Dowland: Lachrimae (1604)

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Cambridge University Press, Oct 28, 1999 - Music - 100 pages
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Dowland's Lachrimae (1604) is perhaps the greatest but most enigmatic publication of instrumental music from before the eighteenth century. This new handbook, the first detailed study of the collection, investigates its publication history, its instrumentation, its place in the history of Renaissance dance music, and its reception history. Two extended chapters examine the twenty-one pieces in the collection in detail, discussing the complex internal relationships between the cycle of seven 'Lachrimae' pavans, the relationships between them and other pieces inside and outside the collection, and possible connections between the Latin titles of the seven pavans and Elizabethan conceptions of melancholy. The extraordinarily multi-faceted nature of the collection also leads the author to illuminate questions of patronage, the ordering and format of the collection, pitch and transposition, tonality and modality, and even numerology.
  

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Contents

The document
1
Dowlands continental career
2
The publication of Lachrimae
3
The table layout
7
The instruments
13
Lachrimae and the AngloGerman repertory
16
Instrumentation
17
Chiavette and transposition
20
Lachrimae Gementes
53
Lachrimae Tristes
54
Lachrimae Coactae
56
Lachrimae Amantis
57
Lachrimae Verae
59
Divers other Pavans Galiards and Almands
61
Semper Dowland semper Dolens
63
Sir Henry Umptons Funerall
65

The lute part
22
The dance types
26
The galliard
27
The almand
28
The Elizabethan dance repertory
30
The late Elizabethan pavan
31
Tonality
33
The seven Passionate Pavans
36
The tear motif
40
Musical rhetoric
42
The nature of the cycle
46
Melancholy
50
Lachrimae Antiquae Novae
52
M John Langtons Pavan
66
The Earle of Essex Galiard
67
Captaine Digorie Piper his Galiard
68
Sir John Souch his Galiard
69
M Buctons Galiard
71
M Thomas Collier his Galiard with 2 Trebles
73
M George Whitehead his Almand
74
Reception
75
Revival
78
Notes
81
Select bibliography
94
Index
96
Copyright

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