For this recording, an eight-stringed liuto forte in g/415 Hz, scale length 58 cm, belonging to Michael Haaser, was used (tuned g' d' a f c G F D). The liuto forte is a further development of historical lutes, in a sense a modern lute. Due to it's special construction and the use of heavier individual strings (in contrast to the stringed strings of historical lutes), liuto forte instruments are ideally suited for performers transitioning from the guitar to the lute.

Founded in 1980 to perform the instrumental music of Shakespeare’s time, The Baltimore Consort has explored early English, Scottish, and French popular music, focusing on the relationship between folk and courtly art song, and dance. Their interest in early music of English/Scottish heritage has also led them to delve into the rich trove of traditional music preserved in North America.

There are hundreds of references to music in the works of Shakespeare. Shakespeare’s music can be placed into three general categories: Incidental Music- The individual titles of incidental music in Shakespeare’s works are never named but the directions “music here,” “music begins,” “music for dancing,” etc. are provided. Literary References- Shakespeare refers to the music, music theory, and instruments of the time within the text of his works. A humorous example is found in the names of the musicians Peter confronts in Romeo and Juliet: Hugh Rebec, Simon Catling and James Soundpost. Songs- Specific songs are included for performance in the text of Shakespeare’s plays. Shakespeare authored the lyrics to some of these songs but also incorporated popular songs known to his contemporary audiences. The plays did not include notation of the tunes of these songs. However, we are certain that Robert Johnson’s settings for “Full Fathom Five” and “Where the Bee Sucks” are the same as when originally performed in The Tempest. Johnson is well documented as Shakespeare’s composer.

For the other songs on the recording we are using the earliest surviving versions – both published and from manuscript – which are contemporary with Shakespeare’s productions. These include, “It Was a Lover and his Lasse,” “Farewell, Dear Love,” “When Griping Grief,” “Gravedigger’s Song,” and “Willow Song.”

REVIEWS:

A very pleasurable late-evening hour can be spent in the company of these musicians.

– MusicWeb International

This gem of an album played with historical performance accuracy and 21st century pizzazz is a revealing and often toe-tapping thing to treasure.

– Rafael's Music Notes (Rafael de Acha)

With most of the songs in the one- to three-minute range (only three exceed four minutes), changes happen fast, the recording never staying in one place for long. As enjoyable as the songs are, the album’s foremost pleasures derive from the interactions between the players and the rich timbral contrasts between their instruments. Often the full ensemble performs, but arrangements vary, with instruments combined in different combinations and number (e.g., “Cuckolds All a-Row” played by cittern alone; voice accompanied by lute for “Willow Song”); the album also benefits from the inclusion of both vocal and instrumental tracks, with a satisfying balance achieved between them.

– Textura

One of the great Elizabethan masters of the lute also was the period's most celebrated composer for the instrument. Four centuries later, a fellow Englishman-Nigel North-became the leading interpreter of Dowland's beautiful, melancholy creations. This set begins with the Fantasies (or Fancyes), which match melody with improvisation. Next come the pavans including the most famous of it's time, the Lachrimae Pavan. Disc three explores the principal dances of the era: pavans, galliards and almains. Go from My Window; Walsingham, and more dances and songs complete this tribute to the English Orpheus!

The sound of a viol consort seems to float lightly; the silky, shining tones of the viols, ranging from soprano to bass, combine almost weightlessly - free from all. This consort was particularly popular in England around 1600, and no self-respecting household was without 'a chest of viols' (a box containing a set of different viols). The most important English composers wrote wonderful music for this ensemble, from dance movements and fantasies to complex polyphonic compositions, bringing the repertoire for viol consort to a peak. The 'chest of viols' of the Ensemble Private Musicke has compiled 'highlights' of English viola da gamba music by composers such as Holborne, Dowland, Ferrabosco II, Tye and Coperario, taking the listener on a journey through the air.