Guest
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
