Tracklista:1. Fanfare2. Bransle Double3. Armour Partes4. Washerwoman's Bransle5. Tutto Lo Di6. Allez Souspirs7. English Pavan8. Bransles Simples9. Fanfare10. Veni, Creator Spiritus11. Fanfare12. La Volta13. New Almaine14. Two Farandoles
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.
Tracklista:1. Sea Salt2. Convict Lake3. White Wilderness4. The Piano Lesson5. After It Ends6. Overcoat7. Alemany Gap8. English Vines9. 20k
Bach jest dobry na wszystko. Na każdą porę dnia i nocy. Także i na początek naszej kolekcji. Trudno zresztą sobie wyobrazić, by rozpocząć słuchanie od muzyki innego kompozytora. "Kim był Newton jako filozof, tym Bach był jako muzyk" – tak twierdzono już w XVIII wieku, jednak nie były to opinie powszechne. Bach uchodzi za mistrza polifonii, wielkiego twórcę muzyki religijnej i świeckiej, kompozytora, który stworzył fundament muzyki europejskiej. Dziś wiemy to doskonale, ale po śmierci w 1750 roku jego dorobek uległ zapomnieniu oraz rozproszeniu. Bach stał się niemodny i staroświecki. Jego synowie, również kompozytorzy - odnoszący sukcesy w całej Europie - odcinali się od dziedzictwa ojca. Wydawało się, że jego czas minął bezpowrotnie. Na szczęście z niebytu wydobył go wiek XIX, a zwłaszcza kompozytor Felix Mendelssohn, który wpadł na trop Pasji wg św. Mateusza. Wykonanie dzieła w 1829 roku przyczyniło się do koncertowego renesansu całej twórczości. Wiek XX dorzucił do tego dawne instrumenty, wiedzę, nowoczesność i … fantazję. Bo Bacha można grać na wiele sposobów: dokładnie, zgodnie z partyturą i swobodnie z wyobraźnią. Wszak muzyka Bacha jest idealna do opracowań i improwizacji, o czym każdy rasowy jazzman wie doskonale. Oczywiście o Bacha wciąż się spieramy. Czy można wykonywać jego utwory na współczesnym fortepianie czy wyłącznie na klawesynie i organach? Ilu instrumentalistów należy zaangażować w orkiestrze, a ilu śpiewaków w chórze? Które instrumenty lepiej brzmią w nowych rekonstrukcjach jego utworów? Spory "rozgrzewają" akademików - melomanom zaś dają mnogość różnych interpretacji. Bo tak naprawdę każdy gra Bacha inaczej, po swojemu, o czym przekonujemy Państwa także w naszym płytowym wyborze. Koncerty brandenburskie, Wariacje Goldbergowskie, suity, kantaty, pasje, koncerty solowe – to ledwie ułamek tej twórczości (ktoś kiedyś wyliczył, że napisana przez Bacha muzyka trwa około 175 godzin). Ale lepiej tyle, niż nic. "Zacznij od Bacha, nim słońce pod dachach zeskoczy, jak kot po nocy ćmę…" – śpiewał w popularnej piosence Zbigniew Wodecki. Zaczynamy zatem od Bacha i tak naprawdę nigdy go nie porzucimy. Tracklista: CD 1 1. Goldberg Variations, BWV 988 – Aria - Trevor Pinnock 2. Violin Concerto No. 1 in A Minor, BWV 1041 – Allegro moderato - Giuliano Carmignola; Concerto Köln 3. Brandenburg Concerto No. 1 in F major, BWV 1046 – Allegro - Reinhard Goebel; Musica Antiqua Köln 4. The Well-Tempered Clavier, Book 1 - Prelude & Fugue No. 1 in C, BWV 846 - Kenneth Gilbert 5. Keyboard Concerto in A Major, BWV 1055 – Allegro - Ottavio Dantone; Accademia Bizantina 6. Suite No.2 in B Minor, BWV 1067 – Menuet - Reinhard Goebel; Musica Antiqua Koln 7. Suite No.2 in B Minor, BWV 1067 – Badinerie - Reinhard Goebel; Musica Antiqua Koln 8. The Well-Tempered Clavier, Book 1 - Prelude & Fugue No. 2 in C Minor, BWV 847 - Kenneth Gilbert 9. Cantata No. 82, BWV 82, "Ich Habe Genug" - Ich Habe Genug - Andreas Scholl; Julia Schröder; Basel Chamber Orchestra 10. The Art Of Fugue, BWV 1080 – Contrapunctus 1 - Reinhard Goebel; Musica Antiqua Koln 11. Brandenburg Concerto No. 3, BWV 1048 - Allegro (3 movement) - Reinhard Goebel; Musica Antiqua Koln 12. Keyboard Partita No. 1 in B Flat, BWV 825 - Gigue - Andras Schiff 13. Cantata No. 106, BWV 106, “Gottes Zeit Ist Die Allerbeste" – Gottes Zeit Ist Die Allerbeste Zeit; Es Ist Der Alte Bund - Nancy Argenta; Anthony Rolfe Johnson, Stephen Varcoe, John Eliot Gardiner; English Baroque Soloists; Monteverdi Choir 14. Viola Da Gamba Sonata No. 3 in G Minor, BWV 1029 – Adagio - Jaap ter Linden; Henk Bouman 15. St. Matthew Passion, BWV 244 – "Mache Dich Mein Herze, Rein" - John Eliot Gardiner; English Baroque Soloists; Monteverdi Choir 16. Suite No. 3 in D, BWV 1068 – Air - Reinhard Goebel; Musica Antiqua Koln Bonus Track 17. Concerto For 2 Harpsichords, Strings And Continuo in C Minor, BWV 1062 – Andante - Marcin Masecki; Piotr Orzechowski; Jan Tomasz Adamus; Capella Cracoviensis CD 2 1. Toccata and Fugue in D minor, BWV 565 - Helmut Walcha 2. Double Concerto For Two Violins, Strings, And Continuo In D Minor, BWV 1043 – Vivace - Mayumi Hirasaki; Giuliano Carmignola; Concerto Koln 3. St. John Passion, BWV 245 - Herr, Unser Herrscher - Anthony Rolfe Johnson; Nancy Argenta; Stephen Varcoe; John Eliot Gardiner; English Baroque Soloists; Monteverdi Choir 4. Keyboard Concerto in E Major, BWV 1053 – Siciliano - Ottavio Dantone; Accademia Bizantina 5. Brandenburg Concerto No. 5 in D, BWV 1050 – Allegro - Reinhard Goebel; Musica Antiqua Koln 6. Brandenburg Concerto No. 6 in B, BWV 1051 – Adagio Ma Non Tanto Reinhard Goebel; Musica Antiqua Koln 7. St. John Passion, BWV 245 – "Ruht Wohl, Ihr Heiligen Gebeine" - Anthony Rolfe Johnson; Nancy Argenta; John Eliot Gardiner; English Baroque Soloists; Monteverdi Choir 8. Violin Partita No. 2 in D, BWV 1004 – Ciaccona - Henryk Szeryng 9. Mass in B Minor, BWV 232 – Agnus Dei: Agnus Dei - Nancy Argenta; Michael Chance; John Eliot Gardiner; English Baroque Soloists; Monteverdi Choir 10. Goldberg Variations, BWV 988 – Aria Da Capo - Rosalyn Tureck Bonus Track 11.Aria "On The G String" - Swingle Singers
Bonus DVD The bonus DVD features highlights from the performances in December 2006 and an interview with Sir Colin Davis. Total DVD playing time 50m50 Region 0, NTSC English only (no subtitles).
Tracklista:1. Cutty Sark2. Cornish Express3. Fountains Abbey4. Heritage March5. Country Life6. Morning Hedgerows7. Fields and Rivers8. Lakeside Air9. Evening Song10. Downland Sunrise11. Camber Sands12. Cuckmere Haven13. Cottage Gardens14. Fairlight Glen15. Merrily to Market16. Village Fair17. Sussex Farewell18. An English Overture19. Morning Mist20. Spring Flowers21. Field Mice22. March Hare23. Snowplay24. Festival of London March25. Spring Joy26. Summer Warmth27. Autumn Sorrow28. Winter Chill29. Battle Over Britain
Tracklista:1. The Voyage of the Sirius2. The Man Who Came in from the Dark3. River Lee4. Kells5. Gorey6. Ireland and Australia7. Baile Atha an Rí8. Killaloe9. Youghal10. Haitian Girl11. Moone Boy12. The English Market (Christmas Angel Song)13. The Voyage of the Sirius
Tracklista: CD 1 1. Drifting Texas Sand 2. You Scared The Love Right Out Of Me 3. I'm Watching The Stars 4. I Need You Like A Hole In The Head 5. I'm Sitting On Top Of The World 6. Freight Train Blues 7. California Blues 8. Hayride Boogie 9. I Got Religion On A Saturday Night 10. Have You Ever Had The Feeling 11. In The Jailhouse 12. The Last Waltz 13. I've Loved You For Ever It Seems 14. Hawaiian Echoes 15. It's All Between The Lines 16. Jinx In Love 17. Jilted Love 18. Lucy Lee CD 2 1. High Geared Daddy 2. Heebie Jeebie Blues 3. Sweetheart You Know I Love You So 4. I'm Happy You Hurt Me 5. English Sweetheart 6. The Darkest Hour 7. A Million Years From Now 8. I Heard Her Call My Name In Prayer 9. Groovie Boogie Woogie Boy 10. New Panhandle Rag 11. Georgia Rag 12. I Saw Your Face In The Moon
Tracklista: Side A 1. I Scare Myself 2. Irony 3. Guilt 4. More Money 5. Till The Doctor Gets Back Side B 1. Broken English 2. Times Square 3. Over Here (No Time For Justice) 4. Give Me Love 5. The Bold Fenian Men
"What's Inside is More Than Just Ham" to debiutancki album rockowego zespołu FEET. "NME" nazwało ich muzykę "zniekształconym Britpoem dla nowego pokolenia" i zamieściło w zestawieniu 100 najważniejszych nowych artystów 2019 roku. Tracklista: Side A 1. Good Richard's Crash Landing 2. Ad Blue 3. English Weather 4. Petty Thieving 5. Outer Rim Side B 1. Dogwalking 2. Chalet 47 3. Axe Man 4. What's Inside is More Than Just Ham 5. Wiggy Pop