Dowland’s Lachrimae. John Dowland, the finest lutenist of his generation and one of England’s greatest composers, was born years ago in In he. CDH – Dowland: Lachrimae, or Seaven Teares. CDH Digital booklet (PDF) · John Dowland (). Lachrimae, or Seaven Teares. The Parley. By , the famed Elizabethan lutenist John Dowland was so closely associated with his most popular composition, the ‘Lachrimae’ pavan, that he was already.

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Lachrimae antiquae novae 3. A similar situation can be observed in some later lute settings, such as Stobaeus possibly as late as the s?

The widespread dissemination of this piece is unsurprising for two reasons; firstly, Dowland travelled extensively as one of the most sought-after lute virtuosi of his age, holding various posts in Germany and Denmark and, secondly, the vogue for English dance music spread rapidly throughout the German-speaking courts of Northern Europe during the later years of the sixteenth century.

A keyboard setting by Schildt survives in three sources, one of which Clausholm – possibly autograph? Pieces ; Pavans ; Galliards ; Dances ; Allemandes ; For lute, 5 viols ; Scores featuring the lute ; Scores featuring the viol ; For 6 players ; For 2 lutes arr ; For 2 players ; For 2 guitars arr ; Scores featuring the guitar.

There are some exterior indications that there may be a connection between these two versions, since both are in G minor, are coupled with triple-time versions, and use the unusual formal scheme AAiBCBiCi. Dowland, of course, was in Nuremburg inso it is not beyond the realms of possibility that this piece may have originated from him in some sense.

As we shall see, the simple two-part reduction offered great potential to both composers and performers. The Earl of Essex Dosland They went abroad for three main reasons. Since this source includes five pieces signed by Dowland and is lachrrimae to have belonged to a student of his, it seems plausible that this version may be another of his own creation. Mistress Nichols Almand There can be little doubt that the lute version is a second- perhaps third- generation derivative of the English G minor setting, being replete with printing errors bar 3 opens with an incorrect chord and recompositions lachrimze flourish from bar 2iii, or the ornamented sequential passage from bar 12yet clearly a close relative.

This means that the intense human labour could be devoted to the major task of data-entry and subsequently to the subjective interpretation of the results of the analysis.

Lachrimae, or Seven Tears (Dowland, John)

The first was in the early fifteenth century when the motets, Mass dlwland and chansons lacurimae John Dunstable and his contemporaries became the models for subsequent developments in Flanders and Burgundy. Two sources, Hirsch and the fragmentarypreserve another, possibly earlier, A minor setting. Some pieces in the collection were also well known as songs. Like most sixteenth-century publications of dance music, Lachrimae is organized by genre, the pavans followed by the galliards and the almans.


Lachrimae, or Seaven Teares – Wikipedia

Because most of my Intavolations are never heard before, I decided to make a simple computer lachrmae audio file for hearing control. Dowland may have adopted this format, the one he used for his lute songs, because he included a lute part in tablature, which could not easily be accomodated in a small set of part-books.

Dwoland is typical of the Anglo-German consort repertory in that great prominence is given to pavans. For larger-scale repertory studies, such as a long-overdue assessment of all English instrumental music in 17 th -century Continental sources, the laborious work of bar-by-bar comparison could be much eased by intervention from analysis software.

Valeriusfor instance, included a double-texted 2-part version in D minor. Creative Commons Attribution Non-commercial 3.

Dowland Lachrimae () |

Semper Dowland semper dolens 9. If performed I would look forward about a small reference to my efforts.

Some notable Continental lute arrangements Besides the derivatives of the English G minor version that were in circulation on the Continent, there were a number of interesting lute settings with no apparent connection with surviving English sources.

The performances are laudable in their characterization of the pavans in particulardiscreet embellishment of the dances, clarity of detail the product of pleasantly dry string sound and acoustic and overall balance, in which the lute is neither backgrounded nor obtrusive. Furthermore, close examination of the undivided strains reveals a greater similarity between the two versions than initially meets the eye or ear, although the divisions are largely unique. The earliest sources for this setting are Dd.

Dowland’s Lachrimae

This page is only for complete editions and multiple selections from the collection here. It is our belief that the work reported in this paper represents about the limit that could be undertaken manually within a reasonable period of time.

Both settings also exhibit a penchant for virtuosic writing in parallel thirds and sixths lahrimae, on occasions such as between bars even duplicate passagework more-or-less verbatim Example 8a.

More information about this can be found here. However, by the time Van den Hove added another setting to the Schele lutebook dated 16th Februaryhe had obviously experimented with other models, since the unorthodox AAiBCBiCi layout has been replaced with a more odwland AAiBBiCCi lachrjmae the contrapuntal template differs somewhat.


Indeed, the clumsy attempt at an inner voice suspension in bar 4iii-iv perhaps a misprint? Henry Noel his Galliard Unfortunately, such are the huge number of settings, derivatives and imitations it spawned that only a small sample can be fruitfully discussed here. John Dowland probably had dowlamd motives for leaving England in Montbuysson was based at Kassel from towhere he might well have encountered either in dowlanc or performance English versions of the piece stemming from Dowland himself who had been employed there in Contents 1 Performances 1.

Earle of Oldenburge and Delmenhorst. Die genaue Bedeutung der lateinischen Titel ist nicht ganz klar. Lachrimae is normally thought of as belonging to the English consort repertory, but lacurimae of it, at least, was composed in Copenhagen. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

CNRS,pp. Did Dowland ever expect this collection to be played in its entirety, at one sitting? Nevertheless, a number of salient features are lachrimxe between these versions and Rudenone of which are encountered in the English transmission s. Nicht nur war seine Bewerbung als Hoflautenist gerade abgelehnt worden, er sympathisierte ebenfalls mit dem Katholizismus. It is normally played today on viols, but professional string groups would have played sets of viols and violins as a matter of course, choosing the most appropriate according to circumstances.

If you are a library, university or other organisation that would be dowlland in an institutional subscription to Gramophone please click here for further information. Thomas Collier his Galliard with 2 trebles The whole collection can be played as it stands by the standard five-part violin consort of the time, consisting of a single violin, three violas and bass—the arrangement preserved well into the Baroque period by the French royal orchestra, the Vingt-quatre Violons.

Thus, of the twenty-one pieces, eleven doqland as lute solos, sometimes under different titles: Lachrimae, or Seaven Teares. Most notably, this would appear to be an example of a Continental version being exported back to England, since, as well as the south-German copy in Haslemereit appears alongside a good deal of other Continental music in Cosens, 36vwhich is certainly of English provenance.