A new recording by Myrna Herzog and Tal Arbel - "MATTHEW LOCKE: DUOS on Lewis viols from the same tree" - performed on twin historic bass viols

 

From what we have read, composer/theorist Matthew Locke (?1621-1677) was a headstrong, outspoken character who bore grudges and spoke his mind without much regard for the consequences. These traits did not, however, prevent him from becoming ranked as one of England's finest composers, albeit a composer living in turbulent times, times which saw the execution of a king, the temporary triumph of Republicanism and then the restoration of monarchy. When he died in August 1677, he had risen to become Charles II's Composer of the Wind Music and Composer for the Violins, and was at the forefront of re-establishing music at the Restoration. His works include a number of operas and the processional march for Charles II's coronation in 1661. Locke, however, has become a fairly obscure composer these days and unaccountably neglected, largely due to the fact that a lot of his music no longer exists. Nevertheless, an extensive collection of his chamber music has survived, thanks to the composer's own publishing efforts in the late 1660s. A recently-issued recording - "MATTHEW LOCKE: DUOS on Lewis viols from the same tree" - played by Myrna Herzog (Brazil-Israel) and Tal Arbel (Israel) offers listeners the opportunity to hear Locke's Duos for two bass viols, composed in 1652. They divide into four three-movement suites, each taking the form of two short fantasias followed by a triple-time dance.

 

What is unique here is that Herzog and Arbel play on twin historic viols produced at the turn of the 17^th century by distinguished British instrument maker Edward Lewis (1651-1717). Dendrochronology (the scientific method used to determine the age of a tree) has revealed that these two instruments were indeed made from the log of the same tree, felled around 1665. The more one listens to the suites, the more aware one becomes of the fact that each miniature movement is a perfectly constructed musical jewel, its richly beguiling melodic strains masterfully dovetailed. As each role challenges players with constant leaps between low and high registers, there is no 1st or 2nd part and the viols’ shared unique tonal harmony means that the listener is unable to distinguish between who is playing what and when! Two like-minded artists playing on identical twin instruments produce the perfect timbral blend. Herzog and Arbel's diligent reading into the pieces offers subtle reminders of Locke's experimenting with major/minor key clashes and contrasting rhythms. Waving the banner for English music, Locke has been quoted as saying that he "never yet saw any foreign instrumental composition worthy an English man's transcribing", but adding "a few French Corants excepted".  Indeed, evidence of his familiarity with the French style is present here via the presence of courants, although Locke's writing would have been significantly more virtuosic than French writing for viols at that time. Both the D major- and C minor Duos conclude with a fairly solid Corant, with the D major- and C major Duos each winding up with a buoyant, frisky Saraband, justifying this dance's place at the end as the fastest dance of the 17th-century suite.

 

I love the raw, real sound of the two Lewis viols; Myrna Herzog and Tal Arbel's playing on them emerges clean, unmannered and tasteful, both delicate and hearty, offering some eloquent affects, the overall soundscape nevertheless creating a colourful picture of the eccentric, inspired and daring composer himself. And, as they present the fine detail of each vignette, the players are obviously relishing their convivial musical conversations! The Duos juxtapose what Locke himself had referred to as "art and contrivance" with "light and airy musick".  Written for friends to play, and considered a part of the standard repertoire of gambists, this richly imaginative music is rarely performed in public. "MATTHEW LOCKE: DUOS on Lewis viols from the same tree" was recorded in May, 2024 by Eliahu Feldman at Ensemble PHOENIX’s centre in Raanana, Israel. Mastering was carried out by David Feldman, skilfully recreating the historical resonant ambiance suited to the viol sound. The cover photo was taken by Shlomo Moyal, the luthier who restored one of the viols following damage caused to it on a flight. Appearing on a number of digital platforms, the recording offers a rare opportunity to delight listeners in this pivotal and marvellous repertoire of the viol ensemble genre.