The ''Seaven Passionate Pavans'' are the ''Seaven Teares'' and, as Dowland's intentions (if any) regarding complete performance remain unknown, they have in previous recordings been variously permutated with the dances that follow them in the original publication. The Rose Consort felicitously bypass the problem by alternating the Pavans with seven of Dowland's many songs concerning various aspects of grief. The coupling of ''Flow my teares'' with ''Lachrimae Antiquae'' is, so to speak, automatic, and well considered. Other pairings are explained in the inlay text, e.g. ''In darknesse let mee dwell'', the most despairing of the songs, is followed by the matching ''Lachrimae Tristes''. The Rose Consort, precisely balanced, warm-sounding (no reediness at the treble end) and with scrupulous intonation, is on splendid form, the lutenist always 'there' but never obtrusive.
The form of the presentation is unusual and so too is the use of a female alto, Caroline Trevor; she has a rich, three-dimensional sound and is economical with her vibrato—unlike many other ladies of her pitch-range: if she is not always 'cristall' clear in her enunciation there are always the printed texts to help those who are not familiar with them. Trevor is also very good at finding exactly where her notes should be pitched, and little peccadillos such as that in ''Come heavy sleepe'' (on ''sorr-ows'', 0'51'') don't add up to the fingers on one hand. Dorothy Parker said unkindly of a film actress, that she ran the whole gamut of emotions from A to B: that covered in the texts of these songs doesn't reach much further, but Trevor expresses it with eloquent restraint. If the prospect of just over an hour of lamentation does not disturb you, you may raise your hat as far above your head to this fine recording as I do.'