Of all English songwriters, John Dowland has enjoyed the most powerful afterlife, his voice unmistakably present in any version of his songs. The preeminent marriage of music and poetry, the nuanced shades of wit and melancholy and the extraordinary writing for both lute and voice all combine to proclaim Dowland as the father of English song.
Countertenor Iestyn Davies has gained international fame through his operatic performances (including lead roles at the Metropolitan Opera of New York and English National Opera) and recordings (including his Gramophone-Award-winning recording of Arias for Guadagni). Hearing him in this intimate musical setting is a revelation—as is the playing of the young lutenist Thomas Dunford.
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Come again, sweet love doth now invite
Go Crystal tears
Mrs Winter's Jump
I saw my Lady weepe
Flow my teares (Lacrimæ)
Can she excuse my wrongs? (First Booke of Songes, 1597)
Behold a wonder here
Semper Dowland Semper Dolens
In darkness let me dwell
Time stands still
All ye, whom Love or Fortune hath betray'd
Say love if ever thou didst find
Lachrimae, or Seaven Teares
Come away, come, sweet love
Shall I strive with wordes to move?
Burst forth my tears
Fortune my foe
Come heavy sleep
Now, O now, I needs must part
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“Sophistication and refinement inform every note of Iestyn Davies's recital...this recording proves that the age of monochrome Dowland is over.”