University of RichmondUR Scholarship Repository

Honors Theses Student Research

1-27-1962

An introduction to John Dowland's lute songsAnne LaVerne Morrow

Follow this and additional works at: http://scholarship.richmond.edu/honors-theses

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 inHonors Theses by an authorized administrator of UR Scholarship Repository. For more information, please contactscholarshiprepository@richmond.edu.

Recommended CitationMorrow, Anne LaVerne, "An introduction to John Dowland's lute songs" (1962). Honors Theses. Paper 609.

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.

T II A r harrn11ny (Hil-{ht honorable) which is skilfullie exprest by Instruments, albeit, by reason of the

\';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 , .. o-,·IJtont l'ot-me. Hence (as all antiquity can witness~) first grew the heat:enly Art of mu..;icke: for

/."'", CJrf•h.:tll ami tlae n~st, :weanling to the number and time of the Poemes, farst framed the numbc~rs :wei

tmw·. of lllll'>ll'kt·: S11 th:n Plato dc•tines melody to consist of harmony, number and word'>; harmony nal,ed of

al ····lk: w •• rdc·-. tiH' orr1.1rnent of la:trrnony, nurnb~r the common friend and uniter of them both. This small bool-a~

1 •lll::tlltllt~ tlw 1 un~,·:at of ... pt•akang harmony, ic;ned with the most musicall i:htrurnent the Lute, l>r.ing my far'>t

hl"llll, I h.uw pa•·,,tuned to dedicate to your Lordship, who for your yertue and nobility are best able to protect

it. ,\ t,ll Y•'llr honor:~.blt: fauors toward-. me, best de,;eruiug my ducty and seruic''· Hc~ide'i your noble

1111 l:n.tti,,n .uhl loue to all ~ood Arts, and namely the cleuine S<;ience of musicke, dflth challenge the patronage of

l•tl! h·.tanull-!, thf'n wluch no greatt>r titlt" can be added to Nobility. Neither in these your honours may I let

1'-'""r thl" ,lutifldl rt>mt>anbr:mce of your n·rtuous I ... ·uJy my honorable mistris, whose singular graces towards

It~·,. h:wt' a.J,Ic..l ~pa11t to my unforturute labours. \\'hat time and dali~;ence 1 haue bestowed in the search of

: M., .... , kt', wlut traudl an forreaue cuuntraes, what succcs:>e and estiuutaun euen among strangers I haue fO!md, I

l,.;t ,... tn : ,,,.. rq "'' t of othrb. Yet all t ha-; in V;lllle were it not tlut your honourable hands have vouchsaft to

upl:,,!,i am· 1"-'->rl" f<>rtunt>s, whach I now wholy recomrn"'!Hl to )·our gratious protection, with these my fint

tu.ll'u,,r ... huaul>ly be:>ec"Chmg )"OU to accept and cht•rish them with your rontinued fauouni.

Table of Contents

An Introduction to John Dowland's Lute Songs

Part I ••••• Context of his life and music Part II •••• Biography Part III ••• Analysis

Footnotes

Bibliography

List of Music Available Music other than the songs available in Richmond Discography

Photographs

The two photographs at the beginning of the paper are from the First Book of Songs ~ Ayres, by John Dowland.

About the photographs

Leonard Owen ~orrow, now a PhD candidate at

Cornell University, Ithaca, New York, made these

copies for me from: the Firat and Second Book of

Songs; Muaica. Britannica, vol..VI; and English

MB:drip;~l Comoosers, by Dr. Fellowes.

~en a brief glance at the context of .Tohn Dowland' a life

can be helpful in arranging insights into an introductory under­

standing of his life ~nd music. Dr. Edmund Fellowea, one of

the great scholars of this period of music history, said that

the Ehglish have always appeared to prefer vocal music over

instrumental music. Arid one of the eras when England "stood

first in music", he said, was during the Elizabethan days and

up to the close of the Tudor period.

Before the great flourishing of the madrigals and lute

songs in England there were English secular songs, but little

is known about this national art. Along with it there began

to develop an interest in the Italian madrigal. It is impor­

tant to try to realize the tremendous influence Italian music

obviously had over the great English composers of this period

in order to a9preciate those, such as William Byrd and John

Dowland, who were more individualistic in their a9proach to

composition.

In 1588 the first volume of Musica Transalpina was pub­

lished, con ta.ining works by Marenzio, Palestrina, Ferrabosco,

Lassus, de lf.onte, ~.nd others, as well a.s two pieces by the

English composer Willi~m Byrd. This was the first printed

collection of Italia11 madrigals including an English transla­

tion. Evidently singing Italian and Italo-Flemish madrigals

was customary by this time, at least among certain classes,

for we find Nicholas Yonge, editor of the book, dedicating it

to the guests in his house, "furnishing them with Bookes of

that kind yeerly aent me out of Italy and other places."

-2-

!following the publication of Musica TrR.nsR-lpina there was an

increase in the popularity of the Italo-Flemish·madrigal and

much artistic music was produced which was greatly influenced

by this form.

In 1590 there appeared further evidence of the Italian in­

fluence in English music;· Thomas Watson edited The First ~ of

Ita~ 1:!adriga.ls Enp;liahed·. Twenty-three of the twenty-eight

madrigals included were composed by Luca. Marenzio who became the

model of English madrigalists, and who was associated with John

Dowland.

Some important names from the early era of the English

madrigal are Thomas Morley (1557-c.l603), William Byrd (1542/43-

1623), Thomas Weelkes (d.lo23), and John Wilbye (1574-1638), -

while later we find Orl~do Gibbons (1583-16~5), John Ward, Thomas

Tomkins (1573-1656), and Frances Pilkington {d.l638).

The madrigals of these and other composers were a great

success in England, and educated persona were expected to be

quite capable of participating at sight in madrigal singing or

in a consort or viols. But the madrigal having edged out the

national song art in popularity began itself to recede after a

brief period of flourishing. It is doubtful if madrigals were

sung much after lo4o, and in fact, interest in them has really

only been revived in this century. 1

But while the madrigal was still at ita height a new music

appeared on the ~nglish scene, the music of the lutenist school,

new to England 13,lthough original songs for solo voice and lute

accompaniment had been published on the Continent sixty-two

-3-

years before their first publication in En$land. It is in­

teresting that the lutenist school could have arisen so success­

fully amidst the popularity or the madrigals; someone has

called it "almost unbelievable". 2 In the very year, 1597, which

marked the publication or John Dowland's First Book 2£ Ayres

as well as the official beginning of the lutenist school there

also appe~red the second volume of Musica Tra.nsalpina. And in

1601, a year after the Second Book of Ayres by John Dowland had

been issued, The Triumphs£! Oria~ was published. This was a

collection of madrigals which resembled the Italian book Il

trionfo di ~ (1592) in name, number of contributing composers,

and the refrain, "Long live fair Oriana''.

Yet despite the madrigal's popularity the new music did

develop a.nd was welcomed. Though we have not found any con­

crete reasons for the growth of such music we do know a few

things. Its development was not the result of a rebellion

against the past. There was no sudden revolutionary change of

style3 even though there are differences between the madrigal

and the lute song. Such differences are the less artificial

nature of the lute ayres4, the more rhythmic outline of the

ayres5, the frequent homophony of the ayres in contrast to the

four and five part counterpoint of the madrigals6, the predomi­

nance of one voice in the lute songs - even when sung by four

voices - as opposed to the equality of parts in the madrigal,

the fewer repetitions in the ayre which were considered an

essential part of the madrigal, and the presence of a lute

accompaniment in the original editions of the lute songs.7

-4-

Another important difference is that the sixteenth century

English mR.drigal w.11s a. copy of the Italian form and as such

did not demonstrate much originality. The lute ayres, however,

especially those of John Dowland, '1 are much more typical of

pure mglish a'rt". 8

John Dowland and other composers were evidently anxious

about the reception or their new type of music for they arranged

it to be sung not only by solo voice and lute, but in madri-

gal fashion as well.9 Thomas Morley, one of England's greatest

madrigalists, must have observed a change bec.11use he published

his Canzonets of little Short Aers in 1597 which included an

alternate part for lute accompaniment. By 1600 the last set

of his work was issued, a.nd it pri!'IIarily contained lute ayres. 10

Although, as we have said, 1597 does mark the beginning

of the lutenist school we would assume that interest in the

songs probably originated before then, for we have already

noted that Morley's book containing a. few a.yres was printed in

the same year. Furthermore, there had, earlier in 1571,

appeared Songes Q! three, fewer, and five voyces, by Thomas

Whythorne. These were for unaccompanied voices, but like the

lute songs the highest voice had the predominant role. Peter

Warlock stated that some of these songs are as fine as "the

best of the later a.yres." Finally, it would seem logical that

men such as John Dowland would try out some of their own songs

a~ong friends, colleagues, and patrons before publishing them.

~fuat ever else happened it w~.s in this year that John

DowlAnd's very significant First~ Q! Ayres appeared,

-5-

establishing both the lutenist school and his own reputation

as a composer. 11 Its full title indicates the aforementioned

desire to encourage acceptance of the new music by wri t1ng

it so it could be performed* both in the popular four voice

fashion or as solo voice with lute accompaniment, or even as·

one voice supported by one or two other voices: THE FIRST

BOOKE OF SONGS OR AYRES OF foure parts, with Tablature for

the Lute SO MADE, THAT ALL THE parts together, or either of

them seuerally, may be sung to the Lute, Orpherian, or Viol

de gambo.

It was not until the following year that a book of songs

written only for solo voice and lute was published; it was

Cavendish's 14 Ayres in Tabletorie to the~. John Dowland

and other composers, however, continued to have their works'

published with the various methods of performance provided.

Before discussing the lutenist school any farther let

us briefly look at the lute itself (see the illustration and

description of the Renaissance lute on page 6). This instru-

ment, along with its varieties, was the favorite instrument 12 13 of the Renaissance; it was the piano of its day. The

lute ~d the church organ and other keyboard instruments be­

came the significant mediums of that time due to their capacity

for the rendering of polyphonic music, which was the important

style of the age. Their performance was considered more

accurate and aesthetically satisfying than the "raucous," "not

well-tuned wind instruments, many of which could not play . chromatic tunes." 14

*Performance refers to private rendition in this paper.

-6-

The Renaissance lutel5 h d a ''pe~.r-shaped gr ceful body built of staves of wood or ivory, its belly pierced by several sound holes 1n A decorative 'rose' pattern. ~ttached to the body was a neck of moder"~te length covered by a finger board divided by frets of brass or cat~ut into a measured ac~le, and ending in a pegbox turned back at right angles to the neck." 16

-7-

During the sixteenth and seventeenth centuries in England

lute music attained gre~ter significance than did the music

of the keyboard instruments. ~ven though keyboard music was

rather well developed by the sixteenth century we find twice

RS mqny lute songs (about 2,000) as virginal pieces surviving;

there are very few songs for voice and virginal while there

are hundreds for the voice and lute; there is little ensemble

music for virginals, and this has been described as having

small artistic value, while there are two or three hundred

marvelous pieces for lute in combination with other lutes or

instruments. Another contrast is that the keyboard music

was not widely known outside of ~ngland whereas English lute

music and lutenists were quite famous. 17

Lute music, along with that of some other instruments,

was not.!lted in tabl.£J.ture, a system which indicated the string,

fret, or key to be played. The tablature varied with different

countries, and today'a musician does not possess a. notation

which can trl'l.nsla.te all the "subtleties .!lnd details of execution

that characterize this music.'' 18

The system of English lute tablature as Dr. Fellowes

described it utilizes a six line stave which has no interpre-

tive connection with our present five line staff. Their stave

represented the six strings of the lute.

On the stave were placed letters from ~ to h which re­

ferred to the frets to be played, the frets being fixed onto

the finger-board of the lute. Sach fret could raise the pitch

a semitone, and this was done by the pressure of the player's

-8-

fingers on the strings behind a fret thereby shortening the

length of the string a measured amount a.nd thus rai·sing the

pitch. The fret to be •• stopped 01, thus producing a given

musical sound, was notRted on the stave by a letter. of the

alphabet. The letter~ indicated the "open string", and each

following letter represented successive half-steps in the

ascending chromatic scale. (See the following illustrations)

The six strings of the lute reading downward were the

treble, sm~.11 me~n, great mean, countertenor, tenor, and bass,

~nd all except the treble were strung double. The usual tuning

was to the notes:

0 0

0

Often the bass string was tuned to E instead of Q. Sometimes

a seventh string, usually tuned to D, was added below the bass

string and was represented by what we would term leger linea.

Below is a diagram of the lute stave (as given by Dr. Fellowes)

and ita translation into our musical terms. For a literal ~ ~ ·

~~ ''Go, cry&t~l te-ars*'

-l h ..... 1...-.. v rlf':J '"" ., I ,, - Jk.-. n -,.,....,. :':1"-' ..:e- ?'5 - 7 \..LI '-" ~-.~· '% ~ -(") '1't' ~ ,.,,, ~ I-. .A lh;;; . ... 0 , ...... 7 ..... :1#=-e-

(;..) ,.. '-"' ;~

:~r--& t --e-

6o bo bo -f7l-

-- br> , ,.. .(' ~ ~~---- I() --a;;o I ,.., .Jit~ v lr 'J _'- , --.;:;;;> ...... ..... t'O tl'"J ...., '11_ "1;..1' -- D7"50 ' I -a :# 0 ..... ........... l - 0 .iYO ..... l l _/_ - rk-. 0 '-" '1 l I

~ . '1 .....

-9-

transcription of the lute accompaniment of one of John Dow­

l~nd's songs see photograph no. II and/or no. V (in the

envelope).

This system indicates the exact moment for the striking

of the note, but is ambiguous where the harmonic structure is

concerned. 'Uuch of the harmony is evidently left to "the

imagination of the listener, such imagination being itsel·f

based upon a conventional experience as regards the resolution

of certain discords and other harmonic details." 19

One other technical feature is that of measuring or barring

the music. The music in the madrigA-l part-books was printed

without qny barlines. In the lutenists' ayres barring occurred

in the lute accompaniment ir. order to simplify reading of the

lute t1blature. The lines usually extended into the cantua

part which was printed ~bove the lute aceompani~ent, but were

not present in the other voices. (See photograph no. I in the

envelope.) The regularity of the barlines varied, sometimes

agreeing with the words of the music, and occasionally being

~bsent for awhile. In other words, the barring was not usually

metrical. The Tudor composers did not define barlines as indica­

tions of periodic accents; they evidently realized the danger

of misinterpretation And false a.c~ent ~hich could occur with

a system of barlines. Hence the presence of barring in vocal

parte and tho metrical barring used in some modern editions

should be recognized for what it is, a system for convenience

and not for musical accents or phrasing. 20

~ough of technical considerations for now; let us view the

-10-

lutenist school briefly and in general. Dr. Fellowes began

his general preface to the English lute songs by stating, "The

English School of Lutenist song-writers stR.nds by itself as

something which had no parallel in the contemporary Schools

of music in Europe."· Our research ha.s not included any elabora­

tion on this point connecting it with the former point that

compositions for solo voice and lute were written in Surope

prior to its development in Sngland. But there are factors,

which have only been referred to in the various books used,

which indicate that Dr. Fellowes' statement is adequate. These

ideas especially include the fact already mentioned, that the

lute ayres seemed more typical of English music than other

previous forms such as the madrigal.

We have already contrasted the lute ayre and the madrigal;

some of the ayres in their four voice arrangement {including

some of John Dowland's), however, are almost indistinguishable

from the madrigal style.21 Dr. Fellowes stated that the

lute song as arr~nged for four voices usually resembles the

modern pa.rt-song more closely than it does the madrigal. This

is because the lutenist song composers' primary concern was to

write solo songs with lute accompanim~t, and secondly to

~rra.nge these for a choral group.

Although we are studying only one type of lute song there

were really three kinds of lute a.yres: one was a dialogue for

two solo voices ending with a choral entrance, with each solo

part being accompanied by instruments (lu~e and/or viols). An

example of this is John Dowland' a "Come when I call", Book III,

-ll-

no.21.22 The second ty9e was the solo song with lute and

string accompqniment with a repetition of the refrain utilizing

a chorus in the repetition, such as John Dowland's '1 From Si­

lent Nip;ht'', A Pilgrimes Solace, no.lo. 23 The third category

is the one we hR.ve frequently referred to and are studying,

that of the solo song with lute accompaniment also arranged

for a vocal group.

The English lutenist song books differ from those of

other countries bec!)use thEf{ contain these two versions of the

Sqme ayre. The music was 9rinted on two facing pages. (see

photograph no. I) of ~ book so th~t the lutenist Rnd solo-

1st could r~ad from one part, and if a group wanted to sing

they could qll st~d or sit around the book and re~d from it.

This method of printing the part-books has caused some scholars

to wonder if the lute accompR.niment was to be used with the

choral versions, for occasionally there is a conflict in the

harmonies of the choral pR.rta as compared to those of the lute

accompaniment and solo voice. Then too, the lutenist, skilled

though he might be, would obviously h~ve a terrible time con­

densing, for his instrument, at sight all four parts scattered

~round the page. 24

The printing of madrigals wqs not done this way, neither

was it done in score, but separqte p~rts ware printed in sep-

arate books. The performance of both madrigals and lute ayres

was done without the aid of conductors, and thus called for

complete attention and skill on the part of the individual.

The r~nge of most of the songs appears to have been for

-12-

tenor or baritone, but some were either composed to women

or intended to be sung by them.

Occasionally the bass viol was used to double the bass

line which could not be sust~ined by the lute. Some composers

even considered replacing the lute with the viol. Whatever

instrument was used the "essence of the monody remained un-

changed and the solitary singer could accompany himself and

enjoy the great variety of songs then in vogue." 25

The most prolific songwriters were Thomas Campian and

Robert Jones (five volumea each), and John Dowland (four volumes).

Besides Campian (1567-1620), Jones (dates unknown), ~nd

Dowland (1553-1626), other important composers of· the era

include Thomas Morley, Philip Rosseter (c.l575-1623), Thomas

Ford ( c.l580-1648), William Corkine (unknown), and Fr~mces

Pilkington. Note that two of these, Harley and Pilkington,

were earlier rnent ioned among the outstanding m8.d rigalists of

3:ngland.

One of the outstanding features of the lute ayres is the

splendid relationship between beautiful poetry and beautiful

music. As Denis Stevens said, ''there is a marriage of music

and poetry in the best of these songs that makes them shine

like jewels." Dr. Fellowes stated that there is within the

lute songs a ·• rich store of national song, the music of which

is wedded to superb verse belonging to the finest period of

our national (English) literature."

The clue to their success in this may be their vivid

realization that meter and rhythm are not identical, which

refers us back to our remarks concerning barlines. A good

-13-

discussion or this subject is included in Peter Warlock's book,

The English Ayre. As for us, we shall only mention that in

the context of this discussion meter is a formal frr-Jmework

which allows the reader's eye and mind to comprehend the struc-

ture of the verse or piece more quickly than he would without

it. A'good reader will read the verse stressing the rhythms as

related to the underst~nding of the words, leaving the meter

to the hearer's own comprehension. Despite the variety in the

length qnd rhythm of the poetry's phrases the total number of

b~ats within it can be divided into regular sections of three

or four beats, according to the time signature of the music.

Hence it c~m be said that the Snglish songs of this· period are

•• based upon a metrical scheme as prec 1se and regular as that

of the poem which prompted it. 11 26 This regularity is .,

notated in present editions by metrically reucrring barlines

which, as we have sqid, had no accent value.

The poetry of the lute songs was taken from the litera­

ture of the day. There is speculation that the composers often

wrote their own poetry, but there is little evidence to support

this, except in the case of Thomas Campion. He wrote most of

the poetry in his book of ayres ·md possibly all of it. While

the evidence is lacking in relation to the other composers it

is believed that the lutenists, more so than the mArlrigalists,

composed both the words and music of their songs. 27

In some inst;~.nces the music and poetry do not appee.r to

a~ree until one rearranges the words. Usually only the first

verse was placed under the words, and the other verses were

-14-

printed in metric~l form. So disagreements as to the pl~cing

of the syllable could conceivably arise. In John Dowland's

''Come, heavy sleep'1 (Book I, no.20) the second verse is "Come,

shadow of my end, and shape of rest"; in order to sing this

with the music it should be changed to read "Come, shape of

rest, and shadow of my end". 28 This necess1 ty for the al tera­

tion of words in verses other than the first has led some

authorities to speculate that the composers concentrated their

efforts on fitting only the first verse to music. 29

The lutenist school of composers, somewhat similar to the

madri~glists, experienced a short period of greatness. In 1597

with the publication of John Dowland's First Book Of Ayres the

lute song beg~n to overpower the madrigal, and by 1610 more

lute song books were being published than madrigal books. The

lutenists experienced much fame, but the close of their

immediate greatness was almost upon them by the time of John

Dowland's publication A'Pilgrimes Solace in 1612. A single

and final example of this music a?peared in 1622, a volume of

John .1\ttey' s songs. 30

Though the time w~s short (about twenty-five years), the

music w~s of supreme value. It did not, however, produce any

direct influence upon the composition of music following it in

England or on the Continent.31

For some reason the music of the Tudor composers was ne-

glected soon after its period of greatness, and much of the

music wa.s lost or destroyed. Between 1597 and 1612 about thir-·

ty volumes or sets of lute songs were published, with approxi-

-15-

mately twenty songs in e~ch set, but only a single ex~mple of

many of these exists today, and none of the original manus­

cripts have been found. Dr. Fellowes ~ttributed this "decay in

public taste" p~rtly to the influence of ~gland's Civil War ,qnd

its ideas then of the wickedness of song and dance, and to the

rising popularity of a different type of music, one that con­

tained orchestral interludes. The composers of this new music

were quite prolific which aided in lessening the performances of

Tudor music.

Sditions of the lute songs were scarce for some time which

may be due in pa.rt to the decrease of interest in them ~nd to

the barri,qr of lute tablature. Peter Warlock, writing about

1926, commented that the songs of the lutenists were inaccess­

ible to the general public for an ext rem ely long time. For

this reason he wondered a great deal at the passage in James

Joyce's Ulysees in which on June lb, 1904 Stephen Dedalus and

Mr. Leopold Bloom were wandering through the Dublin streets

with Ur. Bloom talking of the music of v~rious com~osers

when Dedalus ''launched out into praises of 3ha.keapeare' a songs,

at least of in or about thqt period, the lutenist Dowl~nd who

lived in Fetter Lane near Gerard the herbalist, and Farnaby nnd

son with their dux ~nd comes conceits and Byrd, who played the

virgin~ls in the '~ueen' a Chapel or anywhere he found them ,q_nd

one Tomkins who made toys or ~yrea ~nd John Bull'!.

Dr. Fellowes, who edited music of the lutenist song

writers, complained in one of his books (publiahed in 1921)

that ~my •'bookseller can, qt short notice, supply the complete

-16-

works of almost every ~lizqbethqn poet, ~nd it is more than a

little discredit"lble to mglish musiciqns thRt it is not 9ossi­

ble to comply with a similqr request for the complete works of

Tallis, Tye, Gibbons, DowVmd, or Byrd ••• definitive modern

edi tiona of these Tudor com,tJosers are practically non-existent'1•

Arid then he added th~t until "the works of the Tudor musicians,

both sacred and secular, have b '3en printed in complete a.nd

qccessible form it is idle to talk of their greatness, almost

impossible to attempt a satisfactOFJ criticism of their works,

and useless to suggest their perform!'mce. If, ·on the other hand,

this splendid music were r~adily accessible there cqn be no

question whqtever that it would quickly win for itself a wide

appreci"ltion <tmon~ Sn~lish chor!!l sinp;ers and c.qthedrr:ll choirs.''

-17-

Part II

1562/63 John Dowl~nd born.

1580 Goes to Fr·r-mce in the service of the English ambassa­dor. Is converted to the Roman Catholic faith.

1592 Returns to En~land. Sometime later ml't.rries.

1596

1538

1592

1594

1595

1596

1597

1598

1599

1600

1601

1603

1605

Son, Robert Dowland is born.

r~J\:es degree of Jf.us.B~c. at Oxford, in company with Thomas 1/.orl ey.

Contributes harmonized tunes to Sate's Whole Book Q! Psalmes.

Fails to obtain position ~s one of ~ueen il;lizabeth's musicians on account of his c~tholicism. Le~ves fugl~nd ~nd travels from court to court in Germany ~nd Itqly.

Writes long qutobiogrq.phica.l letter to Sir Robert Cecil, in which he confesses his reconversion to Protest~nism. (quoted in full in The English Ayre)

Some of his lute-music printed without his permission by ~illiam Barley in A~ Booke of Tabliture.

Publishes his First Booke of Songes or A~·

Receives q'Jpointm :mt as ins trum en tali s t at the court of King Christi qn IV of Denmark, ~nd is ?aid An un­usu,qlly high s~1q.ry.

Contributes l,qudatory poem to Richard Alison's Psalmes Q1 D,qvid in meter.

His Second Booke of 3ongs Qr Avres published in London, with a dedic1.tor:r preface ,,ritten from ~lsinore in Denmark.

Sent to Sn~la.nd to ourcha.se musical instruments for the Danish court. Decorllted by the King of D·.;nmark.

His Third ~nd Last 3ooke of 3ongs or Airs published in London.

His Lachrimae ~ Seavgn Tea.res figured in Seav~ Pass­ionllte ?~vans ••• s9t for'uh for the Lute, Viols, or Violons, in live oarts, published in London.

1606 February. Dismissed from his post at the Danish court.

1508

1609

1610

1612

1613

1514

1526

1626

-18-

Prefqced book by Rich~rd Alison, An Howres Recreation in Husicke ••• with complimentary verses. Third edition of the First 3ook of Songs printed.

Fourth edition of the First Book of 3on~ printed.

Publishes his translation of Andreas Ornithopn.rcus his }.~icrolo~us or Introduction containinf?i the Art of Singing. Living in Fetter Lane, London.

Contributes some 'Observations belonging to Lute-play­in~' to his son Robert's Varietie of Lute-Lessons, and three songs to Robert's Musicall Banquet.

Publishes ~ Pilgrimes Solace. Lutenist to Henry Pe~cham 1 s poem in ~HnervR Bri tr-mnica the neglect of Dowland in his own country. one of King J~mes' muslci~ns for the lutes.

Lord Walden. ~lludes to Appointed

Fifth edition of the First Book of 3ongs printed.

Contributes two hymns to 31r W'illiam Leighton's reares or L~mentAtions of~ Sorrowfull Soule.

Janu~ry 21. John Dowlqnd died in London.

Son Robert Dowland succeeds him as one of King's lutenists12

John Dowland's name h~s exp~rienced many varieties of spell-

ing; the pronunciation of it, however, should ~robably rhyme with

blue and not ~. 33

John DowVmd was quite ~. versa.tile mustdi!'ln •. He··was more

f<>mous th~n <>nv other compos~r of his time34 composing secular

~nd sacred music ~nd writing for both the voice and instruments.

In writ1n~ of 1nstrument~.l d~nces of ~reat worth l'aul H. La.ng

stated th~t Dowland ''contributed the most orir;inal and at the sAme

time most ftn1shed work, in his Lachr~lmae, Q!: Seven 'reBr~, lli-

ured in Seven .?aV'!M ( 1605)." Not only WllS he a composer, but

Dowland W"ls considered the '1 unsurpllssed lute virtuoso of his day" 35

as well as being a not!:!ble singer. He is one of the 13reatest of

-19-

lt " '36 all the ]nglish song-writers not excepting even Purcell •

In comparing John Dowland to his contemporaries we can

find statements which constantly refer to him as an excellent

musician. Concerning 1'homas Campi an we read: "'next to Dowland,

Campian is the most prominent personality of the English lute-

nists." 37 Robert Jones: "Several beautiful songs are to be

found in these books (his five books of ayres), although few of

them can be compared with those of Dowland." 38 Thomas l''ord: the

first set of ten Aries for 4. Voices to the Lute, Orphorion, Qt

Basse-Viol "is one of the most beautiful of the lutenists' publi­

cations, for Ford's work, simple as it is, ·may be compared with 39 that of Dowland for beauty of melody." Thomas Morley: was

not influenced by the "harmonic experiments of Wealkes, DowlRnd, 40

and Kirbye''. John Danyel, a lutenist composer not mentioned

thus far, is Rlmost unknown today, but was considered to be 41 on the level of Dowland by his contemporaries. A'final reference

is found in a discussion of seventeenth century French solo song

'Nhere we read that it is difficult to find here any ••vocal

composition displaying such rhythmic and melodic flexibility com­

bined with depth of expression 9.S we find in some of the songs

of John Dowland." 42

DowlRnd earn9d a great reputation among his contemporaries,

but in spite of this he found himself neglected in his old age,

and he expressed bitterness over it all in his address to the

reader in his last publication, A Pilgrimes Solace, which we quote

here:

"Worthy Gentlemen, ~nd my loving countrymen: moved by your many and fore-tasted courtesies, I am constrained

-20-

to appeqr ~gain unto you. True it is, I hRve lien long obscured from your sight, because I received a kingly ent !3rt ainment in a foreign climate, which could not attain to any (though never so mean) pl~ce at home; yet hqve I held up my head within this horizon, ~nd not ~lto­gether been unaffected else where, since some part of my poor labours have found favour in the greatest part of Euro9es, and been printed in eight most famous cities beyond the seas, viz: Paris, Antwerpe, Collein, Nurenburge, Franckfort, Liepsig, Amsterdam, and Hamburgs (yea, ~nd some of them also authorized under the Smperor's privilege). Yet I must tell you, as I have been a stranger, so have I again found strange enter­tainment since my return, especially by the opposition of two sorts of people that shroud themselves under the title of musicians. The first are some simple Cantore, or vocal singers, who though they seem excellent in their blind division-making, are merely ignorant, even in the first elements of music, and also in the true order of the mutation of the Hexachord in the system, (which hath been approved by all the learned and skilful men of Christendom this Boo years); yet do these fellows give their verdict of me behind my ba.ck, and say what I do is after the old manner. But I will speak openly to them, and would h~ve them know that the proudest Cantor of them dares not oppose himself face to face against me. The second are young men, professors of the lute, who vaunt themselves, to the die­parageml3nt ofsuch ~s ha·Te been before their time, (wherein I myself am a party) that there never was the like of them. To these men I say little be-cause of my love ~nd hope to see some deeds ensue their brave words, and q,lso being that here under their own noses hath been published a book in de­fence of the Viol de Gamba, wherein not only all other the beat and principal instruments have been abased, but especially the lute by name ••• Moreover that here are and daily doth come into our moat famous kingdom divers strangers from beyond the seas, which aver before our own faces th!l.t we have no true method of application or fingering of the lute. Now if these gallant young lutenists be such as they would have the world believe and of which I make no doubt, let them remember that4their skill lieth not in their fingers ends ••• " 5

Evidently Dowland was not alone in his concept of the neglect

of himself ~.nd his music, for we find a poem printed the same year

-21-

as A Pilgrimes Solace (1612) in Minerva Britannica by Henry

Peach~m. Above the ~oem is pictured ~bird sitting on a bush

of briars in the midst of a storm ~nd surrounded by signs of

the neglect or a house, fence, and land. The poem reads:

uHeere Philomel, in silence sits alone, In de~th of winter, on the bared brier, 'Vhereas the Rose, hA.d once her beautie showen; Which Lordes, and L~dies, did so much desire:

But fruitles now, in wint3rs frost, and snow, It doth despis'd, ~nd vnregarded grow,

So since (old frend,) thy y eares have made thee white, And thou for oth3rs, hast consu'd thy spring, How few regard thee, whome thou didst delight, And farre, and neere, came once to he~re thee sing: Ingratefull times, and worthles age of ours, u 44 That let's us pine, whsn it hat cropt our flowers.

We have found no explanation for such a situation. Dowland's

music is so bequtiful and expressive that it is difficult to

understand any musici l3n' s neglect of him. Peter 1fl'arlock

said that there is not one b~d or uninteresting song among all

of Dowland's ninty-eight .qyres. While he was not a.s prolific

as Schubert 9nd some other famous song-writers he gave each

song ~ certain individuality and wa3 very versatile in express­

ing diverse moods. This stands in opposition to the monotony

contained in 9ome of his contemporaries' music. 45 There is

the pathos of "In darknesg let me dwell", the smooth flowing

words and rhythm of the meloncholy ·•Go cryst'l.l tears'1 ~ the

beautiful s~cred song "Where sin sore wounding••, R.nd the

lightness of "Fine Knacks for Ladies•• to refer to only a few.

In contrast to his contemporaries Dowland r9mained close

to the form of the poems he set to music. Usually the melody

and ~ccom~anie~ent enhance the poetry in simple means rather

-~2-

than detr~cting from it by elaborate devices.46

As we have

mentioned previously th~re is no evidence as to whether John

Dowland wrote some of the poetry for his Ayres or not. The

poets known to have been used by him ~re Ful~e Greville,

George Peele, Sir 'Sdward Dyer, Nicholas Breton, And some A.re

attributed to John Donne.

Many scholars proclaim the originality of Dowland's music

yet few give ~ore insight into this. Dr. Fellowes stated that

the First Book of 3o!:!.S..§ .!21: Ayres formed the basis for the

school of lutenists ~nd had no pnrallel in Europe. From his

first book which represented something new in music to his last

publication he demonstrated that he w~s Hsearching for new

forms, -=~nd for fr'3sh combinations of instrum~nts And voices

for the purpose of expressing his ideas," just ~s m~.ny of the 47

gre~t poets and composers of his time were doing. Yet despite

this s~~rch his music a~Jpeqrs to be mature. Dr. Fellowee wrote

that as Wyatt ~nd Surrey were pioneers in the development of

new forms of expression within the sonnet, eo the early mAdri­

gqlists appear as pioneers next to Wilbye or Dowland.

John Dowland's lute songs did introduce a ''new class of 48

vocal music". This is seen especially in his use of harmonies.

'.Vithin the brief scope of my own ~malysis of very few of his

songs the chord progressions mAy often be a.nalyzed according

to tr-=~ditional h~rmony. Dr. Fellowes, in a discussion of

Thomas Weelkes' music, at"ited that Weelkes and Dowland were

both innov~tors using hArmonies not commonly employed agR.in

for many decades.

-23-

Nowhere was there an obvious available discussion of

Dowland's harmony, but Dr. Fellowes said that within his music

are ''instances of almost every h'3.rmonic novelty of the period •••

and the subject of his h.,rmoni es provides m1=1.t erial for special

study." Because his songs were not strictly madrigals, even

when arranged for four voices, they could conceivably have been

more easily adapted to a free harmoni~ treatment than would

the strict madrigals.

Dowland's use of chromaticism (see the following page for

qn ex~mple of his use of chromaticism in ''When the poor crfpple",

ex. given by Dr. Fellowes) appears to have been another

innovation. Dr. Fellowes implies that Dowland evidently under­

stood what he was doing when he used A//- ("From silent night", };

Pilp;rimes Solace, no .10) and E//- ("Sweet, stay awhile", ! .P il­

grimes Solace, no.2) gnd wns thus not just experimenting, but

included these as a part of the expressiveness of the song.

These were rarely used tones in the ruder madrigals.

Wanda Landowska has referred to the influence that Dow-

land's years in foreign countries must have had upon him. He

would most probably hqve come into cant act with the a.rt music

of the countries he visited which could have intensified his

fertility and his knowledge. Yet one cannot carry this to

the extreme and explqin away his origimtlity by calling it a

product of foreign influences, for the type of song as he

presented it was not known as such in his day. 49 Paul H.

Lang S!'J.id th'3.t ''here the genius of !!:nglish music is aga.in

expressly enriched but not altered oy foreign influences."

. . - .. \,' . - ' 1 '

.. ..... ....

.. .

- ___ .. _ .

---------------~ :.:-----.~-• ·-.-:..-:~-·-_. _ I ~ r.= . ---···~- -·~ . - --~ -~····---·- ......... ---

-~~...._.•...__·-- __ ¥_-~_.........___. ___

... "' ~· • ..... . \

In llfCkr to cPt1\'t'\' ~~ mun· r••mplt't(' idt·,\ nt t h·· n,\t llt\' ,,t the f•tl~lTiahtv of Dnwbn•l'-. wntm~. thi~ further Jllu~tratitlll \\ill

• L

l~«· f(•tJn(i int•·r•·-..tin£: : 1t form~ the• concluding pa-": ... ~l;:c of B'hrtt tlu t>n:1r (rtf>plr (~o. th of ' .\ Pilgrinws ~ola,-:t• ')

'-"l'. r·lt' •n

-24-

sven though specific det~ils concerning the harmonies

~nd other technical aspects of his music were not discovered

the auth0rities gener~lly ~greed th~t Dowland's music is both

mod ern ~nd a composite of many streams of Snglish music. Only

Burney sounded r.~. discordant note on this. He w~.s very dis­

appointed in Dowlrmd' s "scanty abilities in counterpoint",

and he complained about Dowlqnd 's chromaticism, .t'md other

things as well.

Despite Dr. Burney we, along v1ith eminent comvmy, continue

to delight in John Dowland's lute songs. Their ''simplicity, 50

purity of melody, r~nd perfection of verbal phrasing" cannot

be described or explained away on paper. There follows a

brief ~nalysis of six of his lute songs, but to really discover

their rr.agic one should study th.e scores, play the music, r.tnd

select good recordin~s of the songs. No writing can ever

substitute for the aur~l experience of his music.

-25-

.Part III

Before launching into our analysis of six of the lute

ayres we should mention three it ems in pa ising. .Peter

Warlock considers DowVmd 's l.gst publication, A Pi1..grimes

SolAce (1612), to be his m!3.sterpiece. All his former mea.na

of expression ~re intensified in this work. We hA.Ve q.nalyzed

only one song from this group of sacred songs, "Where sin

sore wounding", but it is one of 'the most beautiful we h~ve

yet seen 9.nd he~rd.

Another deeply moving song is "In darkness let me dwell ..

which is noted for its use of disson~nce, its pervading gloom,

ita passionate outbursts, ita use or intervals to "heighten the

meaning of the text", 51 ~.nd thd endinF; which repe11ts the be-

ginning statement with the solo voice being heard last of all,

unqccompanied on the last note. This, unlike many of his songs,

is non-strophic; Denis Stevens described it as "a. kind of

rr.elodrqma, or scen.q. '' It exists only in the form of solo voice

~nd instrumentRl accomp~niement as do some of his other songs.

(A discussion of this song is given in The English Avre.)

The third song is "Flow, my teqrs", or "Lachrymae", his

"most famous song". 52 It exists ~s a solo son~ with accom-

paniment ~nd "'.lso ~s a ;>~.van for lute. The dram.1.tists of his

day referred to it frequently:

"Now thou pl~yeat Dowland's Lachrymae to thy master." (Thomas ?liddleton, No Wit, no Help like _g WomR.n, 1613)

''No 1 the ID!:!.n In the moon dance a coranto, his bush At s back a-fire; qnd his dog piping Lachrymae." (Ben

Jonson, Time Vindicated, 1624)

-26-

"You '11 be made dance Lachrymae, I fear, at tbe cart's tail." (John Webster, The Devil's Law Case, 1623) ~3

This melody was borrowed and reset by many com~osers,

such as '.Villia.m Byrd and Giles Farnaby (for virginals) and

John Danyel (voice). 54

In our own analysis we have considered the following

points: (1.) variations in the editions of the text and melody;

( 2.) the h~rmony, analyzed according to traditional harmony,

~noticing ~he dissonances used, and the possible use or chromati­

cism; (3.) the relation of the melody, words, and rhythm, con­

sidering the phrasing of the melody (its cadential points and

the poetry in relation to this), barring, ~nd general melodic

and rhythmic balance, the intervals used in the melody; (4.)

the inner parts related to the melody, to each other, and to

themselves including counterpoint, word repetition, range of

voices, simil~rity betw~en p~tterns in the voices, and the

intervals used in each part; ~nd (5.) the lute accompaniment.

~nalyzing only six of almost one hundred ayres does not

give one the authority to draw any conclusions. Having

briefly examined a number of his songs we have selected these

f~r further study. ~ach of his publications of songs is rep­

resented here. ~e have not included the entire analytical

process; it h~s in fact been ~reatly condensed and some omit­

ted (such as intervals used in the voices, barring, etc.). We

have instead included only the most significant points and

occasionally made brief, but hopefully adequate, remarks con­

cerning the songs studied.

The photographs of these songs are enclosed in the folder

-27-

to facilitqte reference to them. They are numbered from I

to IX, but all mention of examples with a letter beside the

number designates ex~ples, not photographs, as ex. no. III a.

Underneath the songs is an analysis of the harmony.

Accidentals appear next to some chords such as V~, V~, I~, etc.

The me,:~ning of these varies according to the context. In the

key of G minor a v9 would mean V is a minor chord, while in the

key of C minor it would denote a major chord.

The symbols used to indicate non-chord tones are the

familiar ones: P, passing tone; R, returning tone; A, antici­

pation; N"', neighboring tone left by 9. leap; ...N, nei~hboring tone

approached by a leap; R, appo~~iatura; and S, suspension.

Dotted lines refer to tritones. There are numerous incidences

of cross-relations, but these have not been included. Attempts

to show any significance in Dowland's hannonic vocabulary and

his use of non-chord tones are not in the scope of this paper,

although brief statements concerning this have been included.

Inadequate f~miliarity with other music of the period and that

immedi?tely preceeding it prevents such attempts.

Phrasing has been done only in the melody, and occasion-

ally this coninc1ded with the phrasing of other voices. Fre­

quently very sm~=tll similarities occurred between the voices, and

while these were observed they ha.ve not here been mentioned.

Three editions of the songs were available, Dr. E. H.

Fell owes' edition, r.~usica Britannic a, vol. VI, ~md a paperback

book. There were only three volumes available in The English

School of Lutenist Son~ Writers, tr~scribed and edited by Dr.

Fellowes: Book I, no.l-10; Book II, Part I, no.l-lOi and Part II,

-28-

po.ll-22. Compare photograph no. I with Fellowes' edition

of that song, photograph no. II; notice Dr. Fellowes gave the

lute accompaniment ~s it w~s and also tr~nscribed it. He

further made a freer version of each song for the piano.

!•~usicR Bri tanni cR., vol, VI, contains Dowland's ayres arranE~­

ed for four voices, transcribed by Dr. Fellowes and edited by

Thurston D9.rt and Nigel Fortune. The ayres are barred metrically.

An Elizabethan Song Book, music edited by Noah Greenberg,

contains sixteen of Dowland's songs arranged for solo and

accompaniment (paperback). The songs are meAsured according to

the origin~l barring in the lute accompaniment and also have

dotted lines indicating metrical barring. This edition also

uses the Slizabethan spelling while the others do not.

The symbols used in referring to these editions are as

follows: Dr. Fellowes School of ••• , Sf; Musica Britannica, 4A;

and An :!;lizabeth~n :')ong Book, N. Also, Dr. Fellowes' edition

of Sna:lish ~·radrigql Verse (symbol, Bk) was used whenever Dr.

Fellowes' edition of the music w.1s not available. There a.re

differences in the accom9animents of the three editions (ex. no.

III a-c), but these are not included in the paper.

Go crystal tears (no. III); from the First Book of Songs

This was first composed for four voices.55 The text is that

of a lover lamenting his rejection. There are three differences

in the text which would not influence the music. In the first verse

Sf has •• sweetly weep into .!!l.Y. lAdies breast'', but 4A and_N have

"sweetly weep into thy ladies breast". In the second verse

4A R.nd Ef read "Haste, restless sighs•' while N reads '1Haste,

haoless sit;hs''. L'lter in the verse Ef R.nd N use "whose frozen

-+~----=====; ~ r----~---~·~f~-----0~~~~~ -----------------------------t·· $•"'"""' wk.ilst I ~,..""'

No. III b

~ ~=J=-.__. =--=--~-,::s~--_r:-=-~~---_~-~-~r~--~=-r-----· ~---r-~-~~:r.~~~~=---=--~-=-=-=-=-=-=-bD So~ w\VIsi l ~N....._ ku• s leers

J

"' ~l'.. ::_ ,.. I I O--~--~ ..J ()--- --d-'-- H---------------.. . v ____ <:1 ___ , __ , ___ ..,--1--r- --o ----- - -------------------------

~-- lrr f 1 1 j f 9T '>~u.u a.r.c:o-rnl,..e.._t

;~-=--------=-«~=~~o~P--~~ -===-==---·---==-~ r r- , t-

Nt>.]J[ c.. 4_A L,.;t.e ... ....,..

].~J_er to No. 1I[ an. d. M -\::.e tka.-t: Ill ,......_ - -~r-' ~ -t---~ -the: 1 ...... '\:e-a:~c.-o~ra hi:m-e.~ ~-----"1 h

-I(-( _)r 17 I ,_1_, .J I

~-:-. I\ v ,_,_ :---'-' ·-)~ ... ~e._S~:""'"t c;Gl\:1:;~, n,s_"t:Ke._ ~~s -, o~ -1::."'-e ~~ e.r uoi~ e s, I"•IJeV' t.l.4.e.

1~---11'-IJ )' J_ so,.ow-a~ 0 u~e.

-+ -t--t-- q---,--- ------ -----... . .

, 17 1\ .f.. $te . I a.., ~-H-t-;1 11 , , II' . I ,.

I I ~------~~~e~lo~d~~~~~s~~~~~~"~"-------------------~~-----------------------------

---- ----------------- --·---

1-·------­.-----------------------------·-------------------------

-?.9-

rip;our'1, but 4A (bqsed on Bk which uses '1 whose") reads '1while'1

•

A difference in the melody of each occurs on the words

"And as the d ew s '' • Sf uses Ab (ex. no. III d) on the word

the, but the other versions have A~. There is no great change

in the chord structure since this is ~ passing tone in either

CRse. The fqct that an Ab follows in the accompaniment and in

the next measure does not lead to any conclusion because cross­

relations occur in the lute songs frequently.

Looking ~t no. III (photograph) note how the phrasing of

the melody qnd the words enclosed corr9spond to the phrasing

of the poetry. Note qlso the infrequent repetition of words

by the inner voices, and the lqte entrance of the bass.

Of the numb9r of simil1.r patterns only two will be mentioned.

One is the simultaneous movement in thirds of the bass and soprano

on the words "To quicken up the thoughts of my desert" as well

.t:!.S their s~me rhythmic pattern on those words. The other point

is found in the bass itself (ex. no. III e).

There are no other accidentals used th~ those contained in

the concept of the minor key.

2hall 1 ~ (no. IV, 4A; no. V, Ef); from the Second Book of Ayres

There are no differences in the texts or melodies of the

two editions (4A, Ef) availqble. Note the phrasing of the melo­

dy and the few repetitions of words in no. IV.

Two patterns will be commented upon. One refers to the

similqrity of the phrase 11 9hall I strive to a heav'nly joy with

qn'earthly love?~ and that of "or a sigh can ascend the clouds

to attain so high?" in all the voices, especially that of the

soprano. Observe the note and rhythmic patterns in these

No. ]I[ d.. t~ ·~---~~ 1----~~~'~---l~--~~~---------------------

=r~.~~~--f-r--J=J--Y-Q--+o---j---I,-=-""J,.-----;;-f , ______________ _ -1e ' ~ _ ..

- -,~-+ l--r-lf-1-~ - t,n-V--t-----t----r-:1 I I ,{ .I - ~~ -:;; • , , 1P3 :::·t=_-=..-n-------------, ~ ~ f -r r ~ '+ 0

.':._:-__ i);l-~r-, --.,~r:-=-Ee-~=-CF _ _,_t;,,_-o======~~=-=--~~~---.:=--------=----===:---~ ·-· :Lt; 1:, ______ __,_r-==1 __ __,_=_--_1== __ --~-- =t=-_·-__ k}------_--i_t-----=--~-=--_--~-=----_ =-=======

·--------------

---------------

--------------------------- ----- ------------ ---- --·----------- ----

-----------------------------------------

No.rr a. <f,Q - So,.ra.M

!1@~-,L-,~=til=H=l-' f£-r-#~1~1~-------, .... ~~e) sllatl... love.

.::----------------------------------------------------

,------' ·:·----------------=--------- ·---~~

-~· -------------------------------------------------

-30-

phrases. The {IV a) soprano line corresponds to each phrase

more closely than de ~ny of the other voices. Secondly, the

first part of the song has an interesting rhythmic pattern:

sop.). altQ}

J' J J Shall

j}

J II .I tenor) . J bassJ Shall (no. IV)

) J C&.} _ _!_j_t_~ J. for grace? Shall .~

\ , J. prove?

No other ac~identals ~re used than those of th~ minor key.

Weep~ nQ ~~ (no. VI); from the Third Book of Songs

There are no differences in the texts or melodies of the

two editions (4A, N) ~vailable. This song was not f!!S easily

an9.lyzed as w8re the others studied. It could be fitted into a

number of keys, but considering the ~ural as well as written

cadential points the piece appears to begin in G minor and

modulate to ~minor with ~n ambiguous reference to ~major on

the way.

The following pattern occurs within ) . ;. .~ .1' J' " } 1 "

~Veep you no more, s~d fount~ins What

the soprano line: ) ,. /' ) J

need you flow so fas~

Look how the snow--y J/' J\ ft l' ~

mountains

~ 1' '

/) Heav'n's sun doth gently waste. t ) ! f. p

'-"' . Another patt9rn, very elabor~te in comparison to the others

we've discussed thus far, begins with the phr11se "That now lie

sleeping" and continues until the end. (ex. no. VI a-d) Each

voice has a regularly recurring p~ttern, both rhythmically

(some variations) and accordin~ to intervals. Observe also

in this same phrase the simil~ri ty of the bass and soprano

where notes are concerned. (ex. no. VI e) The bass begins

the pattern ~.nd then the soprano copies it for a few measures.

A final p11ttern is in the entrAnces of the voices on the

tlo. Yr h 'Ill· Rtt-

-------

-~i__,-n,__'f-. gm1~-sr=1m~~~~~,.;~~~~;~t@lll.· =~-Tkt.t: ... £.. l-- ~ b st••ffl<.j

---------------------------------

-----------------------------------------------

---

-

No.J[ f, </A s. 'II

~ ~-I~

11· ., rryy

-1-.:

T. - - ·: _L - ~g-_ f I - v - ;..

t ~~ ----1-lft-= -,-1---

=b-t=---------'lieuJ 1\.CI't ~ ....... v>~t.t'· ••• : ... ~

~---

-1--~ A ~ J-.et!· I ~ r c,_, _,.

I ': ·f -4-y;eVI

l• , h' 1--~---J...~-t-1 -I

I/ v. v _U I '1., .. v:e.w

:1~; ~ ,,--~ =-=---= ~~~- }=~~~.: -~P- ~v-- --t V= , , __ ~ -- --- ------ ,_

- ------ ---

-

------- ----------------

-31-

phrase "View not your weeping". (ex. no. VI f) The phrase is

begun by the bass with each voice entering individually a.fter

the bass ~nd copying his pattern to a small extent.

The only use of chromaticism here can be explained by the

concept of the minor key.

The lowest trees have~ (no. VII); from the Third Book of Songs

There is a difference in the texts of the two versions

available (4A, N) as well as a difference in the melody line of

the two editions. In 4A ·the phr.q3e in question reads "And bees

have sting" with the note !'on the word sting, while inN we

find "And bees have stinM'' with ~tn f on the word stings.

Not ice the ber.;inning of the two phrases "Artd slender hairs=

cast shadows, though but sm~ll," and the one following it.

Another similarity is found in measure 10 between the alto and

bass on the words '' sprin'3s, shallow springs". (ex. no. VII a)

All the accidentals may be understood when related to the

minor key and to the use of secondary dominants.

Me, ~ ~nd ~but~ (no. VIII); from the Third Book of Songs

Whereas "Go, crystal tears" and ''Shall I sue" are songs

of love, unrequited love, 11 The lowest trees have top~1 is also

about love, yet it is not the same as they are in thought.

''Weep you no more sad fountains" and "Me, me and none but me"

are both songs referring to death, yet the two express their

grief in different ways, both poetically 1.nd musically. -.

Only one edition of this (4A) was available. There is a

difference in the text of 4A'and Bk in the second verse; 4A

reads "He never haopier liv'd11, but Bk usee 11 He never happy

lived 11 • Alfred ·:Deller, :in· his recording of this song, uses

the latter ·.wording. Also, he· changes the first. verse to this

No. Yl[ a 4/J..

Aft:' -- l

------------------· --------------------------------

--No.~I/R n/i:o

(\L

---.t~~~~-~----~-,,==r~=====~=-====~-=~=~-=~~l==~,~,---f--------·~·-------------------------_~_-­=--=--=:~~:1}::::=,:==~~-· :=--~=-=--_....4+=-~~=-T;=B_~ r-;t·----;- -,=----~~~.::-.:+,~.::-.::-.::-.::-::.::.-.::.-.:=============-=---=--=--=--=------

.. lJAt:. ... ::]:: IT ...,... -;- _,_ fu.i- ••• ffc

_ ~ass- A jl . 1

_ __._~_· ,_:~.. ,, ; td= :~J ~t--=-·-.. -_~;_-_-+=--=t-~--:--_!='r----=t:::~---_-C<::~=lt=--=-~--=-=-.---===·=~.::---=~-=-~-=-~-=--~-=--~~.~~~~-~~=~=-~=--~=-_==-=~=--_=-. =-_ lb.··· "'=• ... t~&.r •.• t~

------- ---· -----

:phrasing: ''Unto my faithful, unto my faithful .••• '' instead

of "unto my faithful dove, unto my ••• '' The ·first interpreta­

tion emph~sizes the similarity between the beginning of those

two ~roups of words. (ex. no. VIII a)

One simil~rity occurs between the alto qnd the bass on the

words "unto my faithful and beloved turtle ••• " (ex. no. VIII b)

The bass follows the note qnd rhythmic patterns of the alto quite

closely. Another thin~ to be aware of is the quick beginning

of the firs~two phrases (no. VIII) and then the slow following

phr!lse.

Between m'3A.sures 4 .·md 6 there are some accidentals which

~.re the result of secondary dominants, with the exception of

the F~ which can also be explained structurally. (no. VIII)

The alto line is the only one to have even a brief chromatic

passage passing from F~ to F*' , G.#" , A; G # , A; G i . Where sin ~ wounding (IX); from .A Pilgrimes Solace

Only one edition was available for this, 4A, but there are

no differences in the text of:.this and Bk.

Notice that the meter and rhyming of this poem is not the

sAme as the others. This was originally written for a four

voice arrAngement; observe the expressive way in which the

voices interlock and yet flow. Each voice enters separately with'

the sug~estion of counterpoint to follow. But there are, as in

the other songs, sections of homophony, as in the beginning of

the phrases "Daily doth oppress me11 and "Still I shall confess

Thee".

The rhythmic pattern beginning with the last phrase "Father

of mercy'' is of special interest.

(: o cr~ sot: a L -t~4 """ __ .,.~.::rsllrr.,_ '-..----- tAl ~ ...g. ~-~V_t!_Q ---t'Uf}-------

---1 o-l~n-b-cc-----~~.;-· -& ______ -

. ' 0 0

---t-7\---------11_1A--~----liD -6>- bo rrf) - 111 :t:Q -------~It=)~ "'----------_ 1\. ...... /

1\r---------,~~r-~========~~~t-============ - ....... 0

~--~:---0 _-_:_ -~J,----o __ -01-::_ ___ ~--~~-= ~2~===-=--~=~~~~---------o~----

tk• L•w~st-

_-=1 _-a_ -b_ =P_~ ~"'- lo -t::"-~ ~--"'~_ ...... ---~ :fL ___ ----~ !l!=q-====-=-=f~= ~~--"' ............ ill\ol ~~ ... b ... t ~ ~

----~~~G=--=-==~======~o~~~~~Q~-=====-==~IM~~b~p~~==~=~=----=-~~~4_:~~-~~=~~--o~_=_== __ =_=~----==~-w""-'" .. ..,, ... ,,,., ..crDI$.~;":1 7ifj --o--

-6- 1-J--------l~.Ih ~ j u "7"\ -

=--=---------~~~\lU:-::::::_-.-:::::_-_---_-__ -_-_-=-.-_-=--o~-t.L§~1' __ ::_-::_~c.?:: __ :.:_:::=--=_=_==_==:J'1:·~====-=--=--=-__ ~--::::::_#o-17-·_~-----=---=------------P_?~~~== 0

-------------------

------------------------

----------------· ---------------- ------------ ----------~-----------·--

-33-\

s.~ __ d J 3' .: . f'- I 01 J .. ' .1. I l J ~~ ~~ J ,\' • I J • • . -f • 11

I r ... .,__

' , d I i t tl I ,J 17 J } }) :\ J\ _j_ J I' ' A ... ,;. ,.

" , . . # ' ' • . .,. . . TdJ ~ ..'

~\

' I I i'·. '• . ' I ) J .t. ~\ ·.1 ' I ,f J -; I' t'

' "' . • /I I . ~ ~ . • I • , - . I I J J I I J - } ' i· ; J). ( B. ,r. . .. , , • •

Fa.~h.e ......

This is one of the most beautiful songs of Dowland's that

we have yet encountered. The chromaticism used may be realized

within the concept of the minor key .9.nd the use of secondary

dominants.

The r~nge of the voices of these six songs is given in

ex. no. IX a.

Without an ~dequate study of other son~s qnd also the songs

of Dowland's contemporaries, as well qs those of his immediate

'predecessors ~.nd followers, it is useless to make any general­

izations. Bven with the study of only six songs we have come to

a fascination centering about this music, its simplicity, the

frequent use of dissonances without harshness, the manner of

Dowland's treatment of the poetry ·and various moods, the limited

range of voices in some songs, the general lack of complicated

J

•

counterpoint, the presence of much stepwise motion in these ayres,

and so on and on. One could spend a. lifetime on this man a.lone

as Dr. Fellowes evidently spent his on the English madrigalists

and lutenists of the sixteenth century.

But in conclusion, though we cqn make no adequate general-

izations, if indeed ~ener~lizations qre ever adequate, we can

summarize our introduction to his lute songs by realizing that

in this music we hqve stumbled upon a lovely meadow, full of

beautiful detqils, and even thou~h we now stand upon the

"

-34-

hill ready to depart, wa know w~ can never lose sight of it,

our eyes having once encompassed the magnificent simplicity

of it ~11.

Footnotes

1. Edmund Fellowes, :mglish Madrigal Composers (Oxford, 1921, p.23

2. Paul Lang, f.!usic in Western Civilization (New York, 1941), p.288

3. Denis Stevens, A Historx of Song (New York, 1960), p.228

4. Gustave Reese, Music in the Renaiss~U£2 (New York, 1954), p.832

5. Fellowes, p.3o4

6. L~ng, p.288

7. Fellowea, p.6o

8. L~ng, p.288

9. Stevens, p.84

10. Reese, p.832

11. Peter Warlock, The English Ayre (London, 1926), p.28

12. Lang, p.241·

13. An Anthology .Q.f English Lute Music, David Lumsden, editor; ~Ql;'Wfl..£c! by Thurston Dart {L'Ond on, 1953), p .i v

14. Lang, p.239

15. ''Lute'', H~rva.rd Brief Dictionary of Music, p.l62

16. L~mg, p.241

17. An ~ntholo~y ••• , Forward, p.iii

18. Lang, p.243

19. Fellowes, p.3o6

20. Ibid, p.l21

21. Ibid, p.3o4

22. Ibid

23. Ibid

24. Ibid

25. Stevens, p.84

26. "Narlock, p.130

Footnotes continued

27. Fellowes, p.l40

28. Fellowes, p.l50

29. Stevens, p.85

30. ~rnund Fellowes, Gener~l rreface to The English School of Lutenist Song Writers (London, 1920), p.iii

3i. Lang, p.288

32. adapted from: Warlock, p.21-22; ~nglish r::adrig::tl Cornposere, p. 309; .!lnd The King's r.rusick (London, 1909), p.66

33. Warlock, p.23

34. Snglish 1-ta.drig~.l Composers, p.3o8

35. LAng, p. 288

36. English ~~adri~al Comoosers, p.313

37. Ibid, p.316

38. Ibid, p.318

39. Ibid, p.321

4o. Ibid, p.113

41. Warlock, p.52

42. Stevens, p.l99

43. quoted in full in ~arlock, p.41.

44. Ibid, p.45

45. Ernest Walker, a History of Music in England (Oxford, 1952),p.l33

46. Fellowes, Preface to songs, p.1ii

47. English Hadrigql ComQosers, p.310

48. Ibid, p.78

49. Lqng, p.289

50. ~nglishMa.drig~l Comoosers, p.313

51. Stevens, p.86

5_2. Ibid

53. Warlock, p.35, 36

54. 11U:.9, p.52

Bibliography

Burney, Charles. A General Hist~ of Music, with notes by Frank Mercer. New York: Dover Publications, Inc., 1957 (Burney's book was written in the 18th century), vol.II.

Dowland, John. Ayres for Four Voices, transcribed by Dr. ?ellowes and edited and prefaced by Thurston Dart and Nigel Fortune. Nusica Britqnnica, vol.VI. London: Stainer and Bell, LTD, 1953.

Fellowes, Edmund. The En~lish Yadrigal Composers. Oxford: Clarendon Press, 1921.

Fellowes, "Sdmund, editor. Snglish Madrigal Verse. Oxford: Clqrendon Press, 1920.

I

Fellowes, Edmund. General Preface to The English School of Lutenist Song Writers. London: Stainer and Bell, LTD, 1920.

Fontaine, Henry Cart de la, editor. Th~ King's Musick. a tr!lns­cript of records relating to music and musicians (1460-1700). London: Novello and Company, Limited, c.l909.

Lang, Paul Henry. Music in Western Civilization, New York: W. W. Norton ~nd Com9any, Inc~l941.--- ·

Lumsden, David, editor. An Anthology of English Lute Music. Forward by Thurston Dart. London: Schott and Company, LTD, 1953.

"Lute", The Harvard Brief Dictionary of :.Jusic. Willi Apel and Ralph Daniel, editors. New Yorl~: Washington Square Press Book, 1961, p.l62.

Reese, C'.rUstqve. Music in the Renqissance. New York: W. W. Norton ~nd company, Inc.,-r954:

Stevens, Denis, editor. A History of Song. New York: W. W. Norton and Company, 1960.

Walker, 3rnest. A History of Eusic in England. Oxford: Clarendon Press, 1952.

Warlock, Peter. The Sn~lish AyreL London: Oxford University Press, 1926.

An interesting book to look through is A History_ of Music in Pictures, edited by Georg Kinsy, New York: Dover Publications, Inc., 1951. ~ithin it may be found numerous pictures of the lute in paintings, and also three references to Dowland: 100, 101, and 196.

List of Music Available

Ayres for Four Voices, Musica Britannica, vol.VI.

An Slizabethan Son~ Book, music edited by No~h Greenberg; contains sixteen of John Dowland's songs arranged for voice qnd accompaniment.

The English School of Lutenist 3ong Writers, John Dowland, First Book of Songs, Part I; Second Book of Songs; arranged for voice and accompaniment.

Six Songs Qy John_Dowland, arranged by Desmond Dupr~ for voice qnd guitar.

A Tre·asury of Early Music, edited by CR.rl Parrish. Contains one song by John Dowland, "My thoughts are winged with hope'' •md a discussion of this song.

Music other than the songs available in Richmond

An Antholo~ of English Lute Music, edited by David Lumsden; contains seven pieces for lute solo by John Dowland.

Music a Britannica, vol. IX, Jacobean Consort Music, edited by Thurston Dart qnd William Coates; contains one piece by Dowland for four strings ~nd harpsichord and one piece for lyra viol.

Discography

Dowland, John. Ayres for Four Voices, vol.III and IV. Golden Age Singers.

~glish Lute Songs. contains five or Dowland's songs. Alfred Deller, countertenor and Desmond Dupre,. lute.

JU. CANTVS. g::rt:~~E--I=ti=-- -tEEi:~l=i=l me-a=~~=t~r~~~

Y thoughnarcwingdcwriah hopl,ntybepswidJ loac,IDo\1c lola,.. •

the moone an clcercll night, and fay as (he doth in tbc haucas

=tt~F~;~-=-=t:r::~m~~~m,~~ ~~E~~ ,..:::::::J--EEE!l= 't•

mooue inunh (o wanes &tnzctbmyde. llgbc: Andwhirpcrthisbut'*'Y

tt r~ ~P ft r ~ r r~ r rP ~ ' ... "' .. • "' "' "' .. .. ..,. "' • tj') ~r;:. ~r-~h;! "' 'i .c ~tlt .. _ ~~~ ; - t- <: "- j • ... II' .,. I - D I

L . .... -

'=-'-~-

-tllll':-- --1-_ ---- ,~-"' t=r-- ·-§-. ·~·<·!=~- -.:L.. - 'll -~--- . .... - -~ _:.:_ • -- ~{\-·- - - • • I • • --J=--·-§ .::::= _______ -.:3 _.:._ ---~=-= ·--= in hn c;~·es-, hopcoHdolhhal!gtbchnd, and wn Qd teaa..

f\ ~·~ ~ r.~ ~ 1\- P ~ • · r ~ ~ £. ........ ~ .. t~"' .......

~ ··~Y" .. ~7ll$ i145 5 .. ·~·? i { .. _.:_-Ji~3 ... ; I ... r I~ t I. t _ . ~ft.

And yc-u mvchoughu rhadomemdbuRdocmy,lfOtdorthi•,withcloududoma•ltcberei'a, Jlrotmtllnlll nty rndlnlfednyoubbmc. Andmakethehc.tuau darkcwithhcrd~ ~~y thnugh you alt¢t,yctyoudonon.arry, • Wuhwindtdighcsdi(pcrfcchem uuhc~ A~lllt J-~hchlnge, andycnern:alncmc~ Or wnhthy tcin:tdirrulocthcmintor.aiflt.J • Dlltrun J,nh tnrer barr1 1butnotinfea, Thoughu,hopes,&£ louerml11'etomcno~

AndloucnfwcecdlfutMdwithwlpca. TUfCycbufhineasrheh:aUidonc:bc:fotc.

TENOR.

~ o. J ;,., it >lPP<-":1~ in the r 597 ~-ditiou of TJ~t First Bod~ uf Stmgu or Ayrn, )howing tht: larout of the ~ms on the Opt'll pa!!.:.

~ ~

N

Nt1.11

J

;;:,.: -. ~-

l

t

1\ .,1 II I i

s .,. ... Go,

L " L

A ""W7 eJ

Go, II I

T. \' Go, ..

B

r-- II I

-- l " - - •-L

...c J'k.•f\Qr" r

Obser..,E

((// D tlu. ~""1,"~ i:.C.. a It:

I s IU. 1"\\. a cl ( e-t. N IJ • m} h\ rl 1.{ I" '\ 13 , e t:c.),

d r, m ten - der floc s

3 Lt e to th Wind& my •ghr. b ve Wlrtged been, Yet r my 11gbs and suits repaid WJlh mock t

I pi d, yet she repinetb at my teen. 0, rutbles rigour, harder th n tb rocks,

That both the &bepberd k1lls, ad bj poor flocks.

Go, crystal tears 1 -

cry • &tal tes n, lik ,;--- tJ'i mor • - "'"' fl. I{ ---:r . ' II.

-~ ., ~ ~ , ,. ~

cry . &t •-- te r•,- . ~ 11 , to the mor . "'"'-~

. .. / "

cry - . at 1 tears, lik to the mor • . DlDf

s R t\ i' It

"""-- ~- ~ - -.--. -, -· . --- ... • • . - - . ·h h -- - - - - •- ~ • '

.U':i I 11 1[" r (.li ~) "'f['-1 · Lt.·~-

r

Sh~Jt

t!I

..

h:.ll

tnink th:\t :t p

to a , ,..-

ht<av'n

strive to o.

I

... he,• H"n- 1)1 jo

- ly jf' r

heo. ven-1;.- jov

..,

- lo'ith

.,. with an love?

\\ !lh i\ll el\rth - ly_

I

or wound

1 '

' ~ • • • I7: ~ nr ![" ..m m:

ttJ-~._ 1 •

..

~-

A.

co>nd the ' doud to t . t 1n , o ht b?

--+- -.. / ____ J ____ . ~,-- ,

.. .. I' ' C0\0 l> - Ct'nd thP clouds, s.cend the cloud~; to at- t in ,'so ' hi b?

1' I \

il • I I "

• the clouds, th clouds to I t - t in 0 high? I

~ sigh ~~n" -c nd __ _

. I I

·-Or sigh can as - eend th clouds to at • t in so high?

... - ... ... . . {qf1-: , , . ~ . .. . • - - - ~ I

I 1[ "![ 1!( r Jt'1 r '1 :!

~ Sill wntch,(or ake lh dreams/ of a. vain desire; 0 be htn what high regard/ holy hopes do require . fa our IS as fair thin~ are,/ treMure ts not bought; fa¥our io, not "'on ·•th "ord ,/ nor the "'' h of a tho11ght.

3 Pity is but a poor defence I ror a d ing he rt; Lo.dies' eyes respect no mo:tn/ in mean d strt. She is too v.orthy t rt for worth o bGse; Cruel and but ju t i!'. he I in my ju t di race .

I Ton ~ TPl•

4 ju tJce gives e:~.ch m •. n his own;# though my love be ju t, Yet will not he rlty my grief; I therefore die 1 must. Silly heut, then yi ld to die,/ peri h in despair; Witn s tl bow fain l die/ when l die for the r ir.

Toss not my soul

not my soul (0 Lov) Nil", A "' . • ttl It' ~~,' to

not my oul (O Lo .,.,. AJ Ill • • f<lll(< .

10--•tlJIJ(fP,_

twixt ,.

• ltTF.-

9

......

V i C£

L TE

•1 .. r

... I

!!.

Ro tl'- J.t I' \ i·.t I.

H. I L I E.

• _j

! .... v• n • ly JY

~

I }

11

.. ( '

----------~--l• ____ ..:,_ _ _.:•~J---.-~d~.-_...J I

• I --• • t

-•

·~ ' 1. I

tJ

t-11_-1' -~~. f1"' •

Or

..., ~

I

lgh ca.n - cend

' -~!)-h_==~-- . .. a

--r a h

4

c l1

'I ll I u ? hall I hall I pray? b 11 I rov .?

' h II I he v~nly joy

p

I.

<' r ut>! 1llf

n

dtn

cloud

rt~n c

h

d

rt,

clouds

-~

f d d a

To at- ta·n

f __ ~1

a

c

f vour i Tt

0

F· '·our J not woo Nor tht

75

t'

so bigh?

'

cJ

a

c

th dr m

rd

-----

:r:

:'} >UJI<ov :r

l

fnt?

31:"

r

' '

so fat>t? Look

----'

• •

::r..~ '!!'

, sun f doth gent

s

p

s

r

:r "1:

Look

ho

LV.: 'i[

#I

ly Wl te .

'"'" I

r (TID llZ." I[

------ -,

•

the

m:lJ JY:" ![ i!L

But m h

.....

.. I

( f )

~ , • , ~==

~ . .. --- • _g..o --....... ,_;.. ~--

:rs, .m "Y[ ~\l ~ ( ii- )

f d', 1 1( rr. ..,....... .... 1 -'-)l ...... 't 'Ul- /'

e ea J

!!": -f· :::r 1:-7=-

~ ..,

-·-· ·.~ -- - l~ ·11 ·

·~

~ v,~\..· your weep . I Of.

' .... ..._

.. V • t J$ "''~ -tew •.r-11!£,; _ _ ur We4!P • 1ng, . -- ._,_ __ \

-- - _ 'iew not, view 1101

--f'/'_----~---- .... yo~( weep

Vi~w not,

~-- - -T

r

•

view

0

R

n~.t

now lie

weep • ing, your weep ing, Tbat

•

!!: I~~ I )! l:"*

s ~~-

slee,P • iog lltul ___ "1>110 /il! #t!itl .

Soft ly,

l>iecp - ing, oft

now oft

71

Th t_

" :l[.~

l J

r h

L·n

(' , .. pi ' r en,.~,th

- .., ------ \ o. l I'~

ttl~ ht

!he

tr h p

/- -- ----- ~F­=

!'" hi f -

... "':--"' U • s park ... his- he t,

lit-tle spark his h t; I

And

'\ fl ___ h r t. pl n, the lit Ft park hi And

,. . ' U'

- .r. '

I_ ~" .s ~ "' "' • ....-+ ., ?:1, sh. dows, tt.o~b but mall, h !flo ~

fi I -..:-~· ~

1--&. . , .. I .. , .. . dov.s,thoug~1 but

u han c .. ,., h - S!lldll 1 And

" "" I, l

I> i'' I

1-v-C<t:.t I

sb do ·' thou h but mall, And au I~

- \•p f p ...,...,..,.- ~

-~ -----· ~· · h~- -ca, "h - - -•~ows, th u~h but small, And II p I'

' ~--=-::;::_ pc#-eJ .,.. .,. ~: __ , .... w .,. ---

(! p 1 f r .,---~-, ~. • • • ·- ~ ·~ - - . -__., :_ .:- ·--# -· ·~

b = ' IT -r

II,

And

"' And

-

-

Th

&l·n • d ~t'l

sl n • td r

It>~ • d r

--

t

.. ~---,

d r

,• /

/

-,

b~e b;•v

b have

be ... ... v~

e t. v

--::

S: -- ~--

-~ - .. _ .... -li~

\'1"1

No. w_

.; ; ... fV

& ~

•· ' <"I IlK

~ ~ • # · &t.ny,

r - • .;'1 '

1i

•

I !!!''

--lf

·~ . 1

'

/

"

/And Jove I

/ J=>

prin "i

A nd Jove

low ptlng ;

I I

I

love (

lav

in '

I<! lov

.._n~ -_, -1

and In

king

' kin~

fronJ h · ·rhir 1 k<f

3 r

(IJ _,. ! ~"!:i"'-' ·_---+-. ..,

r "' lOO I on I this i - dte

' ~~~t · I ~--. -

~~..... dr~ too .... - tong tttb --- dl ,.. - I - - - - . 'A. ..L~ ./ - .

F.Li~ --. -=-- ""-[

" \dr ~00 long, too long thl i - die

.,.,.,. .... ~~:-.... ' draw · too long this i - . dle

II. >I I

)IV .. r · ·--r- / ... - - i:.-- _/ c I II'/

I ,.... .. 6 . · ~ · J·

... I.C"'-"~~; • '1 \. :r., I!:

'

.. ! ·-;i • , ~

.,soul

!' f' .. • ~ -';-

li:'- . ;.. - .. ]%: v :r L• 1: r

br (h;

brca,th:

breoalb : 0

trea.l,b' 0

~-4 ...

r:

r

Un ?

"' Un ·to_, , m

-.... j -1 ......-,. r ), .. .. .

1£ "

r ~

0 -r ·

0 how \,/1) ..

bow 1

how I long

.... la , l fl · ·

p "

-..., 1 /

• tr fl

~ :r

(,

/

1t l ,

I

t ~ l

•"'

t.un.

tit" I '

d lut II

tur

':! Li lo lh ' silver an , / b ·lore my death l ang 1

Ant! c( alive I my fa! I knell I help to ring. 1111 I deslte hom t: rUt I and earthly joy to fl

H" nc'>t:r happaer hv'd I th l cann;:tl love Lo dito.

When Phoebu first

1

did Daph • ""' love, And no m .1n millht hc:r f

0 1. ~ I

0

0

N() .JI

aund

.1.

/f.l

-In~------

, i11 , sore_ v.ound

_ .. ....

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j

j