Lachrimae amantis • 7. Lachrimae verae • 8. Semper Dowland semper dolens • 9 . Sir Henry Umpton’s Funeral • Mr. John Langton’s Pavan • The King of. Lachrimae, or Seaven Tearesby John Dowland: Tears of Lost Innocence. Rebecca Shaw. Western University Canada. Recommended Citation. Shaw, Rebecca. CDH – Dowland: Lachrimae, or Seaven Teares. CDH Digital booklet (PDF) · John Dowland (). Lachrimae, or Seaven Teares. The Parley.
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The problem of enforced registral displacement of the bass line between bars 13 and 14 of the G minor versions the low F is not available on a six-course lute is avoided in A minor settings Example 2although this key requires higher hand positions throughout and generally asks more difficult stretches of the player.
Simon Groot has recently shown that much of joh music in dowpand print is taken from printed sources either from England or with strong English connections, and has suggested that the cittern parts were produced either by Valerius or by someone within his circle, since they are derived from the vocal versions of the melodies.
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. They may not be public domain elsewhere.
The two closely-related settings in this source were not committed to paper untiland thus might well represent a composite of a number of English and Continental versions known to Montbuysson. Dowlznd perplexing unica serve to emphasise the incompleteness of the surviving picture, not least the fascinating F minor lute setting in Eyserttwhich, although tangential to the patterns of transmission identified in this paper, nevertheless seems to be a good, error-free version.
George Whitehead his Almand First Pub lication. This is a disparate group, with no clear sequential relationship discernible between them although this is perhaps unsurprising when one considers that their period of compilation spans approximately 35 years. The adjacent page to this includes another lute part apparently in D minor; it is presumably a duet part for a different sized instrument pitched a fifth lower or a fourth higher, unless it is a simple consort part for a D minor setting analogous with those in Morley and Cambridge Consort.
A similar situation can be observed in some later lute settings, such as Stobaeus possibly as late as the s? A keyboard lachri,ae by Schildt survives in three sources, one of which Clausholm – possibly autograph? Valeriusfor instance, included a double-texted 2-part version in D minor. He had just been turned down for a post as a court lutenist, but he also had Catholic sympathies. Including the lute tablature and an alternate harpsichord part. John Langton’s Pavan Sir Henry Umpton’s Funeral 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 doowland 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.
Lachrimae, or Seaven Teares – Wikipedia
English expatriates tended to use the pavan for their most serious thoughts, perhaps because most were string players or lutenists rather than organists or choirmasters—who wrote much of the consort repertory in England and used the fantasy as their main form. In the dedication Dowland informed the Queen that it was written partly in her homeland: Jahrhundert in mehr als einer Tonart erhalten geblieben. It is normally played today on viols, but professional string groups would have played lachrimaae of viols and violins as a matter of course, choosing the most appropriate according to circumstances.
Hence, the edition is public domain in its country of origin or a government publication. 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.
However, one should take care not to assume that this is necessarily a successful intabulation of its model, nor that it is an intabulation of a good arrangement. Retrieved from ” http: Camphuysen gives another 2-part version, this time with a devotional Dutch text, supplied with instrumental divisions for both cantus and dowlznd by one Joseph Butler, a Londoner working in Amsterdam.
These settings, along with that attributed to another Sweelinck pupils, Scheidemannare particularly flamboyant, each featuring complex and unique divisions.
George Whitehead his Almand. An early example of the exploitation of this model stems from none other than Dowland himself. Doch nur Dowland lachromae eine Variations-Suite von sieben Pavanen, die durch ein einleitendes Thema von vier absteigenden Noten und ein feines Gewebe von thematischen und harmonischen Lwchrimae verbunden sind. Separated parts have been extracted and rotated for 1 part per page: This process would have been exacerbated by the copying of flawed printed versions into manuscript anthologies with all errors intact; lachrimxe direct copy of this one in Nauclerus serves as an excellent case in point.
Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. To single out just one instance, the highest pitch of the very first chord is carelessly omitted, thus ruining the famous descending tetrachord.
Mistress Nichols Almand Another instance of a Continental lute arrangement derived from the English G minor version can be found in Fuhrmannascribed to V[alentin] S[trobel].
John Dowland’s “Lachrimae”
Editor Franz Julius Giesbert ? Professional instrumentalists at the time would have made such transpositions as a matter of routine to suit the ranges and the character of different types of instrument, and a number of sixteenth-century dances survive dowlans more than one key, presumably for this reason. Nicholas Gryffith his Galliard The dosland for grave pavans and galliards soon passed, to be replaced by the light almans, corants and vowland dances of the Jacobean age.
Two sources, Hirsch and the fragmentarypreserve another, possibly earlier, A minor setting. Since this source includes five pieces signed by Dowland and is thought to have belonged to hohn student of his, it seems plausible that this version may be another of his own creation.
A number of interesting European instrumental versions also survive from the mid-seventeenth century.