The Marais Project, directed by Jennifer Eriksson on her viola da gamba, presented a rare concert of some of the finest Elizabethan-era songs.IIt was first streamed by the Australian Digital Concert Hall and then a live performance the following day at the Choirs Rehearsal Studio, Walsh Bay Arts Precinct. We heard an edited assortment of works by renowned composer/lutenist John Dowland, who died almost 400 years ago, in particular his ‘A Pilgrime’s Solace’. His music explores melancholy and love. Also included was John Danyel’s (1564 – 1626) ‘Funeral Tears’.

It was presented by a top trio – Jennifer Eriksson, Tommie Anderson and tenor Koen van Stade. 

The quality of performance was magnificent ;  close attention was paid to the precision and structure of the music. There was a great feeling of intimacy at times between the trio, who concentrated intensely upon each other.

First were four pieces by John Danyel – in the opening work you could hear a bird circling , and Andersson had a delicate lute solo. 

Then some works by Dowland, which ranged from energetic, rippling. flowing, bright and bouncy to pleading and melancholy. Semper Dowland semper dolens was a rippling, flowing duet for Eriksson and Andersson.     

John Danyel’s Mrs.M. E. her funeral teares for the death of her husband was sombre and very sorrowful, a melancholy stately procession with the lute dripping tears.

The last section consisted of works again by Dowland , with the lute as a major, underlying support throughout.  My Lord Willoughby’s Welcome Home was measured and slow at first and then changed to running. Love those beames that breede had an eloquent, regular beat, bringing the concert to a splendid conclusion.

Running time – just under an hour 

The Marais Project concert was performed 3 and 4 December 2022 

https://www.maraisproject.com.au/