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Roger North paid tribute to Locke's 'robust vein' and went on to praise his incidental music: 'He conformed at last to the modes of his time, and fell into the theatricall way.' The result was notable success till his reputation was overtaken by that of Purcell. The pieces in Musicks Hand-maide are transcriptions of such music, played here on the virginals. Hence such spirited titles as 'The Cimmerians' Dance' and 'An Antic Dance' [listen -- tracks 26 and 27]. To steady the nerve and round off the picture with Locke as also accomplished organist, seven of the Melothesia pieces are specifically for organ, and display a contrapuntal know-how based on the learning of an earlier age [listen -- track 46, 0:00-1:36]. Terence Charlston is here at the organ of Trinity College, Cambridge, which behaves in his skilful hands with the clarity and directness of Locke's day. Enchanting as the music is throughout, no less can be said of the performances, which are crisp and lively, a delightful airing of much neglected music.

Copyright © 16 November 2003 Robert Anderson, London UK


Matthew Locke Complete Keyboard Works

DXL 1047 DDD Stereo NEW RELEASE 74' 2003 Deux-Elles Ltd

Terence Charlston, harpsichord, virginals, organ

Matthew Locke (c1622-1677): Melothesia (1673): Prelude; Saraband; Suite in C; Suite in G minor; Suite in C; Suite in D; Suite in D minor; Musicks Hand-maide (1663-1678): The Cimmerians' Dance; An Antic Dance; Alman in G; Saraband in G; Ayre in F; Saraband in F; Ayre in C; Saraband in C; The Present Practice of Musick Vindicated (1673): Almand for the violl in D minor; An Entry for the harpsicord in F; Manuscript sources: Almand in G; Pavan in D minor; Suite in D; Corant in A minor; Apes' Dance; The Bondman's Dance; Ground in D; Melothesia: For the Organ; For the Double Organ; Manuscript sources: Prelude; Voluntary


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