The Renaissance Keyboard

William Byrd (c.1540–1623) was an English composer who wrote in every genre prevalent in his day and displayed proficiency in each musical category he attempted. Whether it was sacred or secular vocal music, his consort writing for viols, or his music for the keyboard, Byrd was a supreme musical architect. His writing reached the height of musical sophistication in England during his lifetime.

Here's a wonderful live set from the current incarnation of Renaissance, that lovely '70s prog band who so successfully merged classical with symphonic rock and medieval themes. Recorded at The Keswick Theatre in Glenside, Pennsylvania on September 23rd, 2011, the band thrilled the audience with a performance of both their classic albums, Turn of the Cards and Sheherazade and Other Stories in their entirety. Joining the 'classic line-up' members Annie Haslam and Michael Dunford are keyboard players Rave Cesar & Jason Hart, bassist David Keyes, and drummer Frank Pagano. If you got a chance to see Renaissance on either the 2011 tour or previously in 2009, you know that this line-up is red hot and does their vintage material justice.

Esoteric Recordings announce the release of a newly remastered and expanded edition of the classic second album by Renaissance. Although the band would later find fame with a completely different line-up, Renaissance began life as a group formed by former Yardbirds members Keith Relf and Jim Mccarthy. Joined by vocalist Jane Relf, keyboard player John Hawken and bassist Louis Cennamo, Renaissance successfully melded Classical, Folk and Rock influences into a unique sound that perfectly suited the emerging Progressive era. Recorded soon after the band's self-titled debut, Illusion sessions saw the departure of Jim Mccarthy and John Hawken and was completed with a different line-up…

William Byrd (c.1540–1623) was an English composer who wrote in every genre prevalent in his day and displayed proficiency in each musical category he attempted. Whether it was sacred or secular vocal music, his consort writing for viols, or his music for the keyboard, Byrd was a supreme musical architect. His writing reached the height of musical sophistication in England during his lifetime.

Andrea Antico was a printer from Dalmatia who obtained, through the first Medici Pope, Leo X, a monopoly on printing keyboard music. His 1517 collection of frottole – a quasi-rustic word meaning a deceitful, silly story – contains highly advanced, but textually corrupt arrangements of part-songs for keyboard made by an anonymous musician. This world première recording of the complete Frottole Intabulate incorporates a new edition by harpsichordist Glen Wilson.
Frottola means a deceitful, silly story. They were wildly popular songs in the later part of the fifteenth and the first third of the sixteenth centuries.

Pamela Thorby has been recording for Linn for most of the label’s existence, both as ensemble player and soloist. This time she joins Andrew Lawrence-King (except for a few unaccompanied pieces) in a varied program of music of the 16th and 17th centuries. In his notes, the harpist has an explanation for the disc title in the literary use of the garden as a place of earthly delights (Hieronymus Bosch’s allusion) where lovemaking is accompanied by recorders and plucked strings. His essay lucidly explains some of the terminology too often taken for granted in music of this period. Diego Ortiz, in Trattado de glosas of 1553, illustrated three ways of playing music on instruments; hence the program uses three of his examples at the beginning, middle, and end of this program.

Powerful, melodic, beautiful symphonic rock in the vein of Moody Blues, Barclay James Harvest, Camel and Genesis. Features a guest appearance by Camel's Andy Latimer. With an emphasis on lush keyboard orchestrations, soaring melodies and extended length compositions, David's album is firmly rooted in the classically influenced symphonic prog rock tradition…

I believe that this was Andrew Lawrence-King's first recording (1986) – a sterling effort which is ample proof of why he went on to become a well-established figure in his field. He has appeared on numerous recordings, including many with Jordi Savall's Hesperian XX, and is currently the director of the Harp Consort. The program is both musically interesting and eminently listenable; and given Lawrence-King's credentials (he won an Organ Scholarship to Selwyn College, Cambridge and completed his studies at the London Early Music Centre), his understanding of the material is unquestionably comprehensive. His technical execution is equally impressive.