Chociaż mówi się, że Girolamo Frescobaldi miał piękny głos śpiewu, to jego talent jako klawiszowca doprowadził go do uwięzi we Włoszech pod koniec XVI i na początku XVII wieku, co umożliwiło mu częstą obecność tak uznanych kompozytorów jak John Dowland i Orlando di Lasso. Po tym, jak Frescobaldi został organistą Bazyliki Świętego Piotra w Rzymie, wielu początkujących muzyków podróżowało tam, aby uczyć się z nim, a jego wpływ na późniejszych kompozytorów okresu baroku jest niezaprzeczalny.

• Wykonawca Various Artists
• Data premiery 2012-11-01
• Nośnik CD

Tracklista:1. The Firste Booke of Songes or Ayres of Fowre Parts 1:15:562. The Second Booke of Songs or Ayres of 2, 4. and 5. parts 1:10:013. The Third and Last Booke of Songs or Aires 1:12:014. A Pilgrimes Solace 1:36:385. Lachrimae Pavan 6:176. Can shee 1:577. Paduana for organ 5:218. The Frogge, arrangement for harpsichord (after Dowland) 1:559. Frog's Galliard, arrangement for harpsichord (after Dowland; from Anne Cromwell's Virginal Book) 1:5710. Work(s): Unspecified Pavana and Galiarda 7:4611. Paduana Lachrymae (After J. Dowland) 5:1712. Tisdale's Virginal Book: Can She Excuse (Tisdale Virginal Book) 1:5213. Solus cum sola, pavan for lute, P 10 4:2314. Dowland's Almayne, for keyboard or lute (A Pilgrimes Solace) 1:2815. Work(s): Piper's Paven / Galliard 7:3116. Pavan & Galliard ("Lachrymae"), for keyboard (pavan by Dowland, Galliard by Harding; arr. by Byrd): Pavana Lachrymae 5:3317. Mr Henry Noell Lamentations 10:2518. Lachrimae, or Seaven Teares, for 5 viols/violins & lute 1:02:1519. Sorrow, come!, sacred song for soprano & 4 viols 3:2020. I shame at mine unworthiness, sacred song for 5 voices 2:3421. An heart that's broken and contrite, sacred song for 4 voices & mixed consort 1:3522. Psalm 100: All people that on earth do dwell (I), for soprano, alto, tenor & bass 1:4523. Psalm 38: Put me not to rebuke O Lord, for soprano, alto, tenor & bass 1:3924. Psalm 130: Lord to thee I make my moan (I), for tenor & organ 3:5425. Psalm 104: My soul praise the Lord, for 4 voices 4:3526. Psalm 100: All people that on earth do dwell (II), for countertenor, 3 viols & organ 2:1327. Psalm 134: Behold and have regard, for 4 voices 1:2828. A Prayer for the Queen's most excellent Majesty, for voices, viols & organ 1:4429. Solus cum sola, pavan for lute, P 10 3:1930. Lachrimae Pavan, for keyboard or lute (from "Lachrimae") 2:5731. Work(s): Work(s)~Unspecified Galliard 1:0932. Pipers Pavan, for lute (after Dowland) 2:5533. Lachrimae, for lute, P 15 4:5234. The Right Honourable the Lady Rich, her Gaillard (Dowland's Bells), for lute, P 43 1:4435. Earl of Essex, his Galliard, for lute, P 89 1:5736. If my complaints, for lute 2:2237. Lachrimae Doolande, instrumental music 4:5938. My Lord Willoughby's Welcome Home, for lute, P 66 (2 versions, 1 for 2 lutes (second part doubtful authenticity)) 1:3739. My Lord Chamberlain his Galliard, for 2 to play on 1 lute, P 37 2:1640. Comagain ("Come again") (after John Dowland) 7:0241. Variations on Dowland's Pavane Lachrimae, for recorder & continuo 4:0342. Variations on Dowland's Pavane Lachrimae, for recorder & continuo 3:3443. Preludium, for lute, P 98 1:0844. Lachrimae, for lute, P 15 4:2845. Can she excuse (The Right Honourable Robert, Earl of Essex, his Galliard), galliard for lute, P 42 1:4346. Dr Case's Pavan, for lute, P 12 4:3547. Mellancoly Galliard, for lute, P 25 2:1348. Sir John Smith, his Almain, for lute, P 47 2:4449. Fantasia, for lute in G minor, P 71 (possibly spurious) 5:5850. A Dream, pavan for lute, P 75 (possibly spurious) 4:1851. Almain, for lute, P 96 1:3852. Queene Elizabeth, her Galliard (The Queen's Galliard), for lute, P 97 1:5153. Coranto, for lute, P 100 1:3854. Resolution, pavan for lute, P 13 4:4355. Mrs Vaux Galliard, for lute, P 32 2:3256. Almain, for lute, P 49 1:2757. Mr Dowland's Midnight, almain for lute, P 99 1:1558. Fantasia, for lute in G major, P 1 5:0759. Loth to depart, song arranged for lute, P 69 5:4260. The Most Sacred Queen Elizabeth, her Galliard (Katherine Darcy's Galliard), for lute, P 41 1:1461. Can she excuse (The Right Honourable Robert, Earl of Essex, his Galliard), galliard for lute, P 42 1:4962. Pavan, for lute in G minor, P 18 4:4263. John Dowland's Galliard, for lute, P 21 1:2964. Aloe, ballad setting for lute, P 68 2:3965. The Right Honorable Lady Cliftons Spirit, for lute, P 45 1:4566. What if a day, ballad setting for lute, P 79 (possibly spurious) 1:2167. Mr Giles Hobie's Galliard, for lute, P 29 2:0268. Come away, song arranged for lute, P 60 1:0169. Galliard, for lute in F minor, P 27 2:2570. Fantasia, for lute in G minor, P 6 2:2171. Lachrimae, for lute, P 15 4:4372. Galliard to Lachrimae, for lute, P 46 2:4673. Jig, for lute in C minor, P 78 (possibly spurious) 1:3674. Galliard (on "Walsingham"), for lute in G minor, P 31 2:3875. Complaint, for lute, P 63 1:1676. Galliard, for lute in C minor, P 35 3:1177. Semper Dowland semper dolens, pavan for lute, P 9 3:1078. The Frog Galliard, for lute, P 23 2:0679. Fantasia, for lute in D minor, P 72 (possibly spurious) 6:5680. Fantasia, for lute in D minor, P 5 2:2281. Piper's Pavan, for lute, P 8 5:1082. Captain Digorie Piper's Galliard, for lute, P 19 1:5383. Lady Laiton's Almain, for lute, P 48 0:5384. Dowland's Galliard, for lute, P 20 0:5585. Dowland's First Galliard, for lute, P 22 2:0986. Tarleton's Jig, for lute, P 81 (possibly spurious) 0:5287. Walsingham, song arranged for lute, P 67 4:3988. My Lord Willoughby's Welcome Home, for lute, P 66 (2 versions, 1 for 2 lutes (second part doubtful authenticity)) 1:2789. Sir Henry Guilford his Almain, for lute (probably authentic) 2:2190. Pavan, for lute in G minor, P 16 5:0091. Mr Langton's Galliard, for lute, P 33 2:4392. Mrs Clifton's Almain, for lute, P 53 1:2593. Galliard, for lute in F minor, P 76 (possibly spurious) 1:5794. Lady Hunsdon's Almain (Lady Hunsdon's Puffe), for lute, P 54 1:2895. Galliard (on "Awake sweet love"), for lute in D major, P 24 1:1696. Go from my window, song arranged for lute, P 64 3:4797. Fantasia, for lute, P 73 (possibly spurious) 3:1598. Pavana, for lute in C minor, P 94 6:1499. Mrs Brigide Fleetwood's Pavan (Solus sine sola), for lute, P 11 5:25100. La mia Barbara, pavan for lute, P 95 5:22101. Sir Henry Umpton's Funerall, for lute 5:15102. Lachrimae, for lute (arrangement by Francis Cozens) 4:38103. Farewell Fancy (Chromatic fantasia), for lute 5:25104. Farewell (on "In Nomine"), fantasia for lute, P 4 3:38105. The King of Denmark, his Galliard, for lute, P 40 3:25106. Mrs Vaux's Jig, for lute, P 57 1:34107. Mrs Nichol's Almain, for lute, P 52 0:55108. Galliard, for lute in G minor, P 30 2:28109. Lord Strang's March, song arranged for lute, P 65 1:03110. Mrs Winters Jump, fo lute, P 55 0:58111. Can she excuse, galliard arrangement for lute, P 89 (possibly spurious) 1:50112. The Shoemaker's Wife, a Toy, for lute, P 58 1:19113. Mrs Norrish's Delight, for lute, P 77 (possibly spurious) 1:02114. Galliard, for lute in C minor, P 35 2:01115. Mrs White's Thing (Mrs White's Choice), almain for lute, P 50 1:28116. Mrs Whittes Nothing, for lute, P 56 0:45117. The Frog Galliard, for lute, P 90 (possibly spurious arrangement) 2:19118. Solus cum sola, pavan for lute, P 10 4:27119. The Right Honourable Lord Viscount Lisle (Sir Robert Sidney, his galliard), for lute, P 38 (A Musical Banquet) 3:13120. Orlando Sleepeth, arrangement for lute, P 61 1:04121. Robin (Bonny Sweet Robin), ballad arranged for lute, P 70 3:55122. Galliard (on a galliard by Daniel Bacheler), for lute in C minor, P 28 3:01123. Forlorn Hope, fantasie for lute 3:50124. The Lady Russell's Pavan, for lute, P 17 5:06125. Fantasia, for lute in G minor, P 7 4:40126. Mr John Langton's Pavan, for lute, P 14 5:51127. The Earl of Derby's Galliard, for lute, P 44 2:41128. A Coy Toy, for lute, P 80 (possibly spurious) 0:32129. Fortune My Foe, song arranged for lute, P 62 2:18130. Almain, for lute, P 51 1:50131. Mr Knight's Galliard, for lute, P 36 2:17132. Sir John Souch his Galliard, for lute, P 26 2:31133. Tarleton's Resurrection, for lute, P 59 0:36134. The Right Honourable the Lady Rich, her Gaillard (Dowland's Bells), for lute, P 43 2:01135. The First Booke of Consort Lessons (1599): Lachrimae Pavan (after Dowland) 4:21136. The First Booke of Consort Lessons (1599): Can she excuse Galliard (after Dowland) 1:40137. The First Booke of Consort Lessons (1599): Captain Piper's Pavan and Galliard (after Dowland) 5:48138. The First Booke of Consort Lessons (1599): The Frog Galliard (after Dowland) 2:11139. Round Battle Galliard, for lute, P 39 1:32140. Fortune My Foe, song arranged for lute, P 62 3:06141. Work(s): Dowland's First Galliard (from Cambridge manuscrip 1:51142. The Most Sacred Queen Elizabeth, her Galliard (Katherine Darcy's Galliard), for lute, P 41 1:14143. Tarleton's Jig, for lute, P 81 (possibly spurious) 0:50144. Almain a 2, for consort duo 0:30145. Mrs Nichols Almain a 2, for consort duo 0:47146. Susanna Fair, for consort 1:35147. Mrs Nichols Almand (Mistress Nichols Almand), for 5 viols/violins & lute (from "Lachrimae") 0:52148. Opusculum neuwer Pavanen, Galliarden, Couranten unnd Volten: Mr john Langton Pavan and Galliard (after Dowland) 4:59149. Opusculum neuwer Pavanen, Galliarden, Couranten unnd Volten: La mia Barbara Pavan and Galliard (after Dowland) 6:15150.     Opusculum neuwer Pavanen, Galliarden, Couranten unnd Volten: Lachrimae Antiquae Novae Pavan and Galliard (after 6:53151. Mrs Nichol's Almain, for lute, P 52 0:43152. Volta (fromTaffel-Consort) 1:11153. Were every thought an eye, for 4 voices & lute (A Pilgrimes Solace) 1:55154. Lady if you so spite me, for voice, lute & bass viol (A Musical Banquet) 2:55155. Work(s): Unspecified Pavan ŕ 4 (from Thomas Simpson: Taffel 4:29156. My heavy sprite oprest with sorrowes might, for voice & lute 2:36157. Change thy mind since she doth change, song (No. 2 in the collection A Musicall Banquet) 3:07158. O eyes, leave off your weeping, song (No. 3 in the collection A Musicall Banquet) 3:07159. Go, my flock, go get you hence, song (No. 4 in the collection A Musicall Banquet) 3:37160. O dear life, when shall it be?, song (No. 5 in the collection A Musicall Banquet) 4:09161. To Plead My Faith 2:38162. In a grove most rich of shade, song (No. 7 in the collection A Musicall Banquet) 4:49163. Far from the triumphing court, for voice, lute & bass viol (A Pilgrimes Solice) 8:44164. Lady if you so spite me, for voice, lute & bass viol (A Musical Banquet) 2:25165. In darkness let me dwell, for voice, lute & bass viol (A Pilgrimes Solace) 4:24166. Si le parler et le silence 3:44167. Ce penser qui sans fin tirannise ma vie 3:33168. Vous que le Bonheur rappelle 2:27169. Passava Amor su arco desarmado 2:19170. Sta notte mi sognava 2:26171. Vuestros ojos tienen d'amor 1:13172. Se di farmi morire, voce e liuto 2:38173. Dovrň dunque morire 2:08174. Amarilli mia bella, for voice & continuo 2:31175. O bella piů, for voice & lute 2:32

• Wykonawca The Consort Of Musicke
• Data premiery 2006-01-01
• Nośnik CD

John Dowland (urodzony w 1562 lub 1563 – zmarł prawdopodobnie 20 lub 21 stycznia 1626, a jego pogrzeb odbył się 20 lutego tegoż roku) – angielski kompozytor schyłku renesansu, wirtuoz lutni. Tworzył przede wszystkim utwory na lutnię oraz pieśni z akompaniamentem lutni, które do dziś są znane (najbardziej popularną pieśnią Dowlanda jest "Come Again, Sweet Love") i wykonywane również w różnych aranżacjach. Pieśni Dowlanda łączą w sobie nastrój angielskiej melancholii z typowo "kontynentalną" formą (rytmika taktowa, periodyczne rozczłonkowanie utworu), którą Dowland jako pierwszy wprowadził do muzyki angielskiej. Dowland komponował także wartościową muzykę kościelną oraz utwory przeznaczone do wykonania przez zespoły instrumentów. W jego dorobku znalazły się trzy księgi pieśni oraz utwory instrumentalne, m.in. fantazje oraz Lachrimae or Seven Tears na pięć viol i lutnię. Jest także autorem traktatów teoretycznych poświęconych muzyce. Często jest uznawany za najwybitniejszego kompozytora angielskiego przed Henrym Purcellem.

• Wykonawca Dowland John
• Data premiery 2003-04-01
• Nośnik CD

Tracklista: 1. Estudio de trémolo 2. Recuerdos de la Alhambra 3. I. Primavera 4. II. Las olas de Moncofa 5. III. Homenaje a Tchaikovsky 6. IV. El Adiós 7. V. Y si pienso en la Habana 8. VI. Souvenir de Granada 9. VII. Cuando tú no estás 10. Bolero 11. Homenaje a Julián Arcas 12. Nocturnal after John Dowland: Reflections on Come, heavy sleep, Op. 70 13. No. 1. Insomnio 14. No. 2. El sueño de una noche de invierno 15. No. 3. El sonido de la mariposa 16. Aire Vasco, Op. 19 17. 12 Piezas caracteristicas, Op. 92: No. 12. Torre Bermeja

• Wykonawca Gonzalez Caballero Andrea
• Data premiery 2017-08-11
• Nośnik CD

Tracklista:1. Simpson - The Division Viol / Prelude in D 1:40 2. Simpson - The Division Viol / Divisions upon a ground 5:053. Jones - A Pavin 5:354. Corkine - Coranto 1:205. Corkine - The Punckes Delight 2:166. Hume - Cease leaden slumber 4:077. Hume - Good againe 5:318. Hume - What greater griefe 2:479. Locke - Suite in c / Fantazie 1:2910. Locke - Suite in c / Courant 1:1811. Locke - Suite in c / Fantazie 1:1612. Locke - Suite in c / Fantazie 1:4613. Locke - Suite in c / Saraband 0:5114. Dowland / Preludium 1:0715. Dowland / Go nightly cares 6:4116. Dowland / (A piece without a title) 1:4017. Dowland / Coranto 1:2318. Dowland / Lasso vita mia 3:3219. Simpson - Prelude in e 2:1320. Simpson - Divisions upon a ground 7:4721. Lanier / Like hermit poor 3:1722. Hume - A Polish Ayre 1:0323. Hume - Fain would I change that note 1:4124. Corkine - A Pavin 3:2125. Corkine - Coranto 1:46

• Wykonawca Zomer Johannette
• Data premiery 2014-12-04
• Nośnik SACD

John Dowland ˗ lutnista i kompozytor, autor przejmujących, melancholijnych pieśni, sługa dworu w Londynie i Kopenhadze, muzyk o prawdziwie renesansowej biografii, w której sztuka splata się z polityczną intrygą. Zarówno życiorys jak i twórczość tej fascynującej postaci wyraża ducha elżbietańskiej Anglii odkrywającej w twórczości artystycznej jednostkę z całym bogactwem jej życia wewnętrznego (Dowland był współczesnym Szekspira) w czasach pełnych politycznych napięć i religijnych konfliktów. Lutnista Frank Pschichholz i śpiewaczka Maria Skiba wprowadzają słuchacza w ten fascynujący świat prezentując Księgę Drugą Pieśni i Arii wydaną przez Dowlanda w 1600 roku.Tracklista:1. I Saw My Lady Weepe2. Flow My Teares Fall From Your Springs3. Sorow Stay, Lend True Repentant Teares4. Dye Not Before Thy Day5. Mourne, Mourne, Day Is With Darknesse Fled6. Tymes Eldest Sonne, Old Age The Heire Of Ease7. Then Sit Thee Downe, And Say Thy Nunc Demittis8. When Others Sings Venite Exultemus9. Praise Blindnesse Eies, For Seeing Is Deceipt10. O Sweet Woods, The Delight Of Solitarienesse11. If Fluds Of Teares Could Clense My Follies Past12. Fine Knacks For Ladies, Cheap, Choise, Brave And New13. Now Cease My Wandring Eyes14. Come Ye Heavie States Of Night15. White As Lillies Was Her Face16. Wofull Heart With Griefe Oppressed17. A Sheperd In A Shade His Plaining Made18. Faction That Ever Dwells In Court19. Shall I Sue, Shall I Seek For Grace20. Tosse Not My Soul21. Cleare Or Cloudie Sweet As April Showring22. Dowlands Adew For Master Oliver Cromwell

• Wykonawca Skiba Maria , Pschichholz Frank
• Data premiery 2015-04-28
• Nośnik CD

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.

• Wykonawca Tarling Judy , The Parley of Instruments
• Data premiery 2006-03-07
• Nośnik CD

Album został wydany przez wytwórnię Aliud (ACDHJ 028-2). Tracklista: 1. Black Is The Color 2. Greensleeves Caccini 3. Tu Ch'hai Le Penne, Amore Jones 4. What If I Speede Monteverdi 5. Lamento d'Arianna 6. Disprezzata Regina Couperin 7. Soeur Monique Tenaglia 8. E Quando Ve N'andante Dowland 9. Shall I Sue, Shall I Seek For Grace 10. Now, O Now 11. Wheep You No More Stradella 12. Ragion Sempre Addita Daquin 13. Tambourin Cavelli 14. Lamento Di Cassandra Pergolesi 15. Se Tu M'ami De Monteclair 16. Air Bonocini 17. Per La Gloria D'adoravi

• Wykonawca Musica del Cuore
• Data premiery 2009-06-01
• Nośnik SACD

Religijna muzyka wokalna angielskiego renesansu napisana przez takich kompozytorów jak Tomkins, Campion, Byrd, Tallis, Dowland, Gibbons w wykonaniu zespołów Stile Antico i Fretwork.

• Wykonawca Stile Antico , Fretwork
• Data premiery 2012-03-05
• Nośnik SACD

VARIOUS: DOWLAND JOHN AND HIS PATRONS

• Wykonawca Rooley Anthony , Kirkby Emma
• Data premiery 2005-01-01
• Nośnik SACD