On the trail of Dowland

John Dowland (1563-1626) is probably the most important English composer of the Elizabethan era. Nevertheless, he did not succeed in obtaining the coveted post of court lutenist during Queen Elizabeth's lifetime. His life was characterized by restless years of travel. In 1598, Dowland finally received a position at the court of Christian IV of Denmark, which enabled him to be highly productive as a composer. It was not until 1612, when he was a famous man, that he finally received the desired position at the royal court in England.

In 2013, friends of early music celebrated the 450th birthday of Dowland, whose music is characterized by a characteristic melancholy. His First Book of Songs and Ayres was published in 1597 and was so enthusiastically received that it went through five new editions. Two further volumes followed, as well as the consort collection in 1604 Lachrimae, or Seaven Tearsa comprehensive masterpiece of five-part instrumental music. It is dedicated to Queen Anne of Scotland, the sister of Christian IV.

This consort collection was the starting point for a composition commission that the recorder quintet B-Five gave to the Swiss composer Carl Rütti for Dowland's anniversary. The result is an inspired and sensitive Dowland Suite of 18 numbers, an interweaving of original movements from Lachrimae, or Seaven Tears, some the rhythmic and lively dances, and five new pieces by Carl Rütti, in which he reflects on Dowland's consort music and his restless life.

Carl Rütti is a great connoisseur of British vocal music, Dowland's First book of Songs has always been one of his favorite works. In this suite, he plays with motifs from Dowland's pieces, adapts the keys to them and develops them dramaturgically from the very dark opening piece to a playful Chanson avec deux oiseaux up to the virtuoso-dramatic final piece Sir John's Jig. A subtle weave of old and new unfolds in this suite, a stimulating play of colors that will not only delight recorder fans.

The B-Five recorder consort has made a name for itself primarily with works from the Renaissance. With its extensive selection of recorders, the international ensemble produces an astonishingly colorful sound. This is also the case in the five-part movements of this Dowland suite, which are very vividly shaped by the pure and clear sound of the recorder, even in the depths of the bass flute.