Sun, November 8th, 2026
Concert Broken Music of the English Renaissance
Concert title
Concert Broken Music of the English Renaissance
Date
Sun 08.11.2026
Start of the concert
17:00
Contributors
Name of the ensemble
Zachary Wilder (US/FR) – tenor
Eduardo Egüez (AR/CH) – lute
Dmytro Kokoshynskyy (CH/UA) – harpsichord
Eduardo Egüez (AR/CH) – lute
Dmytro Kokoshynskyy (CH/UA) – harpsichord
program
The second concert in the "Vocal Parallels" series is dedicated to English vocal music of the late 16th and early 17th centuries: Dowland, Byrd, Bull, Coprario, Jones, and others.
The central innovation of the program is an approach rarely practiced today: the songs of this era are performed not with lute accompaniment, but with harpsichord accompaniment. Recordings of this vocal music in the combination of voice and harpsichord do not exist; in the English tradition, such a combination appears only much later, in the time of Purcell. Based on sparse and sometimes contradictory historical evidence, harpsichordist Dmytro Kokoshynskyy reconstructs a plausible practice of harpsichord accompaniment for this repertoire.
Thus, two lines of vocal accompaniment meet on stage – lute and harpsichord. Eduardo Egüez and Dmytro Kokoshynskyy become partners and adversaries in the same vocal space.
The program also includes "Khora" by the Dutch-Ukrainian composer Maxim Shalygin – a new work for solo harpsichord, commissioned by Dmytro Kokoshynskyy and completed at the end of 2025.
Program
I. “Welcome my present pain”
John Bull
In Nomine XII
Anonymous
O death rock me asleep
John Coprario
So Parted You
Robert Jones
Though your Strangeness
John Dowland
Were Every Thought an eye
II. “The melancholy heart”
Thomas Robinson
A Fancy
John Dowland
O Sweet Woods
John Coprario
O Grief
John Dowland
Fantasia
Go Crystal Tears
Maxim Shalygin (b. 1985)
KHORA (2025)
III. “While I live I need must love”
John Johnson
The New Hunt Up
John Bennet
Venus Birds
William Byrd
If women could be fair
John Dowland
Lord Willoughbies his Galliard
Robert Jones
And is it night?
John Johnson
La Vecchia Galliard
John Dowland
Now, O Now
Encore:
Can she excuse
Flow My Tears
The central innovation of the program is an approach rarely practiced today: the songs of this era are performed not with lute accompaniment, but with harpsichord accompaniment. Recordings of this vocal music in the combination of voice and harpsichord do not exist; in the English tradition, such a combination appears only much later, in the time of Purcell. Based on sparse and sometimes contradictory historical evidence, harpsichordist Dmytro Kokoshynskyy reconstructs a plausible practice of harpsichord accompaniment for this repertoire.
Thus, two lines of vocal accompaniment meet on stage – lute and harpsichord. Eduardo Egüez and Dmytro Kokoshynskyy become partners and adversaries in the same vocal space.
The program also includes "Khora" by the Dutch-Ukrainian composer Maxim Shalygin – a new work for solo harpsichord, commissioned by Dmytro Kokoshynskyy and completed at the end of 2025.
Program
I. “Welcome my present pain”
John Bull
In Nomine XII
Anonymous
O death rock me asleep
John Coprario
So Parted You
Robert Jones
Though your Strangeness
John Dowland
Were Every Thought an eye
II. “The melancholy heart”
Thomas Robinson
A Fancy
John Dowland
O Sweet Woods
John Coprario
O Grief
John Dowland
Fantasia
Go Crystal Tears
Maxim Shalygin (b. 1985)
KHORA (2025)
III. “While I live I need must love”
John Johnson
The New Hunt Up
John Bennet
Venus Birds
William Byrd
If women could be fair
John Dowland
Lord Willoughbies his Galliard
Robert Jones
And is it night?
John Johnson
La Vecchia Galliard
John Dowland
Now, O Now
Encore:
Can she excuse
Flow My Tears
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