With Endless Teares (2009)

Johnson, Lanier, Lawes, Gautier, Humfrey, Purcel

Johannette Zomer, Fred Jacobs

There is a gradual increase in the use of bass line notation, implying a continuo realization, instead of complete tablature as accompaniment for lute song in Jacobean England, after about 1610. Although the lute was to remain the accompanying instrument of choice, other instruments, theorbos for example, could now replace it, depending on the situation. It is not clear when the theorbo was first used in England but the great architect, stage designer and masque producer Inigo Jones has been mentioned as having brought the first one back from a journey to Italy before 1605. The new Italian vocal music came from different sources: Robert Dowland printed Caccini's Amarilli in his Musical Banquet in 1610 and Angelo Notari published his Prime Nuove Musiche (per cantare con la tiorba…) in London in 1613. Its declamatory style became particularly popular in the context of Jones' masque: an extravagant art form as Stuart propaganda, combining grandiose theatre effects dance and 'operatic' singing, often accompanied by a consort of plucked instruments.

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Johannette Zomer

After several years as a microbiologist, Dutch SopranoJohannette Zomer trained at the Sweelink Conservatorium,Amsterdam with Charles van Tassel. She currently studieswith Diane Forlano.Johannette made her opera debut as Tebaldo in Don Carlowith the Nationale Reisopera and has gone on to sing Belinda– Dido & Aeneas, La Musica & Euridice – L’Orfeo,Gassman’s Opera – Seria, Dalinda – Ariodante, Ilia – Idomeneo,Pamina – Die Zauberflöte and Amanda – Le GrandeMacabre for the company. She has also sung Oberto in Alcinaat the Komische Oper. On the concert platform she has aenviable reputation as a baroque specialist working with manyof the top conductors in the field such as Ton Koopman,Frans Bru?ggen, René Jacobs, Reinhardt Goebel and PaulMcCreesh as well as collaborating for 20th century and contemporaryrepertoire with Kent Nagano, Daniel Harding,Valery Gergiev, Reinbert de Leeuw and Peter Eötvös. Herrecent engagements have included Bach B Minor Mass with the Tonhalle Orchestra/Bru?ggen, and Euridice in Gluck’s Orfeo with the Bamberger Symfoniker/Christian Zacharias.She regularly gives recitals with fortepianist Arthur Schoonderwoerd with whom she has recordedSchubert Songs for Alpha Records and is a member of the early music ensembles Compania Vocale andAntequera with whom she sings Neapolitan and Spanish baroque repertoire and medieval Cantigas.Johannette’s recent and future plans include projects of Handel and Frank Martin with the RiasKammerchor/Daniel Reuss; Bach and Buxtehude with the Amsterdam Baroque Orchestra/Koopman,Handel with Collegium Vocale, Gent and Gluck and Buxtehude with The Netherlands Bach Soc

Fred Jacobs

Fred Jacobs studied lute and theorbo with Anthony Bailes at the Sweelinck Conservatory in Amsterdam. In 1985 he co-founded The Locke Consort,  acknowledged for their interpretations and praised for their recordings of 17th Century English chamber music. He is a member of the Gabrieli Consort and Players, The Parley of Instruments, the Baroque Orchestra of the Netherlands Bachsociety and the Monteverdi Continuo-ensemble of the Bavarian State Opera, where he has performed in all Monteverdi and Cavalli productions since 1997.

Fred Jacobs is a regular accompanist of many distinguished singers, such as soprano Anne Azéma, countertenor Michael Chance and baritone Maarten Koningsberger. With the Dutch soprano Johannette Zomer he has been recording a series of programmes devoted to 17th Century monody for which his research has unveiled many hidden treasures.

Over the years Fred Jacobs has been a guest at the major early music festivals in Europe and the United States. He performs in opera productions in London, Paris, Munich, Amsterdam and Florence. Fred Jacobs has worked with many conductors such as Gustav Leonhardt, Frans Brüggen,Ton Koopman, Ivor Bolton, Andrew Parrot, Marc Minkowski and Richard Egarr. With soprano Emma Kirkby, contralto Carolyn Watkinson, and baritone Maarten Koningsberger he gives workshops on the English lute song and on French ‘Air de Cour’.

Since 1995 Fred Jacobs teaches lute and theorbo at the Amsterdam Conservatory.

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With Endless Teares (2009)

Johnson, Lanier, Lawes, Gautier, Humfrey, Purcel

Johannette Zomer, Fred Jacobs


Johannnette singt sehr schön, und lässt auch die Texte klar zum Ausdruck kommen, Fred Jacobs spielt einige Lautenstücke und macht das sehr gut. Eine schöne Platte.

    BBC Music Magazine

There’s a brightness to the voice which pinpoints open-eyed wonder in songs such as ‘Have you seen but the lily grow’?

    International Record Review

This is sublime: quite simply the finest registration of 17th century English song on the market. It’s one of those perfectly designed programmes, which have all the built-in variety you need for over an hour’s uninterrupted listening pleasure. There is plenty here for the casual listener and connoisseur alike and, despite the title, the introspective mood is upliftingly beautiful throughout. The scholarly preparation which makes this possible, and the clear sense that these interpretations have been honed, through regular performance, are what we’ve come to expect from the brilliantly successful partnership of Dutch soprano and the lutenist (…) (…) This is good: it’s a European view of English repertory we don’t often hear. With the architecture of this pieces so convincingly mapped out by Jacobs and with Zomer’s expressive freshness, one listens intently, not ‘With endless tears; but with ‘endless fascination’. An outstanding achievement on every front.

    American Record Guide

This is as fine a program of Renaissance songs as one will ever find. (…)


Johannette zingt deze liederen - kleine, afgeronde, melancholieke verhaaltjes - prachtig. Ontspannen, zuiver, boeiend, ontroerend, met gevoel voor detail, frasering en nuancering klinkt haar stem waar nodig is vol en rijp, maar ook strak en ingehouden, altijd naar een moment van ontspanning toezingend. Fred Jacobs speelt dienstbaar aan zangeres en muziek en kan gelukkig in de zes werken voor luitsolo ook als muzikaal verteller van de eerste orde zijn ei kwijt.


Jarenlang was de sopraan Emma Kirkby de ongekroonde koningin van het Engelse renaissance- en baroklied. Maar nu hebben we onze eigen Johannette Zomer. Met dit prachtige album volstrekt zich een troonswisseling. Gegeleidt door Fred Jacobs op de luit en de theorbe, klinken deze miniatuurtjes onder de huid. Wat een expressie horen we in Johnsons titelsong. De intermezzi nodigen uit tot heerlijk releaxed genieten.

    Tijdschrift Oude Muziek

een toonbeeld van uitgekiende programmering en musicieren op het allerhoogste niveau. Johannette heeft de zeldzame gave dat ze álles wat ze doet in de Vroegbarokke muziek zo vanzelfsprekend kan laten klinken dat je gewoon vergeet dat er ook nog andere zangers zijn die dit repertoire zingen (…) Een verademing!


Ragfijne 17e eeuwse Engelse muziek die door Zomer en Jacobs op exemplarische wijze wordt uitgevoerd.


Zomer geht auf diese poetische Bildersprache der Gedichte stimmlich sehr differenziert ein und zeichnet die Emotionen der Texte gefühlvoll nach. (...) Ihr Timbre ist samtig weich und warm mit einem herrlich unangestrengten Glanz in der Höhe.(...) Fred Jacobs spielt expressiv und anmutig.

With Endless Teares (2009)

Johnson, Lanier, Lawes, Gautier, Humfrey, Purcel

Johannette Zomer, Fred Jacobs

Cables: van den Hul
Digital Converters: Meitner A/D DSD / Meitner DA
Mastering Engineer: Jared Sacks
Mastering Equipment: B&W 803 diamond series
Microphones: Bruel & Kjaer, Schoeps
Mixing Board: Rens Heijnis custom design
Producer: Jared Sacks
Recording Engineer: Jared Sacks
Recording location: Doopgezinde Kerk Deventer The Netherlands 2009
Recording Software: Pyramix bij Merging
Recording Type & Bit Rate: DSD64
Speakers: Audiolab, Holland

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This album is available as ST+MCH download (Stereo + Multichannel)
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26609: With Endless Teares
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Have you seen but the bright lily grow
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Woods, rocks and mountains
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With endless tears
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Come hither you that love
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Come, heavy sleep
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The Prince?s Almain
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Mark how the blushful morn
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I wish no more
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No more shall meads be deck?d with flowers
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Amarillis by a spring
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Amintor?s welladay
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Sleep soft, you cold clay cinders
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Chloris dead, lamented by Amintor
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Ariadne?s Lament
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Cupid once, when weary grown
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Oh! That I had but a fine man
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O Love, if e?er thou?lt ease a heart
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How severe is forgetful old age
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If grief has any pow?r
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When first Amintas sued for a kiss
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Music for a while
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Farewell, all joys!
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