Dowland: Captain Digorie Pipers Galliard

"Beer and the viola da gamba both arrived in England in the space of a year, in the reign of King Henry VII”, wrote Henry Peacham. And yet it was not until the following reign, that of Henry VIII, that the latter instrument gained its noble status. The high point, however, occurred in the long reign of Elizabeth I (1558-1603).

The consort song had its origin partly in the theatre, partly in madrigals inspired by the Italians, then very much in vogue. Fashionable English composers write songs, airs and dance pieces that would embody this uniquely English phenomenon; among them John Dowland and Anthony Holborne, who feature prominently on this disc, both leading figures in Elizabethan music. With his ensemble Musicall Humors, Julien Léonard has managed to create a viol consort of astonishing homogeneity, offset by the delicate presence at times of a lute, at times of a cittern, a harpsichord, the virginals or organ. The sonorities are round, warm, velvety, and for her first solo disc, the voice of Eugénie Warnier lies with unforced delicacy upon this instrumental duvet.

Evgeni Finkelstein is an outstanding Russian master of classical guitar. His playing is marked by wonderful sound, extraordinary finesse and intense musical expression. These qualities are coupled with a brilliant technique to fascinate the listener. On a previous album ‘The Fall of Birds’ he won critical acclaim in the Classical Guitar magazine.

"Buccaneer, the latest release from His Majestys Sagbutts & Cornetts, lives up to its royal lineage and adds to what is already a long and distinguished line of high-quality releases by this UK ensemble. Buccaneer has many attributes worthy of special note, in addition to the beautiful playing so characteristic of HMSC. As in all their other recordings, Buccaneer, from the sparse but informative liner notes, to the attractive packaging, is clearly the product of a thoroughly professional ensemble.The content selected is a pleasing variety of styles with the first six tracks devoted to English music followed by eight selections from Spain.The CD concludes with three more English works. This CD is the seventeenth release by HMSC. Although their earlier recordings displayed a very high level of musicianship, their sound and ensemble playing has matured over the years and this latest releases is certainly one of their best. Modern brass ensembles that play this repertoire would do well to listen closely to any recording by HMSC to get a better understanding of the style." Historic Brass Society

John Dowland, born in London around 1563, was the most renowned lutenist in Europe. As a composer, he captured perfectly the fashionable melancholy of the Elizabethan age.

For her new album In Darkness Let Me Dwell, viola da gamba virtuoso Hille Perl has selected some of Downland’s songs, coupled with instrumental pieces from his famous collection Lachrimae, or Seven Tears (1604). Together with her viola da gamba ensemble The Sirius Viols, the Amercian lutenist Lee Santana and the soprano Dorothee Mields Hille Perl eloquently portrays the melancholy spirit of Dowland’s music. In the songs, the solo lute pieces, the gaillards and pavanes for viola da gamba consort this melancholy is infinitely touching, and highly expressive.

For this recording, The Sirius Viols was able to use copies of original instruments from the workshop of renowned instrument maker Tilman Muthesius from Potsdam.

Volume 4 of Segovia’s 1950’s American recordings is devoted in the main to his arrangements of music composed between 1535 and 1750. Although today it is customary to play this repertoire on reproductions of instruments authentically modelled on concepts of musicological research, Segovia preferred the 20th Century guitar to all other instruments as an expressive medium. To his interpretations of the 16th century works of Milan, Narvaez, Mudarra and Dowland, as well as the Baroque guitar of Robert de Visee and transcriptions from Scarlatti or Rameau, Segovia brings the same application of colour, variety of dynamics and rhythmic freedom as he applied to romantic pieces. This full blooded approach to early music was greatly appreciated during his lifetime and often provided one of the few opportunities for the general public to become acquainted with this area of the repertoire.