Pertis Zsuzsa - Fitzwilliam Virginal Book - Excerpts

M-/m- |
Jhon come kiss me now /​ William Byrd (4'51)
Pavana lachrimae /​ John Dowland, set by William Byrd (4'41)
The maydens song /​ William Byrd (4'43)
Fantasia /​ William Byrd (7'26)
Sellinger's round /​ William Byrd (6'22)
The King's hunt /​ John Bull (3'47)
A grounde /​ Thomas Tomkins (6'43)
Goe from my window /​ John Munday (5'06)
Fantasia /​ Thomas Morley (5'31)
Woody-cock /​ Giles Farnaby (5'54)

Harpsichord – Zsuzsa Pertis

Pertis favours variations (seven sets, five of them on ballad tunes, one on an original ground) punctuated by two fantasias and a character piece, with Byrd occupying one half of the programme. To see in this a recipe for boredom through excess would be to underestimate the ingenuity of our first-Elizabethan ancestors in making an art form of what theatre musicians were doing at that time, Farnaby's setting of Woody-cock (a euphemism for 'cuckold'!) makes as fine a finish as Byrd's of John come kiss me now does a start, and any flagging of interest during what happens between the two could not be blamed on the music. The spirit with which Pertis plays her Dowd harpsichord (the notes explain that the term 'virginals' did not necessarily signify that precise instrument) proclaims her enjoyment, and she makes tastefully limited use of its tonal resources. She chooses the majority of her 'double-slash' ornament notes to give complementary direction and accepts apparent invitations to provide finished trills, but does not always interpret the single slash as a slide.
Though there is verve and impetus in most of the playing, there are some disturbing fluctuations of tempo, the worst of which afflict the Fantasia of Byrd, which seems to suffer exhaustion in its final 25 bars, the same composer's Sellinger's Round and Tomkins's A Grounde. However, most of the music is otherwise unavailable on record and there is enough excellence in these performances to earn a warm, if not unqualified, recommendation.'

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