Wednesday, 26 March 2014

The Gramophone Hall of Fame – conductors

ABBADO Claudio
BOULEZ  Pierre
BOULT  Adrian
BUSCH  Fritz
CHAILLY  Riccardo
DAVIS  Colin
DUTOIT  Charles
GARDINER  John Eliot
GIELEN  Michael
GIULINI  Carlo Maria
GUI  Vittorio
HAITINK  Bernard
HICKOX  Richard
HOGWOOD  Christopher
JARVI  Neeme
KARAJAN  Herbert von
KEMPE  Rudolf
KRAUSS  Clemens
KRIPS  Josef
MEHTA  Zubin
MUNCH  Charles
MUTI  Riccardo
OZAWA  Seiji
PAPPANO  Antonio
ROUSSET  Christophe
SALONEN  Esa-Pekka
SEJNA  Karel
SHAW  Robert
SOLTI  Georg
SZELL  George
TALICH  Vaclav
WAND  Gunter


Monday, 24 March 2014

The Deutsche and the Art of Love – a Slipped Disc exclusive

Last September, there appeared on the market an unusual tribute to the music of the French medieval composer, Guillaume de Machaut.
It was the work of Robert Sadin, a Grammy winning producer, and the artists included the Brazilian guitarist and songwriter Milton Nascimento and the jazz singer Madeleine Peyroux. A limelight project from Deutsche Grammophon, once the pre-eminent classical label, it came from the fertile brain of Universal’s president of classics and jazz, Chris Roberts.
Here is Sadin on its conception:
Our conversation turned to David Munrow, whose early death was a great loss to this world. Munrow had a tremendous vitality – he mastered an astonishing array of instruments and devoted himself to bringing the treasures of medieval and Renaissance music to the awareness of today’s listeners. His recordings have a vibrancy and a sense of adventure which no one who has heard them will ever forget.
Chris raised the intriguing idea of revisiting Munrow’s great album “The Art of Courtly Love,” which features the music of Machaut, Dufay and others. This struck a very responsive chord in me.
Things tend to go worng when the president gets involved, as any White House staffer can confirm, and the first thing to go through the roof is the budget. Before anyone looked at the bottom line, $200,000 had been spent (or so insiders tell me) and the record was not yet in its sleeve.
Still, it was going to be a big hit and the money was going to come back through the tills, right? Wrong. The Art of Love was an unmitigated disaster. US sales stalled at 4,500 copies, on the latest Soundscan check, and the release appears to have been cancelled in most other countries – or trickled out so quietly that it hardly got reviewed.
Certainly, no copy or press release ever came my way. I have since sampled a few sound bytes from the DG microsite and what I have heard is a mish-mash of middle-of-the-road pop blandness, music for an airport departure lounge. The Art of Love? Neither art, nor love.
If ever there was a dud crossover disc, this is it. And it’s a Deutsche Grammophon dud of quite epic proportions. The label is presently telling major classical artists that it cannot afford to renew them. But it manages to blow $200,000 on an idle Roberts whim - and it’s not the first time it has done so. In 15 years of Roberts rule, the yellow label has lost most of its lustre. The departure lounge beckons for someone. I wonder who’s next.

Slipped Disc Blogg
Norman Lebrecht on shifting sound worlds

Two Reviews..

The following two reviews appear to be reasonably informed reviews on DMs classic Music of the Crusades. They emanate from Amazon.

 Marvelous recreations of music from the time of the Crusades, 6 July 2004
By  Lawrance M. Bernabo (The Zenith City, Duluth, Minnesota) 

This review is from: Music of the Crusades (Audio CD)

Of the "Music of the Crusades" collected on this very interesting album, several actually deal with the Crusades. I am always on the look out for interesting bits of music and film that can be used in history classes to bring the period alive for students and this certainly qualifies. This album contains examples of different types of songs, sung mostly in French and Latin. The lyrics alone are fascinating ("The French are degenerate if they refuse to support God, for I have warned them") and one song, "Ja nus hons pris," is attributed to Richard the Lion-Heart. Teachers covering the Middle Ages can certainly find a song or two to share with their students that will give them a sense of the times.
The liner notes by James Tyler explain that of the sixty-odd manuscripts surviving of troubadour and trouvere poetry, only a small number contain musical notion. Similar to the notation of Gregorian chant, these early notations give the performer a series of pitches to be sung without any indication of specific rhythmic values. Consequently, modern musical theories are used to develop these songs, taking into account the instruments of the period (lute, bells, harp, tabor, etc.) that we know existed from contemporary pictorial and literary evidence. So, I have to think that music students will find this album of interest as well. Performed by the Early Music Consort of London, I can certainly appreciate the effort made to achieve authenticity. Of course, we can never know how accurate these recreations are, but I certainly do not consider that a problem. I have been listening to several similar albums of music from this period, and this is the best I have heard so far.

 A trip through history, 4 Jan 2006

By  Kurt Messick "FrKurt Messick" (London, SW1) - 

This review is from: Music of the Crusades (Audio CD)

The time of the Crusades spanned several centuries, from the time Pope Urban II called upon Christendom to fight for Jerusalem until the thirteenth century (this does not include the numerous minor, unnumbered crusades, sometimes against other Christians). The Crusades became for many in the Middle Ages a romantic ideal; the appeal for those who would join the Crusades was two-fold, both riches in this world and salvation in the next.
In this collection, the texts of the songs are primarily contemporary with the Crusades, although a few come from later troubadour and folk songs. Some songs here directly relate to the Crusades in content (for example, Pax in nomine Domini!), whereas others are songs contemporary with and popular among the Crusaders, but have no direct relation to the Crusades. 'Ja nus hons pris' is one such song, which has origins attributed to one of the most famous of the Crusaders, Richard the Lionhearted.

One of the problems with music from this time period is that very little written material exists. What music notation there is often is reminiscent of Gregorian chant - there are markers for pitch, but nothing for rhythmic values, melodies, etc. Similarly, the types of instruments are often not listed for particular songs, so it becomes educated guesswork as to the instruments used - lutes, rebec, wind instruments, percussion, etc.

The performances here are wonderful and full. The Early Music Consort of London recorded this first for vinyl in 1970; this CD is a reissue, well engineered. David Munrow was the director as well as performer on recorder, fluet, shawm, crumhorn and bagpipes. Munrow's talents are well suited to this kind of medieval music. Among the other performers are soprano Christina Clarke, counter tenors James Bowman and Charles Brett, tenor Nigel Rogers and baritone Geoffrey Shaw. Musicians include Eleanor Sloan on treble rebec, Oliver Brookes on bass rebec, James Tyler on lute and citole, Gillian Reid on the bells, Christopher Hogwood on harp, organ, nakers and tabor, and James Blades on nakers and tabor.

This recording is superb, a great addition to an early music library, and a joy to have as a CD - I had the vinyl of this, but over time it warped in storage, and I was very sad to have lost such a brilliant collection of music. Here it is again, restored and full of power and life.

Michael Praetorius

Michael Praetorius: Dances from Terpsichore / Motets from Musae Sioniae (1973)
David Munrow & The Early Music Consort of London

Lado A
Dances From Terpsichore 1612
1 Passameze (CCLXXXVI) 1:32
2 Spagnoletta (XXVII) 1:20
3 La Boureé (XXXII) 2:15
4 Pavane De Spaigne (XXX) 2:24
5 Courante M. M. Wustrow (CL) 2:30
6 Suite De Ballets 2:45
7 (Galliard) Reprinse Secundam Inferioren (CCCX) 2:38
8 La Sarabande (XXXIV) 2:16
9 Suite De Voltes 3:56

Lado B
Motets From Musae Sionae & Other Collections
10 Resonet In Laudibus 2:42
11 Erhalt Uns, Herr Bei Deinem Wort 8:41
12 Gott Der Vater Wohn Uns Bei 4:13
13 Aus Tiefer Not Schrei Ich Zu Dir 4:15
14 Allein Gott In Der Höh Sei Ehr 3:09
15 Christus, Der Uns Selig Macht 7:36

This LP is separated into two parts: the first is dedicated to instrumental dances taken from Terpsichore, the huge compilation of dances made or collected by the composer. As always with Munrow, we are in front of a festive view, which doesn't lack for poetry when needed (Gaillard or Sarabande). But the alchemy of timbres used by Munrow (Ballet des Coqs - Passameze - Bourée), allows a perfect differentiation between the dances, without risk of lassitude. Munrow's virtusity and sense of ornementation (cf. Music of the Crusades) is also highlighted here (Suite de Volte). The second part of the disc illustrates the art of Praetorius in the domain of sacred vocal music, where he proves his knowledge: all use a great number of voices and often a double choir. The joyful "Gott der Vater..." is here very well put in context. "Allein Gott..." is sung by soloists accompanied by instruments only. A good example of Lutheran liturgy during the 16th century.
Bruno Cornec (

Source reference Andes donde andes y más cosas  blog

Struck By Lightning In Sweden..

I was 9 (I'm pretty sure this was July 1971) and on tour in Sweden with the Finchley Children's Music Group, an excellent children's choir.

We performed in a church somewhere one afternoon (possibly in ?stersund), and our choirmaster, Richard Andrew, offered to take anyone who wanted to come along to David Munrow's concert in the same church that evening. that was my first introduction to renaissance music, and my first introduction to David Munrow, a mad, charismatic pixie who captivated his audience (and me) and played amazing music.

As soon as I got back to England I got his LP The Medieval Sound and I was hooked for life. I've since been a crumhorn player for a bit (though I've gravitated to percussion in the end), and have developed a lifelong love of all kinds of bagpipes through David's introductions.

I was an avid listener to The Pied Piper - I hope that some/all of that recorded material has not been lost and will be released one day. the best week ever was Outdoor Music, some bits of which I have on an old cassette - a woman singing to her cows, and someone playing a tune on a pear leaf...

I almost got to meet David - my father, who did work for the BBC sometimes, was tentatively trying to arrange for me to meet him when we heard about his death.

In my list of top 10 happy pieces of music is a piece for chalemeau by David from the Eddie Mercx film. I've often wondered what he might have gone on to achieve. In any case, I'm very grateful for my opportunities to listen to and watch him in action.

- padmavyuha

PS It is also an ambition of mine to learn to play the baroque rackett at some point (if my hands are big enough!)
« Last Edit: September 30, 2008, 10:17:40 AM by padmavyuha »

Pickett, and Munrow

Philip Pickett was a well-respected musician. However, in After Munrow a radio broadcast he tended to be "over-critical" about the achievements of David Munrow. This re-appears in an interview with him in Goldberg from which brief relevant extracts are presented here.


.....Pickett ofcourse went to the Guildhall School of Music there studying both the modern, and baroque trumpet. However, he also spent time "....moonlighting to the Royal Academy, where David Munrow was giving classes". It was there that he "...was playing with people like Don Smithers in Munrows Early Music Consort."

Apparently at the end of his first year at the Guildhall he got severely attacked on the underground, and this became a "big story" that made him well-known. Due to injuries to his mouth he was unable to play the trumpet which seems to have been his favourite instrument.

However, he still attended music classes, and had a number of friends who like him (at the time), and like Munrow were "....just raiding all the anthologies and not doing anything in the way of real research." Pickett also notably met Andrea van Ramm, and Thomas Binkley who had a "...rather more in-depth approach to medieval music."

Yet, apart from a more scholarly approach he seemed to realize the importance of the need for a degree of popularization, and "..dragging people.." in to hear early music concerts. Pickett amusingly describes Munrow as the "..funny little man who went red, and blew his cheeks out..." This created "excitement" which "...was no longer there; the personality had gone out of it." All this may seem "superficial" but at least it drew in crowds. Pickett has tried to emulate this but probably not with the same kind of razzmatazz as Munrow, and his Early Music Consort of London ofcourse...along with the "funfair of period instruments" as one journalist put it.


An Update of the Above/December 2015

It has come to attention that Philip Pickett is in prison for rape. A link on his Wikipedia can give more information if anyone is interested. I originally heard about it on the radio somewhile ago.

As such one can a speak more freely about him especially in connection with Munrow.....

.....I met a couple in Windsor, and they claimed that they knew John Turner, a respected solicitor who was also a musician who had worked for the Early Music Consort of London. Apparently, he has also been collecting material for a brief memoir on Munrow from the members of his Consort, and possible other sources.

Anyway, the couple mentioned a comment they had heard. When Munrow had died it was claimed that Pickett said the following, "Good. Now, I can take his place." Clearly, no love lost!

More disturbingly, I came across a video on youtube in which Pickett's concert gave performances of Medieval Music. The main presenter was Michael Oliver who also happened to present Munrow's memorial programme.

Anyhow, to cut to the chase, the BBC programme started with a "cartoon" from a Medieval manuscript  of a man attempting to sexually assault a young woman. Then, what followed was a famous song sung by a noted singer which was about a Medieval rape!!

New London Consort - Knights, Fools and Clerics/ March 1988

All this is sad....but at least before his downfall, Pickett did quite a large number of public presentations of Early Music...This is show on BBC Genome listing..

Inspired by "La Morisque".

Richard Jones noted renaissance viol maker had this to say in an interview.

How did you come upon early music ? Who inspired you ?

In the 1970s I went to Dumfries to see one of Ashley Hutchings' groups ? I think it was the Albion Band ? and there was this wonderful mixture of folk music and rock music. I was listening to Radio 3 one morning and one of the tunes they played I recognised from the Ashley Hutchings concert. The announcer said it was a dance from Susato,'La Morisque', played by The Early Music Consort of London directed by David Munrow. There was this sound of shawms and sackbuts, I thought it was stunning, there was a texture there that was far more exciting, more colourful than any of the smooth classical sound of trombones and oboes. I caught the early music bug and was so lucky. Within weeks of hearing that record I met a man in Edinburgh who was making a set of regals for Christopher Hogwood who played on that record, so very quickly I was drawn into this exciting world which in the 1970s had a vibrancy that has matured now. I wanted to have recorders, crumhorns and shawms, mostly wind instruments.

Ref. VdGS Newsletter.

The King Testimony

The following is a testimony from Robert King who played an important part in the promotion of early music before his tragic "downfall" which will not be discussed here.

............I did indeed (as a gawky teenager) appear on "Nationwide" with Sue Lawley (with whom I immediately fell passionately in love as I thought her to be utterly gorgeous!) in either 1977 or 78 (I forget exactly when, I'm afraid). I did a few other TV and radio appearances as well...........

Yes, I was (and am still) a huge Munrow fan, and attended as many of his concerts as I could from about 1974 to 1976 (I even went to the Monteverdi and his Contemporaries concert at the QEH a few days before Munrow's death). I was only a schoolboy then, but I loved his radio shows, loved his recordings (I think I have all of them!), thought his book was a magnificent work (though I have a signed copy it was autographed, since I was at Boarding School, in my absence) - in short he was my total hero. Perhaps more significantly, he was more responsible than anyone else for my going into the period instrument world. I was already captivated by its sounds, but for me, Munrow was like an electric light being switched on. His style of committed, enthusiastic, professional presentation rubbed off on me, as did his stylish, well constructed concert programme planning. Following (rather poorly) in his footsteps, as a teenager I taught myself to play all sorts of renaissance woodwind instruments, and then, since I couldn't afford to buy many of them, I taught myself how to make them - I taught my self woodturning and made crumhorns and cornamuses and kortholts, and also enjoyed a flourishing trade in gemshorn making (I made these for many shops and clients across the world, and even saw one of my gemshorns in someone's cupboard recently that he had bought from a shop in Australia that I supplied - ironically that man is now a Trustee of TKC!). I gave lecture-recitals in which I played dozens of folk and renaissance woodwind instruments that I'd collected from across the world. In the end when TKC got going properly and became a baroque orchestra, rather than a renaissance group (which is sort of how it worked before it became TKC, if you see what I mean), my wind playing ceased (I was a pretty lousy player, to be honest) and I sold most of the bought instruments so that people would play them regularly.

I don't think that many of my playing colleagues in TKC worked for Munrow - almost everyone who plays for TKC is younger than me. Of course James Bowman is perhaps the most in the know of Munrow (though I have never got out of James very much about Munrow - he basically just said something like "David went mad" and that was it) but he has occasionally recounted a few amusing stories of Munrow teasing Chris Hogwood whilst on tour. And James still keeps in touch with Gillian Reid, I believe. And Jasper Parrott surely must know a few stories as he looked after EMC.

Sadly I didn't meet Munrow in person, but such was his magnetic personality that I felt that I had: when he died I (as a 15-16 year old) was absolutely devastated.

James Bowman bows out at Wigmore Hall

Legendary countertenor gives last London recital

Martin Cullingford 4:32pm GMT 23rd May 2011
On Saturday the countertenor James Bowman took his leave of the London stage for the final time, with a Wigmore Hall recital that drew to a close more than four decades of performance.
Bowman had said he didn’t want it to be an emotional occasion, and such was his self-deprecating chat between performances (a masterclass in endearing stage informality) that the tone was one of levity rather than a dwelling on the passing of an era. But what an era closed with his final bow. Bowman first graced the Wigmore stage in 1967, as part of an audition with David Munrow’s Early Music Consort for the influential agent Emmie Tillett. In subsequent years Munrow went on to transform perceptions of early music, while Bowman would go on to pick up Alfred Deller’s mantle and elevate a voice type only really then preserved in the English choral tradition, into a central part of the vocal music world. In doing so, he paved the way for today’s countertenor stars such as Andreas Scholl, David Daniels, and Iestyn Davies. His richly colourful voice and interpretative skills – in early repertoire of course, but also that of the 20th century, including the Voice of Apollo in Britten’s Death in Venice which he premiered – are captured on more than 180 recordings.
It was through one of those, a David Munrow recording, that the young Iranian-born harpsichordist Mahan Esfahani first encountered both Bowman and the countertenor voice (and, for that matter, the shawm, crumhorn and dulcian). Demonstrating an adept line of his own in stage-banter, he produced from his pocket the very cassette he’d bought aged 10 – Pleasures of the Royal Courts – and proceeded to ask Bowman to sign it, tucking the spilling spool back as he did so. The curious may be relieved to know you can now find it on Spotify.
Bowman had invited Esfahani to join him for this concert, to accompany him, but also to perform solo. The harpsichord’s charm, to my ear, lies in its greater delicacy over its more mighty keyboard descendants – it gives it a human-scale fragility in the slower movements and palpable playfulness when the tempo steps up. Performing Bach – including Ouvertüre nach französischer Art – Esfahani also drew an astonishing variety of colours from the instrument, not to mention offering an edge-of-seat display of virtuosity. Bowman, back in 1970, had been the first countertenor to sing at Glyndebourne. On July 18 Esfahani gives the first ever solo harpsichord recital at the Proms. Reflecting on Bowman’s milestone from the perspective of today’s musical world, in which the countertenor plays such an important part, makes one blink in surprise at how relatively recent it was. Let’s hope, looking back four decades from now, that we’ll feel the same about Esfahani’s Proms premiere.
In the first half Bowman sang music by Purcell, including a delightfully graceful Fairest Isle, and in the second we heard Handel’s cantata Vendendo amor  – ‘it’s taken me 40 years to learn it’ said Bowman to laughs. He closed with more Purcell, An Evening Hymn, and we, the audience, closed with a standing ovation. When great artists take their final bow people often reach for the phrase ‘we shall never see his like again’. But the greatest compliment we can pay James Bowman is that such has been his advocacy and artistry that we shall, and indeed already do, hear his like (if not, clearly, the very same) again, and often.
Martin Cullingford
Martin Cullingford is editor of Gramophone - brought up in Britten country on the Suffolk coast, when not practising the guitar he can often be found enjoying Evensong.

Brief Look at the The Art of the Recorder....

From the Independent ref The Compact Collection
(Rated 5/ 5 )
Rob Cowan on this week's releases, March 28, 2005.

....the period-instrument lobby will likely offer a rather different perspective of Bach's Fugues. When it comes to period "ear-cleansing", no British musician did more to revitalise our interest in old instruments than David Munrow, who died in 1976. The David Munrow Recorder Consort takes centre stage for The Art of the Recorder (Testament SBT2 1368, two discs ). This justly famous collection takes us from the Middle Ages, through the Renaissance, early Baroque and late Baroque, and on to the 20th century (a Britten Scherzo, a Hindemith Trio and an imaginative quarter-hour dialogue for recorder and pre-recorded tape by the English composer Peter Dickinson). The range of music and textures on offer not only educates but edifies, especially the Bach items, principally the opening duet Sonatina from Cantata 106, surely the loveliest recorder music of all, in which one line wraps around the other like ivy around a vine.

Testament's expertly refurbished package (the recordings date from 1974) is supplemented by over 30 tracks devoted to the "Instruments of the Middle Ages", meaning shawms, reeds and pipes of all shapes and sizes, recorders, lutes, numerous percussion instruments, a harp with "bray" pins, a hurdy-gurdy, various organs, and so on. Munrow's collaborators included some then fledgling specialists who are now very well known in their own right. The recordings hardly ever sound their age, while Munrow's own annotations are models of communicative scholarship.

The Six Wives of Henry VIII

Artist:The Early Music Consort Directed By David Munrow
Label:  BBC
Catalogue:RESL 1
Title:The Six Wives Of Henry VIII
Chart Position:49

A1The Early Music Consort Directed By David MunrowFanfare, Passomezo Du Roy, Gaillarde D'EscosseRate
A2The Early Music Consort Directed By David MunrowPavane "Mille Ducats"Rate
A3The Early Music Consort Directed By David MunrowLarocque GaillardeRate
B1The Early Music Consort Directed By David MunrowAllemandeRate
B2The Early Music Consort Directed By David MunrowWedding March "La Mourisque"Rate
B3The Early Music Consort Directed By David MunrowIf Love Now ReignedHenry VIIIRate
B4The Early Music Consort Directed By David MunrowRonde "Pourquoi"Rate


Picture sleeve.

Theme music and dances from the BBC TV series The Six Wives Of Henry VIII, starring Keith Michell. Arranged by David Munrow and played by The Early Music Consort.


Reference Source Link

Elizabeth R

Artist:The Early Music Consort Of London Directed By David Munrow
Label:  BBC
Catalogue:RESL 4
Title:Music From The BBC Television Series Elizabeth R

A1The Early Music Consort Of London Directed By David MunrowThe Leaves Be Green - Version 1 (Opening Music)David MunrowDavid MunrowRate
A2The Early Music Consort Of London Directed By David MunrowCorantoDavid MunrowDavid MunrowRate
A3The Early Music Consort Of London Directed By David MunrowPavanDavid MunrowDavid MunrowRate
A4The Early Music Consort Of London Directed By David MunrowVoltaDavid MunrowDavid MunrowRate
A5The Early Music Consort Of London Directed By David MunrowThe NightingaleDavid MunrowDavid MunrowRate
B1The Early Music Consort Of London Directed By David MunrowMasque SongDavid MunrowDavid MunrowRate
B2The Early Music Consort Of London Directed By David MunrowThe JestersDavid MunrowDavid MunrowRate
B3The Early Music Consort Of London Directed By David MunrowQueen Mary's WeddingDavid MunrowDavid MunrowRate
B4The Early Music Consort Of London Directed By David MunrowHeartseaseDavid MunrowDavid MunrowRate
B5The Early Music Consort Of London Directed By David MunrowThe Leaves Be Green - Version 2 (Closing Music)David MunrowDavid MunrowRate


Picture sleeve.

The sleeve notes state:

Elizabeth R, the BBC TV series starring Glenda Jackson as Queen Elizabeth I, is a cycle of six plays spanning the Queen’s life from the age of 17 to her death in 1603.

David Munrow’s music for the series (either arranged from sixteenth sources or specially composed) was played by The Early Music consort of London under his direction. This record includes the theme music and some of the dances and incidental music.

The performers are: James Bowman (counter tenor), Oliver Brookes, Jane Ryan (viols), James Tyler (viol, orpharion), Robert Spencer (lute, chitarrone), Ian Harwood (cittern), Christopher Hogwood (harpsichord, organ, regal), Michael Laird (cornett), Roger Brenner, Peter Goodwin, Trevor Herbert, Martin Nicholls (sackbuts), David Munrow (recorder, crumhorn, shawm, curtal, rackett), David Corkhill, Gillian Reid (percussion).

Masque song: “Great England’s Empress, brave Albion’s Queen” – words by Hugh Whitemore.

Record co-ordinated by Leslie Perowne. Sleeve design by Andrew Prewett.


Ref  Source

Authenticity, and Early Music

From a paper on Authenticity, and Early Music, (page 3) by Nicholas Kenyon plus link

In 1968 the work of David Munrow's Early Music Consort of
London was taking on an international dimension with its first
tours and recordings, and over the next few years it succeeded in
galvanizing audiences with its highly professionalized skills and
invigorating performance style. Munrow had burst upon an
unsuspecting world in May 1965, when he first assembled a
Renaissance dance band to play Susato Danserye at Birming-
ham University, and from then on his professional career,
powered by driving enthusiasm and hard work, made remark-
able strides. It is chronicled in the recordings he made for
EMI--first of Morley and Susato, and then Ecco la primavera in
1969, Music of the Crusades in 1971, The Triumphs of Maximilian I
in 1973, The Art of Courtly Love, and, as vocal music became
more important to him, two major projects which appeared
only after his death in 1976, Music of the Gothic Era and The Art
of the Netherlands.

One has only to compare Munrow's performances of Machaut,
for example, with more recent recordings by Gothic Voices, or
his whole approach to the early medieval repertory with that of
a group such as Sequentia, to see how quickly the field has
developed and how precarious were some of its scholarly tenets.
But--to state an obvious but important fact--it was not as
purveyors of 'authentic performance' that the Consort won
such a following among audiences. It was because they made
music with a conviction and an enthusiasm that won people
over; because their concerts were skilfully programmed, well
prepared, professionally organized, and animated by Munrow's
unique personal skills. Almost at a stroke, early music was
removed from the realms of a specialist activity for which
special pleading had to be made, and put in a forum where it
could compete on equal terms with any kind of music-making.
It would be fair to characterize it as an approach in which
scholarly certainty came second to the performer's instinct--


Questia, a part of Gale, Cengage Learning.

Publication Information: Book Title: Authenticity and Early Music: A Symposium. Contributors: Nicholas Kenyon - editor. Publisher: Oxford University Press. Place of Publication: Oxford. Publication Year: 1988. Page Number: 3.

The University of Michigan

The following is a programme of the Early Music Consort of London, directed by David Munrow.

The Sound of Zardoz

The Sound of Zardoz, 31st  August 2011

John Boorman commissioned David Munrow to compose the score, no doubt having been impressed by his groundbreaking work reviving early music with his outfit, The Early Music Consort, and period soundtrack projects such as The Six Wives of Henry VIII and Elisabeth R for the BBC, and Ken Russell's film adaptation of Huxley's The Devils of Loudon.

The soundtrack for Zardoz uses a sprinkling of electronic noises woven into early chamber instrumentation, renaissance and Ligeti-modernist choral passages, Debussy flute suggesting Zed's affinity with Pan and Tibetan tingsha cymbals to top it off. On paper this looks rather confusing but the score works seamlessly with the sound effects and serves to enhance Boorman's visuals without dominating, possessing an almost timeless quality as it folds together styles from different periods to create the sound of futures past, as is only appropriate for the Eternals in AD 2293.

The film ends as it begins in a romantic mood with Munrow's reworking for voices and early instruments of Symphony No. 7 in A, op. 92, 2nd movement by Ludwig van. Vidi well, my brothers.

Munrow was an incredible driving force during his career, recording over 50 albums as well as lecturing and touring the world, bringing extinct instruments back to life and collaborating with many artists, including Shirley and Dolly Collins.


Inspired by a Machaut Programme

Machaut seems a poet and a musician in equal measure, one of only a handful of figures to show equal mastery of these arts. I first heard his works attending a concert given by David Munrow in the seventies. It was a bleak winter day; the cold was bitter. And somehow the virelai music and poetry of Machaut seemed perfect and timeless. It had a somber bittersweet feeling to it. The music was haunting. On the surface it seemed simple and song-like, but listening to it again (and especially to a purely instrumental performance), the amazing geometric complexities of the works unfolded. Machaut regularly used a novel mirror approach in which a strophe proceeds A-B-C-D, and is then followed by a reversal, D-C-B-A. The effect is striking and introspective. The poetry follows courtly themes of his time, and the image of Douce dame jolie is a wonderful, easily approachable example. For our age, this will seem a simple love song. But to Machaut?s contemporaries it would have been understood to have the carefully constructed double sense of courtly love, a reference simultaneously to an affair of the heart and the adoration of the Virgin Mary. Machaut took religious orders and served in a number of ecclesiastical positions, most significantly as canon of the Cathedral of Rheims in Champagne. Still, much of Machaut?s writing takes the profane aspect to an extreme, as for instance in Le rem?de de Fortune, an extended poem with musical components, which tells the story of a courtly romance that proceeds suspiciously close to consummation. ?All the songs that I composed I did in praise of her,? Machaut writes. And in another remarkable work, Voir dit, the narrative proceeds as a dialogue in letters between an aging Machaut and a young woman. (?Les lettres pris et les ouvry/mais ? tous pas ne descouvry/le secret qui estoit dedens,/ains les lisoie entre mes dens???I seized and opened the letters, but the secret that lay within was not revealed to all, because I read them between my teeth.?) But the lyrical tradition in French poetry seems to start with him, and one of the greatest French poets of the next generation, Eustache Deschamps, was in fact his student.


Some Artistic Record Covers...

Some record cover link pics of good quality||||||||||

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James Bowman on Tweed Pig

Sunday, 6 March 2011

 - High Praise for High Notes

James Bowman is one of my favourite counter-tenors. In recent times, thanks largely to Alfred Deller spreading awareness of the early-music repertoire of the counter-tenor in the 50s and 60s, the counter-tenor has found a new and growing audience. James Bowman has helped that progress.

In many ways it is a very English singing voice, which harks back to the minstrel days of John Dowland, and James Bowman is a very English counter-tenor. His recordings, particularly for Hyperion Records, have brought me immeasurable pleasure over the years. There is something about the high range that connects with me. I eventually managed to see him live in a small church in deepest Somerset, performing an intimate recital of song including Dowland and Purcell, and I am grateful for having done so.

On May the 21st, James will perform his last London recital at the Wigmore Hall with harpsichordist Mahan Esfahani in a programme of Handel, Bach, and Purcell. It should be an absolute treat. I'm currently investigating how I might conspire to attend....

The above comes from the blog below
Quiet & Unobtrusive Since 2010
Quiet & Unobtrusive Since 2010 

Gillian Munrow wrote..

The following comes from the Independent..

In his enjoyable list of "lost" programmes, Chris Maume calls Pied Piper from the 1970s an "early music programme for children" ("Turn on, tune in...", 7 August). Although, as a musician my husband, David Munrow, specialised in early music, over the years his programme covered a different music-related topic each week. It was aimed at youngsters (teachers used it in class), but many of the audience were adults. The painting that won the poster competition to advertise the programme has pride of place in my kitchen.Gillian Munrow

Amersham, Buckinghamshire

It would be nice if GM could contribute to this site anything interesting, and amusing about DM, and the Early Music Consort? I suppose this would be asking too much...? Maybe she might like to send a photo of the poster which advertized Pied Piper for possible reproduction on site?

Burning in Blueness

The following is from a book which has quite a number of references to David Munrow, and his life.
Certain claims can be seen as controversial

Friday, 21 March 2014

La Course en tête

La Course en tête Soundtrack  (David Munrow) - CD cover
Composer:David Munrow
Released:1974 (Film release: 1974)
Label:Pathe Marconi
Format:Vinyl  Source Ref Filmsite

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1. Le Triomphe
2. Ils Sont Partis
3. L'Entrainement
4. En Route
5. Complainte
6. Dans Les Montagnes
7. Les Six Jours De Grenoble
8. Le Songe
9. La Course Contre Soi-Même
10. Pourquoi Souffrir
11. L'Effort
12. Conclusion: La Folie D'Espagne

Renaissance Suite

Friday, January 16, 2009

Renaissance Suite

David Munrow & The Early Music Consort Of London (1974)

David Munrow was perhaps the greatest exponent of early music before his untimely death in 1976. He will be familiar to folk fans from his work in the late 60s with Young Tradition, Shirley & Dolly Collins and John Renbourn.

For some reason this album seems to have never been released on CD - perhaps because it is a soundtrack to an obscure French film about bicycle racing rather than an award winning television serial. This though, really deserves re-release. Here you'll find dance tunes from Praetorius and Susato along with original compositions by David Munrow.

1. Triumph
(Hans Hassler: Intrada VI & VII from "Lustgarden")
2. They're off
(Bransle double de Poictou & Bransle gay double from Praetorius' "Terpsichore")
3. Training
(David Munrow: Bagpipe solo I & Bagpipe solo II)
4. On the Road
(Basse danse "Dont vient cela" from Tielmann Susato's "Dancerye")
5. Complaint
("O death rock me asleep" Anon., 16th c.)
6. In the Mountains
(Bransle simple from Praetorius' "Terpsichore")
7. The six days of Grenoble
(David Munrow)
8. The Dream
("Tristan's Lament" Anon., Italy, 14th c.)
9. The Race Against Oneself
(David Munrow)
10. Why Suffer
("Consonanze Stravaganti" Giovanni Macque)
11. Effort
(Basse galliarde from Pierre Phalèse "Premier livre de Danseries" & Galliarde from Praetorius' "Terpsichore")
12. End Music
(Variations on "La folie d'Espagne", Corelli & Division flúte (1706))

David Munrow, And The Zardoz Soundtrack (1974)

Thursday, January 15, 2009

If you have never seen the magnificent 1974 sci-fi/fantasy classic "Zardoz", for God's sake drop whatever you're doing and get thee to the nearest video store (or computer, if your a Netflix-er) and rent this shit! John Boorman (who also directed the classics "Excalibur" and "Deliverance") really hit a home run here, bringing us not only a giant floating head, post-apocalyptic barbarians, and a telepathic secret society living on a creepy commune, but the image of Sean Connery in a diaper (see example above). I'm trying to think of a sci-fi movie from the 70's that I dig more than "Zardoz", but so far I've got nothing. David Munrow's psychedelic soundtrack is a perfect fit for this hippie-dippy tale of futuristic intrigue, and although there is no official release of this score, I found a sweet bootleg on the good ol' internet, recorded straight from the film with dialogue and sound effects intact. Some of the tracks are just short, 20 second interludes of incidental music, but the longer ones, with baffling dialogue fading in and out over analog synth and other assorted weirdness, are true keepers, as good an example as any of why the 1970's were the best decade EVER for science fiction films.

Download HERE


Below: Trailer for "Zardoz". If you can believe it, the movie is actually BETTER than the preview suggests.

PS: How awesome is the expression on Sean Connery's face when he gets sucked into that prism?

Tuesday, 18 March 2014

James Bowman Interview

James Bowman

« on: April 02, 2009, 02:26:47 PM »

James Bowman gives some references to David Munrow 

In search of a voice: James Bowman interviewed

We met in an unusually empty bar in the rather posh Athanaeum Club, in the wake of the July 2005 London bombings. Usually, Bowman joked, ?it's full of sleeping Vicars, over in the other corner. The comment set the tone for the interview: he has a wonderful sense of humour, and humanity and humility. And loves talking. Determined to keep to musical matters, I vowed not to be sidetracked by his humorous anecdotes. But one, I have to say, is worth repeating. The time when in France, his billing as an alto meant that a group of viola enthusiasts turned up. How would he play the Schumann pieces, the Brahms or the Hindemith The venue for our interview, and the fact that I forgot to wear a tie dress-code for the club underlined one driving force of his career: his quintessential Englishness.

In his teens his life?s ambition was to sing in the choir at King's College Cambridge an ambition to be fulfilled somewhat later, not least in his recording of The Messiah with Willcocks. He?s never been far from the Anglican Choral Tradition and he has returned to singing on Sundays in the Chapel Royal in London. ?I come from the English Cathedral Choral background; the English literary and artistic tradition? he confessed proudly, ?and much as I love the French, I wouldn?t want to live there?. Nor does he sing French Music, though he counts Debussy amongst his greatest musical enthusiasms.

English Music is at the heart of his repertoire?lute songs, Purcell and now Britten, Tippett and some of their pastoral forebears. His admiration for English Song is at the heart of this recording, and he still regrets Britten?s early death: he would certainly have written for Bowman again had he lived longer. I asked him whether Purcell had a particular understanding of the counter-tenor voice. He thought not. More important was to transpose the songs into exactly the right key for your voice. We turned back to Britten, above all the composer who took the trouble to get to know his voice intimately, and this knowledge is reflected in the parts he wrote specifically for Bowman?The voice of Apollo, for example, in Death in Venice.

In search of comments deeper than those which are biographical or anecdotal, I asked what it was that made his voice what it is? And why is it so different from the other counter-tenor stars, or indeed ?haute-contres?? His voice broke late, and he is adamant that it was important that he cultivated it before having tried out his bass voice. As a boy singer at Ely he developed a precocious envy for the alto parts of five-part voice-anthems by composers such as Weelkes and Tomkins, and so became a boy-alto rather than a boy-treble.

He read Modern History at New College Oxford: ?I got a fourth?, he jokes, but confessed that the music making at the College and elsewhere in Oxford, ?in some wonderful concerts, and some awful ones? was invaluable experience. The counter-tenor voice was still very much a rarity, but it was also beginning to become a cult amongst Early-Music enthusiasts: Bowman was in the right place at the right time, with the right?more than right? attributes. He cut his teeth with three entirely different set-ups: firstly David Munrow, whose Early Music Consort limelighted him in repertoire spanning three centuries and captivated audiences at home and abroad, but particularly in the USA. After Munrow?s death, the EMC?s harpsichordist Christopher Hogwood founded the Academy of Ancient Music and gave Bowman the opportunity to explore the Baroque repertoire for solo voice?a recording of the Vivaldi Stabat Mater became particularly celebrated. Before this, Bowman?s involvement with contemporary music had also made a triumphant start, spearheaded by his successful audition for the part of Oberon in Britten?s A Midsummer Night?s Dream. ?One thing that helped me get the part was that I took the trouble to learn a section of the opera. The others just brought party-pieces?. Among other composers who have written pieces for him are Richard Rodney Bennett, Gordon Crosse, Robin Holloway, Alan Ridout, Geoffrey Burgon and Elisabeth Lutyens.

He went on to take on more and more large-scale operatic roles for which his basic instinct as a ?show off? (his confession) carried him along, as did his ability ?to make a lot of noise?. Semele with Mackerras at English National Opera was a highlight, as were the Cavalli roles he sung for Raymond Leppard. He wasn?t a great one for teachers: it was just ?get on with it? in the early days. But what about the voice itself? Why, I wondered, was he so different from Scholl, or Esswood or an haute-contre such as Visse?

Well you can hear I ve got quite a deep speaking voice. Talking to you now, quite quietly, is actually very good for warming up my voice. If I work on placing my speaking voice low, it gives a sort of cavern in which my alto voice can resonate. If you take those other singers you mentioned wonderful singers by the wayntheir speaking voices are much more like their singing voices. Mine isnt at all.

He freely admits to a period in the 70s when his voice suffered a breakdown. It was in the wake of the deaths of both Britten and Munrow, and came at a period when he was clearly doing too much. He worked on it with Barbara Alden.

How did the voice re-emergeWith a much more secure technique?, he judged, ?And with far more colours. You know I was all bright and boyish when I was younger, now the voice had darkened, and I had lost a bit at the top?.

He studied with Lucy Manen when younger but his most influential teachers have clearly been those with whom he worked, from the cathedral choirmasters, through professional colleagues (Pears was a particular influence: such generosity to younger singers) and also instrumentalists. I think of myself in some ways as instrumentally oriented. I learn particularly from baroque players, their phrasing, bowing, the way they shape bass lines. Sometimes I feel I interact more with instrumentalists than with other singers.

What?s going to happen when he retires Like many singers, hes adamant he wont go on too long. It didn
't seem a happy thought. I m not much good at teaching?, he mused overmodestly, but perked up at the idea of masterclasses. He seemed particularly keen on coaching singers away from his own repertoire: Wagner, Debussy One things for sure: hed always have something to say.

Richard Langham Smith

James Bowman writes :
All the pieces on this recording were chosen because of their connections with people, events and places that have influenced my years as a singer; they form a musical panorama showing the different stages of myself as a performer, from church music to the opera stage.

As a chorister at Ely Cathedral in the 1950s we sang a great deal of plainchant. The Sunday morning Mass always contained chanted items and the office hymn at our daily evensong was always sung to the appropriate plainchant setting. Although ours was not the Roman Rite, I wanted to include the Salve Regina as this is plainchant at it best.

I was introduced to the songs of John Dowland by the late Robert Spencer, a wonderful lutenist and teacher of English song. His knowledge of Dowland was unparalleled, and he taught me all I know about lute songs. Being a singer himself, he understood the importance of words as well as melody. If my complaints could passions move shows Dowland at his melancholy best. The accompaniment is played here on the Ottavino or spinetta ottavina, an octave spinet, extremely popular during the 17th and 18th centuries.

Purcell has always been central to my repertoire, as indeed he should be to all Counter tenors. Here the deities approve the God of music occupies a very special place on this disc, as it was the first piece of Purcell that I ever sang in public, in 1956 to be precise. My school at Ely had a very enlightened Director of Music, Dr Arthur Wills, who was also Cathedral Organist. For our Summer concert he proposed a performance of the Purcell Ode Welcome to all the pleasures from which this air is taken. A guest Counter tenor was engaged from one of the Cambridge College choirs to sing the alto solos, and I was a member of the chorus. However, at the last moment, the visitor from Cambridge became unavailable, and I was deputed to sing in his place. Although I was actually still singing on the remains of my Treble voice, the Counter tenor range was beginning to appear and it was the moment when I decided that this was the voice for me.

The other Purcell songs in this group, Sweeter than roses, I attempt from loves sickness to fly and Fairest Isle were all particular favourites of my great friend and colleague, David Munrow, who sadly died in 1976. He loved Purcell and also the voice of Alfred Deller; he claimed that Alfreds recording of Sweeter than roses introduced him to the beauties of Purcells Music. Many of our programmes with the Early Music Consort contained one or more Purcell songs.

Handel is obviously another key figure. He wrote very little for the male falsetto, preferring to concentrate on the Castrato voice. However, with the disappearance of that voice, the field is open for the Counter tenor to explore the Alto castrato repertoire. By great good fortune the two voices occupy virtually the same vocal range, namely low g to high d. Female singers tend to find this a little low, but it is ideal for the Counter tenor. The title role in Giulio Cesare is a good example of this. Handel wrote many Italian Cantatas, of which there are a number for the Alto voice. In most cases the texts are inconsequential, the usual vapid declarations of unrequited love, but the cantata Ho fuggito amore has a strong text written by Paolo Rolli, who wrote opera libretti for both Handel and Bononcini.

The aria Tacer, pur che fedele is a little gem from Agrippina. It is set over an almost Purcellian ground bass with no closing ritornello  just a self contained moment of reflection, sung by Ottone in the midst of a very turbulent drama. It is an ideal piece for a recital programme.

Edmund Rubbra was a familiar figure to me during my Oxford student days; I encountered him socially on several occasions and found him to be a delightful person. His Hymn to the Virgin is a setting of anonymous medieval words, originally composed for soprano and harp. The vocal line declaims the medieval text, but clothed in a 20th century idiom.

Ralph Vaughan Williams did not write any solo music for the Counter tenor voice, but his widow, Ursula assured me that, had he been acquainted with the present generation of Counter tenors, he would have certainly been inspired to write for them. A composer with his roots in music of the Elizabethan era must surely have responded to a voice from the same background. Be that as it may, a simple piece such as the Woodcutters Song from his Opera, (or Morality as he preferred to call it) The Pilgrims Progress is ideally suited to the Counter tenor voice. I have always loved Vaughan Williamss music and am glad of an opportunity to sing it.

And so to Britten, the single most important figure in my early years as a singer. Having auditioned for him in 1966, he literally dominated my life for the next 10 years until his untimely death in 1976, the same year as the untimely death of David Munrow. I sang the role of Oberon in his opera A Midsummer Nights Dream countless times in ten very different productions, perhaps the most notable being the version by Peter Hall at Glyndebourne. Oberon became my alter ego, and I have never felt so at home in any other role. I can still recall the thrill of singing the part for the first time at the Royal Opera House, Covent Garden, with the John Piper sets from the original production.

It is only natural that I should include that moment of pure magic, the aria I know a bank, where the wild thyme blows where Brittens genius speaks for itself. I first heard Brittens haunting arrangement of The Sally Gardens at the Aldeburgh Festival, sung as an encore by Peter Pears accompanied by Britten at the end of one of their unforgettable duo recitals. I was immediately captivated by it and I remember asking Peter if it would suit my voice; always the kindly mentor, he encouraged me to learn it.

I find the songs of Peter Warlock endlessly fascinating; they are by no means easy to sing, as he makes quite severe demands, but the end result is invariably satisfying. His pungent, quirky accompaniments are a constant delight, and his setting of Hilaire Bellocs The Night captures perfectly the wistfulness and yearning of the text. I first encountered the piece while at school preparing for a grade examination; I rejected it then as being too difficult.

Michael Tippett was always an enigma to me; his music, as far as I am concerned, has never been as accessible as that of Britten, and his writing for voices often seems unnecessarily wayward. He was undoubtedly a genius, but I never felt he entirely understood the human voice. I was directed by him in concert on several occasions, (I recall a particularly odd performance of the Monteverdi Vespers ? his conducting skills were somewhat unorthodox, but there was no doubt of his love for the music). However, he was the man who discovered Alfred Deller at a memorable audition in Canterbury and thrust him into the limelight; for that fact alone one is grateful to him. After Alfreds death, I went down to Wiltshire to interview Michael; he talked a great deal, but I came away none the wiser about his feelings toward Alfred.

I have included the Songs for Ariel for the simple reason that they were written for Counter tenor and first performed in a production of the Tempest at the Old Vic. They have an attractive, whimsical quality about them which makes them instantly accessible to an audience.

Herbert Howellss King David is one of those pieces that all English singers know and respect, even if they have never actually performed it. It is arguably his most famous composition, despite his prodigious output in the field of Anglican Church music. As a singer of Church music I have sung much of his repertoire; there are many fine moments, such as his setting of the canticles for Kings College, Cambridge, but sometimes Howells can be somewhat overblown and verbose. Not so in King David The song is a model of economy and restraint, perfectly conjuring up the healing power of music. I first sang it in Westminster Abbey at a memorial service for the late Christopher Palmer.

Andrew Gant (b.1963) is the only living composer here recorded. He holds the title of ?Organist, Choirmaster and Composer of Her Majestys Chapels Royal and is the present incumbent in a long and distinguished tradition. As a member of the Chapel Royal choir myself, I am therefore answerable to him and under his direction. In 2002 he wrote me a fine song cycle entitled 10 Musicians, the musicians in question being connected in some way with the Chapel Royal. Epitaph for Salomon Pavey is a setting of a touching poem, telling of the premature death of the celebrated child actor and singer from the Chapel Royal. His fame, even at the age of thirteen, must have been considerable for his demise to be lamented by none other than Ben Jonson.


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Anthems in Eden from Wikipedia..

Pic Discogs

From Wikipedia.

Anthems in Eden is a 1969 album by Shirley and Dolly Collins, with the Early Music Consort of London, directed by David Munrow. The album originally consisted of a 28-minute set of folk songs plus 7 other individual pieces performed by the same group. The musical arrangements for these 8 pieces included early music instruments, such as viols, recorders, sackbuts and crumhorns. In 1976, 6 new songs were recorded with a different assortment of accompanists, to replace the original 7 individual songs. This 1976 album consisting of the 28-minute set plus the 6 new songs was released by Harvest Records under the title "Amaranth". Subsequent releases have combined all 14 pieces under the original title, "Anthems in Eden".

Contents [hide]
1 Recording history
2 Musical content
3 Musicians
3.1 Original 1969 album
3.2 1993 CD
4 Track listing
4.1 Original 1969 tracks
4.2 Additional tracks recorded in 1976

[edit] Recording historyThe original recording of eight tracks was made in 1969 and was released as the original vinyl album. Track one is a suite, "A song-story", lasting 28 minutes, 7 seconds and is the centrepiece of the album.

In 1976, a further six tracks were recorded with musicians mainly from the Albion Band and a new version of the album was released, with the original "A song-story" suite on one side and the new recordings on the other. This album was issued under the name "Amaranth".

In 1993, a CD with all the tracks was issued. This whole album lasts 69:56.

[edit] Musical contentSide 1 of the original album consists of "A song-story", a suite of folk songs which depict the changes in rural England brought about by the First World War, and the disconnection that this created with folk traditions. Recorded with an ensemble of early music instruments, it was a completely unique approach to recording English folk music and was to be influential on bands such as Fairport Convention and Steeleye Span in the way that they addressed the traditional folk repertoire. The importing of early instruments into popular recordings is believed to have influenced other bands such as Amazing Blondel and Gryphon.

[edit] Musicians[edit] Original 1969 albumTracks 1 to 8: Settings by Dolly Collins, directed by David Munrow.

Shirley Collins - vocals
Adam Skeaping - bass viol
Roderick Skeaping - rebec, treble and bass viol
Oliver Brookes - bass viol
Michael Laird - cornett
Richard Lee - descant and treble recorder
Alan Lumsden - sackbut
Christopher Hogwood - harpsichord
Dolly Collins - portative organ
Gillian Ried - bells
David Munrow - soprano and alto crumhorn, bass rackett, tenor sordun, treble recorder
Chorus: on "The Home Brew": Michael Clifton, Ray Worman, John Fordham plus Royston Wood, Steve Ashley and John Morgan.
[edit] 1993 CDTracks 1 to 8 as above.

Tracks 9 to 14:

Shirley Collins - vocals
John Rodd - anglo-concertina
Christopher Hogwood - virginals
Simon Nicol - acoustic and electric guitar
Pat Donaldson - electric bass guitar
Dave Mattacks - regal, drums
Roger Brenner - alto suckbut
Colin Sheen - tenor sackbut
Paul Beer - tenor sackbut
Martin Nichols - bass sackbut
John Sothcott - vielle, recorder
John Kirkpatrick - melodeon, button accordion
Terry Potter - mouth organ
Ashley Hutchings - acoustic and electric bass guitar
John Watcham - anglo-concertina
Chorus and bells by Albion Morris Men (David Busby, Mike Clifton, Dots Daultry, Stuart Hollyer, Roger Rigden, Ada Turnham).
[edit] Track listing[edit] Original 1969 tracks1- "A song-story" (A Beginning/ A Meeting/A Courtship/ A Denying/ A Forsaking/ A Dream/ A Leaving-taking/ An Awakening/ A New Beginning)
The songs are: "Searching for Lambs", "The Wedding Song", "The Blacksmith", "Our Captain Cried", "Lowlands", "Pleasant and Delightful", "Whitsun Dance", "The Staines Morris" All traditional apart from "Whitsun Dance" (words by A J Marshall)

2- Rambleaway (Trad)
3- Ca' The Yowes (Robert Burns)
4- God Dog (Robin Williamson)
5- Bonny Cuckoo (Trad)
6- Nellie The Milkmaid (Trad)
7- Gathering Rushes In The Month Of May (Trad)
8- The Gower Wassail (Trad)
[edit] Additional tracks recorded in 19769- Fare The Well My Dearest Dear (Trad)
10- C'Est La Fin/ Pou Mon Cuer (Anon French 12th/13th Cent)
11- Bonny Kate (Trad)
12- Adieu To All Judges and Juries (Trad)
13- Edi Beo Thu Hevene Quene (Anon Eng 13th Cent)
14- Black Joker/Black, White, Yellow & Green (Trad)
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