Burst Forth, My Tears and Solemn Pavanes, Using the Theme Familiar from the Lute-Song Flow My Teares

Total Page:16

File Type:pdf, Size:1020Kb

Burst Forth, My Tears and Solemn Pavanes, Using the Theme Familiar from the Lute-Song Flow My Teares JOHN DOWLAND (1563 - 1626) John Dowland, of English or possibly Irish origin, was born in 1563, probably in London. He was a lutenist of distinction but failed, allegedly because he was a Catholic, to win a position in the royal service, seeking his fortune abroad at Kassel and later, in 1598, at the court of Christian IV of Denmark. He was forced by debt to return to England in 1606 and eventually won appointment as one of the King’s Lutes in 1612. He performed during the funeral ceremonies of King James I and himself died the following year. Dowland was the composer, in particular, of one of the best known songs of the period, Flow my teares, music much imitated, epitomising the fashionable humour of the day, melancholy. Dowland himself provided an apt pun on his own name – Semper Dowland, semper dolens (Still Dowland, always grieving) – although he had a reputation as a cheerful man, albeit professionally embittered by his long failure to find employment at court. Dowland was above all the composer of lute-songs, publishing his first collection of airs in 1597, followed by a second in 1600 and a third in 1603. He left over eighty secular songs and these include Come again: sweet love doth now endite, Fine knacks for ladies and Flow my teares, among many others of moving intensity. For the lute itself Dowland wrote Fantasias, and dance-movements, including Pavanes, Galliards, Almains and Jigs. The best known of Dowland’s instrumental compositions is his famous Lachrimae or Seaven Teares, for five viols and lute. This work includes a series of dance-movements, chiefly Galliards, Burst forth, my tears and solemn Pavanes, using the theme familiar from the lute-song Flow my teares. THE MUSIC OF JOHN DOWLAND DDD 8.578015-16 4 CD 1 CD 2 1 Lachrimae Pavan 5:23 1 Melancholy Galliard 2:36 Nigel North (lute) Nigel North (lute) 2 Greensleeves Divisions (attr. Francis Cutting) 2:07 2 The Lady Russell’s Pavan 4:51 Dorothy Linell (lute) Nigel North (lute) 3 Mignarda “Mr Henry Noel’s Galliard” 3:00 3 Pavan “Solus cum sola” 4:36 Nigel North (lute) Nigel North (lute) 4 Mr. John Langton’s Pavan 4:16 4 Dowland’s Adieu for Master Oliver Cromwell 4:43 Jacob Heringman (lute), The Rose Consort of Viols Jacob Heringman (lute), The Rose Consort of Viols 5 Fancy (Fantasia) “Tremolo” 3:27 5 Burst forth my tears 4:19 Nigel North (lute) Catherine King (mezzo-soprano), Jacob Heringman (lute), The Rose Consort of Viols 6 A Dream 5:06 6 Pavan “Solus sine sola” 5:48 Nigel North (lute) Nigel North (lute) 7 Lasso vita mia 4:00 7 Dr Case’s Pavan 4:17 Catherine King (mezzo-soprano), Jacob Heringman (lute), The Rose Consort of Viols Nigel North (lute) 8 Pavan “La mia Barbara” 5:48 8 The Earle of Essex Galiard 1:36 Nigel North (lute) Jacob Heringman (lute), The Rose Consort of Viols 9 Fantasie No. 7 5:01 9 Fantasie No. 3 “Farewell” 6:33 Nigel North (lute) Nigel North (lute) 10 Fantasie No. 6 3:00 10 A shepherd in a shade 2:43 Nigel North (lute) Catherine King (mezzo-soprano), Jacob Heringman (lute) 11 Fantasie No. 2 “Forlorn Hope Fancy” 3:53 11 Pavan “Pavana Johan Douland” 7:00 Nigel North (lute) Nigel North (lute) 12 M. Buctons Galiard 1:39 12 Fantasie No.1 4:26 Jacob Heringman (lute), The Rose Consort of Viols Nigel North (lute) 13 Sweet stay awhile 3:08 13 M. Thomas Collier his Galiard 1:32 Catherine King (mezzo-soprano), Jacob Heringman (lute) Jacob Heringman (lute), The Rose Consort of Viols 14 Pavan (P18) 5:39 14 Lachrimae (alternative version) 5:14 Nigel North (lute) Nigel North (lute) 15 Piper’s Pavan 5:18 15 Semper Dowland semper dolens 6:33 Nigel North (lute) Jacob Heringman (lute), The Rose Consort of Viols 16 Mrs. White’s Thing 2:16 16 Can she excuse my wrongs 2:58 Nigel North (lute) Catherine King (mezzo-soprano), Jacob Heringman (lute) 17 Langton’s Galliard 2:38 17 Sir Henry Umpton’s Funerall 5:59 Nigel North (lute) Jacob Heringman (lute), The Rose Consort of Viols 18 All ye whom love or fortune 4:20 Catherine King (mezzo-soprano), Jacob Heringman (lute) CD 2 playing time 76 minutes 19 M. Henry Noel his Galiard 2:47 Jacob Heringman (lute), The Rose Consort of Viols Total playing time 2 hours and 31 minutes 20 M. Giles Hobies Galiard 1:47 Jacob Heringman (lute), The Rose Consort of Viols CD 1 playing time 75 minutes 2 3 CD 1 CD 2 1 Lachrimae Pavan 5:23 1 Melancholy Galliard 2:36 Nigel North (lute) Nigel North (lute) 2 Greensleeves Divisions (attr. Francis Cutting) 2:07 2 The Lady Russell’s Pavan 4:51 Dorothy Linell (lute) Nigel North (lute) 3 Mignarda “Mr Henry Noel’s Galliard” 3:00 3 Pavan “Solus cum sola” 4:36 Nigel North (lute) Nigel North (lute) 4 Mr. John Langton’s Pavan 4:16 4 Dowland’s Adieu for Master Oliver Cromwell 4:43 Jacob Heringman (lute), The Rose Consort of Viols Jacob Heringman (lute), The Rose Consort of Viols 5 Fancy (Fantasia) “Tremolo” 3:27 5 Burst forth my tears 4:19 Nigel North (lute) Catherine King (mezzo-soprano), Jacob Heringman (lute), The Rose Consort of Viols 6 A Dream 5:06 6 Pavan “Solus sine sola” 5:48 Nigel North (lute) Nigel North (lute) 7 Lasso vita mia 4:00 7 Dr Case’s Pavan 4:17 Catherine King (mezzo-soprano), Jacob Heringman (lute), The Rose Consort of Viols Nigel North (lute) 8 Pavan “La mia Barbara” 5:48 8 The Earle of Essex Galiard 1:36 Nigel North (lute) Jacob Heringman (lute), The Rose Consort of Viols 9 Fantasie No. 7 5:01 9 Fantasie No. 3 “Farewell” 6:33 Nigel North (lute) Nigel North (lute) 10 Fantasie No. 6 3:00 10 A shepherd in a shade 2:43 Nigel North (lute) Catherine King (mezzo-soprano), Jacob Heringman (lute) 11 Fantasie No. 2 “Forlorn Hope Fancy” 3:53 11 Pavan “Pavana Johan Douland” 7:00 Nigel North (lute) Nigel North (lute) 12 M. Buctons Galiard 1:39 12 Fantasie No.1 4:26 Jacob Heringman (lute), The Rose Consort of Viols Nigel North (lute) 13 Sweet stay awhile 3:08 13 M. Thomas Collier his Galiard 1:32 Catherine King (mezzo-soprano), Jacob Heringman (lute) Jacob Heringman (lute), The Rose Consort of Viols 14 Pavan (P18) 5:39 14 Lachrimae (alternative version) 5:14 Nigel North (lute) Nigel North (lute) 15 Piper’s Pavan 5:18 15 Semper Dowland semper dolens 6:33 Nigel North (lute) Jacob Heringman (lute), The Rose Consort of Viols 16 Mrs. White’s Thing 2:16 16 Can she excuse my wrongs 2:58 Nigel North (lute) Catherine King (mezzo-soprano), Jacob Heringman (lute) 17 Langton’s Galliard 2:38 17 Sir Henry Umpton’s Funerall 5:59 Nigel North (lute) Jacob Heringman (lute), The Rose Consort of Viols 18 All ye whom love or fortune 4:20 Catherine King (mezzo-soprano), Jacob Heringman (lute) CD 2 playing time 76 minutes 19 M. Henry Noel his Galiard 2:47 Jacob Heringman (lute), The Rose Consort of Viols Total playing time 2 hours and 31 minutes 20 M. Giles Hobies Galiard 1:47 Jacob Heringman (lute), The Rose Consort of Viols CD 1 playing time 75 minutes 2 3 JOHN DOWLAND (1563 - 1626) John Dowland, of English or possibly Irish origin, was born in 1563, probably in London. He was a lutenist of distinction but failed, allegedly because he was a Catholic, to win a position in the royal service, seeking his fortune abroad at Kassel and later, in 1598, at the court of Christian IV of Denmark. He was forced by debt to return to England in 1606 and eventually won appointment as one of the King’s Lutes in 1612. He performed during the funeral ceremonies of King James I and himself died the following year. Dowland was the composer, in particular, of one of the best known songs of the period, Flow my teares, music much imitated, epitomising the fashionable humour of the day, melancholy. Dowland himself provided an apt pun on his own name – Semper Dowland, semper dolens (Still Dowland, always grieving) – although he had a reputation as a cheerful man, albeit professionally embittered by his long failure to find employment at court. Dowland was above all the composer of lute-songs, publishing his first collection of airs in 1597, followed by a second in 1600 and a third in 1603. He left over eighty secular songs and these include Come again: sweet love doth now endite, Fine knacks for ladies and Flow my teares, among many others of moving intensity. For the lute itself Dowland wrote Fantasias, and dance-movements, including Pavanes, Galliards, Almains and Jigs. The best known of Dowland’s instrumental compositions is his famous Lachrimae or Seaven Teares, for five viols and lute. This work includes a series of dance-movements, chiefly Galliards, Burst forth, my tears and solemn Pavanes, using the theme familiar from the lute-song Flow my teares. THE MUSIC OF JOHN DOWLAND DDD 8.578015-16 4 Burst forth, my tears THE MUSIC OF JOHN DOWLAND CD1 8.578015 p c2010 Germany Burst forth, my tears THE MUSIC OF JOHN DOWLAND CD2 8.578016 p c2010 Germany Also Available: 8.553326 8.557586 8.557862 8.570449 Burst forth, my tears THE MUSIC OF JOHN DOWLAND “My favourite musician happens to be the same as Shakespeare’s: John Dowland.
Recommended publications
  • Point/Counterpoint with Christine Brandes
    contributors N DESGI O G O ANGELS / $1,000 and more Mildred Allen Kathryn Stenberg ARTISTIC DIRECTOR ETTE YU: L Tim Allen Richard Caplin Francoise Stone Anna Presler N Martin and Kathleen Cohn Marie Bertillion Collins Mary Wildavsky jEA Philanthropic Fund Christopher and Diane Mark Winges ARTISTIC ADVISOR Thomas and Judith Davies Martha Wise Kurt Rohde Dunworth Margaret Dorfman Gerald and Nancy Wright Point/Counterpoint with Christine Brandes Judith Flynn Ben Janken and Paul Hein Michael and Suzanne PRESIDENT John and Paula Gambs Audrey Kamrin Ziegler Martin Cohn Louis and Faye Hinze Robert and Anne Kamrin Anonymous Katherine and Aron Sally Landis VICE PRESIDENT John Dowland Forlorne Hope Fancy (1563-1626) 4 min Knickerbocker Sam Nichols and Laurie San ORGANIZATIONS Jeanette Yu Michael Goldberg guitar Aaron Copland Fund for Thomas Laqueur and Martin SECRETARY Carla Hesse Anna Presler and Leighton Music Ann & Gordon Getty Lena Zentall Therissa McKelvey and Fong Albert Roussel Deux Poèmes de Ronsard, Opus 26 (1924) 7 min Heli Roiha Bill and Carol Rohde Foundation TREASURER Christine Brandes soprano • Stacey Pelinka flute Anonymous Frances Singer Atlanta Chamber Players Susan Shalit John Steinfirst and Sharon The Bernard Osher BENEFACTORS / $500–$999 Collins Foundation BOARD John Dowland Sorrow, stay (1600) and In darkness let me dwell (1612) 8 min Richard Fabian Clarence E. Heller Millicent Tomkins Tim Allen Michael Goldberg guitar • Christine Brandes soprano Denise Filakosky and Michele and Kwei Ü Charitable Foundation Tom Dunworth Richard Bergmann Abby Wasserman and Grants for the Arts; City Judith Flynn Catherine McGuire Potter Wickware and County of San Kate Gambs Knickerbocker Erik Ulman this until (2009) 11 min Parker Monroe and Teresa Anonymous Francisco Andrea Plesnarski Stacey Pelinka flute Darragh Meet the Composer/ Marilyn Zivian Tom Nugent and Andrea FRIENDS / up to $124 New Music USA Alberto and Eva Bertoli Oakland Fund for the Arts PUBLICITY Plesnarski 5 min Henry and Judith Presler Alan and Kerry Bostrom Phyllis C.
    [Show full text]
  • Historical Performance) 1
    PY.380 (Historical Performance) 1 PY.380.434. Lute Literature & Notation 2. 2 Credits. PY.380 (HISTORICAL Intensive study of repertoire and genres for Renaissance lute and vihuela through listening, transcribing, and performance of selected works from PERFORMANCE) French, Italian, and German tablatures. Works of Francesco da Milano and John Dowland will be a main focus. Required for MM guitar majors. PY.380.315. Continuo 1: Figured Bass. 2 Credits. Area: P, Y Designed to develop the skill of continuo playing, fluent reading and PY.380.435. Viola da Gamba Literature. 1 Credit. improvising from a figured bass, this course uses exercises and repertoire A chronological survey of the viola da gamba and its literature from in a cumulative approach. Open to all qualified keyboard students as well the 16th to 18th centuries. The class will be an opportunity to become as non-keyboard students with proficient keyboard skills and permission familiar with a rich repertoire little known to non- specialists, and to of the instructor. learn about how the world of the baroque era relates to our own. No prior Area: P, Y experience in historical performance is required. Prerequisite: History of PY.380.337. Baroque Violin/Viola Class. 1 Credit. Music 1, 2, or permission of instructor. An introduction to the playing of early repertoire on period violin or viola Prerequisite(s): Undergrads need PY.610.321[C] OR PY.610.322[C] in order and bow. The student will learn the basics of baroque technique and will to enroll. Grads need to have passed the Musicology Proficiency exam or be introduced to a range of music, from early Baroque to early Classical, passed the music history review course.
    [Show full text]
  • English Lute Manuscripts and Scribes 1530-1630
    ENGLISH LUTE MANUSCRIPTS AND SCRIBES 1530-1630 An examination of the place of the lute in 16th- and 17th-century English Society through a study of the English Lute Manuscripts of the so-called 'Golden Age', including a comprehensive catalogue of the sources. JULIA CRAIG-MCFEELY Oxford, 2000 A major part of this book was originally submitted to the University of Oxford in 1993 as a Doctoral thesis ENGLISH LUTE MANUSCRIPTS AND SCRIBES 1530-1630 All text reproduced under this title is © 2000 JULIA CRAIG-McFEELY The following chapters are available as downloadable pdf files. Click in the link boxes to access the files. README......................................................................................................................i EDITORIAL POLICY.......................................................................................................iii ABBREVIATIONS: ........................................................................................................iv General...................................................................................iv Library sigla.............................................................................v Manuscripts ............................................................................vi Sixteenth- and seventeenth-century printed sources............................ix GLOSSARY OF TERMS: ................................................................................................XII Palaeographical: letters..............................................................xii
    [Show full text]
  • Two Lute Songs by John Dowland
    Two Lute Songs by John Dowland By Baron John Riverbanks Also known as Sheik Omar Mohammud Mirzazadeh Two Lute Songs by John Dowland This year I am performing a set of lute songs by John Dowland, “Can She Excuse my Wrongs” and “Flow my Tears” (Dowland , 1997) who was considered one of the pre-emanate lute players and composers during the “Golder Era” of lute song, 1580-1625. (Spring, 2001, pg. ). The pieces I am performing are both from the first phase of the Golden Age, 1580 – 1603. In this documentation, I provide a brief introduction to Lute Song, a biography of John Dowland, how Lute Song would have been performed in period, and what performance decisions I made for this performance and why I made them. History and performance of Lute Song Interest in the genre of music that came to be known as lute song first began during the reign of Henry VIII and was primarily based on existing liturgical vocal music (Stevens, 1960 pg. 81) and later expanded by the arrival of Italian lutenists early in the reign of Elizabeth (Spring, 2001, pg. 63). Very few of the earliest examples of lute song still exist, although it is believed the many “poets as well as musicians practiced the lute and must often have set their songs to music.” (Stevens, 1960, pg. 81) and versions of lute song by Italian lutenists continued to be circulated into the Golden Period (Spring, 2001, pg. 64). The Italian school, represented by such composers as Ferrabosco, made deep impressions on his English contemporaries Byrd and Morley, both leading lights in the development of the English school of Madrigals (Spring, 2001, pg.
    [Show full text]
  • Western Culture Has Roots in Ancient
    20 14. The leading poets were ________________, Chapter 11 _____________, ______________, __________, and Madrigal and Secular Song ____________. The subject matter was __________ or in the Sixteenth Century ____________. Francesco Petrarca (1304-1374; Petrarch), Ludovico Ariosto 1. [241] The 15th century was about __________ style; the (1474-1533), Torquato Tasso (1544-1595), Giovanni 16th, ___________ style. Battista Guarini (1538-1612), Giovan Battista Marino International; national (1569-1625); sentimental or erotic 2. What are the characteristics of the Spanish __________, 15. (246) Early madrigal has ___ voices; midcentury had Italian _________, and French ___________? The ___ voices but could have as many as ___. culmination was reached in the ____________. 4; 5; 6+ Villancico, frottola, chanson; simple, strophic, mostly syllabic and homophonic, easily singable for amateur performers; 16. How were voices named beyond four? madrigal Latin, quintus, sextus 3. Printing allowed for more people, including amateurs, to 17. How many collections were published between 1530 and participate in music-making and it created a demand for 1600? new music. 2,000 4. (243) SR TQ: Summarize what he's talking about. 18. What are characteristics of Verdelot's madrigals? Doctrine of affections 4 voice, homophonic, cadences at ends of lines; 5- and 6-voice madrigals have imitation, varying voice grouping, 5. What are the generic traits of the villancico? overlapping parts at cadences. Short, strophic, syllabic, mostly homophonic 19. (247) How about Arcadelt's? The White Swan might 6. What are the villancico body parts? have an erotic message. Refrain (estribillo), 1+ stanzas (coplas); stanzas begin with a Homophonic with occasional imitation new section (mundanza, "change") with two statements of a contrasting idea and conclude with a return to the 20.
    [Show full text]
  • 16 Name______Grout, Chapter 11 13
    16 Name_________________________________ Grout, Chapter 11 13. Early madrigal has ___ voices; midcentury had ___ Madrigal and Secular Song voices but could have as many as ___. in the Sixteenth Century 1. (240) The 15th century was about __________ style; the 14. How were voices named beyond four? 16th, ___________ style. 15. (246) How many collections were published between 2. What are the characteristic s of the Spanish __________, 1530 and 1600? Italian _________, and French ___________? The culminations was reached in the ____________. 16. What are characteristics of Verdelot's madrigals? 3. Statement: Printed music and amateurs created new genres. 17. How about Arcadelt's? The White Swan has an erotic 4. (242) SR TQ: Summarize what he's talking about. message. 5. What is the Spanish version of the French chanson? 18. Bembo led the ________ revival and identified two contrasting styles: _________ and ___________. 6. Is the Spanish song more difficult or simpler than the villancico? 19. (248) "Willaert and Zarlino associated ______________ with harshness and bitterness and _____________ with sweetness as well as with grief." In the SR, _________ 7. What are the villancico body parts? Who is the movements can have the effect of harshness and composer? bitterness whereas _________ movements can express grief. 20. (249) Statement: We need to understand the compositions within the culture of their time and not by our standards. 8. (244) Does the frottola have a formal structure? 21. (250) Mid-century madrigals had ___ voices and mixed __________ and _________. 9. What was an alternative performance practice? 22. A leading composer was ___________.
    [Show full text]
  • Chapter 2 the English Lute Repertory
    2: The English Lute Repertory CHAPTER 2 THE ENGLISH LUTE REPERTORY … we doubt not of that truth, that will help us to believe that the lute is fit to assuage the passions … This heavenly harmony, rising unto the brain as an intellectual dew, does moisten gently the heat and dryness of it and if there be too much moisture and terrestrial vapours it dissipates and dries them by the melodious activity that produces a subtle fire[.] … it followeth that this harmony set aright the faculties of the soul and perfect them. If the heart be closed it openeth it and if it be too much opened, it gently shutteth it to embrace and keep in the sweetness that the lute inspires into its sensible concavities. … This harmony softens stony hearts and banishes the cruelty from it to give room to compassion[;] it turneth out hatred to lodge in love. Mary Burwell.1 * SHAPE AND SURVIVAL GENRES SOURCES BEFORE 1580 SOURCES 1580-1615 SOURCES AFTER 1615 THE 'GOLDEN AGE' * MUSIC SURVIVING FOR THE LUTE in French tablature emerges from three tablature traditions: French, German and Italian. The repertory in Italian tablature is the one that has fewest overlaps with the French repertory and the tablatures themselves have little in common beyond their six-line system. Since German tablature was becoming more and more unwieldy, most Germanic lute publications and manuscripts from the end of the sixteenth century on used French tablature: it also broadened the market to include most of Europe. Melchior Newsidler attempted to introduce Italian tablature in Germany with his two 1566 publications, Il primo libro intabolatura di liuto di Melchior Neysidler… and Il secondo libro intabolatura di liuto di Melchior Neysidler…, but the project appears to have been unsuccessful, as he re-issued the two books as one in German tablature, Tabulatura continens praestantissimas et selectissimas quasque cantiones, in usum Testudinis, à Melchiore Neusydler…, in 1573.
    [Show full text]
  • The Printed Lute Song: a Textual and Paratextual Study of Early Modern English Song Books
    The Printed Lute Song: A Textual and Paratextual Study of Early Modern English Song Books Michelle Lynn Oswell A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music Chapel Hill 2009 Approved by: John Nádas Timothy Carter James Haar Anne MacNeil Severine Neff © 2009 Michelle Lynn Oswell All Rights Reserved ii Abstract Michelle Lynn Oswell: The Printed Lute Song: A Textual and Paratextual Study of Early Modern English Song Books (Under the direction of John Nádas) The English lute song book of the late sixteenth and early seventeenth centuries represents a short-lived but well-admired flowering of English printed music. Situated between the birth of music printing in Italy at the turn of the sixteenth century and the rise of music printer John Playford in England in the 1650s, the printed lute song book’s style quite closely resembles the poetic miscellanies of the time. They were printed in folio and table book format rather than quarto-sized and in part books, their title pages often used elaborately-carved borders, and their prefatory material included letters rich with symbolism. Basing my work on the analyses of paratexts done by Gérard Genette and Michael Saenger, I examine the English printed lute song book from 1597-1622 as a book in and of itself. While there has been a fair amount of research done on the lute song as a genre and on some individual composers, which I discuss in the introduction, comparably little discussion of the books’ paratexts exists.
    [Show full text]
  • Renaissance 1450-1600 “Rebirth” Historical Developments
    Renaissance 1450-1600 “Rebirth” Historical Developments Period of exploration, adventure, & scientific inquiry • Columbus • Vasco de Gama • Magellan Age of artistic awakening • da Vinci • Michaelangelo • Raphael Artists found inspiration in ancient Greek and Roman cultures Historical Developments Invention of the printing press & movable type • made learning easier • knowledge spread faster • music was now printed and published Reformation • Martin Luther Renaissance Society Moved from being highly religious to more secular Emphasis on the church lessened and people began to feel a sense of personal freedom More emphasis put on the human experience Humanism Humanism Focused on human life and its accomplishments More emphasis was put on the pleasures of the senses No longer concerned with life after death Music in the Renaissance Music was part of education Every educated person was expected to be trained in music Music became appreciated for its aesthetic value as an art form • not just used for church or court or to entertain • to create an emotional response, composers to offer a more sonorous experience Music was created by people from all social classes as well as amateur and professional musician More complex musical ideas became common From Church to Court Musical activity continued to shift to the courts • Royalty competed for the best composers and musicians • Court composers wrote music for court chapel and for entertainment (balls, feasts, etc.) • Court composers traveled with nobility Musicians were employed not only employed by the church and court but were also employed as instrument builders, music printers, and music publishers Women more involved as music makers as singers Characteristics of Renaissance Music Words & Music Texture Rhythm & Melody Words & Music • Vocal music more important that instrumental music • music was written to enhance the meaning and emotion of the text • word painting-musical representation of specific poetic images i.e.
    [Show full text]
  • Music in the 16Th Century
    Chapter 6 Music in the 16th Century Thursday, September 13, 12 Secular Vocal Music • rondeau replaced by more freely structured chansons • new approaches to setting vernacular texts • the Parisian chanson in France • the Madrigal in Italy Thursday, September 13, 12 Secular Vocal Music The Parisian Chanson • 1520s, a new genre of song • lighter and more chordally oriented than earlier chansons • homorhythmic and dominated by vertical sonorities • melodies in the upper-most line Thursday, September 13, 12 Secular Vocal Music The Parisian Chanson • Claudin de Sermisy Tant que vivray - typical Parisian chanson - melody in top voice - syllabic text setting (a few melismas) - texture is mostly chordal (homorhythmic) with a few imitative figures - Spotify playlist shows two ways to perform the chanson (4 voices; voice with lute acc.) - see picture on Bonds p. 154 for performance practice Thursday, September 13, 12 Secular Vocal Music The Italian Madrigal • 1530s, a new genre of vocal music in Italy • for three or more voices setting mostly secular texts • contrapuntal writing • through-composed: setting each line of text to new music • no fixed form, single stanza with a free rhyme scheme • performed in many settings (banquets, private homes) Bonds p. 154 Thursday, September 13, 12 Secular Vocal Music The Italian Madrigal • Jacob Arcadelt Il bianco e dolce cigno - exhibits traits of early 16th century madrigal - text plays with two themes: swans sing just before they die and the euphemism of death for sexual climax - rhythm is a bit more complex than frottola but still quite simple - texture is mostly chordal but with some lengthy imitative sections - harmonic variety seems greater that the frottola Thursday, September 13, 12 Secular Vocal Music The Italian Madrigal • Cipriano de Rore Da le belle contrade d’oriente - mid-16th century madrigal - texture: 5 voices, much more imitative - text deals with two lovers departing at dawn - some “text painting” - m.
    [Show full text]
  • An Introduction to John Dowland's Lute Songs Anne Laverne Morrow
    University of Richmond UR Scholarship Repository Honors Theses Student Research 1-27-1962 An introduction to John Dowland's lute songs Anne LaVerne Morrow Follow this and additional works at: http://scholarship.richmond.edu/honors-theses Recommended Citation Morrow, Anne LaVerne, "An introduction to John Dowland's lute songs" (1962). Honors Theses. Paper 609. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. UNIVERSITY OF RICHMOND LIBRARIES llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll 3 3082 01 028 1953 Ln:rn,"-.R'f llNMRSITY OF RIOH~~N@ - YIRGINIA 231711 ~· Art Introduction to John Dowland's Lute Songs by Anne LaVerne Morrow Prepared for Miss Kidd Music History 331 Westhampton University of Richmond January 27, 1962 . .VH1Gii~lA .23173 1·0 ~ri-lE l{IC~Irr IIC)NORARLE SIH GEOHGE CAlC\', OF THE :\lUST IIO~Ul\:\HLE 01\DER OF TJJ E C.\ I\ TEl~ K:\ IG liT, Haro" oj 1/uusdou, Caj>laiuc uf llt'r .\laieslies Gct~tlemt'n J>eusiot~trs, Cc~twrnor of the ble of \Vight, Lieutenant of the Countie of ~outht: Lor./ Clwmbal.ltn~ of lt~r .\l,zjr.,tirs most Royall lloust, a"J of her ll•ghnes mo•t honorable priuie Counsell. II A r harrn11ny (Hil-{ht honorable) which is skilfullie exprest by Instruments, albeit, by reason of the T \';uu·tv of number & proportion of it selfe, it easily stirs up the mind~ of th~ hearers to :ulm~ration .'\: deh~-:ht, yet for ha~her authority any power hath been euer worthily attnbuted tfl that k1nd of ~I u-.icJ,,., wluc!, to the sweetnes of instrument applies tlw liuely voice of man, expressin~ some worthy r.l'nt.-awl" or ,.
    [Show full text]
  • Music for Violin and Guitar
    music for violin and guitar Donna Fairbanks, violin | Jon Yerby, guitar WWW.ALBANYRECORDS.COM TROY1730 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2018 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Fairbanks_1730_book.indd 1-2 5/17/18 12:02 PM the music Se Ela Perguntar—Dilarmando Reis (1916–1977) Dilarmando Reis is an icon in the colorful world of the Brazilian guitar (violão). Reis Petite Suite Médiévale—Francis-Paul Demillac (b. 1917) was highly regarded as a performer, composer, arranger, and teacher in his native Rio Born Enyss Djemil in 1917, the French violinist, composer, and conductor became de Janeiro. His compositional style is fully romantic, expressive, and idiomatic to the known as Francis-Paul Demillac in 1973. His Suite Médiévale owns up to its name instrument. Reis made hundreds of records during his lifetime and contributed to the perfectly. A short suite of four movements in a melodic style that conjures images rediscovery of music by the great composer, João Pernambuco. Se Ela Perguntar “If she of 14th century Europe, Suite Médiévale is written in church modes and contains asks” is one of his most famous pieces, a simple yet seductive melody that utilizes nearly numerous quotations from french Renaissance composers. the entire range of the guitar. Entr’Acte—Jacques François Antoine Marie Ibert (1890–1962) Fratres—Arvo Pärt (b. 1935) Jacques Ibert began studying composition at the age of 20 at the Paris Conservatoire.
    [Show full text]