1 CD
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€ 19.95
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Label Signum Classics |
UPC 0635212057629 |
Catalogue number SIGCD 576 |
Release date 01 November 2019 |
"Fretwork is the finest viol consort on the planet" - Stephen Pettitt, The London Evening Standard.
In 2026, Fretwork celebrates its 40th anniversary. In these last decades, they have explored the core repertory of great English consort music from Taverner to Purcell, made classic recordings against which others are judged, and commissioned an entirely new repertory of music for viols.
The list of composers they have encouraged to create new works is like the role call of the most prominent writers of our time: George Benjamin, Michael Nyman, Sir John Tavener, Gavin Bryars, Elvis Costello, Alexander Goehr, John Woolrich, Orlando Gough, Sally Beamish, Tan Dun, Barry Guy, Thea Musgrave, John Paul Jones, Nico Muhly, Sir James MacMillan and many others.
They have expanded their repertory to include music from over 500 years, from the first printed consort music in Venice in 1501 to music written this year. And, in between, everything that can be played on a consort of viols - Byrd & Schubert, Purcell & Shostakovitch, Gibbons & Britten, Dowland & Grieg.
Recently they have performed in the Lammermuir Festival, in Wigmore Hall with Tenebrae, and in the Malling Festival. They also visit North America again, including concerts at Carnegie Hall with Iestyn Davies. In 2025 they commemorate the sudden and untimely death of Orlando Gibbons, and celebrate the 90th year of Arvo Pärt with concerts and recordings.
While they used to fly all over the globe, they have now committed to reducing their carbon footprint by travelling in Europe only by train or electric cars - recently, they have toured Germany, France, Spain, Austria & Slovenia in their two Teslas.
The future sees many exciting projects based on the thrilling juxtaposition of old and new; making the experience of old music new and bringing the sensibilities of past ages to bear on contemporary music.
Westminster Abbey is not just the place where British monarchs were crowned, it's also the place where many English great men were burried. Among those was also Henry Purcell. This final resting place had a double meaning for him: firstly, with his status as a composer he deserved a spot in the abbey, but secondly this was also the location where he worked during the reign of Charles II and William & Mary. Most people will recognise the last aria of Purcell's beloved opera Dido and Aeneas: "Remember me, but ah! forget my fate." More abstract, but less trenchant are his brilliant Fantasias (for viola da gamba) which Purcell composed in the early 1680s. These are small, at times daringly expirimental works, which he carefully dated. Yet, Purcell mostly developed himself as a composer of vocal music, with numerous odes, 'welcome songs', motets (anthems), songs for domestic use (both sacred and secular, both monophonic and polyphonic) and music for theatre.