Melancholy has more than just one colour - it has many, in the same way that strength of character can take many forms. In Dowland’s pieces there are a great many different shades in the expressions and descriptions of states of mind. I always keep sight of Dowland the song writer, with his power of suggestion and his rich poetic-literary vein, alongside Dowland the composer of works for solo lute. The depth of his personality is evident in all his compositions. As a composer of instrumental music, Dowland demonstrates his imagination in the way he clarifies an expression or fleshes out the inflections and intentions conveyed by the words. I never cease to discover countless new aspects in his music.

Dowland dedicated many of his pieces to specific individuals who were prominent in his world - kings, queens, ladies and gentlemen of noble birth. Can such works be understood independently of their “programme” or dedication?

Yes, obviously, they are musically self-sufficient pieces that are independent of the idea suggested by those prominent figures; having said that, a knowledge of the social context, of the lives of those characters and the reason behind the dedication is a great stimulus to our imagination.

How, precisely, does that help you in your interpretation?

The complexity of the galliard entitled “The Lady Clifton’s Spirit”, for instance, alternates between 3/4 and 6/8 time, where the strong chords are in weak times and the stresses fall outside the metre. This seems to suggest a great deal about the personality and the spirit of the lady in question. Quite apart from its historical and personal context, it is an almost overwhelmingly rich and complex piece. Then again, there are works such as the pavane Lachrimae , which one can enjoy playing or listening to without knowing the song on which it is based. The depth and delicacy of its composition make it a masterpiece.

You refer to expressiveness as one of Dowland’s key features. Does he anticipate the rhetorical style of the Baroque period?

I wouldn’t claim that he anticipates Baroque expression, but, without trying to label him as the creator of such a decisive style, I would say that there is a very important and significant expressive dimension to his work.

I think that great performers with the ability to communicate have succeeded in conveying what they have to say, whatever their period, and whatever instruments they played. But, since you ask me to compare, I think that early instruments are better at “talking” to us.

Why are you a musician?

I would answer with the same words that Milan Kundera used when he was asked why he was a writer - “to lift the spirit”..

Do you mean your spirit, or the spirits of others?

There are many sides to being a musician. Giving concerts is one, and teaching is another, but most of the time you are alone with your instrument. Those are the times when the spirit is most uplifted. In a performance, a very different kind of energy comes into play because then communication is driven by a purpose - that of giving a concert

What differences do you find between the expressive possibilities of early and modern instruments?

I think that great performers with the ability to communicate have succeeded in conveying what they have to say, whatever their period, and whatever instruments they played. But, since you ask me to compare, I think that early instruments are better at “talking” to us.