Lute Songs

Editorial Reviews

All Music Guide - James Manheim
Veteran English tenor Charles Daniels is best known for his careful, penetrating readings of large Baroque choral roles. This disc of famous Thomas Campion's "Fire fire" and a couple of Morley classics and not-so-famous William Corkine's "Beauty sat bathing" represents an unusual repertoire for him and another distinctive release connected with Canada's ATMA label and Montreal's vibrant early music scene. The lute song of the late sixteenth century, too, is sung at least as often by countertenors or by women as by tenors. The result of the reduction of Daniels' voice to chamber dimensions, together with the removal of the usual dramatic quality of the countertenor voice, ...
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Editorial Reviews

All Music Guide - James Manheim
Veteran English tenor Charles Daniels is best known for his careful, penetrating readings of large Baroque choral roles. This disc of famous Thomas Campion's "Fire fire" and a couple of Morley classics and not-so-famous William Corkine's "Beauty sat bathing" represents an unusual repertoire for him and another distinctive release connected with Canada's ATMA label and Montreal's vibrant early music scene. The lute song of the late sixteenth century, too, is sung at least as often by countertenors or by women as by tenors. The result of the reduction of Daniels' voice to chamber dimensions, together with the removal of the usual dramatic quality of the countertenor voice, is a rather sober set of lute songs, one that is quietly sad rather than elaborately melancholy. Daniels' readings might be a bit better suited to the contrapuntally artful style of Dowland than to the rather airier music of the second generation of lute song composers represented on the disc, and it is curious that nothing by Dowland was included. The interaction between Daniels and lutenist Nigel North, however, has the mix of perfect coordination and relaxed, free-breathing quality that signals a fine lute-song recording, and there is a gentle assurance to Daniels' singing that draws the listener in from the beginning. All texts are given in English and French, and the notes by François Sabatier, originally in French, are an offbeat delight, quoting a French writer, Rouville, who referred to "cet humour triste tellement britannique donnant l'impression que les larmes on envie de danser" that characteristically British sad brand of humor that gives the impression tears are tempted to dance. The church sonics are a bit too big for the music but do communicate the considerable subtleties of this set of low-key charms.
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Product Details

  • Release Date: 9/25/2007
  • Label: Atma Classique
  • UPC: 722056254823
  • Catalog Number: 2548
  • Sales rank: 365,217

Tracks

Disc 1
  1. 1 Come My Celia, Let Us Prove, for voice & lute - Alfonso Ferrabosco (The Younger) & Charles Daniels (2:14)
  2. 2 Like Hermit poor (Ayres, 1609) - Alfonso Ferrabosco (The Younger) & Charles Daniels (1:42)
  3. 3 So, so, leave off this last lamenting kisse (from Ayres 1609) - Alfonso Ferrabosco (The Younger) & Charles Daniels (2:38)
  4. 4 Fire, Fire, Fire, Fire for voice, lute & bass viol - Thomas Campion & Charles Daniels (1:53)
  5. 5 I Care Not for These Ladies for voice, lute & bass viol - Thomas Campion & Charles Daniels (2:22)
  6. 6 A painted tale, song for voice with lute & bass viol - Thomas Morley & Charles Daniels (2:29)
  7. 7 Thirsis and Milla, song in 2 sections for voice with lute & bass viol - Thomas Morley & Charles Daniels (2:49)
  8. 8 With my love my life was nestled, song for voice with lute & bass viol - Thomas Morley & Charles Daniels (2:16)
  9. 9 I saw my ladye weeping, song for voice with lute & bass viol - Thomas Morley & Charles Daniels (3:20)
  10. 10 Beauty sat bathing - William Corkine & Charles Daniels (2:27)
  11. 11 Tis true, 'tis day, what though it be? - William Corkine & Charles Daniels (2:53)
  12. 12 Who is it that this darke night, song for voice with lute & bass viol - Thomas Morley & Charles Daniels (5:15)
  13. 13 Can I forget what reason's force, song for voice with lute & bass viol - Thomas Morley & Charles Daniels (2:56)
  14. 14 Faire Sweet Cruell for 4 voices & instruments - Charles Daniels & Thomas Ford (1:43)
  15. 15 Go, Passions, to the Cruel Fair - Charles Daniels & Thomas Ford (3:29)
  16. 16 Not full twelve years (Musicke of Sundrie Kindes), for voice & lute - Thomas Ford & Charles Daniels (2:24)
  17. 17 Whither runneth my sweet hart (The Second Book of Songs, 1601), for voice & lute - Robert Jones & Charles Daniels (2:24)
  18. 18 Come sorrows (The Second Book of Songs), for voice & lute - Robert Jones & Charles Daniels (2:35)
  19. 19 Ay me, she frowns (The First Booke of Ayres) - Francis Pilkington & Charles Daniels (3:52)
  20. 20 Absence, hear thou my protestation, song for voice with lute & bass viol - Thomas Morley & Charles Daniels (5:07)
  21. 21 Come sorrow, come, song for voice with lute & bass viol - Thomas Morley & Charles Daniels (6:11)
  22. 22 When Laura Smiles - Philip Rosseter & Charles Daniels (3:12)
  23. 23 What Then Is Love but Mourning - Philip Rosseter & Charles Daniels (2:09)
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Album Credits

Performance Credits
Charles Daniels Primary Artist
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