Music for an Historic Church

Recorded in five churches in Ångermanland, Northern Sweden: Ytterlennes, Murberg, Dal, Torsåker, & Gudmundrå

audio CD - MHCD 103

MUSICA POËTICA LÖFSJÖ:
Karin Skoglund & Janet Harling, song
Kjell Persson, theorboed guitar
Kerstin Bodin, baroque flauto traverso
David Kettlewell, song, harp, organ, harpsichord, direction

Recording - Kjell Persson
Photography - Torsten Melin
Production, collage, text, layout - David Kettlewell

NB: this album was produced as an alternative to the CD-ROM about the Old Church of Ytterlennes for those who don't have a computer; it includes tracks from other albums and may be taken as a sampler for the whole catalogue.

1. The bells of Torsåker church: sexton Hans Sundberg.

2. Ave maris stella, c. 1200: Gregorian hymn, 'Greetings, star of the sea'.

3. Rosa das rosas, c. 1250: a Spanish celebration of the virgin Mary, 'the rose of all roses'.

4. Ave regina cœlorum, c. 1400: 'Greetings, queen of heaven', from a Bologna manuscript.

5. Solis previa, c. 1450, another song for Mary, from a Bohemian manuscript: the first voice heard is Janet's.

6. Anello, c. 1450: a circle dance from Italy; dancing in church has been known in many places and times.

7. Claudin de Sermisy, Tant que vivray, c. 1540: 'As long as I live, I will serve the king of love': the first voice heard is Karin's.

8. Adriano Willaert, Fantasia: each phrase corresponds to an imagined line of text, the whole piece is like a madrigal or motet 'sung' on the instrument. Messer Adriano Willaert from Bruges, maestro di capella at St. Mark's cathedral, Venice 1527-1562, was affectionately regarded as the 'father' of a whole generation of renaissance Italians.

9. Ecce quam sit: sung by Swedish student priests c. 1550: 'Come into the garden, sweet nightingale!'

10. Dad me albricias, 1553: Spanish Christmas song published in Venice, a unique copy preserved in Uppsala, presumably a trophy of the Thirty Years War.

11. T[homas] B[ates], Turn Amaryllis, c. 1600: an unusual two-part madrigal, on the usual theme of shepherd and shepherdess, with Apollo, the god of the arts, in constant attendance. Karin & David.

12. Voluntarie: c.1600: a prelude or postlude, similar to a fantasia. William Byrd enjoyed a reputation in England similar to that of Willaert in Europe, a generation later. A favourite of the Queen, who succeeded in bridging the gap between the Anglican and the Catholic churches.

13. Såsom efter vattnet kalla: from a 17thC. manuscript in Växjö, Sweden: the melody is still in use in today.

14-18. John Dowland, suite - five movements named for their respective patrons, c. 1600: Dowland travelled a lot in Germany and Italy, probably in the secret service of Queen Elizabeth, and was otherwise lutenist to Christian IV of Denmark. It was common to convert lute music for the keyboard and vice versa, improvising complementary parts and ornament according to need, taste and skill.

19. Andrea Falconieri, O vezzosetta, Florence 1601: three singing parts composed above one of the favourite 'blues' basses of the Renaissance, la ciacona: plus improvisation on the organ: 'O beauty, don't let me die'.

20. Thomas Morley, Alman: 12 minutes of improvisation with harp and theorbo-guitar (the one with extra deep bass strings), following Christopher Simpson's detailed instructions.

21. Nicholas Lanneare, Though I am yong, London c. 1650: 'Both Love and Death direct arrows at human hearts, one hot, the other cold, but they mean the same'.

22. Mauritio Cazzati, Balletto & Corrente, c. 1670: the century's favourite pair of dances, by the Bolognese master Mauritio Cazzati.

23-25. Josef Haydn,, Trio: originally intended for flute, violin and a bass instrument, here the violin part is taken by the harpsichordist's right hand, as was commonly done: 18thC. ms. from Härnösand Gymnasium, Sweden