Velut Luna
AYRES & FANTASIAS - QUONIAM CONSORT OF DULCIANS
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AYRES & FANTASY ( CVLD227 )
Author : AAVV
Performer : QUONIAM CONSORT OF DULCIANS
Tracks
- John Dowland: come again sweet love - 2:09
- John Dowland: awake sweet love - 2:04
- Orlando Gibbons: Fantasy First for Two Downs - 2:19
- Thomas Lupo: Three-Bass Fantasy - 3:11
- Alfonso Ferrabosco: a pavin for lute - 3:36
- John Farmer: a little pretty bonny lass (vocal) - 1:39
- Christopher Simpson: divisions upon a ground (soloist C. Verh) - 7:04
- Michael East: Fantasia prima per due basse (love cannot dissemble) - 2:00
- Thomas Morley: April is in my mistress' face - 1:07
- Orlando Gibbons: Fantasy Fourth for Two Downs - 2:23
- Michael East: Fantasy Seven for Two Basses (U, D, E, F, G, A) - 2:18
- John Dowland: The Right Honorable Lady Clifton's Spirit. Galliard for lute - 1:44
- William Cornysh: ah Robin, gentle Robin - 2:18
- John Bull: Lord Lumley pavan for harpsichord - 4:41
- John Bull: Lord Lumley galliard - 2:06
- John Dowland: Lullaby - 2:40
- Orlando Gibbons: Fantasy Second for Two Downs - 2:39
- Anonymous: Fantasy for two basses and lute G496 - 1:41
- John Dowland: A Fancy for Lute - 2:36
- John Dowland: now, or now I needs must part - 3:20
- John Bennet: a hunt is up - 1:38
- John Farmer: a little pretty bonny lass (vocals and instruments) - 1:35
- Orlando Gibbons: Fantasy Three for Two Downs - 3:21
- John Dowland: rest a while you cruel care - 0:57
- Claudio Verh & John Dowland: diminutions above "rest a while" (soloist C. Verh) - 1:12
- Michael East: Fantasia terza for two basses (both alike) - 1:57
- Michael East: Fantasy Fifth for Two Basses - 2:02
- 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 2, 3, 4 parts entrusted to a consort of dulcians, lute, harpsichord and the human voice. Elizabeth I, crowned in 1558, extended her long reign until 1603 and supported England in a fortunate and important period of its history from a political, religious, commercial and cultural point of view. Like her father Henry VIII, she loved music very much, playing the lute and the lyre herself and surrounding herself with up to 70 musicians at court. Music was often associated with theatrical performances by geniuses such as Shakespeare and Marlow. The dulciana (curtal) was introduced into England in the first thirty years of the 16th century probably by the Venetians Bassano inventors of an instrument: the short bassoon (curtal) as can already be seen from two inventories of 1542 and 1547 dating back to the court of Henry VIII “…13 shorte instruments caulled Dulceuses…” In the 16th century many documents testify to the use of this instrument in England which was integrated into the wind instrumental groups (Waits) similarly to other similar ensembles on the European continent and intended for use at court as well as in public ceremonies. The refinement of the sound of the dulciana in its various sizes used here: bass but also soprano, contralto and tenor, is ideally combined with both the voice and instruments essential to harmony and counterpoint such as the lute and the harpsichord. Most English composers of the time wrote vocal and instrumental music for sacred and profane use. In the so-called consort music, it was common practice to perform polyphonic pieces for 4 or more voices with a homogeneous group of instruments. This is a rare sound documentation that shows its timbre on dulcians. It is also interesting to be able to perform some fantasias for two basses, originally intended for the viola d gamba, through the dulcian, which offers a sound that enhances 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 timbric 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 with high-resolution digital technology.

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