of new sounds, and the Harp Consort take full advantage of this âsocialâ freedom. The eight players form a kaleidoscope of broken consorts drawn from the 18 instruments (plucked, bowed, blown and percussed) at their disposal, producing a remarkable spectrum of sound from the ethereal (âLady Louthians Liltâ) to the downright boisterous (âThe Wherligigâ). Only five of the 23 items last for more than four minutes but one never has the impression of a trayful of canapes deputising for a good meal.
When it comes to putting together a coherent and well-researched programme of assorted small-scale items, only Peter Holman springs to mind as Andrew Lawrence-Kingâs peer. Excellent recording is the icing on this delectable cake, one that takes 71 minutes to enjoy.
-- John Duarte, Gramophone [11/2000]
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A delightful medley, musically as well as musicologically, the 18 different instruments being combined with great imagination.
The subtitle of this album says more about its content than does the main one. There is much titular reference to Spain and to gypsies, but only in âThe Spanish Jeepsiesâ do the two come together. It seems that in Shakespeareâs time Spanish popular tunes were perceived as being of gypsy origin. More to the point, the programme is skilfully devoted to showing the influence of Celtic and Spanish idioms on English popular music â a difficult, labyrinthine process that itâs not particularly helpful to try to summarise here, but it is well covered in Lawrence-Kingâs annotation.
Charles Iâs Consorte opened the way for courtly instruments to âfraterniseâ with humbler ones, creating a variety of new sounds, and the Harp Consort take full advantage of this âsocialâ freedom. The eight players form a kaleidoscope of broken consorts drawn from the 18 instruments (plucked, bowed, blown and percussed) at their disposal, producing a remarkable spectrum of sound from the ethereal (âLady Louthians Liltâ) to the downright boisterous (âThe Wherligigâ). Only five of the 23 items last for more than four minutes but one never has the impression of a trayful of canapes deputising for a good meal.
When it comes to putting together a coherent and well-researched programme of assorted small-scale items, only Peter Holman springs to mind as Andrew Lawrence-Kingâs peer. Excellent recording is the icing on this delectable cake, one that takes 71 minutes to enjoy.
-- John Duarte, Gramophone [11/2000]
The subtitle of this album says more about its content than does the main one. There is much titular reference to Spain and to gypsies, but only in âThe Spanish Jeepsiesâ do the two come together. It seems that in Shakespeareâs time Spanish popular tunes were perceived as being of gypsy origin. More to the point, the programme is skilfully devoted to showing the influence of Celtic and Spanish idioms on English popular music â a difficult, labyrinthine process that itâs not particularly helpful to try to summarise here, but it is well covered in Lawrence-Kingâs annotation.
Charles Iâs Consorte opened the way for courtly instruments to âfraterniseâ with humbler ones, creating a variety of new sounds, and the Harp Consort take full advantage of this âsocialâ freedom. The eight players form a kaleidoscope of broken consorts drawn from the 18 instruments (plucked, bowed, blown and percussed) at their disposal, producing a remarkable spectrum of sound from the ethereal (âLady Louthians Liltâ) to the downright boisterous (âThe Wherligigâ). Only five of the 23 items last for more than four minutes but one never has the impression of a trayful of canapes deputising for a good meal.
When it comes to putting together a coherent and well-researched programme of assorted small-scale items, only Peter Holman springs to mind as Andrew Lawrence-Kingâs peer. Excellent recording is the icing on this delectable cake, one that takes 71 minutes to enjoy.
-- John Duarte, Gramophone [11/2000]
