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In Nomine II
Various composers

Fretwork

In Nomine II

Price: € 19.95
Format: CD
Label: Signum Classics
UPC: 0635212057629
Catnr: SIGCD 576
Release date: 01 November 2019
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Label
Signum Classics
UPC
0635212057629
Catalogue number
SIGCD 576
Release date
01 November 2019
Album
Artist(s)
Composer(s)
EN

About the album

Over thirty years ago, Fretwork made its first recording – well, technically speaking it was the second album to be recorded, but the first to be released – and it was called ‘In nomine’, which consisted mainly of 16th-century examples of this remarkable instrumental form.

While this isn’t an anniversary of that release, this record looks back to that first release and forward, to bring the genre up to date. There were several examples of the In nomine and related forms that couldn't be and weren't recorded in 1987, and this album seeks to complete the project.

Artist(s)

Fretwork

'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...
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"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.


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Composer(s)

Henry Purcell

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...
more

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.


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Gavin Bryars

Gavin Bryars was born in Yorkshire in 1943. His first musical reputation was as a jazz bassist working in the early sixties with improvisers Derek Bailey and Tony Oxley. He abandoned improvisation in 1966 and worked for a time in the United States with John Cage. Subsequently he collaborated closely with composers such as Cornelius Cardew and John White. From 1969 to 1978 he taught in departments of Fine Art in Portsmouth and Leicester, and during the time that he taught at Portsmouth College of Art he was instrumental in founding the legendary Portsmouth Sinfonia.  His first major work as a composer was The Sinking of the Titanic (1969) and Jesus' Blood Never Failed Me Yet (1971). He has composed prolifically for the theatre and dance...
more
Gavin Bryars was born in Yorkshire in 1943. His first musical reputation was as a jazz bassist working in the early sixties with improvisers Derek Bailey and Tony Oxley. He abandoned improvisation in 1966 and worked for a time in the United States with John Cage. Subsequently he collaborated closely with composers such as Cornelius Cardew and John White. From 1969 to 1978 he taught in departments of Fine Art in Portsmouth and Leicester, and during the time that he taught at Portsmouth College of Art he was instrumental in founding the legendary Portsmouth Sinfonia. His first major work as a composer was The Sinking of the Titanic (1969) and Jesus' Blood Never Failed Me Yet (1971). He has composed prolifically for the theatre and dance as well as for the concert hall and has written four full-length operas. Among Gavin Bryars' other works are three string quartets and a great deal of chamber music, much of it for his own ensemble.
The Gavin Bryars Ensemble, founded in 1981, performs internationally, including appearances in France, Italy, Spain, Portugal, Norway, Finland, Latvia, Estonia, Lithuania, Hungary, Czeck Republic, Belgium, Germany, Holland, Mexico, Austria, Japan and Australia, as well as giving occasional concerts in UK. In 2012 an enlarged ensemble performed a special centenary version of The Sinking of the Titanic.
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