- Alman, for virginal (Fitzwilliam Virginal Book, No. 145)
- Full Fathom Five, for voice & lute
- Thirsis and Milla, song in 2 sections for voice with lute & bass viol
- Come sorrow, come, song for voice with lute & bass viol
- Fantasia for lute (from the Varietie of lute lessons)
- Shall I sue, shall I seek for grace?, for 4 voices & lute (Second Book of Songs)
- Go crystal tears, for 4 voices & lute (First Book of Songs)
- Toccata Arpeggiata for lute (from Book 1 of D'Intravolatura di Lauto)
- Dolce tempo passato, song
- Eile mich, Gott, zu erretten, for soprano & continuo, SWV 282 (Op. 8/1)
- Quella Vermiglia Rosa for voice solo
- Da L'Onde del Mio Pianto for voice solo
- Entrée de Luth for lute
- Cessés Mortels de Soupirer
- Que Philis a l'esprit léger
- Paisible et ténébreuse nuit (récitative))
- Branles de Village
- Shall I strive with words to move, for 4 voices & lute (A Pilgrimes Solace)
- He Whose Desires
- Dost Thou Withdraw Thy Grace?
- Why Canst Thou Not?
19.99 In Stock
The subtitle of this album is "Jewels from Europe around 1600," and the "Jewels" could as well be applied to Emma Kirkby's voice and Jakob Lindberg's lute playing -- delicate but strong, beguiling, throwing off brilliant light. Kirkby's light soprano is ideal for this repertoire -- absolutely pure, but full of character and expressiveness, with a security that makes her singing sound effortless. She is well matched by Lindberg's playing, which is fleet and nuanced. He plays a sixteenth century instrument with exceptionally mellow tone that is thought to be the oldest lute still in use. Together, Kirkby and Lindberg draw the listener in as a companion with whom they are sharing precious intimacies. The songs and lute solos are eclectic, by English, Flemish, German, Italian, French, and Polish composers. The songs by the better-known English composers, such as Dowland and Morley, stand out for their expressiveness, but others, particularly the songs of Sigismondo d'India, are remarkable for their harmonic and vocal eccentricities, and the variety of the repertoire keeps the album consistently engaging. The sound of the SACD is clear and bright, and the balance between voice and lute is excellent.