Baroque Music Festival, Corona del Mar

The Festival strives to present the astounding wealth and diversity of music of the Baroque era (c. 1600-1750) in a wide variety of ways, at affordable prices. Large-scale works, with and without singers, are typically offered on our Sunday concerts, while during the weekday evenings between you will hear smaller scale vocal and chamber performances, all given by the finest musicians in the historically informed Baroque field.

June 17: English Lute Songs

While Shakespeare was defining English poetry and drama, Dowland was doing the same for English song. After Dowland, the influence of the Italians led to the magnificent achievements of Henry Purcell, arguably the greatest English composer of all time. GRAMMY-winning lutenist Stephen Stubbs, soprano Danielle Reutter-Harrah and violinist Elizabeth Blumenstock, explore the golden age of English song through works by John Dowland, William Lawes, Henry Purcell and others — where time may indeed stand still.

Edward Johnson (fl. 1572–1601): Eliza is the Fairest Queen; John Dowland (1563-1626): Welcome black night; Dowland: Time stands still
Lute solos: Anon.: The Cobbler; Francis Cutting (c.1550–1595/6): Greensleeves; Dowland: Lord Willoughbie’s welcome home; Anon.: Watkin’s Ale
Dowland: Sorrow, stay; Dowland: From silent night
Nicholas Lanier (1588–1666): No more shall meads; William Lawes (1602-1645): To the Dewes; How lilies came white; To sycamores – I’m sick of love
Henry Purcell: She loves, and she confesses; Let me weep
-intermission-
Nicola Matteis (c. 1650 – after 1713): Suite for Guitar
Purcell: The Fatal Hour; Bess of Bedlam
Purcell: Suite from The Fairy Queen and King Arthur: Come if you dare, If love’s a sweet passion, Fairies Dance
Mattheis: Aria Amorosa for violin and baroque guitar
Trad.: Barbara Allen
Arr. Joseph Haydn (1732-1809): Mary’s Dream & Scottish traditional airs

Danielle Reutter-Harrah, soprano
Stephen Stubbs, lute
Elizabeth Blumenstock, violin