Artist: Capriccio Stravagante Renaissance Orchestra, Skip Sempé Title: Dowland: Lachrimae Year Of Release: 2025 Label: Paradizo Genre: Classical Quality: flac lossless (tracks) 24bits - 96.0kHz + Booklet Total Time: 01:03:51 Total Size: 1.27 gb

Tracklist

1. Lachrimae, or Seven Tears: Sir Henry Umpton's Funeral
2. Lachrimae, or Seven Tears: Mr. Bucton his Galliard
3. Lachrimae, or Seven Tears: Lachrimae antiquae
4. Lachrimae, or Seven Tears: Mr. Nicholas Gryffith his Galliard
5. Lachrimae, or Seven Tears: Lachrimae antiquae novae
6. Lachrimae, or Seven Tears: Mr. Giles Hoby his Galliard
7. Lachrimae, or Seven Tears: Lachrimae gementes
8. Lachrimae, or Seven Tears: The Earle of Essex Galliard
9. Lachrimae, or Seven Tears: Mr. George Whitehead his Almand
10. Lachrimae, or Seven Tears: Mr. John Langtons Pavan
11. Lachrimae, or Seven Tears: Mrs. Nichols Almand
12. Lachrimae, or Seven Tears: Lachrimae tristes
13. Lachrimae, or Seven Tears: Sir John Souch his Galliard
14. Lachrimae, or Seven Tears: Lachrimae coactae
15. Lachrimae, or Seven Tears: Mr. Henry Noell his Galliard
16. Lachrimae, or Seven Tears: Semper Dowland semper dolens
17. Lachrimae, or Seven Tears: The King of Denmark's Galliard
18. Lachrimae, or Seven Tears: Lachrimae amantis
19. Lachrimae, or Seven Tears: Mr. Thomas Collier his Galliard
20. Lachrimae, or Seven Tears: Lachrimae verae
21. Lachrimae, or Seven Tears: Captaine Digorie Piper his Galliard

John Dowland's Lachrimae cycle is among the finest surviving instrumental dance music of the turn of the seventeenth century. This long awaited recording with the Capriccio Stravagante Renaissance Orchestra features new a instrumentation by Skip Sempe: 6 viols, 5 recorders, 2 cornetti, 3 trombones, 2 virginals and harpsichord. Skip Sempe's new performance order of the twenty-one Lachrimae dances revives the tradition of Pavan and Galliard pairs, rather than treating them as isolated movements.

The idea of a 'Renaissance Orchestra' in which all the different instrumental consorts are brought together is the overlooked message of these sixteenth and seventeenth century publications. Large ensembles, for large or commemorative occasions, were every bit as much the 'composer's intention' as were smaller, intimate groups. This missing link has been proposed and provided by the concerts and recordings of the Capriccio Stravagante Renaissance Orchestra since the first years of the twenty-first century, and is one of their remarkable achievements in 'cutting through the noise'