Au Joly Bois Au Joly Bois

In an age when thousands of recordings testify to the glorious history of the flute as a solo, chamber and orchestral instrument, and even as a marvelous vehicle for jazz, it is difficult to imagine that the flute did not always have a distinct identity and a dedicated repertoire. In fact, there was no such thing as a ‘flute repertoire’ until the early 18th century. Before this the flute was simply one of the ‘instruments bas’ or ‘soft instruments’ considered suitable mostly for indoor music of all kinds. In fact, vocal polyphony comprised by far the greatest part of what was played by instrumentalists, for to imitate the human voice – the only instrument made by God – was their humble task. Instrumental music remained in the shadow of vocal music for a long time to come. One particular development stands out as a feature of 16th century musical practice that seems to point towards the role that instruments would come to have in the future: this was the practice of improvising virtuosic embellishments known as ‘diminutions’ or ‘divisions’ upon a single melody line taken from a polyphonic vocal piece while the remaining parts were played on a lute. The perfect balance between equal parts is lost, but the immense power of a beautifully crafted melody is highlighted. The lute supports the whole with a harmony that is full of life and rhythmic intricacy.

Kate Clark   Born in Sydney, KATE CLARK studied at the University of Sydney modern and Baroque fl utes and Baroque and Renaissance fl utes with Barthold Kuijken and Anne Smith at the Royal Conservatoire in The Hague. In 1993 she won fi rst prize in the Bruges International Early Music Competition. Kate Clark has performed and recorded as a soloist and with chamber ensembles and orchestras throughout Europe including Cantus Cölln, Freiburger Barockorchester, Concerto Köln, Rheinische Kantorei, Les Musiciens du Louvre, The Amsterdam Baroque Orchestra and The Orchestra of the Eighteenth Century. Since living abroad she has made many guest appearances in Australia as soloist with The Australian Brandenburg Orchestra, The Australian Chamber Orchestra, and with Ensemble Battistin in Perth. She has made many chamber music recordings, with fl autist Wilbert Hazelzet, lutenist Nigel North, The Ensemble of the Classic Era (Geoffrey Lancaister), Musica Ad Rhenum (Jed Wens), Musica Amphion (Pieter-Jan Belder), Ensemble Battistin (Paul Wright) and Apollo Ensemble (David Rabinovich). As a leading specialist on Renaissance fl ute she has joined Cantus Cölln for several recordings of 17th-century Geistliche Konzerte and is invited all over Europe and beyond to give lectures and courses on this instrument. She is also the author of a handbook on Renaissance fl ute playing to be published in 2012. In 1998 she co-founded the Attaignant Consort which specialises in 16th-century repertoire for fl ute consort, lute and harp. 2012 will see the completion of a set of three CDs by the ensemble presenting fl ute music from the 16th-18th centuries. She is also co-founder of the romantic wind-ensemble Osmosis. Since 1996 Kate Clark has been teaching historical fl utes at the Royal Conservatoire in The Hague.

Nigel North   Born in London, NIGEL NORTH was initially inspired into music, at age 7, by the early 60's instrumental pop group The Shadows. Nigel studied classical music through the violin and guitar, eventually discovering his real path in life, the lute, when he was 15. Basically self-taught on the lute, he has for over 30 years developed a unique musical life which embraces activities as a teacher, accompanist, soloist, director and writer. With ensemble Romanesca, which was formed by Nigel North together with Andrew Manze (violin) and John Toll (harpsichord & organ), he explored, performed and recorded 17th-century chamber music, winning several international awards for their recordings. Nigel North is also an enthusiastic teacher. For over 20 years he was Professor of Lute at the Guildhall School of Music and Drama, in London; from 1993-1999 he was Professor at the Hochschule der Künste, Berlin; 2005-2207 he was Lute Professor at the Royal Conservatoire in The Hague, and since January 1999 he has been Professor of Lute at the Early Music Institute, Indiana University, Bloomington in the USA. He published a Basso continuo tutor (Faber, 1987) representing his work and passion for this subject. His principal music passions apart from teaching are accompanying singers, the solo lute repertoires of Elizabethan England and late German Baroque music of Bach and Weiss. Recordings include a 4 CD box set Bach on the Lute (Linn Records) and 4 CDs of the lute music of John Dowland (Naxos). Recent recording projects have included Robert Dowland's A Musical Banquet with soprano Monika Mauch, for ECM (2008), lute songs with tenor Charles Daniels for ATMA (2007) and the lute music of Robert Johnson for Naxos (2010).

Claudin de Sermisy (1490-1562) 1. Au joly bois
Jacques Arcadelt (c.1507-1568) 2. O Felichi occhi miei
Francesco da Milano (1497-1543) 3. 3 Fantasias
Claudin de Sermisy 4. Tant que vivray  
Tielman Susato (1510-1570) 5. Les miens aussi
Francesco da Milano 6. Ricercare  
Giovanni Pierluigi da Palestrina (1525-1594) 7. Pulchra es amica mea
Philip van Wilder (c. 1500-1554) 8. Dumpe
Giovanni Bassano (1558-1617) 9. Ricercata Terza
Giulio Caccini (1551-1618) 10. Sfogave con le stelle
Girolamo Frescobaldi (1583-1642) 11. Canzona quarta per soprano e basso
Joachim Thibaut de Courville (c. 1535-1581) 12. Si je languis d’un martire incogneu
Pierre Guédron (1563-1621) 13. Si jamais mon ame blessée  
Constantijn Huygens (1596-1687) 14. Que ferons-nous
Robert de Visée (1655-1732) 15. Prélude
Jacques-Martin Hotteterre (1674-1763) 16. Rochers, je ne veux point  
Robert de Visée 17. Entrée des Espagnols de Mr. de Lully
Jacques-Martin Hotteterre 18. L'autre jour ma Cloris
Robert de Visée 19. Logistille de Mr. de Lully  
Jacques-Martin Hotteterre 20. Vous qui faites votre modelle  
Jacques-Martin Hotteterre    
Première Suitte 21. Prélude
(Premier Livre de pieces pour la Flûte traversiere
22. Allemande La Royalle
et autres instruments avec la basse) 23. Rondeau Le Duc d'Orleans  
  24. Sarabande La d'Armagnac
  25. Gigue La Folichon