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CKD 571
Release Date: January 2018
Christopher Tye
Phantasm
Classical
Chamber
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Notes
The English composer is especially bold in his metrical and harmonic experiments embraced within his mystical but surprisingly approachable instrumental works.
There are pieces depicting the biblical Rachel weeping for her children, an In Nomine counted in lengths of five beats (unheard of before the nineteenth century) and obsessional works – such as Sit fast – which test the rhythmic skills of musicians with passages of dizzyingly modernist metrical complexity.
Phantasm take a radically different approach to previous recordings, delivering a performance that brings out the music’s ceaseless energy, rhythmic articulation, and provocative harmonies – in short, one that highlights Tye’s insights as music for today.
Phantasm performed works by Christopher Tye at Austria’s Trigonale Festival and London’s Wigmore Hall in September and October 2017 respectively.
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Reviews
“...Phantasm’s playing is very beautiful, and the melodic expression and detail in articulation and harmonic balance makes for fascinating listening.”
‘Supersonic Award’
“...The English Renaissance composer Christopher Tye was known for his capricious character, which can also be observed here and there in his sometimes perky music. Phantasm’s performances are highly enjoyable, nuanced, fresh and playful...”
Performance **** Recording *****
“... the consort's percussive energy brings a contemporary feel to proceedings and the result, beautifully recorded in Boxgrove Priory, turns out to be very convincing.”
“... This collection of his complete consort music throws up surprise after surprise – a revelation of a recording that offers a startling perspective on a familiar musical landscape...”
“...It’s hard to imagine Tye’s complexities and idiosyncrasies being laid before us by a viol consort with more beauty than this...”
“Sometimes plangent, often ebulliently uplifting, these are ever unpredictable pieces...all are exquisitely played by Phantasm...” ****
“...what strikes me about this recording is its suaveness, its evenness, its consistent beauty.” ****
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