Come Again Sweet Love Low Voice

Arrangement for: Piano Vox

Limerick: Come Again, Sweet Love doth Now Invite

Composer: Dowland John

Arranger: David Siebert

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For Vocalization and Piano (Siebert). Consummate Score PDF 0 MBWikipedia

John Dowland (1563 – buried xx February 1626) was an English or possibly Irish gaelic Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs such as "Come, heavy sleep", "Come once again", "Flow my tears", "I saw my Lady weepe" and "In darkness allow me dwell", only his instrumental music has undergone a major revival, and with the 20th century's early on music revival, has been a continuing source of repertoire for lutenists and classical guitarists.

Very little is known of John Dowland's early life, just it is generally thought he was born in London; some sources even put his birth twelvemonth as 1562. Irish gaelic historian West. H. Grattan Flood claimed that he was born in Dalkey, near Dublin, simply no corroborating evidence has ever been plant either for that or for Thomas Fuller's claim that he was built-in in Westminster. There is, however, ane very clear slice of evidence pointing to Dublin as his identify of origin: he dedicated the song "From Silent Night" to 'my loving countryman Mr. John Forster the younger, merchant of Dublin in Ireland'. The Forsters were a prominent Dublin family at the fourth dimension, providing several Lord Mayors to the urban center.

In 1580 Dowland went to Paris, where he was in service to Sir Henry Cobham, the ambassador to the French court, and his successor Sir Edward Stafford. He became a Roman Catholic at this time. In 1584, Dowland moved dorsum to England and married. In 1588 he was admitted Mus. Bac. from Christ Church, Oxford. In 1594 a vacancy for a lutenist came up at the English court, but Dowland's application was unsuccessful – he claimed his religion led to his not being offered a post at Elizabeth I's Protestant court. However, his conversion was non publicised, and being Catholic did not prevent some other important musicians (such equally William Byrd) from a courtroom career.

From 1598 Dowland worked at the court of Christian IV of Denmark, though he continued to publish in London. King Christian was very interested in music and paid Dowland astronomical sums; his salary was 500 daler a year, making him one of the highest-paid servants of the Danish courtroom. Though Dowland was highly regarded by King Christian, he was not the ideal servant, frequently overstaying his leave when he went to England on publishing business or for other reasons. Dowland was dismissed in 1606 and returned to England; in early 1612 he secured a post as one of James I'due south lutenists. At that place are few compositions dating from the moment of his royal appointment until his expiry in London in 1626. While the appointment of his death is not known, "Dowland's final payment from the court was on twenty January 1626, and he was buried at St Ann's, Blackfriars, London, on 20 February 1626."

Two major influences on Dowland's music were the popular espoused songs, and the dance music of the mean solar day. Most of Dowland's music is for his own instrument, the lute. It includes several books of solo lute works, lute songs (for one voice and lute), part-songs with lute accompaniment, and several pieces for viol espoused with lute. The poet Richard Barnfield wrote that Dowland's "heavenly affect upon the lute doth ravish human sense."

1 of his amend known works is the lute vocal "Flow my tears", the first verse of which runs:

Flow my tears, fall from your springs, Exil'd for ever let me mourn; Where night'southward black bird her lamentable infamy sings, At that place allow me live forlorn.

He later wrote what is probably his all-time known instrumental work, Lachrimae, or Seaven Teares, Figured in Seaven Passionate Pavans, a set of 7 pavanes for v viols and lute, each based on the theme derived from the lute song "Menstruum my tears". It became one of the best known collections of espoused music in his time. His pavane, "Lachrymae antiquae", was besides popular in the seventeenth century, and was bundled and used every bit a theme for variations by many composers. He wrote a lute version of the pop ballad "My Lord Willoughby'due south Welcome Dwelling house".

Dowland's music often displays the melancholia that was so fashionable in music at that time. He wrote a consort slice with the punning championship "Semper Dowland, semper dolens" (always Dowland, always doleful), which may exist said to sum up much of his work.

Richard Barnfield, Dowland's contemporary, refers to him in verse form 8 of The Passionate Pilgrim (1598), a Shakespearean sonnet:

If music and sweetness verse agree, Equally they must needs, the sister and the brother, So must the love exist nifty 'twixt thee and me, Considering one thousand lovest the one, and I the other. Dowland to thee is dear, whose heavenly touch on Upon the lute doth ravish human sense; Spenser to me, whose deep conceit is such As, passing all conceit, needs no defence. Yard lovest to hear the sweet melodious sound That Phoebus' lute, the queen of music, makes; And I in deep delight am importantly drown'd When every bit himself to singing he betakes. One god is god of both, as poets feign; One knight loves both, and both in thee remain.

Only one comprehensive monograph of Dowland's life and works is bachelor in print. The fullest listing is that compiled past Diana Poulton in her The collected Lute Music of John Dowland. P numbers are therefore sometimes used to designate individual pieces.

Published by Thomas Est in 1592, The Whole Booke of Psalmes contained works by 10 composers, including 6 pieces by Dowland.

The New Booke of Tabliture was published by William Barley in 1596. Information technology contains seven solo lute pieces past Dowland.

Written for the professional choir of Westminster Abbey.

Of uncertain attribution are:

Dowland in London in 1597 published his Outset Booke of Songes or Ayres, a set of 21 lute-songs and 1 of the well-nigh influential collections in the history of the lute. Information technology is prepare out in a fashion that allows operation by a soloist with lute accompaniment or past various other combinations of singers and instrumentalists. The lute-songs are listed below. Later on them, at the end of the drove, comes "My Lord Chamberlaine, His Galliard", a piece for two people to play on one lute.

Dowland published his 2d Booke of Songs or Ayres in 1600. It has 22 lute songs:

The Third and Last Booke of Songs or Aires was published in 1603.

The 21 songs are:

The Lachrimae, or Seaven Teares was published in 1604. It contains the vii pavans of Lachrimae itself and 14 others, including the famous Semper Dowland semper Dolens.

Dowland published a translation of the Micrologus of Andreas Ornithoparcus in 1609, originally printed in Leipzig in 1517.

This was published by Dowland's son Robert in 1610 and contains solo lute works by his father.

This was likewise published by Dowland's son that yr. It contains iii songs by his father:

Dowland's final work A Pilgrimes Solace, was published in 1612, and seems to have been conceived more than equally a collection of contrapuntal music than as solo works.

Many of Dowland'south works survive but in manuscript form.

Dowland performed a number of espionage assignments for Sir Robert Cecil in French republic and Denmark; despite his high rate of pay, Dowland seems to take been only a court musician. Still, we have in his own words the fact that he was for a time embroiled in treasonous Cosmic intrigue in Italy, whither he had travelled in the hopes of meeting and studying with Luca Marenzio, a famed madrigal composer. Any his faith, however, he was still intensely loyal to the Queen, though he seems to have had something of a grudge confronting her for her remark that he, Dowland, "was a man to serve whatever prince in the earth, merely [he] was an obstinate Papist." But in spite of this, and though the plotters offered him a large sum of money from the Pope, every bit well as safe passage for his wife and children to come to him from England, in the end he declined to take anything farther to do with their plans and begged pardon from Sir Robert Cecil and from the Queen.

John Dowland was married and had children, every bit referenced in his letter of the alphabet to Sir Robert Cecil. However, he had long periods of separation from his family, as his married woman stayed in England while he worked on the Continent.

His son Robert Dowland (c. 1591 – 1641) was as well a musician, working for some time in the service of the commencement Earl of Devonshire, and taking over his father's position of lutenist at courtroom when John died.

Dowland'southward melancholic lyrics and music have often been described as his attempts to develop an "artistic persona" in spite of really beingness a cheerful person, but many of his own personal complaints, and the tone of bitterness in many of his comments, suggest that much of his music and his melancholy truly did come from his ain personality and frustration.

One of the first 20th-century musicians who successfully helped reclaim Dowland from the history books was the vocalizer-songwriter Frederick Keel. Keel included 15 Dowland pieces in his two sets of Elizabethan love songs published in 1909 and 1913, which achieved popularity in their mean solar day. These free arrangements for pianoforte and low or high voice were intended to fit the tastes and musical practices associated with fine art songs of the time.

In 1935, Australian-born composer Percy Grainger, who also had a deep involvement in music made before Bach, bundled Dowland's Now, O now I needs must function for piano. Some years later, in 1953, Grainger wrote a work titled Bell Piece (Ramble on John Dowland's 'At present, O at present I needs must office'), which was a version scored for voice and air current ring, based on his previously mentioned transcription.

In 1951 Alfred Deller, the famous counter-tenor (1912–1979), recorded songs by Dowland, Thomas Campion, and Philip Rosseter with the label HMV (His Main's Vox) HMV C.4178 and another HMV C.4236 of Dowland'southward "Menstruation my Tears". In 1977, Harmonia Mundi likewise published two records of Deller singing Dowland'southward Lute songs (HM 244&245-H244/246).

Dowland's vocal "Come up Heavy Sleepe, the Image of Truthful Decease" was the inspiration for Benjamin Britten'due south Nocturnal after John Dowland, written in 1963 for the guitarist Julian Bream. Information technology consists of eight variations, all based on musical themes drawn from the song or its lute accompaniment, finally resolving into a guitar setting of the song itself.

Dowland's music became role of the repertoire of the early on music revival with lutenist Julian Bream and tenor Peter Pears, and later with Christopher Hogwood and David Munrow and the Early Music Consort in the tardily 1960s and afterwards with the Academy of Ancient Music from the early 1970s.

Jan Akkerman, guitarist of the Dutch progressive stone band Focus, recorded "Tabernakel" in 1973 (though released in 1974), an album of John Dowland songs and some original cloth, performed on lute.

The consummate works of John Dowland were recorded by the Consort of Musicke, and released on the L'Oiseau Lyre characterization, though they recorded some of the songs equally vocal espoused music; the Third Book of Songs and A Pilgrim's Solace have withal to be recorded in their entirety equally collections of solo songs.

The 1999 ECM New Series recording In Darkness Let Me Dwell features new interpretations of Dowland songs performed by tenor John Potter, lutenist Stephen Stubbs, and baroque violinist Maya Homburger in collaboration with English jazz musicians John Surman and Barry Guy.

Nigel North recorded Dowland's complete works for solo lute on four CDs between 2004 and 2007, on Naxos records.

Paul O'Dette recorded the complete lute works for Harmonia Mundi on five CDs issued from 1995 to 1997.

Elvis Costello included a recording (with Fretwork and the Composers Ensemble) of Dowland'southward "Tin can she excuse my wrongs" as a bonus rail on the 2006 re-release of his The Juliet Letters.

In Oct 2006, Sting, who says he has been fascinated past the music of John Dowland for 25 years, released an anthology featuring Dowland'due south songs titled Songs from the Labyrinth, on Deutsche Grammophon, in collaboration with Edin Karamazov on lute and archlute. They described their treatment of Dowland's work in a Great Performances advent. To give some idea of the tone and intrigues of life in late Elizabethan England, Sting besides recites throughout the album portions of a 1593 letter written by Dowland to Sir Robert Cecil. The letter describes Dowland's travels to various points of Western Europe, then breaks into a detailed account of his activities in Italian republic, along with a heartfelt denial of the charges of treason whispered against him by unknown persons. Dowland nearly likely was suspected of this for travelling to the courts of various Catholic monarchs and accepting payment from them greater than what a musician of the time would normally have received for performing.

SF author Philip One thousand. Dick referred to Dowland in many of his works, fifty-fifty using the pseudonym "Jack Dowland" one time.

The Collected Lute Music of John Dowland, with lute tablature and keyboard notation, was transcribed and edited by Diana Poulton and Basil Lam, Faber Music Limited, London 1974.

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