00:00 It was a lover and his lass (First Booke of Ayres, 1600; Thomas Morley, )
Sheila Schonbrun and Ray DeVoll, with bass viol and harpsichord
02:30 Browning (William Byrd, )
06:58 Gryffith Galliard (John Dowland, 1563-1626)
08:39 When David heard that Absalom was slain (Thomas Weelkes, 1576-1623) 6 voices
12:05 Susanna fair some time assaulted was (Songs of sundrie natures, 1589; Byrd)
Sheila Schonbrun, with instruments
14:47 Psalm 114: When Israel came out of Egypt (The Third Set of Bookes, 1610; Michael East, )
19:12 Blow out the trumpet (Martin Peerson, )
22:00 Death and Life (Pavane & Galliard; Tobias Hume, ) Judith Davidoff, bass viol
28:17 Sorrow, stay! (Second Booke of Songs or Ayres, 1600; Dowland) Ray DeVoll, with lute
31:50 Queen Elizabeth’s Galliard (Dowland) James Tyler, lute
33:40 Kemp’s Jig (anonymous) James Tyler, lute
34:37 Whither runneth my sweetheart? (A Booke of Ayres, 1606; John Bartlett, )
Earnest Murphy and Ray DeVoll, with lute and bass viol
36:12 Fantasia (John Wilbye, 1574-1638)
38:48 What saith my dainty darling (First Booke of Balletts to Five Voyces, 1595; Morley)
New York Pro Musica - Noah Greenberg, director
Sheila Schonbrun: soprano
Elizabeth Humes: soprano
Earnest Murphy: countertenor
Ray DeVoll: tenor
Arthur Burrows: baritone
Brayton Lewis: bass
LaNoue Davenport: recorders, krummhorns, treble cornett
Shelley Gruskin: flutes, recorders, krummhorns, schryari
Judith Davidoff: bass viol
Paul Maynard: harpsichord, portative organ, regal
James Tyler: lute (guest artist)
Art: Edward Herbert, 1st Baron Herbert of Cherbury (), by Isaac Oliver (1556-1617)
¨...The isle is full of noises,
Sounds and sweet airs that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears; and sometime voices
That, if I then had wak’d after long sleep,
Will make me sleep again; and then, in dreaming
The clouds methought would open and show riches
Ready to drop upon me, that, when I wak’d,
I cried to dream again.¨
The Tempest, . 144-152
¨Hop as light as bird from brier;
And this ditty, after me,
Sing, and dance it trippingly,
First rehearse your song by rote,
To each word a warbling note.
Hand in hand, with fairy grace
Will we sing, and bless this place.¨
A Midsummer Night’s Dream, V.i. 401-407.
¨My masters, are you mad?... Have you no
wit, manners, nor honesty, but to gabble
like tinkers at this time of night?
Do you make an alehouse of my lady’s house,
that ye squeak out your coziers’ catches
without any mitigation or remorse of voice?¨
Twelfth Night, . 93-98
¨A lover’s ear will hear the lowest sound
When the suspicious head of theft is stopp’d.
Love’s feeling is more soft and sensible
Than are the tender horns of cockled snails.
Subtle as Sphinx; as sweet and musical
As bright Apollo’s lute, strung with his hair.
And when Love speaks, the voice of all the gods
Make heaven drowsy with the harmony.¨
Love’s Labour’s Lost, . 335-345.
¨For Orpheus’ lute was strung with poets’ sinews,
Whose golden touch could soften steel and stones,
Make tigers tame, and huge leviathans
Forsake unsounded deeps to dance on sands.¨
The Two Gentlemen of Verona, . 78-81
How sweet the moonlight sleeps upon this bank!
Here will we sit and let the sound of music
Creep in our ears. Soft stillness and the night
Become the touches of sweet harmony.
The Merchant of Venice, V.i. 54.
¨... Why dost thou not go to church in a galliard and come home in a coranto? My very walk should be a jig. I would not so much as make water but in a sink-a-pace... Is it a world to hide virtues in? I did think, by the excellent constitution of thy leg, it was form’d under the star of a galliard.”
Twelfth Night, . 36-42.
¨How oft, when thou, my music, music play’st
Upon that blessed wood whose motion sounds
With thy sweet fingers when thou gently sway’st
The wiry concord that mine ear confounds,
Do I envy those jacks that nimble leap
To kiss the tender inward of thy hand...¨
Sonnet CXXVIII
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