eee) ea JOHN DOWLAND Lute tablature and keyboard notation inTheCollected Lute Music of JOHN DOWLAND transcribed and edited DIANA POULTON and BASIL LAM * Faber og Limited Schirmer Tne, ee Dairenreiter-Verlag, Kassel Boosey & Hawkes (A gio ia) Pty. Ltd, Sydney Boosey & Hawkes (Canada) Ltd., WillowdaleIntroduction Calendar of Dates in the Life of Jobn Dowland ical Notes The Transcriptions Fantasies 1 1a 2 We ee Pavans 8 9 10 1 B B 4 14a ay 16 7 18 A Fantasie ‘A Fantasie Forlorn Hope Fancy Farewell Farewell (An “In Nomine”) ‘A Fancy A Fancy ‘A Fancy Piper’s Pavan Semper Dowland Semper Dolens Solus Cum Sola Mrs. Brigide Flectwood’s Pavan alias Solus Sine Sola Dr. Case’s Pavan Resolution ‘Mr. John Langton’s Pavan Sir John Langton’s Pavan Lachrime A Pavan ‘The Lady Russell's Pavan A Pavan Galliards 19 20 an 22 25 23a 4 a5 26 27 28 39 30 3 32 33 34 35 Captain Digorie Piper’s Galliard Dowland’s Galliard John Dowland’s Galliard Dowland’s First Galliard ‘The Frog Galliard ‘The Frog Galliard Galliard ‘Melancholy Galliard Sir John Souch’s Galliard A Galliard ‘A Galliard (on a galliard by Daniel Bacheler) Giles Hobie’s Galliard A Galliard ‘A Galliard (on Walsingham) Mrs. Vaux Galliard Mr, Langton’s Galliard Mignarda A Galliard36 Mr. Knight’s Galliard 37 My Lord Chamberlain, His Galliard (an ine vention for two to play upon one lute) 38 The Right Honourable The Lord Viscount Lisle, His Galliard 39 Round Battle Galliard 40. The Most High and Mighty Christianus the Fourth, King of Denmark, His Galliard 41 The Most Sacred Queen Blizabeth, Her Galliard Can She Excuse ‘2 The Right Honourable Robert Kasi of Bates, His Galliard 43 The Lady Rich’s Galliard 43a The Right Honourable The Lady Rich, Her Galliard 44. The Earl of Detby’s Galliard 442 The Right Honourable Ferdinando Earl of Derby, His Galliard 45 The Right Honourable The Lady Clifton’s Spirit 46 Galliard to Lachrime Almains 47. Sit John Smith, bis Almain 47a Smythes Allmayne 48. Lady Laiton’s Almain 48a Lady Laiton’s Almain 49 An Almain jo Mrs. White’s Thing 51 A Piece Without Title 52. Mrs. Nichols? Almain 53 Mrs. Clifton’s Almain 54 Lady Hunsdon’s Puffe Jigs and other pices in 618 rlythm 55 Mrs, Winter's Jump 56 Mrs. White's Nothing 57 Mrs. Vaux’s Jig 58 The Shoemaker's Wife 59 Tarleton’s Riserrectione Song Arrangement 60 Come Away Sens of Bll Tams Orlando Sleepeth a Fortune 63 Complaint 64 Go From My Window 65 Lord Strang’s March 66 My Lord Willoughby’s Welcome Home 66a My Lord Willoughby’s Welcome Home 67 Walsingham 68 Aloe 69 Loth to Depart 70 Robin 135 126 128 Br 136 138 141 15 158 161 165 167 168 171 172 13 5 176 178 180 181 182 184 186 187 188 189 198 195 197 198 199,Pieces of uncertain ascription (@ Anonymous, but probably by Dowland tA Fantasia 72 A Fancy 73 A Fancy 74 A Fancy 75 ADream 76 A Galliatd 77 Mrs. Norrish's Delight 78 A Piece Without Title 79 What If A Day 80 A Coy Joy 81 Tarleton’s Jig @) Pieces attributed to Dowland, probably incorrectly 82 A Galliard 83 Dowland’s Galliard 84 Hasellwood’s Galliard 85 Galliarda Dulandi 39 © Pieces from foreign MSS, unique, but obviously poor versions 86 Pauana Dulandi 87 Gulliarda Dulandi 8 Other Versions 88 Piper's Galliard 8 Can She Excuse 9° The Frog Galliard 91 Suzanna Galliard 92 Galliard Fr. Cutting Tivom the Schele MS 93 Del Excellentissimo Musico Jano Dulando 94 Pavana Johan Douland 95 La Mia Barbara Prom the Margaret Board Late Book 96 An Almand 97 The Queen’s Galliard 98 Prekidium 99 Mr. Dowland’s Midnight 100 Coranto From the Hainbofer MS ror Phantasia yo2Pracambulum 103 Gagliarda List of Seurees ‘Editorial nae 227 232 236 238 241 245 246 247 248 250 253 254 256 258 259 261 267: 268 270 281 289 296 ag 3or 302 503, 325INTRODUCTION During his lifetime John Dowland was one of the few English composers whose fame spread throughout Europe. He has never been entirely forgotten although his music was almost com- pletely ignored during the whole of the eighteenth century and most of the nineteenth. ‘The carly twentieth century saw a dawning recognition among scholars and specialists of the rare quality of his work. In the nineteen twenties the appearance of the song books, edited by Dr. E. H. Fellowes, made this aspect of his work available, and his greatness as a song writer is well established. Tt was not, however, until the revival of an appreciation of the lute as an important instrument in its own right, that opportunities to hear Dowland’s lute music began to appear outside the small circle of devotees of early music. A certain number of Dowland’s compositions for the lute are becoming known, but there is still a large proportion which has remained shrouded in the obscurity of the original manuscripts and many fine works have not yet been taken into the general repertoire. With this edition, as complete as the editors have been able to make it, it is hoped that a wider knowledge of his music will be achieved, so that his greatness in this field also will gain general acknowledgement. In the preparation of this book the editors have received much generous and valuable help. In particular they wish to express their thanks to the Gulbenkian Foundation whose grant of financial help made it possible to continue the work at a time when it scemed that circumstances might force it to be abandoned; to a generous friend, who wishes to remain anonymous, who also contributed financial help; to Desmond Dupré, who helped with proof reading, and who made many useful suggestions; to Richard Newton whose great knowledge of English lute music helped to solve many problems; to General Prynne who allowed unlimited use of his microfilms; to Robert Spencer for making available the Tollemache MS for study, and for granting permission to include works from this and the Mynshall MS, both of which are now in his possession. Acknow- Jedgement is also gladly extended to all those libraries which have allowed extracts from their MSS and books to be included in this volume. DP. BRL. ‘The prolonged and laborious task of assembling, codifying and transcribing the material must be credited 10 my co-editor, my part being in the main confined to help both in the preparation of the final text and the making of the version in staff notation. BRL*CALENDAR OF D/ 1565 1580 1584. 1586 1588 July 8th 4590 November u7th 4592 1594 1595 November roth 1596 December rst 1596-7 February 26th 1597 October arst November arst 4 note on the Calendar England continued to use the “Old Style” calendar until the beginning of 1752, with the year starting on March 25th. Most Continental countries, including Denmark, adopted the Gregorian zeforms in 1582 ot soon after. With the “New Style” calendar the year commenced on January rst and the date was advanced by ten days in order to compensate for the accumulated error of the old way of reckoning. In the above list of the main events in Dowland’ life all dates from Danish and other Continental sources iven in the “New Style”, while happenings in England arc referred to in the “Old”. ith the dating of letters from Englishmen abroad i is often impossible to be sure which system was in use. JOHN DOWL: Year of birth, = Goes to Paris in the service of Sic Henry Cobham, Ambassador to the French Court. Is sent on a mission by Sir Edward Stafford (who succeeded Cobham Ambassador) on bebalf of some English merchants imprisoned in and condemned to the galleys. Probably returned to England during this year. Is admitted Mus.Bac from Christ Church, Oxford. In Apologia Musics is mentioned by Dr. John Case among the most famous. musicians of his day. = “His golden locks” sung by Robert Hales at the Tiltyard, Westminster, 2 the Accession Day celebrations, “My heart and tongue were twins” sung before the Queen at Sudeley Castle. Six harmonizations contributed to Est’s Whole Booke of Psalmes. His application for a post at Court being rejected he leaves England with a ‘permit to travel abroad signed by Sir Robert Cecil and the Earl of Essex, He visits the Duke of Brunswick and the Landgrave of Hesse, then travels. south with the intention of visiting Luca Marenzio in Rome. He plays before the Grand Duke of Tuscany in Florence, but leaves the city hurriedly when exiled English Catholics living there attempt to involve him in a plot against the Queen. He returns to Germany. From Nuremberg he writes a detailed account of his journey and of the activities of the exiles to Sir Robert Cecil. = Returns to the Landgrave’s Court sometime during this year. Seven of Dowland’s compositions appear in Barley’s New Booke of Tabliture without the composer’s permission; “false and unperfect”. Letter written by Henry Noel to Dowland urging his return home in the — likelihood of the Queen’s granting him a post at Court. Death of Henry Noel. “Lamentatio Henrici Noe!” composed for the funeral in Westminster Abbey. ‘The First Booke of Songes catered in the Stationers’ Register. Dowland describes himself on the title-page as “Bacheler of Musicke in both the Universities”. Giles Farnaby’s Canzonets to for voyces entered in the Stationers’ Register. Dated 1598 it contains a commendatory poem by Dowland.1598 February oth July 16th Letter written to Dowland by the Langrave of Hesse offering him a post at the Landgrave’s Court. ‘Appointment offered at the Court of Christian TV of Denmark. In Richard Barnfield’s Poems: In divers humors he is commended in the well-known sonnet “If music and sweet poetry agree”. November 18th Dowland begins his duties as royal Jutenist at the Danish Court with a 1599. 1600 July xsth July 28th 1601 February sth Jane 6th September sth 1603 February 19th 1602-5 February 21st salary of 500 daler a year, payment beginning from that date. Francis Meres pays tribute to his genius in Palladis Tamia, printed during this year. Dowland writes commendatory poem for Richard Alison’s The Psalmes of David in Meter. The Second Books of Songes entered in the Stationers’ Register. The epistle is dated “From Helsignoure in Denmark the first of June 1600”. George Eastland buys the MS from Mrs. Dowland for £20 and half the expected reward from Lucy Countess of Bedford for the dedication. Dowland signs a receipt for 6oo daler in excess of his salary, paid him on the instruction of the Court Treasurer. He returns to England during the latter part of the year to buy instruments and engage other musiciats for the Danish Court. Reprint of The First Booke of Songes. ‘The Danish Customs receive a letter saying they will be repaid the 309 daler they advanced to Dowland for buying instruments in England. Dowland teceives a present from the Danish King of a portrait of His Royal Majesty in “plain gold”. ‘The Customs in Elsinore receive another letter assuring them that the 300 daler advanced to Dowland will be repaid. Salary paid in Denmark and then entries in the Royal Accounts cease until July roth, 1604. ‘The Third and Last Bonke of Songes entered in the Stationers? Register. The greater part of this year appears to have been spent away from Denmark, September 2oth The plague rages in London all through the summer and the King and 10 October th 1604 April and July sot 1608 1608-p January 20th 1610 — tothe Lute”, Queen leave London to escape the contagion, Before returning to town in the autumn they visit Winchester where a masque is presented for Prince Henry. Dowland “has access” to Her Majesty while she is in this city, possibly soliciting a post at Court. Second reprint of The First Booke of Songes. Lachviavae or Seaven Teares entered in the Stationers’ Register. By this date Dowland occupies a house in Fetter Lane, He has apparently returned to Denmark as he is paid a year’s salary in arrears. All through this year he is beset with money troubles and draws his salary in advance. He is dismissed from the Court of Denmark while the King is absent on a visit to the Duke of Brunswick, ‘Third reprint of The First Booke of Songes. Fourth reprint of The First Booke of Songes? Dowland’s translation of the Microlgus of Ornithoparcus is entered in the Stationers’ Register. Varietie of Lute-Lesson: printed, containing nine pieces by Dowland, a translation of “Necessarie Observations belonging to Lute-playing” by Besardus, and Dowland's own “Other Necessary Observations belonging aAOctober 28th x612 October 28th 1615 7615-14 January 27th February 1614 1621 1622 3624. 3625-6 January 20th February 20th A Pilgrimes Solace entered in the Stationers’ Register. Printed 1612. Dowland is now lutenist to Lord Walden. Appointed one of the Lutes to James I, in the place of Richard Pyke (died May arst, 1568), at the salary of 20d pence a day. Final reprint of The First Booke of Songes. Sir William Leighton’s Teares or Lamentacions of a sorronfull soule entered in Stationers’ Register. Printed 1614. Contains two sacred songs by Dowland and a commendatory poem from his pen. Plays the lute in Chapman’s “Masque of the Inner Temple and Lincoln’s Inn” at Whitchall during the festivities connected with the marriage of Princess Elizabeth on February 14th. Robert Johnson receives £45 for writing songs and music, Dowland is paid £2 16s, od. for playing. Dowland contributes a poem “in commendation of this warke” to Thomas Rayenscroft’s A Briefe Discourse, He contributes a new setting of Psalm too to Thomas Ravenscroft’s Wiole Booke of Psalnes, Por the first time he is styled Dr. John Dowland. Thomas Tomkins in Songs of 3, 4, 5 and 6 parts dedicates the seventh song to “Doctor Douland”. This style is also used in the Audit office Accounts from this year onwards, Dowland is named with Byrd, Bull, Morley and “the rest of our rare Artists”, by William Webb in a poem in Francis Pilkington’s Second set of Madrigals. Receives his final payment and is succeeded in his post at Court by his son Robert (by letters under the signet 26, April 2nd, Chas. 1). ‘The name “John Dowland Doctor of Musicke” is entered in the Burial Register of St. Anne, Blackfriars._ BIOGRAPHICAL NOTES Band 19, Carram Drconre Prren (15 59-1590). Member of a land-owning family of some standing mm 14, 142, and 33. 7 in Launceston, Cornwall. In 1585 the Sweepstake of London was put to sea under a Commission of Reprisal granted by the High Court of Admiralty to attack shipping belonging to subjects of the King of Spain. Digorie Piper was Captain. During the next fewmonths, however, instead of confining his attentions to Spanish vessels, Piper attacked and spoiled a number of French, Dutch, Flemish and Danish boats going about their lawful business up and down the Channel, On June roth, 1386, he was charged with pitacy before Mr. Justice Caesar and made a full confession. He apparently escaped hanging as he lived until 1590 and was buried in his own parish on January 2oth of that year. Brigine Funerwoop, daughter of Thomas Fleetwood, Fsq., of The Vache, Chalfont St. Giles, Master of the Mint and Sheriff of the County of Buckinghamshire in 1564. She mafried, in December 1589, Sir William Smith, nephew and heir of Sir Thomas Smith, Principal Secretary of State to Edward VI and Elizabeth. ‘The family seat was Hill Hall, Theydon Mount, Essex. She was related by marriage to Katherine Darcy (see No. 24). Dn. Jou Cast (?-1600). Became a Fellow of St. John’s College, Oxford, in 1572 but later left his Fellowship and married. He became a Doctor of Medicine in 1589 and built up a successful practise, He wrote a number of books on various aspects of Aristotle's writings and also Apologia Musics (1588) in which Dowland is mentioned as among the most famous composers of his time. The Praise of Musicke (1586) is also attributed to him. His name is perpetuated in a six-part setting by William Byrd of a poem by Thomas ‘Watson, known as “A Gratifications unto Master John Case. ..”. Sm Jou LANGTON (1560-1616), of Langton in Lincolnshire. Educated at Magdalen College, Oxford, Entered Lincoln’s Inn as a student in 1579. Knighted by James 1 in 1603 and became High Sheriff of Leicestershire in 1612. Lapy Russet (1528-1609). Almost certainly Blizabeth, Lady Russell, one of the five daughters of Sir Anthony Cooke of Gidea Hall, Essex. These sisters were considered to be among the most learned women of their time. One, Mildred, became the wife of William Cecil, Lord Burleigh; another, Ann, married Sir Nicholas Bacon. Elizabeth married first Sir Thomas Hoby, translator of Castiglione’s The Booke of the Courtier (1561). After his death she married in 1574, John Lord Russell, son and heir to the Duke of Bedford. She wwas one of the signatories to the petitions to the Privy Council from the residents within the precincts of Blackfriars, which, in 1596, sought to have James Burbage restrained from opening “a common playhouse” in the old friary building. 24, 41, 45 Katuentve Dancy or Darcie, Daughter and heiress of Sir Henry Darcy. On June 25th, and 53 26. 29. 32 and 57 1591, she martied Gervase Clifton, son of Sir John Clifton of Barrington Court, Somerset. Clifton was knighted sometime before 1597 and created a peer in 1608, Joan or Jane Glifton, sister of Gervase, married Sir William Fleetwood, Brigide’s eldest brother. Sin Jor Soucx, son of Sir John Souch of Codnor Castle, Derbyshire. He studied at Trinity College, Oxford; was admitted to Gray’s Inn in 1582; knighted April 23rd, 1603. Dowland’s Third and Last Booke of Songs was also dedicated to him. Gurs Honr (¢. 1626), either the half-brother or son of the half-brother of Sir Thomas Hoby, first husband of Lady Russell. Mas. Vaux, Probably Elizabeth Roper, wife of George, eldest son of William Lord Vaux of Harrowden. Ma. Knrcur, Identification impossible, xiii =7 4h 42a. 4 44and 44a. 47 48 and 4a. soand 54 55. 65. ‘Tu Lonp CrauserAm at the time of the publication of this piece was George Carey, second Baron Hunsdon (1547-1603), son of Henry Carey, first Baron Hunsdon, a cousin ‘of Queen Elizabeth's. He succeeded to the title on the death of his father in 1596 and ‘was appointed Lord Chamberlain of the Household in March, 1597. ‘Tae Loro Viscount Liste (1565-1626), Robert Sidney, son of Sir Henry Sidney and brother of Sir Philip Sidney. Member of Parliament and distinguished soldier, he was knighted by the Earl of Leicester in 1586, while serving in the Wars of the Low Countries. He became Chamberlain to the Queen, Anne of Denmark in 1603; created Viscount Lisle in x605 ; and in 1618, the Earldom of Leicester was revived in his favour. Robert Jones’s Second Book of Songs (1601) is dedicated to him. Cristian IV, King of Denmark (reigned 1588-1648, crowned 1596), in whose service Dowland spent the years from November 18th, 1598, to March soth, 1606, Christian ‘was a discriminating patron of music and the arts, though singularly unsuccessful in war. Contemporary accounts stress his excessive propensity to drunkenness. Queen Enizanern I (b. 1553, reigned 1588-1603). Tt would be superfluous to give biographical details here but to the extent to which her life touched upon that of Dowland, it is perhaps worth saying that his expressed belief that his Catholicism prevented his securing an appointment at her Court does not accord either with het known attitude towards Catholies or with the facts of Dowland’s owa life. Dowland dedicated no music to her until after her death. Ronrnt Devereux, second Earl of Essex (1567-1601). ‘The history of the Earl of Essex, his rise to power as favourite of Queen Elizabeth, his rebellion, disgrace and execution in 1601 are too well-known to call for repetition here. Lap Ric (6. 1562 of 1563). Penelope Devereux, elder sister of Robert, Earl of Essex, was, after her father’s death, married against her will, by her guardians, to Lord Rich. Later she left Lord Rich and joined Charles Blount, Lord Mountjoy. Divorced in 1605, she married Blount, by that time created Earl of Devonshire. She was the “Stella” of Sit Philip Sidney's ‘Astropbel and Stelle. Ferprvanpo Srantey, fifth Earl of Derby (1559-1594). He traced his descent from Henry VII through Mary, Queen Dowager of France, sister of Henry VIII, and her second husband Charles Brandon, Duke of Suffolk. On account of this position in the line of succession some attempt was made by the Catholic faction to involve him in a claim to the throne, but he refused to become entangled in any such dangerous adventures. ‘He was a great patron of the arts and several books were dedicated to him. As Lord Strange he was, for several years, patron of a company of actors which was known by his name. He succeeded to the Earldom of Derby on the death of his father together with other dignities and titles which included sovereignty of the Isle of Man. Possibly the same Six Jonn Sarre: of Hough in Cheshire, to whom Pilkington dedicated his Second Set of Madrigals (1624), but William A. Shaw in The Knights of England gives 2 John Smith of Essex, who was knighted at Royston in 1605. This would agree very with his being plain “mr Smythe” in FD and Sir John Smith in Var. Lavy Larron. Probably Winifred, daughter of Simon Harcourt of Ellenhall in Stafford- shire, wife of Sit William Leighton, poet and composer, best known for his Teares or Lamentations of a Sorronfull Soule (1615 and 1614). Mas, Warts. Possibly Anne Cecil (sister of William Cecil, Lord Burleigh, 1520-1598), who married Thomas White of Tuxford, Nottinghamshire. Lapy Hunspon. Elizabeth, second daughter of Sit John Spenser of Althorp, North- amptonshire and wife of George Carey, second Lord Hunsdon. She was a noted patroness of letters. Her elder sister Alice, married as her first husband Ferdinando Earl of Derby. ‘The Winrexs were rejated to the Vaux family by marriage and to the Treshams. Tt was from among these Catholic families of the Midlands that those taking part in the Gun- powder Plot were largely drawn. This Mrs. Winter could have been Jean or Jane Ingleby who martied George Winter and became the mother of Robert and Thomas Winter, two of the leading conspirators. Rucuarp Tarteron (d. 1588). Famous comic actor. He is credited with the authorship of News out of Pargatory and a number of ballads and songs. He died in poverty. Lorp Srranc. Probably Lord Strange, the title bore by Ferdinando Stanley watil hesucceeded to the Earldom of Derby in 1593. See No. 44. 66. Loxp Wuioucuny. Peregrine Bertie, eleventh Baron Willoughby de Eresby (1555-1601) ‘was the son of Katherine, third wife of Charles Brandon Duke of Suffolk. After the death of the Duke she married an obscure gentleman named Richard Bertie. Their son Peregrine became a distinguished soldier and in 1387 was appointed Commander of the English forces in the Nethetlands in place of the Earl of Leicester. THE TRANSCRIPTIONS Although tablature has a distinct advantage for the lutenist over staff notation, it has the weakness of being unable to convey the precise movement of the individual parts in a musical composition. In other words, tablature, though indicating where any given note begins is unable to show, except where another note falls on the same string, where that note ends. ‘Thus the elucidation of the harmonic structure and the counterpoint devolves upon the performer, or, in the case of trans- criptions into staff notation, upon the editor. ‘The most skilful among the lutenist composers acquired a remarkable ability to suggest a great deal more than the hand can actually perform on the instrument. A well-written passage, played by a good performer, will suggest the presence of several complete parts, while in fact, owing to the exigencies of lute technique, the player is unable, from time to time, to maintain some of the notes required by the harmony and counterpoint. The editors, therefore, in the transcriptions, while avoiding as far as possible, the prolonging of notes in such a way as to be impracticable on the lute, have found it necessary, from time to time, in order to give a coherent account of the music, to show a note as held, even though it may be beyond the technical limitations of the lute. In certain cases, in order to make this clear, the duration beyond which a note cannot be sustained is shown by the use of a tic and a bracket, ¢.g. |_{J] . Thus it is hoped that the staff notation, while making the music available to a wider circle, will also serve as an aid to the Iutenist in under- standing the full implications of the tablature. ‘The occurrence of hemiola thythm, so ambiguous even in the staff notation of the Baroque music, is not infrequent in galliards, The interpretation of these ambiguities is conjectural, due attention having been given to the harmonic sense, though even here opinion may differ. ‘To make clear precisely what has been done in these transcriptions the following summary of points should be noted: 3. Any note added to the original text, either conjecturally or from another soutce, is placed in square brackets, No further mention is made of these additions. 2. Editorial emendations are marked by numbered footnotes, which give the original reading. 3. Where bar lines have been regularized, unless otherwise mentioned, the position of the ginal bar is shown by an asterisk over the transcription. 4. Where absent, double bars have been added to the end of strains and repeats. 5. Repeat matks have been added where definite marking is found in the sources, These mark- ings may be either a figure 2 placed over the double bar; the sign °5 ; or a double bar with dots. Ina Se instances the latter marks are used purely decoratively and in such cases they have been ign GeTiceepalaes a bees alved ‘except in the cases of 47, 472, 4h 5a 61, 62, 63, 66 and 66a, where it was felt the music was better expressed by retaining the original values. 7- Inconsistency is often found in the use of the time mark |. In some sources it represents two beats, in others four. In this edition, except in the picccs already mentioned, q is used ‘to represent a minim, while | represents a semibreve, 8. A note and bottom with a bracket round one stem indicates that one