Dowland

[ardcarp]

In case anyone hasn't spotted it, there's a whole discussion about Dowland under Building a Library:

http://www.for3.org/forums/showthread.php?7226-BaL-12-01-13-The-music-of-John-Dowland

[doversoul1]

I was thinking much the same thing about Tess Knighton’s comment on the ‘Deller school’ (re: BaL thread). To wear your heart on your sleeve seems to be missing the point when singing Dowland or any other English lute songs. She almost sounded as if ‘the Deller school’ was a kind of historical interest. Deller’s countertenor voice may be that, as the voice type has developed almost beyond recognition since Deller’s day but when it comes to English lute songs, Deller is very definitely far from a museum piece.

I also thought TK’s comment on Scholl was rather unprofessional. She may not like his way of singing Dowland and his diction may not be perfect, but Scholl’s contribution to recording of English lute songs is considerable. Dismissing his CD as ‘this is just The Voice* and nothing else (or to that effect, unless I misunderstood what she said)’ is really not good enough. At least she should have explained why she thought that.

Having said all this, as you say, it was good to have such a BaL.

*http://www.prestoclassical.co.uk/r/H...2908458%252F59

[Richard Tarleton]

I also thought TK’s comment on Scholl was rather unprofessional. She may not like his way of singing Dowland and his diction may not be perfect, but Scholl’s contribution to recording of English lute songs is considerable. Dismissing his CD as ‘this is just The Voice* and nothing else (or to that effect, unless I misunderstood what she said)’ is really not good enough. At least she should have explained why she thought that.

To be fair, dover, she also said of Scholl's Dowland (I consult my notes): "lumpy and unshaped, artificial, words unintelligible...we are sung at rather than invited in"....I thought she made herself abundantly clear!

[ardcarp]

I too felt that TK's treatment of Scholl was brusque, and Richard's carefully taken notes (even if they add substance to her reasoning) rather make the point. Scholl has one of the great male alto voices of our day. (He publicly acknowledges Deller as a great influence, incidentally.) It is perfectly reasonable to have personal preferences about whose voice suits which repertoire, but yes, Tessa was verging on the virulent! I seem to remember her saying (I didn't take notes, alas!) that hearing Scholl in this repertoire was like being 'sung at'. Well, I think most professional singers 'sing at' their audiences, but with the best of intentions.

[doversoul1]

Richard
You are quite right. TK did say that. I should have done my homework and listened again before fuming at things. Come to think of it, I was thinking what actually made her think Scholl’s singing ‘lumpy and unshaped, artificial’. Thank you for pointing out/reminding me.

ardcarp
Yes, TK did say ‘hearing Scholl in this repertoire was like being 'sung at', too. That seems, not exactly but almost to contradict her criticism that ‘the Deller school’ singers are too reticent.

[Richard Tarleton]

but yes, Tessa was verging on the virulent!

It's a deadly world, this early music! Poiniards at dawn! Similar strong passions were expressed in the early days in purist lute circles about Bream's playing style, and his instruments....Everyone is friends now of course.

[ardcarp]

We'd better cool it...or this place will become like The Choir.

[ardcarp]

I wonder if anyone remembers The Golden Age Singers? They were a vocal quintet started by Margaret Field-Hyde (soprano).

http://newspaperarchives.vassar.edu/cgi-bin/vassar?a=d&d=miscellany19561031-01.2.8

They were all professional singers in their own right, and their sound nowadays would be thought of as 'dated', not least because their records were all done in a very dry studio acoustic as was common in those days. However they were pioneers in the early music revival movement, often performing with lutenist Desmond Dupre (has he been given enough credit in these discussions about Dowland?) and with Julian Bream. The tenor was in fact my own singing teacher, Rene Soames, whose name has largely been forgotten, but who had a very strong suit in lute-songs.

I think a few Golden Age LPs are still knocking around second-hand on the web.

[Richard Tarleton]

I wonder if anyone remembers The Golden Age Singers? They were a vocal quintet started by Margaret Field-Hyde (soprano).

http://newspaperarchives.vassar.edu/cgi-bin/vassar?a=d&d=miscellany19561031-01.2.8

They were all professional singers in their own right, and their sound nowadays would be thought of as 'dated', not least because their records were all done in a very dry studio acoustic as was common in those days. However they were pioneers in the early music revival movement, often performing with lutenist Desmond Dupre (has he been given enough credit in these discussions about Dowland?) and with Julian Bream. The tenor was in fact my own singing teacher, Rene Soames, whose name has largely been forgotten, but who had a very strong suit in lute-songs.

I think a few Golden Age LPs are still knocking around second-hand on the web.

Rob Cowan did an excellent lute-themed week on CD Masters ( ) years ago and the very first lute track he played was Desmond Dupré playing Dowland's Fantasia P1. I was first aware of him as a member of the original Julian Bream Consort - he plays bass viol on the record of Britten's Courtly Dances from Gloriana - a multi-instrumentalist.

The Golden Age Singers new to me I must admit.

[ardcarp]

The Golden Age Singers new to me I must admit.

Sadly, one has to be of a certain age to remember them.