![\"\"](\"https:\/\/jamesshirley.webspace.durham.ac.uk\/wp-content\/uploads\/sites\/34\/2021\/04\/artscouncilsmall.jpeg\")
<\/a><\/figure><\/div>\n\n\n\nWith the support of the Arts Council England<\/p>\n\n\n\n
Shadows, Not Substantial Things<\/em><\/strong> showcases the glorious music performed in indoor Jacobean and Caroline theatres in the era following Shakespeare.<\/p>\n\n\n\n None of the music has been recorded previously, making this a unique and valuable archive of historical interest. The period is still little-known compared with the earlier Shakespearian and later Restoration eras, and this CD breaks new ground offering the first chance to hear recorded performances of extant pieces from Shirley\u2019s work.<\/p>\n\n\n\n Shadows, Not Substantial Things <\/em><\/strong>has been called the musical equivalent of the Globe Theatre\u2019s Sam Wanamaker Playhouse; it\u2019s the closest thing to time travel.<\/p>\n\n\n\n The CD features music for James Shirley\u2019s poems, plays, and entertainments. Recordings took place on 20-22 October 2014 at St John\u2019s Wood Church, London. The CD will be produced by Ambisound Recording Service<\/a> and will be forthcoming in early 2015. Content:1. Edward Coleman: The Glories of Our Birth and State<\/em> (from The Contention of Ajax and Ulysses<\/em>)<\/p>\n\n\n\n 2a. John Hilton: Turn Amarillis to Thy Swain <\/em>(from The School of Compliment<\/em>)<\/p>\n\n\n\n 2b. Thomas Brewer: Turn Amarillis to Thy Swain<\/em><\/p>\n\n\n\n 3. Cittern arrangements<\/p>\n\n\n\n 4. William Lawes: Come my Daphne, Come Away <\/em>(from The Cardinal<\/em>)<\/p>\n\n\n\n 5. Ballad: With a Fading<\/em> (from The Bird in a Cage<\/em>)<\/p>\n\n\n\n 6a. Henry Lawes: Would You Know What\u2019s Soft? <\/em>(from Poems<\/em>)<\/p>\n\n\n\n 6b. Anon.: Would You Know What\u2019s Soft?<\/em><\/p>\n\n\n\n 6c. Robert Johnson: Have You Seen but a White Lily Grow? <\/em>(from The Variety<\/em>)<\/p>\n\n\n\n 7. Lyra viol arrangements<\/p>\n\n\n\n 8. William Lawes: What Should My Mistress Do with Hair? <\/em>(from Poems<\/em>)9. John Hilton: There Was an Invisible Fox<\/em> (from The Bird in a Cage<\/em>) <\/p>\n\n\n\n Music from THE TRIUMPH OF PEACE<\/p>\n\n\n\n 10a. Davis Mell: Moresca<\/em><\/p>\n\n\n\n 10b. Davis Mell: Courante<\/em><\/p>\n\n\n\n 11. William Lawes: Song<\/em> I<\/p>\n\n\n\n 12. William Lawes: Song<\/em> II<\/p>\n\n\n\n 13. William Lawes: Song<\/em> III<\/p>\n\n\n\n 14. Simon Ives: Symphony, Song<\/em> IV<\/p>\n\n\n\n 15. Simon Ives: Symphony: Song<\/em> V<\/p>\n\n\n\n 16. Simon Ives: Symphony: Song<\/em> VI<\/p>\n\n\n\n 17. William Lawes: Song<\/em> VII<\/p>\n\n\n\n 18. William Lawes: Song<\/em> VIII<\/p>\n\n\n\n 19. William Lawes: conclusion of Song<\/em> IX and Symphony<\/em> (VdGS no. 453)<\/p>\n\n\n\n 20. William Lawes: Come Let Us Cast the Dice <\/em>(from Poems<\/em>)<\/p>\n\n\n\n 21. William Lawes: Good Morrow unto Her <\/em>(from Poems<\/em>)<\/p>\n\n\n\n 22. William Lawes: Hark, Hark how in Ev\u2019ry Grove <\/em>(from Poems<\/em>)<\/p>\n\n\n\n 23. Ballad: Turn again Whittington<\/em> (from The Constant Maid<\/em>)<\/p>\n\n\n\n 24. William Lawes: I Would the God of Love Would Die <\/em>(from Poems<\/em>)<\/p>\n\n\n\n 25. Bagpipe arrangements<\/p>\n\n\n\n 26. William Lawes: Cease Warring Thoughts (from The Triumph of Beauty<\/em>)<\/p>\n\n\n\n 27. William Lawes: O Think not Phoebe <\/em>(from Poems<\/em>)<\/p>\n\n\n\n 28. Anon.: Cupid Calls <\/em>(from Poems<\/em>)<\/p>\n\n\n\n 29. Ballad: When Cannons are Roaring <\/em>(from The School of Compliment<\/em>)<\/p>\n\n\n\n Music from CUPID AND DEATH<\/p>\n\n\n\n 30. Anon.: Apes\u2019 Dance<\/em><\/p>\n\n\n\n 31. Christopher Gibbons: Open Blest Elizium Grove<\/em><\/p>\n\n\n\n Emily Atkinson \u2013 soprano<\/p>\n\n\n\n Richard Mackenzie \u2013 lute, theorbo, guitar, bass<\/p>\n\n\n\n Alison Kinder \u2013 bass viol, recorder<\/p>\n\n\n\n Keith McGowan \u2013 flute, recorders, curtal, bagpipes, Jew\u2019s harp, harp<\/p>\n\n\n\n Tamsin Lewis \u2013 Renaissance violin, alto, drum<\/p>\n\n\n\n Richard de Winter \u2013 tenor, drum<\/p>\n\n\n\n David de Winter \u2013 tenor<\/p>\n\n\n\n Peter Willcock \u2013 bass, recorder<\/p>\n\n\n\n Featuring the \u2018Invisible Fox\u2019 from The Bird in a Cage<\/em>, \u2018Would You Know What\u2019s Soft\u2019, \u2018What Would My Mistress Do with Hair\u2019, songs and instrumental music from The Triumph of Peace<\/em> and Cupid and Death<\/em>, and a moresca by the violinist Davis Mell. Follow this link to the radio interview<\/a><\/p>\n\n\n![\"\"](\"https:\/\/jamesshirley.webspace.durham.ac.uk\/wp-content\/uploads\/sites\/34\/2021\/04\/shirley-recording-20-oct-150x150-2.jpg\")
<\/a><\/figure>\n\n\n\nPassamezzo<\/h5>\n\n\n\n
Richard MacKenzie interviews Tamsin Lewis on the music of James Shirley and Passamezzo\u2019s new CD. Broadcast on Radio Resonance 104.4 fm, 3 Feb 2014, 11am.<\/h5>\n\n\n\n