Julian Bream lute
Peter Pears tenor

Tracklisting:
1. Thomas Ford - Fair, sweet, cruel (2:03)
2. Thomas Morley - Come, sorrow, come (3:33)
3. Philip Rosseter - When Laura smiles (1:37)
4. John Dowland - I saw my lady weep (4:11)
5. Morley - It was a lover and his lass (2:24)
6. Dowland - Awake, sweet love (2:37)
7. Rosseter - What then is love but mourning (2:49)
8. Dowland - In darkness let me dwell (4:45)
9. Morley - Mistress mine, well may you fare (1:17)
10. Dowland - Fine knacks for ladies (2:33)
11. Rosseter - Sweet, come again (3:44)
12. Morley - Thyris and Mila (2:25)
13. Dowland - Sorrow, stay (3;48)
14. Ford - Come, Phyllis, come (1:33)
15. Morley - I saw my lady weeping (2:58)
16. Morley - With my Love my life was nestled (1:31)
17. Francis Pilkington - Rest, sweet nymphs (4:28)
18. Morley - What if my mistress now (1:33)
19. Anon. - Have you seen but a whyte lillie grow? (2:03)
20. Thomas Campion - Come, let us sound (1:53)
21. Anon. - Miserere, my maker (3:29)
22. Rosseter - What is a day? (1:52)
23. Campion - Fair, if you expect admiring (1:19)
24. Campion - Shall I come, sweet love (2:59)
25. Dowland - If my complaints (4:27)
26. Dowland - What if I never speed (1:32)
27. Rosseter - Whether men do laugh or weep (1:10)

In the music written in England around 1600, the lute song is virtually unique, for although the madrigal and instrumental
music have counterparts in Continental countries (and in Italy especially), songs accompanied by lute alone are a largely
English phenomenon. (Later, in deference to the new Italian fashion of basso continuo, a viol was added to the lute). Undoubtedly
the flowering of English poetry in late Elizabethan times contributed to the lute song, as German lyric poetry from the late
eighteenth century onwards contributed to the birth of the German Lied. In the lutenist’s case the poetry was frequently much
more closely associated with the music, for sometimes poet and composer were one and the same person (Campion certainly was, and
Dowland seems likely to have been).


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