John Dowland

Drawing together various previous releases from the Brilliant Classics collection, this compendium pays tribute to an instrument that was once at the forefront of everyday music making, tracing its extensive and highly fruitful career.

The lute counts among its writers some of the greatest names in music history, and indeed the anthology contains a large corpus of music by John Dowland – one of Britain’s most prolific Renaissance composers. His extraordinary varied music is accompanied by the likes of Henry Purcell, who rounds of the compilation, and by Johann Sebastian Bach, whose lute offerings represent the florid repertoire of the courtly salon music then in vogue. Interspersed between these big names, however, is a rich catalogue of works that are the missing links to understanding the development of lute music and of music in general; while Miguel Yisrael’s Les Baricades Mistérieuses programme recalls the dominance of the French school during the 17th century, Germany appears to have taken over as the new centre of European lute music by the mid‐18th century, as evidenced by the rich culture of music making at the court of Bayreuth (CD12).

Here a more galant, or cantabile expression of music was developing, and in Austria, too, lute music – particularly the lute trio – was seen as a precursor to the emergence of Viennese Classicism and the establishment of the new Empfindsamer style.The collection contains a wealth of lutenists, all of whom are at the top of their profession and enjoy international careers. Guaranteed to provide hours of engaging listening, this release records an essential but often‐overlooked facet of music history and is a must‐buy for anyone with an interest in string repertoire.

Many composers have been reluctant to set Shakespeare’s words to text, but Vaughan Williams remained undaunted, using his words many times in his compositions. This disc includes RVW’s ‘Orpheus with his lute’ and many other songs of longing of the early baroque. Performed by Swedish soprano Elisabeth Holmertz, the duo of Holmertz and Bock accompany her, along with Poul Hoxbro on low whistle.

When the Palatinate Prince-Elector Friedrich V married the English Princess Elizabeth Stuart on Valentine's Day 1613, the whole world spoke of the "marriage between the Rhine and the Thames". The Calvinist Electoral Palatinate led the union of the Protestant German princes at this time and the Palatinate politicians saw in Anglican England a powerful ally against the Catholic Habsburgs. Thus this marriage was, of course, politically motivated; but there is considerable evidence that the two young people were actually fond of each other.

In London, the wedding was initially postponed due to the state mourning at the sudden death of the brother of the bride, and of the English heir to the throne, Price Henry, but it later took place on 14 February 1613 following hasty preparations.

After the arrival of the newlyweds in the Electoral Palatinate, the festivities were resumed at Heidelberg Castle. The Ensemble I Ciarlatani has reconstructed the many musical highlights with the help of historical reports, and presents the "marriage between the Rhine and the Thames" as an exciting musical story enabling us to witness the events of those times.

The 1994 film 'Farinelli' catapulted the countertenor voice into the limelight. Nearly 20 years later, one thing is clear: countertenors are sought after by opera houses, record companies and agents more than ever. The English singer James Bowman was one of the pioneers of the countertenor repertoire: his ability to create a luscious sound with a fluid legato is ably demonstrated in his legendary recording of the aria from Gluck’s Orfeo ed Euridice, “Che faro senza Euridice”, and in “Va tacito e nascosto” from Handel’s Giulio Cesare.

In the French countertenor firmament Dominique Visse stands out for his musicianship. His voice takes on a biting, slightly stinging quality in the aria from Vivaldi’s 'Montezuma'. Gérard Lesne founded Il Seminario Musicale in 1985.

Today Lesne’s expanded musical horizons include both jazz and pop recordings. The American Derek Lee Ragin, took off with his recording of the 'Farinelli' soundtrack. The film’s director, Gérard Corbiau, had the bold idea of mixing Ragin’s countertenor voice with that of soprano Ewa Mallas-Godlewska, thereby creating the unique timbre of a castrato.

Andreas Scholl's excerpts from two Bach cantatas showcase his fascinating timbre as well as his sense of rhetoric and phrasing.

A brilliant new generation of counter-tenors continues to carry the torch. Foremost among them is Philippe Jaroussky; his instantly recognisable voice is of an audacious purity. Iestyn Davies, born in 1979, is a great admirer of James Bowman.

His voice combines expressive flexibility and technical agility, and these qualities stand out in his recording of an aria from Vivaldi’s 'Griselda'. The rising Korean star David DQ Lee displays robust vocal foundations and masterful breathing technique.

If further proof of the countertenors’ achievements were needed, it can be found in the fact that major opera houses now slate works with entirely male casts, bringing together up to nine countertenors! What was once just a fashion has become the cutting edge.

Second volume of a unique project: the first complete recording of the Fitzwilliam Virginal Book! The Fitzwilliam Virginal Book is the largest surviving collection of Elizabethan and Jacobean keyboard music, comprising more than 300 works, written by various composers, including such celebrities as John Bull, William Byrd, Orlando Gibbons and J.P. Sweelinck.

This second volume is dedicated to William Byrd, and contains the famous Walsingham variations, and the variations on the popular tune “The Carman’s Whistle”, music of great virtuosity and ingenuity. A great achievement of Pieter‐Jan Belder, one of the most respected and frequently recorded keyboard (harpsichord, clavichord, virginal, organ, hammerklavier) players of today.

His recordings of Bach, Rameau, CPE Bach and Scarlatti (complete Sonatas!) have met with great critical acclaim in the international press.

Belder plays a unique original Ruckers instrument from 1604, the details of which are described in the extensive liner notes in the booklet.

Volume 1 was issued on BC94303.

In the late 16th C, lute songs were known as ‘Ayres’ with John Dowland’s form of writing establishing a fashion of both composition and performance which was to last for 25 years.

The popularity of rhetoric and a fashion for melancholy spilled over to Dowland’s writing and he became one of the greatest advocates for this style.

This disc is a wonderful collection of his melancholic works (difficult to achieve as the composer himself never made a ‘collection’ as such), performed here by the fantastic Fretwork ensemble with countertenor Dominque Visse singing.

Dominque began his career at the age of 11 as a chorister in the Cathedral of Notre Dame and went on to study with Alfred Deller. He has since performed with other greats including more recently René Jacobs, Nigel Rogers and William Christie.

On a new disc to celebrate the 2012 Diamond Jubilee, The King's Singers present a selection of works from the past 500 years written in honour of the great Monarchs of Britain. Starting with works for (and in some cases by) Henry VIII, the programme covers the Elizabethan 'Triumphs of Oriana' by composers such as Gibbons, Mundy and Dowland; a very Victorian selection of dedicatory works by Elgar, Parry and Parrat; choral arrangements from the opera 'Glorianna' by Benjamin Britten; and a new piece by Paul Drayton that comically pens 'A Rough Guide to the Royal Succession'. (Drayton is perhaps best known to fans of The King's Singers as the composer of their much-loved encore work Masterpiece.)

Another timely reissue for his centenary, Alfred Deller's Dowland has become part of our history. The most legendary of English countertenors distilled the very essence of the melancholy of the 17th century English song in general and of the composer of the 'Lachrimae' in particular. This title was released for the first time in 1978.