Semper Dowland, semper dolens - for lute and viol consort
Dowland to thee is dear, whose heavenly touch
Upon the lute doth ravish human sense;
Spenser to me, whose deep conceit is such
As, passing all conceit, needs no defence.
Thou lovest to hear the sweet melodious sound
That Phoebus' lute, the queen of music, makes;
And I in deep delight am chiefly drown'd
When as himself to singing he betakes.
~Barnfield
Here's another recording from my old quintet; it's Dowland's famous lute lachrimae which touches the being of the listener and player, humbly expressing that penitential sorrow and loneliness we all fear to unveil. I hope you all enjoy it~
Lute - - Viols --->
Upon the lute doth ravish human sense;
Spenser to me, whose deep conceit is such
As, passing all conceit, needs no defence.
Thou lovest to hear the sweet melodious sound
That Phoebus' lute, the queen of music, makes;
And I in deep delight am chiefly drown'd
When as himself to singing he betakes.
~Barnfield
Here's another recording from my old quintet; it's Dowland's famous lute lachrimae which touches the being of the listener and player, humbly expressing that penitential sorrow and loneliness we all fear to unveil. I hope you all enjoy it~
Lute - - Viols --->
Category Music / Pre-60s
Species Unspecified / Any
Gender Any
Size 120 x 107px
File Size 5 MB
Aw, don't cry! Now you know how to pronounce the Dowlan in Dowland. It sounds like the dolen in dolens.
'Aut Furit, aut Lachrimat, quem non Fortuna beavit'
I've not heard this one, only the couple (five? six?) that he wrote as variations on "Flow My Tears."
I like Dowland a whole lot, though I'm guilty of not knowing his consort music as well as I might; I just love his first two books of songs so that I ignore the rest (there's just so much!). I'm glad to know that his consort music isn't being neglected. This is beautifully played. It's just so delicate, and melancholy, and then he just leaves you hanging there at the end, denying even the comfort of a final resolving chord...
Yeah, I need more Dowland in my life.
I've not heard this one, only the couple (five? six?) that he wrote as variations on "Flow My Tears."
I like Dowland a whole lot, though I'm guilty of not knowing his consort music as well as I might; I just love his first two books of songs so that I ignore the rest (there's just so much!). I'm glad to know that his consort music isn't being neglected. This is beautifully played. It's just so delicate, and melancholy, and then he just leaves you hanging there at the end, denying even the comfort of a final resolving chord...
Yeah, I need more Dowland in my life.
If I remember correctly this was published in the same collection as the 'seven tears' you're referring to, which has six proper lachrimae on top of 'Flow my Tears' but only one of them is a true 'variation'. I'm surprised you know of them, they're quite esoteric pieces!
His books of airs are beautiful; I particularly like 'Away with these self loving lads'; there is a tonne of other music by him, but most is a little formulaic; I wouldn't recommend it unless you were a true aficionado. I'm happy that people like you still appreciate it; this kind of music started being played again in the seventies and eighties, it's dwindled a little bit, but I doubt that it'll be as forgotten as it once was again. There is an elegance in the renaissance that is not often found in later periods. That ending cadence is actually a close, to the early music listener it doesn't sound incomplete, but it is a very weak resolution by modern standards and even, though less so, in its time. It's supposed to be a gentle close, leading the listener back into the world but with a slight unfulfilled feeling; it's often used in religious motets for that reason, heh.
I'll make sure to post more of my old recordings like this, heh, I don't have much Dowland but there are many other great contemporaries; maybe one day I'll form a new ensemble to play more of this kind of music. Thank you for the lovely comment! I'm glad you enjoyed it so.
His books of airs are beautiful; I particularly like 'Away with these self loving lads'; there is a tonne of other music by him, but most is a little formulaic; I wouldn't recommend it unless you were a true aficionado. I'm happy that people like you still appreciate it; this kind of music started being played again in the seventies and eighties, it's dwindled a little bit, but I doubt that it'll be as forgotten as it once was again. There is an elegance in the renaissance that is not often found in later periods. That ending cadence is actually a close, to the early music listener it doesn't sound incomplete, but it is a very weak resolution by modern standards and even, though less so, in its time. It's supposed to be a gentle close, leading the listener back into the world but with a slight unfulfilled feeling; it's often used in religious motets for that reason, heh.
I'll make sure to post more of my old recordings like this, heh, I don't have much Dowland but there are many other great contemporaries; maybe one day I'll form a new ensemble to play more of this kind of music. Thank you for the lovely comment! I'm glad you enjoyed it so.
Go ahead. You might become slightly melancholy though!
There's always 3,4-methylenedioxy-N-methamphetamine if you feel down.
The piece is called always in dolour. It'd be quite a twist if it weren't sad! And you wouldn't take the time to listen if it weren't lovely, haha, I kid. Thank you!
Stumbled into this song after 11 years, hope you could still see this, Vera. I love the sense of melancholy in Dowland's pieces and those contemporary to him. Pleasant to hear, yet stimulating ceertain corner of my heart, that is why I listen to Dowland.
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