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Dowland : Lachrimae. Ensemble Opera Prima, Contadin.
Format : 1 CD
Total Time : 00:59:32

Recording : 17-19/04/2018
Location : Lugano
Country : Suisse
Sound : Stereo

Label : Brilliant Classics
Catalog No. : BRIL95699
EAN : 5028421956992
Price Code : DM009A

Publishing Year : 2019
Release Date : 30/10/2019

Genre : Classical
John Dowland (1562-1626)
Lachrimae (1604)
Antiquae
Novae Antiquae novae
Gementes
Tristes
Coactae
Amantis
Verae
Semper Dowland semper dolens
Sir Henry Umpton's Funerall
Mr John Langton's Pavan
The King of Denmakr's Gagliard
Sir John Souch his Galiard
mr Henry Noel his Galiard
Mr Giles Hobies Galiard
Mr Nicholas Gryffith his Galiard
Mr Thomas Collier his Galiard
Captaine Digoire Piper his Galiard
Mr Buctons Galiard
Mrs Nichols Almand
M George Whitehead his Almand

Opera Prima Consort
Cristiano Contadin, direction

John Dowland’s melancholy masterpiece in a new recording infused by both passion and scholarly research. The seven Lachrimae Pavan of 1604 are widely held to mark not only the high point of Dowland’s work but the entire genre of viol consort music. Dowland takes a lamenting pavan that he had written some years earlier and develops its theme into a cycle which takes the listener through different states of tearfulness, from loneliness to despair through hope to love and finally joy – the ‘true tears’ of the final pavan. In its contrapuntal mastery and its ingenuity in the treatment of a single theme, the Lachrimae cycle stands alongside The Art of Fugue composed by J.S. Bach a century and a half later. Most recordings of the Lachrimae use the standard instrumentation of a consort of viols, ranging from treble to bass and accompanied by a lute. For his second recording of the cycle, however, the Italian violist Cristiano Contadin has boldly created a broken consort performance which mixes the recorder and also early violin and viola in with the uniquely grainy timbre of the viols. Such an instrumentation exploits the long association of the recorder with music of lamentation, and makes a historical connection with, for example, the cantatas of Bach. Contadin explains with a booklet essay that his aim in performance is to recover the ‘passionate’ nature of this music as Dowland envisaged it in his own written preface to the score, and indeed there is nothing dry or constricted about the performance he directs from the treble viol. Now, with three generations of period performance research and practice under their belts, musicians are beginning to play this music with the kind of freedom and spontaneity and emotion they would accord (in other ways) to Brahms, and this new recording deserves comparison with the most distinguished accounts from the recent past.

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