557586 bk Dowland US 4/13/06 2:22 PM Page 4

Pavan, and Mr. Dowlands Midnight a simple, dreamy Shakespeare acted, we have another link with
tune found in a late manuscript source, the Margaret
Board Lute book.
The Spirits are all connected to Dowlands friends,
Shakespeare and the theatre. Carey and his wife, Lady
Elizabeth, were Dowlands friends and patrons.
Dowland reworked a Balletto by the Italian lutenist
DOWLAND
patrons and court associates, honoured in the remaining
playful pieces, Mrs White, Lady Clifton, Mrs Nichols,
Mrs Vaux, Mrs Winter and Lady Hunsdon. George
Santino Garsi and dedicated it to Lady Hunsdon, and
from this was born what must now be his most well
known non-melancholic piece, My Lady Hunsdons
Fancyes, Dreams and Spirits
Carey, 2nd Baron Hunsdon, was appointed as Lord Puffe.
Chamberlain to Queen Elizabeth in 1597. As he was
also patron of the Lord Chamberlains Men, in which Nigel North
Lute Music 1
Nigel North, Lute
All performing versions have been edited from original sources by Nigel North.
Any numbering given to identify a piece is taken from The Collected Lute Music of John Dowland, Faber, 1974,
edited by Diana Poulton and Basil Lam.

Nigel North
Nigel North was born in London in 1954, and has been playing the lute professionally now for over thirty years.
Initially inspired into music at the age of seven by the early 1960s instrumental pop group The Shadows, he studied
classical music through the violin and guitar, eventually discovering his real path in life, the lute, when he was
fifteen. Basically self taught on the lute, he has developed a unique musical life which embraces activities as a
teacher, accompanist, soloist, director and writer. His achievements include the publication of a basso continuo
tutor (Faber 1987), representing his work and dedication for this subject, and a four-volume CD recording Bach on
the Lute (1994-1997). Together with Andrew Manze (violin) and John Toll (harpsichord and organ), he formed the
ensemble Romanesca, and for ten years, from 1988 to 1998, they explored, performed and recorded seventeenth-
century chamber music, winning several international awards for their recordings. Nigel North also enjoys
accompanying singers and is an enthusiastic teacher. For over twenty years he was Professor of Lute at the
Guildhall School of Music and Drama in London, and from 1993 to 1999 he was Professor at the Hochschule der
Knste, Berlin. Since January 1999 he has been Professor of Lute at the Early Music Institute of Indiana
University, Bloomington in the United States, and from January 2005 has also taught the Lute at the Royal
Conservatory in The Hague.

8.557586 4
557586 bk Dowland US 4/13/06 2:22 PM Page 2

literally follow his own Fancy and make an expressive music is partly reminiscent of certain English
John Dowland (1563-1626) and varied piece of music without any restrictions of melancholic madrigals and also of the madrigals by the
Lute Music 1 form. In writing about the English consort Fantasy, Italian Gesualdo. Forlone Hope Fancy, built on a
Thomas Morley described it in 1599 as The most descending chromatic bass, begins in deep melancholy
A true genius in any artistic field is a rare thing. In the on an instrument with only six courses (pairs of strings), principal and chiefest kind of music which is made but changes to a rapidly fleeing, runaway flourishing
world of the lute John Dowland most certainly qualifies but would have played a nine- or ten-course lute in his without a ditty, that is when a musician taketh a point end. In contrast, Farewell has a rising chromatic theme
for this accolade. Despite being a Catholic at the wrong maturity. Thus we can trace Dowlands development at his pleasure and wresteth and turneth it as he list which keeps the fantasia in a melancholic mood
time in English history and a man with a rather difficult side by side with that of the lute. Of course, the writing In this may more art be shown than in any other music throughout. Fantasie No. 4, P4, is another Farewell
complaining character, Dowlands genius still brought for the instrument tells us much, as does the history of because the composer is tied to nothing. yet unique for Dowland in being an In Nomine, a
him praise and honour from his contemporaries. In a each manuscript in which the music is found. More The English lute Fantasie as a genre, and Fantasie based on a cantus firmus chant Gloria tibi
sonnet from 1598, the poet Richard Barnfield paid the interesting evidence can be gleaned from the particularly those of Dowland, had a texture more Trinitas. The In Nomine fantasy was a favourite form of
most telling tribute to Dowland by writing Dowland to dedications which Dowland gave to many of his lute flexible than the contrapuntal consort fantasy, the English consorts of Dowlands contemporaries, but
thee is dear, whose heavenly touch/Upon the lute doth pieces. Patrons and courtiers, for example, often sometimes strictly contrapuntal and at other times more was not so common in lute literature. On this recording,
ravish human sense. From this, and from Dowlands changed their names through marriage, they received idiomatically instrumental and playful. Dowlands the chant can be heard played on the lute before
music itself, we can sense that Dowlands inimitable new titles by Royal command, or they may also have awareness of musical style from the whole of Europe is Dowlands fantasy begins. Fantasy, P73, is Dowlands
qualities as a performer (of his own compositions) were gained a degree at one of the two English Universities. very much mirrored in his lute Fantasies. Sometimes eighth Fantasie, often known today as the Tremolo
the beauty of his tone coupled with an extraordinary From all these directions, we can build a fairly clear we can sense a very English contrapuntal tradition, Fantasie, the modern title describing the repeated
ability to move the emotions of his listeners. chronological journey. including quotations and adaptations of figurations figuration at the pieces conclusion. The unique copy of
In our 21st century, Dowland is often remembered While borrowing ideas from the past, Dowland and from colleagues such as Thomas Tallis. In contrast, this fantasie is found in the Cambridge University
for his Lachrimae Pavan, and as a composer of Shakespeare were both extremely innovative in their Dowland was also interested in the world of Italian Library, Ms. Dd.9.33, preceded by a version of
melancholic music. This gives us, however, a very creations. In Dowlands musical environment, it was music, especially the madrigals of Marenzio. In his Dowlands Fantasie No. 6, unattributed in this
limited and unduly biased view of our English perhaps more that the air was full of certain ideas, Fantasies, we find that Dowland mixes the English manuscript but confirmed as Dowlands in several other
Orpheus because Dowlands music explores the fashions and conventions and it was simply unavoidable style with a more Italianate one. This often manifests sources. After some judicious editing this tremolo
complete range of human emotions with a unique blend to share or borrow from this collective. For Dowland, itself as music which is more improvisatory in style, as fantasie does yield a convincing fantasie worthy of a
of spirit, heart and intellect. The other qualities which this might have been in the form of a phrase, (such as one would expect from a prelude, toccata or ricercar. young Dowland.
are very much apparent are a wonderful melodic gift the famous descending Lachrimae theme) or a way of Fantasie No. 1 (P1) is Dowlands earliest and Of the Dreams and Spirits in this recording, most
and a thorough, ingenius contrapuntal skill. While it is working with a musical figure and its inherent rhetorical probably his most well known. Optimistic, bright and pieces date from about 15901600. Four pieces are
often virtuosic, Dowlands lute music is always natural meaning. virtuosic, it begins serenely with a traditional canzona- connected with the theatre. Lord Stranges March is an
and idiomatic. All of these qualities can be found like opening with subsequent short contrapuntal Almain-like piece, dedicated to Lord Strange who was
throughout Dowlands canon of works which sections which accumulate in speed and spirit leading to the patron of the acting troupe Lord Stranges Men, in
principally consists of about one hundred solo lute Fancyes, Dreams and Spirits an exuberunt conclusion. Fantasies Nos. 5, 6 and 7 are which Shakespeare performed from about 1587.
pieces, almost the same quantity of lute songs, with all more toccata-like and Italianate. Fantasie No. 6 (P6), Richard, or Will Tarleton was the first of the
some consort pieces for viols and lute. The lute repertoire of Elizabethan England abounds begins almost like a minor version of the Fantasie Elizabethan comic actors who performed with
Shakespeare and John Dowland were exact with Pavans, Galliards, Almains, and variations on No. 1, but soon goes a very different route. Fantasies Shakespeare. We know he died in 1588 but it is not
contemporaries, born one year apart. Shakespeare, born popular ballad tunes, but in comparison with the rest of Nos. 5 (P5) and 7 (P7) are thematically related and clear if Tarletons Risurrection was written in his
in 1564, is known to have revised his works over many Europe we find very few Fantasies. In this respect sound as though they could be snap shots of memory or if it might have been conceived as a Jig in
years but this does not diminish our admiration of his Dowland is unusual. He left us seven wonderful Dowlands own improvising. The pair of chromatic which he may have danced. I decided to play it as both
genius. Similarly, Dowland revised much of his music Fantasies written in various forms. Although this may fantasies (No. 2, P2, and No. 3, P3) come as a great an elegy and a jig. The Shoemakers Wife (A Toy) and
from year to year. Some lute pieces survive in as many seem small in number, Dowland wrote many more contrast. In these two fantasies, Forlone Hope Fancy Orlando Sleepeth are both likely to have been simple
as ten versions so it is impossible to define any as the fantasies than his English contemporaries. and Farewell, the contrapuntal invention is extremely tunes composed by Dowland for the theatre. The
authentic one. The lute was a continuously developing To an Elizabethan, a Fantasie or Fancye was a rich, and the chromaticism is daring and very innovative Dream pieces are the only two remotely close in spirit
instrument and Dowland would have begun his luting purely instrumental work in which the composer could for the time. The shocking nature of this chromatic to the melancholy of Lachrimae. A Dream is in fact a

8.557586 2 3 8.557586
557586 bk Dowland US 4/13/06 2:22 PM Page 2

literally follow his own Fancy and make an expressive music is partly reminiscent of certain English
John Dowland (1563-1626) and varied piece of music without any restrictions of melancholic madrigals and also of the madrigals by the
Lute Music 1 form. In writing about the English consort Fantasy, Italian Gesualdo. Forlone Hope Fancy, built on a
Thomas Morley described it in 1599 as The most descending chromatic bass, begins in deep melancholy
A true genius in any artistic field is a rare thing. In the on an instrument with only six courses (pairs of strings), principal and chiefest kind of music which is made but changes to a rapidly fleeing, runaway flourishing
world of the lute John Dowland most certainly qualifies but would have played a nine- or ten-course lute in his without a ditty, that is when a musician taketh a point end. In contrast, Farewell has a rising chromatic theme
for this accolade. Despite being a Catholic at the wrong maturity. Thus we can trace Dowlands development at his pleasure and wresteth and turneth it as he list which keeps the fantasia in a melancholic mood
time in English history and a man with a rather difficult side by side with that of the lute. Of course, the writing In this may more art be shown than in any other music throughout. Fantasie No. 4, P4, is another Farewell
complaining character, Dowlands genius still brought for the instrument tells us much, as does the history of because the composer is tied to nothing. yet unique for Dowland in being an In Nomine, a
him praise and honour from his contemporaries. In a each manuscript in which the music is found. More The English lute Fantasie as a genre, and Fantasie based on a cantus firmus chant Gloria tibi
sonnet from 1598, the poet Richard Barnfield paid the interesting evidence can be gleaned from the particularly those of Dowland, had a texture more Trinitas. The In Nomine fantasy was a favourite form of
most telling tribute to Dowland by writing Dowland to dedications which Dowland gave to many of his lute flexible than the contrapuntal consort fantasy, the English consorts of Dowlands contemporaries, but
thee is dear, whose heavenly touch/Upon the lute doth pieces. Patrons and courtiers, for example, often sometimes strictly contrapuntal and at other times more was not so common in lute literature. On this recording,
ravish human sense. From this, and from Dowlands changed their names through marriage, they received idiomatically instrumental and playful. Dowlands the chant can be heard played on the lute before
music itself, we can sense that Dowlands inimitable new titles by Royal command, or they may also have awareness of musical style from the whole of Europe is Dowlands fantasy begins. Fantasy, P73, is Dowlands
qualities as a performer (of his own compositions) were gained a degree at one of the two English Universities. very much mirrored in his lute Fantasies. Sometimes eighth Fantasie, often known today as the Tremolo
the beauty of his tone coupled with an extraordinary From all these directions, we can build a fairly clear we can sense a very English contrapuntal tradition, Fantasie, the modern title describing the repeated
ability to move the emotions of his listeners. chronological journey. including quotations and adaptations of figurations figuration at the pieces conclusion. The unique copy of
In our 21st century, Dowland is often remembered While borrowing ideas from the past, Dowland and from colleagues such as Thomas Tallis. In contrast, this fantasie is found in the Cambridge University
for his Lachrimae Pavan, and as a composer of Shakespeare were both extremely innovative in their Dowland was also interested in the world of Italian Library, Ms. Dd.9.33, preceded by a version of
melancholic music. This gives us, however, a very creations. In Dowlands musical environment, it was music, especially the madrigals of Marenzio. In his Dowlands Fantasie No. 6, unattributed in this
limited and unduly biased view of our English perhaps more that the air was full of certain ideas, Fantasies, we find that Dowland mixes the English manuscript but confirmed as Dowlands in several other
Orpheus because Dowlands music explores the fashions and conventions and it was simply unavoidable style with a more Italianate one. This often manifests sources. After some judicious editing this tremolo
complete range of human emotions with a unique blend to share or borrow from this collective. For Dowland, itself as music which is more improvisatory in style, as fantasie does yield a convincing fantasie worthy of a
of spirit, heart and intellect. The other qualities which this might have been in the form of a phrase, (such as one would expect from a prelude, toccata or ricercar. young Dowland.
are very much apparent are a wonderful melodic gift the famous descending Lachrimae theme) or a way of Fantasie No. 1 (P1) is Dowlands earliest and Of the Dreams and Spirits in this recording, most
and a thorough, ingenius contrapuntal skill. While it is working with a musical figure and its inherent rhetorical probably his most well known. Optimistic, bright and pieces date from about 15901600. Four pieces are
often virtuosic, Dowlands lute music is always natural meaning. virtuosic, it begins serenely with a traditional canzona- connected with the theatre. Lord Stranges March is an
and idiomatic. All of these qualities can be found like opening with subsequent short contrapuntal Almain-like piece, dedicated to Lord Strange who was
throughout Dowlands canon of works which sections which accumulate in speed and spirit leading to the patron of the acting troupe Lord Stranges Men, in
principally consists of about one hundred solo lute Fancyes, Dreams and Spirits an exuberunt conclusion. Fantasies Nos. 5, 6 and 7 are which Shakespeare performed from about 1587.
pieces, almost the same quantity of lute songs, with all more toccata-like and Italianate. Fantasie No. 6 (P6), Richard, or Will Tarleton was the first of the
some consort pieces for viols and lute. The lute repertoire of Elizabethan England abounds begins almost like a minor version of the Fantasie Elizabethan comic actors who performed with
Shakespeare and John Dowland were exact with Pavans, Galliards, Almains, and variations on No. 1, but soon goes a very different route. Fantasies Shakespeare. We know he died in 1588 but it is not
contemporaries, born one year apart. Shakespeare, born popular ballad tunes, but in comparison with the rest of Nos. 5 (P5) and 7 (P7) are thematically related and clear if Tarletons Risurrection was written in his
in 1564, is known to have revised his works over many Europe we find very few Fantasies. In this respect sound as though they could be snap shots of memory or if it might have been conceived as a Jig in
years but this does not diminish our admiration of his Dowland is unusual. He left us seven wonderful Dowlands own improvising. The pair of chromatic which he may have danced. I decided to play it as both
genius. Similarly, Dowland revised much of his music Fantasies written in various forms. Although this may fantasies (No. 2, P2, and No. 3, P3) come as a great an elegy and a jig. The Shoemakers Wife (A Toy) and
from year to year. Some lute pieces survive in as many seem small in number, Dowland wrote many more contrast. In these two fantasies, Forlone Hope Fancy Orlando Sleepeth are both likely to have been simple
as ten versions so it is impossible to define any as the fantasies than his English contemporaries. and Farewell, the contrapuntal invention is extremely tunes composed by Dowland for the theatre. The
authentic one. The lute was a continuously developing To an Elizabethan, a Fantasie or Fancye was a rich, and the chromaticism is daring and very innovative Dream pieces are the only two remotely close in spirit
instrument and Dowland would have begun his luting purely instrumental work in which the composer could for the time. The shocking nature of this chromatic to the melancholy of Lachrimae. A Dream is in fact a

8.557586 2 3 8.557586
557586 bk Dowland US 4/13/06 2:22 PM Page 4

Pavan, and Mr. Dowlands Midnight a simple, dreamy Shakespeare acted, we have another link with
tune found in a late manuscript source, the Margaret
Board Lute book.
The Spirits are all connected to Dowlands friends,
Shakespeare and the theatre. Carey and his wife, Lady
Elizabeth, were Dowlands friends and patrons.
Dowland reworked a Balletto by the Italian lutenist
DOWLAND
patrons and court associates, honoured in the remaining
playful pieces, Mrs White, Lady Clifton, Mrs Nichols,
Mrs Vaux, Mrs Winter and Lady Hunsdon. George
Santino Garsi and dedicated it to Lady Hunsdon, and
from this was born what must now be his most well
known non-melancholic piece, My Lady Hunsdons
Fancyes, Dreams and Spirits
Carey, 2nd Baron Hunsdon, was appointed as Lord Puffe.
Chamberlain to Queen Elizabeth in 1597. As he was
also patron of the Lord Chamberlains Men, in which Nigel North
Lute Music 1
Nigel North, Lute
All performing versions have been edited from original sources by Nigel North.
Any numbering given to identify a piece is taken from The Collected Lute Music of John Dowland, Faber, 1974,
edited by Diana Poulton and Basil Lam.

Nigel North
Nigel North was born in London in 1954, and has been playing the lute professionally now for over thirty years.
Initially inspired into music at the age of seven by the early 1960s instrumental pop group The Shadows, he studied
classical music through the violin and guitar, eventually discovering his real path in life, the lute, when he was
fifteen. Basically self taught on the lute, he has developed a unique musical life which embraces activities as a
teacher, accompanist, soloist, director and writer. His achievements include the publication of a basso continuo
tutor (Faber 1987), representing his work and dedication for this subject, and a four-volume CD recording Bach on
the Lute (1994-1997). Together with Andrew Manze (violin) and John Toll (harpsichord and organ), he formed the
ensemble Romanesca, and for ten years, from 1988 to 1998, they explored, performed and recorded seventeenth-
century chamber music, winning several international awards for their recordings. Nigel North also enjoys
accompanying singers and is an enthusiastic teacher. For over twenty years he was Professor of Lute at the
Guildhall School of Music and Drama in London, and from 1993 to 1999 he was Professor at the Hochschule der
Knste, Berlin. Since January 1999 he has been Professor of Lute at the Early Music Institute of Indiana
University, Bloomington in the United States, and from January 2005 has also taught the Lute at the Royal
Conservatory in The Hague.

8.557586 4
 NAXOS

NAXOS
The pre-eminent lutenist of his day, John Dowland was an almost exact contemporary of William
Shakespeare. This first volume of his complete lute music, which comprises about one hundred
solo pieces, includes the 7 Fantasies (or Fancyes), free-form, improvisatory works in which the
composer gives free rein to his fertile imagination and wonderful melodic gift.
DDD
DOWLAND: Lute Music 1

DOWLAND: Lute Music 1

John 8.557586
DOWLAND Playing Time
(1563-1626) 64:39
Lute Music 1
1 Lord Stranges March 1:40 $ Mrs. Vauxs Jig 1:16
2 Mrs. Whites Thing 2:14 % Tarletons Riserrectione 2:55
3 Mrs. Whites Nothing 1:19
4 Tremolo Fancy (P73) 3:27 ^ A Fancy (Fantasie No. 6) 3:00
5 Mrs. Nichols Almain 1:34 & Forlorn Hope Fancy 3:52
6 A Fantasie (Fantasie No. 1) 4:27 (Fantasie No. 2)

7 Preludium 1:06 * The Shoemakers Wife (A Toy) 1:14

www.naxos.com
Made in Canada
Booklet notes in English
Naxos Rights International Ltd.
 &  2006
8 A Fancy (Fantasie No. 5) 2:37 ( Lady Hunsdons Puffe 1:50
9 A Dream 5:05 ) Orlando Sleepeth 2:55
0 A Fancy (Fantasie No. 7) 5:02
Mr. Dowlands Midnight 1:56
! Mrs. Winters Jump 1:40 Farewell In Nomine 4:34
@ Lady Cliftons Spirit 1:48 (Fantasie No. 4)
# Mrs. Vauxs Galliard 2:27 Farewell (Fantasie No. 3) 6:41

Nigel North, Lute

Recorded at St John Chrysostom Church, Newmarket, Ontario, Canada, 23rd-26h July 2004
8. 55 75 86

8. 55 75 86
Producers: Norbert Kraft & Bonnie Silver Engineering & Editing: Norbert Kraft
Instruments: 8 course lute by Paul Thomson, Bristol, 1999 (A 440) & 9 course lute by Paul Thomson,
Bristol, 1995 (A 392), both after early 17th Century models. Booklet Notes: Nigel North
Cover Image: Lute player, anonymous (c. 1520-40)
[The Art Archive / Galleria Sabauda Turin / Dagli Orti (A)]
 CMYK

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