Il re e il liuto

John Dowland (1563 - 20 febbraio 1626): The King of Denmark’s Galliard (1605). Nigel North, liuto.


La Fantasia della Vana Speranza

John Dowland (2 gennaio 1563 - 1626): Forlorn Hope Fancy. Julian Bream, chitarra.

Dowland, Forlorn Hope Fancy

Jan Pieterszoon Sweelinck (1562 - 1621): Fantasia cromatica SwWV 258. Glen Wilson, clavicembalo.

Il brano di Sweelinck nella trascrizione per quartetto d’archi di Bernhard van den Sigtenhorst Meyer (1888 - 1953). Utrecht String Quartet.

A Musicall Banquet: XI. In darkness let me dwell

John Dowland (1563 - 1626): In darkness let me dwell, ayre. Ellen Hargis, soprano; Jacob Heringman, liuto; Mary Springfels, viol.

In darkness let me dwell; the ground shall sorrow be,
The roof despair, to bar all cheerful light from me;
The walls of marble black, that moist’ned still shall weep;
My music, hellish jarring sounds, to banish friendly sleep.
Thus, wedded to my woes, and bedded in my tomb,
O let me living die, till death doth come, till death doth come.

Capolavoro di Dowland, il brano fu pubblicato dal figlio del compositore, Robert (1591 - 1641), nell’antologia A Musicall Banquet (Londra 1610, n. X).
In darkness let me dwell è l’ultima delle composizioni vocali su testo inglese della raccolta: fanno seguito tre airs de cour francesi (tutti e tre di Pierre Guédron, il cui nome non è tuttavia menzionato nella pubblicazione), due romances spagnoli e cinque arie su testo italiano.

A Musicall Banquet: X. Lady if you so spight me

John Dowland (1563 - 1626): Lady if you so spight me, ayre. Martyn Hill, tenore; Anthony Rooley, liuto; Trevor Jones, viol.

Lady if you so spight me,
Wherfore do you so oft kisse and delight mee?
Sure that my hart opprest and overcloyed,
May breake thus overjoyde,
If you seeke to spill mee,
Come kisse me sweet and kill mee,
So shal your hart be eased,
And I shall rest content and dye well pleased.

Il brano fu pubblicato dal figlio del compositore, Robert (1591 - 1641), nella raccolta A Musicall Banquet (Londra 1610, n. IX).

A Musicall Banquet: IX. Far from triumphing court

John Dowland (1563 - 1626): Lady if you so spight me, ayre « for one voice only to sing » su testo di sir Henry Lee of Ditchley (1533 - 1611). Emma Kirkby, soprano; Anthony Rooley, liuto.

Far from triumphing Court and wonted glory
He dwelt in shady unfrequented places,
Time’s prisoner now, he made his pastime story;
Glady forgets Court’s erst-afforded graces.
That goddess whom he served to heaven is gone,
And he on earth in darkness left to moan.

But lo, a glorious light from his dark rest
Shone from the place where erst this goddess dwelt;
A light whose beams the world with fruit hath blest;
Blest was the knight while he that light beheld.
Since then a star fixed on his head hath shined,
And a saint’s image in his heart is shrined.

Ravished with joy, so graced by such a saint,
He quite forgat his cell and self denaid;
He thought it shame in thankfulness to faint,
Debts due to princes must be duly paid;
Nothing so hateful to a noble mind
As finding kindness for to prove unkind.

But ah! poor knight, though thus in dream he ranged,
Hoping to serve this saint in sort most meet,
Time with his golden locks to silver changed
Hath with age-fetters bound him hands and feet.
Ay me! he cries, goddess, my limbs grow faint,
Though I Time’s prisoner be, be you my saint.

Il brano fu pubblicato dal figlio del compositore, Robert (1591 - 1641), nella raccolta A Musicall Banquet (Londra 1610, n. VIII).

A Musicall Banquet: I. Lord Viscount Lisle His Galliard

John Dowland (1563 - 1626): The Right Honourable the Lord Viscount Lisle, Lord Chamberlaine to the Queenes most excellent Maiestie, his Galliard. Nigel North, liuto.

A Musicall Banquet. Furnished with a varietie of delicious Ayres, Collected out of the best Authors in English, French, Spanish and Italian è il titolo di una raccolta di composizioni di diversi autori, curata e pubblicata a Londra nel 1610 da Robert Dowland (1591 - 1641), figlio di John, e dedicata a Robert Sidney (1563 - 1626), statista al servizio di Elisabetta I e Giacomo I. La silloge si apre con questa gagliarda dal titolo chilometrico, uno dei più celebri brani liutistici di Dowland: la composizione è espressamente intitolata a Sidney, che era stato creato visconte Lisle nel 1605 — e che più tardi, nel 1618, divenne il primo conte di Leicester.

Lilies on the river’s side

John Dowland (1563 - 1626): Come away, come, sweet love, ayre (pubblicato nel First Booke of Songes or Ayres, 1597, n. 11):
– versione a 4 voci con accompagnamento di liuto: The Consort of Musicke, dir. Anthony Rooley;
– versione a 1 voce con accompagnamento di liuto: Alfred Deller. controtenore; Robert Spencer, liuto.

Come away, come, sweet love,
the golden morning breaks.
All the earth, all the air
of love and pleasure speaks:
teach thine arms then to embrace
and sweet rosy lips to kiss,
and mix our souls in mutual bliss.
Eyes were made for beauty’s grace,
viewing, rueing love’s long pain
procur’d by beauty’s rude disdain.

Come away, come, sweet love,
the golden morning wastes,
while the sun from his sphere
his fiery arrows casts:
making all the shadows fly,
playing, staying in the grove,
to entertain the stealth of love.
Thither sweet love let us hie,
flying, dying in desire,
wing’d with sweet hopes and heav’nly fire.

Come away, come, sweet love,
do not in vain adorn
beauty’s grace, that should rise
like to the naked morn:
lilies on the river’s side,
and fair Cyprian flow’rs new-blown,
desire no beauties but their own.
Ornament is nurse of pride,
pleasure, measure love’s delight:
haste then sweet love our wishèd flight.