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JOHN DOWLAND (c. 1563 – 1626)
ELIZABETHAN & JACOBEAN LUTE MUSIC - Stanley Buetens, lute
ELIZABETHAN & JACOBEAN LUTE MUSIC - Stanley Buetens, lute
American lutenist and early music pioneer Stanley Buetens performs a recital of English lute music.
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DOWLAND: Lachrimae, or Seven Tears: VII. The Earl of Essex Galliard
1:24
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ANONYMOUS: Lord Souch's March
1:03
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JOHN JOHNSON: Flatt Pavin
1:33
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CUTTINGE: Greensleeves
1:36
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CUTTINGE: Cutting's Galliard
1:41
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DOWLAND: Frog Galliard, IDJ 65
1:37
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DOWLAND: Delight Pavin
3:29
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ROBERT JOHNSON: Two Almaines: Almaine I
1:42
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ROBERT JOHNSON: Two Almaines: Almaine II
1:58
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ANONYMOUS: Tom O' Bedlam
1:39
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ANONYMOUS: The Cobler
1:49
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DOWLAND: Lachrimae Pavin, IDJ 49
3:47
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DOWLAND: Sir John Smith, His Almaine
2:17
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DOWLAND: Mynshall's Lute Book: VIII. Lady Rich's Galliard
1:24
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JOHN JOHNSON: Levecho Pavin
1:33
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ANONYMOUS: Go From My Window
1:25
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ANONYMOUS: French Coranto
1:09
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THOMAS ROBINSON: Spanish Pavin
2:27
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The Elizabethan-Jacobean School of lute composers was the culmination of one hundred years of lute playing in Europe. The lute came late to England; although printed lute books appeared on the Continent as early as 1507, the first English lute book, William Barley's New Booke of Tabliture, was not published until 1596. In two decades the lute was already on its way out, as new French ideas began to dominate English music. But within these twenty years some of the greatest English music of all time Was composed. The virtuoso lutenists such as Dowland, Cuttinge, Batchelor, Holborne, and the Johnsons were only part of a larger English musical renaissance that in turn was only part of a great upsurge of artistic outpouring within England.

While not a review - this was a comment from our YouTube channel, a video featuring a performance of Stanley Buetens...I recorded and produced this album at a small (resonant) cottage at Stanford University in Palo Alto, CA., around 1972, using four microphones that, if memory serves, were probably owned by Stanley (two in a coincident pair direct on the instrument, and two for ambience and enhanced spatiality, mixed at a low amplitude.) Stanley edited the original master tapes (15 ips non-Dolby on an Ampex PR10) which had so many tape splices that we feared it would not survive shipping; so it was - with a bit of added 'sweetening' equalization accomplished by me - dubbed by Robert Orban at his home studio, at 30 ips on 10" reels of Scotch 201, using Dolby A, and thus shipped to NY to Musical Heritage Society. I always felt proud of the collaboration as it's a charming, entertaining album with splendidly memorable and entertaining selections, taken down in sound quality that I think is quite realistic (though not by today's digital standards, done in a rich and reverberant "church" acoustic like so many other lute recital albums.) This has more of a simpler, intimate 'chamber' presentation. - S. Waldee
11/29/2024

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