1 A mery conceit - The Q[ueens] delight
2 What greater griefe
3 A Spanish humor - The Lord Hayes favoret
4 Fain would I change that note
5 The virgins muse - The Lady Arbellaes favoret
6 Be merry a day will come, A Toy, Ha Couragie
7 A Toy, A Merry meeting
8 A Galliard 3
9 Start - The Lady of Sussex delight
10 A Pollish Vilanell
11 Tobacco
12 Maister Crasse his Almayne, A Galliard 5
13 The Earle of Pembrookes Galiard
14 The Souldiers Song
15 A Souldiers Galiard
16 Tickell, Tickell, I Am Falling, Tickle me Quickly
17 Captaine Humes Galliard
18 My hope is revived - The Lady of Suffolkes delight
19 Cease leaden slumber - The Queenes New-yeeres gift
20 An Almayne, The Spirit of the Almayne
21 The Dukes Almaine - The Duke of Holstones delight
22 Give you go[o]d morrowe Madam

David McGuinness and his virtuoso band of early musickers voyage once more into musical history, and this time the object of their exploration is Tobias Hume, about whose life we know very little. (David’s engaging essay tells us as much as there is to know.) The best guess for Hume’s birthdate could be any time from 1565 to 1579, and the materials documenting his appearance on the fringes of the London musical scene from around 1605 are sparse. This recording draws on the two books of music Hume published in his lifetime, and ranges from capricious fragments of tunes that celebrate the simple joy of playing the viol, to potent moments of substantial emotional depth. ‘My Life hath beene a Souldier,’ Hume declared in 1605, ‘and my idlenes addicted to Musicke.’ Concerto Caledonia have given us the opportunity to indulge in Hume’s addiction.

Concerto Caledonia is Scotland’s foremost early music group, bringing to life the classical and traditional music of the nation’s history. This is their fifth recording on Delphian. As well as appearing regularly on BBC Radio 3, the group has also been broadcast on Radios 1, 2, and 4 and appears regularly in live collaborations at the Edinburgh International Festival.

‘idiomatic, affectionate performances'

– The Arts Desk

‘playing of the highest order'

– Early Music Review