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Home Classical Chamber Music Manuscrit Susanne van Soldt - Les Witches (Danses, chansons & psaumes des Flandres (1599)) [2008]

Manuscrit Susanne van Soldt - Les Witches (Danses, chansons & psaumes des Flandres (1599)) [2008]

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Manuscrit Susanne van Soldt - Les Witches (Danses, chansons & psaumes des Flandres (1599)) [2008]

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1 Brande Champanje	3:43 	
2 Preludium	0:38 	
3 XXXI (Sans Titre)	5:22 	
4 Almande de La nonette	1:47 	
5 De frans galliard	3:38 	
6 Ghij Herder Israels Wylt Hooren, den 80 sallem	6:28 	
7 Wt de diepte o Heere, 130 sallem	3:14 	
8 Almande Brun Smeedelyn	3:27 	
9 Als een Hert gejaecht, den 42 sallem	5:13 	
10 Pavane dan Vers	4:46 	
11 Heer ich wil V Wt's Herten gront, den 9 sallem	5:17 	
12 Susanna Vung Jour	3:28 	
13 Almande de symmerman	4:55 	
14 Myn God Voet mij als myn Herder..., 23 sallem	5:47 	
15 Allemande Loreyne		1:29 	
16 Brabanschen ronden dans ofte Brand	6:48

Freddy Eichelberger (Cittern), 
Pascale Boquet (Lute), 
Sebastien Wonner (Organ),
Mickael Cozien (Cornemuse), 
Francoise Rivalland (Percussion), 
Claire Michon (Flute),
Freddy Eichelberger (Organ), 
Sylvie Moquet (Viola da gamba), 
Claire Michon (Tambour),
Odile Edouard (Violin),
Sebastien Wonner (Organ)


Susanne van Soldt was a teenager when her Protestant family left Antwerp to escape persecution during the Spanish invasion of the Netherlands. Among the items that Susanne took to the family's new home in London was a manuscript, dated 1599, in which she kept keyboard reductions of popular dances and psalm tunes. Susanne would have played the pieces in this book (now in the British Library) on the virginal. (This approach is taken by Guy Penson for his virginal performances of the MS on a Ricecar CD.) But the period ensemble Les Witches use the manuscript as a starting point to recreate fleshed-out ensemble performances based on depictions of domestic and public musicales by Brueghel and Vermeer. The instruments seen in the paintings inspired this CD's colorful instrumental palette, which includes violin, lute, bagpipes, virginal, cabinet organ, and percussion. Les Witches play most of the selections as the kind of spirited, rhythmically vibrant improvisations that would have been heard in musical get-togethers of the day. In a few instances, the musicians use the simple Psalms in the manuscript as reason to include well-known period elaborations of the tunes, for example van Eyck's recorder variations on Psalm 9 and Sweelinck's lute version of Psalm 23. Ultimately, it doesn't matter how accurately Les Witches may have recreated a 17th-century sound or Susanne's book, because these lusty, ebullient performances are a delight from beginning to end. --- Orgelbear, amazon.com


In Nobody's Jig, the Witches had explored the English country dance repertoire found in the notebooks published by John Playford as from 1650, which had been hugely successful as we know. For this new release, Alpha asked the Witches to work on Susanne van Soldt's famous manuscript of the end of the 16th century, comprising dances, songs and psalms adapted to the virginal or the harpsichord. Aged 16 when she noted in this copybook the pieces she probably enjoyed playing at home, Susanne was a young protestant who had to leave Flanders for England with her family at this time of raging religious conflict between Christians. The majority of pieces in the manuscript are reductions for the keyboard. Contrary to what is usually the case, the Witches had therefore to imagine, on the basis of these reductions, the 'original' versions for instrumental ensembles and hence recreate the tonal colours that we see in Brueghel's country fairs, weddings and village feasts. Let's get up and dance! --- arkivmusic.com

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