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SORROW STAY

JOHN DOWLAND

JUSTIN BURWOOD TENOR

ROSEMARY HODGSON LUTE

Sorrow Stay Booklet 1/06/12 2:46 PM

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Sometimes life is magical…

It can bring people together, that perhaps would never have met. S ome call it fate. In theEuropean summer of 2001, I was fortunate to meet Justin Burwood at a Baroque palacein Portugal. We enjoyed two weeks of mentorship, stunning surrounds, courtly lifestyle,brilliant performances and an instant musical connection that developed into a lastingfriendship. We found something beautiful in each other and an intense way ofcommunicating through the exquisite music of John Dowland.

The first song that Justin ever sang with me was Come ye heavy states of night , aninvocation of melancholia so profound and moving that I have never forgotten it.‘Sorrow’ did come, as our li ves have largely unfolded on different continents, and yet wehave managed to make our paths cross and continue developing our musical connection.We both gravitate to the pungent beauty of Dowland’s melancholic ayres. They calm andravish us unlike any other music we know. In these songs, we find all of life and all of ourhumanity – love, pain, drama, passion and release – assembled not only for those wholived during the Renaissance, but still relevant to us here today. There can be times whenthe only place to turn is to this music that knows the deepest sor rows of the human soul,and have it be the balm to our present-day experience.

Melancholy and its artistic expression, however, are like a chiaroscuro of the mind, wherein darkness we find light and in sadness, joy . In bringing together these most lachrymoseof Dowland’s songs, we hope not to mak e you sad, but rather to soothe you by dwellingin the darkness for a while, and perhaps even be enlightened by its empath y.

As Dowland so perfectly states: ‘And though the title doth promise tear s…, yet no doubtpleasant are the tears which music weeps, neither are tears shed always in sorrow butsometimes in joy and gladness.’

Rosemary


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JOHN DOWLAND 1563-1626

1 Sorrow stay 3’24

2 Lady if you so spite me 2’39

3 Go crystal tears 2’56

4 I saw my lady weep 4’52

5 Shall I strive with words to move 2’21

6 Sweet stay a while 3’04

7 Flow my tears 4’05

8 Semper Dowland semper dolens* 4’29

9 Flow not so fast ye fountains 3’50

0 Dear, if you change 3’01

! The Frog Galliard* 2’19

@ Time stands still 3’37

£ All ye whom love or fortune hath betrayed 3’36

$ Come ye heavy states of night 2’30

% In darkness let me dwell 3’46

^ Lachrimæ* 5’45

& Weep you no more sad fountains 4’14

*Lute solo

JUSTIN BURWOOD TENOR

ROSEMARY HODGSON LUTE


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The lutenist and composer John Dowland was a difficult man. He attributed his failure to find permanentemployment at the court of Elizabeth I to his desultor y flirtation with Catholicism while studying inFrance. However, his lack of success probably had more to do with his pric kly, touchy, tactlesspersonality, which would suffer no criticism and brook no rival. As his friend Henry Peacham later said,Dowland ‘slipt many opportunities in advancing his fortunes.’ Rebuffed by the queen, Dowland leftEngland again to seek his fortune in Germany, Italy and Denmark, where he made himself a reput ationas a first-rate player, an outstanding composer and a wilful egoist. In 1595 he caused a diplomaticincident by offending the musicians of Duke Heinrich Julius of Braunschweig-Lüneburg, a situation thatrequired the intervention of Duke Moritz of Hessen. In Florence he stumbled into a recusant plot tobring down Queen Elizabeth, but even the cringing and self-serving letter he wrote to Sir Robert Cecil,divulging the details of the conspiracy, failed to secure the royal favour he so deeply craved. In the end,he would only find royal employment in England under Elizabeth’s successor, James VI / I, at whosefuneral he played less than a year before he was bedded to his own tomb in January 1626.

Dowland was evidently a highly sensitive person, one of those who ‘dare not come in compan y for fearhe should be misused, disgraced, overshoot himself in gesture or speeches, or be sick; he thinks everyman observes him, aims at him, derides him, o wes him malice’, one of those who, when touched bymisfortune, ‘like a lame dog or broken-winged goose…, droops and pines away, and is brought at lastto that ill habit or malady of melancholy itself,’ as Dowland’s younger contemporary Robert Burtonwould later put it in his Anatomy of Melancholy. When asked to add an entry in the album amicorum(friends’ album) of Johannes Cellarius while passing through Nuremberg in 1603, Dowland contributeda little canon which he signed ‘Jo: dolandi de Lachrimæ his owne hande’. The signature is a referenceto Dowland’s most popular piece, Lachrimæ, which he arranged several times: for solo lute, voice andlute (Flow my tears), and in seven variations for a consort of viols or violins, the superb Lachrimæ, or seaven teares figured in seaven passionate Pavans (1604). Many of Dowland’s songs took on thestatus of ‘standards’, like those of the best songwriters of last cent ury, such as Irving Berlin, IraGershwin, Cole Porter or Bob Dylan. Apart from the many musical arrangements by other composers,several of Dowland’s songs were quoted in dramas of the time, but none came close to riv allingLachrimæ in popularity. Dowland nourished this self-conscious image of introspective suffering withsongs such as In darkness let me dwell and numerous poignant lute solos, such as the profoundSemper Dowland semper dolens (‘Always Dowland, always grieving’).

The songs presented in this recording show that melancholia can arise from many sources:professional frustration, disappointed love, fear, despair, existential crisis. In darkness let me dwell


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describes a state of morbid depression in which not the faintest glimmer of hope can squeak through,a musical analogue to Hamlet’s cool consideration of suicide in the soliloqu y ‘To be or not to be’. Theseare feelings we all face at some stage and to some degree. Dowland’s songs thus have a power tospeak across the centuries to our own ‘feare, and griefe, and paine’. But they also reveal the potentiallyredemptive power of suffering. The narrator of the song I saw my lady weep comes to realise thatsharing in his lover’s sorrow has strengthened the bond between them.

Sorrow stay combines Dowland’s elegant lyricism with the drama of It alian declamatory models. Theplangent tone of the piece begins at the outset; bef ore the voice can even finish the first phrase, it isimplicated in a sequence of sharp suspensions in the lute part. Do wland uses all the means of musicalrhetoric to emphasise important words and phrases: ‘Hence, dispaire’, ‘Pitty, pitty’, ‘No hope, no help’. At the words ‘But downe I fall’, Dowland has the voice part slip stepwise down a minor sixth, the chainof syncopations against the lute part depicting the poet’s unsteady footing. The words ‘and arise’ areset to two rising phrases leading to a long , triumphant note held for an almost impossibly long timewhile the lute continues its own phrase below. But the hoped-for resurrection is deceptive, and isfinally negated by the words ‘arise I neuer shall.’ This piece was clearly admired, and it sur vives in four manuscript versions, including two separate arrangements for solo voice and consort of viols, a configuration particularly popular in drama; one of these, b y William Wigthorpe, is subtitled Dowlands Sorrow.

While the opening words of Lady if you so spite me suggest that the poet is suffering the pain of realrejection, it soon becomes clear that he is in f act negotiating a sexual favour, in the hope that his heartmight break not with pain, but overjoyed. With the lines ‘If you seeke to spill mee, Come kisse mesweet and kill mee’, the familiar trope of orgasm-as-death becomes obvious. But better yet, the poetpromises that his lady will find the e xperience to her liking: ‘So shal your hart be eased, And I shall restcontent and dye well pleased.’ This song is unique amongst Dowland’s songs in calling for the ninthcourse of the lute to be tuned to C.

The lyric protagonist of Go crystal tears is a rejected lover who bids his tears and sighs penetrate intohis lady’s heart and soften her to his advances. Despite the prevailing lachrymose tone, a subtle currentof eroticism runs through the poem. By bidding his tears f all ‘into thy Ladies brest’, the poet is drawingon a topos from classical poetry: the poet’s envy of the flea, which is permitted more intimate accessto his resistant lover than the poet could ever hope for. (John Donne employed a related conceit in his


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poem The Flea.) The poem, which seems to be related to Petrarch’s Ite caldi sospiri, was later set againby Robert Jones (1609). Dowland’s largely syllabic setting, in ABB form, is compact yet elegant.

Dowland dedicated the magnificent song I saw my lady weep to his fellow-composer, ‘the mostfamous, Anthony Holborne’, and placed it at the head of his Second Book of Songs or Ayres (1600). Theexpressive string of suspensions with which the lute part of Dowland’s setting opens recalls Sorrowstay. The long phrases of the vocal part challenge the singer’s breath-control, and seem to suggest thatDowland’s songs were aimed primarily at professional singers rather than cultivated amateurs.

Shall I strive with words to move, the complaint of a rejected lover, also exists in two instrumentalarrangements by Dowland: for lute solo under the title Mignarde (a kind of galliard, a moderately quickdance in triple metre), and for string band as M. Henry Noel his Galliard. Since Dowland graduallyabandoned the formal restrictions of the strophic dance-air in f avour of through-composition, it may bethat the composition of Shall I strive predates its appearance in A Pilgrimes Solace (1612) by someyears. In any case, the song has a direct lyricism and strong rh ythmic drive. The dotted rhythms thatcharacterise the first strain contrast effectively with the longer, more elegant lines of the second strain,and the nervous, syllabic movement of the third.

The tenderly erotic text of Sweet stay a while is a pillow-speech with strong reminiscences of themorning-after scene in Romeo and Juliet (III.5): ‘Wilt thou be gone? It is not y et near day. It was thenightingale, and not the lark, That pierc’d the fearful hollow of thine ear.’ The two stanzas of this poem,a descendant of the alba or ‘dawn-song’ cultivated by the troubadours, may even represent a dialoguein which the first stanza is spoken by the woman, and the second by her lover. The refrain ‘O stay, orelse my ioyes must dye, And perish in their infancie’ may suggest furthermore that the lovers, likeRomeo and Juliet, are young and inexperienced. The authorship of the poem has been contested: thefirst stanza was included in the 1669 edition of John Donne’s poems, but it is likely that the attributionto Donne occurred simply as a result of confusion o ver the initials ‘JD’. The expressive qualities ofDowland’s setting are considerable. Free of the constraints of dance forms, Dowland was able to shapethe vocal line to match the expressive demands of the text.

Flow my tears, from Dowland’s Second Booke of Songs or Ayres, is the vocal version of his famousLachrimæ. This song was continually in print from 1600 until 1682, and was even published in twoseparate Dutch translations (1626, 1647). It is a lament of one who has f allen into a black despair aftersuffering disappointment, a disastrous reversal of fortune, and perhaps even exile. The themes andimages of this song – the absence of light and resulting darkness and shado w, mourning without end,


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hell on earth – recur in other songs, including In darkness let me dwell. If Dowland did not write thistext himself, he evidently chose it because it spoke to the ‘vnhappie Fortunes’ of his self-imposed exilein Denmark, to which he alludes briefly (and rather t actlessly) in the preface to Lachrimæ. The music isa perfect expression of despair, couched in the elegant form of a pavan, a slow and stately dance induple metre.

The magnificent pavan Semper Dowland semper dolens is central to Dowland’s self-fashioning ashomo melancholicus. The autobiographical nature of the piece is preser ved in Jane Pickering’s LuteBook, where it is subtitled Dowlandes Lamentation. The piece contains similar gestures to a number of Dowland’s songs, such as the characteristic rising semitone: the beginning recalls the opening of I saw my lady weep, and a section in the second strain resembles the refrain of Flow not so fast yefountains. The ostinato notes falling on the strong beats at the beginning of the third strain suggest the solemn tolling of a funeral bell.

Flow not so fast ye fountains has the melodic and rhythmic directness of a dance, largely as a result of the short, aphoristic lines of the first strain of the music. The refrain, with its longer lines, ismore spacious, and contains a beautiful musical depiction of the poet’s ‘salt teares…dropping fromtheir spheares’.

The text of Dear, if you change is a deceptively simple protestation of the poet’s faithfulness to hislady. An early anonymous example of ‘metaphysical’ poetry, the text is constructed in a ratheringenious fashion: the first word of each of the four lines of the first strain is rolled into one phrase inthe first line of the refrain. In the first st anza, the lady is depicted as a microcosm of beaut y andwisdom, while the second stanza calls upon the macrocosm of the ph ysical world: earth, heaven, fireand air, all of which would, the poet insists, be transformed against their nature before he might befound false to his vow.

The Frog Galliard exists in many arrangements for lute and other instrumental combinations besidesthe vocal version in the First Booke of Songs or Ayres of 1597 (Now, O now I needs must part ), whichis quoted in the play Every Woman in her Humour (1609). The version performed here is distinguishedby a lovely variation in triplets. The title is mysterious, though it more likely hints at a French connectionthan an amphibious one. While some have tried to associate the piece with the Duc d’Anjou, one ofElizabeth’s suitors, whom she used to refer to as her ‘Frog’, there is no real evidence to support thisconjecture. More likely, the persistent trochaic (long-short) rhythm, rather unusual in English galliardsand unique amongst those by Dowland, may derive from a French genre of song called the voix de


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ville, which Dowland no doubt encountered while studying in ‘the chiefest parts of France, a nationfurnisht with great variety of Musicke’.

The music of Time stands still breathes serenity. The spacious opening of the first phrases yields to aseries of dactylic rhythms and melodic sequences that lend the piece a solemn, measured grace. Bycontrast, the text is a grotesque bit of flattery directed towards the aging Elizabeth. The growing cleftbetween the fantasy of an ever-youthful, ever-beautiful Gloriana and the reality of the monarch’s agingframe may be gauged by comparing Dowland’s extravagant praises with a description of the queenmade in 1597 by the French ambassador, André Hurault, who mercilessly catalogued her wrinkled skin,dyed wig, gaunt face and missing teeth. The inclusion of this song in the Third and Last Booke ofSongs or Aires (1603) was evidently a last-ditch attempt to secure the queen’s favour through thisprotestation of Dowland’s ‘setled vowes and spotlesse faith’, though within five weeks of the bookbeing entered in the Stationers’ Register, Elizabeth was dead, and it may be that she never even heardthe song.

All ye whom love or fortune hath betrayed opens with the characteristic gesture with whichDowland began so many of his melancholic airs – a rising semitone leading to a suspension. The textshows the full battery of rhetorical techniques. The A section of the first stanza contains a number ofrepeated apostrophes (‘All ye…’) leading to a forceful command in the B section (‘Lend ears and tears’).The diction displays a number of artful technical features such as alliteration (‘sighes or sicknes’, ‘singsmy sorrowes’, ‘care that consumes’), assonance (‘ears and tears’) and antithesis (‘blisse’ / ‘greif’).Dowland matches the rhetorical complexity of the text with a number of striking musical means:chromaticism, syncopation, and the expressive use of rests and repetition. The reference to the poet’sswan-song alludes to the belief – encountered in man y writers of the 16th and 17th centuries – thatthis bird sings only when it is about to e xpire.

The short lines (7.7.8.8.8.8) and measured declamation of Come ye heavy states of night give thepiece a solemn, almost processional solemnity. The lyric protagonist of the poem is a womanlamenting the death of her father, a circumstance which suggests that the song was written for a playor masque. The exclamatory rising third motif that begins the first and second lines ma y be derivedfrom the style of Florentine song-composers such as Giulio Caccini, which Dowland will haveencountered during his time in It aly.

In darkness let me dwell, first published in A Musicall Banquet (1610), was described by DianaPoulton as ‘amongst the greatest ever written in the English language’. So expressive is this song of


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the melancholy with which Dowland associated himself, that it is difficult to resist the temptation toconsider this piece (like Lachrimæ) as autobiographical. However, several details point in anotherdirection. The poem was first set by John Coprario, with a second stanza, and published in his FuneralTeares (1606), a musical consolation addressed to Lady Penelope Rich upon the death of her husband,the Earl of Devonshire. Whoever wrote this poem – whether Coprario, Rich or somebody else –Dowland turned it into a song of the highest qualit y. The voice begins with Dowland’s trademark risingsemitone-plus-suspension figure, before floating upwards in a gesture of rootless despair. Here again,with the luxury of through-composition, Dowland could express individual words and phrases withmusical gestures, often highlighted through repetition, such as the expressive chromaticism on theword ‘moistned’ or the jagged diction and dissonance of the ‘hellish iar ring sounds’. Dowland also payscareful attention to the structure of the verse, expressing the rhetorical parallelism of the line ‘T huswedded to my woes, and bedded to my Tombe’ with matching musical phrases. The despair andviolence of the line ‘O Let me liuing die, Till death doe come’ leads into a short bridge in theaccompaniment and a haunting repetition of the opening phrase, in whic h the voice is left hanging inthe air. Although Dowland’s setting is rightly prized in our time, it sur vives in no other sources apartfrom A Musicall Banquet, a remarkable circumstance when one considers that a song lik e the tunefulbut admittedly rather vapid Come again, sweet love doth now invite survives in seven other sourcesapart from the First Booke.

The famous Lachrimæ is first recorded in one of the Matthew Holmes manuscripts, undated butapparently copied between 1588 and 1595. The piece was first published in William Barley’s NewBooke of Tabliture (1596), though in the preface to his First Booke, Dowland slammed Barley’s versionas ‘printed without my knowledge, falce and vnperfect’. The remarkable popularity of the piece isattested not simply by the number of arrangements, but also by the numerous references to it in playsand other literature of the 17th century.

In Weep you no more sad fountains, the poet tries in vain to stem his tears as he w atches his ladysleeping; what use is it, he reasons with himself , to persist in weeping when snow, the tears of nature,is eventually dispersed by the sun, and when his lover has now found comfort in sleep? In the final t wolines of the refrain (‘That nowe lie sleeping, Softly, softly, now softly lies sleeping’), the arsis and thesisof the beat are lost almost entirely in a remarkable musical depiction of a dream-st ate.

Grantley McDonald


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1 Sorrow stay, lend true repentant teares,To a woefull, wretched wight,Hence, dispaire with thy tormenting feares:Doe not my poore heart affright,Pitty, pitty, help now or neuer,Mark me not to endlesse paine,Alas I am condempned euer,No hope, no help ther doth remaine,But downe, down, down, down I fall,Downe and arise I neuer shall.

– Second Book of Songs or Ayres, No. 3

2 Lady if you so spight me,Wherfore do you so oft kisse and delight mee?Sure that my hart opprest and ouer-cloyed,May breake thus ouerioyed,If you seeke to spill mee,Come kisse me sweet and kill mee,So shal your hart be eased,And I shall rest content and dye well pleased.

– A Musicall Banquet, No. 9

3 Go cristall teares, like to the morning showers,And sweetly weepe into thy Ladies brest,And as the deawes reuiue the dropping flowers,So let your drops of pittie be adrest:To quicken vp the thoughts of my desert,Which sleeps to sound whilst I from her departe.

Hast haplesse sighs and let your burning breathDissolue the Ice of her indurate harte,Whose frosen rigor like forgetfull death,


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Feeles neuer any touch of my desarte:Yet sighs and teares to her I sacr yfiseBoth from a spotles hart and pacient e yes.

– The First Booke of Songs or Ayres, No. 9

4 I saw my Lady weepe,And sorrow proud to bee aduanced so:In those faire eies, where all perfections keepe,Hir face was full of woe,But such a woe (beleeue me) as wins more hearts,Then mirth can doe, with hir int ysing parts.

Sorow was there made faire,And passion wise, tears a delightfull thing ,Silence beyond all speech a wisdome rare,Shee made hir sighes to sing ,And all things with so sweet a sadnesse moue,As made my heart at once both grieue and loue.

O fayrer then ought ells,The world can shew, leaue of in time to grieue,Inough, inough, your ioyfull lookes excells,Teares kills the heart belieue,O striue not to bee excellent in woe,Which onely breeds your beauties ouerthrow.


5 Shall I striue with wordes to moue,when deedes receiue not due regard?Shall I speake, and neyther please,nor be freely heard?Griefe alas though all in vaine,her restlesse anguish must reueale:


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Shee alone my wound shall know,though shee will not heale.

All woes haue end, though a while delaid,our patience prouing.O that times strange effectscould but make her louing.Stormes calme at last, and why may not sheeleaue off her frowning?O sweet Loue, help her handsmy affection crowning.

I woo’d her, I lou’d her, and none but her admire.O come deare ioy, and answere my desire.

– A Pilgrimes Solace, No. 5

6 Sweet stay a while, why will you rise?The light you see comes from your eyes:The day breakes not, it is my heart,To thinke that you and I must part.O stay, or else my ioyes must dye,And perish in their infancie.

Deare let me dye in this faire breast,Farre sweeter then the Phœnix nest.Loue raise desire by his sweete charmesWithin this circle of thine armes:And let thy blissefull kisses cherishMine infant ioyes, that else must perish.

– A Pilgrimes Solace, No. 2


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7 Flow my teares fall from your springs,Exilde for euer: Let mee morneWhere nights black bird hir sad infamy sings,There let mee liue forlorne.Downe vaine lights shine you no more,No nights are dark enough for thoseThat in despaire their last fortuns deplore,Light doth but shame disclose.

Neuer may my woes be relieued,Since pittie is fled,And teares, and sighes, and grones my wearie dayesOf all ioyes haue depriued.From the highest spire of contentment,My fortune is throwne,And feare, and griefe, and paine for my deserts,Are my hopes since hope is gone.

Harke you shadowes that in darcknesse dwell,Learne to contemne light,Happie, happie they that in hellFeele not the worlds despite.

– The Second Book of Songs or Ayres, No. 2, ‘Lacrime’

9 Flow not so fast yee fountaines,What needeth all this haste,Swell not aboue your mountaines,Nor spend your time in waste,Gentle springs, freshly your salt tearesMust still fall dropping from their spheares.

Weep they apace whom Reason,Or lingring time can ease:My sorow can no season,


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Nor ought besides appease.Gentle springs, freshly your salt tearesMust still fall dropping from their spheares.

Time can abate the terrourOf euerie common paine,But common griefe is errour,True griefe will still remain.Gentle springs, freshly your salt tearesMust still fall dropping from their spheares.

– The Third and Last Booke of Songs or Aires, No. 8

0 Deare if you change ile neuer chuse againe,Sweete if you shrinke ile neuer thinke of loue,Fayre if you faile, ile iudge all beauty vaine,Wise if to weake moe wits ile neuer proue.Deare, sweete, faire, wise, change shrinke nor be not weake,And on my faith, my faith shall neuer breake.

Earth with her flowers shall sooner heau’n adorne,Heauen her bright stars through earths dim globe shall moue,Fire heate shall loose and frosts of flames be born,Ayre made to shine as blacke as hell shall proue:Earth, heauen, fire, ayre, the world transform’d shall vew,E’re I proue false to faith, or strange to you.


@ Time stands still with gazing on her face,Stand still and gaze for minutes, houres and yeares, to her giue place:All other things shall change, but shee remaines the same,Till heauens changed haue their course & time hath lost his name.Cupid doth houer vp and downe blinded with her faire eyes,And fortune captiue at her feete contem’d and conquerd lies.


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When fortune, loue, and time attend onHer with my fortunes, loue, and time, I honour will alone,If bloudlesse enuie say, dutie hath no desert.Dutie replies that enuie knowes her selfe his faithfull heart,My setled vowes and spotlesse faith no fortune can remoue,Courage shall shew my inward faith, and faith shall trie my loue.


£ All ye whom loue or fortune hath betraide,All ye that dreame of blisse but liue in greif ,Al ye whose hopes are euermore delaid,Al ye whose sighes or sicknes wants releife:Lend ears and tears to me most haples man,That sings my sorrowes like the dying Swanne.

Care that consumes the heart with inward paine,Paine that presents sad care in out ward vew,Both tyrant like enforce me to complain,But still in vaine, for none my plaints will rue,Teares, sighes, and ceaseles cries alone I spend,My woe wants comfort, and my sorrow end.


$ Come yee heauy states of night, Doe my fathers spirit right, Soundings balefull let mee borrow, Burthening my song with sorrow, Come sorrow come hir eies that sings, By thee are turned into springs.

Come you Virgins of the night, That in Dirges sad delight, Quier my Anthems, I doe borrow


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Gold nor pearle, but sounds of sor row: Come sorrow come hir eies that sings, By thee are turned into springs.


% In darknesse let mee dwell, the ground shall sorrow be,The roofe Dispaire to barre all cheerfull light from mee,The wals of marble blacke that moistned still shall weepe,My musicke, hellish iarring sounds to banish friendly sleepe.Thus wedded to my woes, and bedded to my Tombe,O Let me liuing die, Till death doe come.

– A Musicall Banquet, No. 10

& Weepe you no more sad fountaines,What need you flowe so fast,Looke how the snowie mountainesHeau’ns sunne doth gently waste.But my sunnes heau’nly eyesView not your weeping,That nowe lie sleeping,Softly, softly, now softly lies sleeping.

Sleepe is a reconciling,A rest that peace begets:Doth not the sunne rise smiling ,When fair at eu’n he sets,Rest you, then rest sad eyes,Melt not in weeping,While she lies sleeping,Softly, softly, now softly lies sleeping.



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JUSTIN BURWOOD

After initial vocal training and choral experiences with the Chor Leoni Men’s Choir and the Christ ChurchCathedral Choir in Vancouver, Justin Burwood left his native Canada in 2001. Since then, his love oflanguages, music and travel has taken him around the globe. Justin studied early music interpretationwith Max van Egmond and Howard Crook and contributed to a recording of Dutch madrigals while livingin the Netherlands; worked at the Royal Conservatory of Music in Stockholm and sang with men’s choirOrphei Drängar while living in Sweden; and most recently sang with the men’s vocal consort CappellaSanctae Catharinae and gave highly acclaimed solo performances of German and French art song cycleswhile living on the Mediterranean island of Malta. During the time he spent living in Australia, Justin sangboth as soloist and ensemble member with the Australian Brandenburg Orchestra’s Brandenburg Choir inSydney and with vocal ensemble e21 in Melbourne.

In addition to his musical pursuits, Justin currently maintains an active career as a freelance translatorand editor of specialised financial documents for multinational corporations based in Europe. He holdsan Honours degree in Germanic Languages from UBC in Vancouver, and has passed state examsrecognising his advanced knowledge of French, Dutch and Swedish. He is currently working onbecoming fluent in his sixth language in Madrid, Spain.

In his long-term quest to apply the ideal traits of the uomo universale to a 21st-century existence,Justin also engages in a wide variety of activities ranging from early dance to scuba-diving… andalways with as much sprezzatura as he can manage.


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ROSEMARY HODGSON

Recently described as the lute world’s ‘new star’ by the UK Lute Society Journal, Rosemary Hodgsonis fast gaining an international reputation as soloist, chamber musician and recording artist.

A graduate of the University of Melbourne, where she studied with John Griffiths, Rosemarycompleted her postgraduate studies in Early Music at the Royal College of Music in London, withJakob Lindberg. She has released two solo albums, both to critical acclaim: the self-released rosa in2004, and Forlorn Hope Fancy – Renaissance dances and fantasies for lute on ABC Classics in 2008.

With a passion for lute song being a major part of her musical lif e, Rosemary has formed rich musicalrelationships with vocalists Sophia Brumfitt (UK), Justin Burwood (Canada), Stephen Grant, VivienHamilton and Siobhan Stagg (Australia). She is the director of Project 1600, an ensemble collectivecreated by her in 2004 to perform music on its 400th anniversary exclusively from original manuscriptsand facsimiles. In 2001, she formed the duo Rosa Mundi with Sophia Brumfitt; they have touredAustralia and the UK, performing in the Norfolk and Norwich Festival, St David’s Festival and SalisburyInternational Arts Festival; in September 2012, Rosemary and Sophia feature as Artists in Residence forBundanon Trust and tour NSW and Victoria.

Rosemary has enjoyed continuo performances with many of Australia’s leading orchestras andensembles including the Australian Brandenburg Orchestra, Opera Australia, West Australian SymphonyOrchestra, Orchestra Victoria, e21, Consort Eclectus and The Consort of Melbourne, among others.With the support of major Australian festivals and as solo artist for Musica Viva, Rosemary continues tocreate fascinating programs featuring solo early plucked string music, and has enjoyed fruitfulcollaborations with many of the nation’s most revered actors, such as Charles ‘Bud’ Tingwell, RhysMcConnochie and Helen Morse.

Rosemary is a founding member of the Renaissance band La Compañia, with whom she can be heardon recordings such as Music of the Spanish Renaissance (Move), El Fuego and Ay Portugal (ABCClassics). In May 2012 she travelled with La Compañia to Germany to perform in the Tage Alter Musik festival in Regensburg.

www.rosemaryhodgson.com


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Instruments

Eight-course Renaissance lute by Stephen Gottlieb, London, 2000 1, 3, 4, 7, 8, 0-^

Ten-course Renaissance lute by Stephen Gottlieb, London, 2005 2, 5, 6, 9, &

Executive Producers Robert Patterson, Laura Bell

Recording Producer Thomas Grubb, Mano Musica

Editing and Mastering Thomas Grubb, Mano Musica

Publications Editor Natalie Shea

Booklet Design Imagecorp Pty Ltd

Cover Photo Paul Ogier

Artist Photography Pablo Fernández Juárez (Justin Burwood), Nicholas Purcell (Rosemary Hodgson)

Photo p10 Thomas Grubb

Recorded 5-7 January and 31 March 2011 at St Fidelis’ Catholic Church, Coburg, Melbourne, Australia.

Rosemary thanks Thomas Grubb, Father David Cartwright and the congregation of Saint Fidelis’, Martin

Buzacott, Grantley McDonald, John Griffiths, Jakob Lindberg, Stephen Gottlieb, June and Edmund Hodgson,

Veronica Hodgson-Tan, Adeline Hodgson-Tan and Terence Tan.

Justin thanks his mother, for teaching him that ‘a man can do all things if he will. ’

ABC Classics thanks Andrew Delaney, Dux Newton, Jonathan Villanueva and Virginia Read.

www.abcclassics.com

� 2012 Australian Broadcasting Corporation. � 2012 Australian Broadcasting Corporation. Distributed in Australia and New Zealand byUniversal Music Group, under exclusive licence. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting,lending, diffusion, public performance or broadcast of this record without the authorit y of the copyright owner is prohibited.


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