At the age of 20, Henry Purcell entered his 14 Fantasias and two In Nomines into an autograph bearing the title ‘The Works of Hen; Purcell, A.D. 1680’. Despite his youth Purcell was already making his mark as a composer, writing music for the London theatres and holding posts at Westminster Abbey and at court. But unlike his works for the theatre and the church, which were intended for specific occasions, very little is known about the impulse behind fantasias. Composed for between three and seven parts they are a consciously anachronistic distillation of an old style at a time when the reigning taste was for more modern sounds – for dance-based music with lively rhythms and hummable tunes. It isn’t even clear what kind of ensemble they were intended for: given the association with older music, one might assume that Purcell had viols in mind, but the distribution of the parts is not always in keeping with the standard sizes of the viol consort – nor for that matter those of the violin consort.

Were the fantasias in fact ever performed? None of these questions has a satisfactory answer, and in this respect the Purcell Fantasias resemble Bach’s The Art of the Fugue, because of their quality and inventiveness but also owing to the mysteries that surround them. The collection is here performed by Chelys Consort of Viols, following up on three previous and acclaimed releases on BIS featuring the music of Michael East, John Dowland, and Christopher Simpson.

REVIEW:

The Chelys readings, clean and rather circumspect, merit strong consideration for those interested in these youthful and intellectual Purcell works. Nicely recorded by BIS at Girton College Chapel, Cambridge, they don't overdo the mystery: the sound is clean and the polyphony clear. The pungent dissonances scattered through these works, which were a feature of the tradition (not just of Purcell's pieces), emerge with the proper emphasis, but the Consort does not lean into them unnecessarily.

-- AllMusic.com (James Manheim)

Running through this album is a path from despair and sin through revelation, repentance and belief, to life, triumph and finally love. The stations on the way are eight five-part fantasias for viols by Michael East (1580–1648), unusual in that each of them has a Latin title – from Desperavi to Amavi. In his time, East was one of England’s most published composers with seven books of his compositions in print, all of them containing music for viols and voices. The fantasias are here performed by the five members of Chelys Consort of Viols, who together with the singers in Fieri Consort have selected vocal items by East to complement each of the instrumental pieces. Regretting the lack of modern repertoire for this combination the performers have also commissioned a new piece by the composer Jill Jarman. Setting a verse by Sir Henry Wotton, a contemporary of East, Now are my thoughts at peace sums up the journey of the fantasias from Desperavi to Amavi, 400 years after they were written.

Following on from their debut release on Resonus – 'Music for Troubled Times' – The Ebor Singers, with director Paul Gameson, returns to the label with a companion album of music for Christmas from the time of the English Civil War. With 'A Cavalier Christmas', the choir are joined by the Chelys Consort of Viols in exploring this fascinating, yet turbulent, period in music as Charles I sought to continue to observe the festive season in style, contrary to attempts by England’s Puritan-influenced parliament to ban such celebrations. Acclaimed for performances and recordings that sparkle with fresh insight and vibrant musicality, The Ebor Singers has earned a reputation as one of the most exciting vocal ensembles in the north of England. Based in the beautiful medieaval city of York, the choir performs regularly in the city’s stunning buildings, including York Minster.

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REVIEWS:

What Christmas music was sung during the English Civil War period? The York-based Ebor Singers answer that question in this fine anthology of works by Gibbons, Byrd, Dering, Jenkins and others.

– BBC Music Magazine

Paul Gameson coaxes fine singing and some admirable solo contributions from his Ebor ensemble, with the Chely’s Consort of Viols providing discrete accompaniment throughout.

– Classical Ear

Following acclaimed recordings devoted to English music for viol consort, notably that of Christopher Simpson (BIS-2153), Henry Purcell (BIS-2583) and William Byrd (BIS-2663), the Chelys Consort now presents a programme that explores the kind of music that might have been played in France in the 16th and 17th centuries. The works presented here include arrangements and fantasies on popular songs, dances and a suite, demonstrating the extreme versatility of the viola da gamba, which, alone or in a group, could adapt to all musical genres. Although the French golden age of said instrument was between the mid-17th and mid-18th centuries - represented here with works by Charpentier, Metru and Lully - the programme also gives prominence to earlier compositions, with dances and fantasies by Caroubel, Le Jeune, Moulinie, Du Caurroy, Louis Couperin and Du Mont. Finally, the programme also includes three pieces for solo guitar by Francois Campion, performed by guest musician James Akers. These pieces remind us that the baroque guitar, depicted foreshadowingly in paintings by Vermeer and Watteau, was to replace the lute as the most widespread domestic musical instrument. A programme that emphasises elegance, refined melancholy, beautiful sound and a subtle dialogue between the different instruments.

This disc provides an opportunity to explore the music of the proud Englishman, the devoted friend, the loyal subject, and the faithful servant that was William Byrd, on the occasion of the 400th anniversary of his death. Through a collection of songs and instrumental works performed by the Chelys Consorts of Viols joined by tenor violist Harry Buckoke and mezzo-soprano Helen Charlston, this recording introduces this key figure of the English Renaissance music: both devoutly Catholic and a favourite of the Protestant Queen, a serious character capable of weighty contemplation but also sharp wit and humour, and the loyal friend who wrote so personally and touchingly. Beginning with Thou poet’s friend, a celebration of the union of poetry and music, the ensemble’s carefully chosen works are in turn gay, sad, religious and secular, culminating in one of the best and most moving consort songs ever composed, Ye sacred Muses, a tribute to Thomas Tallis, Byrd’s teacher, colleague and friend. The seven instrumental pieces showcase Byrd’s inventiveness with their unexpected runs, cross-rhythms, daring harmonies, lively dances and the joy of sheer virtuosity.

REVIEW:

The Honour of William Byrd offers a rounded portrait of this complicated composer – sombre and witty, Catholic yet a favorite of Elizabeth I. Songs lamenting the deaths of the courtier Philip Sidney and Byrd’s mentor Thomas Tallis stand out amid a consistently intriguing program. Played by the Chelys Consort and flawlessly sung by the mezzo-soprano Helen Charlston, the whole thing is beautifully done.

-- The Guardian (UK)