What Then is Love?

Record and Artist Details

Composer or Director: Thomas Campion, John Dowland, Thomas Vautor, Antony Holborne, John Daniel, John Bartlet, Robert II Johnson, Thomas Morley, Francis Pilkington, Thomas Ford, Robert Jones, Edward Johnson, Philip Rosseter

Label: Erato

Media Format: CD or Download

Media Runtime: 64

Mastering:

DDD

Catalogue Number: 3984-23417-2

Tracks:

Composition Artist Credit
First Booke of Ayres, 'Divine and Morall Songs', Movement: Sing a song of joy (4vv) Thomas Campion, Composer
Boston Camerata
Joel Cohen, Zedlau
Thomas Campion, Composer
Eliza is the fayrest quene Edward Johnson, Composer
Anne Azéma, Soprano
Boston Camerata
Edward Johnson, Composer
Joel Cohen, Zedlau
Karen Clark, Mezzo soprano
Noel Bisson, Soprano
Almain, '(The) Honiesuckle' Antony Holborne, Composer
Antony Holborne, Composer
Boston Camerata
Joel Cohen, Zedlau
Musicke of Sundrie Kindes, Part I, Movement: What then is love, sings Coridon Thomas Ford, Composer
Boston Camerata
Joel Cohen, Zedlau
Karen Clark, Mezzo soprano
Thomas Ford, Composer
What then is love but mourning Philip Rosseter, Composer
Boston Camerata
Joel Cohen, Zedlau
Karen Clark, Mezzo soprano
Philip Rosseter, Composer
What thing is love? John Daniel, Composer
Anne Azéma, Soprano
Boston Camerata
Joel Cohen, Zedlau
Joel Frederiksen, Bass
John Daniel, Composer
Karen Clark, Mezzo soprano
William Hite, Tenor
Shall I strive John Dowland, Composer
Boston Camerata
Joel Cohen, Zedlau
John Dowland, Composer
I sigh as sure to wear the fruit Francis Pilkington, Composer
Anne Azéma, Soprano
Francis Pilkington, Composer
Joel Frederiksen, Bass
Karen Clark, Mezzo soprano
Olav Chris Henriksen, Lute
William Hite, Tenor
Sorrow, come! John Dowland, Composer
Boston Camerata
Joel Cohen, Zedlau
John Dowland, Composer
Karen Clark, Mezzo soprano
Heigh-ho holiday Antony Holborne, Composer
Antony Holborne, Composer
Boston Camerata
Joel Cohen, Zedlau
Shall I sue John Dowland, Composer
Boston Camerata
Joel Cohen, Zedlau
John Dowland, Composer
William Hite, Tenor
Third Booke of Ayres, Movement: Breake now my heart and dye Thomas Campion, Composer
Boston Camerata
Joel Cohen, Zedlau
Joel Frederiksen, Bass
Thomas Campion, Composer
Woo her and win her Thomas Campion, Composer
Anne Azéma, Soprano
Boston Camerata
Joel Cohen, Zedlau
Thomas Campion, Composer
Second Booke of Ayres, 'Light Conceits of Lovers', Movement: The peacefull westerne winde Thomas Campion, Composer
Boston Camerata
Joel Cohen, Zedlau
Karen Clark, Mezzo soprano
Thomas Campion, Composer
Sweet Philomel Robert Jones, Composer
Anne Azéma, Soprano
Boston Camerata
Joel Cohen, Zedlau
Noel Bisson, Soprano
Robert Jones, Composer
(21) Ayres, Movement: I care not for these ladies Thomas Campion, Composer
Boston Camerata
Joel Cohen, Zedlau
Joel Frederiksen, Bass
Thomas Campion, Composer
A pretty duck there was John Bartlet, Composer
Boston Camerata
Joel Cohen, Zedlau
Joel Frederiksen, Bass
John Bartlet, Composer
William Hite, Tenor
(The) Witty Wanton Robert II Johnson, Composer
Boston Camerata
Joel Cohen, Zedlau
Robert II Johnson, Composer
Fourth Booke of Ayres, Movement: Faine would I wed a faire young man Thomas Campion, Composer
Boston Camerata
Joel Cohen, Zedlau
Noel Bisson, Soprano
Thomas Campion, Composer
Mother I will have a husband Thomas Vautor, Composer
Anne Azéma, Soprano
Boston Camerata
Joel Cohen, Zedlau
Karen Clark, Mezzo soprano
Noel Bisson, Soprano
Thomas Vautor, Composer
Now hath Flora robb'd her bower Thomas Campion, Composer
Anne Azéma, Soprano
Boston Camerata
Joel Cohen, Zedlau
Karen Clark, Mezzo soprano
Thomas Campion, Composer
Move now with measured sound Thomas Campion, Composer
Boston Camerata
Joel Cohen, Zedlau
Thomas Campion, Composer
Rest, sweet nymphs Francis Pilkington, Composer
Boston Camerata
Francis Pilkington, Composer
Joel Cohen, Zedlau
William Hite, Tenor
(The First Booke of) Balletts to Five Voyces, Movement: Sing wee and chaunt it Thomas Morley, Composer
Boston Camerata
Joel Cohen, Zedlau
Thomas Morley, Composer
Elizabethan songs, enterprisingly selected, thoughtfully programmed and skilfully varied in presentation, should be certain (one would think) to provide an hour’s delight. In fact I found they passed the time agreeably but not much more than that. This is an accomplished and tasteful group of singers and players but their performances need a touch more impulse. Perhaps the instrumental accompaniments have too moderating an effect: one misses the freedom of voice-and-lute or the expressiveness of good madrigal singing.'

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