Dowland: Lachrimæ Zachary Wilder, La Chimera, Eduardo Egüez

• John Dowland (1563 - 1626): Lachrimæ, or Seven Tears:
• 1 Dowland: Lachrimæ, or Seven Tears: Sir Henry Umpton's Funerall 04:22
• First Book of Songs or Aires:
• 2 Dowland: First Book of Songs or Aires: Now, O Now I Needs Must Part 04:04
• Lachrimæ, or Seven Tears:
• 3 Dowland: Lachrimæ, or Seven Tears: The King of Denmark His Galiard 01:16
• 4 Dowland: Lachrimæ, or Seven Tears: Lachrimæ Antiquæ 04:06
• Second Book of Songs or Aires:
• 5 Dowland: Second Book of Songs or Aires: O Sweet Woods, the Delight of Solitariness 04:25
• Lachrimæ, or Seven Tears:
• 6 Dowland: Lachrimæ, or Seven Tears: M. Bucton His Galiard 02:07
• 7 Dowland: Lachrimæ, or Seven Tears: Lachrimæ Antiquæ Novæ 04:21
• First Book of Songs or Aires:
• 8 Dowland: First Book of Songs or Aires: Dear, If You Change, I'll Never Choose Again 03:47
• Lachrimæ, or Seven Tears:
• 9 Dowland: Lachrimæ, or Seven Tears: Lachrimæ Gementes 04:14
• 10 Dowland: Lachrimæ, or Seven Tears: M. Henry Noell His Galiard 02:02
• First Book of Songs or Aires:
• 11 Dowland: First Book of Songs or Aires: If My Complaints Could Passions Move 02:41
• Lachrimæ, or Seven Tears:
• 12 Dowland: Lachrimæ, or Seven Tears: Lachrimæ Tristes 04:44
• 13 Dowland: Lachrimæ, or Seven Tears: M. Giles Hoby His Galiard 01:32
• 14 Dowland: Lachrimæ, or Seven Tears: Lachrimæ Coactæ 04:09
• First Book of Songs or Aires:
• 15 Dowland: First Book of Songs or Aires: His Golden Locks Time Hath to Silver Turn'd 03:03
• Lachrimæ, or Seven Tears:
• 16 Dowland: Lachrimæ, or Seven Tears: M. George Whitehead His Almand 01:41
• 17 Dowland: Lachrimæ, or Seven Tears: Lachrimæ Amantis 04:15
• First Book of Songs or Aires:
• 18 Dowland: First Book of Songs or Aires: Go Crystal Tears 03:32
• Lachrimæ, or Seven Tears:
• 19 Dowland: Lachrimæ, or Seven Tears: Sir John Souch His Galiard 02:09
• 20 Dowland: Lachrimæ, or Seven Tears: Lachrimæ Veræ 04:47
• Second Book of Songs or Aires:
• 21 Dowland: Second Book of Songs or Aires: Flow My Tears Fall From Your Springs 04:37
• Lachrimæ, or Seven Tears:
• 22 Dowland: Lachrimæ, or Seven Tears: Semper Dowland Semper Dolens 04:55
• Total Runtime 01:16:49

Info for Dowland: Lachrimæ

“No one is indifferent to Dowland’s Lachrimae. Hypnotic, sharp, pitiless, redeeming: with the pleasure of an almost taxonomic cataloguing Dowland leads us into the gallery of the different natures of weeping, where instead of paintings we find mirrors, exact portraits of our own individual and unique feeling.

Many theories have been ventured on this enigmatic collection, one of the most interesting being that it is a crypto-liturgy of Catholic Maundy Thursday to win the favor of Queen Anne; or that it is a reflection of the theories of melancholy very much in vogue at the time.

Whatever the motive behind this collection, every listener will find in it the possibility of a dense introspective journey, guided – but subtly, without impositions – by extremely evocative titles, to which one can give an autobiographical meaning: ancient tears, forced tears, lover’s tears…

Within the constant oscillation between the profane and the sacred, between nihilism and redemption, sometimes dazzling landscapes of light appear, like landscapes barely revealed by a flash in the middle of a thunderstorm, Hindemith would say: moments of sublime joy, of euphoria almost, where tears – as foretold in the preface – will rise from happiness.

For our reading we were inspired by the epigram on the cover page “Aut Furit, aut Lachrimat, quem non Fortuna beavit” (“O si infuria o pianto, chi non è benedetto dalla Sorte”): we have conceived a retrospective story punctuated by dances and songs, the story of a man at his deathbed and the accounts he makes with his own Destiny”.

Zachary Wilder, tenor
La Chimera
Eduardo Egüez, lute, direction

Zachary Wilder
With a solid technique, beautiful timbre, and a refined musicality, American tenor Zachary Wilder is recognized for his work in repertoires covering the 17th and 18th centuries and is sought after for concerts and opera productions on both sides of the Atlantic. In 2011, he was invited by the Festival d'Aix-en-Provence, to play Corydon in Händel's Acis and Galatea, a production which subsequently toured to La Fenice in Venice. During this period, William Christie selected him to join the ranks of the Jardin des Voix, the prestigious academy for young singers with the Arts Florissants. Zachary subsequently relocated to France which he now calls home.

He continues to work with many eminent ensembles such as Ensemble Pygmalion, Les Arts Florissants, L’Arpeggiata, Les Talens Lyriques, Le Concert d’Astrée, Le Poème Harmonique, Le Concert Spirituel, Bach Collegium Japan, the Boston Early Music Festival, Cappella Mediterranea, Collegium Vocale Gent, Early Music Vancouver, English Baroque Soloists, Ensemble Matheus, I Gemelli, the Handel & Haydn Society, De Nederlandse Bachvereniging, the Royal Philharmonic Orchestre, the San Francisco Symphony Orchestra, and the Saint Louis Symphony Orchestra. ​

Recent highlights from past seasons include a seven month tour celebrating the 450th anniversary of Monteverdi’s birth with Sir John Eliot Gardiner and the English Baroque Soloists, where he performed the roles of Eurimaco in Il Ritorno d’Ulisse in patria and Lucano in L’Incoronazione di Poppea; Frank Zappa’s 200 Motels as Mark with the Philharmonie de Strasbourg, The Tale of Genji as the Spirit of Light at Kabukiza led by Ebizo Ichikawa, the Rolex Concert led by Rolando Villazon at the Opera de Paris, and numerous tours with Bach Collegium Japan in Europe, the United States, and Japan.

His 2021/22 season includes Telemaco in Monteverdi’s Il Ritorno d’Ulisse with I Gemelli (disc and concerts), A European tour of Händel’s Radamisto with Il Pomo d’Oro and Philippe Jaroussky, Campra’s Requiem with Les Arts Florissants, a staged production of a 17th century pasticcio Le Lacrime di Eros with Ensemble Pygmalion, directed by Romeo Castellucci at the Dutch National Opera, a program of Purcell Odes with Les Musiciens de Saint-Julien, without forgetting the modern premiere of La Nitteti de Conforto with l’Orquestra Nereydas at the Auditorio Nacional de Madrid.

Zachary’s discography includes several solo albums: Eternità d’amore (La Musica), with Josep M. Martí Duran, Amours Contrariées (Centaur) with Les Bostonades, and Balli e Sonate of Monteverdi and Rossi (Ricercar) with Ensemble Clematis. He has recorded extensively with the Boston Early Music Festival, including Händel’s Almira as Osman and their Grammy Award winning La Descente d’Orphée aux Enfers as Tantalus (CPO). He can also be heard on Monteverdi’s Il ritorno d’Ulisse in patria as Eurimaco with the English Baroque Soloists (Soli Deo Gloria), Bach’s Saint Matthew Passion and Saint John Passion with Bach Collegium Japan (BIS), Le Jardin de Monsieur Rameau and a DVD of Monteverdi’s Orfeo with Les Arts Florissants, DVDs of Monteverdi’s Vespro della Beata Vergine and Stravaganza d’amore with Ensemble Pygmalion (Chateau Versailles Spectacles), Zamponi’s Ulisse nell’isola di Circe (Ricercar) and Draghi’s El Prometeo, both as Mercurio with Cappella Mediterranea (Alpha), Montéclair’s Jepthé as Ammon with Orfeo Orchestra & Purcell Choir (Glossa), Félicien David’s Le Désert (Naïve) with the Orchestre de Chambre de Paris, Bach’s Magnificat (ATMA) with Arion Baroque, and Rameau’s Zaïs (Aparté) with Les Talens Lyriques. Zachary will be featured later this year in a recording of works by John Dowland with La Chimera (La Musica) and a duo recital recording with Emiliano Gonzalez Toro.

Eduardo Egüez
Born in Buenos Aires, Eduardo Egüez belongs to the new generation of argentine lutenists. He first studied guitar with Miguel Angel Girollet and Eduardo Fernández. His studies in composition were conducted at the Catholic Argentine University, while in 1995 he obtained his diploma in lute from the “Schola Cantorum Basiliensis” under the guidance the Hopkinson Smith.

Mr. Egüez has given many solo concerts in the main cities of South America, Europe, Australia and Japan, being well received by critics worldwide and highly appreciated by the public. He was received awards in the following international competitions: “Promociones Musicales”, Buenos Aires, 1984, “Círculo Guitarrístico Argentino”, Buenos Aires, 1984, “Concours International de Guitare”, Paris (Radio France), 1986, “V Concurso Internacional de Guitarra” (Jacinto and Inocencio Guerrero Foundation), Madrid, 1989.

He has given international courses and seminars, the most noteworthy being: « Camping Musical Bariloche », Argentina, « Universidad Católica Argentina », « Universidad Católica de Santiago de Chile », « Instituto para las Artes », Uruguay, « Musikhochschule Wuppertal », Germany, « Conservatoire Populaire de Musique », Geneva, « Fundación La Caixa », Murcia, Spain, « Conservatorio di Musica V. Bellini », Palermo, Italy, « Fondation Royaumont », France, « Académie Baroque Européenne d’Ambronay », France, “Festival de Guitarra de Gran Canaria”, Spain, Tokio Lute Society », Japan, “Lute Society of Sydney”, Australia, “Early Music Festival”, Gijón, Spain, “High School of Music”, Salvador de Bahia, Brasil.

Since 1992 to the present, Mr. Egüez has performed as a basso continuo player, being part of several groups such as: “Elyma” (Gabriel Garrido), “Hesperion XXI” (Jordi Savall), “Orchestra Mozart” (Claudio Abbado), “Ensemble Baroque de Limoges” (Christophe Coin), “La Grande Ecurie et la Chambre du Roi” (Jean-Claude Malgoire), “Aurora” (Enrico Gatti), “Concerto Italiano” (Rinaldo Alessandrini), “Labyrinto” (Paolo Pandolfo), “The Rare Fruits Council” (Manfred Kraemer), “Café Zimmermann” (Valetti / Frisch), “Les Sacqueboutiers” (JP Canihac), “Ricercar Consort” (P. Pierlot). Mr. Eguez has also accompanied artists such as Emma Kirkby, Maria Cristina Kiehr, Rolf Lislevand, Victor Torres, among others.

Eduardo Egüez has recorded for several labels as: “Astrée Auvidis”, “Astrée Naïve”, “Arcana”, “Glossa”, “K617”, “Op 111”, “Alia Vox”, “E Lucevan le Stelle”, “Stradivarius”, “Symphonia”, “Alpha”, “Ambroisie”, “Naxos”, “Flora”, “Mirare”, “Accent”, “Harmonia Mundi”.

As a soloist he has recorded “Tombeau” with works by Silvius Leopold Weiss (E Lucevan le Stelle), the complete lute works by Johann Sebastian Bach (Ma recordings) and “Le Maître du Roi” with works by Robert de Visée (Ma recordings).

At the same time, he leads the “Ensemble La Chimera”. With this ensemble he has recorded for the label Ma recordings “Buenos Aires Madrigal” (fusion of early Italian madrigals and Argentinean tango) and “Tonos y Tonadas” (fusion of early Spanish “tonos humanos” and folk music from Latinoamerica).

Booklet for Dowland: Lachrimæ