Composer: Nicholas Lanier
Works: Hero and Leander; Weep no more my wearied eyes; Neither sighs, nor tears; Stay silly heart; Hero’s complaint to Leander; Come, thou glorious object of my sight; Amorosa pargoletta; Qual musico gentil; Do not expect to hear; Mark how the blushful morn; No more shall meads be deck’d with flowers
Performers: Paul Agnew, tenor; Christopher Wilson, theorbo and lute
Recording: Recorded St Andrew’s Church, Toddington, Gloucestershire, May 1997
Label: Metronome MET CD 1027
Nicholas Lanier, a polymath of the early 17th century, occupies a unique position in the evolution of English music, straddling the realms of courtly entertainment and the burgeoning theatrical forms that would define the Restoration period. His work, particularly the song cycle Hero and Leander, emerges from a confluence of influences—Elizabethan lute songs, Italianate styles, and the poetic richness of contemporaries such as Thomas Carew. This recording captures Lanier’s lyrical charm and harmonic sophistication, offering a window into an era where music served both as a medium for personal expression and a reflection of the social tapestry.
Paul Agnew’s performance is a masterclass in stylistic interpretation, employing a distinctly nuanced approach to the text. His tenor voice, characterized by a warm timbre and keen awareness of textural detail, breathes life into the words. In “Neither sighs, nor tears,” Agnew’s delicate shading highlights the emotional undercurrents of the poem, while his articulation of the text delivers the subtle wit inherent in Lanier’s musical setting. The accompanying theorbo and lute, played by Christopher Wilson, complements Agnew’s voice with an equally sensitive touch. The interplay between voice and instrument is particularly noteworthy in “Hero’s complaint to Leander,” where the integration of instrumental interludes, crafted by Henry Lawes and Lanier, enhances the narrative’s arc, creating a captivating dialogue.
The recording quality is commendable, with the acoustic of St Andrew’s Church lending an organic resonance that enriches the aural experience. The balance between voice and lute is expertly managed, allowing for clarity without sacrificing the warmth of the ensemble. Particularly effective is the sound engineering in “Amorosa pargoletta,” where Agnew’s Italianate flair is buoyed by Wilson’s spirited lutenist flourishes, forming a vibrant tapestry that evokes the cultural milieu of Lanier’s time.
Lanier’s settings of Carew’s texts, especially “Mark how the blushful morn” and “No more shall meads be deck’d with flowers,” reveal a deftness in musical storytelling. The former, with its proto-Purcellian ground bass, unfolds a sensual narrative that is both playful and poignant. Agnew’s adept handling of the melismatic passages showcases his vocal agility and interpretative depth, while Wilson’s accompaniment provides a rich harmonic foundation that supports and enhances the vocal line. These selections not only highlight Lanier’s melodic ingenuity but also affirm his place within the pantheon of English song.
While there are other notable recordings of Lanier’s works, such as those featuring countertenors or larger ensembles, this pairing of tenor and lute stands out for its intimacy and authenticity. The duo’s concerted effort to marry text and music creates an experience that is both historically informed and emotionally resonant, inviting listeners to engage with the music on a deeper level.
This recording of Lanier’s Hero and Leander is a distinguished contribution to the canon of early English music. It encapsulates the elegance and complexity of Lanier’s artistry while showcasing the interpretative prowess of Agnew and Wilson. The result is a captivating auditory experience that illuminates the rich tapestry of 17th-century musical life, compellingly engaging both the scholarly and the casual listener alike.
