℗ 2017 harmonia mundi
| Released | April 27, 2018 |
| Duration | 1h 12m 01s |
| Record Label | harmonia mundi |
| Genre | Classical (Song (except lied)) |
Perpetual Night: 17th Century Airs and Songs
Lucile Richardot, Ensemble Correspondances, Sébastien Daucé
Available in 44.1 kHz / 24-bit AIFF, FLAC audio formats
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1.1
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Care-charming sleep
Robert Johnson; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
5:15 | |||
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1.2
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Justitia Sacrum (Whiles I this standing lake)
William Lawes; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
3:07 | |||
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The Masque of Squires
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1.3
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Go, happy man
John Coprario; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
2:00 | |||
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1.4
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What tears, dear Prince, can serve
Robert Ramsey; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
3:27 | |||
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1.5
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Music, the master of thy art is dead
William Lawes; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
2:50 | |||
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Selected Ayres and Dialogues
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1.6
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No more shall meads
Nicholas Lanier; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
3:10 | |||
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1.7
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Go, perjured man
Robert Ramsey; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
1:18 | |||
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1.8
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Pavan in F-Major
John Jenkins; Ensemble Correspondances; Sébastien Daucé |
4:02 | |||
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1.9
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Give me my lute
John Banister; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
2:27 | |||
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1.10
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Howl not, you ghosts and furies
Robert Ramsey; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
4:40 | |||
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Britannia Triumphans
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1.11
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Chorus "Britanocles the great and good appears" (King's Masque Final)
William Lawes; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
3:18 | |||
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1.12
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Powerful Morpheus, let thy charms
Rhys Webb; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
4:46 | |||
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The Judgment of Paris
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1.13
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Rise, princely shepherd
John HILTON; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
6:39 | |||
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Choice Ayres & Songs
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1.14
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Adieu to the pleasures
Mickey Hart; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
4:44 | |||
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1.15
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Amintas, that true hearted swain
John Banister; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
3:43 | |||
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Amphion Anglicus
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1.16
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Poor Celadon, he sighs in vain (Loving above himself)
John Blow; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
5:10 | |||
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Little Consort of 3 Parts, Suite III
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1.17
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IV. Saraband
Matthew Locke; Ensemble Correspondances; Sébastien Daucé |
1:24 | |||
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Celestial Music
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1.18
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When Orpheus sang
Henry Purcell; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
4:16 | |||
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Choice Ayres & Songs
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1.19
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Phillis, oh! turn that face
Milt Jackson; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
2:02 | |||
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Amphion Anglicus
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1.20
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Epilogue "Sing, sing, Ye Muses"
John Blow; Lucile Richardot; Ensemble Correspondances; Sébastien Daucé |
3:43 | |||
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Digital Booklet
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The circulation of artists and sovereigns between France and England in the seventeenth century resulted in the establishment of highly original genres in the latter country: the first recitatives, large-scale airs from masques and dramatic ‘scenes' provided fertile ground for experimentation and prepared the way for the birth of semi-opera. Sébastien Daucé explores this English vocal art in a programme tailor-made for one of today's most fascinating voices: Lucile Richardot, in the exquisite setting provided by Correspondances, subtly blends music, love, night and melancholy.
44.1 kHz / 24-bit PCM – harmonia mundi Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -4.45 -10.74 to -0.42 | -25.58 -29.99 to -19.98 | -21.93 -26.30 to -16.30 | 13 10 to 15 | |
| 1 | Care-charming sleep | -5.56 | -26.67 | -23.6 | 13 |
| 2 | Justitia Sacrum (Whiles I this standing lake) | -2.76 | -25.33 | -21.5 | 14 |
| 3 | Go, happy man | -5.93 | -27.58 | -23.1 | 14 |
| 4 | What tears, dear Prince, can serve | -5.36 | -28.24 | -24.5 | 14 |
| 5 | Music, the master of thy art is dead | -6.92 | -26.14 | -22.6 | 11 |
| 6 | No more shall meads | -2.90 | -26.84 | -22.8 | 15 |
| 7 | Go, perjured man | -2.43 | -24.92 | -20.6 | 13 |
| 8 | Pavan in F-Major | -6.11 | -23.99 | -21.3 | 11 |
| 9 | Give me my lute | -6.35 | -26.27 | -22.5 | 13 |
| 10 | Howl not, you ghosts and furies | -0.43 | -20.84 | -17.4 | 13 |
| 11 | Chorus "Britanocles the great and good appears" (King's Masque Final) | -0.42 | -19.98 | -16.3 | 12 |
| 12 | Powerful Morpheus, let thy charms | -8.14 | -29.99 | -26.3 | 13 |
| 13 | Rise, princely shepherd | -0.42 | -21.00 | -17.6 | 13 |
| 14 | Adieu to the pleasures | -6.35 | -28.25 | -24.3 | 14 |
| 15 | Amintas, that true hearted swain | -2.92 | -25.48 | -21.6 | 14 |
| 16 | Poor Celadon, he sighs in vain (Loving above himself) | -5.65 | -26.90 | -23.9 | 13 |
| 17 | IV. Saraband | -10.74 | -28.64 | -25.7 | 10 |
| 18 | When Orpheus sang | -1.61 | -24.00 | -19.9 | 14 |
| 19 | Phillis, oh! turn that face | -7.54 | -29.63 | -25.7 | 14 |
| 20 | Epilogue "Sing, sing, Ye Muses" | -0.43 | -20.98 | -17.4 | 13 |