With Endless Teares

Fred Jacobs, Johannette Zomer

15.9927.49
Clear
Original Recording Format: DSD 64

There is a gradual increase in the use of bass line notation, implying a continuo realization, instead of complete tablature as accompaniment for lute song in Jacobean England, after about 1610. Although the lute was to remain the accompanying instrument of choice, other instruments, theorbos for example, could now replace it, depending on the situation. It is not clear when the theorbo was first used in England but the great architect, stage designer and masque producer Inigo Jones has been mentioned as having brought the first one back from a journey to Italy before 1605. The new Italian vocal music came from different sources: Robert Dowland printed Caccini’s Amarilli in his Musical Banquet in 1610 and Angelo Notari published his Prime Nuove Musiche (per cantare con la tiorba…) in London in 1613. Its declamatory style became particularly popular in the context of Jones’ masque: an extravagant art form as Stuart propaganda, combining grandiose theatre effects dance and ‘operatic’ singing, often accompanied by a consort of plucked instruments.

Tracklist

1.
Have you seen but the bright lily grow
01:46
2.
Woods, rocks and mountains
02:41
3.
With endless tears
01:55
4.
Come hither you that love
01:04
5.
Come, heavy sleep
02:14
6.
Almain
01:08
7.
The Prince?s Almain
01:02
8.
Mark how the blushful morn
01:36
9.
I wish no more
01:01
10.
No more shall meads be deck?d with flowers
00:00
11.
Almain
01:09
12.
Almain
02:14
13.
Amarillis by a spring
01:46
14.
Amintor?s welladay
02:05
15.
Sleep soft, you cold clay cinders
01:54
16.
Chloris dead, lamented by Amintor
02:09
17.
Courante
01:02
18.
Volte
01:25
19.
Ariadne?s Lament
09:49
20.
Courante
01:35
21.
Cloches
01:22
22.
Cupid once, when weary grown
01:59
23.
Oh! That I had but a fine man
01:11
24.
O Love, if e?er thou?lt ease a heart
03:34
25.
How severe is forgetful old age
01:15
26.
If grief has any pow?r
01:54
27.
When first Amintas sued for a kiss
01:38
28.
Music for a while
03:56
29.
Farewell, all joys!
01:56

Total time: 00:58:20

Additional information

Label

SKU

26609

Qualities

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Channels

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Artists

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Composers

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Genres

,

Cables

van den Hul

Digital Converters

Meitner EMM Labs A/D and D/A

Mastering Engineer

Jared Sacks

Mastering Equipment

B&W 803 diamond series

Microphones

Bruel & Kjaer, Schoeps

Mixing Board

Rens Heijnis custom design

Awards

Original Recording Format

Producer

Jared Sacks

Recording Engineer

Jared Sacks

Recording location

Doopgezinde Kerk Deventer The Netherlands 2009

Recording Software

Pyramix bij Merging

Recording Type & Bit Rate

DSD64

Speakers

Audiolab, Holland

Release Date July 6, 2016

Press reviews

Toccata

Johannnette singt sehr schön, und lässt auch die Texte klar zum Ausdruck kommen, Fred Jacobs spielt einige Lautenstücke und macht das sehr gut. Eine schöne Platte.

BBC Music Magazine

There’s a brightness to the voice which pinpoints open-eyed wonder in songs such as ‘Have you seen but the lily grow’?

International Record Review

This is sublime: quite simply the finest registration of 17th century English song on the market. It’s one of those perfectly designed programmes, which have all the built-in variety you need for over an hour’s uninterrupted listening pleasure. There is plenty here for the casual listener and connoisseur alike and, despite the title, the introspective mood is upliftingly beautiful throughout. The scholarly preparation which makes this possible, and the clear sense that these interpretations have been honed, through regular performance, are what we’ve come to expect from the brilliantly successful partnership of Dutch soprano and the lutenist (…)
(…) This is good: it’s a European view of English repertory we don’t often hear. With the architecture of this pieces so convincingly mapped out by Jacobs and with Zomer’s expressive freshness, one listens intently, not ‘With endless tears; but with ‘endless fascination’.
An outstanding achievement on every front.

American Record Guide

This is as fine a program of Renaissance songs as one will ever find. (…)

Luister

Johannette zingt deze liederen – kleine, afgeronde, melancholieke verhaaltjes – prachtig. Ontspannen, zuiver, boeiend, ontroerend, met gevoel voor detail, frasering en nuancering klinkt haar stem waar nodig is vol en rijp, maar ook strak en ingehouden, altijd naar een moment van ontspanning toezingend. Fred Jacobs speelt dienstbaar aan zangeres en muziek en kan gelukkig in de zes werken voor luitsolo ook als muzikaal verteller van de eerste orde zijn ei kwijt.

Gelderlander

Jarenlang was de sopraan Emma Kirkby de ongekroonde koningin van het Engelse renaissance- en baroklied. Maar nu hebben we onze eigen Johannette Zomer. Met dit prachtige album volstrekt zich een troonswisseling. Gegeleidt door Fred Jacobs op de luit en de theorbe, klinken deze miniatuurtjes onder de huid. Wat een expressie horen we in Johnsons titelsong. De intermezzi nodigen uit tot heerlijk releaxed genieten.

Tijdschrift Oude Muziek

een toonbeeld van uitgekiende programmering en musicieren op het allerhoogste niveau. Johannette heeft de zeldzame gave dat ze álles wat ze doet in de Vroegbarokke muziek zo vanzelfsprekend kan laten klinken dat je gewoon vergeet dat er ook nog andere zangers zijn die dit repertoire zingen (…) Een verademing!

Parool

Ragfijne 17e eeuwse Engelse muziek die door Zomer en Jacobs op exemplarische wijze wordt uitgevoerd.

Klassik.com

Zomer geht auf diese poetische Bildersprache der Gedichte stimmlich sehr differenziert ein und zeichnet die Emotionen der Texte gefühlvoll nach. (…) Ihr Timbre ist samtig weich und warm mit einem herrlich unangestrengten Glanz in der Höhe.(…) Fred Jacobs spielt expressiv und anmutig.

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