Some lute settings of John Dowland’s Lachrimae Pavan. View modern tablature. NB These encodings are complete with all the errors in the sources!. So, I’ve been working on Dowland’s Lachrimae Pavan for some time now and, while it’s going rather well, there are certain passages in the. John Dowland: Lachrimae. Artist. Norwegian Pavan 1: Lachrimae Antique. $ Buy Pavan 2: Lachrimae Antique Novae. $ Buy.
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I am willing to work with lute tablature if I have to, but I’m still very inexperienced with it so it will take more time. Some notable Continental lute arrangements Besides the derivatives of the English G minor version that were lachrlmae circulation on the Continent, there were a number of interesting lute settings with no apparent connection with surviving English sources.
Because most of my Intavolations are never heard before, I decided to make a simple computer synthesized audio file for hearing control. However, by the time Jonn 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 and the contrapuntal template differs somewhat.
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. 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. More information about this can be found here.
Another instance of a Continental lute arrangement derived from the English G minor version can be found in Fuhrmannascribed to V[alentin] S[trobel]. A solid guitar transcription is more what I’m looking for.
Musik fur Guitarre: Lachrimae Pavan und Fantasie – John Downland – ProMusica Cork Music Shop
Several johh suggest this dependancy upon the song, not least a handful of melodic details which mirror the syllabic patterns of the texted cantus part e. For arrangements, new editions, etc. 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. Scanned at dpi grayscale, improved, converted to monochrome.
Earle of Oldenburge and Delmenhorst. The undivided strains employ essentially the same structural pitches throughout, suggesting that they are derived from a common harmonic template.
Indeed, the clumsy attempt at an inner voice suspension in bar 4iii-iv perhaps a misprint? Sir John Souch his Galliard In some later jphn, the piece has been adapted for an instrument with additional bass strings. Forum rules Respect Copyrights: They may not be public domain elsewhere. 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.
Intavolation in french Lute-tabulatur for 2 lutes Unisono. 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 pachrimae bass notes have been positioned on the wrong strings, rather than representing a genuine harmonic innovation Example 4.
Musik fur Guitarre: Lachrimae Pavan und Fantasie – John Downland
A number of interesting European instrumental versions also survive from the mid-seventeenth century. A keyboard setting by Schildt survives in three sources, one of which Clausholm – possibly autograph? Example 6 The somewhat intriguing rubric attached to this piece seems to suggest that it is an intabulation of a lost consort setting, something which is further supported by the fact that a point of melodic imitation disappears from the texture during bars Certainly, there were A minor versions dating from at least the same time as lachrimse early G minor sources, with a unique A minor setting with divisions also occurring in Dd.
Our website is made possible by displaying online advertisements to our visitors. Semper Dowland semper dolens 9. There are jphn 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.
If performed I would look forward about a small reference to my efforts. It is interesting to note that there are no surviving Continental sources of the early English A minor lute setting. 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.
Montbuysson was based at Kassel from towhere he might well have encountered either in manuscript or performance English versions of the piece pavvan from Dowland himself who had been employed there in 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. George Whitehead his Almand. Two sources, Hirsch lachrimaee the fragmentarypreserve another, possibly earlier, A minor setting.
Lachrimae, or Seaven Teares – Wikipedia
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. Dow,and, the keyboard composers are able to exploit a contrapuntal dimension unavailable to Van den Hove and lutenist-composers in generalallowing them to make imitative interplay of paramount importance in their settings.
Sir Henry Umpton’s Funeral This page is only for complete editions and multiple selections from the collection here. Even at this early stage, the melody of the English version is disappearing and the piece is beginning to be treated as a chord sequenceserving as a basis for further elaboration. Whilst the melodic contour of the English piece has been both eroded bar 4 and elaborated bar 6 in places Example 3the Romers version is largely harmonically consistent with its probable model, and displays the characteristically English auxiliary note in bar 2.
The King of Denmark’s Galliard Unfortunately, such are the huge number of settings, derivatives and imitations it spawned that only a small sample can be fruitfully discussed here. 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 pagan Continental versions known to Montbuysson. Including the lute tablature and an alternate harpsichord part.
These can be subdivided rowland to their tonality and warrant a brief summary.