Concert 3 – Jacob Heringman

Inviolata: Josquin des Prez

Thursday September 16th, 7pm, Leominster Priory

Online from Tuesday September 28th, 8pm, and available until midnight on October 31st

In this programme of solo lute settings of vocal music by the great Josquin des Prez, Jacob Heringman continues his work on reviving the long neglected repertoire of intabulations (instrumental arrangements of vocal polyphony) which he began in 2000 with the release of his first Josquin album. This year, to launch his new release (Inviolata: Josquin des Prez, 2021), Jacob presents a new programme of Marian motets by Josquin, intabulated by Simon Gintzler (fl1547), Hans Gerle (c1500-1570), and by the performer himself, following the practice of the sixteenth-century lute virtuosi.

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For 34 years now, the American-born lutenist Jacob Heringman has made his home in England, where he has established himself as a leading soloist, song accompanist and chamber musician. As a soloist, Jacob has released several highly acclaimed CDs of renaissance lute repertoire. As an accompanist, Jacob has had the good fortune to work regularly with many fine singers, including Emma Kirkby, Barbara Bonney, Michael Chance, John Potter and Clare Wilkinson. Regular instrumental collaborators in recent years include the Dufay Collective, Theatre of the Ayre, Ariel Abramovich, Adel Salameh, and The Dowland Project. Susanna Pell and Jacob appear as the duo Pellingmans’ Saraband. Jacob also appears on many film soundtracks (including Harry Potter IIIThe Hobbit, and Robin Hood), and has recently become increasingly active in the area of improvised and crossover music, as well as transcription and arrangement. Jacob also teaches (and uses) the Alexander Technique. Since 2010, Jacob has been a no-fly musician, as a result of which he is getting to know the continental train system intimately.

reviews of Inviolata (2021)

indisputably a masterpiece . . . His apparently effortless playing allows the lute to sing in the best sense of the word — Lauten-Info

a marvellous quietness and spiritual depth alongside flawless technical control . . .  a beautifully atmospheric and seriously welcome addition to the catalogue — Gramophone

a sense of hushed reverence, capturing . . . intimate and profoundly introspective qualities — BBC Music Magazine

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