I note comments that this version is too fast. Ah...sorry, the song is also a Galliard, a dance, and you can dance to this version. Which is not to say that the slower versions have no merit. In the 16th Century, music was never this or that and that Dowland's music lent itself to being neither this or that is one reason for its popularity, as far afield as Bulgaria. So beautiful version. Soprano makes herself into an instrument and sings beautifully too.. This has now become my favorite version of the song.
Yes, but... at that time you most certainly would not be able hear this piece. A dutch writer who writes historical novels about the dutch colony in the east (being of mixed ancestry) once was asked if he would have liked to live during that time, he vehemently said "No!" I would have been a coolie!"
IN that time you would not have heard the song or danced the dance unless you were wealthy. Now people all over the wotld can hear ..... I would like to see the dance, it must have been vigorous!
The English classical tradition is absolutely remarkable, there is a sense of genuine heart-felt expression without pretension, yet it still remains sophisticated and transcendent. It leaves the listener with a wonderful sense of authenticity, idyllic charm, and that the people the music is created for are also good, authentic, and heart-warming people. This sense seems to permeate from the renaissance English composers, the baroque, all the way to the 20th century with Ralph Vaughan Williams. It's a shame really that the nobility of England were too preoccupied with the continental composers to realize the gold dust they had at home. As a result, English music suffered post Baroque and didn't really recover until the 20h century. As an Englishman myself, this is a massive shame in my eyes.
How beautifully put. This is exactly how I feel about English music. It is wonderfully paradoxical that something so particular to to culture of a tiny place can have such universal significance. Andy
English music from the mid-16th to the mid-17th centuries contains some of the finest music ever written. The composers just trip off the tongue: Dowland, Tallis, Byrd, Gibbons, Bull, Tomkins, the Farnabys et al. The fantasias of Byrd and Gibbons in particular are absolutely spectacular. The Byrd '2-in-1' will probably never be surpassed.
Open Music I'm an Italian man, and i'm just scouring lovely music on you tube, while i'm locked in the house because of C.V. i've just listened to Pietro Mascagni's Intermezzo from Cavalleria Rusticana and there's no deny it is of incredble beauty. This is not to say that some old English music is not equally beautiful. I knew this piece before played by the great Scott Tennant on a classical guitar, i was totally charmed..yes it is a shame the music in England post Baroque suffered a little, but what we do got we cherish. At the end of the day it doesn't matter where music comes from, what does matter is, it pleasures our ears, and allows us to stay in touch with our past. Regards Sergio..
The problem in England was the Civil War and Commonwealth (1642-1660), when music was pretty well banned. Following the restoration of Charles II (1660), English music virtually had to reinvent itself. The last of the 'old school' composers, Tomkins, died in 1656 - if only he'd lived another four years to re-found what had been. English music never really recovered from the 1640s...
Now, O now, I needs must part, Parting though I absent mourn. Absence can no joy impart: Joy once fled cannot return. While I live I needs must love, Love lives not when Hope is gone. Now at last Despair doth prove, Love divided loveth none. Sad despair doth drive me hence, This despair unkindness sends. If that parting be offence, It is she which then offends. Dear, when I am from thee gone, Gone are all my joys at once. I loved thee and thee alone, In whose love I joyed once. And although your sight I leave, Sight wherein my joys do lie, Till that death do sense bereave, Never shall affection die. Dear if I do not return Love and I shall die together, For my absence never mourn, Whom you might have joyed ever. Part we must, though now I die. Die I do to part with you. Him despair doth cause to lie, Who both lived and died true.
Ayer oí está canción en el concierto de Academia del piacere, en Sevilla y lloré de emoción. Consuelo de todos los males incluida esta maldita pandemia.
The music of this period had great utility as a marvelous dance or as a lovely song(witness Herzlich thut mich verlangen which became O Sacred Heart Now Wounded later on). This ensemble has done the Dowland piece in a marvelous way. Bravo!
Дякую эа гарну музикую. Now, O now, I needs must part, Parting though I absent mourn Absence can no joy impart: Joy once fled cannot return. While I live I needs must love, Love lives not when Hope is gone. Now at last Despair doth prove, Love divided loveth none. Sad despair doth drive me hence, This despair unkindness sends. If that parting be offence, It is she which then offends. Dera, when I am from thee gone, Gone are all my joys at once. I loved thee and thee alone, In whose love I joyed once. And although your sight I leave, Sight wherein my joys do lie, Till that death do sense bereave, Never shall affection die. Sad despair doth drive me hence, etc. Dear, if I do not return, Love and I shall die together. For my absence never mourn, Whom you might have joyed ever: Part we must though now I die, Die I do to part with you. Him Despair doth cause to lie, Who both liv'd and dieth true.
Because we must have the lyrics. Now, O now, I needs must part, Parting though I absent mourn. Absence can no joy impart: Joy once fled cannot return. While I live I needs must love, Love lives not when Hope is gone. Now at last Despair doth prove, Love divided loveth none. Sad despair doth drive me hence, This despair unkindness sends. If that parting be offence, It is she which then offends. Dear, when I am from thee gone, Gone are all my joys at once. I loved thee and thee alone, In whose love I joyed once. And although your sight I leave, Sight wherein my joys do lie, Till that death do sense bereave, Never shall affection die. Dear if I do not return Love and I shall die together, For my absence never mourn, Whom you might have joyed ever. Part we must, though now I die. Die I do to part with you. Him despair doth cause to lie, Who both lived and died true.
NOW O NOW I NEEDS MUST PART Lyrics Now, o now, I needs must part Parting though I absent mourn Absence can no joy impart Joy once fled cannot return While I live I needs must love Love lives not when hope is gone Now at last despair doth prove Love divided loveth none Sad despair doth drive me hence This despair unkindness sends If that parting be offence It is she which then offends Dear, when I from thee am gone Gone are all my joys at once I loved thee and thee alone In whose love I joyed once And although your sight I leave Sight wherein my joys do lie Till that death do sense bereave Never shall affection die Sad despair doth drive me hence This despair unkindness sends If that parting be offence It is she which then offends You might also like Boll Weevil Song Eddie Cochran Cuando Menos Lo Espera GULEED & Morad Can She Excuse My Wrongs John Dowland Dear, if I do not return Love and I shall die together For my absence never mourn Whom you might have joyed ever Part we must though now I die Die I do to part with you Him Despair doth cause to lie Who both lived and dieth true Sad despair doth drive me hence This despair unkindness sends If that parting be offence It is she which then offends
Відео з концерта ренесансного ансамблю VERMELL, присв'яченого пам'яті засновника Фестивалю давньої музики у Львові Романа Стельмащука, з програмою "Сім Сліз" (Лютневі пісні, Павани і Ґальярди для п’яти віол Джона Дауленда). артисти: Тарас Драк - керівник, лютня, віола; Ірина Дуброва - спів, віола; Вадим Вайнштейн - віола; Матеуш Ковальскі - віола; Анастасія Радько - віола; Катя Кісельова - тар. Джон Дауленд (1563 - 1626) творив здебільшого в жанрі лютневої пісні, змішавши елементи балади, танцювальної музики та мадригалу. Велика частина його музики (а це також багато сольних лютневих творів) заснована на танцювальних формах: Павана, Гальярда, Алеманда, Джига. Знаменита на всю тогочасну Європу п'єса Дауленда - це Pavana Lachrimae (Слізна Павана), на тему якої згодом ним була написана пісня Flow, my tears. Збірник п’яти-голосих творів Джона Дауленда «Pavana Lachrimae: Seven Tear’s» знаменує перехід від побутової функціонально-танцювальної до абстрактної інструментальної музики. В книгу входять здебільшого Павани та Ґальярди, в тому числі на мелодії своїх пісень. У передмові до збірки автор пише: "... назва обіцяє вам сльози - небажаних гостей, але це не звичайні сльози печалі, це світлі сльози, які проливає Музика ...
I pray to Almighty God that the people of Ukraine remain forever free. I hope, selfishly, that these people are safe so that when the time comes, they can make music again.
I remember my English History teacher telling stories in class making fun of Elisabeth's hapless suitors, including this poor frog. But Dowland is not making fun of him at all. Here he has written one of his loveliest pieces for a poor abused Frenchman whom he certainly knew personally. Just based on the Dowland I think we need to change our view of the Frenchman in question. Dowland obviously though him special.
I hear hints of Greensleeves. Which would make sense as it was registered in 1580, Dowland would have been a teenager when he heard it and probably incorporated it into this work either knowingly or subconsciously.
Vibrato singing wasn't the "classical " way to sing until the popularity of Opera hundreds of years later. My understanding is, because opera was so loud, vibrato was necessary to prevent singers from destroying their vocal chords. I don't care for opera because of the overuse of vibrato.
@@asherplatts6253 Dowland was a Renaissance composer and opera was developed in the late Renaissance so there aren't hundreds of years between these genres of music. Also a voice will have a certain level of vibrato naturally if the singer is using a relaxed technique. Even in this she has some vibrato but it's mixing with the reverb from the performing space very nicely as the spinning out of the voice. It definitely isn't as big a vibrato as what gets used in Romantic opera techniques but it's not only straight tone
@@maryroosma9583 you're saying the same thing as me. Operatic vibrato was developed hundreds of years later, for huge venues and massive volume. This straighter tone singing was likely what was used in early opera as well, as it was more of a chamber music with small audiences.
Привет! Are there 16th/17th century Russian translations of Dowland's songs? I am looking for a piece of music to learn in Russian for my semester's goal in Russian II. Спасибо!!
Львівський Музичний Цех. Тарас Драк - керівник, лютня, віола да гамба; Ірина Дуброва - спів, віола да гамба; Вадим Вайнштейн - віола да гамба; Матеуш Ковальскі - віола да гамба; Анастасія Радько - віола да гамба; Катя Кіселева - тар.
Meant to say Irina - there is such a resonant purity to your voice, and I love to hear your exquisite (is it Russian?) articulation of Dowland's English Renaissance lyrics.. quite enchanting..
She takes the Tempo a bit faster than it's usually done. Sounds good. But why do Singers not ornament in the repeated Stanzas? Nobody does and it becomes monotonous.
![Sean Rii, Karyon, Sharzkii - Taungule [My Love] (Official Music Video)](http://i.ytimg.com/vi/eJoMuypbSzQ/mqdefault.jpg)
I note comments that this version is too fast. Ah...sorry, the song is also a Galliard, a dance, and you can dance to this version. Which is not to say that the slower versions have no merit. In the 16th Century, music was never this or that and that Dowland's music lent itself to being neither this or that is one reason for its popularity, as far afield as Bulgaria. So beautiful version. Soprano makes herself into an instrument and sings beautifully too.. This has now become my favorite version of the song.
Спасибо!
I've never heard it at this fast a tempo before, but I can understand how this tempo is more danceable.
Good comment. Artistic interpretations are welcome, especially from such great artists. Many thanks, John.
I agree, manually slowed the video to 0.75x speed which sounds better in my opinion
If it had percussion, it would be better for dancing.
Just perfect. Even half a millennium later this is a beautiful song.
Absolutely
True beauty has no expiration date :)
Agreed!
@@lauraandrews1676 I absolutely agree!
Nostalgia for something we never experienced
The older I get, the more I want this world rather than the present one.
Yes, but... at that time you most certainly would not be able hear this piece. A dutch writer who writes historical novels about the dutch colony in the east (being of mixed ancestry) once was asked if he would have liked to live during that time, he vehemently said "No!" I would have been a coolie!"
@@ranranshi I wasn't thinking of politics and healthcare.
@@SonicPhonic you would have some body, and live somewhere.
It would be wonderful to visit these places of the past, but I'd like to come and go..like another posted: what about health care?
IN that time you would not have heard the song or danced the dance unless you were wealthy. Now people all over the wotld can hear ..... I would like to see the dance, it must have been vigorous!
WHAT A LOVELY VOICE!
Un raffinement extrême et une inspiration inépuisable pdt cette période de la renaissance anglaise , un grand merci aux interpretes
The English classical tradition is absolutely remarkable, there is a sense of genuine heart-felt expression without pretension, yet it still remains sophisticated and transcendent. It leaves the listener with a wonderful sense of authenticity, idyllic charm, and that the people the music is created for are also good, authentic, and heart-warming people. This sense seems to permeate from the renaissance English composers, the baroque, all the way to the 20th century with Ralph Vaughan Williams.
It's a shame really that the nobility of England were too preoccupied with the continental composers to realize the gold dust they had at home. As a result, English music suffered post Baroque and didn't really recover until the 20h century. As an Englishman myself, this is a massive shame in my eyes.
How beautifully put. This is exactly how I feel about English music.
It is wonderfully paradoxical that something so particular to to culture of a tiny place can have such universal significance.
Andy
English music from the mid-16th to the mid-17th centuries contains some of the finest music ever written. The composers just trip off the tongue: Dowland, Tallis, Byrd, Gibbons, Bull, Tomkins, the Farnabys et al. The fantasias of Byrd and Gibbons in particular are absolutely spectacular. The Byrd '2-in-1' will probably never be surpassed.
Open Music
I'm an Italian man, and i'm just scouring lovely music on you tube, while i'm locked in the house because of C.V. i've just listened to Pietro Mascagni's Intermezzo from Cavalleria Rusticana and there's no deny it is of incredble beauty. This is not to say that some old English music is not equally beautiful. I knew this piece before played by the great Scott Tennant on a classical guitar, i was totally charmed..yes it is a shame the music in England post Baroque suffered a little, but what we do got we cherish. At the end of the day it doesn't matter where music comes from, what does matter is, it pleasures our ears, and allows us to stay in touch with our past.
Regards Sergio..
The problem in England was the Civil War and Commonwealth (1642-1660), when music was pretty well banned. Following the restoration of Charles II (1660), English music virtually had to reinvent itself. The last of the 'old school' composers, Tomkins, died in 1656 - if only he'd lived another four years to re-found what had been. English music never really recovered from the 1640s...
@@paulcaswell2813 You're forgetting Henry Purcell. He was born post 1640
John Dowland and such musicians. Thats perfect.
A fellow chorister of mine had a car named "Sad Despair", as it would drive us hence !
Her singing and the viola da gamba harmonize so beautifully.
THIS IS ABSOLUTELY BEAUTIFUL. KEEP THIS MUSIC ALIVE.
i know I'm quite randomly asking but do anyone know of a good site to watch new tv shows online ?
@Nova Jaylen I dunno try Flixportal. You can find it thru google:) -watson
@Watson Zaire Thank you, I signed up and it seems like they got a lot of movies there :D Appreciate it!
@Nova Jaylen you are welcome :D
John Dowland's greatest song, I think.
It's not this or that but it's the perfect pace. I'm up and dancing the Galliard to it right now. 🕺💃
One of the best songs ever made, and best version also. ❤
Спасибо, нам очень важно Ваше мнение!
This is some of the best music on the internet imo.
Спасибо огромное!
Absolutely beautiful and heart touching❤
Beautiful diction and clarity
Oh, yeah! She sings like an angel!
The closest we'll get to a time machine, amazing. 🙂
So humble, melodic and simple. There is no religion that compares to such humanism. Beauty and tragedy, nature and man.
Magic. Genuine. The roots of modern music. Well executed.
Now, O now, I needs must part,
Parting though I absent mourn.
Absence can no joy impart:
Joy once fled cannot return.
While I live I needs must love,
Love lives not when Hope is gone.
Now at last Despair doth prove,
Love divided loveth none.
Sad despair doth drive me hence,
This despair unkindness sends.
If that parting be offence,
It is she which then offends.
Dear, when I am from thee gone,
Gone are all my joys at once.
I loved thee and thee alone,
In whose love I joyed once.
And although your sight I leave,
Sight wherein my joys do lie,
Till that death do sense bereave,
Never shall affection die.
Dear if I do not return
Love and I shall die together,
For my absence never mourn,
Whom you might have joyed ever.
Part we must, though now I die.
Die I do to part with you.
Him despair doth cause to lie,
Who both lived and died true.
Thankyou
Beautifully sung, really authentic voice.
Beautifully sung and performed ... bravo! 😀
This is the most beautiful version I’ve heard
Спасибо, очень радостно, что наша концепция Ренессанса имеет такую поддержку!
ruclips.net/video/wtl2h0CaES0/видео.html
Вот ещё одна прекрасная песня, немного другим составом. Ансамбль Vermell, Санкт-Петербург.
@@Nataliadrak спасибо❤️
Just lovely. Love to be there to hear it live.
Such a hauntingly beautiful voice. My oh my how God blesses us with such delightful sound.
Ayer oí está canción en el concierto de Academia del piacere, en Sevilla y lloré de emoción. Consuelo de todos los males incluida esta maldita pandemia.
Великолепно!!! Слушая это произведение и закрыв глаза, я оказался в том времени, 400 лет назад ...
Спасибо за отзыв! Именно это и есть наша цель - возможность погружения в атмосферу Ренессанса!
sublime beauty
superb !
Absolutely beautiful.
So beautiful, thank you.
The music of this period had great utility as a marvelous dance or as a lovely song(witness Herzlich thut mich verlangen which became O Sacred Heart Now Wounded later on). This ensemble has done the Dowland piece in a marvelous way. Bravo!
The legato vocal style is wonderful!
Utterly beautiful..
This is sublime.
The guy on the treble viol is great.
Дякуємо! Це виіола да гамба. Грає Вадим Вайнштейн (народився у Санкт-Петербурзі, останній рік живе у Казахстані).
Irina Dubrova, a Ukrainian singer & multi-instrumentalist.
Ирина Дуброва, Санкт-Петербург
I too was struck by the tempo, which as someone notes makes it danceable as a galliard. Bravo all of you!
Да, именно так мы и мыслим, ведь это и есть гальярда!
Wow!! This is excellent.
Wonderful ! Music from a quieter age ! xxxxxxx
Stunning!
THANK YOU SO MUCH
Beautiful
当時を彷彿させる名演だ。それが現代に隆盛し、蘇演、見事
Beautiful.
Дякую эа гарну музикую.
Now, O now, I needs must part,
Parting though I absent mourn
Absence can no joy impart:
Joy once fled cannot return.
While I live I needs must love,
Love lives not when Hope is gone.
Now at last Despair doth prove,
Love divided loveth none.
Sad despair doth drive me hence,
This despair unkindness sends.
If that parting be offence,
It is she which then offends.
Dera, when I am from thee gone,
Gone are all my joys at once.
I loved thee and thee alone,
In whose love I joyed once.
And although your sight I leave,
Sight wherein my joys do lie,
Till that death do sense bereave,
Never shall affection die.
Sad despair doth drive me hence, etc.
Dear, if I do not return,
Love and I shall die together.
For my absence never mourn,
Whom you might have joyed ever:
Part we must though now I die,
Die I do to part with you.
Him Despair doth cause to lie,
Who both liv'd and dieth true.
Superb!
Beautiful voice ❤ beautiful acoustics. Love the period instruments and room.
Because we must have the lyrics.
Now, O now, I needs must part,
Parting though I absent mourn.
Absence can no joy impart:
Joy once fled cannot return.
While I live I needs must love,
Love lives not when Hope is gone.
Now at last Despair doth prove,
Love divided loveth none.
Sad despair doth drive me hence,
This despair unkindness sends.
If that parting be offence,
It is she which then offends.
Dear, when I am from thee gone,
Gone are all my joys at once.
I loved thee and thee alone,
In whose love I joyed once.
And although your sight I leave,
Sight wherein my joys do lie,
Till that death do sense bereave,
Never shall affection die.
Dear if I do not return
Love and I shall die together,
For my absence never mourn,
Whom you might have joyed ever.
Part we must, though now I die.
Die I do to part with you.
Him despair doth cause to lie,
Who both lived and died true.
💃Merci beaucoup 🎼💗🌻🍀
Amazing. Beautiful.
Very best wishes from an Englishman to L'viv!
Спасибо!
spectacular
NOW O NOW I NEEDS MUST PART Lyrics
Now, o now, I needs must part
Parting though I absent mourn
Absence can no joy impart
Joy once fled cannot return
While I live I needs must love
Love lives not when hope is gone
Now at last despair doth prove
Love divided loveth none
Sad despair doth drive me hence
This despair unkindness sends
If that parting be offence
It is she which then offends
Dear, when I from thee am gone
Gone are all my joys at once
I loved thee and thee alone
In whose love I joyed once
And although your sight I leave
Sight wherein my joys do lie
Till that death do sense bereave
Never shall affection die
Sad despair doth drive me hence
This despair unkindness sends
If that parting be offence
It is she which then offends
You might also like
Boll Weevil Song
Eddie Cochran
Cuando Menos Lo Espera
GULEED & Morad
Can She Excuse My Wrongs
John Dowland
Dear, if I do not return
Love and I shall die together
For my absence never mourn
Whom you might have joyed ever
Part we must though now I die
Die I do to part with you
Him Despair doth cause to lie
Who both lived and dieth true
Sad despair doth drive me hence
This despair unkindness sends
If that parting be offence
It is she which then offends
Note the lack of the "V"-word in the soprano's voice. It makes this extra special to me.
Es freut mich sehr dieses wunderbare Musik zu hören! Mehr bitte!
So so good!
QUE BELLEZA.....!
Enjoyed this very much! Greetings from Dortmund, Germany
Outstanding.
Beautiful interpretation and very nice group of talented musicians! ;)
Beautiful!
utterly beautiful!
Bravo¡ Bravo¡ Bravisimo¡¡¡¡
Beautifully done.
Dolcissima
太好听了！原始的乐器，朴实无华的歌声，再现经典的巴洛克，这些优美的旋律让我知道巴罗克除了巴赫、亨德尔，还有英国的约翰道兰、亨利普赛尔等！
Відео з концерта ренесансного ансамблю VERMELL, присв'яченого пам'яті засновника Фестивалю давньої музики у Львові Романа Стельмащука, з програмою "Сім Сліз" (Лютневі пісні, Павани і Ґальярди для п’яти віол Джона Дауленда).
артисти:
Тарас Драк - керівник, лютня, віола;
Ірина Дуброва - спів, віола;
Вадим Вайнштейн - віола;
Матеуш Ковальскі - віола;
Анастасія Радько - віола;
Катя Кісельова - тар.
Джон Дауленд (1563 - 1626) творив здебільшого в жанрі лютневої пісні, змішавши елементи балади, танцювальної музики та мадригалу. Велика частина його музики (а це також багато сольних лютневих творів) заснована на танцювальних формах: Павана, Гальярда, Алеманда, Джига. Знаменита на всю тогочасну Європу п'єса Дауленда - це Pavana Lachrimae (Слізна Павана), на тему якої згодом ним була написана пісня Flow, my tears.
Збірник п’яти-голосих творів Джона Дауленда «Pavana Lachrimae: Seven Tear’s» знаменує перехід від побутової функціонально-танцювальної до абстрактної інструментальної музики. В книгу входять здебільшого Павани та Ґальярди, в тому числі на мелодії своїх пісень. У передмові до збірки автор пише: "... назва обіцяє вам сльози - небажаних гостей, але це не звичайні сльози печалі, це світлі сльози, які проливає Музика ...
lovely thank you very much
素晴らしい歌声です！
Очень здорово! Спасибо.
I pray to Almighty God that the people of Ukraine remain forever free. I hope, selfishly, that these people are safe so that when the time comes, they can make music again.
wow
All versatile musicians! Pretty impressive that the singer plays gamba too. And treble gamba player on the right is fine AF.
Much love to you from England! Слава Україні
👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏
Terrific. Carry on😀
Love the setting
adoro Dowland
Great!
I remember my English History teacher telling stories in class making fun of Elisabeth's hapless suitors, including this poor frog. But Dowland is not making fun of him at all. Here he has written one of his loveliest pieces for a poor abused Frenchman whom he certainly knew personally. Just based on the Dowland I think we need to change our view of the Frenchman in question. Dowland obviously though him special.
Where can I learn more about this story? Im dying to know what the origin of the title “Frog Galliard” is.
I hear hints of Greensleeves. Which would make sense as it was registered in 1580, Dowland would have been a teenager when he heard it and probably incorporated it into this work either knowingly or subconsciously.
🌺💐👏👏👏💕
Izvedba je apsolutno divna, neobičan interijer, neka mala pravoslavna crkvica?
Дякуємо) Церква Св. Лазаря у Львові.
from 1597 by courtesy of John Dowland , here is a period performance of his song about the pain of parting ...
Molto bravi
No capes.
I loove how the vocalist doesn't use vibrato.
Да, мы думаем, что в то время голос звучал именно так, а вибрато появилось только в эпоху Барокко.
Vibrato singing wasn't the "classical " way to sing until the popularity of Opera hundreds of years later. My understanding is, because opera was so loud, vibrato was necessary to prevent singers from destroying their vocal chords.
I don't care for opera because of the overuse of vibrato.
@@asherplatts6253 Dowland was a Renaissance composer and opera was developed in the late Renaissance so there aren't hundreds of years between these genres of music. Also a voice will have a certain level of vibrato naturally if the singer is using a relaxed technique. Even in this she has some vibrato but it's mixing with the reverb from the performing space very nicely as the spinning out of the voice. It definitely isn't as big a vibrato as what gets used in Romantic opera techniques but it's not only straight tone
This was the tone used in the music of the period. The technique for this and for opera are markedly different
@@maryroosma9583 you're saying the same thing as me. Operatic vibrato was developed hundreds of years later, for huge venues and massive volume. This straighter tone singing was likely what was used in early opera as well, as it was more of a chamber music with small audiences.
Lviv? I hope and pray you are all well? What church was this in?
Дякуємо, усе добре. Це храм святого Лазаря на Коперника, 27.
I detected more than a hint of Greensleeves in that.
Напевно тому що на лютне грає Тарас Драк, керівник Львівського Музичного Цеху, який у 1992 році разом з друзями створив гурт Зелені Рукава))
Very beautiful❤. My heart goes to Leviv. Are you safe?
Привет! Are there 16th/17th century Russian translations of Dowland's songs? I am looking for a piece of music to learn in Russian for my semester's goal in Russian II. Спасибо!!
Slava Ukrajini!
No information about the Musicians, the location?
Львівський Музичний Цех. Тарас Драк - керівник, лютня, віола да гамба; Ірина Дуброва - спів, віола да гамба; Вадим Вайнштейн - віола да гамба; Матеуш Ковальскі - віола да гамба; Анастасія Радько - віола да гамба; Катя Кіселева - тар.
who is this group of musicians
Это все друзья Тараса Драка. Он лютнист и руководитель ансамбля. Его канал: ruclips.net/channel/UCmjx7wcrtKU74zsLuf2U6MQ
What is the name of this consort?
VERMELL-CONSORT
ruclips.net/video/CzSRpfclDAw/видео.html
anyone know what nationality the ensemble is?
rhydyard russian/ukrainian
Thank you Irina..
Meant to say Irina - there is such a resonant purity to your voice, and I love to hear your exquisite (is it Russian?) articulation of Dowland's English Renaissance lyrics.. quite enchanting..
rhydyard, thank you so much! Yes, it's russian)))
Just needs some Elizabethen or Jacobean costumes
She takes the Tempo a bit faster than it's usually done. Sounds good. But why do Singers not ornament in the repeated Stanzas? Nobody does and it becomes monotonous.