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Bringing this recording to fruition was somewhat of a personal crusade for Richard Egarr who, in his booklet note, enthuses about Christopher Gibbons (1615-1676), son of the more illustrious Orlando. The reasons for his zeal are clear: the music of the younger Gibbons bridges the gap between that of William Lawes and Henry Purcell, while equalling them in its inventiveness and sophistication, and shows that the highly individual compositional style of the latter did not spring from barren ground. Most successful on this album are the instrumental works: Egarr delivers three organ voluntaries with great skill and also directs three trio suites, which – for me – are the highlight of the disc. In contrast, the choir suffers in the ‘boomy’ recording acoustic, which slightly spoils their contribution; the excellent soloists fare better, particularly in ‘Ah, my Soul, why so dismayed’.

Adrian Horsewood Read the full review on Agora Classica

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Early Music Today, 2012 - ©Rhinegold Publishing