Dreames & Imaginations - Poeticall Musicke to be sung to the Lyra viol Anna-Lena Elbert, Friederike Heumann, Evangelina Mascardi, Angélique Mauillon

• Robert Jones (1577 - 1617): The Second Booke of Songs (London 1601):
• 1 Jones: The Second Booke of Songs (London 1601): Love wing´d my hopes 03:36
• Whither runneth my sweet hart:
• 2 Jones: Whither runneth my sweet hart 02:48
• William Corkine (ca. 1610): The Second Booke of Ayres:
• 3 Corkine: The Second Booke of Ayres: Walsingham 03:21
• Robert Jones: The Second Booke of Songs (London 1601):
• 4 Jones: The Second Booke of Songs (London 1601): O how my thoughts doe beate me 04:48
• My love bound me with a kisse:
• 5 Jones: My love bound me with a kisse 02:26
• Tobias Hume (1569 - 1645): The First Part of Ayres:
• 6 Hume: The First Part of Ayres: Fain would I change that Note 02:16
• Harke, Harke:
• 7 Hume: Harke, Harke 01:36
• What greater griefe:
• 8 Hume: What greater griefe 03:57
• John Danyel (1564 - 1626): Passymeasure Galliard:
• 9 Danyel: Passymeasure Galliard 04:13
• Robert Jones: The Second Booke of Songs (London 1601):
• 10 Jones: The Second Booke of Songs (London 1601): Now what is love 03:21
• Come sorrow come:
• 11 Jones: Come sorrow come 05:33
• Thomas Ford (1580 - 1648): Musicke of Sundrie Kindes:
• 12 Ford: Musicke of Sundrie Kindes: Coranto 01:29
• Robert Jones: The Second Booke of Songs (London 1601):
• 13 Jones: The Second Booke of Songs (London 1601): Dreames and Imaginations 02:44
• Thomas Ford: Musicke of Sundrie Kindes:
• 14 Ford: Musicke of Sundrie Kindes: A pill to purge Melancholie 00:37
• John Dowland (1563 - 1626): Prelude:
• 15 Dowland: Prelude 00:55
• The First Booke of Songes or Ayres (London 1597):
• 16 Dowland: The First Booke of Songes or Ayres (London 1597): If my complaints 01:36
• William Corkine: The Second Booke of Ayres:
• 17 Corkine: The Second Booke of Ayres: Pavin 03:55
• 18 Corkine: The Second Booke of Ayres: Coranto 01:24
• 19 Corkine: The Second Booke of Ayres: If my complaints 03:09
• Robert Jones: The Second Booke of Songs (London 1601):
• 20 Jones: The Second Booke of Songs (London 1601): Fie fie 03:12
• Mee thought this other night:
• 21 Jones: Mee thought this other night 03:50
• John Dowland: Come again:
• 22 Dowland: Come again 02:32
• Total Runtime 01:03:18

Info for Dreames & Imaginations - Poeticall Musicke to be sung to the Lyra viol

Late blossoms are particularly beautiful – this general wisdom is perhaps most true for music and especially true for the ayres of the English Renaissance. Late blossoms, however, seem to always carry with them the knowledge of their own transience. Behind the great, inexplicably poignant beauty, the finitude already glimmers: dreams are illusions; longing is unfulfilled yearning; love is unhappy love; happiness is past happiness; and sleep is eternal sleep. This immersion in the transience of all earthly things had a name in late 16th and early 17th century England: melancholy.

To cultivate melancholy as an aesthetic pleasure – perhaps no composer of the time mastered this art better than John Dowland (c. 1563–1626). But he was by no means the only one: Robert Jones (c. 1576–1615), Tobias Hume (c. 1579–1645), Thomas Ford (?–1648), William Corkine (unknown, early 17th century), and many other composers contributed to this intellectual trend in various ways. The intimate poetry of the 'golden Elizabethan age' is set to music by the singer, lutenist and composer Robert Jones in his »Second Booke of Songs« (London 1601) – "set out to the lute and bass viol by tablature after the lyre fashion".

All these composers contributed in their own way to the rich flowering of English Renaissance music by expanding the boundaries of musical forms and instrumental techniques, and by seeking out new, captivating sounds. Thanks to the excellent ensemble Anna-Lena Elbert (soprano), Friederike Heumann (viola da gamba, lyra viol) Evangelina Mascardi (Renaissance lute) and Angélique Mauillon (harp), this music blossoms once more in its former glory, and we – the listeners – can be enchanted by its beauty and inventiveness. Moreover, we are also invited to develop our own “dreams and imaginations,” melancholic or otherwise, to this music! ...

Anna-Lena Elbert, soprano
Evangelina Mascardi, lute
Angelique Mauillon, triple harp
Friederike Heumann, viola da gamba, lyra viol & conductor

Anna-Lena Elbert
studied at the University of Music and Theatre in Munich. There she appeared as Lucia (The Rape of Lucretia), Pamina, Queen of the Night (Die Zauberflöte), Adina (L'elisir d'amore), Adele (Die Fledermaus) and Rosina (Il barbiere di Siviglia). In concerts, she has sung masses and oratorios by Bach, Handel, Mozart, Schubert, Haydn and Mendelssohn as well as works by Orff, Honegger and Ligeti. She was a scholarship holder of the MozartLabor at the Mozartfest in Würzburg and has performed at the Swiss Baroque Festival, the Schleswig-Holstein Music Festival and the Rheingau Festival. She is a winner of the Helmut Deutsch Competition and the Richard Strauss Competition. She sings the title role in the children's opera Spring doch at the Bavarian State Opera.

Friederike Heumann/strong>
studied viola da gamba with Jordi Savall and Paolo Pandolfo at the Schola Cantorum Basiliensis, completing her musical education with a solo diploma in Early Music Performance. Thereafter she received a scholarship from the Cité Internationale des Arts, Paris, where she lived for several years as a freelance musician. She has appeared throughout Europe, Canada, Brazil, Japan, in the US and Israel as a soloist and guest musician of numerous ensembles, including Hesperion XXI and Le Concert des Nations (Jordi Savall), Concerto Vocale (René Jacobs), Le Concert d´Astrée (Emmanuelle Haïm), Les Arts Florissants (William Christie), Ensemble Café Zimmermann, Le Poème Harmonique, Lucerne Festival Orchestra (Claudio Abbado), Bayerische Staatsoper (Ivor Bolton), Symphonieorchester des Bayerischen Rundfunks (Ton Koopman), Montréal Symphony Orchestra, Youth Orchestra of the Americas and Deutsches Symphonie-Orchester Berlin (Kent Nagano), Berliner Barocksolisten and others.

Her own ensemble, Stylus Phantasticus, has made guest appearances at many European festivals performing instrumental music of the 17th century, also in collaboration with such renowned vocal soloists as María Cristina Kiehr, Victor Torres, Damien Guillon, Roberta Invernizzi, Andreas Scholl and Furio Zanasi.

Under the artistic direction of Friederike Heumann, several CD recordings have been released since 2002, which have received enthusiastic reviews and won numerous awards (Diapason d’Or, Choc du Monde de la musique, 10 de Répertorie, Classica, 5 Étoiles de Goldberg, 4 clés de Télérama ffff): Zeichen im Himmel (Signs in the Heavens), the first CD recording of the music of Philipp Heinrich Erlebach, with Stylus Phantasticus and Victor Torres, appeared in 2002 with Alpha (Paris); Ciaccona – il mondo che gira, with chamber music by Dietrich Buxtehude, in 2004 with the same label, as well as L’Harmonie des Nations with Accent in 2007 – music from the time of Elector Max Emanuel -, and Hortus Musicus, with chamber music by Johann Adam Reincken, in 2010.

Solo a viola di gamba col basso, her recording of sonatas for viola da gamba by C.Ph.E. Bach (with Dirk Börner, pianoforte and Gaetano Nasillo, violoncello) has been published by Alpha in 2005, a recording with her duo partner Hille Perl (Why not here, music for two lyra-viols) with Accent. In 2012, her solo recording Il vero Orfeo – Sonatas for viola da gamba by and inspired by Arcangelo Corelli has been released with Accent.

At the international competition Premio Bonporti in Rovereto Friederike Heumann was awarded the first prize with her ensemble Le Nuove Musiche.