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Consort Songs

Amsterdam Loeki Stardust Quartet

John Dowland, William Byrd, Anonymous, Thomas Tallis, Richard Nicholson, Thomas Simpson, William Cobbold, Patrick Mando, John Jenkins, Alfonso Ferrabosco II

SKU: 9196

Year of release: 1996

1. Sorrow, Come John Dowland 05:34
2. Courant John Dowland 01:30
3. Wretched Albinus William Byrd 02:30
4. With Lilies White William Byrd 02:38
5. Aria John Dowland 02:43
6. Complain With Tears Anonymous 02:14
7. When Shall My Sorrowful Slighing Thomas Tallis 02:05
8. In A Merry May Morn Richard Nicholson 01:27
9. When May Is In His Prime Anonymous 02:10
10. Male-Content Thomas Simpson 01:01
11. This Merry Pleasant Spring Anonymous 01:37
12. Ye Mortal Wights William Cobbold 04:50
13. Paduan Thomas Simpson 03:24
14. Volta Thomas Simpson 01:00
15. Like As The Day Patrick Mando 02:55
16. How Can The Tree Anonymous 03:10
17. Fantasia VII John Jenkins 06:23
18. Four-Note Pavan Alfonso Ferrabosco II 03:31
Total time: 50:50

About this album

Consort Songs Teares or Lamentacions of a sorrowfull Soule is the publication where Sir William Leighton uses the term consort song for the first time. During the reign of Queen Elizabeth, the genre of the consort song already appeared in certain collections from the 1580s, which contain several examples of a song-form for a high solo voice accompanied by four instruments. A few early four-part consort songs survive, but five-part texture seems to have become standard almost from the inception of this form. The consort song emerged from the assimilation and expansion of the English ayre and the highly popular Italian madrigale. To the simpler and ingratiating manner of the lute ayre, a more contrapuntal and expressive style of the madrigal was added. The musical importance of the consort song rests largely upon its development by the composer William Byrd, who regarded it as the standard means of setting vernacular poetry. In his songs almost every vocal phrase is anticipated, supported and imitated by a dense stream of notes that flows round it. Although Byrd presented most items in his published collections as fully vocal compositions, about half of them are in fact consort songs, which Byrd stated as being originally made for instruments to express the harmony, and one voice to pronounce the ditty. There will always remain an attractive amount of uncertainty when trying to reveal the beauty of a composition in all its colours. Searching for a favourable lighting means experimenting with historic tone colours and adding or omitting elements. Both the recorder and the soprano voice of a boy are known to have been established during the time of publication of consort songs, and the vocal part always lies within the range of a boys voice, either treble or mean (alto). Naturally these songs have had performances in more than one appropriate rendering, according to availability of different voices and instruments.

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Technical Specifications

Digital To Analog Convertersony
Mastering EquimentSony DAE 3000
Mastering EngineerBert van der WolfS
Mixing ConsoleRens Heijnis
MicrophonesBruel & Kjaer, Schoeps
Recording Formatpcm 44.1
Analog To Digital ConverterdCS900
Recording DateFebruary 1996
Recording Locationprotestant Church Renswoude, The Netherlands
EditingBert van der Wolf
Recording EngineerBert van der Wolf
ProducerTed Diehl