Les Musiciens de Saint-Julien, Fiona McGown, Enea Sorini, Nick Scott

François Lazarevitch

anon.: Bonny Kathern Loggy
anon.: Bellamira (After Solomon Eccles) – Greensleeves (After James Oswald)
anon.: The Witty Western Lasse, to the Tune Called The Beggar Boy
anon.: Emperor of the Moon / Ormond House
Purcell: How Vile Are the Sordid Intrigues
anon.: Sefauchi's Farewell (After Henry Purcell)
anon.: An Italian Ayre (Fuggi, Fuggi, Fuggi) [After Henry Lawes]
anon.: Nobody's Jig – Black and Grey – Where Will Our Goodman Lie – Maiden Lane
anon.: Drive the cold winter away
anon.: John Come Kiss Me Now (Variations by Thomas Baltzar, Christopher Simpson, David Mell, Solon Eccles)
anon.: When Daphne from fair Phoebus did fly
anon.: Scots Rant – Argiers (Variations After Jacob van Eyck)
anon.: Mr Lane's Maggot
Henry Purcell, James Oswald: The Lord Monk's March – Hey to the Camp
Purcell: A Lad of the Town
anon.: Bacchus's Health, On the Tune Paul's Steeple (Variations Published by John Playford and John Walsh)

This programme reflects the full flavour and richness of English music and the instrumental and vocal repertory it inspired in Europe in the seventeenth and eighteenth centuries. The rhythmic impulse of this repertory sometimes making use of ostinato culminates in the grounds, jigs, contredanses and so on that were all the rage at the time and led to the publication of John Playford's collection The English Dancing Master in 1651. Les Musiciens de Saint-Julien, showing their familiarity with early sources from England, Scotland and Ireland, also emphasise the melodic aspect of these dances, which in the course of time became sung airs the soprano Fiona McGown and the baritone Enea Sorini complete a colourful instrumentarium. Finally, the light-hearted dimension of entertainment is present everywhere in this repertory, which was popular in the sense that it was universally practised at the time, achieving a fame that spread far beyond the British Isles.