There is a lot going on in this compelling release by harpsichordist Jean Rondeau, and within the rubric proposed by the title, Melancholy Grace, are several different strands. First, Rondeau points to two conceptions of melancholy during the Renaissance; it may refer to musical representations of tears and weeping or the use of chromaticism. Each of these is realized with a different instrument, a 16th century Italian virginal for the weeping and a modern replica of a mighty 18th century instrument for the chromaticism. ...
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There is a lot going on in this compelling release by harpsichordist Jean Rondeau, and within the rubric proposed by the title, Melancholy Grace, are several different strands. First, Rondeau points to two conceptions of melancholy during the Renaissance; it may refer to musical representations of tears and weeping or the use of chromaticism. Each of these is realized with a different instrument, a 16th century Italian virginal for the weeping and a modern replica of a mighty 18th century instrument for the chromaticism. Further, Rondeau emphasizes the international nature of this melancholy musical strain in pieces from Italy, Germany, the Netherlands, and England; the source of it all, as the harpsichordist points out, was Dowland's song Flow, my tears. On digital versions, Rondeau places Dowland at the end as if to suggest an excavation that has reached its goal. On top of all this is the status of keyboard music as a virtuoso genre in the late Renaissance. There are brilliant pieces here by Bull,...
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