In this podcast, I attempt to formulate an image of Paladin, based on what little we know of his life. Given this lack of biographical information, my engagement with his works has turned into a venture to grasp a sense of the ritualistic and meditative aesthetic of his fantasias. Hence, I have taken the podcast one step further and considered it a performance of its own: creating it in a slow meditative style which, I think, has more in common with both Paladin’s fantasias and also the choice of cover image for this album. All this is more fully explained in the podcast.
One of the musicians I most enjoy working with is the baroque violinist Sabine Stoffer; we play together in a group called Libro Primo. Our first album Fantasia Incantata has just been released for Digital Pre-Order over at the micro record label Veterum Musica that I run along with audio-wizard, Joseph Chesshyre.
Sabine and I have taken great pleasure in putting together this album (we oversaw almost every aspect ourselves) and we hope that the effect of our pernickety nuturing of the recorded sound and our style of performing passes easily into our listeners’ ears.
On the 14th October I had the honour of being made a BBC Introducing Artist. I performed several theorbo pieces and enjoyed an extended interview with Sean Rafferty.
I have greatly enjoyed Alex McCartney’s playing of these suites, with his lightness of touch in the faster movements, and sustained grace in the Sarabandes and Chaconne.
Margaret Rees, The Consort
Alongside Alison McGillivray and Andrew Forbes, I’m running a multi-arts festival in Glasgow called Extrasensory:Music. It combines quality classical music making with artists, makers and entrepreneurs from many mediums. Performances run 9-11th September 2016 (and they’re all free).
The first reviews for Elizabeth’s Lutes are beginning to trickle in:
“[A]n enchanting collection of fine performances of lute repertoire from a number of composers from the time of the court of Elizabeth I. Very enjoyable.”
“According to the programme notes, these pieces are notoriously tricky to play, although I wouldn’t have noticed that from Alex McCartney’s assured performance here. … Alex McCartney’s playing is sensitive and musical, and the recording picks up the sound of the lute very well.”
Andrew Benson-Wilson, Early Music Review