Henry Purcell (1659-1695)
'Tis Women makes us love
Then Mad, very mad let us be
Fantazia
I'll sail upon the Dog-star
Jack, thou'rt a Toper
The Triumphing Dance
Oh the sweet delights of love
Dance of the Bacchanals
O Solitude
Fantasia
Sing, sing Ye Druids
Oft she visits this lov'd mountain
Rondeau
Beneath a poplar's shadow lay me
From silent shades
Bess of Bedlam
The Blessed Virgin's Expostulation
Once, twice, thrice
Charon the peaceful shade invites
Ground in c
Dido's Lament
With drooping wings

CHANSONS TRADITIONNELLES ANGLAISES
Bedlam Boys
The Cruel Mother
William and Margret
Willow Song
Ophelia's Mad Song

Robert Johnson (1911-1938)
A Forsaken Lover's Complaint
Full fathom five

Johann Chrisoph PEPUSCH
Grim King of the Ghosts

Matthew Locke (1622-1677)
Curtain Tune

Thomas Ravenscroft (?1590-?1633)
The Three Ravens

Dorothee Mields, soprano
Lautten Compagney Berlin
Wolfgang Katschner, direction

Ce «Love’s Madness » est le second volet des œuvres d’ Henry Purcell par la soprano Dorothée Mields et la Lautten Compagney de Berlin, toujours sous la direction de Wolfgang Katschner. Après "Love Songs", premier opus réussi en 2010, dans lequel s’exprimait la sensualité de l'amour, c’est dans l’univers mouvementé des passions amoureuses que nous nous retrouvons plongés. Ces airs retranscrivent avec une émotion, une force dramatique, les débordements enfiévrés et mélancoliques de l’amour. Héritage de la chanson folklorique traditionnelle anglaise, ces « mad songs » ou « chansons de folies », déjà présentes dans l'œuvre de Shakespeare, se sont véritablement développées avec la musique de scène de Purcell.

"Love's Madness" is the second CD featuring works of Henry Purcell with the soprano Dorothee Mields and the Lautten Compagney Berlin, under the direction of Wolfgang Katschner. Following the successful "Love Songs" CD (2010), in which the sensuality of love was the focus, "Love's Madness" is concerned with the painfulness of love's delirium. Musically, in so-called "mad songs" love's delirium was expressed effectively, rich with contrasts. Whereas the roots of "mad songs" rests in the tradition of the English folk song and mad songs were already found in some of Shakespeare's works, the actual development of this type began with Henry Purcell's music for the stage, especially his ballad "Bess of Bedlam," which today still is regarded as the prototype for the "mad song."