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Music from a Tudor Court

Music from a Tudor Court

Ref: CDG1250

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Delicate lute duets which conjure images of a courtly scene. Musicians play quietly in the corner of a garden, where the colours and scents are reflected in the twists, turns and melodies of this elegant music.

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Music from a Tudor Court

Delicate lute duets which conjure images of a courtly scene. Musicians play quietly in the corner of a garden, where the colours and scents are reflected in the twists, turns and melodies of this elegant music.

1. My Lord Willoughby's Welcome Home John Dowland (1563-1626)
2. Plainsong for two lutes Thomas Robinson (fl. 1602-1610)
3. A Fancy John Danyel (1564-c.1626)
4. Echo Almain Francis Pilkington (c.1565-1638)/Marchant
5. A Merry Mood Anonymous
6. Mr Drewry's Accorde Anonymous
7. Duncomb's Galliard Anonymous
8. La Vecchia Pavan John Johnson (c.1540-1594)
9. La Vecchia Galliard John Johnson
10. A Toy Thomas Robinson
11. A Fantasy Thomas Robinson
12. A Fancy John Marchant (fl.16th -17th centuries)
13. Robin Anonymous
14. Greensleeves Anonymous
15. The Honsok John Johnson
16. Twenty Ways Upon the Bells Thomas Robinson
17. Second Dump (The Queen's Treble) John Johnson
18. Bergamasca Anonymous Margaret Board Lute Book c.1620
19. Trenchmore John Johnson
20. Greensleeves Anonymous Folger Dowland Lute Book 1597
21. Canon Francesco da Milano (1497-1543)
22. Spagna Francesco da Milano
23. Contrapunto Primo di B.M. Vincenzo Galilei Il Fronimo 1584
24. Contrapunto Secondo di B.M. Vincenzo Galilei Il Fronimo 1584
25. Amy souffres Wolf Heckels Lute Book 1562
26. Grace et vertu ad quartam Roquelay (16th century)
27. Pis ne me peult venir ad quintam Thomas Crequillon (c.1480-c.1557)
28. En espoir ad quintam Nicolas Gombert (c.1490-1556)
29. Galliard ad quintam Anonymous
30. The Spanish Pavan Alfonso Ferrabosco (c.1572-1628)

Lynda Sayce & Matthew Spring, lutes

CCL CDG1250
Cover image: Garden scene, the lover and dame Oyseuse (Idleness) outside the garden walls, from the 'Roman de la Rose', Bruges c 1490-1500 Netherlandish School/c British Library Board. All rights reserved/The Bridgeman Art Library
P & C 2004 Classical Communications Ltd
Made in Great Britain


Music from a Tudor Court



Sir, it is verie true, that manie, both men and women, that in their youth could haue played (for that kinde of play) passing well, in their age, or when they once haue beene married, haue forgotten all, as if they had neuer knowne what a Lute had ment: and the reason I finde to proceed (in the beginning of their learning) from the ignorance of their teachers, for in older times they strove (onlie) to haue a quick hand vpon the Lute, to runne hurrie hurrie, keeping a Catt in the gutter vpon the ground, now true then false, now vp now downe, with such painfull play, mocking, mowing, gripeing, grinning, sighing, supping, heauing, shouldring, labouring, and sweating, like cart Iades, without any skill in the world, or rule, or reason to play a lesson, or finger the Lute, or guide the bodie, or know any thing, that belongeth, either to skill or reason.

In God reioyce, With Instrument and voyce.
An extract from Thomas Robinson's
THE SCHOOLE OF MVSICKE:

W H E R E I N I S T A V G H T , T H E P E RF E C T M E T H O D , O F TRV E fingering of the Lute, Pandora, Orpharion, and Viol de Gamba; with most infallible generall rules, both easie and delight-full.

Also, a method, how you may be your owne instructer for Prick-song, by the help of your Lute, without any other teacher: with lessons of all sorts, for your further and better instruction.

Newly composed by Thomas Robinson, Lutenist.
LONDON: Printed by Tho.Este,for Simon Waterson,dwelling at the signe of the Crowne in Paules Church-yard. 1603.

Lute playing was a favourite pastime of the leisured classes and the wealthy in Tudor England, and publications such as Robinson's 'The Schoole of Musicke' flourished. Equivalent publications appeared throughout Europe, all providing instruction and advice on music making, normally of both a practical and social nature. Such instructions books appeared for other instruments, too. In the late seventeenth century Francois Couperin was giving plenty of advice not only on how to play the harpsichord, but also on how to sit at the instrument for the best effect!

This collection of Tudor music for two lutes includes music by the important and famous composers of the day, not only from England, but also further afield. The Tudor court was famous for its music and for employing a large number of Italian musicians throughout the sixteenth century. The latter tracks on this album are therefore by European composers of the period, and feature primarily arrangements of famous songs and choral music of the day. Many pieces are anonymous, often with a Spanish flavour, but in some instances we have indicated where the music is found, to provide a context of time and place.


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