Musical Delicacies

— Early Music Concert Series —

Plakát na koncert

Like as the Lute delights

Lute songs of the English renaissance, — from the time of Shakespeare and queen Elizabeth  I.

Friday 22.11.2013 19:30 — Museum of Applied Arts (Uměleckoprůmyslové muzeum), Husova 14, CZ–60200 Brno. Wheelchair accessible


Maurice Greene (1696 – 1755)
    └─ text William Shakespeare (1564 – 1616)
Orpheus with his Lute
Thomas Campion (1567 – 1620)When to her lute Corinna sings   (Booke of Ayres VI, 1601)
John Dowland (1563 – 1626)A Fancy — Lute solo
John Danyel (1564 – cca. 1626)Like as the Lute delights   (Songs for the Lute IV, 1606)
Thomas Campion (1567 – 1620)Author of light, revive my dying spright   (First Booke I, 1613)
Thomas Campion (1567 – 1620)Never weather-beaten saile   (First Booke XI, 1613)
Robert Johnson (cca. 1583 – cca. 1634)As I walked forth one summer day
Robert Johnson (cca. 1583 – cca. 1634)Woods, rocks and mountains and ye desert places
Robert Johnson (cca. 1583 – cca. 1634)The Prince’s almain — Lute solo
Robert Johnson (cca. 1583 – cca. 1634)Care-charming sleep, thou easer of all woes
Robert Johnson (cca. 1583 – cca. 1634)Have you seen but a white lily grow   (Lbl Add. 15177 fol. 17v)

John Dowland (1563 – 1626)Come againe, sweet love doth now invite   (First Booke XVII, 1613)
John Wilson (1595 – 1674)Take, o take those lips away   (Select Musicall Ayres, 1652)
John Dowland (1563 – 1626)Mistress White’s nothing — Lute solo
William Lawes (1602 – 1645) Why so pale and wan, fond lover?   (Autograph Songbook 46)
John Dowland (1563 – 1626)Mr. Dowland’s Midnight — Lute solo
John Dowland (1563 – 1626)Sorrow stay, lend true repentant teares   (Second Booke III, 1600)
John Dowland (1563 – 1626)Dye not before thy day   (Second Booke IV, 1600)
John Dowland (1563 – 1626)Mourne, mourne, day is with darknesse fled   (Second Booke V, 1600)
John Dowland (1563 – 1626)Melancholy Galliard — Lute solo
John Dowland (1563 – 1626)Flow my teares, fall from your springs   (Second Booke II, 1600)
John Dowland (1563 – 1626)Deare, if you change I’le never chuse again   (First Booke VII, 1613)
John Dowland (1563 – 1626)Fortune, my foe, why dost thou frown on me? — Lute solo
John Danyel (1564 – cca. 1626)Griefe, keepe within and scorne   (Songs for the Lute IX, 1606)


About the programme

At this darkening time of year, many people feel an autumnal melancholy coming over them. In Shakespeare’s time, this ‘humour’ was considered to be an appropriate state of mind for artistic endeavours and philosophic reflections, as it encouraged looking within to find truths that were not part of our active everyday lives.

John Dowland is often considered the master of melancholy — perhaps the “Leonard Cohen” of his time. All of us working in this repertoire are happy to acknowledge that “the best songs are the sad ones”, yet we usually feel we need to use these gems sparingly, lest our modern audiences tire too easily or feel uncomfortable with the deep feelings expressed in these ayres. We are going to go straight to the heart of this repertoire, and beguile you with some of the greatest jewels in the English song-writing tradition. Dowland influenced many of his contemporaries, including John Danyel, Thomas Campion and Robert Johnson (who played the lute in Shakespeare’s theatre troupe and composed songs for his plays), and we will hear offerings from each of them that explore the melancholy humour in ways to do with love, loss, grief and religious yearning.

We hope this offering will leave you feeling quietly uplifted, and reminded that the consolation of Philosophy is that there is always hope, even in the darkest night.

Photo: Evelyn Tubb & Michael Fields

Evelyn Tubb

Evelyn Tubb has had a long love affair with music, whose several strands weave together to make a most stimulating life, with new horizons always beckoning. Performing is her first love, and manifests in various forms. Evelyn has devoted many years to vocal ensemble work, with the Consort of Musicke particularly, performing all over the world and leaving a legacy of many fine recordings. Her solo career has taken a unique path, working closely with Michael Fields, Anthony Rooley and other excellent accompanists to create recitals which are always exploratory, finding unknown masterpieces, presenting them with a real sense of theatre and a rich diversity of vocal colour. Evelyn has a passion for music-drama in its many forms, and has performed works ranging from Hildegard of Bingen’s Ordo Virtutum, through baroque opera, to pieces by Peter Maxwell-Davies and David Bedford.

All this extended experience in performance is brought to bear in her teaching. She is Vocal Professor at the internationally acclaimed specialist early music establishment, the ‘Schola Cantorum’, in Basel, Switzerland, and also travels to many parts of the world to give workshops and teach on summer courses; in recent years she has taught in Holland, Florida, Germany, Finland, Latvia, England and Japan.

Michael Fields

Michael Fields (lute, guitar) was born in Hawaii, where the song of the surf and the rhythm of ukuleles made a lasting impression on him. He began his musical journey playing folk, rock and jazz in California and Australia, until a romantic interest in older music brought him to England in 1974 to study classical guitar and lute. His career as a performer, conductor, and teacher has since taken him back around the world several times. His video of the Vivaldi Lute Concerto is a big favourite on YouTube!

Michael is the Musical Director of Sastamala Gregoriana Early Music Festival in Finland, regarded as the leading early music festival in that country.

Since meeting as students, Michael has enjoyed a fruitful partnership exploring music from folk-song to their own compositions with soprano Evelyn Tubb. Their communication with each other, the music and the audience has found followers from Japan and Australia to Europe, with critics praising “the absolute affinity between voice and instrument” achieved by the duo. They have performed, recorded and taught courses together throughout the world.


Title song

Like as the Lute delights, or else dislikes,
As is his art that playes upon the same;
So sounds my Muse, according as she strikes
On my heart strings, high-tun'd vnto her fame.

Her touch doth cause the warble of the sound,
Which here I yield in lamentable wise;
A wailing descant on the sweetest ground,
Whose due reports give honour to her eyes.

If any pleasing relish here I use,
Judge then the world her beauty gives the same;
Else harsh my style, untunable my Muse,
Hoarse sounds the voice that praiseth not her name.

For no ground else could make the music such,
Nor other hand could give so sweet a touch.
Music: John Danyel (1564 – cca. 1626), Songs for the Lvte Viol and Voice (London, 1606), Song IV,
dedicated to Mris Anne Greene the worthy Daughter to Sr William Greene of Milton, Knight.
Text: Samuel Danyell (1562 – 1619), Delia. Contayning certayne Sonnets (1592), Sonnet XXXVII,
dedicated To the Right Honourable the Lady Mary, Countesse of Pembroke.

Thank you

The concert takes place with kind support by the Ministry of Culture of the Czech Republic, the Statutory City of Brno, and British Council.

Logo of Ministry of Culture Logo Statutárního města Brna Logo British Council Czech Republic