John Dowland Clear or Cloudy Valeria Mignaco Alfonso Marín
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John Dowland Clear or Cloudy Valeria Mignaco
Lute songs Alfonso MarínCLEAR OR CLOUDY LUTE SONGS Valeria Mignaco soprano | Alfonso Marín luth John Dowland (1563-1626) 1. Stay Time awhile thy flying 8 2’32 2. Say Love if ever thou didst find 6 2’12 3. Flow my tears 4 4’48 4. Come again: Sweet love doth now invite 1 5’00 Michaell Cavendish (c.1565-1628) 5. Wand'ring in this place 2 3’04 John Dowland (1563-1626) 6. Mrs. Winter’s Jump 13 0’49 7. Can she excuse my wrongs? 1 2’45 Philip Rosseter (1567-1623) 8. When Laura smiles 5 2’17 John Dowland (1563-1626) 9. Sorrow Stay 4 3’34 10. Mr. Dowland’s Midnight 12 1’05 11. Come away, come sweet love 1 2’36 12. I saw my Lady weep 4 5’45 13. Wilt thou, unkind, thus reave me? 1 4’03 Philip Rosseter (1567-1623) 14. No grave for woe 5 3’32
Anthony Holborne (c.1545-1602)
15. Cradle Pavan 3 5’07
16. The Fairy Round 11 1’32
John Dowland (1563-1626)
17. Clear or cloudy 4 2’56
Thomas Ford (c.1580-1648)
18. Come, Phyllis, come unto these bowers 9 2’01
Thomas Campion (1567-1620)
19. Fain would I wed 10 1’08
20. Shall I come sweet Love to thee? 10 2’19
John Dowland (1563-1626)
21. Preludium 12 1’10
Francis Pilkington (c.1570-1638)
22. Rest sweet nymphs 6 4’40
Robert Johnson (1583-1633)
23. Have you seen but a white lily grow? 14 2’12
Luth à 7 choeurs, Vendelio Venere (1582), copie réalisée par Malcolm Prior (London 1998) /
7-course lute, Vendelio Venere (1582), copy made by Malcolm Prior (London 1998).We would like to thank our friends Michiel ten Houte de Lange
and Rolande van der Paal for their invaluable advice and support.
Michiel ten Houte de Lange english language coach
SOURCES
1
John Dowland, The First Booke of Songes or Ayres of Fowre Partes with Tableture for the Lute, London, 1597.
2
Michaell Cavendish, Ayres in Tabletorie to the Lute expressed with two voyces and the base Violl or the
voice & Lute only, London 1598.
3
The earliest of the Matthew Holmes Lute Books. Cambridge University Library, manuscript Dd.2.11.
4
John Dowland, The Second Booke of Songs or Ayres of 2, 4 and 5 parts: With Tableture for the Lute or
Orpherian, with the Violl de Gamba, London, 1600.
5
Philip Rosseter, A Booke of Ayres, set foorth to be song to the Lute, Orpherian, and Base Violl London, 1601.
6
John Dowland, The Third and Last Booke of Songs or Aires, London, 1603.
7
Francis Pilkington, The First Booke of Songs or Ayres of 4 parts: with Tableture for the Lute or Orpherian,
with the Violl de Gamba, London, 1605.
8
John Dowland, A Pilgrimes Solace, wherein is contained Musicall Harmonie of 3, 4 and 5 parts, to be sung
and plaid with the Lute and Viols, London, 1612.
9
Thomas Ford, Musicke of Sundrie Kindes, London, 1607.
10
Thomas A, The Third and Fourth Booke of Ayres, London, 1618.
11
The second of the Matthew Holmes Lute Books. Cambridge University Library, manuscript Dd.5.78.3.
12
Margaret Board Lute Book. Private Library of Robert Spencer.
13
The Dowland Lute Book. The Folger Library, Washington, manuscript MS 1610.1.
14
British Library Add. MS 15177.
2FRANÇAIS
pouvait interpréter seul des chansons polypho-
niques existantes (pour la plupart des frottoles et
Chanter et réciter de la poésie accompagnée d’un plus tard des madrigaux) tandis que le luth jouait
instrument à cordes pincées est une tradition toutes les autres voix ou certaines d’entre elles.
immémoriale. Dans le monde occidental, elle est Cette évolution marqua le début du lute song,
tout d’abord abondamment documentée dans nouveau genre dont l’usage s’étendit dans toute
l’Antiquité grecque. Les Hélènes récitaient leur l’Europe au XVIe siècle.
poésie au son de la lyre. Les Arabes héritèrent par
Si l’Angleterre ne s’est jointe que tardivement à
la suite de cette pratique, bien qu’ils chantaient
cette mode, sa contribution y fut autrement plus
au son du oud. Ils apportèrent cette tradition
éminente et plus influente que dans le reste de
dans l’Europe médiévale, où l’instrument et son
l’Europe. Nous le devons surtout à la personnalité
rôle d’accompagnement entrèrent progressive-
marquante de John Dowland, l’un des plus
ment dans la pratique musicale des contempo-
grands chansonniers de tous les temps et princi-
rains. Le luth finit par devenir l’un des instru-
pale source d’inspiration de cet enregistrement.
ments principaux de notre héritage culturel.
Bien que quelques manuscrits et références
Jusqu’à la fin du XVe siècle, l’accompagnement de littéraires attestent de l’existence de chansons
luth d’une poésie s’improvisait en fonction accompagnées au luth avant Dowland, c’est bien
du rythme métrique du poème. Il nous est son First Booke of Songes or Ayres, publié en
par conséquent impossible de reconstruire cette 1597, qui marque le début d’une tradition
pratique puisque nous n’en possédons aucun anglaise du lute song. Celle-ci sera d’ailleurs aussi
exemple écrit. A la fin du XVe siècle, en commen- courte (le dernier recueil est le First Booke of
çant à jouer du luth avec les doigts plutôt Ayres de John Attey, paru en 1622) qu’intense,
qu’avec un plectre, les Italiens inventèrent un avec quelque 30 volumes publiés au cours des
moyen de rendre l’instrument polyphonique. dernières années du règne d’Elizabeth I et sous
Grâce à cette nouvelle pratique, un chanteur celui de James Ier.
3La vie de John Dowland fut intense, fertile et Catholiques anglais qui l’encouragea à prendre
remarquable, bien qu’il semble avoir toujours été part à des activités de trahison dirigées contre la
amèrement déçu par le rejet de la cour royale à couronne anglaise. Dowland prit conscience des
son égard. En effet, le poste de luthiste royal lui graves conséquences qu’une telle association
a échappé jusque très tard dans sa carrière. Jeune aurait sur sa future carrière dans la protestante
homme encore, il entra au service de Sir Henry Angleterre. Tant et si bien qu’il se dépêcha de
Cobham, ambassadeur auprès du roi de France. Il rentrer à Kassel - sans jamais avoir rejoint Rome,
vécut donc de 1579 à 1584 à Paris, où il se apparemment - et y resta un an environ.
convertit au catholicisme. Le fait d’avoir été inévi-
Vers la fin de l’an 1596, le courtier Sir Henry Noel,
tablement exposé à la pratique musicale fran-
son ami et seule connexion jusqu’à la reine, lui
çaise ainsi qu’à la façon dont la poésie y était
écrivit une lettre l’encourageant à revenir au pays
mise en musique dans l’air de cour, déjà popu-
”car sa majesté a manifesté à plusieurs reprises
laire à l’époque, ne peut qu’avoir exercé une
le souhait de votre retour”. Une fois revenu à
influence considérable sur le développement
Londres, il publia en 1597 son First Booke of
qu’il donna plus tard au lute song, véritablement
Songes, le premier recueil de lute songs jamais
anglaise cette fois-ci. Dès son retour en
imprimé en Angleterre. Le succès fut inégalé; il
Angleterre, et après avoir échoué à obtenir un
fallut remettre au moins quatre fois sous presse.
poste à la cour, il décide de repartir pour
Pour les autres compositeurs anglais, auteurs
l’étranger en répondant à l’invitation du duc
d’autres publications similaires parues ultérieure-
Heinrich Julius (Wolfenbüttel, Allemagne), qui lui
ment, ce volume fit figure de source d’inspiration
avait proposé d’entrer à son service. Malgré lui
et de modèle.
avoir promis ”autant que puisse espérer tout
prince en ce monde”, il n’en poursuivit pas moins Malheureusement, Sir Henry Noel décéda avant
son voyage et visita la cour de Moritz de Hesse, que Dowland ne puisse être assuré de son enga-
avant de repartir pour l’Italie où il voulait étudier gement à la cour. Contraint une fois encore de
avec le célèbre compositeur Luca Marenzio à rechercher ailleurs un gagne-pain approprié, il
Rome. Il profita de son voyage pour visiter Venise, accepta une offre de Christian IV, roi du
Padoue, Gène et Ferrare, avant d’atteindre Danemark, et se mit à son service. A en juger par
Florence, où il rencontra un groupe de son salaire, il était hautement estimé à ce poste.
4Son employeur l’autorisa à rentrer de nom-
breuses fois en Angleterre pour qu’il puisse
Il est parvenu à créer une chanson dans un vrai
prendre soin de sa famille et s’occuper de
style anglais en réunissant des éléments formels
certaines affaires personnelles (il était marié et
divers: chanson de rue anglaise, consort song
avait au moins un enfant à cette époque). Ces
(nom que l’on donne à une chanson accompa-
voyages avaient aussi pour objet d’organiser la
gnée par des instruments dans l’Angleterre de
publication de Lachrimae, un recueil de pavanes
l’époque), madrigal italien, formes dansées
et de gaillardes pour violes, ainsi que son second
comme la pavane et la gaillarde, air de cour fran-
(1600) et son troisième (1603) recueils de lute
çais et monodie italienne. Concernant les poésies
songs. L’emploi de Dowland à la cour danoise prit
racontées dans les chansons, la plupart d’entre
fin au début de l’année 1606. Il retourna en
elles sont dues à des anonymes. Quelques-unes
Angleterre où, une fois de plus, un poste vacant
seulement ont été attribuées à des poètes
à la cour fut attribué à un luthiste relativement
contemporains. Il est très probable que Dowland
inconnu. Dans le prologue de A Pilgrimes Solace
lui-même soit le poète qui se cache derrière
(1612), son dernier recueil de chansons, il exprime
certaines des chansons.
sa frustration et sa déception. C’est en 1612, alors
qu’il était déjà l’un des musiciens les plus célèbres Bien que de nombreuses lute songs, qui sont de
d’Europe, qu’il rejoignit P. Rosserter et R. Johnson véritables chefs-d’oeuvre, aient été créées par des
et devint enfin l’un des cinq luthistes du roi. Nous contemporains de Dowland, aucun de ces compo-
ne savons que peu de choses sur ces activités siteurs n’égalait son niveau en matière
entre ce moment-là et son décès, en 1626. d’originalité, de qualité et de transcendance.
Nous avons pris soin d’inclure quelques pièces des
Le style singulier et novateur dans lequel
compositeurs les plus accomplis (Francis
Dowland écrivit ses chansons marie les évolutions
Pilkington, Philip Rosseter, Michaell Cavendish,
musicales contemporaines d’outre-mer aux
Robert Jones, Thomas Campion et Robert
éléments et aux formes d’Angleterre. Nous pour-
Johnson) afin de donner à l’auditeur une vue
rions aller jusqu’à dire que le style de Dowland
d’ensemble sur la lute song anglais en tant que
réalise la synthèse des formes et des techniques
genre.
de composition de la Renaissance avec le pathos
et l’intensité expressive propres à l’entame de la Alfonso Marín
période Baroque. André Verkaeren traduction
5ALFONSO MARIN commence sa formation musi-
BIOGRAPHIES cale au Conservatoire supérieur de Ténérife
VALERIA MIGNACO étudie le chant en Argentine (Espagne). Il poursuit ensuite son étude de la
et obtient ensuite son diplôme de chant classique guitare classique et la vihuela au Conservatoire
et baroque au Conservatoire royal de La Haye aux d’Amsterdam dans la classe de Lex Eisenhardt.
Pays-Bas. Finaliste du concours international de Depuis 1998, il se consacre entièrement à l’étude
chant baroque de Chimay en 2004 et 2006, et de des instruments à plectre anciens tels que le luth,
l’International Young Artists Presentation le théorbe et la vihuela. Il se perfectionne,
d’Anvers (avec l’ensemble Via Artis), elle est toujours au Conservatoire d’Amsterdam, auprès
également finaliste du Concours de musique du luthiste Fred Jacobs.
ancienne de Bruges en 2005. D’autre part, le duo
Depuis la fin de ses études, il se produit réguliè-
qu’elle forme avec Alfonso Marín obtient un prix
rement en concert, tant en soliste qu’en tant
spécial au Alte Musik Treff de Berlin en 2005.
qu’accompagnateur de chanteurs ou d’instru-
Valeria Mignaco s’est produite en tant que soliste mentistes. Par ailleurs , il joue également la basse
avec le Bachkoor Holland et le Concertgebouw continue au luth ou archiluth avec de nombreux
Kamerorkest, la Cappella Amsterdam, le ensembles, orchestres et chœurs Renaissance et
Monteverdikoor Utrecht, l’Orquesta de Cámara baroques des Pays-Bas tels que Les Perruques
de Rosario et a travaillé sous la direction de chefs d’Amsterdam, Arion ensemble, The Royal wind
tels que Gabriel Garrido, Paul Van Nevel, Paul consort, Nieuwe Opera Academie (DNOA),
McCreesh, Daniel Reuss, Charles de Wolff, Jan Musica del Seicento et l’Amsterdam Symphonic
Willem de Vriend, Daan Admiraal et Cristián Orchestra. Il est membre et directeur d’El Parnaso
Hernández Larguía. Elle a également collaboré Lirico, ensemble Renaissance avec lequel il se
avec la Cappella Amsterdam, l’Ensemble Huelgas produit aux Pays-Bas, en Allemagne, en France,
et le Deutsche Kammerchor. en Belgique et en Suisse.
6ENGLISH
The tradition of singing and reciting poetry to
some sort of plucked stringed instrument is as old quently madrigals) to be performed by one
as history itself. In the Western world, the prac- singer to the accompaniment of the lute, which
tice is first extensively documented among the would play all or some of the remaining voices.
Ancient Greeks who recited their poetry to the This development marked the beginning of the
accompaniment of the lyre. The tradition was lute-song as a genre that soon began to expand
later inherited by the Arabs, who sang to the oud across Europe, a process that continued
or Arabic lute, and was again brought by them to throughout the 16th century.
medieval Europe. Here this instrument and its
England came late to this trend, but embraced it
accompanying role progressively entered
in a way that proved to be more fruitful and
contemporary musical practice, until eventually it
influential than in the rest of Europe. This was
became one of the key instruments of our
mainly due to the figure of John Dowland, one of
musical heritage.
the greatest song composers of any age and the
Up until the end of the 15th century, the lute main inspiration behind this recording. Although
accompaniment of poetry and song was impro- a few English manuscripts and literary references
vised according to the rhythm of the poem. For give evidence of the lute-accompanied song
that reason it is impossible for us to reconstruct before Dowland, it is his First Booke of Songes or
the practice of the time, since no written exam- Ayres, published in 1597, that marks the begin-
ples exist. At the end of the 15th century, the ning of an English lute-song tradition that was to
Italians developed a way of rendering polyphony be short (the last collection was John Attey’s First
on the lute, plucking with the fingers instead of Booke of Ayres of 1622) but intense, with some
with a quill. This new method allowed existing 30 published volumes extending from the last
polyphonic songs (mostly frottole and subse- years of Elizabeth I right through James I’s reign.
7John Dowland’s life was an intense, fruitful and
where he met a group of English Catholics who
remarkable one, although he seems to have been
tried to persuade him to take part in treasonable
perpetually affected by bitter disappointment at
activities against the English Crown. Dowland
his failure to secure an appointment as a royal
realised the serious consequences that such an
lutenist at the English court, a post that eluded
association would have for his future career in
him until late in his career. When still a young
Protestant England, and fled back to Kassel
man, he entered the service of Sir Henry Cobham,
where he remained for about a year, apparently
Ambassador to the King of France. While in
without ever reaching Rome.
Cobham’s employment, Dowland spent the years
1579 to 1584 in Paris, where he became a Towards the end of 1596, the courtier Sir Henry
Catholic. The exposure he doubtless received to Noel, his friend and only connection to the
musical practice there, and in particular the way Queen, wrote a letter encouraging him to come
composers set French poetry to music in the back to England: “for her Majestie hath wished
already popular air de cour, surely had a consid- divers tymes your return.” In 1597, once back in
erable influence on Dowland’s later development London, he published his First Booke of Songes,
of a truly English lute-song style. the first collection of lute-songs ever printed in
England. It was a massive success, going through
Once back in England and after failing to secure
at least four reprints. This volume was to be the
a post at court, he decided to go abroad again,
inspiration and model for all the similar publica-
responding to an invitation to enter the service
tions subsequently produced by other English
of Prince Heinrich Julius at Wolfenbüttel,
composers.
Germany. Although the Prince promised him “as
mutch as any prince in the worlde”, he Unfortunately, Sir Henry Noel died before
continued his travels and visited the court of Dowland could secure his post at court and once
Moritz, Landgrave of Hesse-Kassel, before again he was forced to look elsewhere for appro-
leaving for Italy, where he intended to study with priate employment. He then accepted an offer
the famous composer Luca Marenzio in Rome. from Christian IV, King of Denmark, in whose
During his journey he visited Venice, Padua, service he was highly esteemed, to judge from
Genoa and Ferrara before reaching Florence, the high salary he received. He was allowed to
8travel back to England many times to take care of
family and personal matters (he was married with intensity of expression characteristic of the early
at least one child at the time) and to arrange for Baroque period. He managed to create a truly
the publication of Lachrimae, a collection of English style of lute-song, taking as formal
pavans and galliards for viols, as well as of his elements the English broadside ballad and
second (1600) and third (1603) books of songs. consort song, the Italian madrigal, dance forms
Dowland’s employment at the Danish court came such as the pavan and the galliard, the French air
to an end early in 1606. He returned to England, de cour and Italian vocal monody.
where once again a vacancy at court went to a
In most cases the texts of the songs remain
relatively unknown lutenist. In the prologue of his
anonymous, with only a few attributed to
A Pilgrimes Solace (1612), his last book of songs,
contemporary poets. It is very likely that Dowland
he expresses his frustration and disappointment
himself was the poet behind some of the songs.
at his lack of professional recognition. Finally, in
1612, by which time he was one of the most Although many lute-song masterpieces were
famous musicians in Europe, he joined Philip created by Dowland’s contemporaries, none of
Rosseter and Robert Johnson as one of the five these composers equals his level of originality,
lutenists to the King. From this time on, little is musical quality and sheer sublimity. We have
known about his activities until his death in 1626. included some pieces by some of the more
accomplished composers (Francis Pilkington,
Dowland´s singular and innovative style of lute-
Philip Rosseter, Michaell Cavendish, Robert Jones,
song writing combines contemporary musical
Thomas Campion and Robert Johnson) in order
developments from overseas with English
to offer a wider picture of the English lute-song
elements and forms. One could even say that his
as a genre.
style synthesises the forms and composing tech-
niques of the Renaissance with the pathos and Alfonso Marín
9BIOGRAPHIES
VALERIA MIGNACO began her singing studies in
Argentina and obtained her classical and baroque ALFONSO MARIN began his musical studies in
singing Masters degree at the Royal Conservatory the Conservatorio Superior de Tenerife (Spain),
in The Hague, Holland. Finalist of the International and afterwards in the Conservatorium van
Baroque Singing Competition of the Chateau de Amsterdam were he continued his classical guitar
Chimay 2004 and 2006 and the International and vihuela studies under the guidance of Lex
Young Artists Presentation in Anvers (with Eisenhardt. From 1998 he devoted himself
ensemble Via Artis), she also received an Honorable entirely to the study of early plucked instruments
Mention at the Soloists Competition of the Flemish as the lute, theorbo and vihuela, continuing his
Early Music Festival in Brugge 2005. Her duo with studies in the same conservatory for five more
Alfonso Marín had a Special Mention at the Alte years with the lutenist Fred Jacobs.
Musik Treff, Berlin 2005.
After his graduation he carried on with an
Valeria has perfomed as soloist with Bachkoor intense concert activity as a soloist, vocal and
Holland & Concertgebouw Kamerorkest, Cappella instrumental accompanist as well as basso-
Amsterdam, Monteverdikoor Utrecht, Orquesta de continuo theorbo and archlute player in many
Cámara de Rosario and worked under the direc- Dutch renaissance and baroque ensembles,
tion of Gabriel Garrido, Paul van Nevel, Paul orchestras and choirs like Les Perruques de
McCreesh, Daniel Reuss, Charles de Wolff, Jan Amsterdam, Arion ensemble, The Royal wind
Willem de Vriend, Daan Admiraal and Cristián consort, Nieuwe Opera Academie (DNOA),
Hernández Larguía. She also collaborates with well- Musica del Seicento and Amsterdam Symphonic
known vocal ensembles like Cappella Amsterdam, Orchestra. He is member and director of the
Huelgas ensemble and Deutsche Kammerchor. renaissance ensemble El Parnaso Lirico with
With ensemble Via Artis she participated in the whom he has performed in Holland, Germany,
Early Music Festival Barcelona 2005; with Alfonso France Belgium and Switzerland. His collabora-
Marín she performed in the Burgos Early Music tion with the soprano Valeria Mignaco is one of
Festival 2005, Festival A-de-vant-garde München his most rewarding and fruitful musical activities,
(2005) and Leicester Early Music Festival (2006), having performed with her in numerous recitals
giving many concerts in Holland, Spain, Belgium, and festivals in Holland, Germany, England,
England, Portugal, Switzerland, Argentina. Belgium and Spain.
10TEXTES
Dowland Say Love if ever thou didst find
Say, love, if ever thou didst find
A woman with a constant mind?
Dowland Stay time a while thy flying
None but one.
Stay, Time, a while thy flying,
And what should that rare mirror be?
Stay and pity me dying.
Some goddess or some queen is she;
For Fate and friends have left me,
She, she, she, and only she,
And of comfort bereft me.
She only queen of love and beauty.
Come, come, close my eyes;
Better to die blessed, But could thy fiery poison'd dart
At no time touch her spotless heart,
Than to live thus distressed.
Nor come near?
To whom shall I complain me?
She is not subject to Love's bow;
When thus friends do disdain me?
Her eye commands, her heart saith no,
'Tis Time that must befriend me,
No, no, no, and only no;
Drown'd in sorrow to end me.
One no another still doth follow.
Come, come, close my eyes;
Better to die blessed, How might I that fair wonder know,
Than to live thus distressed. That mocks desire with endless no.
See the moon
Tears but augment this fuel
That ever in one change doth grow,
I feed by night, oh cruel.
Yet still the same, and she is so;
Light grieves can speak their pleasure
So, so, so, and only so,
Mine are dumb passing measure.
From heav'n her virtues she doth borrow.
Quick, quick, close my eyes;
Better to die blessed, To her then yield thy shafts and bow,
Than here to live thus distressed. That can command affection so:
11Love is free;
So are her thoughts that vanquish thee. Dowland Come again, sweet love doth now invite
There is no queen of love but she, Come again,
She, she, she, and only she Sweet love doth now invite,
She only queen of love and beauty. Thy graces that refrain,
To do me due delight,
Dowland Flow my tears
To see, to hear, to touch, to kiss, to die,
Flow, my tears, fall from your springs!
With thee again in sweetest sympathy.
Exiled for ever, let me mourn;
Where night's black bird her sad infamy sings, Come again,
There let me live forlorn. That I may cease to mourn,
Through thy unkind disdain:
Down vain lights, shine you no more!
For now left and forlorn,
No nights are dark enough for those
I sit, I sigh, I weep, I faint, I die,
That in despair their last fortunes deplore.
In deadly pain and endless misery.
Light doth but shame disclose.
All the day
Never may my woes be relieved,
The sun that lends me shine,
Since pity is fled;
By frowns do cause me pine
And tears, and sighs, and groans my weary days
And feeds me with delay
Of all joys have deprived.
Her smiles my springs, that makes my joys to
From the highest spire of contentment grow,
My fortune is thrown; Her frowns the winter of my woe.
And fear, and grief, and pain for my deserts
All the night
Are my hopes, since hope is gone.
My sleeps are full of dreams,
Hark! you shadows that in darkness dwell, My eyes are full of streams,
Learn to contemn light My heart takes no delight,
Happy, happy they that in hell To see the fruits and joys that some do find,
Feel not the world's despite. And mark the storms are me assign’d.
12Out alas,
My faith is ever true, If thou canst not o'ercome her will,
Yet will she never rue, Thy love will be thus fruitless ever.
Nor yield me any grace:
Was I so base, that I might not aspire
Her eyes of fire, her heart of flint is made,
Unto those high joys which she holds from me?
Whom tears nor truth may once invade.
As they are high, so high is my desire,
Gentle Love, If she this deny, what can granted be?
Draw forth thy wounding dart,
If she will yield to that which reason is,
Thou canst not pierce her heart,
It is reason's will that love should be just.
For I that to approve,
Dear, make me happy still by granting this,
By sighs and tears more hot than are thy shafts,
Or cut off delays if that I die must.
Did tempt while she for triumphs laughs.
Better a thousand times to die
Cavendish Wand’ring in this place
Than for to live thus still tormented:
Wand’ring in this place as in a wilderness,
Dear, but remember it was I
No comfort have I nor yet assurance,
Who for thy sake did die contented.
Desolate of joy, repleat with sadness:
Wherefore I may say, O deus, deus, Rosseter When Laura smiles
Non est dolor, sicut dolor meus. When Laura smiles her sight revives
both night and day:
Dowland Can she excuse my wrongs?
The earth and heaven views
Can she excuse my wrongs with Virtue's cloak?
with delight her wanton play:
Shall I call her good when she proves unkind?
And her speech with ever-flowing
Are those clear fires which vanish into smoke?
music doth repair
Must I praise the leaves where no fruit I find?
The cruel wounds of sorrow and untam'd despair.
No, no, where shadows do for bodies stand,
The sprites that remain in fleeting air
Thou may'st be abus'd if thy sight be dim.
Affect for pastime to untwine her tressed hair,
Cold love is like to words written on sand,
And the birds think sweet Aurora, mornings
Or to bubbles which on the water swim.
Queen doth shine
Wilt thou be thus abused still, From her bright sphere, when Laura shows
Seeing that she will right thee never? her looks divine.
13Dowland Come away, come sweet love
Come away, come sweet love,
The golden morning breaks.
All the earth, all the air
of love and pleasure speaks:
Diana’s eyes are not adorn'd with Teach thine arms then to embrace,
greater power And sweet rosy lips to kiss,
Then Laura’s, when she lists awhile And mix our souls in mutual bliss,
for sport to lure: Eyes were made for beauty's grace,
But when she her eyes encloseth, Viewing, rueing love's long pain
blindness doth appear Procur'd by beauty's rude disdain.
The chiefest grace of beauty, sweetly seated
Come away, come sweet love,
there.
The golden morning wastes,
Love hath no fire but what he steals from her While the sun from his sphere
bright eyes; his fiery arrows casts,
Time hath no power but that which in her Making all the shadows fly,
pleasure lies: Playing, staying in the grove
For she with her divine beauties all the world To entertain the stealth of love.
subdues, Thither, sweet love, let us hie,
And fills with heau'nly spirits my humble muse. Flying, dying in desire
Wing'd with sweet hopes and heav'nly fire.
Dowland Sorrow Stay
Sorrow stay, lend true repentant tears, Come away, come sweet love,
To a woeful wretched wight, Do not in vain adorn
Hence, despair with thy tormenting fears: Beauty's grace, that should rise
O do not my poor heart affright. like to the naked morn.
Pity, help now or never, Lilies on the riverside
Mark me not to endless pain, And the fair Cyprian flow'rs newblown
Alas I am condemned ever, Desire no beauties but their own.
No hope, no help there doth remain. Ornament is nurse of pride,
But down, down, down, down I fall, Pleasure, measure love's delight,
Down and arise I never shall. Haste then, sweet love, our wished flight!
14Hope by disdain grows cheerless,
Dowland I saw my Lady weep Fear doth love, love doth fear, beauty peerless.
I saw my lady weep, Farewell; farewell, etc.
And Sorrow proud to be advanced so,
If no delays can move thee,
In those fair eyes where all perfections keep,
Life shall die, death shall live still to love thee.
Her face was full of woe;
Farewell, farewell, etc.
But such a woe (believe me) as wins more hearts,
Than Mirth can do with her enticing parts. Yet be thou mindful ever,
Heat from fire, fire from heat none can sever.
Sorrow was there made fair,
Farewell, farewell, etc.
And Passion wise, tears a delightful thing,
Silence beyond all speech a wisdom rare, True love cannot be changed,
She made her sighs to sing, Thou delight from desert be estranged.
And all things with so sweet a sadness move, Farewell, farewell, etc.
As made my heart at once both grieve and love.
Rosseter No Grave of Woe
O fairer than aught else, No grave for woe, yet earth my wat’ry
The world can show, leave off in time to grieve, tears devours;
Enough, enough, your joyful looks excels, Sighs want air, and burnt desires kind
Tears kills the heart. pity’s show’rs,
O strive not to be excellent in woe, Stars hold their fatal course, my joys preventing,
Which only breeds your beauty's overthrow. The earth, the sea, the air, the fire, the heav’ns
vow my tormenting.
Dowland Wilt thou, unkind, thus reave me?
Wilt thou unkind thus reave me Yet still I live and waste my weary days in groans,
Of my heart and so leave me? And with woeful tunes adorn despairing moans,
Farewell; farewell, Night still prepares a more displeasing morrow,
But yet or e’er I part (o cruel) My day is night, my life my death, and all but
Kiss me sweet, sweet my jewel. sense of sorrow.
15Dowland Clear or cloudy
Glad Echo in distinguished voice,
Clear or cloudy sweet as April show’ring,
Naming thee will here rejoice,
Smooth or frowning so is her face to me,
Then come and hear her merry lays
Pleas’d or smiling like mild May all flow’ring,
Crowning thy name with lasting praise.
When skies blue silk and meadows carpets be,
Her speeches notes of that night-bird that singeth, Campion Fain would I wed
Who thought all sweet yet jarring notes out-ringeth. Fain would I wed a fair young man,
That day and night could please me,
Her grace like June, when earth and trees
When my mind or body grieved
be trimm’d,
That had the power to ease me.
In best attire of complete beauty’s height,
Maids are full of longing thoughts
Her love again like summer’s days be dimm’d,
That breed a bloodless sickness;
With little clouds of doubtful constant faith,
And that, oft I hear men say,
Her trust her doubt, like rain and heat is skies,
Is only cured by quickness.
Gently thund’ring, she lightning to mine eyes.
Oft I have been wooed and prayed
Sweet summer-spring that breatheth life & growing,
But never could be moved.
In weeds as into (healing) herbs and flow’rs,
Many for a day or so
And sees of service divers sorts in sowing,
I have most dearly loved.
Some haply seeming and some being yours,
But this foolish mind of mine
Rain on your herbs and flow’rs that truly serve,
Straight loathes the thing resolved.
And let your weeds lack dew and duly starve.
If to love be sin in me,
Ford Come Phyllis, come into these bowers That sin is soon absolved.
Come, Phillis, come into these bowers,
Sure, I think I shall at last
Here shelter is from sharpest showers,
Fly to some holy Order;
Cool gales of wind breathes in these shades,
When I once am settled there,
Danger none this place invades.
Then I can fly no farther.
Here sit and note the chirping birds,
Yet I would not die a maid,
Pleading my love in silent words.
Because I had a mother;
Come Phillis, come bright heavens eye, As I was by one brought forth,
Cannot upon thy beauty pry, I would bring forth another.
16Campion Shall I come sweet Love, to thee?
Dream, fair virgins, of delight
Shall I come, sweet love, to thee
And blest Elysian groves,
When the evening beams are set?
While the wand’ring shades of night
Shall I not excluded be?
Resemble your true loves.
Will you find no feigned let?
Lulla, lullaby. Lulla, lullaby.
Let me not, for pity, more
Your kisses, your blisses,
Tell the long hours at your door.
Send them by your wishes,
Who can tell what thief or foe Although they be not nigh.
In the covert of the night
Thus, dear damsels, I do give
For his prey will work my woe,
‘Good night’, and so am gone:
Or through wicked foul despite?
With your hearts’ desires long live,
So may I die unredress’d,
Still joy, and never moan.
Ere my long love be possess’d.
Lulla, lullaby. Lulla, lullaby.
But to let such dangers pass, Hath pleased you and eased you,
Which a lover's thoughts disdain, And sweet slumber seized you,
'tis enough in such a place And now to bed I hie.
To attend Love's joys in vain.
Johnson Have you seene the white lilly grow?
Do not mock me in thy bed,
Have you seen but a while lily grow
While these cold nights freeze me dead.
Before rude hands had touch’d it,
Pilkinton Rest, sweet nymphs Have you mark’d the fall of the snow
Rest, sweet nymphs, let golden sleep Before the earth hath smutch’d it;
Charm your star brighter eyes, Have you felt the wool of beaver,
While my lute the watch doth keep Or swan’s down ever,
With pleasing sympathies. Or have smelt of the bud of the briar,
Lulla, lullaby. Lulla, lullaby. Or the nard in the fire,
Sleep sweetly, sleep sweetly, Or have tasted the bag of the bee?
Let nothing affright ye, Oh so white, oh so soft,
In calm contentments lie. Oh so sweet is she.
17C ATA L O G U E M U S I C A F I C TA
Nikolaus à Kempis (ca. 1600-1676) MF8001 BAROQUE
Symphoniae
Céline Scheen, Stéphane Van Dyck, Dirk Snellings
ENSEMBLE CLEMATIS
Leonardo Garcia Alarcòn
Martin Codax (XIIIe) MF8002 MOYEN - AGE
Cantiga de amigo
FIN' AMOR
Giulio Caccini (1551-1618) MF8003 BAROQUE
Amor che fai? Madrigali e Arie
Stephan Van Dyck ténor
Christina Pluhar harpe, théorbe
18A.E.M. Gretry (1741-1813) MF8004 CLASSIQUE Sei Quartetti, op.3 QUATUOR THAÏS Carolus Hacquart (ca 1640 - ca 1701) MF8006 BAROQUE Cantiones sacrae & Sonate Céline Scheen, Stephan Van Dyck, Dirk Snellings ENSEMBLE CLEMATIS Leonardo Garcia Alarcòn Loeillet MF8007 BAROQUE Sonatas & Triosonatas LA CACCIA Patrick Denecker Georg Friedrich Haendel (1685-1759) MF8008 BAROQUE Mottetti e Sonate da chiesa Magali Léger ROSASOLIS
MF8009
Enregistrement numérique réalisé les 13-16 mai 2008
en église Saint-Remy
de Franc-Waret (Belgique)
Directeur artistique,
ingénieur du son et montage numérique Manuel Mohino
2009 Arts/Scène Production asbl
www.arts-scene.be
© 2009 Pavane Records
www.musica-ficta.com
Producteur exécutif Bertrand de Wouters d'Oplinter
Directeur de collection Bernard Mouton
bmouton@musica-ficta.com
Fabriqué en France (EU) par MPO
Concept visuel Mélanie Heddrich, HDMH sprl
www.hdmh.euYou can also read
