Dowland: Lute Music and Dances

Author: 
John Duarte
DOWLAND Lute Music and Dances

DOWLAND Lute Music and Dances

  • Galliards, The Lord Viscount Lisle (Sir Robert Sidney) his Galliard, P38
  • Galliards, Can she excuse, P42, The Earl of Essex his Galliard, P42a
  • Galliards, The Right Honourable Lady Rich, her Galliard, P43
  • Galliards, The Right Hon Ferdinando Earle of Darby, his Galliard, P44
  • Galliards, Dowlands First Galliard, P22
  • Galliards, Frog Galliard, P23
  • Galliards, Melancholy Galliard, P25
  • Pavans, Piper's Pavan, P8
  • Pavans, Semper Dowland Semper Dolens, P9
  • Pavans, Resolucon (Dowland's adew for Master Oliuer Cromwell), P13
  • Pavans, Lachrimae, P15
  • Almains, Sir John Smith his Almain, P47
  • Almains, Almain, P49
  • Almains, My Lady Hunsdons Allmande (Puffe), P54
  • Jigs, Corantos, Toys, etc, Mrs Vauxes Gigge, P57
  • Jigs, Corantos, Toys, etc, The Shomakers Wife a Toy, P58
  • Settings of Ballads and Other Popular Tunes, Lord Willoughby (Lord Willoughby's Welcome Home), P66
  • Lachrimae, or Seaven Teares, Lachrimae Verae
  • Fantasies and Other Contrapuntal Pieces, Forlorne Hope Fancye, P2
  • Fantasies and Other Contrapuntal Pieces, Farwell, P3
  • Fantasies and Other Contrapuntal Pieces, Fantasie, P5
  • Sir Henry Guilforde his Almain

Many of today's most famous lutenists began with but abandoned the guitar; Bream has maintained a uniquely distinguished career with both instruments. The attitude of 'authentic' lutenists towards Bream has been ambivalent: his instrument, playing technique and style are all in some degree 'inauthentic' and he is therefore not a 'real' lutenist; on the other hand, by freely communicating the Spirit and rich variety of the music (and without making it evident that the lute is a difficult instrument) he has done more than any other single player to re-establish the lute in the affections of the musical public. If he is not a 'real' lutenist then few will know the difference and fewer will care about it; most will happily settle for these wonderfully live and human performances of music by the greatest of all English lutenists, as I feel Dowland himself might have done. The sound is magnificent and you can hardly tell that the programme is collated from two recordings, separated by a nine-year gap. This is, pace the purists, as important a recording of lute music as any on offer, a statement of what this marvellous music is really about.'

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