Chapter 7 Case Studies
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APPENDIX 1 Inventories of Sources of English Solo Lute Music
408/2 APPENDIX 1 Inventories of sources of English solo lute music Editorial Policy................................................................279 408/2.............................................................................282 2764(2) ..........................................................................290 4900..............................................................................294 6402..............................................................................296 31392 ............................................................................298 41498 ............................................................................305 60577 ............................................................................306 Andrea............................................................................308 Ballet.............................................................................310 Barley 1596.....................................................................318 Board .............................................................................321 Brogyntyn.......................................................................337 Cosens...........................................................................342 Dallis.............................................................................349 Danyel 1606....................................................................364 Dd.2.11..........................................................................365 Dd.3.18..........................................................................385 -
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 -
GB-Cambridge University Library, Ms.Dd.2.11 DATE
Dd.2.11 GB-Cambridge University Library, Ms.Dd.2.11 DATE: c1585-c1595 Page measurements: 339 x 218 mm Professional book in large upright folio format. There are various inscriptions: Musica mentis medicina maetae (f.0v) Vinco, flecto rego, cantu dulcedine plectro / Dira, cruenta, feros, tantara mostra viros / Languentes releao, morituros excito, maestos / Erigo, pallentes murio, vinco Deos (f.1) Dd.2.11 is certainly the earliest of the Holmes lute books, though possibly it was not started before 1588 since in one instance Dowland is given his MusB, and Edward Pierce is described as 'Regie Capellæ' (f.56v). Nevertheless Dowland's name, either in full or reduced to initials, occurs without the degree no less than 18 times. Moreover the MusB is attached to a piece that has been used as a fill-up at the bottom of a page, and could have been copied in after the rest of the MS was finished. Richard Newton believes the likely year of its completion to have been 1595, but a substantial part was, in all probability, written before 1591. Katherine Darcy married Gervase Clifton in that year and all her pieces in this volume carry her maiden name. It is virtually certain, in any case, to have been completed by 1600, the year in which Edward Pierce left the Chapel Royal to go to St. Paul's. This is a large, closely written book, and contains about 310 pieces, 54 of which are for bandora. Although Dd.5.78.3 appears to be the second in chronological order it is possible that the process of copying was partly contemporary with that of Dd.2.11. -
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. -
Learning the Lute in Early Modern England, C. 1550-C. 1640
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES School of Music Learning the lute in early modern England, c.1550-c.1640 by Michael Gale Thesis for the degree of Doctor of Philosophy May 2014 ABSTRACT This study explores the popularity of lute instruction in late sixteenth- and early seventeenth-century England and the ways in which this accomplishment was used in constructions of social status. The opening chapter outlines the functions of the lute in early modern English culture and surveys previous research on the instrument and its repertory. Chapter 2 provides an overview of the hierarchical structure of Elizabethan society, highlighting shifting conceptions of “gentle” status during the sixteenth century. The complex position of music within early modern discourses on elite identity is discussed, alongside the potential of lute-playing skills to contribute towards social advancement. -
APPENDIX 1 Inventories of Sources of English Solo Lute Music
408/2 APPENDIX 1 Inventories of sources of English solo lute music Editorial Policy................................................................279 408/2.............................................................................282 2764(2) ..........................................................................290 4900..............................................................................294 6402..............................................................................296 31392 ............................................................................298 41498 ............................................................................305 60577 ............................................................................306 Andrea............................................................................308 Ballet.............................................................................310 Barley 1596.....................................................................318 Board .............................................................................321 Brogyntyn.......................................................................337 Cosens...........................................................................342 Dallis.............................................................................349 Danyel 1606....................................................................364 Dd.2.11..........................................................................365 Dd.3.18..........................................................................385 -
NOCTURNAL JAKOB LINDBERG Lute
NOCTURNAL JAKOB LINDBERG lute BIS-2082 Nocturnal HOLBORNE, Anthony (1545–1602) 1 The Honeysuckle 1'45 2 Muy Linda 1'22 3 The Night Watch 1'37 4 Countess of Pembroke’s Paradise 4'21 5 The Fairy Round 1'27 COLLARD, Edward (fl. c. 1595–99) 6 Go From My Window 3'20 7 Hugh Aston’s Ground 4'47 BACHELER, Daniel (1572–1619) 8 Pavan 5'01 DANYEL, John (1563–c. 1626) 9 Mrs Anne Grene her Leaves be Green 4'52 ANON (early 17th-century mandora manuscript of John Skene) 10 The Flowers of the Forest 1'05 11 Remember me at Evening 1'22 12 The English Nightingale 2'58 BYRD, William (1543–1623) 13 Lullaby, set for lute by Francis Cutting (fl. 1583–c. 1603) 3'56 2 BRITTEN, Benjamin (1913–76) 14 Nocturnal, after John Dowland, Op. 70 (Faber) 17'48 set for lute by Jakob Lindberg by kind permission from Faber Music and the Britten Estate DOWLAND, John (1563–1626) 15 A Dream 2'41 16 A Fancy 2'41 17 Orlando Sleepeth 1'15 18 Galliard to Lachrimae 3'03 19 Mr Dowland’s Midnight 0'56 20 Farewell 5'30 JOHNSON, John (c. 1545–94) 21 Passingmeasures Pavan 2'57 22 Carman’s Whistle 2'22 23 Good Night and Good Rest 4'40 TT: 83'17 Jakob Lindberg lute and lute ‘mandorée’ [tracks 10–12] Instrumentarium 8-course renaissance lute by Michael Lowe, Wootton-by-Woodstock 1981 7-course soprano lute (in mandora tuning) by Michael Lowe, Wootton-by-Woodstock 1992 3 The Lute is, without contradiction, the King of Instruments.