{"title":"Orlando Gibbons","description":"\u003cp\u003eBrowse albums and recordings associated with Orlando Gibbons in the Reference Music Store catalogue. Available editions and details on each product page.\u003c\/p\u003e","products":[{"product_id":"ayres-fantasias-quoniam-consort-of-dulcians","title":"Ayres \u0026 Fantasias | Quoniam Consort of Dulcians","description":"\u003cp\u003eAyres \u0026amp; Fantasias features Quoniam Consort of Dulcians with soprano Elisabetta Gasparotto in a programme for dulcians and voice.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD227CD\u003c\/li\u003e\u003cli\u003eFile Hi-Res WAV 88.2kHz · 24bit — CVLD227\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eQuoniam Consort of Dulcians: Paolo Tognon, Claudio Verh, Vincenzo Onida, Fabio Accurso, Lorenzo Feder. Elisabetta Gasparotto — soprano.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 88.2 kHz · 24 bit; AreaMagister Studios, Preganziol; 2011-12-29\/31.\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003col\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003ecome again sweet love\u003c\/em\u003e - 2:09\u003c\/li\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003eawake sweet love\u003c\/em\u003e - 2:04\u003c\/li\u003e\n\u003cli\u003eOrlando Gibbons: \u003cem\u003efantasia prima per due bassi\u003c\/em\u003e - 2:19\u003c\/li\u003e\n\u003cli\u003eThomas Lupo: \u003cem\u003efantasia a tre bassi\u003c\/em\u003e - 3:11\u003c\/li\u003e\n\u003cli\u003eAlfonso Ferrabosco: \u003cem\u003ea pavin per liuto\u003c\/em\u003e - 3:36\u003c\/li\u003e\n\u003cli\u003eJohn Farmer: \u003cem\u003ea little pretty bonny lass (vocale)\u003c\/em\u003e - 1:39\u003c\/li\u003e\n\u003cli\u003eChristopher Simpson: \u003cem\u003edivisions upon a ground (solista C. Verh)\u003c\/em\u003e - 7:04\u003c\/li\u003e\n\u003cli\u003eMichael East: \u003cem\u003efantasia prima per due bassi (love cannot dissemble)\u003c\/em\u003e - 2:00\u003c\/li\u003e\n\u003cli\u003eThomas Morley: \u003cem\u003eapril is in my mistress' face\u003c\/em\u003e - 1:07\u003c\/li\u003e\n\u003cli\u003eOrlando Gibbons: \u003cem\u003efantasia quarta per due bassi\u003c\/em\u003e - 2:23\u003c\/li\u003e\n\u003cli\u003eMichael East: \u003cem\u003efantasia settima per due bassi (ut, re, mi, fa, sol, la)\u003c\/em\u003e - 2:18\u003c\/li\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003eThe Right Honorable Lady Clifton's Spirit. Galliard per liuto\u003c\/em\u003e - 1:44\u003c\/li\u003e\n\u003cli\u003eWilliam Cornysh: \u003cem\u003eah Robin, gentle Robin\u003c\/em\u003e - 2:18\u003c\/li\u003e\n\u003cli\u003eJohn Bull: \u003cem\u003eLord Lumley pavan per clavicembalo\u003c\/em\u003e - 4:41\u003c\/li\u003e\n\u003cli\u003eJohn Bull: \u003cem\u003eLord Lumley galliard\u003c\/em\u003e - 2:06\u003c\/li\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003elullaby\u003c\/em\u003e - 2:40\u003c\/li\u003e\n\u003cli\u003eOrlando Gibbons: \u003cem\u003efantasia seconda per due bassi\u003c\/em\u003e - 2:39\u003c\/li\u003e\n\u003cli\u003eAnonymous: \u003cem\u003efantasia per due bassi e liuto G496\u003c\/em\u003e - 1:41\u003c\/li\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003ea fancy per liuto\u003c\/em\u003e - 2:36\u003c\/li\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003enow, o now I needs must part\u003c\/em\u003e - 3:20\u003c\/li\u003e\n\u003cli\u003eJohn Bennet: \u003cem\u003ea hunt is up\u003c\/em\u003e - 1:38\u003c\/li\u003e\n\u003cli\u003eJohn Farmer: \u003cem\u003ea little pretty bonny lass (voce e strum.)\u003c\/em\u003e - 1:35\u003c\/li\u003e\n\u003cli\u003eOrlando Gibbons: \u003cem\u003efantasia terza per due bassi\u003c\/em\u003e - 3:21\u003c\/li\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003erest a while you cruel care\u003c\/em\u003e - 0:57\u003c\/li\u003e\n\u003cli\u003eClaudio Verh \u0026amp; John Dowland: \u003cem\u003ediminuzioni sopra \"rest a while\" (solista C. Verh)\u003c\/em\u003e - 1:12\u003c\/li\u003e\n\u003cli\u003eMichael East: \u003cem\u003efantasia terza per due bassi (both alike)\u003c\/em\u003e - 1:57\u003c\/li\u003e\n\u003cli\u003eMichael East: \u003cem\u003efantasia quinta per due bassi\u003c\/em\u003e - 2:02\u003c\/li\u003e\n\u003cli\u003eAnonymous: \u003cem\u003efantasia per tre bassi e liuto G495\u003c\/em\u003e - 2:50\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cstrong\u003eTotal Time\u003c\/strong\u003e: 69:21\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003ch4\u003eEdition notes\u003c\/h4\u003e\u003cp\u003e\u003cspan\u003eMusical Delights at the Court of Elizabeth I of England; or, an anthology of polyphonic music in two, three, and four parts performed by a consort of dulcians, lute, harpsichord, and the human voice. Elizabeth I, crowned in 1558, extended her long reign until 1603 and supported England during a fortunate and important period in its history—politically, religiously, commercially, and culturally. Like her father, Henry VIII, she loved music, playing the lute and lyre herself and surrounding herself with up to 70 musicians at court. Music was often associated with the theatrical performances of geniuses such as Shakespeare and Marlow. The dulciana (curtal) was introduced to England in the first three decades of the 16th century, likely by the Venetians Bassano, inventors of an instrument: the bassone corto (curtal), as can already be seen in two inventories from 1542 and 1547 dating back to the court of Henry VIII: \"...13 short instruments caulked Dulceuses...\" In the 16th century, many documents testify to the use of this instrument in England, which was integrated into wind instrumental groups (Waits), similar to other similar ensembles on the European continent, and intended for use at court and in public ceremonies. The refined sound of the dulciana in its various sizes used here—bass, but also soprano, contralto, and tenor—ideally complements both the voice and instruments essential to harmony and counterpoint, such as the lute and harpsichord. Most English composers of the time wrote vocal and instrumental music for both sacred and secular use. In so-called consort music, it was common practice to perform polyphonic pieces for four or more voices with a homogeneous ensemble of instruments. This is a rare sound document that illustrates their timbre on dulcians. Also of interest is the possibility of performing some fantasias for two basses, originally intended for the viola d'gamba, on the dulcian, which offers a sound that highlights the singable and melancholic component but also the rhythmic and witty one typical of the flexibility of this wind instrument, a forerunner of the modern bassoon.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eThe timbral refinement of the different musical ensembles present on this disc is enhanced by the extraordinary quality of the recording, carried out in the large Velut Luna studios in Preganziol using high-resolution digital technology.\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Ayres-AND-Fantasias\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":50009172214107,"sku":"CVLD227CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49866699473243,"sku":"CVLD227","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/227-cover.jpg?v=1736496970"}],"url":"https:\/\/www.referencemusicstore.com\/collections\/orlando-gibbons.oembed","provider":"Reference Music Store","version":"1.0","type":"link"}