Elizabethan Lute Songs and Purcell: Birthday Odes For Queen Mary

Κλασική Μουσική

“Elizabethan Lute Songs and Purcell: Birthday Odes For Queen Mary”

2 CD

Τιμή: €14.00


Geoffrey Shaw (Bass), Robert Lloyd (Bass), James Bowman (Counter-Tenor), Robert Spencer (Lute), Mary Beverley (Soprano), Norma Burrowes (Soprano), Martyn Hill (Tenor).

The Early Music Consort of London – David Munrow.

  • Busatti: Morto son io
  • Byrd: The noble famous Queen
  • Carlo Luigi Pietragrua: Tortorella
  • Dowland: Away with these self-loving lads
  • Dowland: In darkness let me dwell
  • Dowland: Lachrimae, or Seven Tears: No. 21, Mr. George Whitehead his Almand
  • Dowland: Lasso vita mia
  • Dowland: Melancholy Galliard
  • Dowland: Now, O now, I needs must part
  • Edward Pierce: The Queen’s Galliard
  • Frescobaldi: Se l’aura spira spira tutta vezzosa
  • Galilei, V: Fantasia for lute
  • Johnson, E: Eliza is the fairest Queen
  • Johnson, R: Care-charming sleep
  • Johnson, R: Full fathom five
  • Johnson, R: Where the bee sucks
  • Morley: O mistress mine
  • Purcell: Come ye sons of art (Ode for Queen Mary’s birthday, 1694), Z 323
  • Purcell: Love’s goddess sure was blind, Z331
  • Vecchi: So ben mi c’ha bon tempo
  • Wilson, John: Take, O take those lips away

Countertenor James Bowman (b.1941) enjoyed a long association with early English song, an interest which bore fruit with this 1972 recording of Elizabethan lute songs, here making its first appearance on CD. Together with the lutenist Robert Spencer, Bowman arranged the programme to reflect the repertory of the theatre and court and the career of John Dowland, with a final homage to Italy, the cradle of early song. The recordings of Purcell’s Birthday Odes date from 1975. Between 1689 and 1694, Henry Purcell produced an annual ode for the celebration of Queen Mary’s birthday. The last and best known is Come, Ye Sons of Art, which drew on the composer’s recent successes in the theatre by employing a larger orchestra than usual (with trumpets, oboes and recorders) and giving the chorus a more prominent role. From the late 1960s the countertenor James Bowman was at the forefront of the early music revival. He made his London debut at the Queen Elizabeth Hall in 1967 and enjoyed a decade of work with David Munrow and the Early Music Consort, later collaborating with Christopher Hogwood and

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