He often ennobles his subject; the peddlar in âFine knacks for ladiesâ, unlike the other musical mountebanks of the day, is looking for love, not money, while the punchline of âThe lowest trees have topsâ: âand love is love, in beggars and in kingsâ was considered unacceptably democratic by some of his contemporaries, who wrote âanswersâ to the effect that a kingâs love is greater than a beggarâs! Much of the music requires more than seven courses, and is not terribly easy; Paul OâDette, who has made a recent recording on the Harmonia Mundi label, points out that it is hard to find a tempo that suits both the slow passages in his music and the fast divisions. Besides the general paucity of written music before the 15th century, no special notation was required for such music, so we do not have evidence of a specific repertoire. besides the complete lute solos, mentioned above, the Lachrimae (1604) collection for viols and (very difficult) lute has been published in facsimile by Boethius, and in modern editions, most recently by Fretwork Editions, while his other consort music is available in a boxed set of partbooks from Schott. In fact the dominance of manuscript sources can be seen as something of a blessing in disguise. Pavans and galliard dominate the Elizabethan repertoire; the lighter forms, such as corantos and volts start to appear in the early 17th century.
There are three main currently available editions of the English lute duets. And the student is encouraged by the experience of participating in ârealâ music making at an early stage in his or her studies. Christopher Wilson and Shirley Rumsey have recorded a selection of his works on Naxos. His âSharp pavanâ was one of the smash hits of the day; an edition of his solos is available from the Lute Society. The chief glory and ornament of the Elizabethan lute is of course the music of John Dowland (1563â1626) which, if no other lute music at all had come down to us, would amply justify the study of the instrument. Boethius/ Severinus/ Jacks Pipes and Hammers: Willoughby, Trumbull, Sampson, Pickeringe, Board, Brogyntyn, Hirsch, ML, Marsh, Mynshall.
They are a mixed bag, but there are few real gems among the lesser works.
A large corpus of solo music has been preserved, mostly in manuscript sources, from which Jakob Lindberg has made a personal selection. If we want a one-word label for Dowland one might propose âShakespearianâ rather than âmelancholyââfor the range of his emotions and expression, and for his magpie-like willingness to absorb all the varied cultural influences of his artistic world in order to produce a new synthesis. See also Scores featuring the lute.
There are four main sources, mostly incomplete but reconstructable: Thomas Morleyâs Consort Lessons (1599, 1611, modern edition by Sydney Beck), the Walsingham and the Cambridge manuscript partbooks (partial modern edition: Musica Britannica vol. Some of the English lute manuscripts make for satisfying self-contained musical programmes, and have attracted single-source recordings. But from early in Elizabethâs reign the sources become more competent and confident, as English lute players begin to digest the lessons from continental lutenists (a number were employed at court, and about 10% of lute music in English sources is by foreign composers) and to write their own music. A milestone seems to be John Johnsonâs âPavan and Galliard to Delightâ in the Willoughby lute book (1570s) âthe first fully extended piece by a known English composer in a completely English idiomâ. Dowland had his setbacks, as most of us do, but he was feted in the royal courts of Europe; his First Book of Songes, and his âLachrimaeâ pavan were the smash hits of the day. In spite of the title, there is no beginnerâs music here; it represents something to work towards in your studies. C Printed music tends to be hard, because music printing was incredibly expensive and laborious and it would have been seen as a waste of precious resources to print very easy and slight beginnerâs pieces. Lundgren has chopped the treble and ground duets about, to share out treble and ground sections between the two players. Lute, in music, any plucked or bowed chordophone whose strings are parallel to its belly, or soundboard, and run along a distinct neck or pole. Some years ago Anthony Rooley made a record (on the Oiseau Lyre label) of the Cozens lute book. In this sense, instruments such as the Indian sitar are classified as lutes. Daniel Bacheler comes next in the league table with 55 extant solos. anon. The beginner will want to know which manuscript sources, in facsimile or modern transcription, contains music suitable for novices. Not surprisingly then, the largest surviving oeuvre is that of âthe English Orpheusâ, John Dowland, with 75 pieces (plus 16-odd possible attributions). His duets are notable; a hallmark of his treble-and-ground writing is that they run the whole gamut of the instrumentâgood student material!
These seem to have been widely used as teaching material, since the treble part allows the student to concentrate on reading a single line of notes, right-hand technique, sound production and phrasing, and the ground permits concentration on chordal playing. This includes works originally scored for solo lute. The chief glory and ornament of the Elizabethan lute is of course the music of John Dowland (1563–1626) which, if no other lute music at all had come down to us, would amply justify the study of the instrument. One of the foremost exponents of the lute and this repertoire, Jakob Lindberg performs the programme on what is possibly the world's oldest lute in playing condition, built in c. 1590 – and thus almost exactly contemporary with the music on this disc. L
The former contains some genuinely easy and worthwhile student material.
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