Richard O. Burdick | Matthew Locke: The Broken & Flatte Consorts

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Matthew Locke: The Broken & Flatte Consorts

by Richard O. Burdick

Richard Burdick performs trios from the late renaissance: all 6 BrokenConsort Suites and both Flatte Consort suites - 36 track of Christmas like music.
Genre: World: Western European
Release Date: 

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  Song Share Time Download
clip
1. The Broken Consort No. 1: I. Fantasia
3:39 album only
clip
2. The Broken Consort No. 1: II. Courant
1:35 album only
clip
3. The Broken Consort No. 1: III. Ayre
2:38 album only
clip
4. The Broken Consort No. 1: IV. Saraband
0:31 album only
clip
5. The Broken Consort No. 2: I. Fantasia
2:18 album only
clip
6. The Broken Consort No. 2: II. Courant
1:10 album only
clip
7. The Broken Consort No. 2: III. Ayre
2:24 album only
clip
8. The Broken Consort No. 2: IV. Saraband
0:58 album only
clip
9. The Broken Consort No. 3: I. Fantasia
3:32 album only
clip
10. The Broken Consort No. 3: II. Courant
1:14 album only
clip
11. The Broken Consort No. 3: III. Ayre
1:43 album only
clip
12. The Broken Consort No. 3: IV. Saraband
0:39 album only
clip
13. The Broken Consort No. 4: I. Fantasia
1:45 album only
clip
14. The Broken Consort No. 4: II. Courant
1:09 album only
clip
15. The Broken Consort No. 4: III. Ayre
3:05 album only
clip
16. The Broken Consort No. 4: IV. Saraband
0:38 album only
clip
17. The Broken Consort No. 5: I. Fantasia
2:58 album only
clip
18. The Broken Consort No. 5: II. Courant
1:41 album only
clip
19. The Broken Consort No. 5: III. Ayre
1:24 album only
clip
20. The Broken Consort No. 5: IV. Saraband
0:52 album only
clip
21. The Broken Consort No. 6: I. Fantasia
2:19 album only
clip
22. The Broken Consort No. 6: II. Courant
1:23 album only
clip
23. The Broken Consort No. 6: III. Ayre
1:38 album only
clip
24. The Broken Consort No. 6: IV. Saraband
1:39 album only
clip
25. The Flatte Consort No. 1: I. Fantasia I
2:48 album only
clip
26. The Flatte Consort No. 1: II. Courant
0:59 album only
clip
27. The Flatte Consort No. 1: III. Fantasia II
2:50 album only
clip
28. The Flatte Consort No. 1: IV. Sarabande
0:36 album only
clip
29. The Flatte Consort No. 1: V. Fantasia III
1:45 album only
clip
30. The Flatte Consort No. 1: VI. Jigg
0:47 album only
clip
31. The Flatte Consort No. 2: I. Fantasia I
2:36 album only
clip
32. The Flatte Consort No. 2: II. Courant
1:20 album only
clip
33. The Flatte Consort No. 2: III. Fantasia II
2:54 album only
clip
34. The Flatte Consort No. 2: IV. Sarabande
0:49 album only
clip
35. The Flatte Consort No. 2: V. Fantasia III
2:15 album only
clip
36. The Flatte Consort No. 2: VI. Jigg
0:39 album only
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Matthew Locke: Broken and Flatte Consorts performed by a trio of French Horns.

Music from the 1660’s.

This CD is really the Broken consort unbroken and the Flatte consort still flat.

Broken is an early Baroque terminology that refers to ensembles featuring instruments from more than one family, for example a group featuring both string and wind instruments.

I assume Flatte Consort is a group that is all the same instrument; as I perform it here, horn trios all on the same instrument, my new Finke F, Bb & high F triple horn.

These have been transposed from their original notation to better fit the range of the horn. Each Suite has been names a fifth lower than the original.

With each one of these short works, my recording process involved choosing an initial tempo, sight-reading while recording to get a start on each part .While doing this, I was looking for interpretive inspiration. I tried to make each one of these tracks a little different - not just mordents, trill and the common turn, but actually improvise and then imitate. Dynamics and slurs, which were not notated back in 1661, became part of the ornaments.

My favorite for this is the slow part in the first Flatte Consort trio, where I created a big “noodle” part first in the second horn, and then on the repeat in the first horn, I am very happy with this piece in particular, and the CD overall. I rushed this one recording it in about three weeks, so I had some major playing time on my new horn.

I am in no way trying to be authentic in my interpretation of this music, instead, just self-expressive. I made this an exercise in diversity.

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