John Dowland

(1563-1626)

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Awake, sweet love: An Anthology of Lute Music

Awake, sweet love: An Anthology of Lute Music


Dowland: Complete Lute Music

J.S. Bach: Complete Lute Music

Piccinini: Intabulations for lute & chitarrone

Kapsberger: First Book of Tablature for Lute, 1611

Lauffensteiner & Weichenberger: Partitas

Les Baricades Mistérieuses: Kellner; Weiss; Couperin;

Saint‐Luc; Gaultier; Gallot The Court of Bayreuth: Hagen; Falckenhagen; Scheidler

Dowland: The First Book of Songs

Purcell: Songs


Jakob Lindberg, Mario D’Agosta, Luciano Contini, Yavor Genov, Miguel Yisrael, Nigel North, Christopher Wilson (lutes)

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.

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Brilliant Classics - 94710

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Sounds, Sweet Airs and the Art of Longing

Sounds, Sweet Airs and the Art of Longing


Corbetta:

Prelud

Dowland:

Mr Dowland's Midnight

Lanier:

No more shall meads be deck'd with flow'rs (Love's constancy)

Weep no more my wearied eyes

Lawes, H:

Bid me but live, and I will live

Slide soft, you silver floods

Wert thou yet fairer than thou art

Transcendent Beauty

Purcell:

An Evening Hymn 'Now that the sun hath veiled his light', Z193

Taylor, J:

Tell me not that I die or live by thee

Torget:

Divine

Oh, dream where art thou now?

Diving

Lullaby

Vaughan Williams:

Orpheus With His Lute

Let Beauty awake

Take, O Take Those Lips Away (from Three Shakespeare Songs

The Sky above the Roof

A Clear Midnight


Elisabeth Holmertz (soprano), Frederik Bock (lute), Poul Hoxbro (low whistle)

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.

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LAWO - LWC1042

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$17.25

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Marriage between the Rhine & the Thames

Marriage between the Rhine & the Thames

Celebration Music for the Marriage of Prince Elector Frederick V to Elizabeth Stuart, London & Heidelberg 1613


anon.:

Galliarda I

Courant Lavallet

Brantle I&II

No longer wrong the night

Nun singt ein neues Lied dem Herren (Ps. 98)

Weil jetzt zu mal die Götter

Ach Gott mein Leiden

Bouchan:

Ballet de pages

Byrd:

Pavana "The Earle of Salisbury"

Galiarda

Galliardo Secundo

Miss Marye Brownlo

Campion:

Now hath Flora robbed her bowers

Come away, bring thy golden theft

Woo her, and win her

Coprario:

The Second of the Lords

Gray's Inn the 1st

So parted you

Gray’s Inn the First II

How like a golden dream

The Nymphs’ dance

Advance your choral motions now

Gray’s Inn the First III

While Dancing rests

The Third of the Lords

Leaving home - a welcome in Heidelberg

Dowland:

My soul praise the Lord (Psalm 104)

Come again, sweet love doth now invite

Melancholy Galliard

East, M:

You meaner beauties of the night

Hagius:

Wach auf und tu zuhören

Jeep:

Nur ein Figur

Johnson, R:

The Third of the Temple

The First of the Temple

The Satyrs' Masque

Praetorius, M:

Courrant de Bataglia

Simpson, T:

Ballet 'La mia Salome'


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.

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Christophorus - CHR77371

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Contre-ténors

Contre-ténors


includes

Dowland:

Can she excuse my wrongs? (First Booke of Songes, 1597)

Gluck:

Che faro' senza Euridice? (from Orfeo ed Euridice)

Handel:

Va tacito e nascosto (from Giulio Cesare)

Purcell:

O solitude, my sweetest choice, Z406


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.

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Naive - V5328

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$11.50

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Fitzwilliam Virginal Book Volume 2: William Byrd

Fitzwilliam Virginal Book Volume 2: William Byrd


Byrd:

Walsingham

Prelude in A minor

Fantasia in A minor

Fantasia MB62

The Carman's Whistle

The Queen's Alman

Tregian's Ground

Lady Monteagle's Pavan

The wood so wild

John come kiss me now

Pavan & Galliard (MB14)

Sellinger's Round

Pavan and Galliard, G minor No. 3, BK4

The Hunt's up

Ut re mi fa sol la

Pavan in D BK52a

Galliard in D Minor, MB52b

The Maiden Song, MB82

Fantasia in C (Bk 25)

Quadran Pavan, MB70a

The Quadran Galliard, MB70b

All in a Garden Green

Pavan in G, MB71a

Galliard in G, MB71b

Pavan in C Minor, MB29a

Galliard in C Minor, MB29b

Rowland

The seventh pavian, Canon 2 parts in 1, BK74

Galliard in A Minor, MB99c

Lavolta, MB91

Dowland:

Pavana Lachrymae (set by William Byrd)

Holborne:

Pavan in A Minor, MB99a

arr. Byrd


Pieter‐Jan Belder (harpsichord, chest organ & virginal)

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.

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Brilliant Classics - 94362

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Dowland: Tunes of Sad Despaire

Dowland: Tunes of Sad Despaire


 

Paduan

By John Dowland/Thomas Simpson

anon.:

My Lord of Dehims Lamentacio

Dowland:

Go Crystal tears

If my complaints could passions move

Sorrow, come

What If A Day

Poulton No. 79

Fine knacks for ladies

Go, nightly cares

In darkness let me dwell

In this trembling shadow cast

Away with these self-loving lads

Dr Case's Pavan

Poulton No. 12, diminutions for repeats by Eric Bellocq

From silent night

Come heavy sleep

All ye, whom Love or Fortune hath betray'd

Now, O now, I needs must part


Dominique Visse (countertenor)

Fretwork, Renaud Delaigue & Eric Bellocq

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.

“In the final analysis, though in many ways infuriating, this is a brilliant and inspiring Dowland recital that cannot easily be ignored.” International Record Review

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Satirino - SR121

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100 Best Chamber Music

100 Best Chamber Music


EMI 100 Best - 9727772

(CD - 6 discs)

$17.25

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The Voice of Peter Pears

The Voice of Peter Pears


Berkeley, L:

How Love Came In

Benjamin Britten (piano)

Bridge:

Love went a-riding

Benjamin Britten (piano)

Britten:

The Holy Sonnets of John Donne, Op. 35

Benjamin Britten (piano)

The Plough Boy

Benjamin Britten (piano)

Campion:

Shall I come, sweet love, to thee?

Julian Bream (guitar)

Copland:

Long Time Ago

Benjamin Britten (piano)

Simple Gifts (from Old American Songs, Set I)

Benjamin Britten (piano)

I Bought me a Cat

Benjamin Britten (piano)

Dowland:

I saw my Lady weepe

Julian Bream (guitar)

What if I never speed?

Julian Bream (guitar)

Ford, T:

Faire, sweet, cruell

Julian Bream (guitar)

Grainger:

Six Dukes Went a-Fishin'

Benjamin Britten (piano)

Ireland:

I Have Twelve Oxen

Benjamin Britten (piano)

Moeran:

In youth is pleasure

Benjamin Britten (piano)

Morley:

It was a lover and his lass

Julian Bream (guitar)

Rosseter:

What then is love but mourning?

Julian Bream (guitar)

Schubert:

Im Frühling, D882

Benjamin Britten (piano)

Auf der Bruck, D853

Benjamin Britten (piano)

An die Laute D905

Benjamin Britten (piano)

Die Taubenpost, D965A (D957 No. 14)

Benjamin Britten (piano)

Warlock:

Yarmouth Fair

Benjamin Britten (piano)


Peter Pears (tenor)

Regis - RRC1393

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$7.25

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The King's Singers: Royal Rhymes & Rounds

The King's Singers: Royal Rhymes & Rounds


anon.:

Hey, trolly lolly lo!

Bennet:

Weep, O Mine Eyes

Britten:

Choral Dances from Gloriana, Op. 53

Cornyshe:

Ah, Robin, gentle Robin

Blow thi Horne

Dowland:

Flow my teares (Lacrimæ)

Drayton, P:

A Rough Guide to the Royal Succession (It’s just one damn King after another…)

Elgar:

To her beneath whose steadfast star

Gibbons, E:

Long live fair Oriana

Gibbons, O:

The Silver Swan

Round

The Silver Swan

Henry VIII:

Pastyme with good companye

It is to me a ryght gret joy

Hilton:

Fair Oriana, beauty's Queen

Mundy, J:

Lightly she whipped o'er the dales

Parratt:

The Triumph of Victoria

Parry:

Who can dwell with greatness!

Weelkes:

As Vesta was from Latmos hill descending


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.)

“the sound this ensemble makes is beautifully balanced, and you could take dictation from their impeccable enunciation. These are considerable benefits...a notably intelligent, enjoyable Jubilee offering.” BBC Music Magazine, September 2012 ****

“Pristinely sung, if starchily interpreted, the selection comprises a predictable trawl through Tudor and Elizabethan partsongs, and a less predictable choice of Victoriana...KS fans will probably buy this recording for Paul Drayton’s A Rough Guide to the Royal Succession, a 12-minute pastiche that romps through 1,000 years of kings and queens.” The Times, 16th June 2012 ***

Signum - SIGCD307

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$16.50

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Dowland: Lute Songs

Dowland: Lute Songs


Alfred Deller (countertenor) & Robert Spencer (lute)

The Consort of Six

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.

“Twenty songs, recorded late in Deller's career when his voice had lost a certain bloom but little of its fascination” BBC Music Magazine, October 2012 ***

Harmonia Mundi - HMGold - HMG50244/45

(CD - 2 discs)

$14.75

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