Delicious melancholy The circulation of artists and sovereigns between France and England in the seventeenth century resulted in the establishment of highly original genres in the latter country: the first recitatives, large-scale airs from masques and dramatic ‘scenes’ provided fertile ground for experimentation and prepared the way for the birth of semi-opera. Sébastien Daucé explores this English vocal art in a programme tailor-made for one of today’s most fascinating voices: Lucile Richardot, in the exquisite setting provided by Correspondances, subtly blends music, love, night and melancholy.
ROBERT JOHNSON [1583-1633] · Care-charming sleep (5'15) WILLIAM LAWES [1602-1645] · Whiles I this standing lake (3'07) JOHN COPERARIO · Go, happy man (2'00) ROBERT RAMSEY [1590-1644] · What tears, dear Prince, can serve (3'27) WILLIAM LAWES [1602-1645] · Music, the master of thy art is dead (2'50) NICHOLAS LANIER [1588-1666] · No more shall meads (3'10) ROBERT RAMSEY [1590-1644] · Go, perjured man (1'18) JOHN JENKINS [1592-1678] · Pavan in F-Major (4'02) JOHN BANISTER [1624/25-1679] · Give me my lute (2'27) ROBERT RAMSEY [1590-1644] · Howl not, you ghosts and furies (4'40) WILLIAM LAWES [1602-1645] · Britanocles the great and good appears (3'18) WILLIAM WEBB [c.1600-1657] · Powerful Morpheus, let thy charms (4'46) JOHN HILTON [1599-1657] · Rise, princely shepherd (6'39) JAMES HART [1647-1718] · Adieu to the pleasures (4'44) JOHN BANISTER [1624/25-1679] · Amintas, that true hearted swain (3'43) JOHN BLOW [1649-1708] · Poor Celadon, he sighs in vain (Loving above himself) (5'10) MATTHEW LOCKE [1621-1677] · Little Consort of 3 Parts, Suite III IV. Saraband (1'24) HENRY PURCELL [1659-1695] · When Orpheus sang (4'16) JOHN JACKSON [-1688] · Phillis, oh! turn that face (2'02) JOHN BLOW [1649-1708] · Amphion Anglicus Epilogue "Sing, sing, Ye Muses" (3'43)
