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Highlights include Byrd’s Callino Casturame and Praeludium to the Fancie, both teeming with nimble runs and trills, as well as La Volta, the latter in particular highlighting Momen’s nuanced dynamic palette able to create idiosyncratic terraced effects. Others are Gibbons’s two-part Pavan and Galliard, Lord Salisbury that ebbs and flows through sonic vistas.
She’s especially eloquent with the more plaintive works, including Byrd’s Pavana Lachrymae and Bull’s My Grief. Sweelinck’s Ut, re, mi, fa, sol, la begins simply and grows into a tightly knitted tapestry of polyphonic voices, performed with both clarity and precision.
Gibbons’s Alman in G, The King’s Jewel is infused with requisite nobility while the artist’s well-paced interpretation of Byrd’s The Bells bursts into rapid-fire figuration pealing with joy in this early summer pleaser a welcome addition to the baroque keyboard music discography.