This forms a companion to Phantasm’s recording of the six-part viol consorts of John Jenkins (1592-1678), one of the finest practitioners of this very English form (Goldberg 41). As with the six-part works, the consorts are dominated by fantasias, 17 in all, freely unfolding continuous pieces that generally fall into several contrasted sections, although short pieces like Fantasia 1 in G and Fantasia 16 in D break this pattern by maintaining a vivacious mood throughout, the latter driven by a playful exuberance that delights in skilful contrapuntal interplay.

At the opposite extreme Fantasia 7 in C minor, the longest of all, is exceptional for a variety of mood that runs a gamut from the sustained, dark-hued opening – a reminder of Jenkins’ love of sonority – through an ever-brightening unfurling to passages of imitative polyphony, then homophony. Finally a lively galliard-like passage gives way to the final few bars returning to the gravity of the opening, the whole forming a masterly example of concentrated musical thought in which there is not a superfluous note.

In addition to the fantasias, there are three pavans, more expansive works that like their 6-part cousins are less rigorously contrapuntal. Unsurprisingly in view of the quality of the earlier disc, Phantasm’s performances are outstanding not only technically, but also in their spontaneous response to music that could easily fall victim to an overly academic approach. Again the organ part is omitted, which might aggravate some purists, but otherwise there can again be only praise for a splendid achievement. BRIAN ROBINS