Andrew Lawrence-King is recognised as one of Europe's leading early music a… Read Full Bio ↴Andrew Lawrence-King is recognised as one of Europe's leading early music artists, leader of The Harp Consort and the rising new star of the baroque scene as conductor 'from the continuo' of orchestras, choirs and staged operas.

His musical career began as Head Chorister at the Cathedral & Parish Church of St Peter Port, Guernsey. He won an Organ Scholarship to Selwyn College, Cambridge and subsequently studied Voice and Continuo at the London Early Music Centre, where his teachers included Emma Kirkby, Roger Norrington and Nigel Rogers.

He took up the harp quite by chance, and in the absence of a modern school of baroque harp-playing, taught himself to play, using period treatises and iconography. He quickly established himself in London, performing and recording with nearly all the leading specialist ensembles: he has made over 100 recordings of music ranging from Troubadour lyrics (with Paul Hillier for ECM) to new music for early harp (John Paul Jones' 'Amores Pasados' with The Harp Consort for DHM) and including two accounts of the Handel Harp Concerto - with The Sixteen, and with Andrew Parrott's Taverner Players.

After six years as harpist and keyboard player with the baroque ensemble Tragicomedia, for whom he created many musical arrangements and concert programmes, most recently a recording of Anna Magdalena Bach's 'Notenbuch', Andrew Lawrence-King formed his own ensemble, THE HARP CONSORT in 1994. Taking its inspiration from the original 17th century 'Consorte' created by Charles I, The Harp Consort is a mixed vocal and instrumental ensemble that brings together world-class soloists in various line-ups, according to the repertoire being performed.

The Harp Consort's combination of detailed historical research with the dramatic spontaneity of improvised performance won them instant critical acclaim. Their debut recording, Ribayaz's 17th century collection of dance music from Spain, Italy, South America and Africa, 'Luz y Norte' forms the basis of a baroque stage show of improvised music and dance. Luz y Norte toured America for the first time in 1996, and will be given at Australia's Brisbane Festival and in the Sydney Opera House in 97.

Andrew Lawrence-King's schedule for performances - solo, with The Harp Consort and as a guest conductor - takes him this season to Italy, Spain, Germany, France, Scandinavia and Japan. The Harp Consort have two US tours as well as a busy recording schedule, turning their attention now also to medieval music. DHM has recently released their second CD, CAROLAN'S HARP: dances, airs and laments by Turlough O'Carolan, "the chief musician of all Ireland".

Fantasia
Andrew Lawrence-King Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Nella fantasia io vedo un mondo giusto
Lì tutti vivono in pace e onestà
Io sogno d'anime che sono sempre libere
Come le nuvole che volano
Pien d'umanità in fondo all'anima

Nella fantasia io vedo un mondo chiaro
Lì anche la notte è meno oscura

Io sogno d'anime che sono sempre libere
Come le nuvole che volano

Nella fantasia esiste un vento caldo
Che soffia sulle città, come amico
Io sogno d'anime che sono sempre libere

Come le nuvole che volano
Pien d'umanità in fondo all'anima

Overall Meaning

The lyrics to Andrew Lawrence-King's song "Fantasia" express a deep longing for a world that is just and peaceful. The singer dreams of souls that are always free, much like the clouds that soar in the sky. This imagery emphasizes the purity and lack of constraints that these souls possess. It suggests a yearning for a society in which individuals can live authentically, without fear or restriction.

In the second part of the song, the dream world becomes even clearer. The darkness of the night is diminished, symbolizing the elimination of fear and uncertainty. The singer continues to imagine souls that are always free, just like the clouds that float gracefully in the sky. The repetition of this idea reinforces the desire for a society where people have the freedom to be themselves and pursue their dreams without limitations.

The final verse introduces the concept of a warm wind blowing over the cities, acting as a friend and a symbol of hope. This wind represents the transformative power of love and compassion. The singer continues to dream of souls that are free, like the clouds that float in the sky. The phrase "pien d'umanità in fondo all'anima" (full of humanity deep within the soul) suggests that this vision of freedom is not just external, but also deeply connected to the essence of being human.

Line by Line Meaning

Nella fantasia io vedo un mondo giusto
In my imagination, I see a just world

Lì tutti vivono in pace e onestà
Where everyone lives in peace and honesty

Io sogno d'anime che sono sempre libere
I dream of souls that are always free

Come le nuvole che volano
Like the clouds that fly

Pien d'umanità in fondo all'anima
Full of humanity deep in the soul

Nella fantasia io vedo un mondo chiaro
In my imagination, I see a clear world

Lì anche la notte è meno oscura
Where even the night is less dark

Io sogno d'anime che sono sempre libere
I dream of souls that are always free

Come le nuvole che volano
Like the clouds that fly

Nella fantasia esiste un vento caldo
In my imagination, there exists a warm wind

Che soffia sulle città, come amico
That blows over the cities, like a friend