G0100031097062 A Song for my Lady JOHN DOWLAND 17 All ye, whom Love or Fortune hath betrayed 4.26 Lute and Consort Songs 18 Go crystal tears 3.24 THOMAS CAMPION 19 Follow thy fair sun (II) 0.39 JOHN DOWLAND (c. 1563–1626) · WILLIAM BYRD (1543–1623) JOHN DOWLAND 20 Weep you no more, sad fountains 3.46 THOMAS CAMPION ( 1567–1620) · THOMAS FORD (c.1580–1648) ROBERT JOHNSON (c.1583–1633) JOHN DOWLAND 21 Awake, sweet love (arr. Cutting) 1.30 22 Can she excuse my wrongs 2.20 ROBERT JOHNSON 1 Tell me, dearest, what is love? (I) 1.26 WILLIAM BYRD 23 Ambitious love 2.36 JOHN DOWLAND 2Aloe 1.07 JOHN DOWLAND 24 Come again 4.42

JOHN DOWLAND 3 Come away 2.29 JOHN DOWLAND 25 Mignarda 2.56 4 Fie on this feigning 1.44 ROBERT JOHNSON 26 Tell me, dearest, what is love? (III) 0.41 5 Were every thought an eye 2.22 WILLIAM BYRD 27 The match that’s made 8.06 6 Mrs. Vaux’s Gigge 0.59

THOMAS CAMPION 7 Follow thy fair sun (I) 3.21 JULIAN PODGER Tenor LEE SANTANA Lute 8 O never to be moved 2.28 9 Harden now thy tired heart 1.40 SIRIUS VIOLS ROBERT JOHNSON 10 Tell me, dearest, what is love? (II) 1.12 HILLE PERL · FRAUKE HESS · JULIA VETÖ · MARTHE PERL Viola da gamba JOHN DOWLAND 11 Can she excuse my wrongs 1.31 Recording: February 5–8, 2013, St. Marien-Kirche, Colnrade 12 Flow not so fast, ye fountains 3.20 Producer, engineer and editor: John Hadden 13 If my complaints 2.22 Design: Christine Schweitzer · www.schweitzer-design.de THOMAS FORD 14 Fair sweet cruel 2.29 (Photos: Lario Tus/shutterstock (Cover) Elisa Meyer) P & g 2014 Sony Music Entertainment Germany GmbH WILLIAM BYRD 15 Thou poet’s friend 2.10 JOHN DOWLAND 16 La mia Barbara 5.22

2 3 “An Equal Yoke” Reeling from his woes our character is next scene with the instrumental Awake, granted a dreamlike moment of respite. sweet love, with the clear-headed reasoning in Seemingly transported by an ensemble of the indignant Can she excuse my wrongs, when Finding love has of course always been one lowing first ‘scene’ has our imagined pro- angelic viols in Thou poet’s friend he seeks a rich, assured aura is provided by the viols of the greatest contenders for human pre- tagonist in a state of pure bliss (Come away), guidance from Clio, one of the Greek god- in the daring Ambitious love, and dissolving occupation, and music a celebrated vehicle which he gradually, though still playfully dess muses of music, song and dance, to finally in time for the playful Come again. for expressing the many facets, controversies, starts to question in Fie on this feigning, and draw on the healing power of divine har- Blackness now banished and strength re- pains and delights of this delicate and yet Were every thought an eye, the set ending with mony. The lute then ‘returns’ him, gently gained, a celebration follows, solemnly in tro- overt pursuit. Whether a virelai of courtly the whimsical, teasing Mrs. Vaux’s Gigge. By empathizing with the singer’s predicament duced in the lute solo Mignarda, with further th admiration by 14 century Machaut or a the second scene, we must assume love has in La mia Barbara, with its darker moments reflection on the ‘what is love’ question by plaintive ballad of romanticized German been banished, as darkness and disillusion- hinting at the remaining hardship yet to be an unworded answer from the viol, before lore by Schubert, the great wealth and variety ment enter our songster’s heart. Follow thy passed through. the illuminating Latin refrain “pari jugo of musical treasures it has inspired seem to fair sun may still express hope, and O never to Leaving this moment of repose our dulcis tractus” (with an equal yoke sweet is be infused alike with a common flavour. No be moved appeal for pity, but Harden now thy singer must now face his bleakest state in the pulling) gives us a worded one in the exception with the lute and consort songs tired heart, with its many rhetorical questions the wailing ‘my woe wants comfort’ at the triumphantly frolicking finale The match and their instrumental counterparts on this to the lost lover, finally introduces re si gn ed end of All ye, whom Love or Fortune hath that’s made. recording. Easily available to the emotional grief. The ‘what is love’ question is then betrayed, and finally reaches it – a sense of On this recording most of the music is by grasp of the listener, it was possible to echoed by a tranquil viol, maybe re pre sen t - complete abandonment – in the icy second the celebrated John Dowland (1563–1626), arrange them into imagined scenes of love ing a wiser part of the singer, but despair verse of Go, crystal tears. But here the en - and would have been composed around the found – love lost – self lost – self found – grows deeper in the next set as various counter in the previous scene starts to take turn of the sixteenth century. The works by celebration, progressively suggesting the emotional avenues are explored: gentle in - effect. A distant voice, probably another William Byrd (1543–1623) are the earliest, inner capture, trial and liberation of a dignation in the lute solo Can she excuse my aspect of our character, offers reassurance written quite probably in the late 1580s and made-up character. wrongs, flowing tears in the heart-broken and encouragement to follow the ‘pure those by Thomas Campion (1567–1620) the Opening with the big question “what is Flow not so fast ye fountains, a direct com- beams’ of light, and in the next song Weep latest, published in the 1610s. In an exciting love?”, the imaginary tableau is set up from plaint to Love himself (If my complaints) and you no more sad fountains we hear that love time of musical change in Europe, we can a distance by the simple dialogue Tell me, an attempt to charm the lost lover into ‘softly lies sleeping’. The darkness begins relate the drive towards word-orientated dearest and the instrumental Aloe. The fol- waiting (Fair sweet cruel). to lift as the lute continues this idea in the writing in Italy – the rapid development 4 5 JULIAN PODGER started singing and directing ensembles whilst still at school in Kassel, Germany, and after taking up a choral award to read music at Trinity College Cambridge.

As a singer he is much in demand all over the world. He has specialized in music ranging from mediaeval to baroque, particularly in Dowland’s from the polyphony-based prima pratica to Various ideas have been asserted by lute song repertoire, Monteverdi’s church music the seconda pratica, represented to a large scholars on the precise pronunciation of and operas, and Bach’s evangelist roles. He is a extent by Claudio Monteverdi (1567–1643) Elizabethan/Jacobean English – not really regular member of the acclaimed single-voice – to the rise in popularity and sophistication surprising given the many regional and ensembles Gothic Voices, I Fagiolini and The Harp of the lute song in England. The performing probably overlapping conventions of the Consort, and has directed his own Trinity Baroque circumstances of these songs and dances may time. The idea here is of course not to own in a recording of Bach’s motets, and at many not be documented in great abun da n ce, any ‘truth’ of authentic pronunciation – European early music festivals. but it is easy to imagine private chamber impossible anyway – rather to ground the mu sic situations or colourful banquets pro- music in a generic spoken sound world of viding the backdrop, as often portrayed in the time. filmed period costume drama.

Julian even as the final refrain rings out its wise words, Podger the means to a good and lasting partnership – a maintained connection, a fitting, balanced, ‘equal’ yoke, sweet it be indeed to ‘pull together’ in this exciting venture of life, riding on far

6 7 LEE SANTANA was born into a musicians‘ family in Florida at the THE SIRIUS VIOLS … Hille Perl gathered the Sirius end of the baby-boomer era. Into his youth he played a lot of jazz- Viols with the intention to have a group featuring rock music, and a little classical on the side, from the age of 16 on, her most beloved instrument with her most favorite classical music grew on him. As a boomer-anything is possible- players, a group that is based on solidarity and on youth, his role models went from fusion composer-players to clas- having pride in each other, rather than on hierarchy sical composer-players. As a guitarist-lutenist these role models and dominance. became earlier and earlier and his attention has rested in a life long Artistic freedom of each individual in the end dynamic discussion with player-composers of the 17th and 18th centu- gives the most satisfying artistic result. Sometimes ries. the Sirius Viols play together with violins, a conti- In order to better ,follow his star‘, Santana moved to Europe in nuo group and singers, or with whoever else they 1984. There he met his partner-in-everything Hille Perl, and has feel fit to meet their high standards. remained in her native Germany ever since. The name of course is chosen to remind us of the After many journeyman‘s years, working for many of the best brightest star of the northern sky. And that some ensembles, conductors and soloists, he has become the projector people claim that human kind’s cultural techniques of his own concepts and plans, working as soloist or with Hille, or were brought to us from its little brother, the black with their groups The Age of Passions, Los Otros or Sirius Viols. As dwarf Sirius B. a team, Hille and Lee also enjoy working with their friends The main motto of the Sirius Viols, you could say Dorothee Mields and Maurice Steger. is: gambists of the world: unite. As a composer, Lee is currently working on several large groups of compositions for solo lute instruments, solo gamba, two endless song cycles as well as a two singular compositions for instruments with electronics. He has taken his own path, refusing to bog down in the expectations and clichées of the post modern „new“ music movement.

8 9 „Mit gleichem Gespann“ Liebe?“: Vielleicht soll hier des Sängers Zeile „My woe wants comfort“ am Ende weise Seite zum Vorschein kommen. In der des Stücks All ye, whom Love or Fortune hath Seit eh und je hat die Suche nach der Liebe Schluss die Befreiung einer erfundenen 3. Gruppe wird jedoch die Verzweiflung bei betrayed. Das absolute seelische Tief er reicht die Menschen beschäftigt, und Musik war Figur. der Erforschung unterschiedlicher Gefühls- er dann in der eisigen 2. Strophe von Go, immer schon ein bevorzugtes Mittel, um Die Geschichte eröffnet mit der ganz landschaften immer stärker: Im Lautensolo crystal tears, wo er sich endgültig verlassen die zahlreichen Facetten und Kontrover sen, großen Frage „Was ist denn Liebe?“. Die Can she excuse my wrongs begegnen wir leiser fühlt. Hier jedoch beginnt die Be gegnung die vielen Qualen und Freuden dieser deli- Szene wird aus einer gewissen Entfernung Entrüstung, darauf folgen im herzzereißenden aus dem vorigen Bild, ihre Wirkung zu ent- katen, aber unverhohlenen Suche zum Aus - mit dem einfachen Dialog Tell me, dearest Flow not so fast ye fountains Tränen, in If my falten. Eine ferne Stimme, wahrscheinlich druck zu bringen. Ob es sich um ein Virelai und dem Instrumentalstück Aloe aufgebaut. complaints einem direkten Appell an die ein anderer Aspekt unseres Helden, beru- der höfischen Bewunderung eines Guilla ume Das darauf folgende ,1. Bild‘ zeigt den Liebe selbst und in Fair sweet cruel einem higt ihn und spricht ihm Mut zu, den Machaut aus dem 14. Jh. handelt oder eine Protagonisten voller Glück (Come away). Versuch, den verlorenen Liebhaber zum Lichtstrahlen („pure beams“) zu folgen; im klagende Ballade von Schubert, in der er Das Glücksgefühl beginnt er dann allmäh- Bleiben zu überreden. nächsten Lied, Weep you no more sad deutsche Folklore romantisiert, finden wir lich, wenn auch noch spielerisch in den Taumelnd vor Kummer erlebt der Ver - fountains, hören wir, dass die Liebe nun eine gemeinsame Note in der reichen Viel- Liedern Fie on this feigning und Were every lassene nun eine traumartige Trauerpause: ruhig schläft („love softly lies sleeping“). falt an musikalischen Schätzen, die die Liebe thought an eye zu hinterfragen. Diese Gruppe Durch ein Ensemble aus himmlischen Gam- Nun weicht allmählich die Finsternis: Im inspiriert hat. Und die hier ein gesp iel ten endet mit dem neckischen Mrs. Vaux’s Gigge. ben anscheinend emporgetragen, sucht er nächsten Bild setzt die Laute dieses Motiv Lauten- und Gambengesän ge so wie ihre Am Anfang des 2. Bildes müssen wir davon in Thou poet’s friend den Rat Klios, Muse der fort mit dem Instrumentalstück Awake, sweet instrumentalen Gegenstücke bilden keine ausgehen, dass die Liebe verschwunden ist: Heldendichtung und Geschichtsschreibung, love; darauf folgen Besonnenheit in dem Ausnahme. Sie sind für die Gefühle des In des Sängers Herz halten nun Desillusionie - bei der er auf die Heilkraft göttlicher Ein - empörten Can she excuse my wrongs?, das Hörers leicht zugänglich, und das Hand - rung und Düsterkeit Einzug. Follow thy fair sun tracht hofft. Im Anschluss ,bringt‘ ihn die kühne Ambitious love mit üppigem Gamben - lun gsgerüst ist gut nachvollziehbar: Der enthält noch Hoffnung, und das Stück O never Laute wieder zur Erde zurück; sie zeigt lei- satz, und schließlich das verspielte Come Held entdeckt die Liebe, dann kommt sie to be moved bittet um unser Mit gefühl; aber ses Mitgefühl mit seiner Notlage in La mia again. Alles Düstere ist jetzt vertrieben, und ihm abhanden; er verliert sich selbst, dann Harden now thy tired heart ist voller rhetori- Barbara, wo dunkel gefärbte Passagen auf der wiedererstarkte Held feiert seinen Sieg: findet er sich wieder und damit zum scher Fragen an den verlorenen Lieb haber das noch bevorstehende Elend hinweisen. Die feierliche Stimmung beschwört zu- Happy-End. und zeigt den Sänger resigniert und tieftraurig. Nun tritt unser Sänger aus seiner Trau er - nächst mit Mignarda ein Lautensolo auf, und In diesem Muster erleben wir die innere Daraufhin stellt eine Gambe in ruhigem pause und bewegt sich auf den Tiefpunkt ein weiteres Nachdenken über die Frage Gefangennahme, die Prüfung und zum Ton nochmals die Frage „Was ist denn seiner Trostlosigkeit zu in der klagenden „Was ist denn Liebe?“ fordert eine wortlose 10 11 Antwort von der Gambe. Ein aufschlussrei- Lieder bzw. Tänze aufgeführt wurden; man JULIAN PODGER begann seine musikalische cher lateinischer Refrain, „pari jugo dulcis kann sich jedoch leicht eine Aufführung als Laufbahn als Sänger und Dirigent, als er noch in tractus“ (Mit gleichem Gespann ist das Hausmusik vorstellen, oder als musikali- Kassel zur Schule ging. Später erhielt er ein Ziehen süß) fordert wiederum eine Retour - sche Untermalung eines Festessens, wie man Chorstipendium und begann am Trinity College in kutsche mit Worten im auftrumpfend-ausge- es aus Kostümfilmen kennt. Cambridge Musik zu studieren. lassenen Schlussstück The match that’s made. Sprachwissenschaftler haben sich einge- Der Großteil der Musik in dieser Auf - hend mit der englischen Aussprache zur Zeit Als Solist ist er überall auf der Welt gefragt. Er hat nahme stammt aus der Feder des berühm- Shakespeares (1564–1616) beschäftigt und sich auf die Musik vom Mittelalter bis zum Barock ten John Dowland (1563–1626), und datiert sind zu unterschiedlichen Schlüssen ge langt. spezialisiert, vor allem auf die Lautenlieder von vom Ende des 16. bzw. Anfang des 17. Jh. Dies wundert nicht angesichts der verschie - John Dowland, Monteverdis Kirchenmusik und Die ältesten hier eingespielten Werke sind denen regionalen Usancen der Zeit. Unse re Opern und Bachs Evangelisten. Er ist ein Mitglied die von William Byrd (1543–1623), die wohl Absicht ist es nicht, eine ,authentische‘ Aus - der angesehenen Vokalensembles Gothic Voices, in den 80er Jahren des 16. Jh. geschrieben sprache durchzusetzen, was sowieso un mög - I Fagiolini und The Harp Consort und leitet sein wurden, während die Stücke von Thomas lich wäre. Vielmehr wollen wir die Texte in eigenes Ensemble Trinity Baroque in einer Auf - Campion (1567–1620) drei Jahrzehnte später einer für die damalige Zeit allgemeingültige nahme der Motetten Johann Sebastian Bachs und veröffentlicht wurden. Europa befand sich Aussprache singen. bei zahlreichen europäischen Alte Musik Festivals. damals mitten im spannenden musikalischen Wandel: Italienische Komponisten bevorzug - Der o.g. lateinische Refrain enthält viel ten zunehmend textorientiertes Schreiben, Weisheit: „Mit gleichem Gespann ist das Ziehen eine rasante Entwicklung, die zum großen Teil süß“ – der Schlüssel zu einer erfolgreichen und durch Claudio Monte verdi (1567– 1643) be - dauerhaften Partnerschaft ist eine gute und aus- gleitet wurde. Der Drang zu dieser Schreib art geglichene Verbindung zwischen Partnern, die sich ist bei dem Aufblühen der Beliebtheit und anzupassen lernen. Finesse des ebenfalls textorientierten Lau - Julian Podger Übersetzung aus dem Englischen: t en gesangs in England wieder zuerkennen. Clive Williams, Hamburg. Uns liegen zwar nur spärliche Inform a - tionen vor über den Rahmen, in dem diese 12 13 LEE SANTANA entstammt einer Musikerfamilie aus Florida und wurde THE SIRIUS VIOLS … Hille Perl gründete die am Ende der Baby-Boomer-Zeit geboren. In seiner Jugend spielte er in ver - Sirius Viols, um viele ihrer Lieblingsinstrumente und schiedenen Jazz- und Rockformationen, am Rande hegte er ein Inter esse ihre Lieblingsspieler derselben zusammenzubringen. für klassische Musik. Ab seinem 16. Lebensjahr stieg sein Interesse am Das Ensemble basiert auf einer solidarischen Ge - klassischen Genre, und seine Vorbilder wandelten sich: Aus Fusion- meinschaft und auf dem Stolz, den wir ineinander Spielern und -Komponisten wurden Klassik-Spieler und -Komponisten. setzen, nicht auf hierarchischen Strukturen und dem Nachdem er die Laute entdeckt hatte, kamen seine Vorbilder aus immer Prinzip der Dominanz. Künstlerische Freiheit eines früheren Zeiten, und er befindet sich in einem ständigen dynamischen jeden Individuums bringt am Ende das bestmögliche Austausch mit Spieler-Komponisten des 17. und 18. Jahrhunderts. künstlerische Ergebnis. Für bestimmte Projekte Um seinem ,Stern‘ besser folgen zu können, zog Lee Santana im Jahr laden die Sirius Viols auch Violinen, eine Continuo - 1984 nach Europa, wo er seine Partnerin für alle Lebenslagen, Hille Perl, gruppe oder Sänger ein – oder andere Musiker, die traf: Seit dem wohnen die beiden in Hilles Geburtsland, in Deutschland. ihren Ansprüchen genügen können. Nach etlichen Wandergesellenjahren, in denen Lee mit den besten Der Name bezieht sich natürlich auf den hellsten Ensembles, Dirigenten und Solisten arbeiten durfte, beschäftigt er sich Stern des nördlichen Himmels – und auf die merk- nun hauptsächlich mit seinen eigenen Projekten und Konzepten, als Solist würdige Tatsache, dass manche Menschen behaup- oder als Duopartner von Hille, oder mit seinen Ensembles THE AGE OF ten, die interessantesten Kulturtechniken wären uns PASSIONS, LOS OTROS oder SIRIUS VIOLS. Hille und Lee arbeiten auch vom kleinen Bruder dieses Sterns gebracht worden, sehr gerne mit ihren Freunden Dorothee Mields oder Maurice Steger zu- vom schwarzen Zwerg Sirius B. sammen. Das Motto der Sirius Viols, könnte man sagen, ist Als Komponist arbeitet Lee Santana derzeit an mehreren großen Kom - dieses: Gambisten aller Länder: Vereinigt Euch! positionsgruppen für Lauteninstrumente, Solo-Gambe, ebenso an zwei Liederzyklen und zwei Einzelstücken für Instrumente mit Elektronik. Er folgt dabei seinem eigenen stilistischen Pfad und weigert sich, die Er war - tungen und Klischees der postmodernen ,Neue‘-Musik-Bewegung zu erfüllen.

14 15 Tell me, dearest, what is love (I) Come away, come sweet love! The golden morning wastes, Thou art untrue, nor wert with fancy moved, Her fires do inward burn, Tell me, dearest, what is love? While the sun from his sphere his fiery arrows casts. For Desire hath power on all that ever loved. They make no outward show, 'Tis a light’ning from above. Making all the shadows fly, Show some relenting, And her delights amid the dark shades Tis an arrow, 'tis a fire, Playing, Or grant thou dost now love. That none may discover, grow. 'Tis a boy they call desire. Staying Two hearts consenting The flowers growth is unseen, 'Tis a grave In the grove, Shall they no comforts prove? Yet every day it grows, Gapes to have To entertain the stealth of love. Yield or confess that Love is without pleasure, So where her fancy is set it thrives, Those poor fools that long to prove. Thither sweet love let us hie, And that women's bounties rob men of their treasure. But how, none knows. Tell me more, are women true? Flying, Such a love deserves more grace Dying Truth is not placed Yes, some are, and some as you. In words and forced smiles. Than a truer heart that hath no conceit Some are willing, some are strange In desire, To make use of both time and place, Winged with hopes and heavenly fire. Love is not graced Since you men first taught to change. With that which still beguiles. When a wit hath need of all his sleight. And ‘till troth Come away, come sweet love! Do not in vain adorn Love, or dislike! Yield fire, or give no fuel! Be in both, Beauty's grace, that should rise like to the naked morn. So mayest thou prove kind, or at the least less cruel. Follow thy fair sun (I) All shall love to love anew. Lilies on the river's side Follow thy fair sun, unhappy shadow. And fair Were every thought an eye Though thou be black as night, Come away, come sweet love! Cyprian Were every thought an eye, And she made all of light, Come away, come sweet love! Flow'rs new-blown And all those eyes could see, Yet follow thy fair sun, unhappy shadow. The golden morning breaks. Desire no beauties but their own. Her subtle wile their sights would beguile All the earth, all the air of love and pleasure speaks. Ornament is nurse of pride, And mock their jealousy. Follow her whose light thy light depriveth. Teach thine arms then to embrace, Pleasure, Desire lives in her heart, Though here thou liv’st disgraced, And sweet Measure Diana in her eyes. And she in heaven is placed, Rosy Love's delight. ‘Twere vain to wish women true, ‘Tis well Yet follow her whose light the world reviveth. Lips to kiss, Haste then, sweet love, our wished flight! If they prove wise. Follow those pure beams whose beauty burneth, And mix our souls in mutual bliss. That so have scorched thee, Eyes were made for beauty's grace, Fie all this feigning Such a love deserves more grace Than a truer heart that hath no conceit As thou still black must be Viewing, Fie on this feigning! ‘Till her kind beams thy black to brightness turneth. Rueing Is Love without Desire, To make use of both time and place, Love-long pain Heat still remaining, When a wit hath need of all his sleight. Follow her while yet her glory shineth. Procur'd by beauty's rude disdain. And yet no spark of fire? There comes a luckless night, 16 17 That will dim all her light, Flow not so fast, ye fountains My heart for thy unkindness breaks. And this the black unhappy shade divineth. Flow not so fast ye fountains, Yet thou dost hope when I despair, Follow still, since so thy fates ordained. What needeth all this haste? And when I hope, thou mak’st me hope in vain. The sun must have his shade, Swell not above your mountains, Thou say’st thou canst my harms repair, Till both at once do fade, Nor spend your time in waste. Yet for redress, thou let’st me still complain. The sun still ‘proved, the shadow still disdained. Gentle springs, freshly your salt tears Can Love be rich, and yet I want? Must still fall dropping from their spheres. Is Love my judge, and yet I am condemn’d? O never to be moved Harden now thy tired heart Weep they apace, whom Reason Thou plenty hast, yet me dost scant, O never to be moved, Harden now thy tired heart with more than flinty rage, Or lingering Time can ease. Thou made a God, and yet thy power contemn’d. O beauty unrelenting! Ne’er let her false tears henceforth thy constant grief assuage. My sorrow can no season That I do live, it is thy power, Hard heart, too dearly loved, Once true happy days thou saw’st, when she stood firm and kind, Nor aught besides appease. That I desire it is thy worth, Fond love, too late repenting! Both as one then lived, and held one ear, one tongue, one mind. If Love doth make men’s lives too sour, Why did I dream of too much bliss? But now those bright hours be fled, and never may return. Gentle springs, freshly your salt tears Let me not love, nor live henceforth. Deceitful hope was cause of this. What then remains but her untruths to mourn? Must still fall dropping from their spheres. Die shall my hopes, but not my faith, O hear me speak this and no more: Silly traitress, who shall now thy careless tresses place? Time can abate the terror That you, that of my fall may hearers be, Live you in joy, while I my woes deplore. Who thy pretty talk supply? Whose ear thy music grace? Of every common pain, May hear despair, which truly saith, Who shall thy bright eyes admire? What lips triumph with thine? But common grief is error, I was more true to Love than Love to me. All comforts despaired, Day by day who’ll visit thee, and say: thou’rt only mine? True grief will still remain. Distaste your bitter scorning. Such a time there was, God wot, but such shall never be. Gentle springs, freshly your salt tears Fair sweet cruel Great sorrows unrepaired Too oft, I fear, thou wilt remember me. Must still fall dropping from their spheres. Fair sweet cruel, why dost thou fly me? Admit no mean in mourning. Go not, O go not from thy dearest. Die, wretch, since hope from thee is fled. If my complaints could passions move Though thou dost hasten I am nigh thee, He that must die is better dead. If my complaints could passions move, When thou seem’st far then am I nearest. O dear delight, yet ere I die Or make Love see wherein I suffer wrong, Tarry then and take me with you! Some pity show, though you relief deny. My passions were enough to prove, Fie, fie, sweetest, here is no danger. That my despairs had govern’d me too long. Fly not, O fly not, Love pursues thee. O Love, I live and die in thee, I am no foe nor foreign stranger, Thy grief in my deep sighs still speaks. Thy scorns with fresher hope renew me. Thy wounds do freshly bleed in me, Tarry then and take me with you! 18 19 Thou poet’s friend Haste, restless sighs, and let your burning breath Can she excuse my wrongs But what? May Love live under any law? Thou poet’s friend that haunts Parnassus hill, Dissolve the ice of her indurate heart, Can she excuse my wrongs with Virtue’s cloak? No, no, his power exceedeth man’s conceit, And shroud’st in shade where Mases do abide, Whose frozen rigour, like forgetful Death, Shall I call her good, when she proves unkind? Of which the Gods themselves do stand in awe, Bedewed with tears from Helicon’s distil, Feels never any touch of my desert. Are those clear fires which vanish into smoke? For on his frown a thousand torments wait. To skitless hand, fair Clio, be my guide, Yet sighs and tears to her I sacrifice, Must I praise the leaves where no fruit I find? Proceed then in this desperate enterprise, And sing with me in praise of Music’s Art, Both from a spotless heart and patient eyes. No, no, where shadows do for bodies stand, With good advice, and follow Love, thy guide, Whose joyful sound doth salve a sighing heart. Follow thy fair sun (II) Thou may’st be abused if thy sight be dim. That leads thee to thy wished Paradise. Cold love is like to words written on sand, Follow those pure beams whose beauty burneth, Thy climbing thoughts, this comfort take withal, All ye, whom Love or Fortune hath betrayed That so have scorched thee, Or to bubbles which on the water swim. All ye, whom Love or Fortune hath betrayed, Wilt thou be thus abused still, That if it be, thy foul disgrace to slide, As thou still black must be Thy brave attempt shall yet excuse thy fall. All ye that dream of bliss, but live in grief, ‘Till her kind beams thy black to brightness turneth. Seeing that she will right thee never? All ye whose hopes are evermore delayed, If thou canst not o’ercome her will, Come again All ye whose sighs or sickness want relief, Weep you no more, sad fountains Thy love will be thus fruitless ever. Weep you no more sad fountains, Come again. Lend ears and tears to me, most hapless man, Was I so base, that I might not aspire What need you flow so fast? Sweet Love doth now invite That sings my sorrows like the dying swan. Unto those high joys which she holds from me? Look how the snowy mountains Thy graces, that refrain Care that consumes the heart with inward pain, As they are high, so high is my desire, Heaven’s sun doth gently waste. To do me due delight. Pain that presents sad care in outward view, If she this deny, what can granted be? But my sun’s heavenly eyes To see, to hear, to touch, to kiss, to die Both, tyrant-like, enforce me to complain, If she will yield to that which Reason is, View not your weeping With thee again in sweetest sympathy. But still in vain, for none my plaints will rue. It is Reason’s will that Love should be just. That now lies sleeping, Come again Tears, sighs, and ceaseless cries alone I spend, Dear, make me happy still by granting this, Softly, now softly lies That I may cease to mourn, My woe wants comfort, and my sorrow end. Or cut off delays if that I die must. Sleeping. Through thy unkind disdain. Better a thousand times to die, For now left and forlorn, Go crystal tears Sleep is a reconciling, Than for to live thus still tormented, I sit, I sigh, I weep, I faint, I die, Go crystal tears, like to the morning show’rs, A rest that Peace begets. Dear, but remember it was I In deadly pain and endless misery. And sweetly weep into thy lady’s breast. Doth not the sun rise smiling Who for thy sake did die contented. All the day And as the dews revive the drooping flow’rs, When fair at e’en he sets. The sun that lends me shine, So let your drops of pity be address’d, Rest you then, rest sad eyes, Ambitious Love By frowns doth cause me pine, To quicken up the thoughts of my desert, Melt not in weeping Ambitious Love hath forced me to aspire And feeds me with delay. Which sleeps to sound whilst I from her depart. While she lies sleeping, The beauties rare which do adorn thy face. Softly, now softly lies Thy modest life yet bridles my desire, Her smiles, my springs, that make my joys to grow, Sleeping. Whose severe law doth promise me no grace. Her frowns the winters of my woe. 20 21 All the night The match that’s made My sleeps are full of dreams, The match that’s made for just and true respects, My eyes are full of streams. With evenness both of years, and parentage, My heart takes no delight, Of force must bring forth many good effects. To see the fruits and joys that some do find, Pari jugo dulcis tractus. And mark the storms are me assigned. For where chaste love and liking sets the plant, But alas, And concord waters with a firm good will, My faith is ever true, Of no good thing there can be any want. Yet will she never rue, Nor yield me any grace. Pari jugo dulcis tractus. Her eyes of fire, her heart of flint is made, Sound is the knot that chastity hath tied, Whom tears, nor truth may once invade. Sweet is the music unity doth make, Gentle Love, Sure is the store that plenty doth provide. Draw forth thy wounding dart, Pari jugo dulcis tractus. Thou canst not pierce her heart, Where chasteness fails, there concord will decay, For I that do approve, Where concord fleets, there plenty will decrease, By sighs and tears more hot than are thy shafts, Where plenty wants, there love will wear away. Did tempt while for triumph laughs. Pari jugo dulcis tractus. Tell me, dearest, what is love (III) I Chastity restrain all strange desires, Tell me, dearest, what is love? I Concord keep the course of sound consent, [Instrumental answer] I Plenty spare, and spend as cause requires. Then I see, Faith will be Pari jugo dulcis tractus. Never ‘till they both believe. Make much of us, all ye that married be, Speak well of us, all ye that mind to be, The time may come, to want and wish all three. Pari jugo dulcis tractus. [With an equal yoke sweet is the pulling] 22 23