The programme, entitled ‘Not Just Dowland’ sets the father of English song alongside his contemporary Robert Johnson, who notably composed for the plays of Shakespeare, and the Italians Monteverdi, Grandi, Piccinini, Caccini and Merula. There are also instrumental items by Johnson, Ferrabosco, Rosseter and Kabsberger.
“Everything was so perfect, the evening seemed to pass in a flash,” was The Independent’s verdict on the Wigmore Hall recital in December 2008 by soprano Carolyn Sampson and lutenist Matthew Wadsworth. “The soprano Carolyn Sampson is blessed with a lovely voice …and the lutenist Matthew Wadsworth … really is a class apart among exponents of this increasingly popular musical instrument.”
Prelude
Away Delights
Oh let us howl
Care-charming sleep
Pavan IV
Galliarda
Fortune my Foe
Pavan in C minor
Can she excuse my wrongs?
In darkness let me dwell
Quel Sguardo Stegnosetto
O quam tu pulchra es
Toccata XIII
Partite Variate Sopra La Folia
Amarilli mia bella
Toccata arpeggiata
'Kapsberger'
Canzonetta sirituale sopra alla nonna
Spoken intro
'Have you seen the bright lily grow'
29th January 2010
****
“Carolyn Sampson’s pure soprano cossets the words, savouring their expressive implications, relishing their shifts of rhythm and subtly sighing with bliss, yearning or heartache, depending on the circumstances.”
7th February 2010
“One of the chief delights... is the opportunity to hear the theorbo at close quarters...in the skilled hands of Matthew Wadsworth it takes centre stage, both as a solo instrument and as an exquisite companion to Carolyn Sampson's sweet, lyrical soprano...a ravishing programme of beguiling melancholia.”
May 2010
*****
“Wadsworth's lute and theorbo...craft a seamless expressive narrative...Sampson is careful never to over-egg the grief, always keeping in reserve extremities of emotion for the very darkest moments - and she never distorts the musical line by over-dramatisation.”
September 2010
“Carolyn Sampson and lutenist Matthew Wadsworth are well matched protagonists and in the main they cope equally well with both repertories. Sampson's diction is especially clear in the English selections, which come across very naturally.”
12th December 2010
***
“Both artists respond with dark-shaded tones to a music that is touched by the aching melancholy of its time and place.”
Click on any of the works listed above for alternative recordings.
Prelude
