In
Danceries, by Kenneth Hesketh, the melodies themselves are a mixture of old and new. Where the old occurs it has been adapted in mood and composition and is often interspersed with completely new material. The contemporary harmonies and rhythms bring a breath of new into these themes and add drama to the suite. The first movement,
Lull Me Beyond Thee, is gentle and lilting, almost a barcarole, this movement is very much a reverie. The original tune had the name
Poor Robin’s Maggot, a rather disconcerting title. Maggot, however, in seventeenth-century parlance meant whim or fancy. The second,
Catching of Quails, is a colourful, buoyant scherzo on an original melody. The thematic material is shuttled around the band to contrast with full-blooded tuttis. The last few bars fade to almost nothing, before a final surprise!
My Lady’s Rest is a tender pavane, also on an original melody, with Moorish leanings. Beautiful solo passages, expressive contrapuntal writing and warm tuttis provide an opportunity to show off the most lyrical of playing. The final movement,
Quodling’s Delight is a clever combination of the 17th century melody,
Goddesses, with an original contrasting melody, creating a rousing and exuberant finale to the work.
