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global_geo.html('Loading forecast ...');
jQuery.ajax({
data: {
city: city,
report: 'daily'
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dataType: 'jsonp',
url: 'https://upge.wn.com/api/upge/cheetah-photo-search/weather_forecast_4days',
success: function(data) {
if(!data) { text = ('weater data temporarily not available'); }
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-
Renaissance Lute John Dowland Album
published: 13 Mar 2018
-
Dowland - Complete Lute Galliards Works / Lachrimae + Presentation (Century's record.: Paul O'Dette)
🔊 Download high-fidelity classical music: https://classicalmusicreference.com/
John Dowland (1563-1626) - Complete Lute Works by the Master Paul O’DETTE.
*Click to activate the English subtitles for the presentation* (00:00-12:00)
Book I
Almain For Lute, P 51 (00:00) Pavana For Lute (02:29)
Mr Knights Galliard, P 36 (09:24) My Lord Willobes Wellcome Home, P 66 (11:02)
Frogg Galliard, P 23A (12:22) Fantasie For Lute, P 5 (15:53)
Lady Rich, Her Galliard, P 43 (18:13) Lady Laiton’s Almain, P 48 (19:51)
Dream, P 75 (21:12) Galliard, P 104 (26:20)
Orlando Sleepeth, P 61 (28:01) What If a Day, P 79 (29:28)
Winters Jomps, P 55 (30:55) Galliard, P 35 (31:48)
Mr Giles Hobie’s Galliard, P 29 (33:29) Dr. Cases Paven, P 12 (35:19)
Mellancholy Galliard, P 25 (40:14) Galliard, P 27 (42:36)
Mistris Whitt...
published: 02 Dec 2017
-
John Dowland - 2 Hours With The Best Lute Classical Music HQ
Renaissance Lute - John Dowland (Album) No Tracklist Available * This Channel has no monetary or commercial intentions. If There any copyright or licensing with either music present in this.
John Dowland (1563 – buried 20 February 1626) was an English Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs such as Come, heavy sleep (the basis.
Las gallardas compuestas para laúd por John Dowland e interpretadas por Paul O'Dette.
John Dowland (1563 – buried 20 February 1626) was an English Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs such as Come, heavy sleep (the basis.
published: 30 Jan 2018
-
"Lachrimae" by John Dowland
Christopher Morrongiello performs "Lachrimae" (ca. 1590s) by John Dowland (1563–1626), Cambridge University Library manuscript DD.2.11. Filmed in the Chapel from Le Château de la Bastie d'Urfé at The Metropolitan Museum of Art.
Featured Instrument:
Attributed to Wendelin Tieffenbrucker (German, active 1570–1610). Lute, late 16th century. Padua, Italy. Yew, spruce, ebony, maple. The Metropolitan Museum of Art, New York, Purchase, Gift of Mr. and Mrs. Robert P. Freedman, by exchange, 1989 (1989.13)
http://www.metmuseum.org/collection/the-collection-online/search/503357
Recorded April 15, 2015
Credits
Production support was provided by The Augustine Foundation.
A production of the Digital Media Department
The Metropolitan Museum of Art
Producer and Director: Christopher Noey
Editor: K...
published: 15 Oct 2015
-
John Dowland: Consort Music and Songs
published: 11 Dec 2014
-
"Flow my tears" by John Dowland | Valeria Mignaco, soprano | Alfonso Marin, lute
Valeria Mignaco, soprano | Alfonso Marin, lute
Recorded live at Sint-Pieterskerk / Leuven / Belgium
www.lutevoice.com
Another more recent version of this song: http://youtu.be/blk0cgnNUKE
published: 11 Aug 2007
-
John Dowland - In Darkness Let Me Dwell
In darkness let me dwell, for voice, lute & bass viol (A Musicall Banquet), (1610)
Steven Rickards, counter-tenor
Dorothy Linell, lute
John Dowland's songs (or ayres, as they were termed) for voice and lute represent the culmination of a long tradition in England, where such pieces were held in high esteem throughout the sixteenth century. The bulk of Dowland's contribution to this rich repertoire consists of three books published simply as a First, Second, and Third Book of Songs, and a further collection published in 1612 under the title A Pilgrimmes Solace. The First Book appeared in 1597. It bears a dedication to Sir George Carey, Baron of Hunsden and chamberlain to Queen Elizabeth I. In this dedication, the 34-year-old Dowland not only reasserts the traditional superiority of v...
published: 25 Jun 2011
-
John Dowland - Can She Excuse My Wrongs|Vivid Consort & David Bergmüller
Can She Excuse My Wrongs - John Dowland (1563-1626)
First Booke of Songes or Ayres, London 1597
Vivid Consort ft. David Bergmüller
Christine Gnigler - recorder, vocals
Lorina Vallaster - recorder, vocals
Sheng-Fang Chiu - recorder
David Bergmüller - lute
Andreas Gnigler - film
Alexander Yannilos - sound/recording
Lukas Froschauer - sound/engineering
Sheng-Fang Chiu - concept
Vienna, 2020
Instruments/Recorders by Adriana Breukink
------
Vivid Consort • https://www.vividconsort.com • [email protected]
David Bergmüller • https://www.davidbergmueller.com • [email protected]
-----
Can she excuse my wrongs with Virtue’s cloak?
Shall I call her good when she proves unkind?
Are those clear fires which vanish into smoke?
Must I praise the leaves where no fruit I find?...
published: 22 Nov 2020
-
John Dowland: Come away, come sweet love (Original Pronunciation)
Agnes Coakley, soprano (agnescoakley.com)
Vinícius Perez, archlute (viniciusperez.com)
Master's recital Agnes Coakley, soprano
June 11, 2015
Schola Cantorum Basiliensis
From The First Booke of Songs or Ayres (1597)
Come away, come sweet love,
The golden morning breaks.
All the earth, all the air
of love and pleasure speaks:
Teach thine arms then to embrace,
And sweet rosy lips to kiss,
And mix our souls in mutual bliss,
Eyes were made for beauty's grace,
Viewing, rueing love's long pain
Procur'd by beauty's rude disdain.
Come away, come sweet love,
The golden morning wastes,
While the sun from his sphere
his fiery arrows casts,
Making all the shadows fly,
Playing, Staying in the grove
To entertain the stealth of love.
Thither, sweet love, let us hie,
Flying, dying in desire
Wing'd with...
published: 19 Oct 2015
5:25:31
Dowland - Complete Lute Galliards Works / Lachrimae + Presentation (Century's record.: Paul O'Dette)
🔊 Download high-fidelity classical music: https://classicalmusicreference.com/
John Dowland (1563-1626) - Complete Lute Works by the Master Paul O’DETTE.
*Click...
🔊 Download high-fidelity classical music: https://classicalmusicreference.com/
John Dowland (1563-1626) - Complete Lute Works by the Master Paul O’DETTE.
*Click to activate the English subtitles for the presentation* (00:00-12:00)
Book I
Almain For Lute, P 51 (00:00) Pavana For Lute (02:29)
Mr Knights Galliard, P 36 (09:24) My Lord Willobes Wellcome Home, P 66 (11:02)
Frogg Galliard, P 23A (12:22) Fantasie For Lute, P 5 (15:53)
Lady Rich, Her Galliard, P 43 (18:13) Lady Laiton’s Almain, P 48 (19:51)
Dream, P 75 (21:12) Galliard, P 104 (26:20)
Orlando Sleepeth, P 61 (28:01) What If a Day, P 79 (29:28)
Winters Jomps, P 55 (30:55) Galliard, P 35 (31:48)
Mr Giles Hobie’s Galliard, P 29 (33:29) Dr. Cases Paven, P 12 (35:19)
Mellancholy Galliard, P 25 (40:14) Galliard, P 27 (42:36)
Mistris Whittes Thingz, P 50 (44:24) Go From My Window, P 64 (45:27)
Almain For Lute, P 49 (49:02) Mistris Whittes P 56 (50:14)
Pavane For Lute, P 18 (51:15) Galliard, P 30 (56:38)
Farewell Fantasia, P 3 (58:30)
Dowland - Flow my Tears / Tenor & Lute + Presentation (Cent. record. : Nigel Rogers / Paul O’Dette)
https://www.youtube.com/watch?v=P3s_2V4P0RI&list=PL3UZpQL9LIxNCmtm6R1ygb7Y8sC0s_XOP&index=2
Book II
My Lady Hunsdons Puffe, P 54 (1:04:06) Solus Cum Sola, P 10 (1:05:28)
Susanna Fair Galliard, P 91 (1:09:56) Sir John Smith His Almaine, P 47 (1:11:46)
Robin, P 70 (1:14:14) Galliard, P 22 (1:18:07)
Pipers Pavan, P 8 (1:19:50) Pipers Galliard, P 19 (1:24:59)
As I Went To Walsingham (1:27:18) Monsieur’s Almain (1:32:42)
Mrs Brigide Fleetwoods Paven, P 11_ Solus Sine Sola (1:34:30)
First Galliard, P 20 (1:40:05) Farawell, P 4 (1:41:30)
John Dowland’s Galliard, P 21 (1:45:03) Aloe, P 68 (1:47:41)
Can She Excuse, P 42 (1:48:43) A Coye Joye, P 80 (1:50:17)
Mrs Vauxes Gigge, P 57 (1:52:37) Mrs Vaux Galliard, P 32 (1:53:32)
Sir Henry Guilford, His Almain (1:54:36) Mignarda, P 34 (1:56:31)
Lachrimae Pavan, P 15 (1:59:58) Galliard, P 26 (2:05:16)
Fantasia For Lute, P 1A (2:06:54)
Book III
King Of Denmark, His Galliard, P 40 (2:10:44) Mr John Langton’s Pavan, P 14 (2:13:36)
Mr John Langton’s Galliard, P 33 (2:19:36) A Fancy, P 7 (2:22:16)
Pavan For Lute, P 16 (2:26:38) Queene Elizabeth Her Galliard, P 41 (2:32:01)
Mrs Cliftons Allmaine, P 53 (2:33:09) Lady Cliftons Spirit, P 45 (2:34:24)
Tarletones Riserrectione, P 59 (2:36:05) Tarleton’s Willy, P 81 (2:39:30)
Fortune, P 62 (2:41:04) Queenes Galliard, P 97 (2:43:31)
Wallsingham, P 67 (2:45:07) A Galliarde On Walsingham, P 31 (2:49:56)
Dowland’s Adieu For Master Oliver Cromwell (2:51:49)
Ferdinando Earle Of Derby His Galliard, P 44 (2:57:20)
Lord Strang’s March, P 65 (2:59:51) Mrs Nichols Almand, P 52 (3:01:25)
Forlorne Hope Fancye, P 2 (3:02:51) Mr Dowland’s Midnight, P 99 (3:06:43)
Semper Dowland Semper Dolens, P 9 (3:08:30)
Book IV
Preludium, P 98 (3:15:52) A Fancy, P 6 (3:17:09) Lachrimae, P 15 (3:20:02)
Galliard To Lachrimae, P 46 (3:25:26) A Fantasia, P 71 (3:27:56)
An Almand, P 96 (3:33:38) Pavana, P 94 (3:35:04)
Robert, Earl Of Essex, His Galliard, P 42A (3:42:17)
A Galliard - Upon A Galliard By Daniel Bachelar, P 28 (3:44:01)
My Lord Wilobies Welcom Home, P 66A (3:47:20)
The Shoemakers Wife In A Toy, P 58 (3:48:43)
The Lord Viscount Lisle, His Galliard, P 38 (3:49:51)
Coranto, P 100 (3:52:42) A Galliard, P 82 (3:54:46)
The Lady Russells Paven, P 17 (3:56:40)
Galliard - On Awake Sweet Love, P 92 (4:01:43) The Frog Galliard, P 23 (4:03:31)
A Fancy (4:05:32) Pavana Dowlandi Angli (4:08:56)
Douland’s Rounde Batell Galyarde (4:14:18) Pavin (4:15:54)
The Erle Of Darbies Galiard (4:21:28) Mistris Norrishis Delight (4:24:18)
A Jig (4:26:02) The Erle Of Essex Galliard (4:28:21)
Galliard (4:30:00) Une Jeune Fillette (4:31:40)
Gagliarda (4:37:03) Pavana Lachrimae (4:38:58)
Squires Galliard (4:45:00) A Fancy (4:46:54)
Hasellwoods Galliard (4:52:48) Sir Thomas Monson, His Pavin (4:54:26)
Sir Thomas Monson, His Galliard (5:00:33) Almande (5:02:43)
Sir Henry Umptons Funerall (5:05:14) Captayne Pipers Galliard (5:11:04)
A Fantasie (5:13:55)
Bonus : Tell me, true love (05:18:16) / Complete recording: https://www.youtube.com/watch?v=2wz-flwNM2c&list=PL3UZpQL9LIxNCmtm6R1ygb7Y8sC0s_XOP&index=3
HD Video: John Dowland, A Fancy P.5 | Magnus Wendel | PAINTED. https://www.youtube.com/watch?v=m1k1uKesp0E
Lute & Orpharion : Paul O’DETTE
Recorded in 1994-96, at Campion Center & Seiji Ozawa Hall, Massachusetts
Find CMRR's recordings on Spotify: https://spoti.fi/3016eVr
*COMMENTAIRE COMPLET : VOIR PREMIER COMMENTAIRE ÉPINGLÉ.*
Dowland - Flow my Tears / Tenor & Lute + Presentation (Cent. record. : Nigel Rogers / Paul O’Dette)
https://www.youtube.com/watch?v=P3s_2V4P0RI&list=PL3UZpQL9LIxNCmtm6R1ygb7Y8sC0s_XOP&index=2
https://wn.com/Dowland_Complete_Lute_Galliards_Works_Lachrimae_Presentation_(Century's_Record._Paul_O'Dette)
🔊 Download high-fidelity classical music: https://classicalmusicreference.com/
John Dowland (1563-1626) - Complete Lute Works by the Master Paul O’DETTE.
*Click to activate the English subtitles for the presentation* (00:00-12:00)
Book I
Almain For Lute, P 51 (00:00) Pavana For Lute (02:29)
Mr Knights Galliard, P 36 (09:24) My Lord Willobes Wellcome Home, P 66 (11:02)
Frogg Galliard, P 23A (12:22) Fantasie For Lute, P 5 (15:53)
Lady Rich, Her Galliard, P 43 (18:13) Lady Laiton’s Almain, P 48 (19:51)
Dream, P 75 (21:12) Galliard, P 104 (26:20)
Orlando Sleepeth, P 61 (28:01) What If a Day, P 79 (29:28)
Winters Jomps, P 55 (30:55) Galliard, P 35 (31:48)
Mr Giles Hobie’s Galliard, P 29 (33:29) Dr. Cases Paven, P 12 (35:19)
Mellancholy Galliard, P 25 (40:14) Galliard, P 27 (42:36)
Mistris Whittes Thingz, P 50 (44:24) Go From My Window, P 64 (45:27)
Almain For Lute, P 49 (49:02) Mistris Whittes P 56 (50:14)
Pavane For Lute, P 18 (51:15) Galliard, P 30 (56:38)
Farewell Fantasia, P 3 (58:30)
Dowland - Flow my Tears / Tenor & Lute + Presentation (Cent. record. : Nigel Rogers / Paul O’Dette)
https://www.youtube.com/watch?v=P3s_2V4P0RI&list=PL3UZpQL9LIxNCmtm6R1ygb7Y8sC0s_XOP&index=2
Book II
My Lady Hunsdons Puffe, P 54 (1:04:06) Solus Cum Sola, P 10 (1:05:28)
Susanna Fair Galliard, P 91 (1:09:56) Sir John Smith His Almaine, P 47 (1:11:46)
Robin, P 70 (1:14:14) Galliard, P 22 (1:18:07)
Pipers Pavan, P 8 (1:19:50) Pipers Galliard, P 19 (1:24:59)
As I Went To Walsingham (1:27:18) Monsieur’s Almain (1:32:42)
Mrs Brigide Fleetwoods Paven, P 11_ Solus Sine Sola (1:34:30)
First Galliard, P 20 (1:40:05) Farawell, P 4 (1:41:30)
John Dowland’s Galliard, P 21 (1:45:03) Aloe, P 68 (1:47:41)
Can She Excuse, P 42 (1:48:43) A Coye Joye, P 80 (1:50:17)
Mrs Vauxes Gigge, P 57 (1:52:37) Mrs Vaux Galliard, P 32 (1:53:32)
Sir Henry Guilford, His Almain (1:54:36) Mignarda, P 34 (1:56:31)
Lachrimae Pavan, P 15 (1:59:58) Galliard, P 26 (2:05:16)
Fantasia For Lute, P 1A (2:06:54)
Book III
King Of Denmark, His Galliard, P 40 (2:10:44) Mr John Langton’s Pavan, P 14 (2:13:36)
Mr John Langton’s Galliard, P 33 (2:19:36) A Fancy, P 7 (2:22:16)
Pavan For Lute, P 16 (2:26:38) Queene Elizabeth Her Galliard, P 41 (2:32:01)
Mrs Cliftons Allmaine, P 53 (2:33:09) Lady Cliftons Spirit, P 45 (2:34:24)
Tarletones Riserrectione, P 59 (2:36:05) Tarleton’s Willy, P 81 (2:39:30)
Fortune, P 62 (2:41:04) Queenes Galliard, P 97 (2:43:31)
Wallsingham, P 67 (2:45:07) A Galliarde On Walsingham, P 31 (2:49:56)
Dowland’s Adieu For Master Oliver Cromwell (2:51:49)
Ferdinando Earle Of Derby His Galliard, P 44 (2:57:20)
Lord Strang’s March, P 65 (2:59:51) Mrs Nichols Almand, P 52 (3:01:25)
Forlorne Hope Fancye, P 2 (3:02:51) Mr Dowland’s Midnight, P 99 (3:06:43)
Semper Dowland Semper Dolens, P 9 (3:08:30)
Book IV
Preludium, P 98 (3:15:52) A Fancy, P 6 (3:17:09) Lachrimae, P 15 (3:20:02)
Galliard To Lachrimae, P 46 (3:25:26) A Fantasia, P 71 (3:27:56)
An Almand, P 96 (3:33:38) Pavana, P 94 (3:35:04)
Robert, Earl Of Essex, His Galliard, P 42A (3:42:17)
A Galliard - Upon A Galliard By Daniel Bachelar, P 28 (3:44:01)
My Lord Wilobies Welcom Home, P 66A (3:47:20)
The Shoemakers Wife In A Toy, P 58 (3:48:43)
The Lord Viscount Lisle, His Galliard, P 38 (3:49:51)
Coranto, P 100 (3:52:42) A Galliard, P 82 (3:54:46)
The Lady Russells Paven, P 17 (3:56:40)
Galliard - On Awake Sweet Love, P 92 (4:01:43) The Frog Galliard, P 23 (4:03:31)
A Fancy (4:05:32) Pavana Dowlandi Angli (4:08:56)
Douland’s Rounde Batell Galyarde (4:14:18) Pavin (4:15:54)
The Erle Of Darbies Galiard (4:21:28) Mistris Norrishis Delight (4:24:18)
A Jig (4:26:02) The Erle Of Essex Galliard (4:28:21)
Galliard (4:30:00) Une Jeune Fillette (4:31:40)
Gagliarda (4:37:03) Pavana Lachrimae (4:38:58)
Squires Galliard (4:45:00) A Fancy (4:46:54)
Hasellwoods Galliard (4:52:48) Sir Thomas Monson, His Pavin (4:54:26)
Sir Thomas Monson, His Galliard (5:00:33) Almande (5:02:43)
Sir Henry Umptons Funerall (5:05:14) Captayne Pipers Galliard (5:11:04)
A Fantasie (5:13:55)
Bonus : Tell me, true love (05:18:16) / Complete recording: https://www.youtube.com/watch?v=2wz-flwNM2c&list=PL3UZpQL9LIxNCmtm6R1ygb7Y8sC0s_XOP&index=3
HD Video: John Dowland, A Fancy P.5 | Magnus Wendel | PAINTED. https://www.youtube.com/watch?v=m1k1uKesp0E
Lute & Orpharion : Paul O’DETTE
Recorded in 1994-96, at Campion Center & Seiji Ozawa Hall, Massachusetts
Find CMRR's recordings on Spotify: https://spoti.fi/3016eVr
*COMMENTAIRE COMPLET : VOIR PREMIER COMMENTAIRE ÉPINGLÉ.*
Dowland - Flow my Tears / Tenor & Lute + Presentation (Cent. record. : Nigel Rogers / Paul O’Dette)
https://www.youtube.com/watch?v=P3s_2V4P0RI&list=PL3UZpQL9LIxNCmtm6R1ygb7Y8sC0s_XOP&index=2
- published: 02 Dec 2017
- views: 1267114
1:52:52
John Dowland - 2 Hours With The Best Lute Classical Music HQ
Renaissance Lute - John Dowland (Album) No Tracklist Available * This Channel has no monetary or commercial intentions. If There any copyright or licensing with...
Renaissance Lute - John Dowland (Album) No Tracklist Available * This Channel has no monetary or commercial intentions. If There any copyright or licensing with either music present in this.
John Dowland (1563 – buried 20 February 1626) was an English Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs such as Come, heavy sleep (the basis.
Las gallardas compuestas para laúd por John Dowland e interpretadas por Paul O'Dette.
John Dowland (1563 – buried 20 February 1626) was an English Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs such as Come, heavy sleep (the basis.
https://wn.com/John_Dowland_2_Hours_With_The_Best_Lute_Classical_Music_Hq
Renaissance Lute - John Dowland (Album) No Tracklist Available * This Channel has no monetary or commercial intentions. If There any copyright or licensing with either music present in this.
John Dowland (1563 – buried 20 February 1626) was an English Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs such as Come, heavy sleep (the basis.
Las gallardas compuestas para laúd por John Dowland e interpretadas por Paul O'Dette.
John Dowland (1563 – buried 20 February 1626) was an English Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs such as Come, heavy sleep (the basis.
- published: 30 Jan 2018
- views: 1879532
5:00
"Lachrimae" by John Dowland
Christopher Morrongiello performs "Lachrimae" (ca. 1590s) by John Dowland (1563–1626), Cambridge University Library manuscript DD.2.11. Filmed in the Chapel fro...
Christopher Morrongiello performs "Lachrimae" (ca. 1590s) by John Dowland (1563–1626), Cambridge University Library manuscript DD.2.11. Filmed in the Chapel from Le Château de la Bastie d'Urfé at The Metropolitan Museum of Art.
Featured Instrument:
Attributed to Wendelin Tieffenbrucker (German, active 1570–1610). Lute, late 16th century. Padua, Italy. Yew, spruce, ebony, maple. The Metropolitan Museum of Art, New York, Purchase, Gift of Mr. and Mrs. Robert P. Freedman, by exchange, 1989 (1989.13)
http://www.metmuseum.org/collection/the-collection-online/search/503357
Recorded April 15, 2015
Credits
Production support was provided by The Augustine Foundation.
A production of the Digital Media Department
The Metropolitan Museum of Art
Producer and Director: Christopher Noey
Editor: Kate Farrell
Camera: Kate Farrell and Kelly Richardson
Lighting: Ned Hallick
Sound Recording and Post-Production Audio: David Raymond
Production Coordinator: Stephanie Wuertz
Production Assistants: Sarah Cowan, Maureen Coyle
Organized by the Department of Musical Instruments
J. Kenneth Moore, Frederick P. Rose Curator in Charge
Jayson Kerr Dobney, Associate Curator and Administrator
Bradley Strauchen-Scherer, Associate Curator
Susana Caldeira, Associate Conservator
Tim Caster, Principal Departmental Technician
Marian Eines, Associate for Administration
Pamela Summey, Assistant for Administration
https://wn.com/Lachrimae_By_John_Dowland
Christopher Morrongiello performs "Lachrimae" (ca. 1590s) by John Dowland (1563–1626), Cambridge University Library manuscript DD.2.11. Filmed in the Chapel from Le Château de la Bastie d'Urfé at The Metropolitan Museum of Art.
Featured Instrument:
Attributed to Wendelin Tieffenbrucker (German, active 1570–1610). Lute, late 16th century. Padua, Italy. Yew, spruce, ebony, maple. The Metropolitan Museum of Art, New York, Purchase, Gift of Mr. and Mrs. Robert P. Freedman, by exchange, 1989 (1989.13)
http://www.metmuseum.org/collection/the-collection-online/search/503357
Recorded April 15, 2015
Credits
Production support was provided by The Augustine Foundation.
A production of the Digital Media Department
The Metropolitan Museum of Art
Producer and Director: Christopher Noey
Editor: Kate Farrell
Camera: Kate Farrell and Kelly Richardson
Lighting: Ned Hallick
Sound Recording and Post-Production Audio: David Raymond
Production Coordinator: Stephanie Wuertz
Production Assistants: Sarah Cowan, Maureen Coyle
Organized by the Department of Musical Instruments
J. Kenneth Moore, Frederick P. Rose Curator in Charge
Jayson Kerr Dobney, Associate Curator and Administrator
Bradley Strauchen-Scherer, Associate Curator
Susana Caldeira, Associate Conservator
Tim Caster, Principal Departmental Technician
Marian Eines, Associate for Administration
Pamela Summey, Assistant for Administration
- published: 15 Oct 2015
- views: 1883229
4:27
"Flow my tears" by John Dowland | Valeria Mignaco, soprano | Alfonso Marin, lute
Valeria Mignaco, soprano | Alfonso Marin, lute
Recorded live at Sint-Pieterskerk / Leuven / Belgium
www.lutevoice.com
Another more recent version of this song: ...
Valeria Mignaco, soprano | Alfonso Marin, lute
Recorded live at Sint-Pieterskerk / Leuven / Belgium
www.lutevoice.com
Another more recent version of this song: http://youtu.be/blk0cgnNUKE
https://wn.com/Flow_My_Tears_By_John_Dowland_|_Valeria_Mignaco,_Soprano_|_Alfonso_Marin,_Lute
Valeria Mignaco, soprano | Alfonso Marin, lute
Recorded live at Sint-Pieterskerk / Leuven / Belgium
www.lutevoice.com
Another more recent version of this song: http://youtu.be/blk0cgnNUKE
- published: 11 Aug 2007
- views: 1602764
3:36
John Dowland - In Darkness Let Me Dwell
In darkness let me dwell, for voice, lute & bass viol (A Musicall Banquet), (1610)
Steven Rickards, counter-tenor
Dorothy Linell, lute
John Dowland's son...
In darkness let me dwell, for voice, lute & bass viol (A Musicall Banquet), (1610)
Steven Rickards, counter-tenor
Dorothy Linell, lute
John Dowland's songs (or ayres, as they were termed) for voice and lute represent the culmination of a long tradition in England, where such pieces were held in high esteem throughout the sixteenth century. The bulk of Dowland's contribution to this rich repertoire consists of three books published simply as a First, Second, and Third Book of Songs, and a further collection published in 1612 under the title A Pilgrimmes Solace. The First Book appeared in 1597. It bears a dedication to Sir George Carey, Baron of Hunsden and chamberlain to Queen Elizabeth I. In this dedication, the 34-year-old Dowland not only reasserts the traditional superiority of vocal over instrumental music, but makes it clear that the collection represents his first attempts at this form of composition: "This small booke containing the consent of speaking harmony, joyned with the most musicall instrument the Lute, being my first labour, I have presumed to dedicate to your Lordship." The continuation of the composer's preface also confirms that many of the songs were composed long before the publication date, they having been "concealde" until "the greater part of them might have been ripe enough by their age." However, far from being immature, the songs of Book I reveal Dowland as a fully fledged master. The publication includes 21 songs, among them such well-known titles as If my complaints, Can she excuse my wrongs, Go crystal tears, Come away, come sweet love, and Awake, sweet love. Dowland was one of the greatest lutenists of his age, and despite his prefatory comments the most important single feature of all his songs is the close integration of the vocal and instrumental parts, the latter of which are as important to the structure of the songs as the piano is to those of Schubert. This is one of a number of characteristics that set Dowland's songs apart from those of many of his contemporaries, who were frequently content to simply accompany the voice. Equally as important is the close relationship between the texts and the settings, Dowland's acute response to poetry that is in itself frequently highly musical placing him on near-parity with Purcell and Benjamin Britten in his setting of the English language. The songs of Book One include a wider diversity of mood than might be suspected from Dowland's self-confessed predilection for enjoying melancholy or somber themes. They range from the philosophical His golden locks, which muses on the transience of life (a familiar theme among poets of the age), through deeply felt utterances (Come, heavy sleep), to such charming conceits as Dear, if you change, and spirited pieces like Away with these self-loving lads. Although published for solo voice with lute accompaniment, many of the songs are also capable of being performed by a vocal ensemble or with a viol consort. [Allmusic.com]
Art by Melozzo Da Forli
https://wn.com/John_Dowland_In_Darkness_Let_Me_Dwell
In darkness let me dwell, for voice, lute & bass viol (A Musicall Banquet), (1610)
Steven Rickards, counter-tenor
Dorothy Linell, lute
John Dowland's songs (or ayres, as they were termed) for voice and lute represent the culmination of a long tradition in England, where such pieces were held in high esteem throughout the sixteenth century. The bulk of Dowland's contribution to this rich repertoire consists of three books published simply as a First, Second, and Third Book of Songs, and a further collection published in 1612 under the title A Pilgrimmes Solace. The First Book appeared in 1597. It bears a dedication to Sir George Carey, Baron of Hunsden and chamberlain to Queen Elizabeth I. In this dedication, the 34-year-old Dowland not only reasserts the traditional superiority of vocal over instrumental music, but makes it clear that the collection represents his first attempts at this form of composition: "This small booke containing the consent of speaking harmony, joyned with the most musicall instrument the Lute, being my first labour, I have presumed to dedicate to your Lordship." The continuation of the composer's preface also confirms that many of the songs were composed long before the publication date, they having been "concealde" until "the greater part of them might have been ripe enough by their age." However, far from being immature, the songs of Book I reveal Dowland as a fully fledged master. The publication includes 21 songs, among them such well-known titles as If my complaints, Can she excuse my wrongs, Go crystal tears, Come away, come sweet love, and Awake, sweet love. Dowland was one of the greatest lutenists of his age, and despite his prefatory comments the most important single feature of all his songs is the close integration of the vocal and instrumental parts, the latter of which are as important to the structure of the songs as the piano is to those of Schubert. This is one of a number of characteristics that set Dowland's songs apart from those of many of his contemporaries, who were frequently content to simply accompany the voice. Equally as important is the close relationship between the texts and the settings, Dowland's acute response to poetry that is in itself frequently highly musical placing him on near-parity with Purcell and Benjamin Britten in his setting of the English language. The songs of Book One include a wider diversity of mood than might be suspected from Dowland's self-confessed predilection for enjoying melancholy or somber themes. They range from the philosophical His golden locks, which muses on the transience of life (a familiar theme among poets of the age), through deeply felt utterances (Come, heavy sleep), to such charming conceits as Dear, if you change, and spirited pieces like Away with these self-loving lads. Although published for solo voice with lute accompaniment, many of the songs are also capable of being performed by a vocal ensemble or with a viol consort. [Allmusic.com]
Art by Melozzo Da Forli
- published: 25 Jun 2011
- views: 110997
4:36
John Dowland - Can She Excuse My Wrongs|Vivid Consort & David Bergmüller
Can She Excuse My Wrongs - John Dowland (1563-1626)
First Booke of Songes or Ayres, London 1597
Vivid Consort ft. David Bergmüller
Christine Gnigler - recorder...
Can She Excuse My Wrongs - John Dowland (1563-1626)
First Booke of Songes or Ayres, London 1597
Vivid Consort ft. David Bergmüller
Christine Gnigler - recorder, vocals
Lorina Vallaster - recorder, vocals
Sheng-Fang Chiu - recorder
David Bergmüller - lute
Andreas Gnigler - film
Alexander Yannilos - sound/recording
Lukas Froschauer - sound/engineering
Sheng-Fang Chiu - concept
Vienna, 2020
Instruments/Recorders by Adriana Breukink
------
Vivid Consort • https://www.vividconsort.com •
[email protected]
David Bergmüller • https://www.davidbergmueller.com •
[email protected]
-----
Can she excuse my wrongs with Virtue’s cloak?
Shall I call her good when she proves unkind?
Are those clear fires which vanish into smoke?
Must I praise the leaves where no fruit I find?
No, no; where shadows do for bodies stand,
That may’st be abus’d if thy sight be dim.
Cold love is like to words written on sand,
Or to bubbles which on the water swim.
Wilt thou be thus abused still,
Seeing that she will right thee never?
If thou canst not o’ercome her will,
Thy love will be thus fruitless ever.
Was I so base, that I might not aspire
Unto those high joys which she holds from me?
As they are high, so high is my desire,
If she this deny, what can granted be?
If she will yield to that which reason is,
It is reason’s will that love should be just.
Dear, make me happy still by granting this,
Or cut off delays if that I die must.
Better a thousand times to die
Than for to love thus still tormented:
Dear, but remember it was I
Who for thy sake did die contented.
https://wn.com/John_Dowland_Can_She_Excuse_My_Wrongs|Vivid_Consort_David_Bergmüller
Can She Excuse My Wrongs - John Dowland (1563-1626)
First Booke of Songes or Ayres, London 1597
Vivid Consort ft. David Bergmüller
Christine Gnigler - recorder, vocals
Lorina Vallaster - recorder, vocals
Sheng-Fang Chiu - recorder
David Bergmüller - lute
Andreas Gnigler - film
Alexander Yannilos - sound/recording
Lukas Froschauer - sound/engineering
Sheng-Fang Chiu - concept
Vienna, 2020
Instruments/Recorders by Adriana Breukink
------
Vivid Consort • https://www.vividconsort.com •
[email protected]
David Bergmüller • https://www.davidbergmueller.com •
[email protected]
-----
Can she excuse my wrongs with Virtue’s cloak?
Shall I call her good when she proves unkind?
Are those clear fires which vanish into smoke?
Must I praise the leaves where no fruit I find?
No, no; where shadows do for bodies stand,
That may’st be abus’d if thy sight be dim.
Cold love is like to words written on sand,
Or to bubbles which on the water swim.
Wilt thou be thus abused still,
Seeing that she will right thee never?
If thou canst not o’ercome her will,
Thy love will be thus fruitless ever.
Was I so base, that I might not aspire
Unto those high joys which she holds from me?
As they are high, so high is my desire,
If she this deny, what can granted be?
If she will yield to that which reason is,
It is reason’s will that love should be just.
Dear, make me happy still by granting this,
Or cut off delays if that I die must.
Better a thousand times to die
Than for to love thus still tormented:
Dear, but remember it was I
Who for thy sake did die contented.
- published: 22 Nov 2020
- views: 459020
3:07
John Dowland: Come away, come sweet love (Original Pronunciation)
Agnes Coakley, soprano (agnescoakley.com)
Vinícius Perez, archlute (viniciusperez.com)
Master's recital Agnes Coakley, soprano
June 11, 2015
Schola Cantorum Ba...
Agnes Coakley, soprano (agnescoakley.com)
Vinícius Perez, archlute (viniciusperez.com)
Master's recital Agnes Coakley, soprano
June 11, 2015
Schola Cantorum Basiliensis
From The First Booke of Songs or Ayres (1597)
Come away, come sweet love,
The golden morning breaks.
All the earth, all the air
of love and pleasure speaks:
Teach thine arms then to embrace,
And sweet rosy lips to kiss,
And mix our souls in mutual bliss,
Eyes were made for beauty's grace,
Viewing, rueing love's long pain
Procur'd by beauty's rude disdain.
Come away, come sweet love,
The golden morning wastes,
While the sun from his sphere
his fiery arrows casts,
Making all the shadows fly,
Playing, Staying in the grove
To entertain the stealth of love.
Thither, sweet love, let us hie,
Flying, dying in desire
Wing'd with sweet hopes and heav'nly fire.
Come away, come sweet love,
Do not in vain adorn
Beauty's grace, that should rise
like to the naked morn.
Lilies on the riverside
And the fair Cyprian flow'rs newblown
Desire no beauties but their own,
Ornament is nurse of pride,
Pleasure, measure love's delight.
Haste then, sweet love, our wished flight!
Recorded by Franz Bannwart
https://wn.com/John_Dowland_Come_Away,_Come_Sweet_Love_(Original_Pronunciation)
Agnes Coakley, soprano (agnescoakley.com)
Vinícius Perez, archlute (viniciusperez.com)
Master's recital Agnes Coakley, soprano
June 11, 2015
Schola Cantorum Basiliensis
From The First Booke of Songs or Ayres (1597)
Come away, come sweet love,
The golden morning breaks.
All the earth, all the air
of love and pleasure speaks:
Teach thine arms then to embrace,
And sweet rosy lips to kiss,
And mix our souls in mutual bliss,
Eyes were made for beauty's grace,
Viewing, rueing love's long pain
Procur'd by beauty's rude disdain.
Come away, come sweet love,
The golden morning wastes,
While the sun from his sphere
his fiery arrows casts,
Making all the shadows fly,
Playing, Staying in the grove
To entertain the stealth of love.
Thither, sweet love, let us hie,
Flying, dying in desire
Wing'd with sweet hopes and heav'nly fire.
Come away, come sweet love,
Do not in vain adorn
Beauty's grace, that should rise
like to the naked morn.
Lilies on the riverside
And the fair Cyprian flow'rs newblown
Desire no beauties but their own,
Ornament is nurse of pride,
Pleasure, measure love's delight.
Haste then, sweet love, our wished flight!
Recorded by Franz Bannwart
- published: 19 Oct 2015
- views: 35572