Elizabethan Lute Songs
View record and artist detailsRecord and Artist Details
Composer or Director: Thomas Campion, Antony Holborne, John Dowland, Thomas Ford, Philip Rosseter, Anonymous, John Danyel
Label: Chaconne
Magazine Review Date: 10/1994
Media Format: CD or Download
Media Runtime: 65
Mastering:
DDD
Catalogue Number: CHAN0538
Tracks:
Composition | Artist Credit |
---|---|
First Booke of Ayres, 'Divine and Morall Songs', Movement: Author of light, revive my dying spright (4vv) |
Thomas Campion, Composer
Christopher Wilson, Lute Michael Chance, Alto Thomas Campion, Composer |
First Booke of Ayres, 'Divine and Morall Songs', Movement: Never weather-beaten saile more willing bent to sh |
Thomas Campion, Composer
Christopher Wilson, Lute Michael Chance, Alto Thomas Campion, Composer |
(21) Ayres, Movement: The sypres curten of the night (The Cypress Curtain) |
Thomas Campion, Composer
Christopher Wilson, Lute Michael Chance, Alto Thomas Campion, Composer |
Musicke of Sundrie Kindes, Part I, Movement: Faire sweet cruell |
Thomas Ford, Composer
Christopher Wilson, Lute Michael Chance, Alto Thomas Ford, Composer |
Musicke of Sundrie Kindes, Part I, Movement: Since first I saw your face |
Thomas Ford, Composer
Christopher Wilson, Lute Michael Chance, Alto Thomas Ford, Composer |
Musicke of Sundrie Kindes, Part I, Movement: What then is love, sings Coridon |
Thomas Ford, Composer
Christopher Wilson, Lute Michael Chance, Alto Thomas Ford, Composer |
Songs for the Lute, Viol and Voice, Movement: Mrs. M E her funeral tears for the death of her hu |
John Danyel, Composer
Christopher Wilson, Lute John Danyel, Composer Michael Chance, Alto |
What then is love but mourning |
Philip Rosseter, Composer
Christopher Wilson, Lute Michael Chance, Alto Philip Rosseter, Composer |
No grave for woe |
Philip Rosseter, Composer
Christopher Wilson, Lute Michael Chance, Alto Philip Rosseter, Composer |
Shall I come if I swim? |
Philip Rosseter, Composer
Christopher Wilson, Lute Michael Chance, Alto Philip Rosseter, Composer |
(The) First Book of Songs or Ayres, Movement: Can she excuse my wrongs with vertues cloake (= The Earl of Essex Galliard) |
John Dowland, Composer
Christopher Wilson, Lute John Dowland, Composer Michael Chance, Alto |
(The) Second Booke of Songs or Ayres, Movement: I saw my Lady weepe |
John Dowland, Composer
Christopher Wilson, Lute John Dowland, Composer Michael Chance, Alto |
(The) Second Booke of Songs or Ayres, Movement: Sorrow sorrow stay, lend true repentant teares |
John Dowland, Composer
Christopher Wilson, Lute John Dowland, Composer Michael Chance, Alto |
(The) Second Booke of Songs or Ayres, Movement: Shall I sue, shall I seeke for grace |
John Dowland, Composer
Christopher Wilson, Lute John Dowland, Composer Michael Chance, Alto |
Miserere my Maker |
Anonymous, Composer
Anonymous, Composer Christopher Wilson, Lute Michael Chance, Alto |
Heres paternus |
Antony Holborne, Composer
Antony Holborne, Composer Christopher Wilson, Lute Michael Chance, Alto |
(The) Night watch |
Antony Holborne, Composer
Antony Holborne, Composer Christopher Wilson, Lute Michael Chance, Alto |
Muy linda |
Antony Holborne, Composer
Antony Holborne, Composer Christopher Wilson, Lute Michael Chance, Alto |
Fantasia No. 3 |
Antony Holborne, Composer
Antony Holborne, Composer Christopher Wilson, Lute Michael Chance, Alto |
Author: Jonathan Freeman-Attwood
Elwes also includes some Rosseter in his recital and judging by the five songs in both discs one realizes how artful his lighter-veined approach is. Danyel is of course a master songster in the premier league and Chance responds with an intensity in Griefe keepe within where the composer's taut complaint is wrenched back from the brink without compromising melancholy as artifice. Emotional overbearance is never a consideration here, despite a closely recorded sound, since Chance has—particularly in the four Dowland songs—a remarkably sensitive understanding of the elements in the music which need to be manipulated at any one time (e.g. the subtle rhythmic accentuation in Can she excuse my wrongs). End-to-end listening does not serve this concentrated series of vignettes as well as short bursts, especially in a countertenor who explores shades and nuances so plentifully (his tuning is highly expressive, only rarely discomfiting). If you are like me and have to listen to everything from start to finish, then relish the deft grouping of 'sets' separated by Christopher Wilson's delightful solo lute playing; he is a superb accompanist, too, whose composed commentary quietly irradiates proceedings. Recommended.'
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