For a good third of a century, the Fretwork ensemble has been constantly sifting through the immensely rich repertoire for consort of violas, generally from the British sphere, from Taverner to Purcell — so, the 16th and 17th centuries — while never hesitating to commission entirely new works from modern-day composers. The combination of the viola’s “ancient” sound with modern writing brings forth the most unlikely sonic spheres… This album keeps both feet firmly in England’s 17th century with John Jenkins (1592-1678), famous in his own day, and consistently one of the most essential composers for any self-respecting viola player from the very start of his career — both in England and abroad, which is unusual in itself — thanks to his output of literally hundreds of pieces for various viola ensembles. A number of them were written for “family”-style consorts, in large part due to the ban on all forms of public music implemented by Cromwell’s religious dictatorship. Once the monarchy was restored, the fashion for groups of amateurs playing concert violas would endure long enough to bring fame and fortune to composers such as Jenkins. Here we will discover a language which is at once conservative in terms of form, and very daring, explosive even, in terms of content, rather like the work of a 17th century Haydn.

FANTASIA is Fretwork’s eleventh release with Signum Classics, and explores the court music of tudor Eng- land through the works of Thomas Lupo. A very large quantity of Lupo’s private and intimate viol consort music has survived, and we can marvel at its variety and quality. He wrote for unique combinations of viols in his three-part Fantasies, however the five- and six-part fantasies are his most impressive work, seri- ous and compelling pieces showing a fabulous command of counterpoint.

Matthew Locke was born 400 years ago in 1622, and while he is often ranked as one of England’s finest composers, he is still unaccountably neglected: his music may not be as immediately appealing as his immediate successor, Henry Purcell, nor as wide- ranging as William Byrd, yet his forceful musical personality and luxuriant technique place him in the first echelon of English composers, with his works described by Richard Boothby of Fretwork as having a “quixotic, capricious restlessness that is constantly challenging the listener to follow his argument … a thrilling musical ride”. Accompanying Fretwork on continuo for this recording are David Miller (archlute and theorbo) and Silas Wollston (harpsichord).