Anthology Of English Song 1530-1790 / Burrowes, Luxon, Eathorne, Langridge

Release Date: 4/14/2009
Label: Lyrita
Catalog Number: SRCD2309
Orchestra/Ensemble: Medici String Quartet
Number of Discs: 2

Physical Format:

CD
In Stock
$34.99
Notes and Editorial Reviews
Tracklist:
CD 1 Richard EDWARDS (1522-1566) When griping griefs
John DANYEL (1565-1626) Why Canst Thou Not; Keep Grief Within
ANON. When Daphne from fair Phoebus did fly
William BYRD (1540-1623)Fair Britain Isle; Out of the Orient Cristal Skies
ANON. I smile to see how you devise
Richard FARRANT (d. 1581)Ah, alas, you salt-sea gods
ANON. (arr Francis Cutting) How should I your true love know
John DOWLAND (1563-1626) If that a sinner’s sighs; Come away, sweet love; Go nightly cares
Francis PILKINGTON (d. 1638) Now peep, bo-peep
Orlando GIBBONS (1583-1625) Ah dear heart
Thomas CAMPIAN (1567-1620) Fire, fire; Out of my soul’s depths
John WILSON (1595-1674) In the merry month of May
Henry LAWES (1596-1662) ’Tis but a frowne; Wert thou yet fairer
John HILTON (1599-1657) A Hymn to God the father
Henry PURCELL (1659-1695) A thousand several ways; O solitude; In chloris
CD 2
Henry PURCELL (1659-1695) This poet sings; With sick and famished eyes; Let the dreadful engines
John ECCLES (1668-1735) Belinda's pretty pleasing form; The jolly breeze
George MONRO (d. 1731) My Goddess Celia
Richard LEVERIDGE (?1670-1758) The Sailor’s farewell
ANON. The Maid’s twitcher
Henry CAREY (?1687-1743) Flocks are sporting; A New Year’s Ode
Thomas STOKES The Stocking Cantata
Thomas ARNE (1714-1766) O Ravishing Delight
Thomas CHILCOT (1707-1766) On a day
Samuel HOWARD (?1710-1782) Why heaves my fond bosom
William BOYCE (1711-1779) Rural beauty; Rail no more ye learned
asses
Henry BURGESS (c. 1738-1765) The Rose
Michael ARNE (1741-1786) The lass with the delicate air
Charles DIBDIN (1745-1814) The lass that loved a sailor
James HOOK (1746-1827) Noon
Stephen STORACE (1762-1796) The Lullaby

R E V IE W:

Richard Itter has every right to survey his fields of achievement with pleasure … and we can join him. He launched the Lyrita label as a cottage industry in the late 1950s. While its focus on British music both restricted and in some sectors amplified its standing the label was never more than a very significant independent. Its ascent and consolidation among the illustrious heights came to a full stop a couple of years after the arrival of the CD in 1983. Itter, who retained personal control, was sceptical about the new medium and would not commit to it until a decade or so later … and then only spasmodically. This vacuum, oddly enough, extended the life of the LP. It fuelled and fanned a market in ‘pre-owned’ Lyrita vinyl to absurd prices. It also had other companies - notably Chandos - move in to re-record repertoire Lyrita had made its own and to record new material which previously was very much Lyrita heartland.

Itter and Lyrita have now been well served in entrusting the label’s legacy to Wyastone Estate. Mr Itter’s decision has resulted in a breathtaking reissue programme. This has in large part been accomplished from early 2007 to the present day. The result is that almost the whole of their analogue and later digital treasury are now available on CD. The analogue tapes, including the mono sessions of the 1950s and 1960s, are all there in resplendent transfers with only a few stragglers awaited. There seem to be no plans for new sessions although rumours do occasionally circulate.

The present set of recordings was not a Lyrita original. To the best of my knowledge it was never issued. The sessions appear to have taken place as part of a British Council-funded scheme to produce a series of recordings surveying British song from its earliest days to the 1970s. For whatever reason this Decca-engineered project never got past the era reflected in this anthology.

There will be stylistic shocks along the way. After all, performance practice in this repertoire has moved on – several times – over the last three decades. That said this is admirable and tasteful singing – not so tasteful that it lacks charm, fear, seduction, even a cheeky leer. There are one or two technical blemishes but this is down to physical damage to the tape stock. Listen to the rough start of Byrd's Out of the Orient Skies. This is a song in which, incidentally, one can hear foreshadowings of Herbert Howells' King David. All the songs are sung with light-imbued clarion tone. Going by these results no pains or expense were spared in this Decca-coordinated endeavour. The songs are of a piece, being in the case of the first disc predominantly of a grave or melancholic beauty. The second disc spreads the range. Purcell's floridly rhetorical settings appear with surprisingly modern sounding instrumental accompaniment. This is not guaranteed to beguile Lyrita’s usual audience. However those who hanker after a golden age of British singing, before hints of the contrived and the precious began to invade, will want this set.

-- Rob Barnett, MusicWeb International
Works on This Recording
1. When grypinge griefes by Richard [comp.] Edwards
Performer: Anthony Rooley (Lute), Charles Brett (Countertenor)
Period: Renaissance
Written: 16th Century ; England
2. Songs for the Lute, Viol and Voice: Why canst thou not? by John Danyel
Performer: Anthony Rooley (Lute), Neil Jenkins (Tenor)
Period: Renaissance
Written: by 1606 ; England
3. Songs for the Lute, Viol and Voice: Grief kept within by John Danyel
Performer: Trevor Jones (Viola da Gamba), Anthony Rooley (Lute)
Period: Renaissance
Written: by 1606 ; England
4. When Daphne from fair Phoebus did fly by Anonymous
Performer: Ian Gammie (Tenor Viola da gamba), Wendy Eathorne (Soprano), Polly Waterfield (Tenor Viola da gamba), Trevor Jones (Viola da Gamba), Catherine Mackintosh (Violin)
Period: Renaissance
5. I smile to see how you devise by Anonymous
Performer: Anthony Rooley (Lute), Charles Brett (Countertenor)
Period: Renaissance
6. Fair Britain isle by William Byrd
Performer: Polly Waterfield (Tenor Viola da gamba), Ian Gammie (Tenor Viola da gamba), Trevor Jones (Viola da Gamba), Catherine Mackintosh (Violin), Charles Brett (Countertenor)
Period: Renaissance
Written: by 1612 ; England
7. Out of the orient crystal skies by William Byrd
Performer: Ian Gammie (Tenor Viola da gamba), Wendy Eathorne (Soprano), Polly Waterfield (Tenor Viola da gamba), Trevor Jones (Viola da Gamba), Catherine Mackintosh (Violin)
Period: Renaissance
8. Ah, alas you salt sea gods by Richard Farrant
Performer: Polly Waterfield (Tenor Viola da gamba), Ian Gammie (Tenor Viola da gamba), Wendy Eathorne (Soprano), Trevor Jones (Viola da Gamba), Catherine Mackintosh (Violin)
Period: Renaissance
Written: 16th Century ; England
9. A Pilgrimes Solace: no 13, If that a sinner sighes by John Dowland
Performer: Polly Waterfield (Tenor Viola da gamba), Ian Gammie (Tenor Viola da gamba), Wendy Eathorne (Soprano), Trevor Jones (Viola da Gamba), Catherine Mackintosh (Violin)
Period: Renaissance
Written: 1612 ; England
10. How should I your true love know by Traditional
Performer: Anthony Rooley (Lute), Charles Brett (Countertenor)
Period: Renaissance
11. Firste Booke of Songes or Ayres: no 11, Come away, come sweet love by John Dowland
Performer: Anthony Rooley (Lute), Neil Jenkins (Tenor)
Period: Renaissance
Written: by 1597 ; England
12. A Pilgrimes Solace: no 9, Goe, nightly cares, the enemy to rest by John Dowland
Performer: Trevor Jones (Viola da Gamba), Catherine Mackintosh (Violin), Anthony Rooley (Lute), Charles Brett (Countertenor)
Period: Renaissance
Written: 1612 ; England
13. Now peep, Bo Peep by Francis Pilkington
Performer: Anthony Rooley (Lute), Neil Jenkins (Tenor), Jane Ryan (Bass Viola da gamba)
Period: Renaissance
Written: by 1605 ; England
14. First Set of Madrigals and Mottets: Ah, deere hart by Orlando Gibbons
Performer: Trevor Jones (Viola da Gamba), Ian Gammie (Tenor Viola da gamba), Wendy Eathorne (Soprano), Polly Waterfield (Tenor Viola da gamba), Catherine Mackintosh (Violin)
Period: Renaissance
Written: by 1612 ; England
15. Fire, fire, fire, fire loe here I burne by Thomas Campion
Performer: Anthony Rooley (Lute), Charles Brett (Countertenor)
Period: Renaissance
Written: by 1617 ; England
16. In the Merry Month of May by John Wilson
Performer: Neil Jenkins (Tenor), Colin Tilney (Harpsichord)
17. A hymne to God the Father by John II Hilton
Performer: Neil Jenkins (Tenor), Colin Tilney (Harpsichord)
Period: Renaissance
18. In Cloris all soft charms, Z 384 by Henry Purcell
Performer: Adam Skeaping (Bass Rebec), Philip Langridge (Tenor), Nicholas Kraemer (Harpsichord)
Period: Baroque
Written: by 1684 ; England
19. A thousand sev'ral ways I tried, Z 359 by Henry Purcell
Performer: Adam Skeaping (Bass Rebec), Philip Langridge (Tenor), Nicholas Kraemer (Harpsichord)
Period: Baroque
Written: 1684 ; England
20. This poet sings the Trojan wars, Z 423 "Anacreon's Defeat" by Henry Purcell
Performer: Adam Skeaping (Bass Rebec), Nicholas Kraemer (Harpsichord)
Period: Baroque
Written: 1688 ; England
21. O solitude, my sweetest choice, Z 406 by Henry Purcell
Performer: Wendy Eathorne (Soprano), Nicholas Kraemer (Harpsichord), Adam Skeaping (Bass Rebec)
Period: Baroque
Written: by 1687 ; England
22. With sick and famish'd eyes, Z 200 by Henry Purcell
Performer: Philip Langridge (Tenor), Nicholas Kraemer (Harpsichord), Adam Skeaping (Bass Rebec)
Period: Baroque
Written: 1688 ; England
23. Don Quixote, Z 578: Let the dreadful engines by Henry Purcell
Performer: Benjamin Luxon (Baritone), Nicholas Kraemer (Harpsichord), Adam Skeaping (Bass Rebec)
Period: Baroque
Written: 1694-1695 ; England
24. Flocks Are Sporting by Henry Carey
Performer: Anthony [cello] Lewis (Cello), Harold Lester (Harpsichord), Norma Burrowes (Soprano)
Period: Renaissance
25. Judgement of Paris: O ravishing delight by Thomas Augustine Arne
Performer: Philip Langridge (Tenor), Nicholas Kraemer (Harpsichord)
Orchestra/Ensemble: Medici String Quartet
Period: Baroque
Written: 1740/1759 ; London, England
26. The Lass with the Delicate Air by Thomas Augustine Arne
Performer: Anthony [cello] Lewis (Cello), Paul Robertson (Violin), Harold Lester (Harpsichord), Philip Langridge (Tenor), David [violin] Matthews (Violin)
Period: Baroque
Written: 18th Century ; England
27. The Lullaby by Stephen Storace
Period: Classical
28. Noon by James Hook
Period: Classical
29. The Lass Who Loved a Sailor by Traditional
30. The Rose by Henry Burgess
Period: Baroque
31. Rail No More, Ye Learned Asses by William Boyce
Period: Baroque
32. Rural Beauty by William Boyce
Period: Baroque
33. Why Heaves My Fond Bosom by Samuel Howard
34. English Songs (12): On a Day by Thomas Chilcot
Period: Baroque
35. The Stocking Cantata by Thomas Stokes
Period: Baroque
36. A New Year's Ode by Henry Carey
Period: Baroque
37. The Maid's Twitcher by Anonymous
38. The Sailor's Farewell by Richard Leveridge
Period: Baroque
39. My lovely Celia by George Monro
Period: Baroque
40. The Jolly Breeze by John Eccles
Period: Baroque
41. Belinda by John Eccles
42. Wert Thou Yet Fairer by Henry Lawes
Period: Baroque
Written: 17th Century ; England
43. 'Tis But a Frowne by Henry Lawes
Period: Baroque
Written: 17th Century ; England
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