John Dowland Come away, come sweet love Videos
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2024-03-28
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John Dowland Nigel Rogers Paul O Dette Wilt Monteverdi Handel Baroque Orchestra Schola Cantorum 1550 1563 1626 1851 1987
Today’s talents will be tomorrow’s legends. Please Subscribe to our New channel @PAINTED. Discover and Empower classical music Artists all around the World ! (http•••) ——— John Dowland +••.••(...)) - Flow my Tears Album : Songs for Tenor and Lute. *Clique pour activer les sous-titre en français (00:00-02:22)* Book 2 Flow my tears (00:00) Book 1 Come heavy sleep (04:21) Wilt thou unkind thus reave me? (08:43) If my complaints could passions move (12:29) My thoughts are winged with hopes (15:50) Awake sweet love (18:51) Come away, come sweet love (21:35) Book 2 Sorrow, stay (23:41) Fine knacks for ladies (27:06) Shall I sue (29:44) I saw my lady weep (32:23) Book 3 When Phoebus first did Daphne love (36:25) Say, love, if ever thou didst find (38:16) Fie on this feigning (40:07) Weep you no more sad fountains (42:03) Book 4 (A Pilgrimes Solace) Love those beams (46:44) Sweet stay awhile (49:32) To ask for all thy love (52:41) Were every thought an eye (56:11) Shall I strive with words to move? (57:49) Tenor : Nigel Rogers Lute : Paul O’Dette Recorded in 1987, at London Find CMRR's recordings on Spotify: (http•••) Nigel Rogers began singing at an early age as a boy treble and later became a Choral Scholar at King's College, Cambridge. After graduating he went first to Italy and then to Germany, where he studied at the Hochschulefür Musik. During the early 1960s he toured all over the world before returning to England, where he began to take a greater interest in Baroque music. The special technique he uses in Italian Baroque vocal music draws on performances by the singers of Classical Indian and Arabian music that he heard in India and the Middle East. He has given solo recitals throughout the world and has performed with many distinguished groups of musicians. He has also taken part in productions of Baroque opera from Monteverdi to Handel. In recent years he has directed his own Chiaroscuro vocal ensemble and Baroque orchestra in many concerts and recordings. He is also an experienced teacher and has taught in Switzerland, Holland, Australia, the USA and at the Royal College of Music in London. Paul O'Dette was born in Pittsburgh and began playing the guitar at the age of eleven. After several years of performing rock music, he took up the classical guitar, and within six months had won first prize in the Columbus (Ohio) Symphony Orchestra's young Musicians Competition. Using the treatises and method books of the sixteenth century, he taught himself the lute and developed an interest in, and a preference for, early music. He subsequently enrolled at the Schola Cantorum Basiliensis, where he studied medieval and Renaissance performance practice with Thomas Binkley and the lute with Eugen Dombois. He has travelled widely throughout Europe, North America and the Middle East, both as a soloist and with early music ensembles. He is currently Director of Early Music at the Eastman School ofMusic in Rochester, New York. Dowland - Complete Lute Galliards Works/Lachrimae + Presentation (Century's record. : Paul O'Dette) : (http•••)
Provided to YouTube by NAXOS of America Lachrimae "Seaven Teares": VIII. Semper Dowland Semper Dolens · Alberto Rasi Dowland: Come Away, Come Sweet Love ℗ 2002 Stradivarius Released on: 2002-05-23 Ensemble: Accademia Strumentale Italiana Conductor: Alberto Rasi Composer: John Dowland Auto-generated by YouTube.
Shakespeare Byrd Morley Weelkes Robert Jones Thomas Campian Bacon Ayres Jeffery Egerton Nichols Galliard Cobb John Dowland Orlando Gibbons Monteverdi 1548 1962 1626 1625 1616 1612 1610 1606 1604 1603 1558 1563 1590 1597 1598 1600
Copyright on this content is held by the original copyright owner. I do not claim ownership of this material, nor do I turn profit from it. This material is uploaded exclusively for archival and accessibility purposes. MHS 1548 JOHN DOWLAND +••.••(...)) LUTE SONGS AND LUTE SOLOS Deborah Minkin - Lute — Willard Cobb - Tenor Side 1: LUTE SOLOS 1. LACHRIMAE ANTIQUAE PAVAN Cambridge Univ. Library, Dd. 5.78 2. LACHRIMAE GEMENTES PAVAN Lachrymae or Seven Teares, 1604 3. A GALLIARD TO LACHRIMAE A Pilgrims Solace, 1612* 4. TARLETONES RISERRECTIONE Wickhambrooke Lutebooke, 1590 5. MRS. NICHOLS ALMAND Lachrymae or Seven Teares, 1604 6. LORD WOLLOGHBY'S WELCOME HOME Washington Folger Ms. 1610.1 7. A FANTASIA Egerton Ms. 2046 (1616)** *Transcribed and edited by Brian Jeffery/ Attributed to John Dowland. Transcribed and Edited by Brian Jeffery * * * * Side 2: SONGS 1. FLOW MY TEARES The Second Booke of Songes or Ayres, 1600 2. IN DARKNESSE LET MEE DWELL A Musical Banquet, 1610 3. WHERE SINNE SORE WOUNDING A Pilgrims Solace, 1612 4. COME AWAY, COME SWEET LOVE The First Booke of Songes or Ayres, 1597 5. ALL YE WHOM LOVE OR FORTUNE The First Booke of Songes or Ayres, 1597 6. COME HEAVY SLEEPE The First Booke of Songes or Ayres, 1597 The lute played by Miss Minkin is made by Fabrizio Reginato, Treviso (Italy) 1962 Produced by Al Balo Recording Engineer — Vladimir Maleckar The life of John Dowland +••.••(...)) falls into a span of time in which England went through a relatively long period of political stability coinciding almost exactly with the reigns of Elizabeth I +••.••(...)) and James I +••.••(...)). The political continuity during these years was favorable for an unprecedented accumulation of intellectual and artistic forces: Dowland is a contemporary of the philosopher Francis Bacon, of the poets Marlowe, Shakespeare, and Ben Jonson, and of composers such as Byrd Morley, Weelkes, and Orlando Gibbons. Dowland gained a high reputation as one of the outstanding lute players of his time in England as well as on the Continent. Since he had problems in finding a position in England, he left his country several times for extended periods during which he lived in Paris and traveled through Germany and Italy. He became the lutenist of the King of Denmark from 1598 to 1606 and, finally was granted in 1612 a position as one of the six lutenists of the King of England, which he retained until his death. Dowland's reputation as a lute player is complemented by his outstanding achievements as a composer. In 1597 he published the "First Booke of Songes or Ayres" which preceded a whole series of similar publications in the following years by Robert Jones, Thomas Campian, and others. Up to 1612 Dowland himself had come out with three more collections of "songes or ayres." Some of his numerous instrumental compositions were published during his life time such as the famous pavans "Lachrymae or Seven Teares" for viol consort and lute (1604); other instrumental pieces, mainly for the lute, came down to us as manuscripts. The new compositional techniques that initiated the change in style at the end of the 16th century are usually ascribed by music historians to the composers of the Florentine camerata and to Monteverdi. Around 1600, these composers had developed a particular kind of accompanied solo song, called monody, in reaction to the highly contrapuntal style of 16th-century partwriting. Dowland reflected similar stylistic changes in his "songes or ayres" by using the resources of the English musical tradition as well as working in contact with Continental composers. At the end of the 16th century many a voice was raised that complex contrapuntal devices in polyphonic vocal music obscured the words and made them unintelligible to the listener. Dowland and other English composers aimed for something simpler in their ayres. The most characteristic feature in these compositions is that the upper voice is the main part, while the lower voices function as subordinate parts in supporting the principle melody with suitable harmonies. The polarity between dominating treble voice and harmonic support, an essential of the melodic style, is clearly represented by solo voice and lute accompaniment in the ayres. Frequently, a bass viol may have duplicated the bass part in order to reinforce the harmony-carrying voice. However, the polyphonic English madrigal was of major significance for the development of the ayre around 1600. This is evident from the fact that most ayres are composed also in an alternate arrangement as part-songs for four voices. In the versions for solo voice and lute, the lower voices of the part-songs become the instrumental accompaniment. In the madrigal — roughly spoken — all voices are given equal importance due to contrapuntal principles of construction [ . . . ] (character limit exceeded)
John Dowland Ayres Carey Chamberlain Schubert Purcell Benjamin Britten 1597 1610 1612
In darkness let me dwell, for voice, lute & bass viol (A Musicall Banquet), (1610) Steven Rickards, counter-tenor Dorothy Linell, lute John Dowland's songs (or ayres, as they were termed) for voice and lute represent the culmination of a long tradition in England, where such pieces were held in high esteem throughout the sixteenth century. The bulk of Dowland's contribution to this rich repertoire consists of three books published simply as a First, Second, and Third Book of Songs, and a further collection published in 1612 under the title A Pilgrimmes Solace. The First Book appeared in 1597. It bears a dedication to Sir George Carey, Baron of Hunsden and chamberlain to Queen Elizabeth I. In this dedication, the 34-year-old Dowland not only reasserts the traditional superiority of vocal over instrumental music, but makes it clear that the collection represents his first attempts at this form of composition: "This small booke containing the consent of speaking harmony, joyned with the most musicall instrument the Lute, being my first labour, I have presumed to dedicate to your Lordship." The continuation of the composer's preface also confirms that many of the songs were composed long before the publication date, they having been "concealde" until "the greater part of them might have been ripe enough by their age." However, far from being immature, the songs of Book I reveal Dowland as a fully fledged master. The publication includes 21 songs, among them such well-known titles as If my complaints, Can she excuse my wrongs, Go crystal tears, Come away, come sweet love, and Awake, sweet love. Dowland was one of the greatest lutenists of his age, and despite his prefatory comments the most important single feature of all his songs is the close integration of the vocal and instrumental parts, the latter of which are as important to the structure of the songs as the piano is to those of Schubert. This is one of a number of characteristics that set Dowland's songs apart from those of many of his contemporaries, who were frequently content to simply accompany the voice. Equally as important is the close relationship between the texts and the settings, Dowland's acute response to poetry that is in itself frequently highly musical placing him on near-parity with Purcell and Benjamin Britten in his setting of the English language. The songs of Book One include a wider diversity of mood than might be suspected from Dowland's self-confessed predilection for enjoying melancholy or somber themes. They range from the philosophical His golden locks, which muses on the transience of life (a familiar theme among poets of the age), through deeply felt utterances (Come, heavy sleep), to such charming conceits as Dear, if you change, and spirited pieces like Away with these self-loving lads. Although published for solo voice with lute accompaniment, many of the songs are also capable of being performed by a vocal ensemble or with a viol consort. [Allmusic.com] Art by Melozzo Da Forli
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