John Dowland Sir Henry Umpton's Funeral Vídeos
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Hurley Robin Tyson Paul Phoenix Lawson Connolly John Dowland William Byrd Richard Dering Peter Philips Thomas Weelkes Whitehead Galliard 1543 1560 1563 1576 1580 1605 1623 1626 1628 1630 1957
1605: Treason & Dischord On 5 November 1605 Guy Fawkes was caught preparing to detonate 36 barrels of gunpowder under the House of Lords unvelling an act of attempted treason that shocked the whole of Europe. What led a group of young Catholic men to risk their lives for their faith? 400 years later the King's Singers and Concordia illuminate the dangers of hearing Mass in secret, of conspiracy and downfall, and of protestant relief and celebration, through a project of music and prose.((http•••)) Singers: David Hurley (countertenor), Robin Tyson (countertenor), Paul Phoenix (tenor), Philip Lawson (baritone), Christopher Gabbitas (baritone), Stephen Connolly (bass). Organist: Sarah Baldock (Mrs. David Hurley) Ensemble Concordia John Dowland +••.••(...)), William Byrd +••.••(...)), Richard Dering (c. 1580 - 1630), Peter Philips +••.••(...)), Thomas Weelkes (c. 1576 - 1623), Francis Pott (1957) 01 John Dowland - George Whitehead's Almand 0:00 02 William Byrd - Kyrie from Mass for 4 voices 1:29 03 William Byrd - A Fancie 3:25 04 William Byrd - Gloria from Mass for 4 voices 7:57 05 Richard Dering - Ardens est Cor Meum 13:52 06 William Byrd - Civitas Sancti Tui 16:32 07 Peter Philips - Ave Maria Gratia Plena 21:39 08 William Byrd - Credo from Mass for 4 voices 23:50 09 John Dowland - Sir Henry Umpton's Funeral 31:49 10 Thomas Weelkes - O Lord how Joyful is the King 36:11 11 William Byrd - From Virgin's womb/Rejoice, rejoice 44:36 12 John Dowland - M. Bucton's Galliard 46:42 13 William Byrd - Sanctus Benedictus from Mass for 4 voices 48:05 14 Francis Pott - Master Tresham: His Ducke 51:57 15 William Byrd - Agnus Dei from Mass for 4 voices 1:05:50
John Dowland Jordi Savall Nichol Whitehead Thomas Morley Anthony Holborne Galliard William Byrd Hespèrion XX 1563 1599 1604 1626 1987
John Dowland +••.••(...)) - Lachrimae or Seaven Teares 1604 . *Click to activate the English subtitles for the complete presentation* (00:00-10:15) 1 Lachrimae Antiquae (00:00) 2 Sir John Souch His Galiard (04:41) 3 Lachrimae Antiquae Novae (06:45) 4 Mr. Henry Noell His Galiard (11:36) 5 Lachrimae Gementes (13:35) 6 The Earle Of Essex Galiard (18:01) 7 Lachrimae Tristes (19:26) 8 Mr. Nicholas Gryffith His Galiard (24:47) 9 Lachrimae Coactae (26:41) 10 Mr. Giles Hoby His Galiard (31:34) 11 Lachrimae Amantis (33:03) 12 Mr. Thomas Collier His Galiard (38:25) 13 Lachrimae Verae (39:54) 14 Capitaine Digorie Piper His Galiard (45:07) 15 Semper Dowland Semper Dolens (47:01) 16 The King Of Denmark's Galiard (53:00) 17 Sir Henry Umpton's Funerall (55:00) 18 Mr. Bucton His Galiard (1:01:05) 19 Mr. John Langton's Pavan (1:02:35) 20 Mrs. Nichol's Almand (1:07:46) 21 Mr. George Whitehead His Almand (1:09:08) Jordi Savall / Hespèrion XX Recorded in 1987, at Spain Find CMRR's recordings on Spotify: (http•••) A mirror held up to melancholy or the anamorphosis of a theme, the Lachrimae leave the musician and the listener free to choose the presentation : if you assemble them in set form, you will derive an intense intellectual pleasure from following the elements of their organic unity through en ever-changing polyphony ; if you couple them with the galliards, your attention will be continually solicited by the natural rhythm of tension and relaxation resulting from this association. Jordi Savall has chosen the second solution and — sometimes by means of perfectly licit transcriptions — established new relations of complementarity within this collection of miscellanies. The fourteen pieces following the Lachrimae in the original edition are ordered according to the hierarchy of dances described by Thomas Morley, and are all dedicated to the highest personages of England. The group of pavans is prefaced by the self portrait of the lutenist, Semper Dowlend, semper dolens (Ever Dowland, ever doleful), the most elaborate composition of the whole collection, with, in its third part, a quotation from the In Nomine which tolls like a knell in the alto. Sir Henry Umpton's Funeral, a tombeau in the style of those composed by Anthony Holborne (1599) seems to have been written directly for the instrumental ensemble and contains echoes of Dowland's ayre 'In darkness let me dwell'. In this dark and heavy atmosphere the pavan for John Langton, with its major tonality, brings an almost unexpected clarity. The galliards, a favourite form with Dowland, seldom have the playful tone suited for this type of dance. The first in the series, the very martial and picturesque Battle galliard (which was also to seduce the virginalist William Byrd) was renamed for this occasion and most opportunely dedicated to Christian IV of Denmark. Incidentally this is the only piece that Dowland condescended to offer to a foreign high personage. The Duke ofEssex' galliard is the instrumental version of an ayre from the first book; its words ('Can she excuse my wrongs') were allegedly written by Robert Devereux on the eve of his execution. For obvious reasons Dowland's posthumous homage could have been brought in the open only after Elizabeth's death. Among the other galliards, only two appear here in the original form ; they are dedicated to some obscure, even unknown characters, Nicholas Griffith and Thomas Collier; the second piece is particularly interesting for the treatment in imitation of the two upper parts, in the new manner. The work is rounded off by two allemandes whose simplicity, sturdiness and joviality could almost make us forget that they too were composed by Jo : dolandi de Lachrimae. Medieval Music, Jordi Savall : Llibre Vermell De Montserrat, Stella splendens + P° (Century's recording) : (http•••) John Dowland PLAYLIST (reference recordings) : (http•••)
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