Carolyn Sampson, Matthew Wadsworth - Not just Dowland (2010)
BAND/ARTIST: Carolyn Sampson, Matthew Wadsworth
- Title: Not just Dowland
- Year Of Release: 2010
- Label: Wigmore Hall Live
- Genre: Classical
- Quality: FLAC (tracks)
- Total Time: 01:16:04
- Total Size: 253 Mb
- WebSite: Album Preview
Tracklist:
1. Prelude
Composed By – Philip Rosseter
2. Away Delights
Composed By – Robert Johnson
3. Oh, Let Us Howl
Composed By – Robert Johnson
4. Care-charming Sleep
Composed By – Robert Johnson
5. Pavan IV
Composed By – Alfonso Ferrabosco
6. Galliard
Composed By – Anonymous
7. Fortune My Foe
Composed By – John Dowland
8. Pavan In C Minor
Composed By – Robert Johnson
9. Can She Excuse My Wrongs
Composed By – John Dowland
10. In Darkness Let Me Dwell
Composed By – John Dowland
11. Quel Sguardo Sdegnosetta
Composed By – Claudio Monteverdi
12. O Quam Tu Pulchra Es
Composed By – Alessandro Grandi
13. Toccata XIII
Composed By – Alessandro Piccinini
14. Partite Variate Sopra La Folia
Composed By – Alessandro Piccinini
15. Amarilli Mia Bella
Composed By – Giulio Caccini
16. Toccata Arpeggiata
Composed By – Giovanni Kapsberger
17. Kapsberger
Composed By – Giovanni Kapsberger
18. Canzonetta Spirituale Sopra Alla Nonna
Composed By – Tarquinio Merula
19. Encore Announcement 0:06
20. Have You Seen The Bright Lily Grow?
Composed By – Robert Johnson
Performers:
Lute, Theorbo – Matthew Wadsworth
Soprano Vocals – Carolyn Sampson
1. Prelude
Composed By – Philip Rosseter
2. Away Delights
Composed By – Robert Johnson
3. Oh, Let Us Howl
Composed By – Robert Johnson
4. Care-charming Sleep
Composed By – Robert Johnson
5. Pavan IV
Composed By – Alfonso Ferrabosco
6. Galliard
Composed By – Anonymous
7. Fortune My Foe
Composed By – John Dowland
8. Pavan In C Minor
Composed By – Robert Johnson
9. Can She Excuse My Wrongs
Composed By – John Dowland
10. In Darkness Let Me Dwell
Composed By – John Dowland
11. Quel Sguardo Sdegnosetta
Composed By – Claudio Monteverdi
12. O Quam Tu Pulchra Es
Composed By – Alessandro Grandi
13. Toccata XIII
Composed By – Alessandro Piccinini
14. Partite Variate Sopra La Folia
Composed By – Alessandro Piccinini
15. Amarilli Mia Bella
Composed By – Giulio Caccini
16. Toccata Arpeggiata
Composed By – Giovanni Kapsberger
17. Kapsberger
Composed By – Giovanni Kapsberger
18. Canzonetta Spirituale Sopra Alla Nonna
Composed By – Tarquinio Merula
19. Encore Announcement 0:06
20. Have You Seen The Bright Lily Grow?
Composed By – Robert Johnson
Performers:
Lute, Theorbo – Matthew Wadsworth
Soprano Vocals – Carolyn Sampson
This live recording featuring soprano Carolyn Sampson and lutenist Matthew Wadsworth comes from a recital the pair gave at London's Wigmore Hall in December 2008. The title, Not Just Dowland: Songs for Soprano and Lute, includes only three tracks by Dowland and primarily serves to draw attention to the great many other composers who wrote lute songs in the Renaissance and Early Baroque eras. The English and Italian composers include Robert Johnson, who is represented by five pieces, and Philip Rosseter, Alfonso Ferrabosco, Claudio Monteverdi, Alessandro Grandi, Alessandro Piccinini, Giulio Caccini, Giovanni Kapsberger, and Tarquinio Merula. Eight tracks are devoted to Wadsworth's solos on lute or theorbo, and he uses the theorbo to accompany the Italian songs. The album is clearly marketed to Dowland fans, who should be delighted that Sampson and Wadsworth have highlighted such lovely repertoire using the same performing forces as Dowland. Almost all the English songs are in the somber mood characteristic of Dowland, and the Italian songs have a broader expressive range, some of them, like the Monteverdi, quite sunny, and they are generally more virtuosic. Although Sampson has an extensive repertoire reaching into the modern era, her specialty is the Baroque, for which her light, pure, crystalline voice is beautifully suited. Her performance of Dowland's In darkness let me dwell doesn't have the anguished gravitas that many singers bring to it, but it is touching in its chaste understatement. She is most fully in her element in the songs that show off the supple agility of her voice. Wadsworth's solos make up a significant part of the recital, and the sensitivity and soulfulness of his playing are especially engaging. The sound is clean and warm, but the amount of applause that's included between sets seems excessive and distracting.
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