Reviews: "A delightful view in miniature
of the evolution of song and instrumental airs preceding the boom of the
Baroque...Andrea Folan's youthful, sweet soprano is well-suited to Boleyn's
and later dance-influenced English-language songs. Her broad knowledge
of the repertoire is evidenced in her decoration of the melody line of
a poem by the Countess of Dia from 12th Century southern France; there
are suggestions of Ladino and later Spanish stylings. The accompaniments
and non-vocal numbers are performed gently but confidently on period instruments."
Jeff Kaliss, Muze (Muze provides reviews for
online merchants.) Kaliss also writes for The San
Francisco Chronicle. * "Nicely engineered CD...has the intimate
ambiance needed for this style of music...Susan Sandman and Derwood Crocker
play nine instruments between them...Both are consummate musicians..."[Folan's]
light, yet warm soprano is beautifully suited to the works here. Her diction
is exemplary and ornamentation tasteful and varied. The balance between
the three performers here is excellent...Several of the cuts are instrumental
only, and each line is clearly heard in the texture of the whole piece."
Candace Magner, Journal of Singing.
* "Folan is sweet-voiced, artfully capturing the mood of the
mainly melancholy words and tunes. Sandman and Crocker are erudite, yet
sensitive to the music." Parsons, American Record
Guide.
Recording: Recording producer/engineer and
post production: Marnie Hall. Recorded at Alice Barler Recital Hall, Wells
College, Aurora, New York, September, 1994. DDD. Support:
This recording is made possible with public funds from The New
York State Council on the Arts, a state agency. Additional support provided
by the Mitch Miller Foundation, Wells College, Dilly Patrick, and a Special
Opportunity Stipend from the New York Foundation for the Arts and the
Upper Catskill Community Council of the Arts, Inc.
Performance Practices: "Manuscripts of
medieval songs contain only melody, with no indication of instrumentation.
We chose to use psaltery, fiddle, lute, symphonia, and organetto, instruments
common in the 12th and 13th centuries. In keeping with early practices
in performance, we have added our own counter-melodies, ornamentation,
and, where manuscripts are ambiguous, rhythmic interpretation. The later
songs appear more complete in manuscripts. Single-line melodies are replaced
with multipart compositions. We perform them in the English lute song
style, with voice, lute and bass viola da gamba. Lute realizations for
the three Mary Harvey songs were supplied by Dr. Sandman." -Susan
G. Sandman.
Music Sources: Countess of Dia: Paris,
Bibliothèque Nationale, MS Fr. 844, Fol. 204R. Maroie de Dregnau
de Lille: "Le Manuscrit du Roi". Queen Blanche:
Paris, Bibliothèque Nationale, MS f.fr. 21677. Hildegard of
Bingen: the Dendermonde Codex. Anne Boleyn (attributed):
can be found in Briscoe, ed., "Historical Anthology of Music by Women,"
(1987). Killigrew: Oxford, Tenbury MS 1018; ornamented version
from Bodelian Lib. Add. 10337 fol. 55v. Mary Harvey: Henry Lawes'
Second Book of Select Ayres and Dialogues (John Playford, 1655).
"In Vain, fair Chloris" is published in "English Songs,"
Musica Britannica, Vol. 33, ed. Ian Spink (London, Stainer &
Bell Ltd., 1971). Anonymous lute duets from "The Jane Pickering
Lute Book" (c. 1615-1645) and Folger MS. 1610. Farnaby pieces:
Fitzwilliam Virginal Book
Cover Photo: "Angel with Symphonia,"
c. 1360, possibly Pisan. Samuel H. Kress Collection, ©1966, Board
of Trustees, National Gallery of Art, Washington, D.C. Graphic
Design: Marnie Hall. ©1997, Leonarda Productions, Inc. All
rights reserved. Made in the U.S.A. |
