John Dowland Lachrimae gementes Vidéos
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2024-04-24
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John Dowland Jordi Savall Nichol Whitehead Johann Sebastian Bach Hespèrion XX 1563 1604 1626 1801 1926 1987
John Dowland +••.••(...)) - Lachrimae (Or Seaven Teares, 1604) [Jordi Savall] 1 Lachrimae Antiquae (00:00) 2 Sir John Souch His Galiard (04:41) 3 Lachrimae Antiquae Novae (06:45) 4 Mr. Henry Noell His Galiard (11:36) 5 Lachrimae Gementes (13:35) 6 The Earle Of Essex Galiard (18:01) 7 Lachrimae Tristes (19:26) 8 Mr. Nicholas Gryffith His Galiard (24:47) 9 Lachrimae Coactae (26:41) 10 Mr. Giles Hoby His Galiard (31:34) 11 Lachrimae Amantis (33:03) 12 Mr. Thomas Collier His Galiard (38:25) 13 Lachrimae Verae (39:54) 14 Capitaine Digorie Piper His Galiard (45:07) 15 Semper Dowland Semper Dolens (47:01) 16 The King Of Denmark's Galiard (53:00) 17 Sir Henry Umpton's Funerall (55:00) 18 Mr. Bucton His Galiard (1:01:05) 19 Mr. John Langton's Pavan (1:02:35) 20 Mrs. Nichol's Almand (1:07:46) 21 Mr. George Whitehead His Almand (1:09:08) Jordi Savall / Hespèrion XX Recorded in 1987, at Spain Scans & Booklet: (http•••) This channel seeks to bring together the totality of the baroque music of the nations of Europe. In particular, the one referring to the harpsichord. Enjoy, think, pray to Johann Sebastian Bach, the Fifth Evangelist! Please help the channel, so that the content can improve in quantity and quality. Baroque music deserves no less! Value the effort by donating a small amount to some of these wallets: Bitcoin (Red BTC): 1PCpKt5cuCoZ7rTvFSJFSEnNxasguVoFkL Ethereum (Red ERC20): 0xbad6b9065c12012afd14cbecc56fb83e487f4854 USDT (Red TRC20): TJBjzsy8imdENvntc4Mfgi2rhZ2wx7wZZc BNB (Red BEP20): 0xbad6b9065c12012afd14cbecc56fb83e487f4854 EOS (Red EOS): 107235864 Thank you so much!/ BAROQUE ROOM***
John Dowland Dumitrescu 1604 1605
From LACHRIMAE, or SEAVEN TEARES figvred in Seaven Passionate Pauans, with diuers other Pauans, Galiards, and Almands, set forth for the Lute, Viols, or Violons, in fiue parts: By Iohn Dowland Bachelor of Musicke, and Lutenist to the most Royall and Magnificent, Christian the fourth, King of Denmarke, Norway, Vandales, and Gothes, Duke of Sleswicke, Holsten, Stormaria, and Ditmarsh: Earle of Oldenburge and Delmenhorst. (London, 1604/5) Dedicated to The Most Gracious and Sacred Princesse Anna Queene of England, Scotland, France, and Ireland I. Lachrimae Antiquae - 0:04 II. Lachrimae Antiquae Novae - 3:00 III. Lachrimae Gementes - 5:55 IV. Lachrimae Tristes - 9:05 V. Lachrimae Coactae - 12:22 VI. Lachrimae Amantis - 15:29 VII. Lachrimae Verae - 18:58 Performed by Consortium Violae Sanda Crăciun, Eugenia Deaconu (viola) Emilia Nădejde (viola Da Gamba alto) Anca Iarosevici, Robert Dumitrescu (viola da gamba tenore) Marta Joja (Spinetta)
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)
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