Fretwork JOHN JENKINS Complete Four-Part Consort Music

These four-part fantasias pre-date the viol fantasias of Henry Purcell by a few decades (it is not known exactly when they were composed), and it is likely that those who enjoy Purcell's works will likewise want to hear these lesser-known examples. Yet John Jenkins, who worked among the aristocracy but apparently had no court position, had a style of his own, and Fretwork catches it in this beautiful recording. Jenkins had neither the Mozartian melodic gift of Purcell nor much of the bent toward chromatic experimentation that was common through the tradition of viol music. But there's a kind of balance between knowledge and expressiveness, between what Mozart would call an appeal to Kenner (connoisseurs) and to Liebhaber (enthusiasts), that draws you in and justifies performing all these works at a stretch -- two CDs' worth -- even though they were never intended to be played this way. Some of the fantasies begin with single lines and have the flavor of Bach fugues, an impression strengthened by the combination of complex polyphony and strong expressiveness. This is intense music that may never be for everyone, but you may find it addictive. (James Manheim)

John Holloway PAVANS AND FANTASIES FROM THE AGE Of DOWLAND

The composition of Lachrimae Pavans, one of the great works in the canon of English chamber music, was begun in Denmark at the end of the 16th century, while John Dowland was working as a lutenist at the court of King Christian IV. A unique seven-part work developing a theme from Dowland’s famous song “Flow my teares” and exploring all its contrapuntal and harmonic possibilities, it is also music of persuasive emotional power. “How well he seems to have understood the power of music to move us,” writes John Holloway in the liner notes, and “to express otherwise inexpressible emotions. He called them ‘passionate pavans’, and within the stately constrained movements of the slow dance, passions are indeed to be found.”

The music, according to the title page of the folio volume, is “set forth for the lute,viols or violons”. Choosing to emphasize “violons” Holloway and company play the Dowland Pavans on four violas and bass violin; “As has been said of Dowland, his greatest works are inspired by a deeply felt tragic concept of life and a preoccupation with tears, sin, darkness and death. With that in mind, the choice of instruments made itself.”

In this recording, produced by Manfred Eicher at Zürich’s Radio Studio, John Holloway and his ensemble juxtaposed the Pavans with other pieces by Dowland’s contemporaries, in a programme with strong contrasts of character and sound colour – from Purcell’s extraordinary “Fantasy upon one note” to Thomas Morley’s haunting “Lament” – evoking the great flowering of English instrumental consort music of the late 16th and early 17th centuries.

Dorothee Mields / Hille Perl / Lee Santana LOVES ALCHYMÏE

Hille Perl is widely regarded as one of the leading viola da gambists in the world. Because of the prominence of her instrument in the Baroque era, her repertory is rich in works from that period, with the names, J.S. Bach, Telemann, Marin Marais, Sainte-Colombe, and other 17th and 18th century composers headlining her concert programs and recordings. Perl also plays the treble viol, the seven-string bass viol, Baroque guitar, Lirone, and Xarana. She often performs with her husband, lutenist Lee Santana, in duo repertory, and together the pair have formed two other ensembles: Los Otros, with guitarist Steve Player, and the Age of Passions, with violinist/conductor Petra Müllejans and flutist Karl Kaiser. Perl has also appeared with some of the leading Baroque ensembles in Europe, like the Freiburger Barockorchester and the Harp Consort. She has made numerous recordings, many of them available from Deutsche Harmonia Mundi (DHM). 

Hille Perl was born in Bremen, Germany, in 1965. Her father Helmuth was a harpsichordist, organist, and musicologist. Hille began playing the viola da gamba at five. She had studies with Niklas Trüstedt (Berlin) and with Pere Ros and Ingrid Stampa (Hamburg). Perl earned a degree in 1990 at Bremen's Academy for Early Music, where she studied with Sarah Cunningham and Jaap ter Linden. Perl steadily built her career, and soon began appearing on recordings. Among the earliest was a 1997 Deutsche Harmonia Mundi CD, Spanish Gypsies, with Santana, Player, Andrew Lawrence-King, and other notables. Perl and Santana formed Los Otros (The Others) in 2001 and their first recording, Tinto, a collection of works by Kapsberger, Corbetta, and others, appeared on RCA Special Imports in 2003. From 2002, Perl has taught viola da gamba at the University of the Arts in Bremen, while remaining busy both in the concert hall and recording studio. 

In 2004 Perl appeared on one of her most acclaimed recordings, Marais' Pour La Violle, with Santana, on DHM. Perl and Santana's daughter, Marthe Perl, is also an acclaimed viola da gambist. She joined her parents on a highly praised 2010 DHM CD entitled Loves Alchymie.

Perl's busy concert schedule includes appearances at many of the major Baroque festivals. She performed with Santana and harpsichordist Patrick Ayrton to great acclaim at the May 2011 Lufthansa Festival of Baroque Music, held at St. John's Smith Square in London. Their performances in an all-J.S. Bach program were later broadcast over BBC Radio 3. (Robert Cummings)