"Not just Dowland" by Carolyn Sampson (2010)

Live recording of voice-and-lute concert performed in London's Wigmore Hall in December 2008.

I was vaguely familiar with soprano Carolyn Sampson because influential and serious "Gramophone" magazine complimented earlier recording she made with The King's Consort under baton of Robert King - it was quite a spectacular recording of sacred music composed by Michael Haydn (Joseph's younger brother) and to illustrate their point,"Gramophone" selected a piece from "Requiem" where Sampson had a solo spot as their favorite-of-the-month. Even to my untrained ears,she sounded like a bolt of lightning when her voice soared somewhere above the clouds,so when I saw this CD where she performed music by Dowland and his contemporaries,it was a quick decision.

Cleverly titled "Not just Dowland" only gently touches on "semper Dowland" and circles around in search of other composers,but its still the expected refined melancholy so much in fashion of England at the time of Virgin Queen. Liner notes inform us that this was pose for the aristocratic circles,no doubt ordinary people had completely different view of what it means entertainment - however,no matter how melancholy this material might be,my heart was overjoyed to hear Sampson singing "Fortune my foe" that I already knew and loved as instrumental piece. Other composers included are Robert Johnson, Claudio Monteverdi (yes,famous "father of the opera" for he lived at the same time as Dowland,interestingly enough) and few others,mostly italian authors of whom I know only Giulio Caccini who composed "Amarilli mia bella" and that beautiful song was actually quite a hit centuries ago.

Great Nigel North's protege Matthew Wadsworth plays lute and another instrument called theorbo here - it is long-necked,italian instrument with completely different,robust sound and boy,is he good - Wadsworth has almost half of repertoire for himself and to be honest,he is such a sensitive player that I surprised myself thinking I wouldn't mind listening CD of himself only. It's actually same old story for me because I always get attracted by singers and end up liking instrumentalists even better. This is not to taking anything away from Sampson who is delightful,but must admit that in this kind of material she has to sound a bit subdued,where with other composers like Mozart or Michael Haydn her natural spark and lively energy comes out more prominently.

Very refined and graceful melancholic music.