Sweelinck: Onder een linde groen, SwWV 325 (Unter der Linden grüne / Under the green linden)

“this disc is an attractive proposition for everyone interested in Sweelinck's music or more generally in the music of his time. The man's genius is amply demonstrated here.” MusicWeb International, 29th April 2013

“What a fine composer Sweelinck was! This volume drives the point home by presenting several of his best compositions, including the imaginatively patterned variations on Esce mars and Unterder Linden grune, the weighty and implacable Fantasia crommatica (how Bach would surely have admired this piece) and the hauntingly beautiful variations on Mein junges Leben hat ein Endt.
Other works here include a take on Peter Philips's Pavana dolorosa, a lovingly plumped-up version of Dowland's Lachrymae, and a handful of improvisatory toccatas. Sweelinck brings together in his music many of the influences current in the first years of the 17th century – Italian flair, north European seriousness, English resonance and melodic grace – and makes of them a rich and rewarding brew, maintaining coherence by the force of his own good taste and sound compositional judgement.
Robert Woolley switches between two marvellous harpsichords – Malcolm Rose's currently much-in-demand copy of the Victoria and Albert Museum's 1579 Theewes claviorganum, and a deep and mellow copy by Derek Adlam of a 1611 Ruckers virginals. His playing, too, covers most bases. Without forcing the pace, he shows brilliant fingerwork in Esce mars or a piece like the Toccata C2, and achieves clarity and composure in the more melodically driven works. The toccatas occupy a convincing middle ground between the improvisatory and the written- out in feel, and tempi are for the most part expertly judged. In other words, these are pleasingly natural performances. There is not much competition in the world of Sweelinck recordings, but this stands out as an excellent harpsichord release in its own right.” Gramophone Classical Music Guide, 2010

“A rich, rewarding brew of imaginative harpsichord music, expertly played. …these are pleasingly natural performances. There is not much competition in the world of Sweelinck recordings, but this stands out as an excellent harpsichord release in its own right.” Gramophone Magazine, June 2009

“Jonathan Freeman-Attwood's playing is notable for the beauty and freedom of line of his lyrical phrasing, while the bravura is exhilarating. Daniel-Ben Pienaar's accompaniments are boldly supportive and well in the picture.” Gramophone Magazine, July 2008

“The Houghton Chapel is nowhere near as resonantly spacious as the Oude Kerk in Amsterdam, but its relative intimacy doesn't rob the organ of its natural resonance and tonal beauty. James David Christie presents what's in effect a most satisfactory re-creation of one of Sweelinck's organ recitals, given daily between 1580 and 1621, for the burghers of Amsterdam. One hopes they were appreciative of the most consistently witty and generous-spirited keyboard music before the era of Buxtehude, Couperin and Bach.
While Christie may not possess the lyricism of a Leonhardt, the humane warmth of a Piet Kee or the mercurial whimsy of a Koopman, he is, in his own right, a bold, stylish, unhasty player, clearly thoroughly versed in early performance practice, with an incisive technique disclosing musical intelligence and common sense. He's particularly successful in the five major variation sets here, relishing the variety of decorative motifs but still conveying an impression of structural coherence and unity. Just occasionally his articulation might have worked better in a somewhat larger acoustic: at times a more obviously singing touch might have suggested greater tenderness in quieter moments and more ample majesty in louder ones.
Nevertheless, with appealing registrations, an almost ideal choice of programme and undistractingly natural recording this is recommended.” Gramophone Classical Music Guide, 2010

“The pre-Bach keyboard composers featured in this program share an improvisatory sensibility and sense of playfulness that not only lend themselves to a modern concert grand but also can absorb Andrew Rangell's freewheeling temperament and dynamic, big-boned pianism. His opening selection, Orlando Gibbons' Lord of Salisbury Pavane and Galliard, conveys a three-dimensional, theatrical effect that completely differs from Glenn Gould's x-ray clarity and astringent textures in the same work.” Classics Today