John Dowland (1562-1626)
Lachrimae (1604)

Opera Prima Consort
Cristiano Contadin, direction

Le recueil Lachrymae (…or seven tears) de John Dowland publié en 1604 est basé sur les quatre notes descendantes du thème du Lachrimae et décliné en sept pavanes (Les sept larmes). Il fut conçu pour luth et pour ensemble de violons ou violes et fut complétés par une série de danses (pavans, gailardes et almands) pour comporter au total vingt-et-une pièces. L'interprétation qu'en fait l'Opéra Prima consort du violiste Cristiano Contaldin est plus proche de la version italienne du consort (Trabacci, Bassani, Storace révélés dans un album récent par Guido Balestracci) que de son idiome originel anglais. Foin du chant éploré, de la complainte, de la mélancolie et même de la danse, l'ensemble (curieusement réverbéré par une acoustique trompeuse) est ici d'une suavité doucereuse, figé à la longue dans une sorte de gangue instrumentale que rien ne vient entamer. Les gaillardes sont visqueuses et manquent d'entrain. On cherchera vainement du "tactus", le sens de la syncope, de l'élocution. Qualités qu'offraient si bien Jordi Savall et son Hespérion XX dans leur enregistrement de référence pour Allia Vox. (Jérôme Angouillant)

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.