John Ward - Upon a Bank with Roses: Consort Music - Rose Consort of Viols

Posted By: zamorna

Date: Dec. 23, 2009

An extensive and diverse assortment of music for viols by John Ward [c. 1589-1638] has survived, and this superb disc presents a selection of his very finest pieces. On offer here are beautifully performed works, ranging from complex six-part fantasias to three part instrumental madrigals and simple two part ayres.

Although no information is provided regarding the instruments themselves, all six players bring great warmth to their playing and I failed to discern any weak link among them. The recording quality is also excellent, although the acoustics of Forde Abbey result in a blending together of the instrumental lines in the five and six part pieces where I would prefer a greater degree of separation.

As followers of this shadowy figure (there are competing theories regarding his biography) know, Ward’s greatest and most involving works are those written for five and six parts. These appear to have been written later than his vocal music and they show great confidence and stylistic maturity. Not surprisingly then, these works are well represented on this disc.

Making use of dissonance, there are some pieces that produce a hypnotic, unsettling effect on the listener (try track 5 Leggiadra sei a 5, and you will hear what I mean). Others, particularly the fantasias, are equally mesmerising, but are played with a lightness of touch that draws the listener into a strange but delightful musical tapestry. Track 15 Fantasia No 6 in C a 4 includes fragments that, oddly enough, immediately reminded me of the later hymn popularised as "The Lord of the Dance", while, perhaps the most sublime work of all Fantasia No 1 in A a 5 (track 13), would not be out of place among J S Bach’s late fugues.

The order of pieces is very well done, such that the disc never becomes wearisome (an important achievement, considering that there is relatively little room for textural variability in music written for a consort of viols). Four of the slighter works (tracks 7, 8, 16 & 17), include an organ part, ably played by John Bryan.

Critics of Ward’s compositions point to a certain lack of rhythmic invention, and a mechanical application of musical formulae which impacts upon their overall quality. Yet, on this disc, all I hear are beautiful, engaging and impressive works that I class alongside the best of Byrd and Gibbons. Full credit must go to the players who never fail to bring out all the rich sonority of this wonderful music. A must buy for all lovers of early seventeenth century music for strings. (Peter Bright, musicweb-international.com)

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According to John Bryan, who plays both viol and organ on this recording, Englishman John Ward (c. 1589-1638) was not a professional musician but rather worked for a nobleman–Sir Henry Fanshawe–who loved music. Sir Henry also loved Italian musical and literary culture, and thus Ward set to work on a collection of madrigals (English, but in Italian style), which he published in 1613 and dedicated to Fanshawe. Included in the set's title was the instruction that these pieces, in 3-6 parts, were "apt both for Viols and Voyces." On this recording, the Rose Consort of Viols chooses the former context for performing several of these originally texted songs, including "Upon a bank with roses", "O say, dear life", "Fly not so fast", and "Sweet Philomel". Indeed, listeners who think they've heard some of these works before may have encountered them in their vocal versions.

Ward also composed madrigals with Italian texts, some of which are also included here in instrumental form, as well as a large number of works for viols only–Fantasias, Airs, and In Nomines. The quality of the music is invariably first rate, able to keep easy company with better-known examples by Byrd, Gibbons, Lawes, Dowland, Ferrabosco, Tomkins, or Weelkes. The variety among these 25 selections is impressive. In the madrigals, it's achieved through Ward's attention to the texts, using the music to illustrate important words and scenarios. But even if you don't know the original songs, you can appreciate any of these pieces for their lively rhythmic flow, graceful lines, skillfully varied textures and color effects–and particularly notable in the slower numbers, the sensuous melodies and rich, resonant harmonies.

The Rose Consort of Viols was created to play music like this, and the collective and individual virtuosity of the six performers on this disc are on full display throughout the generous (72-minute) program. Particularly satisfying are the selections with organ, whose unique colors add another, very sonorous dimension to the viols' already warm, ear-pleasing consonance. The sound, from the very complementary acoustics of Forde Abbey, is appropriately full-bodied yet intimate. If you enjoy music for viols, don't hesitate to add this excellent disc to your collection. (David Vernier, classicstoday.com)

There is no indication that John Ward was a professional musician, rather it is more likely that he was employed as a secretary. He was however, an adept composer who left behind a number of compositions that he deemed suitable for either viols or voices.

The Rose Consort have given us a beautifully played assortment of Mr. Ward’s music for viols. Closely modeled on the Italian madrigal, which was all the rage at the time of these compositions, these works are obviously based on poetic models. If the listener is at all familiar with the madrigal as a genre, he will immediately recognize the text-painting techniques and rather heightened emotions typical of the madrigal, only translated into an instrumental form.

The string consort music of the late sixteenth/early seventeenth century is, to these ears, some of the sweetest and most soothing music ever penned. There is, however, the slight problem that the interchangeability of voices and instruments caused; without a text, the music does begin to have a lulling sameness about it. Whether or not this is a detriment to enjoyment I happily leave for the listener to decide. I personally adore this body of repertoire, and find that it has uses both academic and therapeutic.

As for this performance, there is not a thing to criticize. The Rose Consort is a fine ensemble that plays spot in tune and with a loving sense of the rise and fall of a musical line. I found that the four works that include organ continuo to be of special merit, but there are certainly no losers here at all.

The production values of this disc are up to cpo’s customary impeccable standard, with thorough program notes, beautiful packaging and superior sound quality. For more than an hour of pleasant musical delights, this is a winner on all counts. Recommended highly. (Kevin Sutton, musicweb-international.com)

Tracklist:

01 Upon a bank of roses a 5 viols (2:32)
02 Fantasia No. 1 in c a 4 viols (2:55)
03 In Nomine No. 1 a 6 viols (3:34)
04 Fantasia No. 7 in G a 4 viols (Paris) (2:18)
05 Leggiadra sei a 5 viols (4:01)
06 Fantasia No. 7 in c a 4 viols (anon.) (4:00)
07 Aire 1 in a a 2 viols & organ (1:37)
08 Aire 2 in A a 2 viols & organ (1:15)
09 Fantasia No. 4 in G a 6 viols (3:53)
10 In Nomine No. 2 a 6 viols (3:24)
11 O say, dear life a 3 viols (1:40)
12 Fly not so fast a 3 viols (2:04)
13 Fantasia No. 1 in a a 5 viols (3:22)
14 Fantasia No. 5 in a a 4 viols (3:00)
15 Fantasia No. 6 in C a 4 viols (2:48)
16 Aire 6 in d a 2 viols & organ (1:45)
17 Aire 5 in D a 2 viols & organ (1:42)
18 Fantasia No. 6 in a a 5 viols (3:10)
19 Non fu senze a 5 viols (2:52)
20 In Nomine a 5 viols (3:19)
21 Cor mio, deh non languire a 5 viols (3:04)
22 Sweet Philomel a 5 viols (2:32)
23 In Nomine No. 5 a 4 viols (3:53)
24 Fantasia No. 5 in g a 6 viols (2:44)
25 Fantasia No. 6 in c a 6 viols (4:10)

EAC

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC extraction logfile from 23. December 2009, 14:11

John Ward / Consort Music - Rose Consort of Viols

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Peak level 99.7 %
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