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Here is more information on the music, and the places we have performed, since the 2013 inaugural concert. We are happy to craft a custom programme for each occasion, choosing from the wealth of wonderful music available, and utilising the talents of members of our flexible team of performers. 

Contact us for more information!

Current Programmes

Dowland among Friends
When Musick and Sweet Poetrie Agree

Musicians for Peace & Disarmament fundraiser, Rosslyn Hill, North London

 22 February 2018

'Music from the world of Henry Vaughan'

Talybont-on-Usk, Wales

 19 May 2018

University of Bath

 2 May 2018 

Rye Festival

 end of September 2018

2017 and before:

St Andrew's University, Scotland

 28 October 2017


Stroud Green Festival: Holy Trinity Church

  23 June 2017

Hawkwood Centre, Stroud

 31 May 2017

Appleby-in Westmorland, North Westmorland

  7 March 2017

Dartington Hall, Devon

  2 August 2016

Cobbe Collection, Hatchlands Park, Kent

  4 July 2016

Stroud Green Festival: Holy Trinity Church

  18 June 2016

Holywell Music Rooms, Oxford

  15 May 2016

Royal Greenwich International Early Music Festival

  12 November 2015


Powderham Castle, Devon

  5 June 2015

"all sang and played with an unprecedented variety of textures and dramatic expression"


Finchcocks Keyboard Museum, Kent

  2 May 2015


Leeds International Early Music Festival

  28 February 2015


St John's Downshire Hill Hampstead

  22 January 2015

An evening of songs, duets, four-part ayres and instrumental fancies on  lute and virginals, in honour of Shakespeare’s anniversary.


Scattered through Shakespeare’s plays are songs of such artful directness that composers ever since have made their own settings of his lyrics. This programme includes two titles from The Tempest, set by Robert Johnson, arguably the only versions that might have been heard on Shakespeare’s stage along with near-contemporary settings by Morley and a version of Orpheus with his lute by Maurice Greene.


Using forces nearly equivalent to those at Shakespeare’s disposal, this programme gives an idea of the marvellous range of works from this period. Dowland and Danyel are included, as well as a celebration of the 450th anniversary of the birth in the Veneto of Angelo Notari, whose volume The First New Music helped to establish Italian singing styles in Europe.

However many times we perform or hear In darkness let me dwell, Sorrow stay, Flow my tears, or indeed most of the other eighty-odd songs that John Dowland published, the thrill of rediscovery is there. This music is uniquely subtle, touching, inventive, lively, deep – one runs out of adjectives before catching any of the quality that fastens on to singer, player and listener and remains with them after the last note has faded. Dowland is a major figure in his own and any era.


The solo lute pieces are a joy to hear, whether they are taking those familiar song phrases into new worlds, or starting from wholly untrodden territory; they offer singer and audience rest and contrast for a more rounded evening. But Dowland himself declared in 1597 for the superiority of song: ‘yet...higher authoritie and power hath ever been worthily attributed to that kinde of musicke which to the sweetenes of instrument applies the lively voice of man, expressing some worthy sentence or excellent poeme”. He also made an intriguing suggestion – that the songs could be sung by “all voices together or each of them severally”. To be sure, he was wooing the market with his First Booke, full of gorgeous songs, effective in a variety of voicings – and his flattery worked, taking the book into four reprints over sixteen years.    EK

Current & Previous
among Friends
When Musick and Sweet Poetrie Agree

'Dowland Works' inaugural concert


Brighton Early Music Festival

  8 November 2013 

"Melancholy was Dowland’s calling card but delight and fun filled this glorious concert"  "Clear voices, precise diction and virtuoso finger-work celebrated 450 years since the birth of John Dowland" - The Latest

"Though purity of tone and intonation are still paramount, the sound has grown up into a richer, more sensual appreciation"  The Argus


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