topolog11 · 04-Янв-11 18:32(14 лет назад, ред. 09-Янв-11 13:58)
Elizabethan Lute Songs (Campion, Dowland, Ford, Morley, Pilkington, Rosseter). Peter Pears & Julian Bream Жанр: Early Music, Renaissance, Elizabethan, lute, voice Страна-производитель диска: Germany Год издания диска: 1995 Издатель (лейбл): Decca Номер по каталогу: 444 524-2 Дата записи: 1956, 1958 Аудиокодек: APE Тип рипа: image+.cue Битрейт аудио: lossless Продолжительность: 72:12 Источник: собственный рип Наличие сканов в содержимом раздачи: да Треклист:
1. Thomas Ford - Fair, sweet, cruel (2:03)
2. Thomas Morley - Come, sorrow, come (3:33)
3. Philip Rosseter - When Laura smiles (1:37)
4. John Dowland - I saw my lady weep (4:11)
5. Morley - It was a lover and his lass (2:24)
6. Dowland - Awake, sweet love (2:37)
7. Rosseter - What then is love but mourning (2:49)
8. Dowland - In darkness let me dwell (4:45)
9. Morley - Mistress mine, well may you fare (1:17)
10. Dowland - Fine knacks for ladies (2:33)
11. Rosseter - Sweet, come again (3:44)
12. Morley - Thyris and Mila (2:25)
13. Dowland - Sorrow, stay (3:48)
14. Ford - Come, Phyllis, come (1:33)
15. Morley - I saw my lady weeping (2:58)
16. Morley - With my Love my life was nestled (1:31)
17. Francis Pilkington - Rest, sweet nymphs (4:28)
18. Morley - What if my mistress now (1:33)
19. Anon. - Have you seen but a whyte lillie grow? (2:03)
20. Thomas Campion - Come, let us sound (1:53)
21. Anon. - Miserere, my maker (3:29)
22. Rosseter - What is a day? (1:52)
23. Campion - Fair, if you expect admiring (1:19)
24. Campion - Shall I come, sweet love (2:59)
25. Dowland - If my complaints (4:27)
26. Dowland - What if I never speed (1:32)
27. Rosseter - Whether men do laugh or weep (1:10) Исполнители: Julian Bream lute Peter Pears tenor
REM DISCID 8310EC1B REM COMMENT "ExactAudioCopy v0.99pb5" PERFORMER "Peter Pears and Julian Bream" TITLE "Elizabethan Lute Songs" FILE "Peter Pears and Julian Bream - Elizabethan Lute Songs.ape" WAVE TRACK 01 AUDIO TITLE "Fair, sweet, cruel" PERFORMER "Peter Pears and Julian Bream" INDEX 00 00:00:00 INDEX 01 00:00:32 TRACK 02 AUDIO TITLE "Come, sorrow, come" PERFORMER "Peter Pears and Julian Bream" INDEX 00 02:04:07 INDEX 01 02:07:32 TRACK 03 AUDIO TITLE "When Laura smiles" PERFORMER "Peter Pears and Julian Bream" INDEX 00 05:40:57 INDEX 01 05:44:32 TRACK 04 AUDIO TITLE "I saw my lady weep" PERFORMER "Peter Pears and Julian Bream" INDEX 00 07:21:57 INDEX 01 07:25:32 TRACK 05 AUDIO TITLE "It was a lover and his lass" PERFORMER "Peter Pears and Julian Bream" INDEX 00 11:36:57 INDEX 01 11:40:32 TRACK 06 AUDIO TITLE "Awake, sweet love" PERFORMER "Peter Pears and Julian Bream" INDEX 00 14:04:57 INDEX 01 14:08:32 TRACK 07 AUDIO TITLE "What then is love but mourning" PERFORMER "Peter Pears and Julian Bream" INDEX 00 16:45:57 INDEX 01 16:49:32 TRACK 08 AUDIO TITLE "In darkness let me dwell" PERFORMER "Peter Pears and Julian Bream" INDEX 00 19:38:57 INDEX 01 19:42:32 TRACK 09 AUDIO TITLE "Mistress mine, well may you fare" PERFORMER "Peter Pears and Julian Bream" INDEX 00 24:27:57 INDEX 01 24:31:32 TRACK 10 AUDIO TITLE "Fine knacks for ladies" PERFORMER "Peter Pears and Julian Bream" INDEX 00 25:48:57 INDEX 01 25:52:32 TRACK 11 AUDIO TITLE "Sweet, come again" PERFORMER "Peter Pears and Julian Bream" INDEX 00 28:26:20 INDEX 01 28:29:70 TRACK 12 AUDIO TITLE "Thyrsis and Mila" PERFORMER "Peter Pears and Julian Bream" INDEX 00 32:14:57 INDEX 01 32:18:32 TRACK 13 AUDIO TITLE "Sorrow, stay" PERFORMER "Peter Pears and Julian Bream" INDEX 00 34:44:32 INDEX 01 34:47:07 TRACK 14 AUDIO TITLE "Come, Phyllis, come" PERFORMER "Peter Pears and Julian Bream" INDEX 00 38:35:32 INDEX 01 38:39:07 TRACK 15 AUDIO TITLE "I saw my lady weeping" PERFORMER "Peter Pears and Julian Bream" INDEX 00 40:13:07 INDEX 01 40:16:57 TRACK 16 AUDIO TITLE "With my Love my life as nestled" PERFORMER "Peter Pears and Julian Bream" INDEX 00 43:15:32 INDEX 01 43:18:32 TRACK 17 AUDIO TITLE "Rest, sweet nymphs" PERFORMER "Peter Pears and Julian Bream" INDEX 00 44:51:32 INDEX 01 44:53:57 TRACK 18 AUDIO TITLE "What if my mistress now" PERFORMER "Peter Pears and Julian Bream" INDEX 00 49:22:07 INDEX 01 49:25:45 TRACK 19 AUDIO TITLE "Have you seen but a whyte lillie grow?" PERFORMER "Peter Pears and Julian Bream" INDEX 00 50:59:32 INDEX 01 51:01:07 TRACK 20 AUDIO TITLE "Come, let us sound" PERFORMER "Peter Pears and Julian Bream" INDEX 00 53:04:07 INDEX 01 53:07:45 TRACK 21 AUDIO TITLE "Miserere, my maker" PERFORMER "Peter Pears and Julian Bream" INDEX 00 55:01:07 INDEX 01 55:04:45 TRACK 22 AUDIO TITLE "What is a day?" PERFORMER "Peter Pears and Julian Bream" INDEX 00 58:34:32 INDEX 01 58:38:07 TRACK 23 AUDIO TITLE "Fair, if you expect admiring" PERFORMER "Peter Pears and Julian Bream" INDEX 00 60:30:57 INDEX 01 60:33:45 TRACK 24 AUDIO TITLE "Shall I come, sweet love" PERFORMER "Peter Pears and Julian Bream" INDEX 00 61:53:32 INDEX 01 61:55:07 TRACK 25 AUDIO TITLE "If my complaints" PERFORMER "Peter Pears and Julian Bream" INDEX 00 64:54:32 INDEX 01 64:57:07 TRACK 26 AUDIO TITLE "What if I never speed" PERFORMER "Peter Pears and Julian Bream" INDEX 00 69:24:32 INDEX 01 69:27:07 TRACK 27 AUDIO TITLE "Whether me do laugh or weep" PERFORMER "Peter Pears and Julian Bream" INDEX 00 70:59:45 INDEX 01 71:02:07
Elizabethan Lute Ayre
In the music written in England around 1600, the lute song is virtually unique, for although the madrigal and instrumental music have counterparts in Continental countries (and in Italy especially), songs accompanied by lute alone are a largely English phenomenon. (Later, in deference to the new Italian fashion of basso continuo, a viol was added to the lute). Undoubtedly the flowering of English poetry in late Elizabethan times contributed to the lute song, as German lyric poetry from the late eighteenth century onwards contributed to the birth of the German Lied. In the lutenist’s case the poetry was frequently much more closely associated with the music, for sometimes poet and composer were one and the same person (Campion certainly was, and Dowland seems likely to have been). The music, so well fitted to the medium of voice and lute, was, however, usually published with an alternative form: with voices replacing the lute, to enable performance as part-songs. The result was a certain fluidity, with some madrigals approaching the simple air in form, and some airs being almost indistinguishable from the more contrapuntal madrigal. This was inevitable when composers were, in print at any rate, particularly concerned with giving their customers what they wanted. Collections of airs and madrigals were published in such a way that they could be performed by any combination of voices or instruments, depending on what was available. The same manner of setting words obtains for the most part in both air and madrigal - the music moving in a simple, continuous form, taking each phrase as it comes. The words are flexibly set, at least for the first verse of each song. The Elizabethan method of phrasing was generally more subtle than the regular barring found in later periods. The second verse rarely fits so well, however, for the strophic form adopted for most of the songs does not take into account the changes of meaning and stress. There are through- composed songs: Dowland’s Sorrow, stay is one, and one of the most powerful of these lute songs. Most of the lute songs recorded here are love-songs, making up a microcosm of love in all its moods. The two exceptions are both religious: the anonymous Miserere, my maker, marked by deep emotional feeling and Campion’s Come, let us sound with melody. John Dowland - ‘semper Dowland, semper dolens’ - was the greatest of the lutenist composers, and in his variety and originality can be considered the equal, as a song-writer, of Schubert. His music tended towards the dark side of nature (Sorrow, stay) though not by any means exclusively (What if I never speed). His serious melodies have a great shapeliness, an elegant, elegiac turn which can contain immense depths of feeling. Sorrow, stay is one of his most typical songs, if a man of such variety may be said to have his typicality: the repeated notes at the words ‘pity, pity’ are alone full enough of feeling for an entire song. If my complaints, less sombre, is still highly expressive. Fine knacks for ladies is almost like a street cry; What if I never speed (a common theme of the poets of the time) is often heard in its part-song version. Philip Rosseter published a book of airs in collaboration with Thomas Campion, who probably wrote the words for all the songs. Rosseter’s songs are charming, without a great deal of subtlety, but are none the worse for that. The three songs here, Sweet, come again, What is a day? and Whether men do laugh or weep give some idea of the range of his inspiration and achievement. Thomas Ford produced a small output - only ten airs - but the quality of his simple songs compensates for that. There is a lady sweet and kind is perhaps his best-known song; Come, Phyllis, come is an equally fine example of his small but polished art. Thomas Morley published one book of airs, though he did in addition arrange his five-part canzonets for one voice and lute. A man of considerable stature as a composer, his songs are for the most part light in nature (It was a lover and his lass is typical) and simple in texture (With my Love my life was nestled). Thyrsis and Mila is a through- composed song with a pictorial and expressive accompaniment, and I saw my lady weeping goes deeper than most of his songs; it is worth noticing the lute’s illustrative scale at the word ‘mirth’. Of the two anonymous songs, one is well-known in a Victorian arrangement by Amelia Lehmann (‘A.L.’) - Have you seen but a whyte lillie grow? The other, Miserere, my maker, is a religious song of enormous power that in its chromatic effect reminds one of Dowland. Thomas Campion was as much a poet as a musician; there are to his credit over one hundred airs whose literary value is often, as one might expect, more than their musical value. As he wrote, ‘What epigrams are in poetry, the same are ayres in music, then in their chief perfection when they are short and well seasoned’. This certainly does not apply to all of his airs, but gives some indication of his aims. One of Campion’s airs recorded here is religious - Come, let us sound with melody; the other two are love songs. Francis Pilkington wrote airs as well as madrigals, both distinctive in style. His lute songs were his first published work, the madrigals coming later. Rest, sweet nymphs is his best-known song: gentle and tender, and containing a loving apostrophe to the instrument that is as much a part of these songs as are the words. DECCA
