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See Terms & Conditions for p&p rates. | |  | listen: | | John Bennet: Venus' birds whose mournful tunes |  |
| Crystal Tears (+free dvd)John Dowland & his contemporaries
Andreas Scholl (countertenor), Julian Behr (lute) Concerto di Viole There are few pleasures more delightful than musical melancholy, especially when it flows from the pen of the
finest Elizabethan poets and a composer whose name will be forever associated with that emotion: John
Dowland. His lute songs and consort songs form the backbone of Andreas Scholl's latest recital.
The countertenor has gathered his favourite partners around him in the service of this sublime vocal art,
elegantly distilling its fragile instants of grace.The songs are adroitly interspersed with instrumental pieces by
Dowland's contemporaries.
Bonus DVD NTSC: a performance of the song 'Venus' birds' and a documentary on the making of this
recording.Trailers available on harmoniamundi.com & Youtube.
Since it was founded in Basel in 1989, Concerto di Viole has played as a permanent ensemble. Its four
members all studied at the Schola Cantorum Basiliensis and each individual brings to it rich musical experience
with well-known international ensembles.They have recorded a number of CDs including German Baroque
cantatas with Andreas Scholl for harmonia mundi in 1998. “There is surely no voice more ethereal-sounding among contemporary falsettists than Scholl’s, and he lavishes a ravishingly beautiful sound on the Dowland “hits”: Go, crystal tears; Now, oh now, I needs must part; From silent night; Come, heavy sleep. The danger of monotony is averted with the interspersing of viol Fantasias by John Ward and Richard Mico, and of Dowland’s lute solos, Semper Dowland, Semper Dolens, The Lady Rich, Her Galliard and A Fancy, exquisitely played by Julian Behr. For fans of both Dowland and Scholl, this is a collector’s item.” Sunday Times, 29th June 2008 Disc of the Week “Since this is a collection dominated by John Dowland's consort songs, sobs and melancholy lie at its heart. But with Scholl's alto brand of counter-tenor floating the lines, polishing the vowels so beautifully, the sorrow never quite feels real. Occasionally he's too loud and hooty, and more than once monotonous. But Venus Birds is irresistible, he dies very nicely in Oh Death, Rock Me to Sleep, and he is always surrounded by succulent sounds from the lutenist Julian Behr. Even with the whistling and instrumental tracks, the variety of mood and texture remains limited - but who goes to Dowland to frolic?” The Times, 7th June 2008 *** “The exquisite melancholy pervading the disc, and its companion DVD, is the perfect balm to beguile you through a wistful summer evening” The Observer, 25th May 2008 “There is some magical singing here, and Scholl is supported by instrumental playing of rare subtlety and real finesse.” BBC Music Magazine, July 2008 **** “Scholl's technique is unimpeachable, his tone polished beyond doubt…” Gramophone Magazine, September 2008 | | | In stock - usually despatched within 1 working day. |
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| |  | Baroque Voices 18 - Dowland: Ayres
Gérard Lesne (alto) Ensemble Orlando Gibbons These beautiful and melancholy “Ayres” by the English 16th century composer John Dowland may be seen as precursors of the songs of the Romantic period, two centuries later. They are performed here by the renowned combination of Gerard Lesne and the Ensemble Orlando Gibbons. | | | In stock - usually despatched within 1 working day. |
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| |  | Bara Faustus' DreameMr Francis Tregian his choice
“…one of the most arrestingly colourful and plush recordings of Elizabethan music I've heard.” International Record Review | | | Usually despatched in 2 - 3 working days. |
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| |  | John Dowland - Ayres
Gérard Lesne (alto) Ensemble Orlando Gibbons | | | Usually despatched in 2 - 3 working days. |
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| |  | Dowland - Lute Songs
Dowland: | Flow my teares (Lacrimæ) Galliard Lady Laiton's Almain Fortune my foe Frogg Galliard Weepe you no more, sad fountaines Me, me, and none but me What if I never speed? Lasso vita mia The Shoemaker's Wife Can she excuse my wrongs? (First Booke of Songes, 1597) Mistress White's Thing Round Battle Galliard Wilt thou unkind thus reave me? Come away, come, sweet love Sorrow, stay If that a sinner's sigh Mr. Dowland's Midnight Say love if ever thou didst find Lachrimae Pavan Can she excuse my wrongs? (First Booke of Songes, 1597) If my complaints could passions move Katherine Darcy's Galliard Come again, sweet love doth now invite I saw my Lady weepe Orlando Sleepeth Tarleton's Riserrectione Sir John Smith, His Almain Mistress White's Nothing My Lord Chamberlaine his Galliard From silent night Flow not so fast, ye fountains My Lord Willoughby's Welcome Home Mrs. Winter's Jump Melancholy Galliard Lady Hunsdon's Puffe Shall I sue? In darkness let me dwell The First Galliard Can she excuse my wrongs? (First Booke of Songes, 1597) Come heavy sleep Captain Digorie Pipers Galliard Go, nightly cares |
Alfred Deller (counter-tenor), Robert Spencer (lute) 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. | | | Usually despatched in 2 - 3 working days. |
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| |  | In Darkness Let Me Dwell
John Potter (tenor) Barry Guy (double bass), Maya Homburger (violin), Stephen Stubbs (lute), John Surman (soprano saxophone, bass clarinet) A fascinating project initiated by Hilliard Ensemble tenorist John Potter with producer Manfred Eicher, which re-examines the beautiful songs of the great sixteenth century composer from a present-day perspective. Potter: "This is the first time anyone's approached Dowland not from an 'early music' angle, but simply as music. We're working with Dowland as though he were still with us." The subject matter of the songs, with despair and 'alienation' uppermost, is entirely pertinent for our times, and the exceptional ensemble ranged around John Potter restores an improvisational flexibility to the music. | | | Usually despatched in 2 - 3 working days. |
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