Msza Pastoralna i inne utwory wokalne i instrumentalne niemieckiego kompozytora Franza Xavera Richtera w wykonaniu Wrocławskiej Orkiestry Barokowej pod dyrekcją Andrzeja Kosendiaka.
Tracklista:1. My Love Is Mine2. Between Your Sheets3. Finish4. My Heart Still Hovering5. All These Dismal Looks6. Venus7. Time Being8. Autobiography9. Penelope10. Spider11. Martha12. The Siren13. Surprise14. The Guitar15. Song of the Dry Orange Tree16. Recuerdo17. What Lips My Lips Have Kissed18. I Too Beneath Your Moon19. Condition20. Telephone21. Across22. Prandial Plaint23. Interpretation24. Mistaken25. God's Love26. Dark Road27. Door28. Night Watch29. Voices30. Soon31. All You Who Sleep Tonight
Tracklista: CD 1 1. Chor. Credo in unum Deum 2. Chor. Credo in unum Deum/Patrem omnipotentem 3. Duett. Et in unum Dominum 4. Chor. Et incarnatus est 5. Chor. Crucifixus 6. Chor. Et resurrexit 7. Arie. Et in Spiritum Sanctum 8. Chor. Confiteor unum baptisma 9. Chor. Et exspecto resurrectionem 10. Chor. Sanctus 11. Chor. Osanna in excelsis 12. Arie. Benedictus, qui venit 13. Chor. Osanna in excelsis (da capo) 14. Arie (Alt). Agnus Dei 15. Chor. Dona nobis pacem CD 2 1. Chor. Kyrie eleison 2. Duett (Sopran, Alt). Christe eleison 3. Chor. Kyrie eleison 4. Chorus. Gloria in excelsis Deo 5. Et in Terra Pax 6. Arie. Laudamus te 7. Chor. Gratias agimus tibi 8. Deut (soprano, tenor). Domine Deus 9. Chor. Qui tollis peccata mundi 10. Arie. Qui sedes ad dextram Patris 11. Aria (Bass). Quoniam tu solus Sanctus 12. Chor. Cum Sancto Spiritu
Tracklista: CD 1 Tallis, Thomas Bible - Old Testament Spem In Alium 1. Spem In Alium Allegri Gregorio Bible - Old Testament Il Salmo Miserere Mei Deus 2. Il Salmo Miserere Mei Deus Pergolesi, Giovanni Battista Pope Innocents III / Todi, Jacopone Da Stabat Mater 3. Stabat Mater 4. Cujus Animam 5. O Quam Tristis 6. Quae Moerebat 7. Quis Est Homo 8. Vidit Suum 9. Eja Mater 10. Fac, Ut Ardeat 11. Sancta Mater 12. Fac Ut Portem 13. Inflammatus 14. Quando Corpus Mozart Wolfgang Amadeus Ave Verum Corpus, K. 618 15. Ave Verum Corpus, K. 618 Gounod Charles-Francois / Bach, Johann Sebastian Bible - New Testament Ave Maria (Version For Voice And Orchestra) 16. Ave Maria (Version For Voice And Orchestra) Franck Cesar Aquinas Thomas Panis Angelicus 17. Panis Angelicus CD 2 Bach Johann Sebastian Mass Text Mass In B Minor, BWV 232 (Excerpts) 1. Kyrie: Kyrie Eleison (Chorus) 2. Kyrie: Christe Eleison (Soprano I And II) 3. Gloria: Gloria In Excelsis Deo (Chorus) 4. Gloria: Et In Terra Pax (Chorus) 5. Gloria: Domine Deus, Rex Coelestis (Soprano And Tenor) 6. Gloria: Qui Sedes Ad Dextram Patris (Alto) 7. Gloria: Cum Sancto Spiritu (Chorus) 8. Credo: Et In Unum Dominum Jesum Christum (Soprano And Alto) 9. Credo: Crucifixus Etiam Pro Nobis (Chorus) 10. Credo: Et Resurrexit Tertia Die (Chorus) 11. Credo: Et In Spiritum Sanctum (Bass) 12. Credo: Et Exspecto Resurrectionem Mortuorum (Chorus) 13. Sanctus: Sanctus Dominus Deus Sabaoth (Chorus) 14. Benedictus: Benedictus Qui Venit (Tenor) 15. Benedictus: Osanna In Excelsis (Chorus) 16. Agnus Dei: Agnus Dei (Alto) 17. Agnus Dei: Dona Nobis Pacem (Chorus) CD 3 Bach Johann Sebastian Bible - New Testament / Henrici, Christian Friedrich St. Matthew Passion, BWV 244 (Excerpts) 1. Part I: Kommt, Ihr Tochter, Helft Mir Klagen (Chorus) 2. Part I: Aria: Buss Und Reu Knirscht Das Sundenherz Entzwei (Alto) 3. Part I: Aria: Blute Nur, Du Liebes Herz! (Soprano) 4. Part I: Aria: Ich Will Dir Mein Herze Schenken (Soprano) 5. Part I: Aria: Ich Will Bei Meinem Jesu Wachen (Tenor, Chorus) 6. Part I: Aria: Gerne Will Ich Mich Bequemen (Bass) 7. Part I: Aria: So Ist Mein Jesus Nun Gefangen (Alto, Soprano, Chorus) 8. Part II: Aria: Ach! Nun Ist Mein Jesus Hin! (Alto, Chorus) 9. Part II: Aria: Erbarme Dich, Mein Gott, Um Meiner Zahren Willen! (Alto) 10. Part II: Aria: Gebt Mir Meinen Jesum Wieder! (Bass) 11. Part II: Aria: Konnen Tranen Meiner Wangen (Alto) 12. Choral: O Haupt Voll Blut Und Wunden (Chorus) 13. Part II: Aria: Mache Dich, Mein Herze, Rein (Bass) 14. Part II: Wir Setzen Uns Mit Tranen Nieder (Chorus) CD 4 Handel George Frideric Bible - New Testament Messiah, HWV 56 (Highlights) 1. Part I: Sinfonia 2. Part I: Recitative: Comfort Ye My People (Tenor) 3. Part I: And The Glory Of The Lord Shall Be Revealed (Chorus) 4. Part I: Recitative: Behold, A Virgin Shall Conceive (Alto) 5. Part I: For Unto A Child Is Born (Chorus) 6. Part I: Pifa 7. Part I: Aria: Rejoice Greatly, O Daughter Of Zion (Soprano) 8. Part I: Recitative: Then Shall The Eyes Of The Blind Be Opened (Alto) 9. Part II: Aria: He Was Despised And Rejected Of Men (Alto) 10. Part II: Aria: How Beautiful Are The Feet Of Them (Soprano) 11. Part II: Aria: Why Do The Nations So Furiosly Rage Together (Bass) 12. Part II: Hallelujah! (Chorus) 00:03:43 13. Part III: Aria: I Know That My Redeemer Liveth (Soprano) 14. Part III: Recitative: Behold, I Tell You A Mystery (Bass) 15. Part III: Worthy Is The Lamb That Was Slain (Chorus) CD 5 Haydn Franz Joseph Bible - Old Testament Die Schopfung (The Creation), Hob. XXI:2 (Excerpts) 1. Part I: Die Vorstellung Des Chaos (The Representation Of Chaos) 2. Part I: Nun Schwanden Vor Dem Heiligen Strahle (Now Vanish Before The Holy Beams) (Uriel, Chorus) 3. Part I: Und Gott Sprach: Es Sammle Sich Das Wasser (And God Said: Let The Waters Under The Heaven) (Raphael) 4. Part I: Rollend In Schaumenden Wellen (Rolling In Foaming Billows) (Raphael) 5. Part I: Und Gott Sprach: Es Bringe Die Erde Gras Hervor (And God Said: Let All The Earth Bring Forth Grass) (Gabriel) 6. Part I: Nun Beut Dir Flur Das Frische Grun (With Verdure Clad The Fields Appear) (Gabriel) 7. Part I: Die Himmel Erzahlen Die Ehre Gottes (The Heavens Are Telling The Glory Of God) (Gabriel, Uriel, Raphael, Chorus) 8. Part II: Und Gott Sprach: Es Bringe Das Wasser In Der Fulle Hervor (And God Said: Let The Waters Bring Forth Abundantly) (Gabriel) 9. Part II: Auf Starkem Fittiche Schwinget Sich Der Adler Stolz (On Mighty Pens Uplifted Soars The Eagle Aloft) (Gabriel) 10. Part II: Und Die Engel Ruhrten Ihre Unsterblichen Harfen (And The Angels Struck Their Immortal Harps) (Raphael) 11. Part II: In Holder Anmut Stehn (Most Beautiful Appear) (Trio) 12. Part II: Und Gott Sprach: Es Bringe Die Erde Hervor Lebende Geschopfe (And God Said: Let The Earth Bring Forth The Living Creature) (Raphael) 13. Part II: Nun Scheint In Vollem Glanze Der Himmel (Now Heav'n In Fullest Glory Shone) (Raphael) 14. Part II: Mit Wurd' Und Hoheit Angetan (In Native Worth And Honour Clad) (Uriel) 15. Part II: Und Gott Sah Jedes Ding, Was Er Gemacht Hatte (And God Saw Ev'rything That He Had Made) (Raphael) 16. Part II: Vollendet Ist Das Grosse Werk (Chorus) 17. Part III: Von Deiner Gut', O Herr Und Gott (By Thee With Bliss, O Bounteous Lord) (Eve And Adam, Chorus) 18. Part III: Nun Ist Die Erste Pflicht Erfullt (Our Duty We Performed Now) (Adam And Eve) 19. Part III: Holde Gattin! (Graceful Consort!) (Adam And Eve) 20. Part III: O Glucklich Paar (O Happy Pair) (Uriel) 21. Part III: Singt Dem Herren Alle Stimmen (Sing The Lord, Ye Voices All!) (Chorus) CD 6 Mozart Wolfgang Amadeus Mass Text Requiem In D Minor, K. 626 1. Introit: Requiem Aeternam 2. Kyrie Eleison 3. Sequence No. 1: Dies Irae 4. Sequence No. 2: Tuba Mirum 5. Sequence No. 3: Rex Tremendae Majestatis 6. Sequence No. 4: Recordare, Jesu Pie 7. Sequence No. 5: Confutatis Maledictis 8. Sequence No. 6: Lacrimosa Dies Illa 9. Offertory No. 1: Domine Jesu Christe 10. Offertory No. 2: Hostias Et Preces 11. Sanctus 12. Benedictus 13. Agnus Dei 14. Communion: Lux Aeterna CD 7 Mendelssohn Felix Schubring Julius Elijah, Op. 70 (Excerpts) 1. Part I: Introduction: So Wahr Der Herr, Der Gott Israels, Lebet (Baritone) 2. Part I: Hilf, Herr! Hilf, Herr! (Chorus) 3. Part I: Recitative: Zerreisset Eure Herzen (Tenor) 4. Part I: Aria: So Ihr Mich Von Ganzem Herzen Suchet (Tenor) 5. Part I: Double Quartet: Denn Er Hat Seinen Engeln Befohlen Uber Dir (Chorus) 6. Part I: Recitative, Aria And Duet: Was Hast Du An Mir Getan, Du Mann Gottes! (Soprano, Baritone) 7. Part I: Wohl Dem, Der Den Herrn Furchtet (Chorus) 8. Part I: Baal, Erhore Uns! (Chorus) 9. Part I: Recitative: Kommt Her, Alles Volk, Kommt Her Zu Mir! (Baritone) 10. Part I: Aria: Herr Gott Abrahams, Isaaks Und Israels (Baritone) 11. Part I: Recitative: Der Du Deine Diener Machst Zu Geistern (Baritone, Chorus) 12. Part I: Aria: Ist Nicht Des Herrn Wort Wie Ein Feuer (Baritone) 13. Part II: Aria: Hore, Israel, Hore Des Herrn Stimme! (Soprano) 14. Part II: Furchte Dich Nicht, Spricht Unser Gott (Chorus) 15. Part II: Aria: Es Ist Genug! (Baritone) 16. Part II: Recitative: Siehe, Er Schlaft (Tenor) 17. Part II: Trio: Hebe Deine Augen Auf Zu Den Bergen 18. Part II: Siehe, Der Huter Israels (Chorus) 19. Part II: Recitative: Stehe Auf, Elias (Alto, Baritone) 20. Part II: Aria: Sei Stille Dem Herrn Und Warte Auf Ihn (Alto) 21. Part II: Wer Bis Ans Ende Beharrt, Der Wird Selig (Chorus) 22. Part II: Recitative: Herr, Es Wird Nacht Um Mich (Baritone, Soprano) 23. Part II: Der Herr Ging Voruber (Chorus) 24. Part II: Aria: Dann Werden Die Gerechten Leuchten (Tenor) 25. Part II: Alsdann Wird Euer Licht Hervorbrechen (Chorus) CD 8 Beethoven Ludwig Van Mass Text Missa Solemnis, Op. 123 1. Kyrie Eleison 2. Gloria: Gloria In Excelsis Deo 3. Gloria: Qui Tollis Peccata Mundi 4. Gloria: Quoniam Tu Solus Sanctus 5. Credo: Credo In Unum Deum 6. Credo: Et Incarnatus Est 7. Credo: Et Resurrexit Tertia Die 8. Sanctus 9. Sanctus: Benedictus 10. Agnus Dei 11. Agnus Dei: Dona Nobis Pacem CD 9 Verdi Giuseppe Mass Text Messa Da Requiem (Excerpts) 1. Requiem: Requiem Aeternam 2. Dies Irae: Dies Irae, Dies Illa 3. Dies Irae: Tuba Mirum 4. Dies Irae: Liber Scriptus 5. Dies Irae: Rex Tremendae 6. Dies Irae: Recordare 7. Dies Irae: Ingemisco 8. Dies Irae: Confutatis 9. Dies Irae: Lacrymosa 10. Offertorio: Domine Jesu 11. Offertorio: Hostias Et Preces Tibi 12. Sanctus 13. Agnus Dei 14. Lux Aeterna 15. Libera Me: Libera Me, Domine 16. Libera Me: Libera Me, Domine CD 10 Faure Gabriel Mass Text Requiem, Op. 48 1. Introit Et Kyrie 2. Offertoire 3. Sanctus 4. Pie Jesu 5. Agnus Dei 6. Libera Me 7. In Paradisum Vierne Louis Pieces De Fantaisie, Op. 51: Suite No. 1 8. Pieces De Fantaisie, Op. 51: Suite No. 1 Severac Deodat De Tantum Ergo 9. Tantum Ergo Faure Gabriel Mass Text Messe Basse 10. Kyrie 11. Sanctus 12. Benedictus 13. Agnus Dei Faure Gabriel Racine Jean Cantique De Jean Racine, Op. 11 14. Cantique De Jean Racine, Op. 11
Tracklista: CD 1 1. Music in May 2. I'll Follow My Secret Heart 3. Zigeuner 4. Leap Year Waltz 5. Some Day My Heart Will Awake 6. I Can Give You the Starlight 7. Waltz of My Heart 8. I'll See You Again 9. The Violin Began to Play 10. We'll Gather Lilacs 11. Some Day I'll Find You 12. Glamorous Night 13. O Du Lieber Augustin 14. Brüderlein Fein 15. Die Banda Kommt 16. S'Mailufterl 17. Wenn's Die Geigen Heimlich Streicheln 18. Wiener Künstler 19. Das Ist Mein Wien 20. Kunst Und Natur 21. Ich Und Der Mond 22. Wien, Weib, Wein 23. S'herz Von an Echten Weana 24. Vogerl, Flieg' In' D' Welt Hinaus 25. Wie Sich Der Wiener Den Himmel Vorstellt 26. Wiener-Wald 27. Herrgott, Wie Schon Bist Du Wien CD 2 1. Hänschen Klein 2. Backe, Backe Kuchen 3. Alle Vogel Sind Schon Da 4. Fuchs, Du Hast Die Gans Gestohlen 5. Es Tanzt Ein Bi-Ba-Butzemann 6. Hänsel Und Gretel 7. Wer Hat Die Schonsten Schäfchen 8. Vogelhochzeit 9. Ein Männlein Steht Im Walde 10. Suse, Liebe Suse 11. Die Blümelein, Sie Schlafen 12. Es Klappert Die Mühle 13. Kommt Ein Vogel Geflogen 14. Müde Bin Ich, Geh Zur Ruh 15. Alle Meine Entchen 16. Guter Mond, Du Gehst So Stille 17. Sing a Song of Sixpence 18. Hickory Dickory Dock 19. Hush a Bye Baby 20. Oranges and Lemons 21. Baa, Baa Black Sheep 22. Three Blind Mice 23. I Had a Little Nut Tree 24. Bye Baby Bunting 25. Here We Go Round the Mulberry Bush 26. Frere Jacques 27. Sur Le Pont D'Avignon 28. Meunier Tu Dors 29. Il Était Un Petit Navire 30. Au Clair De La Lune 31. Tengo 32. Buji 33. Kasoeuta 34. Ma Come Bali (Bella Bimba) 35. Fa La Nana, Bambin 36. Pajarito Que Cantas 37. O Du Frohliche 38. O Tannenbaum 39. Was Soll Das Bedeuten 40. Es Blühen Die Maien 41. Es Ist Ein Ros' Entsprungen 42. Es Hat Sich Halt Eroffnet 43. Süsser Die Glocken Nie Klingen 44. Stille Nacht, Heilige Nacht
Tracklista: CD 1 1. Veni, Sancte Spiritus, SWV 328 2. Habe deine Lust an dem Herren, SWV 311 3. Rorate coeli desuper, SWV 322 4. Sei gegrüßet, Maria, du Holdselige, SWV 333 5. Joseph, du Sohn David, SWV 323 6. Verbum caro factum est, SWV 314 7. Hodie Christus natus est, SWV 315 8. Allein Gott in der Höh sei Ehr, SWV 327 9. Ich liege und schlafe, SWV 310 10. Meister, wir haben die ganze Nacht gearbeitet, SWV 317 11. Bone Jesu, verbum Patris, SWV 313 12. Wann unsre Augen schlafen ein, SWV 316 13. Ist Gott für uns, wer mag wider uns sein, SWV 329 14. Was hast du verwirket, SWV 307 15. O Jesu, nomen dulce, SWV 308 16. Aufer immensam, Deus, aufer iram, SWV 337 CD 2 1. Jubilate Deo omnis terra, SWV 332 2. Ich beuge meine Knie gegen den Vater, SWV 319 3. Ich will den Herren loben allezeit, SWV 306 4. Die Furcht des Herren ist der Weisheit Anfang, SWV 318 5. Die Stimm des Herren gehet auf den Wassern, SWV 331 6. Quemadmodum desiderat cervus, SWV 336 7. Ich ruf zu dir, Herr Jesu Christ, SWV 326 8. Was betrübst du dich, meine Seele, SWV 335 9. Herr, ich hoffe darauf, dass du so gnädig bist, SWV 312 10. Herr, wann ich nur dich habe, SWV 321 11. Wer will uns scheiden von der Liebe Gottes, SWV 330 12. O misericordissime Jesu, SWV 309 13. Ich bin jung gewesen und bin alt worden, SWV 320 14. Die Seele Christi heilige mich, SWV 325 15. Ich bin die Auferstehung und das Leben, SWV 324
Tracklista:CD 11. Eine Faust-Oouverture (A Faust Overture)2. I. Sostenuto assai - Allegro3. II. Scherzo: Allegro vivace4. III. Adagio espressivo5. IV. Allegro molto vivaceCD 21. La canzone dei ricordi2. Il carnevale a Venezia
"Oh, What A Wonder!", to jeden z utworów znajdujących się na tej świątecznej płycie i on sam może opisywać ją jako całość. Repertuar inteligentnie wyselekcjonowany przez Paula Hilliera i jego wybitny estoński chór Estonian Philharmonic Chamber Choir, którzy biorą na warsztat zapomniane zignorowane i zagubione utwory i dają im nowe życie. Tracklista: 1. Our Father by Nikolai Kedrov 2. Bogoroditse Devo by Arvo Pärt 3. Verses before the Six Psalms no 2: Glory to God in the highest by Alexandr Kastalsky 4. Shepherds of Bethlehem by Traditional 5. What a miracle by Traditional 6. Today the Virgin by Alexandr Kastalsky 7. The Angels exclaimed by Traditional 8. A New joy is in the air by Traditional 9. Bells Rang Early in Jerusalem by Traditional 10. When Augustus Ruled Alone upon Earth by Alexandr Kastalsky 11. Carol of the Bells by Traditional 12. Throughout the World This News has Spread by Traditional 13. Children's Songs (16), Op. 54: no 5, Legend by Peter Ilyich Tchaikovsky 14. Christ Is Born by Georgiy Izvekov 15. God is with us by Alexandr Kastalsky 16. Blessed is the man by Anonymous
Tracklista: 1. Contrapunto Sobre La Baxa 2. Conde Carlos (Diferencias Sobre El Tenor) 3. La Bella Malnaridada 4. Soneto 11 5. Quanti Mercenarii: Motette 6. Soneto 3 7. Corten Espadas Afiladas 8. Tres Diferencias Sobre La Pavana 9. Jubilate (Motette) 10. Soneto 5 11. Los Braços Traigo Cansados 12. Fantasía 13 De Contrapunto 13. Guárdame Las Vacas (Siete Diferencias) 14. O Benigna 15. Soneto 16. Señora, Si Te Olvidare 17. Cuatro Diferencias Sobre La Pavana 18. Andreas Christi (Motette) 19. Las Tristes Lágrimas Mías 20. Madonna, Qual Certezza 21. Ami Souffrez 22. Sobre La Pavana Real 23. ¡Quién Me Otorgase, Señora! 24. Fantasia 10, Sobre Un Pleni De Contrapunto 25. Soneto 14 26. Lo Que Queda Es Lo Seguro (Sonett) (Bearb.)
There have only been two occasions when English composers have profoundly affected the course of European musical history. The first was in the early fifteenth century when the motets, Mass movements and chansons of John Dunstable and his contemporaries became the models for subsequent developments in Flanders and Burgundy. The second was two centuries later, at the beginning of the seventeenth century, when a number of English composers and instrumentalists found work at northern European courts. They went abroad for three main reasons. Some, like Peter Philips and Richard Dering, were religious refugees, in flight from Queen Elizabeth’s persecution of Catholics. Some, such as William Brade and Thomas Simpson, were probably attracted by the lucrative opportunities available in the prosperous small courts and city states of northern Europe. Others were associated with the English theatre companies that began to tour the Continent in the 1580s and ’90s following the 1572 Act of Parliament that restricted the activities of ‘common players in interludes and minstrels’. Henceforth, actors were forbidden to work in England unless they were under the patronage of the Queen or a prominent courtier.John Dowland probably had mixed motives for leaving England in 1594. He had just been turned down for a post as a court lutenist, but he also had Catholic sympathies. He worked first at Wolfenbüttel and Kassel, and in 1598, after a second attempt to obtain a court post, he joined the group of English musicians in the service of Christian IV, King of Denmark. He remained in Copenhagen until 1606, though he visited London in the summer of 1603 ‘on his own business’, as a Danish court clerk put it. By 1603 he was one of the most famous lutenists in Europe and could reasonably have expected a court post in the wake of Queen Elizabeth’s death in March of that year, for the wife of the new King James I was Anne of Denmark, sister of Christian IV. In the event, it still eluded him, perhaps, as Peter Warlock once suggested, because Anne did not wish it to be thought that she had poached one of her brother’s musicians. When he finally became one of James I’s lutenists in 1612 he had long left the Danish court. Dowland probably hoped to attract Anne’s attention by dedicating Lachrimae, or Seaven Teares to her. In the dedication he states that he had ‘access to your Highnesse at Winchester’ (the court was there in September and October 1603), and that he had twice tried to sail back to Denmark but had been compelled to winter in England ‘by contrary windes and frost’.Dowland broke new ground with the publication of Lachrimae. At the time, dance music was usually written or printed in sets of separate quarto parts, but Lachrimae is a folio volume and has the parts for each piece distributed around each side of a single opening, so that in theory they could be performed around a table from a single copy. Dowland may have adopted this format, the one he used for his lute songs, because he included a lute part in tablature, which could not easily be accomodated in a small set of part-books. Lachrimae is certainly the first English collection of five-part dance music, manuscript or printed, to include a lute part, though lutes often appear in contemporary pictures of violin bands accompanying dancing.Lachrimae is normally thought of as belonging to the English consort repertory, but part of it, at least, was composed in Copenhagen. In the dedication Dowland informed the Queen that it was written partly in her homeland: ‘I have presumed to Dedicate this worke of Musicke to your sacred hands, that was begun where you were borne, and ended where you raigne.’ It is likely, in fact, that it was partly written for, and reflects the practice of, a group of English expatriates at the Danish court, including the composers and string players William Brade and Daniel Norcombe, the dancing-master (and presumably violinist) Henry Sandam, the harpist ‘Carolus Oralii’ (an Irishman, Charles O’Reilly?) and, perhaps, ‘Bendix Greebe’ (also known as ‘Benedictus Grep’), who may have been an Englishman, Benedict Greave or Greaves. Lachrimae is typical of the Anglo-German consort repertory in that great prominence is given to pavans. They take up most of the time in a complete performance, and attention is inevitably concentrated on the ‘passionate pavans’ that open the collection. English expatriates tended to use the pavan for their most serious thoughts, perhaps because most were string players or lutenists rather than organists or choirmasters—who wrote much of the consort repertory in England and used the fantasy as their main form.The collection is also typical of the Anglo-German repertory in that it is scored specifically for strings. According to the title-page it is ‘set forth for the Lute, Viols, or Violons, in five parts’. It is normally played today on viols, but professional string groups would have played sets of viols and violins as a matter of course, choosing the most appropriate according to circumstances. It is unlikely that Dowland intended the two families to be combined in a mixed consort; the normal practice was to use complete sets of instruments as alternatives on a musical menu, rather than as ingredients in a single dish. The whole collection can be played as it stands by the standard five-part violin consort of the time, consisting of a single violin, three violas and bass—the arrangement preserved well into the Baroque period by the French royal orchestra, the Vingt-quatre Violons. But one of the pieces, ‘M. Thomas Collier his Galiard’, has two equal treble parts and requires the more modern scoring of two violins, two violas and bass, and the situation is complicated by the fact that, with one exception, the pieces divide into two high- and low-pitched groups, about a fourth apart. The former (all the lighter pieces except ‘Sir John Souch his Galiard’) work well as they stand, but the rest are consistently too low to be effective on violins. Therefore we have transposed them up a fourth, which brings the seven ‘passionate pavans’ into D minor, the key of the earliest consort settings of ‘Lachrimae Antiquae’. The exception, ‘M. John Langtons Pavan’, is midway between the two groups in its ranges, and so we have transposed it up a tone, the key chosen by Thomas Simpson for his consort setting, published in 1610. Professional instrumentalists at the time would have made such transpositions as a matter of routine to suit the ranges and the character of different types of instrument, and a number of sixteenth-century dances survive in more than one key, presumably for this reason. We cannot be sure why Lachrimae is divided into high- and low-pitched pieces, but an obvious possibility is that it reflects the different requirements of particular groups, perhaps in Copenhagen and London.Lachrimae was drawn largely from music already composed by Dowland in other media. It was not uncommon for lutenists and keyboard players to produce consort versions of pieces they had already worked out for their own instruments. Thus, of the twenty-one pieces, eleven exist as lute solos, sometimes under different titles: ‘M. Henry Noel his Galiard’ was also known as ‘Mignarda’, while there is an early version of ‘M. Buctons Galiard’ with the title ‘Susanna Galliard’, a reference to the fact that the tune is derived from Lassus’s famous chanson Susanne un jour. ‘The King of Denmarks Galiard’ circulated in several early versions, as ‘Mr. Mildmays Galliard’ and ‘The Battle Galliard’ (the piece uses ideas drawn from several sixteenth-century battle pieces), and was finally published in 1610 by Robert Dowland in his Varietie of Lute-Lessons. The same publication also contains the Landgrave of Hessen-Kassel’s fine pavan in honour of Dowland, based on ‘Lachrimae Antiquae’. Robert Dowland wrote that it was ‘from him sent to my Father, with this inscription following, and written in his GRACES owne hand: Mauritius Landgrauius Hessiae fecit in honorem loanni Doulandi Anglorum Orphei’ (‘Moritz, the Landgrave of Hesse, wrote it in honour of John Dowland, the English Orpheus’). It is usually thought of as an original lute piece by the Landgrave, but the divisions are remarkably sophisticated and adventurous in style and were perhaps added by the dedicatee himself.Some pieces in the collection were also well known as songs. ‘The Earle of Essex Galiard’, ‘Sir John Souch his Galiard’ and ‘Captaine Digorie Piper his Galiard’ are in Dowland’s First Booke of Songes (1597) as ‘Can she excuse my wrongs’, ‘My thoughts are winged with hope’, and ‘If my complaints could passion move’, while ‘M. Henry Noel his Galiard’ appears as ‘Shall I strive with words to move’ in A Pilgrimes Solace (1612). We have provided ‘Captaine Digorie Piper his Galiard’ with its pavan, from a recently discovered manuscript at Kassel. It (and a pre-publication version of ‘Lachrimae Antiquae’) are probably souvenirs of Dowland’s activities at the Landgrave of Hesse’s court in the 1590s. Also, we have paired ‘Sir John Souch his Galiard’ and ‘M. Giles Hobies Galiard’ because they both borrow melodic and harmonic material from a galliard by James Harding, a piece that was often paired with ‘Lachrimae Antiquae’. Like most sixteenth-century publications of dance music, Lachrimae is organized by genre, the pavans followed by the galliards and the almans. The seven ‘passionate pavans’ need to be heard as a sequence, but we have arranged the other pieces by key so that they form suites, with the graver pieces leading to the lighter, following the example of several collections in the Anglo-German repertory.‘Lachrimae Antiquae’, Dowland’s most popular piece, circulated in many forms, and was published as ‘Flow my tears’ in The Second Book of Songs (1600). We can presume, however, that the matchless sequence of ‘passionate pavans’ that follow it are late works, perhaps written specially for the publication, for only one of them is found in another source. They are unique works, too, in another sense. Elizabethan composers frequently derived galliards from pavans, and it was common for pavans to allude to well-known examples of the genre. A good example is the third strain of ‘Semper Dowland semper dolens’ (‘Always Dowland, always doleful’), which has a ‘synthetic’ cantus firmus in the manner of Peter Philips’s famous 1580 Pavan. But only Dowland created a variation suite of seven pavans, linked by the opening four-note descending theme and by a subtle web of thematic and harmonic inter-relationships.The precise significance of the Latin titles is not entirely clear. ‘Lachrimae Antiquae’ (‘The Old Tears’) and ‘Lachrimae Antiquae Novae’ (‘The Old Tears Renewed’) are straightforward enough, but it is not immediately obvious from the music why the others are entitled ‘Lachrimae Gementes’ (‘Sighing Tears’), ‘Lachrimae Tristes’ (‘Sad Tears’), ‘Lachrimae Coactae’ (‘Crocodile Tears’), ‘Lachrimae Amantis’ (‘A Lover’s Tears’), and ‘Lachrimae Verae’ (‘True Tears’), though ‘Lachrimae Tristes’ is certainly one of the saddest and most passionate of the set, and it may be significant that ‘Lachrimae Coactae’ is a harmonic parody of it.Lachrimae seems to have had little influence on the subsequent development of consort music in England. The fashion for grave pavans and galliards soon passed, to be replaced by the light almans, corants and masque dances of the Jacobean age. Yet Dowland’s memory was kept alive on the Continent. Samuel Scheidt produced several elaborations of ‘The King of Denmarks Galiard’, doubtless attracted by its battle imitations, and a corrupt version of the tune of ‘The Earle of Essex Galiard’ is still found in eighteenth-century Dutch collections.