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American Record Guide: (07/2018) 
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John Jenkins (1592-1678) was one of the most celebrated English composers of consort music in his day. Richard Boothby, bass violist with the consort Fretwork, observes in the notes here that amateur players continue to love his consort music for its melodic richness, harmonic sophistication, independence of parts, and the composer’s insider knowledge of the capabilities of the instruments. Jenkins was born during the reign of Elizabeth I and died 86 years later when Charles II occupied the throne. He flourished at a time when the techniques of Renaissance polyphony were giving way to the baroque style. In some of his later works violins begin to supplant viols in ensemble music and keyboard continuo writing makes an appearance, but the music never completely loses the English consort style. As Boothby points out, Jenkins’s music is difficult to date, but it is likely that these pieces for four viols (treble, two tenor, and bass) date from early in his long career.

There are 17 fantasias and two pavans. Jenkins is often mentioned in the same breath with his younger contemporary William Lawes (1602-45), but as Boothby points out, they were very different in their life circumstances and artistic personalities. Lawes was closely associated with the royal court, and his short life came to a violent end at the siege of Chester in the English Civil War. His consort music is generally regarded as audacious in its stretching of the compositional conventions of the day. In contrast, the greater part of Jenkins’s career was spent peacefully as teacher and composer at the country estates of the nobility, mainly in Norfolk. Late in his life he held a court appointment, but it was probably honorary. London was certainly not the center of his professional activity.

Judging from this music, Jenkins sought to delight with elegance rather than astound with audacity. By the same token, no one could dismiss his music as blandly correct. It abounds with intricate counterpoint, lively rhythms, and flowing melodic lines. Apart from the two somber pavans, the four-part consort music is predominantly cheerful. Sometimes, as in the Fantasia 17, Jenkins achieves a peaceful serenity in music that unfolds in sustained and slow-moving lines.

The performances here are understated but remarkably sensitive. The string tone is both warm and clear. Fretwork is one of the leading viol consorts currently active. The flawless ensemble and intonation heard here are a given for performers of that stature. As I have observed on previous occasions, consort music is intended mainly for the delectation of the performers rather than the entertainment of an audience. As listeners it is as if we are privileged to overhear a witty and eloquent conversation among friends. These performances are exemplary for their conversational quality. Readers interested in this repertory may wish to consider the recording of Jenkins’s sixpart consort music by Phantasm (Avie 2099; J/F 2007), another first-rate viol consort who have also issued an outstanding recording of works by William Lawes. Readers looking for a cross-section of Jenkins’s consort works should consider recordings by Ensemble Jerome Hantai (Naive 8895; M/A 2005) and the Consort of Musicke (Explore 10; J/F 2007).


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