Dowland: Melancholy Galliard

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.

Alpha is particularly pleased to present this first disc devoted to the lutenist Thomas Dunford.

The programme combines lute pieces by Dowland with lute songs for several voices. These songs are certainly among the most frequently recorded works of the Elizabethan era. However, the four-part polyphonic texture is generally reduced to a single voice with lute accompaniment.

The approach adopted on this disc has been to realise the songs in several voices, thus reverting to the practice, widespread at the time, of an intimate ‘chamber’ performance of these pieces.

Thus the inspired playing of Thomas Dunford is answered by exceptionally rich polyphony, with the combination of the two offering a Dowland of unprecedented colour and energy.

The reign of Elizabeth Tudor (1558-1603) brought with it a period of splendour for England, within which the lute experienced its moment of glory. In paintings from this time convivial scenes featuring performers of harp and lute are often depicted.

Well known melodies of the epoch, as well as harmonic sequences such as Bergamasca, Ruggiero, Callinoe, Conde Claros and various Dumps were used by performers when they gathered to improvise together. Sometimes the music was dedicated to a well known personality of the court such as was surely the case with 'The Queenes Good Night', inspiring sweet dreams for Elizabeth.

For this recording Marie Nishiyama and Rafael Bonavita have mixed the colours of harp and lute, the characteristics of each instrument to create a dialogue of sound between the two. A dialogue that goes – as does this repertoire – beyond epochs and styles.

Rediscovered gems recorded by the “First Lady of the Harpsichord”.

Keyboard music of the 16th, 17th and 18th centuries from Spain and Portugal (Cabezon, Carvalho, Seixas, Soler) and England (Byrd, Bull, Croft, Morley, Dowland, Farnaby, Munday, Peerson, Richardson, Purcell) Recorded in Prague at the Domovina studio, April 1966 (CD1) and at the Rudolfinum, October 1983 (CD2) To celebrate the 85th birthday of the “First Lady of the Harpsichord”, Supraphon is once more returning toZuzana Růžičková’s extensive discography.

Hot on the heels of the previous release (SU 4117-2), dedicated to Bach, Scarlatti and 20th-century works, this CD is focused on the very beginnings of the history of the harpsichord and the music intended for this instrument. The period spanning the 16th-18th centuries delimitates (disregarding modern music) the entire epoch of the harpsichord’s pre-eminence. Juxtaposing the harpsichord repertoire from the Iberian Peninsula with that hailing from the British Isles gives rise to interesting comparisons. Spain and England had bitter long-term political tensions, yet when it comes to the beginnings of music for keyboards we can find strong similarities between the two countries, including the influence of the powerful organ and lute traditions. Zuzana Růžičková’s supreme musicality makes these recordings more than a document; her accounts allow this precious music to dazzle in fine shades of colour and light. These sublime recordings are being released on CD for the very first time.

The set comprises Bream’s solo Dowland LP (1954) – which was his debüt solo recording, played on lute - and his solo Bach LP (1956), both originally recorded on the Westminster label and justly celebrated at the time. Here they are brought together with a wide selection of Dowland ayres, sung by The Golden Age Singers with Bream’s lute accompaniment. The CD booklet has a newly commissioned note by Tully Potter, a personal friend of Julian Bream, and includes reproductions of the original LP covers, LP labels and photos of the artists.