Come Again: John Dowland and his Contemporaries

John Dowland & His Contemporaries
Come Again
Jan Kobow, tenor
Hamburger Ratsmusik
Simone Eckert, director
CPO

John Dowland's music usually shows up in recordings in one of two ways; either as a release of all-Dowland compositions, or as part of a compilation of English renaissance masters. But unlike many of his colleagues, Dowland traveled extensively (if not always voluntarily) throughout Europe.

In doing so, he was exposed to the courtly music of France, Italy, Denmark, and Sweden -- all of which influenced his own writing. Come Again programs Dowland's music alongside contemporary works by Samuel Scheidt, Orlando Gibbons, Michael Praetorius and others. The results are illuminating.

In one grouping, for example, we hear Dowland's 1597 song Can She Excuse My Wrongs, followed by Johann Schop's 1642 Sollt' ich, oBild der Tugend nicht preisen, an anonymous dauant Gagliard, and Gabriel Voigtländler's 1642 Weibernehmen ist kein Pferdekauf -- all sharing the same distinctive opening motif.

Not only are variety of composers presented, but the texture is varied as well. Some selections are sung with ensemble, others with lute accompaniment, and the exclusively instrumental tracks don't all have the same line up of instruments. All of this combines to create an engaging and fresh-sounding listening experience.

Simone Eckert and the Hamburger Ratsmusik perform on instruments of the period, and they do impeccably. Jan Kobow's clear tenor voice has a slightly soft and warm tone that's perfectly suited to Dowland's delicate compositions.

Tune thy Musicke to thy Hart: Music for private devotion

Tune Thy Musicke to Thy Hart 
Tudor and Jacobean music for private devotion
Stile Antico
Fretwork
Harmonia Mundi

There have been many albums of English renaissance music, but none quite like this. Tune thy Musicke brings to light some truly neglected repertoire -- sacred music for the manor home.

From the time of Henry VIII through James I, amateur musicianship flourished to a high degree of proficiency. Stile Antico shows just how high with this new release. Most recordings of renaissance sacred music are works that were written -- and meant to be performed -- in churches and chapels by professional choirs. Neither is the case with the music on this album.

Although the compositions may be unfamiliar, the composers are not. Thomas Tomkins, John Taverner, Thomas Tallis, John Dowland, William Byrd, Orlando Gibbons are among those represented. As with their secular music for the home, these composers didn't sacrifice quality simply because they were writing for amateurs.

The works presented fall stylistically between the two camps of secular domestic music and sacred church music. Some compositions, such as Thomas Campion's Never weather-beaten sail are jewels of four-part harmony and sound very much like hymns. Although if they were treated more lightly, they almost might sound like secular frottala.

Others, such as John Amner's seven-minute O ye little flock owe more to the madrigal tradition. Amner's ambitious work has several sections that change tempo and mood to suit the lyrics. Counterpoint, supported by instrumental doubling, further illuminates the text. And yet, as the contrapuntal lines spin outward, they seem to evoke the chapel more than the dining room.

Stile Antico performs with clarity and precision. Fretwork lends support on some selections, their viols adding a warm richness to the ensemble. Even if you have a lot of rennaisance music, I highly recommend this recording. It fills in a missing gap in the English renaissance repertoire, with music that has a character all its own.