- Consort for harp, bass viol, violin & theorbo No. 1 in G minor: Almain
- The Excellency of Wine, song
- Love Despis'd ("In love? Away, you do me wrong"), song
- Inconstancie in Woman ("I am confirm'd a woman can"), song
- Coridon to his Phillis ("Come lovely Phillis"), song
- Consort for harp, bass viol, violin & theorbo No. 1 in G minor: Saraband
- Consort for harp, bass viol, violin & theorbo No. 1 in G minor: Corant
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Berlin's Lautten Compagney, originally consisting of a pair of lutenists, expanded to a small, shifting Renaissance ensemble for this 2001 recording, and later to orchestra size for an innovative series of releases that ranged from Baroque opera up to the 20th century. The same adventurous spirit is present in this release, attractively paired with the general-interest appeal of a survey of English music of the 17th century. Director and lutenist Wolfgang Katschner keeps things moving along with a variety of work types and forces. One of the chief novelties here is the rather operatic singing of South African tenor Kobie van Rensburg, who moves effectively from a big, bright sound in the upbeat songs to a quieter and more graceful "Flow, my tears" (track 4); the overall variety of moods and vocal textures is unusually large for a recording of this type. Presumably not an anglophone, he achieves a combination of clear articulation (the booklet texts, in English and German translation, are hardly needed) and natural delivery that escapes even many an English singer. Another rather daring move is the tempo freedom essayed by Katschner's Lautten Compagney, never pushed too far but conspiring with van Rensburg's breezy voice to produce an album that's satisfying for newcomers as well as those with collections of music from the English golden age. The album does not fit into the English traditions of performing this music, but there's room for more than one way.
|Label:||New Classical Advt.|