‘Interval’ is not a word that, as far as I can recall, has ever been inserted into a song recital on CD, but it would be quite a good idea if it were. In this instance the stopping-point hardly needs to be marked, as it is so natural and obvious; and that is one of the many attractions of this well-designed programme. A group of songs by Dowland, followed by a piece for lute, makes a substantial first section; then come two folk-songs, another couple by ‘Anon.’ and a lively, well-contrasted selection of songs by Campion. The second half starts with more Dowland, a satisfyingly representative sequence constituting the heart of the programme, with more folk-songs to conclude. The mixture is a charming one and delightfully well-ordered.
The performances are equally pleasing. Perhaps it is inevitable that an English listener should still think of Alfred Deller in this repertoire, but here the name comes to mind also because of a distinct similarity of timbre. At the resonant centre of Andreas Scholl’s voice is a passage of lower middle notes (perhaps D to G) where the vibrancy is strong and rich in a way very comparable to Deller’s. Stylistically, on the other hand, Scholl has developed an art that is quite independent of his great original: his manner is more forthright, less responsive to the spiritual intensity of Sorrow sorrow stay, though still capable of introducing that ‘poisoned’ intonation which Deller and his successors would bring to All ye, whom love or fortune hath betrayed.
As regards balance, the lute is placed as the accompanying instrument rather than as one of an equal, intimate partnership; still, all is clear, and the lute solos are played with a fine technical skill and a sensitive feeling for the essential rhythmic flexibility. JD provides informative notes, completing a highly recommendable disc.'