Hathor Consort / Romina Lischka - Dowland: Lachrimae or Seaven Teares (2014) [Hi-Res]

Tracklist
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01. Lachrimae or Seaven Teares: Lachrimae Antiquae
02. Lachrimae or Seaven Teares: Lachrimae Antiquae Novae
03. Lachrimae or Seaven Teares: Lachrimae Gementes
04. Lachrimae or Seaven Teares: Lachrimae Tristes
05. Lachrimae or Seaven Teares: Lachrimae Coactae
06. Lachrimae or Seaven Teares: Lachrimae Amantis
07. Lachrimae or Seaven Teares: Lachrimae Verae
08. Lachrimae or Seaven Teares: M. Nicholas Gryffith His Galiard
09. Lachrimae or Seaven Teares: Sir John Souch His Galiard
10. Lachrimae or Seaven Teares: The King of Denmarks Galiard (Variation by Robert Dowland)
11. Lachrimae or Seaven Teares: The Earle of Essex Galiard
12. Lachrimae or Seaven Teares: Mrs. Nichols Almand
13. Lachrimae or Seaven Teares: M. Thomas Collier His Galiard with 2 Trebles
14. Lachrimae or Seaven Teares: M. George Whitehead His Almand
15. Lachrimae or Seaven Teares: M. Bucton His Galiard
16. Lachrimae or Seaven Teares: Sir Henry Umptons Funerall
17. Lachrimae or Seaven Teares: Captaine Piper His Galliard
18. Lachrimae or Seaven Teares: M. Henry Noell His Galiard
19. Lachrimae or Seaven Teares: M. Giles Hoby His Galiard
20. Lachrimae or Seaven Teares: M. John Langtons Pavan
21. Lachrimae or Seaven Teares: Semper Dowland Semper Dolens

The Hathor Consort was founded in 2011 by the Austrian gambist Romina Lischka. This Brusselsbased ensemble explores consort music going from the Renaissance to the Baroque era, using diverse instrumental combinations with, as a starting point, the viola da gamba. The name comes from the goddess Hathor, a female divinity of ancient Egypt, who embodied love, joy and everything having to do with the heart.

For this first recording, the ensemble has chosen a piece de resistance of the consort repertoire: the collection Lachrimae Or Seaven Teares by John Dowland (1563-1626).

The seven pavanes for five viols and lute form the core, each being based on the song ‘Flow My Tears’. Dowland’s music often expresses melancholy, and with the title of the piece Semper Dowland, semper dolens (‘Always Dowland, always suffering’), contained in this collection, the composer himself openly underscores this aspect of his music.

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