The National Association of Teachers of Singing (NATS) Journal Listener's Gallery

Come Again! Sweet Love Doth Now Invite; Thou Mighty God; Can She Excuse My Wrongs; Sempre Douland, Sempre Douland; Flow so Fast, Ye Fountain; I Saw My Lady Weep; Weep You No More, Sad Fountain; Shall I Sue?; Lachrimae Antiquae Pavan; Far From Triumphing Court; Lady, If You So Spite Me; In Darkness Let Me Dwell.

When thinking of the Renaissance English art song, probably the name that comes to mind most easily is John Dowland (1563-1626). His musical career was spotty in the beginning due to his conversion to Catholicism while in France in ambassadorial service. During the reign of Elizabeth I this was enough to keep him from an appointment at court, and he proceeded to travel on the Continent until he turned away from Catholicism and returned to England. There in 1597 he published his Fint Booke of Sorrges or Ayres, the first of four such volumes (the final one appearing in 1603).

In spite of his recognition in England, Dowland did not immediately make his permanent home there but served as the lutenist to the King of Denmark from 1598 to 1606. Upon returning from the Continent, the field for lutenists was evidently somewhat closed, and it was not until 1612 that he obtained a post at the court of James I. Upon his death in 1625, Charles I succeeded to the crown, and DowLand continued under that regime until his own death in 1626.

Of the eighty-eight songs written by Dowland, eleven are presented here, with the CD being rounded out by two lute solos ("Sempre Dowland, Sempre Douland" and "Lachrimae Antiquae Pavan"). All four books of songs are represented, as well as A Musical Banquet published in 1610 by Dowland's son Robert. With the exception of poems by Sir Henry Lea for "Far From Triumphing Court" and "Lady, If You So Spite Me," the texts are anonymous, possibly written by the composer himself. "Thou Mighty God," a triptych of songs, comes from A Pilgrim's Solace, the fourth book of songs, published in 1612 at the end of his employment drought. This set is religious, but the remainder of the songs are on the subject of love. Whoever actually wrote the lyrics, they clearly hark back to the tradition of the troubadours, whose courtly love texts influenced so many poets ranging from trouveres and minnesingers to Dante Alighieri in the Vita Nuova and Commedia.

The present recording was remas ered from 1959 stereo originals and is available here for the first time on compact disc. Russell Oberlin, needless to say, requires no extensive introduction to NATS members. One of the earliest countertenors to be highly recognized, he was a founding member of the New York Pro Musica and has performed with orchestras and opera companies worldwide. The current profusion of fine young countertenors was greatly aided by his work in helping establish a solid, permanent place in the ranks of singers for this voice type. On this release his voice is fresh, and his affinity for the repertoire is unmistakable. Whether joyously loving in "Come Again! Sweet Love Doth Now Invite," despairing in "In Darkness Let me Dwell," or anywhere in between, Oberlin is always beautifully expressive and captures the marriage of text and music marvelously.

Joseph Iadone has made an effort to perform in a traditional Elizabethan lutenist manner and succeeds admirably. The songs do work well also, however, in more modern versions for recital purposes where a master lutenist is not available. This recording is an excellent sampling of the songs of the most celebrated composer and lutenist of his era and a welcome reminder of the abilities and accomplishments of Mr. Oberlin. Included are program notes and complete texts.

-David C. Bradley

Renaissance Magazine

John Dowland Lute Songs is a celebration in the spirit of the Renaissance and a nice introduction to lute music and the works of lutenist John Dowland (1563-1626).

Originally released in 1958, this CD does sound as if it was recorded 40 years ago. The vocals sound washed out yet the lute, while suffering from the same poor audio quality, has a beautifully robust tone. Joseph Iadone gives a fine performance here, and his attention towards dynamics and phrasing pays off.

The liner notes explains the efforts he has taken to recreate the playing techniques of that period, by consulting original manuscript sources. And by not resting his little finger on the actual body of the lute, he is able to achieve for a deeper tone.

Dowland's music, while texturally simple, provided some melodious and beautiful compositions. The music on Lute Songs is certainly indicative of what would have been heard during the Renaissance, and this CD would be a strong addition to anyone's period music collection.

-John Sestak