Dowland's First Booke of Songes

An explanation of performance practice for 16^th century English lute songs.

Primary Sources

There is no extant manuscript, however, an original printed version is held by the British Museum (K.2.i.4)

Secondary Sources

A facsimile of the original held by the British Museum was released in 1968 by The Scholar Press Limited, edited by Diana Poulton.

Several editions have been published by Stainer and Bell, transcribed and edited by the expert, Edmund H. Fellowes. Fellowes' transcription for -partsong was also published by The Royal Musical Association in the Musica Brittanica series, edited by Thurston Dart and Nigel Fortune in 1963.

Primary sources of material related to the performance practice of the work

The performance practice of the lute is fairly easy to establish, there are many instruments extant from the late renaissance and there is a significant body of writing on and for the lute. Dowland says in the introduction to this work, "…I purpose shortly my selfe to set forth the choicest of all my Lessons in print, and also an introduction for fingering, with other books of Songs, whereof this is the first…"

The human voice is an elusive creature, and before the treatises of the classical period, most decisions about the proper performance practice of songs must be speculative and instinctive.

While there is no definitive work which describes the performance practice of English Lute Ayres, contemporary writers in France, Germany, and Italy did write about vocal qualities. "Because of the agreement - or lack of disagreement - in the various instructions and their fairly wide geographical distribution, they can probably be taken as a general European view of singing in the late Renaissance."(McGee, 55) McGee further gives a summary of the writings of three authors, Hermann Finck (1556, Wittenberg), Giovanni Maffei (1562, Naples), and Conrad von Zabern(1474, Heidelberg). These points, which are highly indicative of a vocal style which is obviously practical for performing renaissance vocal music are:

"1. Sing with the mouth open only as wide as in casual conversation. Do not open it wide or close the teeth.

2. Place the singing tone in the front of the mouth. Avoid singing from the back of the throat or through the nose.

3. Use a moderate tone. Do not force the voice.

4. Sing with a steady tone that does not change in pitch, volume, or intensity.

5. Rapid notes should receive clear articulatioin. Passages with text should receive clean articulation with the toungue, and untexted passages should be articulated clearly in the throat However, Finck warned against sounding like a goat.

6. Avoid excessive body motion while singing." However, this seems to be a major point of contention between critics

Additional points given by these writers are to lighten the voice as it rises, pronouncing vowels clearly, avoiding aspirated vowels, and singing without vibrato (Conrad, to choral singers)

Historical materials related to the Historical and Cultural context of the first performances of the work

The venue of this work is the private home. It is very much a genre meant for a small intimate group to sing for each other. This style is hinted at in Moreley's A plaine and easie guide to Musick but it's hardly discussed.

Studies of performance practice relating to the period/area of your chosen work

In Small Proportions: A Poetics of the English Ayre, 1596–1622. By Daniel Fischlin. Detroit: Wayne State University Press, 1998. Fischlin is a lutenist.

P. 250 Robert Spencer said, "Elizabethan comment on singing itself is sparse, but even that tells us something. That writers equated learning to sing only with learning to sight-read, indicates how little attention was paid to voice production."

P. 250 little evidence exists regarding lute accompaniment

P. 250 suggests Tune thy Musicke to thy Hart, which is in OU

P. 250 suggests Performance:: Revealing the Orpheus within

P. 251-2 Tofts suggests, "First, consider the passions of the poem. Note the dominant affection and determine how the main parts of the text relate to this central passion. Then study individual sentences to discover the specific affections embodied in them. At the same time, observe the figurative language with which sentences have been decorated and decide which words require emphasis. Do not overlook the punctuation, for it is the vehicle through which the structure of the discourse is articulated, and the observance of it enables listeners to comprehend the thoughts and emotions of the texts easily. At this point the study of the structure of the text should be complete."

P. 252: Fischlin quotes Thomas Campion's sarcastic description of the old style of theatrical declamation, which Fischlin suggests indicates a contrary performance practice for the ayre. "But there are some, who to appeare the more deepe and singular in their judgement, will admit no Musicke but that which is long, intricate, bated with fuge, chaind with syncopation, and where the nature of everie word is precisely exprest in the Note, like the old exploided action in Comedies, when if they did pronounce Memini, they would point to the hinder part of their heads, if Video, put their finger in their eye. But such childish observing of words is altogether ridiculous, and we ought to maintaine as well in Notes, as in action, a manly carriage, gracing no word, but that which is eminent, and emphaiticall.

Medieval and Renaissance Music, a Performer's Guide, By Timothy J. McGee. Hants, England. The Scholar Press, 1990

This book quotes many primary sources and gives interpretation of the appropriate vocal style for this genre.

Interviews/discussions with performers, past and present, with experience in the period of your chosen work

…[not] varying intensity and pitch of a single note or by rapid and frequent change of volume in a short passage. [McGee also cites instrumentalists being encouraged to imitate singers' flexible volumes for expression in 1535 and 1601]

I have read a lot of essays on the appropriate style for early music…the problem is, they're all general and the blanket statements made may stretch several centuries. In this work I choose not to include the opinions of others but rather to draw my own conclusions and support them.

Recordings: Modern, Historical, Original Instruments, Modern Instruments, 'Authentic"

Dowland: First Booke of Songes / Covey-Crump, Lindberg Performer: Rogers Covey-Crump, Jakob Lindberg Bis (Swe) - #430 / November 8, 1990 ASIN: B0000016F4

Dowland: The First Booke of Songes Performer: Rufus Müller, Christopher Wilson Asv - #135 / August 24, 1993 ASIN: B0000030OE

Awake, Sweet Love... / James Bowman, Miller, King's Consort Performer: James Bowman, David [lute/guitar] Miller Ensemble: King's Consort Hyperion (UK) - #66447 / April 3, 1991 ASIN: B000002ZOC

Dowland: The Collected Works / Rooley, Consort of Musicke. Uni/L'Oiseau-Lyre - #452563 / June 24, 1997 ASIN: B000004CYV

Major Problems of Performance Practice

By far the most difficult issue of performance practice is vocal style, followed by the style of accompaniment. The notation and text are easily read.

Solutions as suggested by primary and secondary source materials

It is generally accepted that the appropriate voice for late 16^th century English song is free from vibrato and excess air (a very "silver" sound as compared to "white") with a very focused tone.

Areas which remain largely unresolved

As previously discussed, the main issues are of technique for the lute and voice(s).

A look at each of the pieces:

I. Unquiet Thoughts

Subject: unrequited love

Simple rhythms

Dowland probably wrote this during one of his periods of political exile. (SP, 21)

II. Whoever Thinks or Hopes of Love for Love

Subject: Warning of love's dangers

Some difficult rhythms

III. My thoughts are Wingd with Hopes

Fickle emotions compared with waning and waxing of the moon

Many difficult rhythms

Galliard (Sir John Souch, his Galliard)

Text by George, Earl of Cumberland, Fulke Greville, John Lyly, or Walter Raleigh. Probably written to Queen Elizabeth

IV. If my complaints could Passions Move

Lover spurned.

Galliard: Captain Digorie Piper, His Galliard.

V. Can she excuse My Wrongs With Vertues Cloake

Unrequited love

Galliard: The Earl of Essex's Galliard (may have been written by Essex for Elizabeth)

Lute melody has a melodic quote in the last section from shall I go walk the woods so wild

VI. Now, O Now I needs Must Part

Lover pines away

This tune is a coranto and is called the "Frog Galliard" (may be because Elizabeth called the Duc D'Alençon her frog)

This song was one of the first to state that absence doesn't make the heart grow fonder.

VII. Deare If You CHange Ile Never Chuse Againe

Faith of lover and virtue of the beloved

VIII. Burst Forth My Teares

Pining away of unrequited love

Also called "To his flocks"

IX. Go Cristall Teares

Unrequited lover

X. Thinkst Thou Then by Faining

Lover wants to kiss sleeping beloved.

Alman

XI. Come Away, Come, Sweet Love

Lover enticing his beloved

Also called "To his Love"

Alman

XII. Rest a While You Cruell Cares

Laura's lover wants him to be kind

XIII. Sleepe Wayward Thoughts.

His Love (the Girl) is asleep and his love for her is awake.

Galliard

XIV. All Ye Whom Loue or Fortune Hath Betraide.

My sorrows are worse

XV. Wilt Thou Unkind Thus Reave Me of My Hart

Good-bye song

XVI. Would My Conceit That First Enforst My Woe

Suffering over unrequited love

XVII. Come Againe: Sweet Love Doth Now Envite.

A teasing complaint

XVIII. His Goulden Locks Time Hath to Silver Turnd

This song was performed by the Queen's Lutenist at the retirement of her champion of 20 years, Sir Henry Lee. It is possible he may have written the text.

Dowland's First Booke of Songes

Primary Sources

There is no extant manuscript, however, an original printed version is held by the British Museum (K.2.i.4)

Secondary Sources

A facsimile of the original held by the British Museum was released in 1968 by The Scholar Press Limited, edited by Diana Poulton.

Several editions have been published by Stainer and Bell, transcribed and edited by the expert, Edmund H. Fellowes. Fellowes' transcription for -partsong was also published by The Royal Musical Association in the Musica Brittanica series, edited by Thurston Dart and Nigel Fortune in 1963.

Primary sources of material related to the performance practice of the work

The human voice is an elusive creature, and before the treatises of the classical period, most decisions about the proper performance practice of songs must be speculative and instinctive.

Additional points given by these writers are to lighten the voice as it rises, pronouncing vowels clearly, avoiding aspirated vowels, and singing without vibrato (Conrad, to choral singers)

Historical materials related to the Historical and Cultural context of the first performances of the work

Studies of performance practice relating to the period/area of your chosen work

P. 250 Robert Spencer said, "Elizabethan comment on singing itself is sparse, but even that tells us something. That writers equated learning to sing only with learning to sight-read, indicates how little attention was paid to voice production."

P. 250 little evidence exists regarding lute accompaniment

P. 250 suggests Tune thy Musicke to thy Hart, which is in OU

P. 250 suggests Performance:: Revealing the Orpheus within

Interviews/discussions with performers, past and present, with experience in the period of your chosen work

…[not] varying intensity and pitch of a single note or by rapid and frequent change of volume in a short passage. [McGee also cites instrumentalists being encouraged to imitate singers' flexible volumes for expression in 1535 and 1601]

I have read a lot of essays on the appropriate style for early music…the problem is, they're all general and the blanket statements made may stretch several centuries. In this work I choose not to include the opinions of others but rather to draw my own conclusions and support them.

Recordings: Modern, Historical, Original Instruments, Modern Instruments, 'Authentic"

Major Problems of Performance Practice

By far the most difficult issue of performance practice is vocal style, followed by the style of accompaniment. The notation and text are easily read.

Solutions as suggested by primary and secondary source materials

Areas which remain largely unresolved

As previously discussed, the main issues are of technique for the lute and voice(s).

A look at each of the pieces:

I. Unquiet Thoughts

Subject: unrequited love

Simple rhythms

Dowland probably wrote this during one of his periods of political exile. (SP, 21)

II. Whoever Thinks or Hopes of Love for Love

Subject: Warning of love's dangers

Some difficult rhythms

III. My thoughts are Wingd with Hopes

Fickle emotions compared with waning and waxing of the moon

Many difficult rhythms

Galliard (Sir John Souch, his Galliard)

Text by George, Earl of Cumberland, Fulke Greville, John Lyly, or Walter Raleigh. Probably written to Queen Elizabeth

IV. If my complaints could Passions Move

Lover spurned.

Galliard: Captain Digorie Piper, His Galliard.

V. Can she excuse My Wrongs With Vertues Cloake

Unrequited love

Galliard: The Earl of Essex's Galliard (may have been written by Essex for Elizabeth)

Lute melody has a melodic quote in the last section from shall I go walk the woods so wild

VI. Now, O Now I needs Must Part

Lover pines away

This tune is a coranto and is called the "Frog Galliard" (may be because Elizabeth called the Duc D'Alençon her frog)

This song was one of the first to state that absence doesn't make the heart grow fonder.

VII. Deare If You CHange Ile Never Chuse Againe

Faith of lover and virtue of the beloved

VIII. Burst Forth My Teares

Pining away of unrequited love

Also called "To his flocks"

IX. Go Cristall Teares

Unrequited lover

X. Thinkst Thou Then by Faining

Lover wants to kiss sleeping beloved.

Alman

XI. Come Away, Come, Sweet Love

Lover enticing his beloved

Also called "To his Love"

Alman

XII. Rest a While You Cruell Cares

Laura's lover wants him to be kind

XIII. Sleepe Wayward Thoughts.

His Love (the Girl) is asleep and his love for her is awake.

Galliard

XIV. All Ye Whom Loue or Fortune Hath Betraide.

My sorrows are worse

XV. Wilt Thou Unkind Thus Reave Me of My Hart

Good-bye song

XVI. Would My Conceit That First Enforst My Woe

Suffering over unrequited love

XVII. Come Againe: Sweet Love Doth Now Envite.

A teasing complaint

XVIII. His Goulden Locks Time Hath to Silver Turnd

This song was performed by the Queen's Lutenist at the retirement of her champion of 20 years, Sir Henry Lee. It is possible he may have written the text.

XIX. Awake Sweet loue thou art Returnd

Love has triumphed over sadness.

Originally a lute solo, Galliard.