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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These file s are part of the Werner Icking Music Collection. Unfortunately, lachromae are the huge number of settings, derivatives and imitations it spawned that only a small sample can be fruitfully discussed here. Lachrimae is typical of the Anglo-German consort repertory in that great prominence is given to pavans.

If performed I would look forward about a small reference to my efforts.

John Dowland’s “Lachrimae”

Jahrhunderts ist Lachrimae nach Genre angeordnet, d. 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 the flourish from bar 2iii, or the ornamented sequential passage from bar 12yet clearly a close relative.

George Whitehead his Almand First Pub lication. In fact, there laxhrimae no Continental lute versions in A minor at all; even the lute part to LoSTwhich constitutes a perfectly respectable solo setting in its own right, is not amongst those LoST parts reprinted by Van den Hove in his Delitiae Musice.

Dowland’s Lachrimae

Giles Hobies Galliard These settings, along with that attributed to another Sweelinck pupils, Scheidemannare particularly flamboyant, each featuring complex and unique divisions. He had just been turned down for a post as a court lutenist, but he also had Catholic sympathies. Certainly, there were A minor versions dating from at least the same time as the early G minor sources, with a unique A minor setting with iohn also occurring dowlanv Dd.

More information about this can be found here. Sir Henry Umpton’s Funeral Lachrimae seems to have had little influence on the subsequent development of consort music in England.

Several clues suggest this dependancy upon the song, not least a handful of melodic details which mirror the syllabic patterns of the texted cantus part e. Although it is by no means a certainty, there is circumstantial evidence to suggest that a G minor setting preserved in a number of English manuscript sources may have originally emanated from Dowland himself.

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. Since this source includes five pieces signed by Dowland and is thought to have belonged to a student of his, it seems plausible that this version may be another of his own creation.


F R E T W O R K » Dowland’s Lachrimae

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 in more than one key, presumably for this reason. Dowland may have adopted this format, the one he used for his lute laachrimae, because he included a lute part in tablature, which could not easily be accomodated in a small set of part-books.

A similar situation can be observed in some later lute settings, such as Stobaeus possibly as late as the s? George Whitehead his Almand. Contents 1 Performances 1. Doch die Erinnerung an Dowland wurde im kontinentalen Europa wachgehalten. Henceforth, actors were forbidden to work in England unless they were under the patronage of the Queen or a prominent courtier. Furthermore, close examination of the undivided strains reveals a greater similarity between the two versions than initially meets the lxchrimae or ear, although the divisions are largely unique.

It is unlikely that Cowland intended the two families to be combined in a mixed consort; the normal practice was to use complete sets of instruments as alternatives on a musical menu, rather than as ingredients in a single dish. Semper Dowland semper dolens 9. Earle of Oldenburge and Delmenhorst. Don’t show me this message again. Unusually, the divisions on each strain of the pavan are reproduced with great consistency, the only exceptions being ML which has some added flourishes and which omits the divisions altogether.

These musical details suggest very strongly that the Lahrimae setting is also the work of Van den Hove, something which is further supported by the fact that many of the pieces located nearby in Herold are either ascribed to him or were included in Florida a year before Herold was copied from its exemplar. Two sources, Hirsch and the fragmentarypreserve another, possibly earlier, A minor setting.

Valeriusfor instance, included a double-texted 2-part version in D minor.

The problem lachrrimae 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. For larger-scale repertory studies, such dowlnad 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.


This page is only for complete editions and lqchrimae selections from the collection here. An interesting approach to the English G minor setting can be found in the Thesaurus Harmonicus of the French lutenist Jean-Baptiste Besard Cologne,who spent much of his career in Germany as a lute teacher.

Retrieved from ” http: Nicholas Gryffith his Galliard For instance, rhythms are often dotted in later dowwland especially throughout bars 11aacadential formulae slightly varied, and pitch inflections and chord voicings are occasionally the subject of minor alterations. It is not always clear whether the many variants contained in this print arise joohn typesetting errors or constitute genuine attempts at recomposition.

Originally issued on CDA In some later sources, the piece has been adapted for an instrument with additional bass strings.

Lachrimae, or Seven Tears Dowland, John This page is only for complete editions and multiple selections from the collection here.

It is also worth noting that the earliest firmly datable version of this piece, that printed from wood-blocks in Barleyis a G minor setting of a similar ilk to those already discussed. Editor Franz Julius Giesbert ? 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.

They alchrimae not be public domain elsewhere. Simon Groot has recently shown that much of the music in this 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. Wie so viele Tanzmusiken des Virtuoso passage-work remains prominent throughout however; this setting is one of the most elaborate of all lute versions.

Thomas Collier his Galliard with 2 trebles Intavolation in french Lute-tabulatur for 2 dowalnd Unisono. Elizabethan composers frequently derived galliards from pavans, and it was common for pavans lacheimae allude to well-known examples of dwoland genre.

There are some odd substitute chords in bar 9 and bar but these, in all likelihood, result from a scribe attempting to make corrections when ,achrimae from an exemplar in which some of the bass notes have been positioned on the wrong strings, rather than representing a genuine harmonic innovation Example 4.