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With Endless Teares

Fred Jacobs, Johannette Zomer

Johnson, Lanier, Lawes, Gautier, Humfrey, Purcell

SKU: 26609

Year of release: 2009

1. Have you seen but the bright lily grow Johnson 01:52
2. Woods, rocks and mountains Johnson 03:46
3. With endless tears Johnson 01:59
4. Come hither you that love Johnson 01:46
5. Come, heavy sleep Johnson 02:19
6. Almain Johnson 01:07
7. The Prince?s Almain Johnson 01:09
8. Mark how the blushful morn Lanier 01:40
9. I wish no more Lanier 01:15
10. No more shall meads be deck?d with flowers Lanier 03:04
11. Almain Johnson 01:09
12. Almain Johnson 02:18
13. Amarillis by a spring Lawes 01:51
14. Amintor?s welladay Lawes 02:08
15. Sleep soft, you cold clay cinders Lawes 01:59
16. Chloris dead, lamented by Amintor Lawes 02:12
17. Courante Gautier 01:20
18. Volte Gautier 01:19
19. Ariadne?s Lament Lawes 09:55
20. Courante Gautier 01:37
21. Cloches Gautier 01:26
22. Cupid once, when weary grown Humfrey 02:03
23. Oh! That I had but a fine man Humfrey 01:16
24. O Love, if e?er thou?lt ease a heart Humfrey 03:38
25. How severe is forgetful old age Humfrey 01:20
26. If grief has any pow?r Purcell 01:58
27. When first Amintas sued for a kiss Purcell 01:41
28. Music for a while Purcell 03:58
29. Farewell, all joys! Purcell 01:57
Total time: 65:17

About this album

There is a gradual increase in the use of bass line notation, implying a continuo realization, instead of complete tablature as accompaniment for lute song in Jacobean England, after about 1610. Although the lute was to remain the accompanying instrument of choice, other instruments, theorbos for example, could now replace it, depending on the situation. It is not clear when the theorbo was first used in England but the great architect, stage designer and masque producer Inigo Jones has been mentioned as having brought the first one back from a journey to Italy before 1605. The new Italian vocal music came from different sources: Robert Dowland printed Caccini’s Amarilli in his Musical Banquet in 1610 and Angelo Notari published his Prime Nuove Musiche (per cantare con la tiorba…) in London in 1613. Its declamatory style became particularly popular in the context of Jones’ masque: an extravagant art form as Stuart propaganda, combining grandiose theatre effects dance and ‘operatic’ singing, often accompanied by a consort of plucked instruments.

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Jarenlang was de sopraan Emma Kirkby de ongekroonde koningin van het Engelse renaissance- en baroklied. Maar nu hebben we onze eigen Johannette Zomer. Met dit prachtige album volstrekt zich een troonswisseling. Gegeleidt door Fred Jacobs op de luit en de theorbe, klinken deze miniatuurtjes onder de huid. Wat een expressie horen we in Johnsons titelsong. De intermezzi nodigen uit tot heerlijk releaxed genieten.


Johannette zingt deze liederen - kleine, afgeronde, melancholieke verhaaltjes - prachtig. Ontspannen, zuiver, boeiend, ontroerend, met gevoel voor detail, frasering en nuancering klinkt haar stem waar nodig is vol en rijp, maar ook strak en ingehouden, altijd naar een moment van ontspanning toezingend. Fred Jacobs speelt dienstbaar aan zangeres en muziek en kan gelukkig in de zes werken voor luitsolo ook als muzikaal verteller van de eerste orde zijn ei kwijt.


Johannnette singt sehr schön, und lässt auch die Texte klar zum Ausdruck kommen, Fred Jacobs spielt einige Lautenstücke und macht das sehr gut. Eine schöne Platte.

BBC Music Magazine

There’s a brightness to the voice which pinpoints open-eyed wonder in songs such as ‘Have you seen but the lily grow’?

Tijdschrift Oude Muziek

een toonbeeld van uitgekiende programmering en musicieren op het allerhoogste niveau. Johannette heeft de zeldzame gave dat ze álles wat ze doet in de Vroegbarokke muziek zo vanzelfsprekend kan laten klinken dat je gewoon vergeet dat er ook nog andere zangers zijn die dit repertoire zingen (…) Een verademing!

International Record Review

This is sublime: quite simply the finest registration of 17th century English song on the market. It’s one of those perfectly designed programmes, which have all the built-in variety you need for over an hour’s uninterrupted listening pleasure. There is plenty here for the casual listener and connoisseur alike and, despite the title, the introspective mood is upliftingly beautiful throughout. The scholarly preparation which makes this possible, and the clear sense that these interpretations have been honed, through regular performance, are what we’ve come to expect from the brilliantly successful partnership of Dutch soprano and the lutenist (…) (…) This is good: it’s a European view of English repertory we don’t often hear. With the architecture of this pieces so convincingly mapped out by Jacobs and with Zomer’s expressive freshness, one listens intently, not ‘With endless tears; but with ‘endless fascination’. An outstanding achievement on every front.

Zomer geht auf diese poetische Bildersprache der Gedichte stimmlich sehr differenziert ein und zeichnet die Emotionen der Texte gefühlvoll nach. (...) Ihr Timbre ist samtig weich und warm mit einem herrlich unangestrengten Glanz in der Höhe.(...) Fred Jacobs spielt expressiv und anmutig.

American Record Guide

This is as fine a program of Renaissance songs as one will ever find. (…)


Ragfijne 17e eeuwse Engelse muziek die door Zomer en Jacobs op exemplarische wijze wordt uitgevoerd.


Technical Specifications

Recording Type Bit RateDSD64
SpeakersAudiolab, Holland
Recording SoftwarePyramix bij Merging
Recording LocationDoopgezinde Kerk Deventer The Netherlands 2009
Recording EngineerJared Sacks
ProducerJared Sacks
Mixing BoardRens Heijnis custom design
MicrophonesBruel & Kjaer, Schoeps
Mastering EquipmentB&W 803 diamond series
Mastering EngineerJared Sacks
Digital ConvertersMeitner A/D DSD / Meitner DA
Cablesvan den Hul