14 Jun 2017

The history of medieval English music on record

The history of medieval English music on record
Edward Breen

Now that we have simple access to vast quantities of recorded music it is all too easy not to notice that many great albums have still to be invited to this digital party. Great swathes of our recorded history, which Tom Moore neatly described a few years ago in Early Music America as ‘Our disappearing LP legacy’, are waiting to be rediscovered and time is running out as many libraries find they just do not justify the shelf space. Such challenges make historical record collecting rather adventurous; it takes intrepid listeners on voyages through sound archives (physical and online), record shops and digital download sites. It follows therefore that we must ask ourselves why preserving old recordings is important. Are we merely attempting to ensure a future for our nostalgia? The answer, as I hope to demonstrate, [...]


For the full text of this article please refer to Early Music (Oxford University Press: Jun 2017).
DOI: https://doi.org/10.1093/em/cax027

12 Jun 2017

Research portal: King's College London


My PhD thesis is now available to download from the King's College London research portal and I am delighted to note that so many people are interested to read more about the work of David Munrow.



The Performance Practice of David Munrow and the Early Music Consort of London : Medieval Music in the 1960s and 1970s

This thesis focuses on the musical contribution of David Munrow and his Early Music Consort of London (EMC) to the so-called early music revival of the 1960s and 1970s. By exploring the notion of shared cultural space in performances of medieval music by leading ensembles of the time, this thesis seeks to isolate aspects of performance practice unique to the EMC.


An assessment of literary sources documenting the early music revival reveals clear nodes of discussion around Munrow’s methods of presenting early music in concert performance which are frequently classified as ‘showmanship’ with a focus on more scholarly performance practice decisions only evident in the post-Munrow period.


Close readings of these sources are undertaken which are, in turn, weighed against Munrow’s early biography to map out the web of influences contributing to his musical life. Having established David Munrow’s intentions in performance, this thesis uses techniques of performance analysis to question whether he and the EMC achieved such stated aims in performance, and identifies how different approaches are made manifest in recordings by other ensembles.


The findings, which seek to marry sonic analysis with reception history, are interpreted in the light of the New Cultural History of Music and reposition David Munrow, often seen as a showman who evangelized early music, as a musician who profoundly influenced the modern aesthetics and surface details of performance for subsequent generations of early musicians.


Original language: English
Awarding Institution: King's College London
Supervisors/Advisors
Dillon, Emma, Supervisor
Leech-Wilkinson, Daniel, Supervisor
Award date: 2015

Documents: 2015_Breen_Edward_95025532_ethesis
51 MB, PDF-document

3 Jun 2017

Sacred Treasures of England

Sacred Treasures of England The London Oratory Schola Cantorum Boys Choir
Sony Classical 88985416362

The London Oratory Schola Cantorum Boys Choir sing weekly in the generous acoustic of the Brompton Oratory and the music on this disc reflects their dedication to Tudor repertoire. The top line largely dictates their overall sound and in Missa Euge Bone by Tye (c.1500-1573) the trebles exhibit a bright, joyful grain with a slight tendency to sharpness that portrays lofty phrases as immediate and readily communicative. Coupled with the men’s rich voices, they find great interest in the alternating upper- and lower-voiced textures that this mass favours. In the Gloria there is a fabulous transition from calm, homophonic texture in Jesu Christe to effusive, puppyish joy in Cum Sancto Spiritu…Amen. [...]

To read the full text of this article please visit www.gramophone.co.uk (June 2007)

21 Apr 2017

Lucrezia Borgia’s Daughter

Lucrezia Borgia’s Daughter’ 
Princess, Nun and Musician: Motets from a 16th Century Convent’ 
attrib d’Este Musica quinque vocum motteta materna lingua vocata Musica Secreta; 
Celestial Sirens / Laurie Stras, Deborah Roberts Obsidian F CD717 (72’ • DDD • T/t)

[...] 


The progressive nature of these motets will surprise and delight lovers of 16th-century music. Written for equal voices, they are contained within a twooctave compass promoting a rich, sonorous texture. Such textures are beautiful and supple in the hands of Musica Secreta, whose singers include leading voices of Renaissance music: Deborah Roberts, Sally Dunkley and Caroline Trevor. They are cushioned by the warm embrace of an organ and underpinned with a sinewy viol to provide a firm polyphonic meld. 
[...]

To read the full text of this article please visit www.gramophone.co.uk (May 2007)

20 Apr 2017

MUSICAL CONNECTIONS: Ten early madrigals

Ten early madrigals

Madrigals ancient and modern launch a pair of parallel century-hopping musical journeys.

Les Arts Florissants' 2016 Gramophone award-winning Monteverdi album inspired our two journeys.

A journey through Italian madrigals reveals a slow transformation from introverted, reflective styles to declamatory, quasi-operatic scenes. The intimate ‘barbershop’ sound of The King’s Singers suits early works particularly well, especially Arcadelt’s subtly erotic setting of a swan song. This sense of intimacy is transformed by the young Monteverdi’s almost claustrophobic Baci soave, e cari in which Les Arts Florissants bristle with energy responding to the delicate combination of text and dissonance. [...]


  • Arcadelt Il bianco e dolce cigno King’s Singers Warner 
  • Monteverdi Baci soave, e cari Les Arts Florissants LAF 
  • Marenzio Solo e pensoso Huelgas Ens Sony Classical 
  • Gesualdo Io parto… Compagnie del Madrigale Glossa 
  • Monteverdi Sfogava co… Voces Suaves Ambronay 
  • Monteverdi Cruda Amarilli Concerto Italiano Naïve 
  • Monteverdi Lamento d’Arianna Consort of Musicke Deutsche Harmonia Mundi 
  • Monteverdi Lettera amorosa Figueras Alia Vox 
  • Monteverdi Lettera amorosa Berberian Wergo 
  • Monteverdi Il combattimento Villazón Erato
To read the full text of this article please visit www.gramophone.co.uk (May 2007)

12 Apr 2017

Book review: Well-tempered woodwinds

Well-tempered woodwinds: Friedrich von Huene and the making of early music in a new world Geoffrey Burgess
(Bloomington: Indiana University Press, 2015), $45
Reviewed by Edward Breen in Early Music (2016) 44 (4): 647-649.
Published:10 February 2017

For the early music movement this is a decade infused with self-reflection. It is over 40 years since the boom of the early 1970s, and many pioneering performers are celebrating long careers that started in small counter-cultural settings and have led to mainstream concert success and global record sales. So it is only natural that we might be interested in how we got where we are, as well as asking where we are going next.

As a contribution to early music nostalgia, this book is much more than a simple biography of Friedrich von Huene, one of the world’s leading historical woodwind-makers; it also investigates his research and influence upon performance. Through this prism it offers both a cultural history of the early music movement in America and its connections to European practice, and a history of modern...


To read the full text of this review, please visit Early Music. DOI:https://doi.org/10.1093/em/caw101

31 Mar 2017

Divine Theatre


Divine Theatre: Motets by Giaches de Wert
Stile Antico
Harmonia Mundi HMM807620


[...] The astonishingly vivid Ascendente Jesu in naviculam, which tells of Jesus and his disciples at sea in a storm, probably best showcases Stile Antico’s extrovert potential. Alongside this, a magnificent, if rather statuesque performance of Vox in Rama offers a refined and sonorous approach characterised by the slow, soporific atmospheres that Stile Antico often favour in continental polyphony. It is testament to Wert’s emotional immediacy that this album is one of their most engaging recordings: polyphony to grab one’s attention rather than to carpet a devotional daydream.


To read the full text of this article please visit www.gramophone.co.uk (April 2007)