40); and while there are of course no lutes or viols with fixed metal frets, these instruments would have been performed with, and thus tuned to, the cittern, bandora, or orpharion in the Elizabethan broken consort
. Finally, Dolata addresses the monographic evidence for meantone temperament: paintings and other representations of lutes and viols whose fret patterns suggest its characteristic arrangement.
Elsewhere, as in her own Masque, a "broken consort
" (an ensemble from mixed instrumental sources) supports the singers.
It will start with Beethoven's Piano Trio Opus 70 No 1, known as The Ghost, followed by a new work to Warwick, Huw Watkins's Broken Consort.
He said that Broken Consort would be of particular interest as last year, supporters were asked to buy a bar of music to help to pay for the commission fee.
Holman shows that the 'Broken Consort' of the early 1660s was an important vehicle for fine music, but after Baltzar's death it was itself 'broken' and the king's preference for music to which he could beat time held sway.
After the Restoration, the 'Broken Consort' took up the role, but passed it to the 'select band' of violins about 1663.
I am also unconvinced by the use of solo voice with broken consort to perform most of the music in these programmes.
This is music ideally suited to solo voice and broken consort, and the consort here is vivid and sympathetic, with the lirone used to great effect in some of the darker pieces.
One, Broken Consort, takes its name from the Baroque era, when the term described an ensemble of winds and strings.
As Rouse himself points out, "I find, as I have less time to compose, that when I come up with a riff it'll be almost like a flip of a coin: Will this end up being for Tirez Tirez or Broken Consort? In A Lincoln Portrait [a programmatic piece based on the "Lincoln Trilogy' paintings by Tim Steele], for example, there's a piece called "Number One' that just comes in which a simple piano riff: I thought for sure that would be a pop tune, but in thinking about it I realized it would make a great vamp, a piano jazz vamp.
For this premiere recording, Paul Van Nevel selected thirty-two pieces from the collection, alternating his instrumental settings between the "whole consort" (ensembles consisting of identical instrumental timbres) and "broken consort
" (ensembles of mixed timbres) approaches in order to provide textural variety.
The music offers plenty of variety: winds, strings, broken consorts
, vocal ensembles, and so on.