John Dowland: Lachrimae – Free download as PDF File .pdf), Text File .txt) or read online for free. d – Lachrimae Pavan. Uploaded by. skwax. Do not worry about this, it is this way to indicate the flow of the voices in the music . Lachrimae Pavan. John Dowland. Transcribed and edited by Selina Copley. Lachrimae, or Seaven Tearesby John Dowland: Tears of Lost Innocence melody that he had previously used in the lute pavan, “Lachrimae” (), and the.

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Pieces ; Pavans ; Galliards ; Dances ; Allemandes ; Dowlnad 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. Virtuoso passage-work remains prominent throughout however; this setting is one of the most elaborate of all lute versions.

UMI Research Press,pp. A keyboard setting by Schildt survives in three sources, one of which Clausholm – possibly autograph?

John Dowland’s “Lachrimae”

Camphuysen gives another 2-part version, this time with a devotional Dutch text, supplied with instrumental divisions for both cantus and bassus by one Joseph Butler, a Londoner working in Amsterdam. Katzbichler,pp. These file s are part of the Werner Icking Music Collection. 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.

Pale printing, by darkening also the dust ‘profited’. 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 copying 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.

John Langton’s Pavan Contents 1 Performances 1. 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.

The Violin at the English CourtOxford: This page is only for complete editions and multiple selections from the collection here. Earle of Oldenburge and Delmenhorst. Another instance of a Continental lute arrangement derived from the English G minor version can be found in Fuhrmannascribed to V[alentin] S[trobel].

Valeriusfor instance, included a double-texted 2-part version in D minor. 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 conventional AAiBBiCCi doeland the contrapuntal template differs somewhat.


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. Henry Noel his Galliard Several perplexing unica serve to emphasise the incompleteness of the surviving picture, not least the fascinating F minor lute setting in Eyserttlachrimqe, although tangential to the patterns of transmission identified in this paper, nevertheless seems to be a good, error-free version.

These musical details suggest very strongly that the Herold setting is also the work of Van den Dowlajd, 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.

Even at this early stage, the melody of the English pafan is disappearing and the piece is beginning to be treated as a chord sequenceserving as a basis for further elaboration. The King of Denmark’s Galliard The G minor version, however, fared slightly better, being both directly copied although, oavan, without the divisions so popular in England and used as the basis for further recomposition. Sir John Souch dowlland Galliard The undivided strains employ essentially the same structural pitches throughout, suggesting that they are derived from a common harmonic template.

Valerius could have based his parts directly on ;avan Bookeor one of any number of derivatives that may have been circulating in manuscript. Scanned at dpi grayscale, improved, converted to monochrome.

Certainly, there were Lavhrimae minor versions dating from at least the same time as the early G minor sources, with a unique A minor setting with divisions pavann occurring in Dd. To give only a handful of examples, all four feature a substitute chord an inserted IV in bar 2 unseen in any English sources Example 7a. Mistress Nichols Almand 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.

Nicholas Gryffith his Galliard A number of interesting European instrumental versions also survive from the mid-seventeenth century. For instance, rhythms are often dotted in later sources especially throughout bars 11aacadential formulae slightly varied, and pitch inflections and chord voicings are occasionally the subject of minor alterations. A similar situation can be observed in some later lute settings, such as Stobaeus possibly as late lacurimae the s?

The aim of this study, then, is to collate as much of this material as possible and present some preliminary hypotheses regarding in particular the transmission of this piece across mainland Europe. Another interesting feature almost unique to these pavsn versions only the version for violin and bass instrument in Schermar has it too is the dominant chord substituted into bar 10 Example 8b.


Nevertheless, a number of salient features are shared between these versions and Rudenone of which are encountered in the English transmission s. In some later sources, the piece has been adapted for an instrument with additional bass strings.

In fact, there are no Continental lute versions in A minor at all; even the lute part to LoSTwhich constitutes a perfectly respectable solo setting in its dowladn right, is not amongst those LoST parts reprinted by Van den Hove in his Delitiae Musice. It is not always clear whether the many variants contained in this print arise from typesetting errors or constitute genuine attempts at recomposition.

Although this research was carried out within the context of a computer-assisted electronic corpus-building project [16]the analysis of the musical material has been carried out entirely manually.

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

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 pacan German-speaking lachrima of Northern Europe during the later years of the sixteenth century. The kind of detailed comparative examination we have begun here on a modest subset of this corpus would only be feasible on the full collection let alone larger corpora with the aid of computer analysis software tools.

Lachrimae, or Seven Tears (Dowland, John)

These pieces a two-part vocal version in D minor, a cittern piece in D minor dosland a lute setting in G minor were clearly not intended for simultaneous performance, since they all carry the melody with varying degrees of elaboration and differing harmonic detail. Retrieved from ” http: Such editions are also public domain in Canada because they fail to meet the minimum ‘threshold of originality’ to qualify for copyright as pavaan ‘adaptation’.

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.