This is a collection of 1979 performances reissued for Astrée’s massive Jordi Savall Edition. If you’re a Savall fan and not necessarily a Gibbons aficionado, the album still makes for interesting listening, if only to witness the evolution of an artist. Savall (here playing the dessus de viol) became an established performer in the early 1970s, and this album still stands the test of time–but even so, it’s hard to listen to this recording now without feeling the looming presence of the older Savall. Here he sounds less assured, with (for him) comparatively thin tone. Nevertheless, it’s clear that classic Savall traits were cultivated early on: crisp articulation, a luxurious ease in phrasing, and a fantastic sense of structure. His collaborators are equally gifted, especially Christophe Coin, a favorite in early music circles who contributes rich tone and a welcome gift for phrasing that makes his tenor viol sing.
The music itself is of definite appeal. Orlando Gibbons (1583-1625), a composer rightly celebrated for his keyboard works and recognized in his own time as the best keyboardist in England, brought his talents to less well known though equally fine consort music. These 14 works–all fantasies with the exception of In Nomine, a four-part work built on a plainsong melody taken from the Vespers for Trinity Sunday–are pleasurable excursions that pair dynamic counterpoint with unusual rhythmic juxtapositions between the individual voices. The result is a vividly colored tapestry that both exemplifies and justifies Gibbons’ reputation. The sound, too, is well done–very well balanced between the individual players (a must for this repertoire). All things considered, this is a good buy, especially at midline.
