Thomas Campion: Lute Songs

Naxos: 8553380

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Thomas Campion: Lute Songs

Label:

Naxos

Catalogue No:

8553380
(8.553380)

Discs:

1

Barcode:

0730099438025

Length:

72 minutes

Medium:

CD (download also available)
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Thomas Campion: Lute Songs


Campion:

Come let us sound with melody

Tune thy music to thy heart

Come you pretty false-ey'd wanton

There is none, O none but you

Sweet exclude Me not

I care not for these ladies

Though you are young and I am old

Fire! Fire! Fire! Fire!

Shall I come, sweet love, to thee?

Beauty, since you so much desire

What is it all that men possesse

The cypress curtain of the night

Jacke and Jone they think no ill

It fell on a summer's day

When to her lute Corinna sings

My sweetest Lesbia

Her Rosie Cheekes

Fair, if you expect admiring

There is a Garden in her face

Author of Light

Never weather-beaten sail

Most sweet and pleasing are thy wayes

To Musicke bent is my retyred minde

Thou joy'st, fond boy

Turne all thy thoughts to eyes

Vaile, love, mine eyes

Rosseter:

What then is love but mourning?


Dorothy Linell (lute), Steven Rickards (counter-tenor)

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Thomas Campion: Come let us sound with melody

Come let us sound with melodie the praises

Thomas Campion: Tune thy musicke to thy hart

Tune thy musicke to thy hart

Thomas Campion: Come you pretty false-ey'd wanton

Come you pretty false-ey'd wanton

Thomas Campion: There is none, O none but you

There is none, O none but you

Thomas Campion: Sweet exclude mee not

Sweet exclude me not nor be divided

Thomas Campion: I care not for these Ladies

I care not for these ladies

Thomas Campion: Though you are yoong and I am olde

Though you are yoong and I am olde

Thomas Campion: Fire, fire, fire, fire loe here I burne

Fire, fire, fire, fire loe here I burne

Thomas Campion: What then is love but mourning?

What then is love but mourning?

Thomas Campion: Shall I come, sweet love, to thee?

Shall I come sweet love to thee?

Thomas Campion: Beauty, since you so much desire

Beauty since you so much desire

Thomas Campion: What is it that all men possesse, among themselves conversing?

What is it that all men possesse, among themselves conversing?

Thomas Campion: The sypres curten of the night is spread

The sypres curten of the night is spread

Thomas Campion: Jacke and Jone they think no ill

Jacke and Jone they thinke no ill

Thomas Campion: It fell on a sommers daie

It fell on a sommers daie

Thomas Campion: When to her lute Corrina sings

When to her lute Corrina sings

Thomas Campion: My sweetest Lesbia, let us live and love

My sweetest Lesbia, let us live and love

Thomas Campion: Her rosie cheekes, her ever smiling eyes

Her rosie cheekes, her ever smiling eyes

Thomas Campion: Faire, if you expect admiring

Faire if you expect admiring

Thomas Campion: There is a garden in her face

There is a garden in her face

Thomas Campion: Author of light, revive my dying spright

Author of light, revive my dying spright

Thomas Campion: Never weather-beaten saile more willing bent to shore

Never weather-beaten saile more willing bent to shore

Thomas Campion: Most sweet and pleasing are thy wayes o God

Most sweet and pleasing are thy wayes O God

Thomas Campion: To musicke bent is my retyred minde

To musicke bent is my retyred minde

Thomas Campion: Thou joy'st fond boy, to be by many loved

Thou joy’st fond boy, to be by many loved

Thomas Campion: Turne all thy thoughts to eyes

Turne all thy thoughts to eyes

Thomas Campion: Vayle love mine eyes, O hide from me

Vayle love mine eyes, O hide from me

Thomas Campion: Miserere, my Maker

Miserere my Maker

Early Music Magazine

August 1999

“Like Nicholas Lanier, his younger contemporary, Thomas Campion (1567-1620) is another of those remarkably versatile figures who played a major role in the flourishing secular arts of the Elizabethan and Jacobean eras. ... The American countertenor Steven Rickards has here chosen 28 of [Campion's] songs, a well-varied selection ranging from religious moralities to the charmingly insouciant Jacke and Joane, a panegyric in praise of simple country life. Campion's approach to the subject of love is in general considerably more light hearted than that of Dowland, and Rickards is particularly successful at brining out the sly insinuation in a song like It fell upon a sommers daie. But his singing is distinguished throughout by a freshness and lack of artifice that admirably suits Campion's direct, uncomplicated style. Diction is very good, too. The lute parts, by no means as complex or demanding as those of Dowland, are sympathetically performed. It would in fact be idle to suggest Campion's lute songs approach those of his greater contemporary, but the high quality of his poetry, easy melodic appeal, and often humorous approach make them a very appealing antidote to the near-unremitting seriousness of Dowland. Yet another excellent bargain from Naxos.”

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