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The Woods so Wild

Consort Brouillamini

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1.1
The Image of Melancholly
Anthony Holborne; Consort Brouillamini
5:19
1.2
The Fairie-Round
Anthony Holborne; Consort Brouillamini
1:06
1.3
Muy Linda
Anthony Holborne; Consort Brouillamini
1:02
1.4
Hermoza
Anthony Holborne; Consort Brouillamini
1:13
1.5
Watkins Ale (Arr. for Recoder)
Anonyme; Consort Brouillamini
0:38
1.6
Rowland (Arr. for Recoder)
William Byrd; Consort Brouillamini
3:37
1.7
La Volta (Arr. for Recoder)
William Byrd; Consort Brouillamini
1:44
1.8
Pakington's Pownde (Arr. for Recoder)
Anonyme; Consort Brouillamini
2:20
1.9
Pawles Wharfe (Arr. for Recoder)
Giles Farnaby; Consort Brouillamini
1:29
1.10
The Woods so Wild (Arr. for Recoder)
William Byrd; Consort Brouillamini
3:27
In Nomine XII  
1.11
Crye
Christopher TYE; Consort Brouillamini
1:39
In Nomine XV  
1.12
Surrexit non est hic
Christopher TYE; Consort Brouillamini
2:57
1.13
Hugh Ashton's Maske
Hugh Aston; Consort Brouillamini
2:54
1.14
The Second of the Temple
Robert Johnson; Consort Brouillamini
1:28
1.15
The First of the Prince's
Robert Johnson; Consort Brouillamini
1:24
1.16
Cupararee or Grays'Inn (Arr. for Recoder)
John Coprario; Consort Brouillamini
2:14
1.17
The First of the Temple antic
John Adson; Consort Brouillamini
2:05
1.18
The Second of the Temple antic
John Adson; Consort Brouillamini
1:53
1.19
O Mater Mundi
William Mundy; Consort Brouillamini
3:44
Consort of Four Parts, Suite No. 3 en Fa Majeur  
1.20
I. Fantazie
Matthew Locke; Consort Brouillamini
3:38
1.21
II. Courante
Matthew Locke; Consort Brouillamini
1:08
1.22
III. Ayre
Matthew Locke; Consort Brouillamini
1:10
1.23
IV. Saraband
Matthew Locke; Consort Brouillamini
0:54
1.24
Pavan en sol mineur (Arr. for Recoder)
Henry Purcell; Consort Brouillamini
4:53
1.25
Chacony en sol mineur (Arr. for Recoder)
Henry Purcell; Consort Brouillamini
4:23
Digital Booklet
Total Playing Time    58:19
The first feeling given by the English music of the 16th and 17th is a great uniqueness apparently preserved from any foreign influence, but yet English musicians were not totaly isolated from their continental fellow workers: For evidence, foreign musical forms like the Pavan, the Gaillard or the Madrigal all born in Italy were in use in England, foreign instrumentalists played in the court of England, handwritten or printed music from the continent was largely spread over England. However, England always took the foreign idioms very cautiously.

The main imitative process of music writing began only to be used at the very last end of the 16th century; the first innovations of the baroque style were adopted very gradually from the end of the 17th. The English Renaissance, spread largely over the 17th century, has preserved a unique style of continental innovations, very rich and remarkable in the instrumental music which is without doubt one of the most accomplished of the period.
96 kHz / 24-bit PCM – Paraty Studio Masters

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