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Dowland: A Fancy

Bor Zuljan

Classical - Released August 21, 2020 | Ricercar

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The first notes of the descending chromatic theme break the silence and it seems as if time has stopped. The listener is drawn into the world of John Dowland, the greatest lutenist of all, in a journey through multiple shades of melancholy and lucent hope. Never before had the lute sounded as expressive and colourful as in these masterful Fancies, as dynamic as in these sparkling dances: Renaissance lute music here reached its summit. Bor Zuljan explores these qualities in his debut solo recording, breathing new life into Dowland's masterpieces. © Ricercar
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Dowland: [Complete] Lachrimæ

Musicall Humors

Classical - Released April 14, 2023 | Alpha Classics

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John Dowland : Lachrimae or Seaven Teares (1604)

Jordi Savall

Classical - Released October 24, 2000 | Alia Vox

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Dowland: Lachrimae or Seaven Teares

Hathor Consort

Classical - Released April 8, 2014 | Fuga Libera

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Dowland: Lachrimae

Thomas Dunford

Classical - Released March 26, 2013 | Alpha Classics

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For this 2013 Alpha Productions release, lutenist Thomas Dunford presents a balanced program of solo pieces and lute songs by Elizabethan composer John Dowland. Joined by a quartet consisting of soprano Ruby Hughes, tenors Reinoud Van Mechelen and Paul Agnew, and bass Alain Buet, Dunford plays accompaniment on the famous songs Come again, I saw my Lady weepe, Flow my teares, Sorrow stay, Can she excuse, Go crystal teares, and Now, O now I needs must depart, a representative selection of Dowland's finest work. Dunford also performs a number of instrumental character pieces, which include Semper Dowland, semper Dolens (titled after the composer's punning motto), the Mellancoly Galliard, and Lachrimae, the latter a fantasy on Flow my teares and the inspiration for other compositions on that theme. Melancholia was cultivated as a fashion by Elizabethan poets and composers, but no one identified more personally with it than Dowland, for whom the emotion was much more than an affectation. Yet this album is far from gloomy, because the performers are transparent in tone and pleasantly expressive in delivery, and they give the songs a clarity that somewhat alleviates their darker moods. Throughout the album, Dunford maintains a consistently high quality of musicianship, and while he modestly shares the spotlight with the singers, this is clearly his labor of love.© TiVo
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Lachrimae

Jadran Duncumb

Classical - Released June 2, 2023 | Challenge Classics

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Dowland: Lachrimae or Seven Tears

Elizabeth Kenny

Classical - Released June 24, 2016 | Linn Records

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Dowland: Lachrimae

Nigel North

Classical - Released January 19, 2018 | ATMA Classique

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Contrary to what you might have expected, the ensemble Les Voix Humaines is... a viola ensemble, without a hint of human voice. That said, the often somewhat plaintive discourse of the violas does rather recall the threnodies of the Renaissance and early baroque. And who better than Dowland, with his sombre Lachrimæ, to use purely instrumental sounds to conjure up the most human of emotions and voices? With his collection Lachrimæ, or seaven teares figured in seven passionate pavans, with divers other pavans, galliards and allemands, set forth for the lute, viols, or violons, in five parts published in 1604, Dowland created a whole musical world, most likely aimed at aristocratic amateurs, but one which provided inspiration for all his musical descendants, all the way to Britain and beyond... The five violas of the Voix Humaines and Nigel North's lute have been chosen to accompany these "seaven teares" not only with other pieces from the same book but also with a few works taken from collections published between 1600 and 1612, with the addition of a very rare piece taken from a manuscript.. © SM/Qobuz
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Pavans And Fantasies From The Age Of Dowland

John Holloway

Classical - Released March 21, 2014 | ECM New Series

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The seven Lachrimae Pavans of John Dowland, intensive explorations not only of a single musical theme but also of a single melancholy emotion, are unique, not only in the music of the English Renaissance, but really in the entire history of Western concert music. The reason for their composition is not known, but they are intensely inward works, and a performance that focuses the listener's mind in a contemplative way is required. There's one here in this reading, led by violinist John Holloway, although the recording is quite unusual. Note that the title Pavans and Fantasies from the Age of Dowland doesn't quite describe what's here: the pavans of Dowland himself are the central attraction, and the rest of the music comes from his successors in the 17th century. This music is generally played by a viol consort with a lute, but Holloway's version derives from the specification in the original publication of Dowland's pavans: "set forth for the Lute, Viols, or Violons, in five parts." "Violons" is an old word for members of the violin family. Reasoning that the pieces can be played on a lute alone, Holloway chooses to interpret these as three separate options, so what's here is a reading that omits the lute and is played on four violas and a bass violin. The sound is at the same time sharper and more delicate than that of the reflective viols, and the delicacy is enhanced by the lack of the rhythmic component provided by the lute. The result is quite unexpected, but it works: the splashes of dissonance in the music emerge in quite an uncanny way here. Dowland seems to use dissonance in a different way in each pavan, and the apex of the trend is reached in the chaotic opening of Matthew Locke's Fantasy for two trebles and bass, which Hugo Wolf might have been proud to have written. Holloway and his quartet of German string players are admirably supported by ECM's engineering, which uses a studio in Zürich; ECM isn't really known for undertaking Renaissance repertory, but maybe it should be.© TiVo
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Dowland : Lute Songs

Damien Guillon

Mélodies (England) - Released February 17, 2011 | Alpha Classics

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My favorite Dowland

Paul O'Dette

Classical - Released May 19, 2014 | harmonia mundi

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My favorite Dowland

Paul O'Dette

Classical - Released May 19, 2014 | harmonia mundi

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Dowland: Complete Lute Works, Vol. 2

Paul O'Dette

Classical - Released April 10, 1996 | harmonia mundi

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Dances of Dowland

Julian Bream

Classical - Released January 1, 1968 | Sony Classical

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Dowland: Works for Lute (Performed on Guitar)

Michael Butten

Classical - Released June 7, 2019 | First Hand Records

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In Darkness Let Me Dwell

John Potter

Classical - Released September 17, 1999 | ECM New Series

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Dowland: Lute Pieces by Julian Bream

Julian Bream

Classical - Released May 24, 2022 | Alexandre Bak - Classical Music Reference Recording

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Dowland: Lachrimæ

Zachary Wilder

Classical - Released September 24, 2021 | La Musica

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Semper Dowland

Mike Fentross

Classical - Released May 21, 2021 | Zefir Records

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In Dowland’s words: “ingenuous profession of Musicke, which from my childhoode I have ever aymed at,... the better to attain so excellent a science”. Mike Fentross achieves this “divine science of musicke” by wooing his audience by “speaking harmony” on his sweet lute. His art entwines harmony and poetry, albeit often a melancholic art, which is then framed by the proportions of rhythm. His art teaches, stirs and delights the heart and soul of his honorable listeners in profound ways. Mike Fentross first studied with Toyohiko Satoh at the Royal Conservatory in The Hague, then with Nigel North and José Miguel Moreno. He has built a solid reputation as a “continuist”, playing in renowned orchestras like Les Arts Florissants, and is much in demand in his country as well as abroad. He plays and records regularly with great European ensembles such as Capriccio Stravagante, Les Arts Florissants, the Amsterdam Baroque Orchestra, the Harp Consort, the New London Consort and Al Ayre Espanol. In 1991 he founded La sfera armoniosa, a group devoted to the performance of 17th-century music. Since 1996 Mike Fentross is guest professor at the Royal Conservatory in The Hague. © Zefir Records