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Nigel Rogers - Dowland: Songs for Tenor and Lute - A Musicall Banquet (2020)

Nigel Rogers - Dowland: Songs for Tenor and Lute - A Musicall Banquet (2020)

BAND/ARTIST: Nigel Rogers

  • Title: Dowland: Songs for Tenor and Lute - A Musicall Banquet
  • Year Of Release: 2020
  • Label: Warner Classics
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 116:22 min
  • Total Size: 474 MB
  • WebSite:
Tracklist:

Disc: 1
1. The First Booke of Songes or Ayres: No. 11, Come Away, Come Sweet Love
2. The First Booke of Songes or Ayres: No. 20, Come Heavy Sleep
3. The First Booke of Songes or Ayres: No. 15, Wilt Thou Unkind Thus Reave Me?
4. The First Booke of Songes or Ayres: No. 4, If My Complaints Could Passions Move
5. The First Booke of Songes or Ayres: No. 3, My Thoughts Are Winged with Hopes
6. The First Booke of Songes or Ayres: No. 19, Awake Sweet Love
7. The Second Booke of Songs or Ayres: No. 3, Sorrow, Stay
8. The Second Booke of Songs or Ayres: No. 12, Fine Knacks for Ladies
9. The Second Booke of Songs or Ayres: No. 2, Flow My Tears
10. The Second Booke of Songs or Ayres: No. 19, Shall I Sue
11. The Second Booke of Songs or Ayres: No. 1, I Saw My Lady Weep
12. The Third and Last Booke of Songs or Ayres: No. 6, When Phoebus First Did Daphne Love
13. The Third and Last Booke of Songs or Ayres: No. 7, Say, Love, If Ever Thou Didst Find
14. The Third and Last Booke of Songs or Ayres: No. 16, Fie on This Feigning
15. The Third and Last Booke of Songs or Ayres: No. 15, Weep You No More Sad Fountains
16. A Pilgrimes Solace: No. 4, Love Those Beams
17. A Pilgrimes Solace: No. 2, Sweet Stay Awhile
18. A Pilgrimes Solace: No. 3, To Ask for All Thy Love
19. A Pilgrimes Solace: No. 6, Were Every Thought an Eye
20. A Pilgrimes Solace: No. 5, Shall I Strive with Words to Move?

Disc: 2
1. The Right Honourable the Lord Viscount Lisle, P. 38 "Sir Robert Sidney His Galliard" - Anthony Bailes
2. My Heavie Sprite, Oppress'd with Sorrow's Might
3. Change Thy Mind Since She Doth Change
4. O Eyes, Leave Off Your Weeping
5. Go, My Flock, Go Get You Hence
6. O Dear Life, When Shall It Be?
7. To Plead My Faith
8. In a Grove Most Rich of Shade
9. Far from Triumphing Court
10. Lady, If You so Spite Me
11. In Darkness Let Me Dwell
12. Airs mis en tablature de luth, Troiseme livre: Si le parler et le silence (Arr Bataille)
13. Airs mis en tablature de luth, Troiseme livre: Ce penser qui sans fin tirannise ma vie (Arr Bataille)
14. Airs mis en tablature de luth, Troiseme livre: Vous que le bonheur rappelle (Arr Bataille)
15. Passava Amor Su Arco Desarmado
16. Sta notte mi sognava
17. Vuestros Ojos Tienen d'Amor
18. Se di farmi morire
19. Le nuove musiche: No 11, Dovro dunque morire?
20. Le nuove musiche: No. 8, Amarilli mia bella
21. O bella piu


Nigel Rogers began singing at an early age as a boy treble and later became a choral scholar at King’s College, Cambridge. After graduating he went first to Italy and then to Germany, where he studied at Munich’s Hochschule für Musik. During the early 1960s he toured all over the world before returning to England, where he began to take a greater interest in Baroque music. He is accompanied here by first-class musicians: lutenists Anthony Bailes and Paul O’Dette, gambist Jordi Savall.

John Dowland is one of England’s greatest composers. In his lifetime, he was acknowledged as an outstanding lutenist, and his songs have always been popular. Dowland’s distinctive hallmark as a songwriter is his uncanny skill at creating a suitable musical atmosphere for a poem. In 1610, John’s son Robert Dowland (1591-1641), a minor composer of the time, assembled a collection of works by third-party composers entitled A Musicall Banquet and put his own name to it. His father is the most famous of the composers included; there is a suggestion that he helped his 19 year-old son with assembling the collection, hoping that the attribution would launch the young man's musical career. The musical net of the collection is cast wide, with French and Italian composers as well as English. It was the first collection of lute songs to take this approach, presenting a cross-section of European solo songs c.1600.


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