The band's fourth album. The group (more precisely, a duet) was created by two school friends - John Gladwyn and Terry Wincott, after working together in a number of rock bands, including the Methuselah quintet, which had the record "Matthew, Mark, Luke and John" (available on the site). In 1970, the group was replenished with classical guitarist Edward Baird.
for concert performances he used a specially designed seven-string guitar.Using ancient instruments (lute, theorbo, longitudinal flute, krumhorn, and others), the duo began to perform Old English and medieval music, including court music, offering the audience baroque rock in its chamber, acoustic version and "dressing" their own compositions in forms characteristic of the music of that time. The band's records represent the entire spectrum of traditional English music from different eras: from the most common genre of musical and poetic folklore in the 12th-13th centuries - the ballads of troubadours and minstrels to sonnets and the elegy of lament, the plaintive song of the vassal, intended for the ears of the master and telling about the vicissitudes of his fate. servants. The most remarkable feature of the vocal side of the performance is polyphonic singing based on parallel movement in two and three voices: gimel and fobourdon.Cantus Firmus To Counterpoint("From the main melody to counterpoint") the principle of constructing the most common type of ancient art (ars antiqua) - treble or "controversy", that is, singing in opposition, when the main melody is transferred to the lower voice, while the upper one performs counterpoint melodies in motion. The trio demonstrated their interest in the early Renaissance, which was the heyday of secular vocal and instrumental music, by appealing to the then extremely widespread compositions for the lute. The special role given to sacred music is emphasized by the noble polyphony of the organ, as well as the anthems (hymns) present on the albums of the group, which were a kind of church cantata. The dance music of that time is widely represented in the works of the ensemble - from the calm, majestic pavana to the fast, merry galliard. We can also note the presence of the sinfonia, which came from Italy in the 16th-17th centuries and later became the orchestral overture of the introduction to the instrumental and dance suite. Tracing the development of music further - to the 18th and early 19th centuries, the participants of Amazing Blondel included in their repertoire a fantasy that appeared as a result of the development of virtuoso improvisation - a one-movement piece, which was distinguished by significant freedom of construction and a contrasting juxtaposition of diverse musical images, which was already a significant step forward towards large-scale works. , since fantasy is considered to be a kind of program symphonic music.Records Amazing Blondel were popular on both sides of the Atlantic. The appearance of the ensemble in public was very so
for concert performances he used a specially designed seven-string guitar.Using ancient instruments (lute, theorbo, longitudinal flute, krumhorn, and others), the duo began to perform Old English and medieval music, including court music, offering the audience baroque rock in its chamber, acoustic version and "dressing" their own compositions in forms characteristic of the music of that time. The band's records represent the entire spectrum of traditional English music from different eras: from the most common genre of musical and poetic folklore in the 12th-13th centuries - the ballads of troubadours and minstrels to sonnets and the elegy of lament, the plaintive song of the vassal, intended for the ears of the master and telling about the vicissitudes of his fate. servants. The most remarkable feature of the vocal side of the performance is polyphonic singing based on parallel movement in two and three voices: gimel and fobourdon.Cantus Firmus To Counterpoint("From the main melody to counterpoint") the principle of constructing the most common type of ancient art (ars antiqua) - treble or "controversy", that is, singing in opposition, when the main melody is transferred to the lower voice, while the upper one performs counterpoint melodies in motion. The trio demonstrated their interest in the early Renaissance, which was the heyday of secular vocal and instrumental music, by appealing to the then extremely widespread compositions for the lute. The special role given to sacred music is emphasized by the noble polyphony of the organ, as well as the anthems (hymns) present on the albums of the group, which were a kind of church cantata. The dance music of that time is widely represented in the works of the ensemble - from the calm, majestic pavana to the fast, merry galliard. We can also note the presence of the sinfonia, which came from Italy in the 16th-17th centuries and later became the orchestral overture of the introduction to the instrumental and dance suite. Tracing the development of music further - to the 18th and early 19th centuries, the participants of Amazing Blondel included in their repertoire a fantasy that appeared as a result of the development of virtuoso improvisation - a one-movement piece, which was distinguished by significant freedom of construction and a contrasting juxtaposition of diverse musical images, which was already a significant step forward towards large-scale works. , since fantasy is considered to be a kind of program symphonic music.Records Amazing Blondel were popular on both sides of the Atlantic. The appearance of the ensemble in public was very so
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