Description
This is the third of a series on the Signum Classics label, collectively entitled “In Chains of Gold.” That attractive title apparently comes from composer Thomas Morley, several decades after the fact, but the music on this album comes from the Pre-Restoration era, in the middle of the 17th century, corresponding to the English Commonwealth (some of the pieces come from a bit before that) and reflecting some of that society’s variety and churn. The physical album may be recommended, for it contains elegant and engaged notes by David Pinto (one can get ready to expand one’s vocabulary with terms such as “reck”), and there is a lot more there about the fresh ideas the ensembles here have applied to the music, but general listeners will also find much to enjoy. Partly, it is the sheer variety; the small Magdalena Consort choir, singing in a high tuning, is joined by the viol group Fretwork, the venerable His Majesty’s Sagbutts & Cornetts, and solo organ pieces played on a lively instrument by Silas Wollston. The music never settles into expected textures, and this is all to the good. Another major attraction is the general obscurity of this repertory (or at least it was obscure until these performers and artistic director William Hunt got hold of it). A few of the composers went on to bigger roles during the Restoration era, but many will be unknown even to English Renaissance music lovers. Try the likes of William Stonnard in Hearken, all ye people, or When Jesus sat at meat by Richard Nicholson. There are a few celebratory pieces, but the majority of the music is somber for a somber era. Those who have not yet checked out the “In Chains of Gold” series are urged to do so with this installment, which landed on classical best-seller lists in early 2025. ~ James Manheim
