John Dowland (c. 1563 - 1626) was an English
Renaissance composer, lutenist, and singer. He is best
known today for his melancholy songs such as "Come,
heavy sleep", "Come again", "Flow my tears", "I saw my
Lady weepe", "Now o now I needs must part" and "In
darkness let me dwell". His instrumental music has
undergone a major revival, and with the 20th century's
early music revival, has been a continuing source of
repertoire for lutenists and classical guitarists. From
1598 Dowland was employed a...(+)
John Dowland (c. 1563 - 1626) was an English
Renaissance composer, lutenist, and singer. He is best
known today for his melancholy songs such as "Come,
heavy sleep", "Come again", "Flow my tears", "I saw my
Lady weepe", "Now o now I needs must part" and "In
darkness let me dwell". His instrumental music has
undergone a major revival, and with the 20th century's
early music revival, has been a continuing source of
repertoire for lutenists and classical guitarists. From
1598 Dowland was employed as lutenist to Christian IV
of Denmark, but he still published in London, where he
seems to have maintained a family home. The title-page
of Lachrimae states that the book can be purchased from
the "author's house" in Fetter Lane. In the case of the
Second Book of Songs (1600), we know that Mrs Dowland
was in London and handed over the manuscript. In the
case of Lachrimae, he may have been back in England
long enough to oversee the publication process
directly. The book was dedicated to Anne of Denmark,
and Dowland mentions meeting her at Winchester, which
suggests his involvement in her October 1603 masque,
Prince Henry's Welcome at Winchester.
Lachrimæ or seaven teares figured in seaven passionate
pavans, with divers other pavans, galliards and
allemands, set forth for the lute, viols, or violons,
in five parts is a collection of instrumental music
composed by John Dowland. It was published by John
Windet in 1604. It consists of a set of seven slow
pieces which the composer calls tears ("teares" in
Early Modern spelling) plus other pieces including some
livelier numbers.
The title page of Lachrimæ is adorned with a Latin
epigram: "Aut Furit, aut Lachrimat, quem non Fortuna
beavit" ("He whom Fortune has not blessed either rages
or weeps"). Dowland points out in his dedication that
there are different types of tears. “The teares which
Musicke weeps” can be pleasant; “neither are teares
shed always in sorrow but sometime in joy and
gladnesse”. The seven pavans are variations on a
theme, the "Lachrimæ pavan", which Dowland had already
made well known as a lute solo and a song. (That pavan
was reworked into the song "Flow my tears" in Dowland's
Second Book of Songs (1600) and begins with a "falling
tear" motif of four notes.) The harmonies of the seven
are intense, with lines weaving close together. Each
was given a title by the composer, and there has been
speculation that the group forms a narrative or musical
journey, though any meaning remains unclear:
1. Lachrimæ antiquae (Old Tears) — already existed
as a lute solo and a song
2. Lachrimæ antiquae novæ (Old Tears Renewed) — a
harmonic parody of Lachrimæ antiquæ
3. Lachrimæ gementes (Sighing Tears)
4. Lachrimæ tristes (Sad Tears)
5. Lachrimæ coactae (Forced Tears) — a harmonic
parody of Lachrimæ tristes
6. Lachrimæ amantis (A Lover’s Tears)
7. Lachrimæ veræ (True Tears)
Source: Wikipedia
(https://en.wikipedia.org/wiki/Lachrimae,_or_Seaven_Tea
res).
Although originally written for Lute, Viols, or Violons
in five parts. I created this Arrangement of "Lachrimæ
Amantis" (A Lover’s Tears) from "Lachrimæ or seaven
teares" for Wind Quintet (Flute, Oboe, English Horn,
French Horn & Bassoon).
PARTITION