Artist: Capriccio Stravagante Renaissance Orchestra, Skip Sempé Title: Dowland: Lachrimae Year Of Release: 2025 Label: Paradizo Genre: Classical Quality: flac lossless (tracks) 24bits - 96.0kHz + Booklet Total Time: 01:03:51 Total Size: 1.27 gb Tracklist 01. Lachrimae, or Seven Tears: Sir Henry Umpton's Funeral 02. Lachrimae, or Seven Tears: Mr. Bucton his Galliard 03. Lachrimae, or Seven Tears: Lachrimae antiquae 04. Lachrimae, or Seven Tears: Mr. Nicholas Gryffith his Galliard 05. Lachrimae, or Seven Tears: Lachrimae antiquae novae 06. Lachrimae, or Seven Tears: Mr. Giles Hoby his Galliard 07. Lachrimae, or Seven Tears: Lachrimae gementes 08. Lachrimae, or Seven Tears: The Earle of Essex Galliard 09. Lachrimae, or Seven Tears: Mr. George Whitehead his Almand 10. Lachrimae, or Seven Tears: Mr. John Langtons Pavan 11. Lachrimae, or Seven Tears: Mrs. Nichols Almand 12. Lachrimae, or Seven Tears: Lachrimae tristes 13. Lachrimae, or Seven Tears: Sir John Souch his Galliard 14. Lachrimae, or Seven Tears: Lachrimae coactae 15. Lachrimae, or Seven Tears: Mr. Henry Noell his Galliard 16. Lachrimae, or Seven Tears: Semper Dowland semper dolens 17. Lachrimae, or Seven Tears: The King of Denmark's Galliard 18. Lachrimae, or Seven Tears: Lachrimae amantis 19. Lachrimae, or Seven Tears: Mr. Thomas Collier his Galliard 20. Lachrimae, or Seven Tears: Lachrimae verae 21. Lachrimae, or Seven Tears: Captaine Digorie Piper his Galliard John Dowland's Lachrimae cycle is among the finest surviving instrumental dance music of the turn of the seventeenth century. This long awaited recording with the Capriccio Stravagante Renaissance Orchestra features new a instrumentation by Skip Sempe: 6 viols, 5 recorders, 2 cornetti, 3 trombones, 2 virginals and harpsichord. Skip Sempe's new performance order of the twenty-one Lachrimae dances revives the tradition of Pavan and Galliard pairs, rather than treating them as isolated movements. The idea of a 'Renaissance Orchestra' in which all the different instrumental consorts are brought together is the overlooked message of these sixteenth and seventeenth century publications. Large ensembles, for large or commemorative occasions, were every bit as much the 'composer's intention' as were smaller, intimate groups. This missing link has been proposed and provided by the concerts and recordings of the Capriccio Stravagante Renaissance Orchestra since the first years of the twenty-first century, and is one of their remarkable achievements in 'cutting through the noise'