Capriccio Stravagante Renaissance Orchestra
John Dowland’s Lachrimae
Skip Sempé and his musicians grab hold of each piece
and play it in a way that leaves no doubt why it was chosen:
that is, they have something new and interesting to say musically about each work.
Gramophone
For four decades, Capriccio Stravagante, founded and led by early music pioneer and virtuoso harpsichordist Skip Sempé, has redefined standards of artistry, creativity, and virtuosity in the interpretation of Renaissance and Baroque music.
In its incarnation as the Capriccio Stravagante Renaissance Orchestra, the ensemble has re-envisioned Dowland’s legendary Lachrimae—performed today almost exclusively in small chamber groups—as a grand work for a large ensemble, consisting of six viols, five recorders, two cornetti, three trombones, two virginals, and a harpsichord.
“The idea of a ‘Renaissance orchestra’ in which all the different instrumental consorts are brought together is the overlooked message of these sixteenth- and seventeenth-century publications,” says Sempé. “Large ensembles, for large or commemorative occasions, were every bit as much the ‘composer’s intention’ as were smaller, intimate groups. This missing link has been proposed and provided by the concerts and recordings of the Capriccio Stravagante Renaissance Orchestra since the first years of the twenty-first century, and is one of their remarkable achievements in ‘cutting through the noise.’”
Dowland’s Lachrimae stands among the finest surviving instrumental dance music of the seventeenth century, and Sempé’s new performance order of the twenty-one dances revives the tradition of pavan and galliard pairs. Drawing from the rich and intimate sound of some of the finest early musicians, Capriccio Stravagante’s recording of Dowland’s landmark masterpiece promises to deliver a groundbreaking tour de force of music-making and artistry.
To complete this recording, Capriccio Stravagante needs your support to fund ongoing recording, production, and post-production expenses.