While historically used almost exclusively for small chamber performances, Knox has dedicated his talent to developing an electronic way of amplifying the sympathetic strings, whilst leaving the regular strings with their original sound.
On D’Amore, he is joined by Agnes Vesterman, a world renowned cellist, in this tastefully presented set. His inclusion of a fine balance of the old as well as newer abstract pieces creates a journey of discovery through veils of melancholy that sit comfortably alongside playful, joyous sections.
Above all, the album resonates a supreme mastery of the instrument that ultimately underscores its full potential. The pieces contained are as follows: “Malor Me Bat,” believed written by either of the Flemish masters, Johannes Martini or Albertine Malcourt. Here, Knox semi-improvises and the result is a perfect introduction to the instrument.
“Les Folies d’Espagne” takes listeners into the more traditional area of Marin Marais, a member of the court of Louis XIV. Knox then moves with ease to the modernity of “Manners Of Speaking,” a piece written by contemporary Swiss composer, Roland Moser. He then, just as skillfully, sweeps back four hundred years for Tobias Hume’s “A Pavin,” taken from Musical Humours.
“Prima Lezione,” by Italian composer and pioneer of the viola d’amore, Attilio Ariosti, dates from 1720. Switzerland’s Klaus Huber’s “Plainte” provides an intricate re-tuning of the instrument, resulting in a stunning exploration of a highly evocative and atmospheric piece. The album, at last, concludes with traditional Celtic movements.
Recorded in 2006, this superbly constructed, carefully chosen, and wonderfully performed work is now available in the United States. Please visit Garth Knox at his official website.
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