AYRES & FANTASIAS - QUONIAM CONSORT OF DULCIANS

AYRES & FANTASIAS ( CVLD227 )

Author : AAVV
Performer : QUONIAM CONSORT OF DULCIANS

Available in: HD File, CD

Traces

1. John Dowland: come again sweet love - 2:09
2. John Dowland: awake sweet love - 2:04
3. Orlando Gibbons: Fantasy first for two downs - 2:19
4. Thomas Lupo: Three-Bass Fantasy - 3:11
5. Alfonso Ferrabosco: A Pavin for Lute - 3:36
6. John Farmer: a little pretty bonny lass (vocal) - 1:39
7. Christopher Simpson: divisions upon a ground (soloist C. Verh) - 7:04
8. Michael East: Fantasia Prima for Two Basses (Love Cannot Dissemble) - 2:00
9. Thomas Morley: April is in my mistress' face - 1:07
10. Orlando Gibbons: Fourth fantasy for two downs - 2:23
11. Michael East: Fantasy Seven for Two Basses (U, D, E, F, G, A) - 2:18
12. John Dowland: The Right Honorable Lady Clifton's Spirit. Galliard for lute - 1:44
13. William Cornysh: ah Robin, gentle Robin - 2:18
14. John Bull: Lord Lumley's Pavan for Harpsichord - 4:41
15. John Bull: Lord Lumley galliard - 2:06
16. John Dowland: Lullaby - 2:40
17. Orlando Gibbons: Fantasy Second for Two Downs - 2:39
18. Anonymous: Fantasy for Two Basses and Lute G496 - 1:41
19. John Dowland: A Fancy for Lute - 2:36
20. John Dowland: now, or now I needs must part - 3:20
21. John Bennet: a hunt is up - 1:38
22. John Farmer: a little pretty bonny lass (vocals and instruments) - 1:35
23. Orlando Gibbons: Fantasy third for two downs - 3:21
24. John Dowland: rest a while you cruel care - 0:57
25. Claudio Verh & John Dowland: Diminutions on "Rest a While" (soloist C. Verh) - 1:12
26. Michael East: Fantasia Terza for Two Basses (Both Alike) - 1:57
27. Michael East: Fantasia Quinta for Two Basses - 2:02
28. Anonymous: Fantasy for Three Basses and Lute G495 - 2:50

Total Time : 69:21

Notes

Classical. Original composites by J. Dowland,O. Gibbons, T. Lupo, A. Ferrabosco, J. Farmer, C. Simpson, M. East, T. Morley, W. Cornysch, J. Bull, J. Bennet,C. Verh & J. Dowland, Anonymus.
Quoniam consort of dulcians: Paolo Tognon, Claudio Verh, Vincenzo Onida, Fabio Accurso, Lorenzo Feder. Elisabetta Gasparotto soprano.
24bit/88.2kHz original recorded, mixed and mastered at Aremagister Studios, Preganziol (TV) Italy on December 29-30-31, 2011.

Musical Delights at the Court of Elizabeth I of England; or, an anthology of polyphonic music in two, three, and four parts performed by a consort of dulcians, lute, harpsichord, and the human voice. Elizabeth I, crowned in 1558, extended her long reign until 1603 and supported England during a fortunate and important period in its history—politically, religiously, commercially, and culturally. Like her father, Henry VIII, she loved music, playing the lute and lyre herself and surrounding herself with up to 70 musicians at court. Music was often associated with the theatrical performances of geniuses such as Shakespeare and Marlow. The dulciana (curtal) was introduced to England in the first three decades of the 16th century, likely by the Venetians Bassano, inventors of an instrument: the bassone corto (curtal), as can already be seen in two inventories from 1542 and 1547 dating back to the court of Henry VIII: "...13 short instruments caulked Dulceuses..." In the 16th century, many documents testify to the use of this instrument in England, which was integrated into wind instrumental groups (Waits), similar to other similar ensembles on the European continent, and intended for use at court and in public ceremonies. The refined sound of the dulciana in its various sizes used here—bass, but also soprano, contralto, and tenor—ideally complements both the voice and instruments essential to harmony and counterpoint, such as the lute and harpsichord. Most English composers of the time wrote vocal and instrumental music for both sacred and secular use. In so-called consort music, it was common practice to perform polyphonic pieces for four or more voices with a homogeneous ensemble of instruments. This is a rare sound document that illustrates their timbre on dulcians. Also of interest is the possibility of performing some fantasias for two basses, originally intended for the viola d'gamba, on the dulcian, which offers a sound that highlights the singable and melancholic component but also the rhythmic and witty one typical of the flexibility of this wind instrument, a forerunner of the modern bassoon.
The timbral refinement of the different musical ensembles present on this disc is enhanced by the extraordinary quality of the recording, carried out in the large Velut Luna studios in Preganziol using high-resolution digital technology.