Omnia Fermenta

Winner of the 2022 York Early Music International Young Artists Competition, Protean Quartet makes its Linn debut with an eclectic programme that transcends musical eras. Taking polyphony as a starting point, the versatile young quartet ventures into various epochs, ranging from Purcell’s Pavan Z. 752, Chacony Z. 730 and Dance from the opera Dioclesian, to Schubert’s String Quartets Nos. 4 and 13 (‘Rosamunde’) by way of Josquin’s famed ‘Mille regretz’. Although different in style, these works show an equal care in the treatment of every individual voice, each one meticulously played by Protean Quartet's outstanding musicians. A multifaceted album which will delight existing polyphony enthusiasts and create many more!

Winner of the 2022 York Early Music International Young Artists Competition, Protean Quartet makes its Linn debut with an eclectic programme that transcends musical eras. Taking polyphony as a starting point, the versatile young quartet ventures into various epochs, ranging from Purcell’s Pavan Z. 752, Chacony Z. 730 and Dance from the opera Dioclesian, to Schubert’s String Quartets Nos. 4 and 13 (‘Rosamunde’) by way of Josquin’s famed ‘Mille regretz’. Although different in style, these works show an equal care in the treatment of every individual voice, each one meticulously played by Protean Quartet's outstanding musicians. A multifaceted album which will delight existing polyphony enthusiasts and create many more!

Under the Antoine Marchand (that's Ton Koopman in French, or Anthony Merchant in English) imprint of the Challenge Classics label, Dutch early music veteran Ton Koopman recording the large corpus of surviving works by Dietrich Buxtehude, inspired by the tercentary of the composer's death in 1707. All initial indications are that few other musicians could have done this at all, and probably no one could have done it as well.

Dieterich Buxtehude's organ works are his most significant contribution to the history of music. They consist of a comprehensive corpus of just 90 compositions, of which more than half are chorale settings. However, these are mostly shorter than the preludes, toccatas and other freely conceived pieces, so these last represent a more substantial share of his entire output.