Tobias Hume

Ihre Vorschau von der Schriftart Middle Saxony Text

 

 

  

Life and work of Captaine Tobias Hume

Tobias Hume was an english violist and composer who was born around 1569 and he died the 16th of April 1645 in London. He was an army officer, a captain, and an excellent performer on the viola da gamba.

In 1605 he published The first part of Ayres of which a.o. pictures of the title page and the table of contents are acquirable via these pages. The first part of Ayres are also known as Musicall Humors while this is printed at the top of every page of the 1605 publication. In the dedication to Lord William, Earle of Pembrooke, published in this volume, he writes that his life was devoted to soldiery, his leisure, however, to music and that he wished to offer his services in both fields to Lord William.

In 1607 he then published Captaine Hume's Poeticall Musicke of which we until now only added some texts of songs to this home page. In the letter to Queen Anne in this 1607 print, Tobias Hume hinted that he was living in unfortunate circumstances when he dedicates his music to her and asks her not to esteeme my Songs unmusicall, because my Fortune is out of tune ... but to patronize ... the modest ends of the Author of these uncommon Musiques.

At the end of the year of 1624 he entered the London Charterhouse as a poor brother. This institution, formely a Charthusian monestery served as a practice ground for young soldiers and as a honorary refuge for old ones.

At the same time Hume sent an (unsuccessfull) petition to Charles I, asking that he be allowed for leave to proceed to Mickle Bury Land [Mecklenburg?] together with what were presumably a group of mercenary soldiers apparently under the Swedish king.

Afterwards Hume printed this petition, named True Petition of Colonel Hume. From this document we learn that he had served as Captain in many countries, for he writes that he is an old experienced Soldier and has done great services in other foreign Countries. He also appeared to have been at one time a mercenary in the service of the King of Sweden. In this last petition he offers to perform naval and military wonders against the Irish rebels.

It is said that one could conclude from its contents that he was labouring under mental delusion. Unfortunately we haven't yet found the text of this petition, but if we do so, we will add it to this home page so we can conclude it for ourselves.

In 1642 he petitioned the Lords of Parliament as he could no longer bear his poverty. This petition was read before the Parliament (probably by Hume himself) for the title-page says as it was presented to the Lords assembled in the high Court of Parliament. Furthermore, Hume writes that he is unable to endure this misery any longer, for I want money, meat and drink and clothes... In this petition Hume presents himself as a colonel, although in the entry for his death in the Charterhouse Register he is still called Captain Hume.

On Wednesday, April 16 1645, Tobias Hume died in London.

Music

Tobias Hume wanted to offer something special, to set himself off from others: He wanted to publish his own work and not arrangements of foreign pieces. This is indicated in the preface of the first part of Ayres where he writes: my studies are far from servile imitations, I robbe no other inventions... These are my own Phansies...

Hume's main innovations lay in the fact that he transferred known lute and bandora repetory to the viola da gamba and that he was the first to publish music for solo viola da gamba (lyra viol) as well as for several violas da gamba. The texts appearing in some of the songs reflect his personal joys, interest and problems : soldiery (The Soldiers Song), music, love (Tobacco, Fain would I change that note) as well as deep sorrow and dispair (Alas poor men, What greater griefe).

In the second volume Hume publishes a hunting song for a bass viol in alternation with a solo voice, which according to Hume was sung before two Kings, to the admiring of all brave Huntsmen. Here Hume refers to the visit of the King of Denmark to the court of James I in 1606. It could have been that Hume was the performer of this piece, indicating his skill on the viol and his access to the court at this time.

Two more pieces are dedicated to this visit in this same work: The King of Denmarkes delight and King of Denmarkes health.

The two documents The first part of Ayres and Captaine Hume's Poeticall Musicke are reprinted in 1980 by Amadeus Verlag in Winterthur (Switzerland) where one can order these manuscript They appeared together as volume 2 of the series Prattica Musicale.

Captain Humes Poeticall Musicke
This work contains three vocal compositions, The Hunting Song, What greater griefe (this is merely a rearrangement of the same song from The first Part of Ayres ) and The Queenes New-yeeres gift.

The remaining are instrumental ensemble works, where three compositions appeared earlier in The First Part of Ayres, "The Earle of Pembroke his Galliard", "The Spirit of Gambo", and the piece "A mery conceit" which in the first volume was referred to as "Tickell Tickell".

 

Text Source: http://62.216.16.114/hume/hume.html

Musicall Humors
 
Viola da gamba
 
 

 

TO THE UNDERSTANDING READER

I Doe not studie Eloquence, or profess Musicke, although I doe love Sence, and affect Harmony: my Profession being, as my Education hath beene, Armes, the onely effeminate part of me, hath beene Musicke; which in mee hath beene alwayes Generous, because never Mercenarie. To prayse Musicke, were to say, the Sunne is bright. To extoll my selfe, would name my labors vaine glorious. Onely this, mu studies are far from servile imitations, I robbe no others inventions, I take no Italian Note to an English dittie, or filch fragments of Songs to stuffe out my volumes. There are mine own Phansies expressed by my proper Genius, which if thou dost dislike, let me see thine, Carpere vel noli nostra, vel ede tua, Now to use a modest shortnes, and a briefe expression of my seffe to all noble spirites, thus, My title expresseth my Bookes Contents, which (if my Hopes faile me not) shall not deceive their expectation, in whose approvement the crowne of my labors resteth. And from henceforth, the stateful instrument Gambo Violl shall with ease yeelde full various and as devicefull Musicke as the Lute. For here I protest the Trinitie of Musicke, parts, Passion and Division, to be as gracefully united in the Gambo Violl, as in the most received Instrument that is, which here with a Souldiers Resolution, I give up to the acceptance of at noble dispositions.

The friend of his friend,
TOBIAS HUME

Far removed from the honeyed words that his contemporaries knew how to handle in similar circumstances, such was the tone, a blunt, rugged one, in which Tobias Hume addressed to his public the first fruit of his "idlenes." This profession of faith serving as a preface is one of the rare elements that may help us to attempt a portrait, however imperfect, of the character. The two books of 1605 and 1607 make up the whole output of Hume: they give him the opportunity of evoking his first condition as soldier, laying great stress on it, as if to forestall criticism of his uncommon Musiques. Indeed the unusual style of his compositions seems to have put off the cultivated amateur, nurtured on skillful counterpoint and precious madrigalisms. Aware that his "Fortune is out of tune," he begs Queen Anne, to whom his second collection is dedicated, to bestow some attention upon "the onely and last refuge of (his) long expecting hopes." To the copy he offers her, he even appends this pathetic postscript in his own hand: "I doe in all humylities bessech your Matie that you would bee pleased to heare this Musick by mee: havinge excellent Instruments to performe itt."

Seeing that his efforts met with no success, Hume may possibly have turned elsewhere to seek recognition of his genius. Wandering through Europe to the scenes of the various religious and political conflicts, he lived the life of a mercenary, now serving as a captain in the King of Sweden's armies, now leading the troups of the Emperor of Russia in battles of doubtful issue. In the autumn of the year 1629, which saw the end of hostilities between Sweden and Poland, Hume probably managed to get back to London. He applied for admission to the Charterhouse, a former priory lying slightly to the northeast of the ancient wall of the City, and which had been re-established as a hospital capable of accomodating eighty poor "brethren." Its newly-revised statutes provided shelter for distressed gentlemen such as navy or army officers, clergymen, doctors in all disciplines, artists and men of letters, or"such as had been servants to the King's Majestie or could bring good testimony of their good behaviour and soundness in religion." If it is true that the minimum age for admission was sixty, one can reasonably assume that Hume was born before 1570.

Music, however, does not seem to have brought Hume the tranquillity of a peaceful retirement. No sooner had he settled down, he yearned after new adventures. In a letter addressed to Charles I., he asked permission to go, with 120 men, at the behest of the King of Sweden, to "Mickle Bury Land" (Mecklemburg?), in order to deliver any letters his Majesty may wish to entrust to him. In all likelihood, the authorities hesitated to give any credit to the extravagant captain. For the last time in July 1642, the old soldier raised his voice: in the True Petition of Colonel Hume, as it was presented to the Lords assembled in the high Court of Parliament--a pamphlet that he took the trouble to have printed, lest it should meet with the same fate as his previous requests--he asked, in the same of the Kingdom, to be given high command over the troups sent to Ireland to crush the Catholic rebellion which had been raging since the previous autumn. This long petition is pervaded by a most tragical pathos, often bordering on madness. All through it, Hume--self-promoted to the rank of colonel by his own exaltation--plays the whole gamut of pity, flattery, even menace. Indeed the text would deserve to be quoted in full; it reveals a broken, disheartened man, whose ruin is at hand: "I do humbly intreat to know why your Lordships do slight me, as if I were a fool or an Ass...I have pawned all my best clothes, and have now no good garment to wear...I have not one penny to help me at this time to buy me bread, so that I am like to be starved for want of meat and drink, and did walk into the fields lately to gather Snails in the netles, and brought a bag of them home to eat, and do now feed on them for want of other meat, to the great shame of this land and those that do not help me... ." Three years later Hume, whose works had known no better fortune than his life, died in the Charterhouse, on April 16, 1645.

As we have seen, little is known of Captain Hume. Could we then resist the temptation to find in this eccentric character the original (in both senses of the term) of Sir Andrew Aguecheek from Twelfth Night--A grand pint-quaffer, who was as cowardly as he was quarrelsome, played the "viol de Gambo","spoke three or four Languages word for word without book", swore like a pagan, and sang canons in the wildest fashion: such was our captain, as immortalized by his contemporary Shakespeare--"which, who so please may believe, who like not may leave...."

Tobias Hume entrusted the manuscript of his first opus (Musicall Humorsof 1605, the Poeticall Musickeof 1607 is entirely devoted to ensemble music) to John Windet, who by that time had probably become a specialist in this delicate typography, since Greaves, Jones and Dowland, before Hume, had already resorted to his printing- presses. At first sight, the book is no different from those books of ayres for the lute, whose blossoming had been heralded by John Dowland in 1597: the format and characters are the same, tablature and prickesongare mixed, and the layout is the traditional one of table-booksaround which three or four musicians could meet. The analogy ends as soon as you detail the contents as described in the revealing title: The First Part of Ayres, French, Pollish, and others together, some in Tablature, and some in Pricke-Song...With Pavines, Galliards, and Almaines for the Viole De Gambo alone, and other Musicall Conceites for two Base Viols, expressing five partes, with pleasant reportes one from the other and for two Leero Viols, and also for the Leero Viole with two Treble Viols or two with one Treble. Lastly for the Leero Viole to play alone, and some Songes to be sung to the Viole, with the Lute, or better with the Viole alone Also an Invention for two to play upon one Viole. Composed by Tobias Hume, Gentleman. London, Printed by John WIndet, dwelling at the Signe of the Crosse Keyes at Powles Wharfe. 1605.



In this publication, Hume erects a veritable monument to the glory of the viol (the Base viol and Lyra viol did not always differ markedly in terms of making or technique), and champions its cause personally. Indeed this is the very first book to have been exclusively devoted to the viol, at a time when the supremacy of the lute was being challenged. So the rather tendencious terms employed by Hume to justify the pre-eminence of his instrument could not fail to antagonize the English Orpheus,John Dowland, though his answer would not be published until 1612, by which date the viol had definitively supplanted the lute in England. And yet it is to the lute that the viol owes its form of notation, which is perfectly adapted to scordaturaeffects, from the lute too, it borrowed certain playing characteristics, even occasionally the double stringing of additional bass strings And finally, it is the lute that must be regarded as the chief inspirer of the solo repertoire composed by the first generation of English violists.

For all his invocations and his skill Hume could not change the nature of the viol: the instrument was not cut out for the light counterpoint of its rival. The use of the bow does indeed condemn it either to thickly-textured harmonies played on adjacent strings, or to linear designs; but on the other hand it gives the instrument its most remarkable qualities: a full sonority, very wide dynamics and the possibility to sustain a melodic line far better than could the most talented singer. All these characteristics mark the new sensibility, the rise of which Dowland could but powerlessly watch. However, some personal grudge must have counted for a good deal in the lutenist's protestation against this dilletante who borrowed from him the theme of hisInvention for two to play upon one Violeor "filched" the most beautiful phrases from his airWhat greater grief,in spite of the denials expressed in the preface to the book of 1605. Hume's "inventions" strike us moreover by the familiar echoes they awake in us. Behind the jocular or cryptic titles (Twickledum twickledum,My Mistresse hath a prettie thing, T sa ala mod du' france,Hit it in the middle...)are often hidden "timbres" belonging to the musical heritage of the past. Thus, behind hisBeccus delight,there float some reminiscences of one of the most widespread allemandes of the time, and which was probably set to words celebrating the courage of Békés Gaspar during the siege at Danzing in 1577. His musical inspiration needs sometimes to be stimulated by some short phrase, which be uses as an epigraph to his own composition: A Souldiers Gaillardquotes from Ferrabosco, Lifefrom the well-known Elisabethan songPackingtons Plownde,and many other concordances can be found forThe Duke of Holstones Almayne,Loves Farewell,Touch me lightly,and so forth...

Let it not be inferred from the above that this book of ayres is a sort of Hotchpotch with no substance or flavour of its own. On the contrary, this copious collection of 117 pieces (of which 104 are for solo viol)--our composer, as though anxious to assert his authorship, gave it the punning title of MusicalI Humors--includes a number of compositions of very fine inspiration and indisputable originality. The two pavans Captain Humes PavinandA Pavin(no. 42) are among the great achievements of the book. Grouping the pieces sometimes according to their keys, the composer delights in illustrating the varying moods suggested by their titles (A Question, An answere; Deth, Life.) Hume could not fail to be sensitive to those roaring noises of combat which a Byrd, before him, had employed to paint his impressive Battle.In his turn he builds one of these medleys the English were so fond of: A Souldiers Resolutiontells of all sorts of episodes to the sound of drums and trumpets, whose interventions are carefully inscribed in the soloist's part. And we can bet that Good againe--which slowly emerges from its torpor (in allemande form) to tread a few measures of a saraband, then of a jig, before it droops back into languor--elicited any sort of comment, ranging from the influence of the "Suite" on the English violists to the moving portrayal of the captains' recovery.

Soldier by profession, mercenary out of necessity, dying poor and nearly insane at the Charterhouse Hospital, Tobias Hume was a musician of great merit, and one of the most important gamba players of his time.

Source: http://www.hoasm.org/IVM/Hume.html


My Collection

 Viola da gamba

 animated gifs

 

  1. HUME Tobias Recorder,curtal,cornett,trombone,vdgb lutes Poetticall Musicke  Start, The lady of Sussex delight, 1607             Jordi Savall  Hesperion  XX          Hume 2 lutes Poetticall Musicke The King of Denmarks delight  1607 Jordi Savall Hesperion  XX      
  2. Hume 2 bass viols,consort bass Poetticall Musicke  A French Almaine.The Duke of Lenox delight. 1607       Jordi Savall  Hesperion  XX         
  3. Hume 2 tenor viols,bass viol Poetticall Musicke A mery Conceit. The Queens delight. 1607 Jordi Savall  Hesperion  XX         
  4. Hume Soprano, bass viol, lute   Poetticall Musicke What greater griefe 1607 M . Figueras Jordi Savall Hesperion  XX        
  5. Hume 2 lutes, consort bass Poetticall Musicke Sweet musicke.The earle of Salisburies favoret 1607 Jordi Savall   Hesperion  XX         
  6. Hume 2 bass viols, consort bass Poetticall Musicke Sweet ayre.The earle of Arundels favoret 1607 Jordi Savall   Hesperion  XX         
  7. Hume 2 bass viols, consort bass Poetticall Musicke Fain would I change that note 1605 Jordi Savall Hesperion  XX        
  8. Hume Soprano,bass viol Poetticall Musicke The Earle of Pembrookes Galiard 1607 M . Figueras Jordi Savall Hesperion  XX     
  9. Hume Bass, bass viol Poetticall Musicke An Almaine. The lady Canes delight  1607 Paul Hillier Jordi Savall  Hesperion  XX         
  10. Hume Recorder,curtal,cornett,trombone,lute Poetticall Musicke The pashion of musicke.- Sir Christopher Hattons choice 1607 Jordi Savall      Hesperion  XX         
  11. Hume Viol, 2 bass viols,consort bass,lute Poetticall Musicke An Almaine-The Duke of Holstones delight 1607 Jordi Savall Hesperion  XX         
  12. Hume Recorder,curtalcornot,trombo viol,bass viol,consort bass,2 lutes Poetticall Musicke A masque 1607  Jordi Savall         Hesperion  XX         
  13. Hume Recoreder,curtal,cornett,trombone,2 bass viols, consort bass, 2 lutes  Poetticall Musicke The Souldiers song 1605                    Jordi Savall  Hesperion  XX         
  14. Hume Cornett,trombone,viol,bass viol,lute Poetticall Musicke Alas poore men  1605 Jordi Savall Hesperion  XX        
  15. Hume Bass, bass viol Poetticall Musicke Tobacc0 1605 Paul Hillier Jordi Savall Hesperion  XX           
  16. Hume 3 bass viols,lute Poetticall Musicke A Jigg fot Ladies 1605 Jordi Savall Hesperion  XX 
  17. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/bandora/guita  Musicke Cease lenden slumber 1607 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                           
  18. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita Musicke The Spirit of Musicke 1605       Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  19. Hume VDGBSoprano VDGB VDGB  consort bass Theorbo/Lute/Bandora/Guita Musicke The Pashion of Musicke 1607 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                               
  20. Hume VDGBSoprano VDGB VDGB  consort bass Theorbo/Lute/ andora/Guita Musicke An  Almaine- 1607     Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  21. Hume  VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita The Spirit of Gambo Start, The Lady of Sussex delight  1607 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                          
  22. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita The Spirit of Gambo A Pollish Vilanell 1605  Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  23. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita The Spirit of Gambo The Lord Dewys favoret
  24. 1607  Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  25. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita The Spirit of Gambo Sweet ayre 1607 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  26. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita The Spirit of Gambo A Mery Conceit 1607     Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  27. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita Captaine Hume Captaine Humes Pavan 1605 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  28. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita Captaine Hume A  Jigge 1605 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  29. Hume VDGBSoprano VDGB VDGB  consort bass Theorbo/Lute/Bandora/Guita Captaine Hume A Souldiers Resolution 1605 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                            
  30. Hume VDGBSoprano VDGB VDGB  consort bass Theorbo/Lute/Bandora/Guita Captaine Hume The Earle of Pembrooks Galiard 1607 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                          
  31. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita Captaine Hume Deth 1605 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  32. Hume VDGBSoprano VDGB VDGB  consort bass Theorbo/Lute/Bandora/Guita Captaine Hume Life 1605 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  33. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita Captaine Hume Captaine Humes Galliard 1605 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                
  34. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita Captaine Hume The sports is ended
  35. 1605  Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  36. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita Love My Joyes are coming  1607 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                              
  37. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita Love Fain would I change that note 1605 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  38. Hume VDGBSoprano VDGBVDGB consort bass Theorbo/Lute/Bandora/Guita  Love My Mistress hath a pretty thing 1605 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                
  39. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita Love Touch me lightly 1605          Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  40. Hume VDGBSoprano VDGB VDGB  consort bass Theorbo/Lute/Bandora/Guita Love Tickle me quickly 1605        Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  41. Hume VDGBSoprano VDGB VDGB, consort bass Theorbo/Lute/Bandora/Guita Love She loves it well  1605 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                        
  42. Hume VDGBSoprano VDGB VDGB, consort bass Theorbo/Lute/Bandora/Guita Love Hit it in the middle 1605 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                 
  43. Hume VDGBSoprano VDGB VDGB  consort bass Theorbo/Lute/Bandora/Guita Love Adue sweet Love  1605  Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  44. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita Love I am Melacholy 1605 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  45. Hume VDGBSoprano VDGB VDGB consort bass Theorbo/Lute/Bandora/Guita Love What  greater griefe 1607 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                  
  46. Hume VDGBSoprano VDGB VDGB  consort bass Theorbo/Lute/Bandora/Guita Love Loves Pastime 1607 Pandolfo Kirkby Balestracci Quintana  Fresno Eguez                                   
  47. Hume VDGB MUSICAL  HUMORS  London 1605  20 pieces Jordi Savall    
  48.  Hume   VDBA  The Passion of Musick  &  Musical Humors, Nima Ben David, Guikon, Boterf, Boquet , 17  pieces              

A Partial Tobias Hume Discography 

AlbumTitle Subtitle Works Performers Record Label Catalog No

Captaine Tobias Hume

Tobias Hume: Musicall Humors, London 1605

 

Musicall Humors 1605 1. Captaine Humes Pavin (#46); 2. A Souldiers Galliard (#48); 3. The Duke of Holstones Almaine (#6); 4. My hope is decayed (#7); 5. Loves farewell (#47); 6. Harke, harke (#10); 7. Good againe (#14); 8. Death (#12); 9. Life (#13); 10. Touch me lightly (#38); 11. Beccus an Hungarian Lord his delight (#95); The second part (#96); 12. A Souldiers Resolution (#11); 13. A Pavin (#42) Jordi Savall Astrée Naïve ES 9919

Tobias Hume

HUME: Captain Humes Poeticall Musicke, Vol. 1

Captain Humes Poeticall Musicke (1607)
Music for Viols, Lute & Voice Volume 1
1. Cease leaden slumber (The Queenes New-yeares gift);
2. The King of Denmarkes delight;
3. A Mery Conceit (The Q delight);
4. My hope is revived (The Lady of Suffolkes delight);
5. My joyes are comming (The Lady of Bedfords delight);
6. Musicke and Mirth (The Lady Hattons delight);
7. The Earle of Mountgomeries delight);
8. Start (The Lady of Sussex delight);
9. An Almaine (The Lady Canes delight);
10. An Almaine (The Duke of Holstones delight, The Dukes Almaine);
11. A Maske (The Earl of Sussex Delight);
12. A French Almaine (The Duke of Lenox Delight);
13. An Almaine (M.S. Georges Delight);
14. What greater griefe;
15. Sweete Musicke (The Earle of Salisburies favoret)
Daniel Taylor (ct); Les Voix Humaines: Susie Napper (bar cel, v da g), Margaret Little (bar vln, viols, v da g); Réjean Poirier (org, hpsd); Paul Audet, Stephen Stubbs (l), Francis Colpron (rec) Naxos 8.554126

Tobias Hume

 

HUME: Captain Humes Poeticall Musicke, Vol. 2

 

Captain Humes Poeticall Musicke (1607)
Music for Viols, Lute & Voice Volume 2
1. The State of Gambo (The Earl of Worcesters favoret);
2.The virgins muse (The Lady Arbellaes favoret);
3.Sweet ayre (The Earl of Arundels favoret);
4.Musickes delight (The Earl of Southamptons favoret);
5.The Earle of Pembrookes Galiard);
6.A Spanish humor (The Lord Hays favoret);
7.The Spirit of Gambo (The Lord Dewys favoret);
8.The Passion for Musicke (Sir Christopher Hattons choice);
9.The King of Denmarkes health;
10.The Hunting Song
Daniel Taylor (ct); Les Voix Humaines: Susie Napper (bar cel, v da g), Margaret Little (bar vln, viols, v da g); Réjean Poirier (org, hpsd); Paul Audet, Stephen Stubbs (l), Francis Colpron (rec) Naxos 8.554127

Musickes Sweetest Joyes

Musickes Sweetest Joyes

Simpson | Dowland | Hume | Locke 1. Prelude in D (Christopher Simpson); 2. Divisions on a Ground (Simpson); 3. Prelude in e minor (Simpson); 4. Divisions on a Ground (Simpson); 5. A Pavin (Robert Jones); 6. Coranto (Corkine); 7. The Punckes Delight (Corkine); 8. A Pavin (Corkine); 9. Coranto (Corkine); 10. "Cease Leaden Slumber" (Hume); 11. Goode againe (Hume); 12. "What greater griefe" (Hume); 13. A Polish Ayre (Hume); 14. "Fain would I change that note" (Hume); 15. Preludium (Dowland); 16. "Go nightly cares" (Dowland); 17. (A piece without a title)(Dowland); 18. Coranto (Dowland); 19. "Lasso mia vita" (Dowland); 20. "Like hermit poor" (Lanier); 21. Suite in C minor/Major (Locke) Johanette Zomer (s); Peter Kooij (b), Mieneck van der Velden, Jaap ter Linden (v da g), Fred Jacobs (l) Channel Classics CCS 21204
Captain Humes Poeticall Musicke Pub. 1607 1. The Lady of Sussex Delight; 2. The Souldiers Song; 3. Tabacco; etc.  Kirkby, Pandolfo, Balestracci, etc. Glossa GCD 920402

The Spirite of Musicke

The Spirite of Musicke: Viols and Voice

Viols and Voice 1. Touch Me Sweetly; 2. Cease Leaden Slumber; 3. The Spirite of Musicke; 4. Sweet Ayre; 5. What Greater Griefe; and works by Coperario, Jenkins, Ferrabosco, Simpson Suzie Le Blanc (s); Les Voix Humaines ATMA ACD 2 2136
The Spirit of Gambo English Consort and Solo Viol Music 1570-1680 1. Sit Fast (Tye); 2. Lachrimae Gementes (Dowland); 3. The Earle of Essex Galliarde (Dowland); 4. Harke, harke (Hume); 5. A Souldiers Resolution ( Hume); 6. Fantasia V (Coprario); 7. Almaine III (Coprario); 8. Coranto (Coprario); 9. Fantasie X (Gibbons); 10. In Nomine (Gibbons); 11. Almaine (Ferrabosco II); 12. Coranto I (Ferrabosco II); 13. Coranto II (Ferrabosoco II); 14. The bell Pavan (Jenkins); 15. Walsingham (Corkine); 16. The Punckes delight (Corkine); 17. Suite No. II in D minor-major (Locke); 18. The Lancashire Pipes (Anon.); 19. Fantasia IX (Purcell); 20. Fantasia upon one note (Purcell) Hesperion XXdir.Jordi Savall Fontalis ES 9913

Simpson | Jenkins | Lawes | Purcell | Tomkins

Two Upon a Ground (Simpson · Jenkins · Lawes · Purcell · Tomkins) /Charivari Agréable

Two upon a Ground 1. Division in A (Simpson); 2. Division in F (Simpson); 3. Voluntary (Tomkins); 4. Division in F (Simpson); 5. Division in C (Finger); 6. Division in C (Jenkins); 7. La Pompe Funèbre (Ennemond Gaultier); 8. Fantazia (Locke); 9. Courant (Locke); 10. Division in G (Simpson); 11. Sonata solo in G (Finger); 12. Loves farewell (Hume); 13. Suite in g (Lawes); 14. Prelude (Tomkins); 15. What if a day (Tomkins); 16. Worster Brawls (Tomkins); 17. Pavan (Hume); 18. Two in one upon a ground (Purcell); 19. Division in A (Jenkins) Charivari Agréable: Susanne Heinrich (viols), Kah-Ming Ng (keyboard), Linda Sayce (lutes), with Susanna Pell (viols) Signum SIGCD007

Private Musick

Private Musik

English Chamber Music In The Time of the Stuarts 1. I Am Melancholy; 2. The Passion of Musick; 3. An almain; other works by Blow, Locke, Purcell  Les Boréades ATMA ACD2-2132

Heavenly Noyse

Heavenly Noyse

English Music For Mixed Consort From The Golden Age 1. Sweet Musicke; 2. The King of Denmark's Delight;other works by Byrd, Dowland, Campion, Morley, Allison, Holborne, Phillips, Lupo etc. Dowland Consort dir.Jakob Lindberg (l) Bis CD-451
The Spirit of Gambo English consort and solo viol music 1570-1680 1. Harke, harke; 2. A Souldiers Resolution; other works by Tye, Dowland, Gibbons, Coprario, Ferrabosco II, Jenkins, Locke, Purcell, Corkine Hesperion XX, Jordi Savall Astrée ES 9913
A Musicall Dreame Duets from 'A Musicall Dreame' (Fourth Book of Ayres, 1609) by (Robert Jones) 1. Though your strangeness frets my heart (Robert Jones); 2. Sweet Kate (Robert Jones); 3. Once did I serve a cruel heart (Robert Jones); 4. A Spanish Humour (The Lord Hayes'Favourite) (Tobias Hume); 5. Will said to his mammy (Robert Jones); 6. Hark!Hark! (Tobias Hume); 7. Hark!Wot ye what? (Robert Jones); 8. My complaining is but feigning (Robert Jones); 9. The King of Denmark's Health (Tobias Hume); 10. On a time in summer season (Robert Jones); 11. Farewell, fond youth (Robert Jones); 12. Lachrimae Pavan John Dowland; 13. Grief of my best love's absenting (Robert Jones); 14. Giles Farnaby's Dream (Giles Farnaby); 15. His Rest (Giles Farnaby); 16. And is it night? Are they thine eyes that shine? (Robert Jones); 17. Farnaby’s Conceit (Giles Farnaby); 18. His Humour (Giles Farnaby); 19. Ite caldi sospiri (Robert Jones); 2O. Intenerite, voi (Angelo Notari); 21. Flow my tears (John Dowland); 22. In darkness let me dwell (John Coprario); David Cordier, Michael Chance (ct), Tragicomedia dir. Stephen Stubbs Hyperion CDA 66335
Florid-song und Gambenmusik in England um 1610-1660 1. Tobacco; other works by Coperario, Gibbons, Weelkes, Campion, Locke ; Studio Der Frühen Musik Das Alte Werke SAWT 9472-A(LP)
Renaissance of the Cittern 1. A Jigge For Ladies; and other works by Dowland, Simpson, Holborne, Taverner, etc. The Festival Consort Musical Heritage Society MHS 1891 (LP)
What Pleasures Have Great Princes Sacred and Secular Favorites from the Court of Elizabeth I 1. Touch Me Lightly; 2. Tickle Me Quickly; other works by Byrd, Dowland, Holborne, Allison, Morley, Cutting, Batchelar, Danyel, Allison, etc.; The London Early Music Group dir. James Tyler RCA CRL2-2794 (LP)
Musicke Of Sundrie Kindes 1. Musick and Mirth; others on 4-LP set The Consort of Musickedir.Anthony Rooley L'Oiseau Lyre DSLO 203-6(LP)
English Ayres and Duets sung in authentic Elizabethan pronunciation 1. Tobacco, tobacco; others by Dowland, Ferrabosco II, Campion, Danyel, Pilkington. Jones The Camerata of London Hyperion A66003 (LP)
John Maynard The XII Wonders of the World 1611 : Character Songs 1. Tobacco, tobacco; others by Maynard, Campion, Ravenscroft, Johnson (?), Parsons The Consort of Musicke dir.Anthony Rooley L'Oiseau-Lyre DSLO 545 (LP)

Source: http://www.hoasm.org/IVM/HumeDiscography.html

 

 

Captaine Tobias Hume and Robert Jones: THE SUMME of ALL DELIGHTS Songs and Ayres of Shakespeare's England

Jennifer Lane, Mezzo-Soprano, A Deux Violes Esgales: Sylvia Abromowicz, Jonathan Dunford, Viols -- Sylvain Bergeron, Lute -- Eric Milnes, Virginal

Featuring the first published works where viols were used in place of the lute as the primary instrument, this collection of 16 pieces from 1600-1607 presents mezzo-soprano Jennifer Lane and ְ Deux Violes Esgales in a recording that evokes the romantic spirit of the time.


 

Tobias Hume: The Spirit of Gambo

Tobias Hume: The Spirit of Gambo

Label: Reprise

Skriv recension



 


 

 by Nima Ben David, Tobias Hume, Damien Guillon, Bruno Boterf, and Pascale Boquet

 

The Souldiers Song, for bass & ensemble

A souldiers Galiard (Poeticall Musicke)

Fain Would I Change That Note for soprano & ensemble

Tobacco is like Love

M.S. Georges delight (Poeticall Musicke)
Cease Leaden Slumber, the Queens New-yeeres Gift (from Captaine Humes Poeticall Musicke)
The Pashion of Musicke. Sir Christopher Hattons choice
What Greater Griefe for soprano & ensemble (from Captaine Humes Poeticall Musicke)
Hark! Hark! (No 10 in Musical Humors)
I Am Falling
Beccus, an Hungarian Lord his delight (No 95 in Musical Humors)
Captaine Humes Pauin (No 46 in Musical Humors)
A Souldiers Resolution, (No 11 in Musical Humors)
Death (No12 in Musical Humors)
Life (No 13 in Musical Humors)
A Pauin (No 42 in Musical Humors) 
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 Flow My Tears  

Flow My Tears



 

 Solo Viola da Gamba  Solo Viola da Gamba 
~ Carl Friedrich Abel , Tobias Hume , August Kuhnel , Marin Marais , Jean de Sainte-Colombe


 

  Countertenor Duette und Arien/ Instrumentalmusik
Henry Purcell (1659-1695)

Tobias Hume (1569-1645)
Christopher Simpson (1605-1669)

Ralf Popken & Johannes Reichert, Countertenor
Irmelin Heiseke, Viola da gamba
Christoph Anselm Noll, Cembalo / Truhenorgel
Katja Beisch & Dorothee Oberlinger,
 Blockflöten

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