Bibliography

1. Works of John Dowland

The First Booke of Ayres (1597), facsimile reprint, ed. by Diana Poulton, Menston, Scolar Press, 19682 (English Lute Songs, 14).

A Pilgrimes Solace (1612), facsimile reprint, ed. by Diana Poulton, London, Scolar Press, 1977 (English Lute Songs,18).

Lachrimae, or Seaven Teares (1604), facsimile reprint, ed. by W. Edwards, Leeds, Boethius Press, 1974 (Early Music Reprinted, 1).

Ayres for Four Voices, transcribed by Edmund Fellowes, ed. by Thurston Dart and Nigel Fortune, London, Stainer and Bell, 19632 (Musica Britannica, 6).

The Collected Lute Music of John Dowland, transcr. and ed. by Diana Poulton and Basil Lam, London, Faber, 1974.

2. Works of other composers

Byrd William, Psalmes, Songs and Sonnets (1611), ed. by John Morehen, London, Stainer & Bell, 1987 (The Byrd Edition, 14).

Collected English Lutenist Partsong: 1, ed. by David Greer, London, Stainer and Bell, 1987 (Musica Britannica, 53).

Consort Songs, transcr. and ed. by Philipp Brett, London, Stainer and Bell, 19572 (Musica Britannica, 22).

Early Tudor Songs and Carols, transcribed and ed. by John Stevens, London, Stainer and Bell, 1975 (Musica Britannica, 36).

Marenzio Luca, Madrigali a quattro voci, Libro Primo (1585), edizione a cura di A. Iosue, F. Luisi, A. Tecardi, Roma, Pro Musica Studium, 1983 (Musica Rinascimentale in Italia, 9).

Marenzio Luca, Il Quinto libro dei madrigali a cinque voci, hrsg. von Alfred Einstein, Leipzig, s.e., 1931 (P.A.M. 6); ristampa anast. Hildesheim, G. Olms, 1967.

Morley Thomas, First Booke of Ayres (1600), ed. by Edmund H. Fellowes, rev. Thurston Dart, London, Stainer & Bell, 1969 (English Lutenists Songwriters 1/16).

3. Treatises

Alighieri Dante, De vulgari eloquentia, Napoli, Ricciardi, 1967.

Bontempi Angelini Giovanni Andrea, Nova Quatuor Vocibus Componendi Methodus; ristampa anastatica a cura di W. Witzemann, Lucca, LIM, 1993 (Musurgia, 19).

Coperario Giovanni, Rules How to Compose in Fowre Parts in Counter-point, 1618 ca.; facsimile edition, ed. by Manfred Bukofzer, Los Angeles, Gottlieb, 1952. Campion Thomas, A New Way of Making Fowre Parts in Counter-point by a Most Familiar and Infallible Rule, London, ca. 1613-4, in The Works of Thomas Campion, ed. by Walter R. Davis, London, Faber, 19672.

Del Lago Giovanni, Breve introduttione di musica misurata, Venezia, Scotto, 1540; ristampa anast. Bologna, Forni, 1969.

Galilei Vincenzo, Discorso della musica antica et moderna, Firenze, Marescotti, 1581; ristampa anastatica a cura di Fabio Fano, Roma, Reale Accdemia d’Italia, 1934.

Galilei Vincenzo, Il Fronimo, Venezia, Eredi Scotto, 1584; ristampa anastatica a cura di Giuseppe Vecchi, Bologna, Arnaldo Forni, 1988.

Ornithoparcus Andreas, Dowland John trans., A Compendium of Musical Practice: Andreas Ornithoparcus his Micrologus, or Introduction: Containing the Art of Singing by John Dowland, ed. by Gustave Reese, Rome, American Musicological Society, 1958; ristampa anastatica a cura di Steven Ledbetter, New York, Dover, 1973. *

Ornithoparcus Andreas, Musicae activae micrologus libris quatuor digestus, Leipzig, Valentin Schumann, 1517; ristampa anastatica Hildesheim, G. Olms, 1977.

Morley Thomas, A Plaine and Easie Introduction to Practicall Musicke (1597), ed. by Alec Harman, London, Dent & Sons, 1952.

Zarlino Gioseffo, Istitutioni Harmoniche, Venetia, Franceschi Senese, 1573; ristampa anastatica Ridgewood, The Greg Press, 1966.

4. Modern literature

A History of Song, ed. by Denis Stevens, London, Hutchinson & co., 1960.

Amman Peter J., La teoria e la filosofia musicale di Robert Fludd, in La musica nella rivoluzione scientifica del Seicento, a cura di Paolo Gozza, Bologna, Il Mulino, 1989,* *pp. 97-109.

Andrews Henry K., The Technique of Byrd’s Vocal Poliphony, London, Oxford University Press, 1966.* *

Bernstein Jane A., The Chanson in England 1530-1640: a Study of Sources and Styles, PhD. diss., Berkeley, University of California, 1974. *

Bianconi Lorenzo, Il Seicento, Torino, EDT, 19873 (Biblioteca di cultura musicale, 1/IV).

Bieler Jürgen, Lautenlieder von John Dowland: Formen und Fassungen, «Gitarre und Laute», IX, 1987, pp. 29-34. *

Bizzi Giancarlo, Il canone e la fuga, Ancona, Bèrben, 1990.

Bizzi Giancarlo, Specchi invisibili dei suoni: La costruzione dei canoni, risposta a un enigma, Centro Internazionale di Studi per la divulgazione della Musica Italiana, Roma, Edizioni Kappa, 1982.

Boyd Morrison Comegyn, Elizabethan Music and Musical Criticism, Philadelphia, University of Pennsylvania, 19622 .

Brown Howard Mayer, Verso una definizione dell’armonia nel sedicesimo secolo: sui «madrigali ariosi» di Antonio Barrè, «Rivista Italiana di Musicologia», XXV, 1990, pp. 18-60.

Bukofzer Manfred, Music in the Baroque Era, New York, W.W. Norton & Company, 1947 (trad. it. Di Oddo Piero Bertini, La musica barocca, Milano, Rusconi, 1982).

Butler Gregory G., Music and Rethoric in Early Seventeenth-Century English Sources, «Musical Quarterly», LXVI, 1980, pp. 177-185.* *

Civra Ferruccio, Musica Poetica. Introduzione alla retorica musicale, Torino, UTET, 1991.

Daiches David, Storia della letteratura inglese, vol. I, Milano, Garzanti, 19862.

Dahlhaus Carl,* Untersuchungen über die Entstehung der harmonischen Tonalität, Kassel, Bärenreiter Verlag, 1968, (english trans. by Robert O. Gjerdingen, Studies on the Origin of Harmonic Tonality*, Princeton, Princeton University Press, 1990).

Dart Thurston, Role de la Dance dans l’”Ayre” Anglais, in Musique et Poésie au XVIe siècle, Paris, Éditions du Centre National de la Recherche Scientifique, 1954, pp. 203-211.

Duffy John, The Songs and Motets of Alfonso Ferrabosco, the Younger (1575-1628), Ann Arbor, UMI, 1980.

Duncan Jones Katherine, “Melancholie Times”: Musical recollections of Sidney by William Byrd and Thomas Watson, in The Well Enchanting Skill Essays in Honour of F. W. Sternfeld, ed. by John Caldwell, Edward Olleson and Susan Wollenberg, Oxford, Clarendon Press, 1990.* *

Einstein Alfred, The Elizabethan Madrigal and “Musica Transalpina”, «Music & Letters», XXV, 1944, pp. 66-77.

Eggebrecht Hans Heinrich, Il senso della musica. Saggi di estetica e analisi musicale, Bologna, Il Mulino, 1987.

Fellowes Edmund H., English Madrigal Verse 1588-1632, Oxford, Clarendon Press, 19673.

Fischlin Daniel T., The Consent of Speaking Harmony: The Literary Aesthetics of the English Air, «Journal of the Lute Society of America», XIX, 1986, pp. 29-57.

Fraser Russel A.,* Early Elizabethan Songs : John Hall’s Court of Virtue, 1565*, «Musica Disciplina», VII, 1953, pp. 199-203.

Gouk Penelope, Speculative and Pratical Music in Seventeenth-Century England: Oxford University as a Case of Study, in Atti del XIV congresso della società internazionale di musicologia; Trasmissione e recezione delle fonti, III Free Papers, a cura di Angelo Pompilio, Donatella Restani, Lorenzo Bianconi e F. Alberto Gallo, Torino, E.D.T., 1990, pp. 199-205.

Grattan Flood William H., Irish Ancestry of Garland, Dowland, Campion and Purcell, «Music & Letters», III, 1922, pp. 59-65.

Greer David, “What if a day” – An Examination of the Words and Music, «Music & Letters», XLIII, 1962, pp. 304-319.

Gross Harvey, Technique and “episteme”: John Dowland’s “Can she excuse my wrongs”, «Bulletin of Research in the Humanities», LXXXVI, 1983-5, pp. 313-314. *

Harran Don,* Word-tone Relations in Musical Thought: From Antiquity to the Seventeenth-Century*, American Institute of Musicology, Stuttgart, Hänssler, 1986 (Musicological studies and documents, 40).

Headlam Wells Robin, “Ars amatoria”: Philip Rosseter and the Tudor Court Lyric, «Music & Letters», LXX, 1989, pp. 58-71.

Headlam Wells Robin, John Dowland and Elizabethan Melancholy, «Early Music», XIII, 1985, pp. 514-528.

Hollander John, The Untuning of the Sky: Ideas of Music in Engish Poetry, 1500-1700, PhD. diss.,* Princeton University, 1961.

Hutchings Geoffrey J.M., Somewhat Strange: A Study of the Relationship between Music and Text in English Song, 1588-1759, PhD. diss., Rhodes University, 1989. *

Jaquot Jean, Lyrisme et Sentiment Tragique dans les Madrigaux d’Orlando Gibbons, in* Musique* et Poésie au XVIe siècle, Paris, Éditions du Centre National de la Recherche Scientifique, 1954, pp. 139-153.

Johnson Paula, Form and Trasformation in the Music and Poetry of the English Renaissance, PhD. diss., New Haven, Yale University Press, 1972.*

Judd Percy,* The Songs of John Danyel ,* «Music & Letters», XVII, 1936, pp. 118-123.

Kerman Joseph, Elizabethan Anthologies of Italian Madrigals, «Journal of American Musicological Society», IV, 1951, pp.122-138.

Kerman Joseph, The Elizabethan Madrigal, A Comparative Study, New York, American Musicological Society, 1962.

Kirkendale Warren, L’Aria di Fiorenza, id est Il ballo del Granduca, Firenze, Leo Olschki, 1972.

Klibansky Raymond – Panofsky Erwin - Saxl Fritz, Saturn and Melancholy. Studies in the History of Natural Philosophy Religion and Art, London, Nelson, s.d. (trad. it.* Saturno e la melanconia. Studi di storia della filosofia naturale, religione e arte*, Torino, Einaudi, 1983.)

La melanconia nel Medioevo e nel Rinascimento, a cura di Attilio Brilli, Urbino, Quattroventi, 1982.

La Via Stefano, “Concentus Iovis adversus Saturni voces”: Magia, musica astrale e umanesimo nel IV intermedio fiorentino del 1589, «I Tatti Studies», V, 1994, pp. 111-156.

La Via Stefano,* “Natura delle cadenze” e “natura contraria delli modi”: punti di convergenza fra teoria e prassi nel madrigale cinquecentesco*, «Il Saggiatore Musicale», IV, 1997, pp. 5-51.

La Via Stefano, Cipriano de Rore as Reader and as Read. A Literary-Musical Study of Madrigals from Rore’s Later Collections (1557-1566), PhD. diss., Princeton University, 1991.

La Via Stefano, Il Lamento di Venere abbandonata, Lucca, LIM, 1994.

La Via Stefano, Madrigale e rapporto fra poesia e musica nella critica letteraria del Cinquecento, «Studi Musicali», XIX, 1990, pp. 33-70.

Leech-Wilkinson Daniel, “My Lady’s Tears”: A Pair of Songs by J. Dowland, «Early Music», XIX, 1991, pp. 227-233.

Lester Joel, Major-Minor Concepts and Modal Theory in Germany, 1592-1680, «Journal of the American Musicological Society», XXX, 1977, pp. 208-253.

Lesure François, Eléments populaires dans la chanson française au début du XVIe siécle, in* Musique* et Poésie au XVIe siècle, Paris, Éditions du Centre National de la Recherche Scientifique, 1954, pp. 169-185.

Lockwood Lewis, Text and Music in Rore’s Madrigal “Anchor che col partire”, in Musical Humanism and its Legacy, Essays in Honour of Claude V. Palisca, ed. by Nancy K. Baker and Barbara R. Hanning, Festschrift Series N° 11, New York, Pendragon Press, 1992, pp. 243-251.* *

Lo Presti Carlo, Musica e corpo nelle scienze mediche del Medioevo e Rinascimento, « Musica e Realtà», 34, 1991, pp. 53-68.

Lowinsky Edward E., Tonality and Atonality in Sixteenth-Century Music, Berkeley, University of California Press, 1961.

Manning Rosemary J., Lachrimae: A Study of John Dowland, «Music & Letters», XXV, 1944, pp.45-53.

Mcgrady Richard E., Campion and the Lute, «Music Review», XLVII, 1986-7, pp. 1-15.

Mcgrady Richard E., Chromatique Tunes and Measur’d Accents: John Danyel’s “Can dolefull notes”, «Music Review», L, 1989, pp. 79-92.

Meier Bernhard, Die Tonarten der klassischen Vokalpolyphonie nach den Quellen dargestellt, Utrecht, Scheltema & Holkema, 1974 (trad. ingl. di Ellen S. Beebe, The modes of the Classical Vocal Polyphony, Described According to the Sources, New York, Broude Brothers, 1988.)

Mellers Wilfrid, La mélancholie au début du XVIIe siécle et le madrigal anglais, in Musique et Poésie au XVIe siècle, Paris, Éditions du Centre National de la Recherche Scientifique, 1954, pp. 153-169.

Mies Otto Dietrich,* Dowland’s Lacrymae Tune,* «Musica Disciplina», IV, 1950, pp. 59-69.

Nutting Geoffrey H., Cadence in Late-Renaissance Music, «Miscellanea Musicologica», VIII, 1975, pp. 32-55.

Obertello Alfredo, Madrigali Italiani in Inghilterra, Storia, critica, testi, Milano, Bompiani, 1949.

Pattison Bruce, Music and Poetry of the English Renaissance, London, Metuen, 19702.

Petrobelli Pierluigi, John Dowland e la musica a Firenze alla fine del ‘500,in Firenze e la Toscana dei Medici nell’Europa del ‘500, atti del convegno internazionale di Firenze, 9-14 giugno 1980, Firenze, Leo Olschki, 1983, pp. 539-548.

Pirrotta Nino, Early Opera and Aria, in New Looks at Italian Opera Essays in Honor of Donald J. Grout, ed. by William W. Austin, Westport, Greenwood Press, 19762, pp. 39-107.

Pirrotta Nino, Willaert e la canzone villanesca, in Scelte poetiche di musicisti, Venezia, Marsilio, 1987.

Poulton Diana, John Dowland, London, Faber & Faber, 1972.

Powers Harold S.,* La modalità di “Vestiva i colli”, in Il madrigale tra cinque e seicento*, a cura di Paolo Fabbri, Bologna, Il Mulino, 1988.

Powers Harold S., Monteverdi’s Model for a Multimodal Madrigal, in In Cantu et in Sermone, for Nino Pirrotta on his 80th Birthday, ed. by F. Della Seta and F. Piperno, Firenze, Leo Olschki,1989,* *pp. 185-219.

Powers Harold S., Tonal Types and Modal Categories in Renaissance Polyphony, «Journal of the American Musicological Society», XXXIV, 1981, pp. 428-470.

Praz Mario, La Letteratura Inglese dal Medioevo all’Illuminismo, Milano, Rizzoli BUR, 1992, cap. II, III, IV, pp. 65-252.

Privitera Massimo,* Malinconia e acedia, intorno a “solo e pensoso” di Luca Marenzio*, «Studi Musicali», XXIII, 1994, pp. 29-71.

Reese Gustav, Music in the Renaissance, New York, Norton, 1954* (trad. it. di Alberto Batisti e Andrea Curotto, La musica nel Rinascimento,* Firenze, Le Lettere, 1990).

Rivera Benito V., German Music Theory in the Early 17th Century; The Treatises of Johannes Lippius, Ann Arbor, UMI, 19802.

Rooley Anthony, John Dowland and English Lute Music, «Early Music», III, 1975, pp. 115-118.

Rooley Anthony, New Lights on John Dowland’s Songs of Darkness, «Early Music», XI, 1983, pp. 6-21.

Scianatico Giovanna, Il dubbio della ragione; forme di irrazionalità nella letteratura del Cinquecento, Venezia, Marsilio, 1989. Shakespeare William, The Complete Works, ed. by Stanley Wells and Gary Taylor, Oxford, Clarendon Press, 1988.* *

Smith James G., John Dowland, a Riappraisal of his Ayres, DMA diss., Urbana, University of Illinois, 1973.*

Spencer Robert, Dowland’s Dance-Songs: Those of his Compositions which Exist in two Versions, Song and Instrumental Dances in Le Concert des voix et des instruments à la Renaissance; Actes du XXXIVe Colloque International d’Etudes Humanistes, Tour 1991, Paris, CNRS, 1995, pp. 587-600.

Spink Ian, English song: Dowland to Purcell, New York, Scribner, 1974.

Stevens Denis, La Chanson Anglaise avant l’ecole madrigaliste, in Musique et Poésie au XVIe siècle, Paris, Éditions du Centre National de la Recherche Scientifique, 1954, pp. 121-129.

Stevens John, Music and Poetry in the Early Tudor Court, London, Methuen, 1961.

Stevenson Robert, Thomas Morley’s “Plaine and Easie” Introduction to the Modes, «Musica Disciplina», VI, 1952, pp. 177-184.

Teo Kian-Seng, Chromaticism in the English Madrigal, New York, Garland, 1989.

Tinnell Nancy E., Italian Influnce on Seventeenth-century English Song, MA thesis, University of Louisville, 1987.

Toft Robert, Music a Sister to Poetry, Rhetorical Artifice in the Passionate Airs of John Dowland, «Early Music», XII, 1984, pp. 190-200.

Tomlinson Gary, Musical Modes and Planetary Song, 1480-1520, in Atti del XIV congresso della società internazionale di musicologia; Trasmissione e recezione delle fonti, III Free Papers, a cura di Angelo Pompilio, Donatella Restani, Lorenzo Bianconi e F. Alberto Gallo, Torino, E.D.T., 1990, pp. 183-188.

Tomlinson Gary, Preliminary Thoughts on the Relations of Music and Magic in the Renaissance,in* In Cantu et in Sermone, for Nino Pirrotta on his 80th Birthday*, ed. by F. Della Seta and F. Piperno, Firenze, Leo Olschki,1989, pp. 121-139.

Underwood Kent David, The Renaissance Lute in Solo Song and Chamber Ensemble: a Study of Musical Sources to 1530 ca., PhD.* *diss., Stanford University, 1987.

Verchaly André, *Poésie et air de Cour en France jusqu’à 1620, in Musique et Poésie au XVIe** siécle*, Éditions du Centre National de la Recherche Scientifique, 1954, Paris, CNRS, 1954, pp. 211-224

Walker Daniel P., La teoria dello spirito musicale di Ficino, in* La musica nella rivoluzione scientifica del Seicento*, a cura di Paolo Gozza, Bologna, Il Mulino, 1989, pp.89-95.

Walker Daniel P., Le chant orphique de Marsile Ficin, in Musique et Poésie au XVIe siécle, Éditions du Centre National de la Recherche Scientifique, 1954, Paris, CNRS, 1954, pp. 17-35.

Walker Daniel P., Vincenzo Galilei e Zarlino, in La musica nella rivoluzione scientifica del Seicento, a cura di Paolo Gozza, Bologna, Il Mulino, 1989, pp. 179-186. * *

Walls Peter, Music and Sweet Poetry? Verse for English Lute Song and Continuo Song, «Music & Letters», LXV, 1984, pp. 237-254.

Ward John M., A Dowland Miscellany, «Journal of the lute Society of America», X, 1977, pp. 5-153.

Wells Headlam Robin, The Ladder of Love: Verbal and Musical Rhetoric in the Elizabethan Lute Song, «Early Music», XIII, 1984, pp. 173-189.

Westrup John A., L’influence de la musique italienne sur le madrigal anglais, in* Musique* et Poésie au XVIe siècle, Paris, Éditions du Centre National de la Recherche Scientifique, 1954, pp. 129-139.

Wilde Alessio John, Per un’interpretazione dei 14 canoni di Bach BWV 1087. Implicazioni didattiche e ideologiche, tesi di Laurea in Musicologia, Università di Pavia, Scuola di Paleografia e Filologia Musicale, a.a. 1994-5.

Wing Janet Mary, The Relationship between Words and Music in the First Booke of Songes or Ayres by John Dowland, Bari, Copisteria Angheliki, 1980.

Wilson Christopher Robert, Words and Notes Coupled Lovingly Together: Thomas Campion, a Critical Study, New York, Garland, 1989. *

Yates Frances A., Astrea, The Imperial Theme in the Sixteenth Century, London and Boston, Routledge & Kegan Paul, 1975 (trad. it. di E. Basaglia, Astrea, L’idea di impero nel cinquecento, Torino, Einaudi, 19902)

Yates Frances A., Le Accademie francesi del XVI secolo, in* La musica nella rivoluzione scientifica del Seicento*, a cura di Paolo Gozza, Bologna, Il Mulino, 1989, pp. 139-149.

Zimmerman Franklin B., Air, A Catchword for New Concepts in Seventeenth-Century English Music Theory, in Sudies in Musicology in Honor of Otto E. Albrecht, ed. by John Walter Hill, Kassel, Bärenreiter, 1980.

Zumthor Paul, Lingua, Testo, Enigma, Genova, Il Melangolo, 1991.

: Not all the lyrics of the book are anonymous (cf. below), but as such they are presented by the composer. In this case, as indeed in others, given the subject treated by the text, I believe it is possible to hypothesise a poetic engagement on Dowland’s part.

Cf. lines 3:5-6, Speake then and tell the passions of desire / Wich turns mine eies to floods, my thoghts to fire.

Cf. 1:3-4, And you my tongue that maks my mouth a minte / And stamps my thoughts to coyne them words by arte:. Cf. also 1:6.

Cf. Part One.

Cf. Rooley, New Lights. Several titles concerning this theme are present in the Bibliography.

And wrap your wrongs within a pensive hart. Cf. the description given by Robert Burton, author of the imposing Anathomy of Melancholy (1621), of Dürer’s engraving Melencolia I (1514), in Panofsky, Klibansky and Saxl, Saturno e la Melanconia, p. 221.

Wells, John Dowland, p. 523.

The so massive frequentation of the melancholic topos, on the part of English poets and musicians, requires particular attention; if we survey the studies on the subject we note two different tendencies, between those who consider melancholy a pure rhetorical exercise (Wells, cit.), and those (Rooley, cit.) who instead tend to see in melancholy the most visible part of Neoplatonic and Hermetic philosophical orientations. However fascinating this latter hypothesis may be, there are not yet sufficient elements for a solid investigation. Very interesting is the approach proposed by Lo Presti, Musica e Corpo.

The example constituted by the first two bars (line 1), in which to the first four syllables of the line corresponds an ascending movement of the melody (and consequently a slight caesura) and to the remaining six a contrary one, is repeated practically unchanged in the other lines, with the exception of line 5, where this scheme is substantially inverted (bars 9-10) in preparation for the final line of the stanza.

The first line is an exception.

The score in the appendix has been suitably ‘marked’, not only in this case, to assist the reader in identifying the elements highlighted by the analysis. It therefore constitutes a necessary and essential tool.

On the figure of Greville, Daiches, Storia della letteratura inglese. The collection Caelica, probably conceived around 1580, was published posthumously, together with other works of the author, in 1633. Cf. analysis 21. The metrical structure of the Shakespearean sonnet is in reality quite different: abab.

Who trusts for trust or hopes of love for love.

Cf. Poulton, Dowland, p. 222.

Greville’s Cupid is principally an enemy of honour, something reaffirmed in this lyric too. Cf. line 2:2 and piece no. 21, by the same author, above all line 3:5, Where honor, Cupid rivall is.

The influence of Senecan tragedy is preponderant in Greville’s theatrical work. Cf. Praz, La letteratura inglese, pp. 60-65.

The second half of bar 15 is identical to bar 9, cf. Appendix I:2. The 1597 edition presents several errors, corrected in Fellowes’s edition.

Poulton, Dowland, p. 222.

See the analyses of the fourth and fifth pieces.

It is found, indeed, in the autograph manuscript of the Folger Library (see the analysis of the fifth piece), although it bears no title and is in a different key.

Cf. Spencer, Dowland’s dance-songs, p. 593. This type of practice seems moreover more common than it might appear at first sight, and is connected not only with the composers’ need to ‘recycle’ pieces already used for different purposes, but also with the courtiers’ urgent need to avail themselves of a repertory adaptable to every occasion. Nor should one underestimate the impact caused by juxtaposing the symbolic meaning of certain dances with the equally symbolic meaning of the text. In some cases this symbolic stratification becomes, as happens precisely in nos. 3-4-5 of the collection, positively eloquent. Cf. the following analyses.

There is certainly no lack of opportunity to read many events in the course of the piece from this angle, though the argument would risk falling into convenient simplifications: for example it would suffice to observe the cadences, on the finalis and the fifth respectively, of bars 4/5 and 6/7 bearing in mind the text they set, or how the text is treated in the second half of bar 11; but, as I repeat, it would be reductive to confine oneself to observations of this kind when these devices are only the most visible part of the work itself.

Since it is practically impossible to find a cadence that breaks a word, the reader should be advised that, whenever this situation is signalled in the tonal-cadential plan, reference is being made to an inflection of a certain structural importance, and certainly not to a cadence.

The galliard, on English soil, may be associated with poetic texts both joyful and grave.

As far as I am aware there are no attributions for the text. Not even Poulton, Dowland, p. 223, most attentive to the results of attributionist criticism for the texts of Dowland’s Ayres, mentions any hypothesis. In this critical lacuna it does not seem out of place to consider the weight of the poetic activity of the composer himself. See e.g. R. Spencer, Dowland’s dance-songs, p. 593.

Dowland, p. 134. The scholar does not indicate in which places of the piece these irregularities occur, though I personally believe she meant to refer to bar 8.

The dedication of a piece to a personage is almost always made official after his death, as we may observe in Can shee excuse/Earl of Essex Galliard.

Poulton, Dowland, pp. 225-228.

Spencer, Dowland’s Dance-Songs, pp. 595-598.

Cf. Yates, Astrea.

In reality the piece already appears with the title Can she excuse in the manuscript (MS. V. b. 280, f. 16r) of the Folger Shakespeare Library in Washington, called ‘The Dowland lute book’ and dated around 1594. This consideration does not constitute substantial proof, since the title of the piece is not written in the author’s hand and could have been added later. The text too has a history prior to the print, which fixes its limit at least at 1596, but since Dowland himself states that he wrote his Ayres a good while before the appearance of the 1597 print, we can draw no advantage from it. Cf. Poulton, Dowland, p. 229.

Cf. Conclusions.

Cf. Wing, Relationship, p. 86.

Cf. Poulton, Dowland, p. 142.

Morley, A Plaine and Easie, p. 296, “[…] causing it go by a measure which the learned call ‘trochaicam rationem’ […]”

The text seems to have been associated at a later moment not only because the instrumental version pre-exists the Ayre, but because the music appears with a different text in the collection Englands Helicon (1600), under the title Pastoral of Phillis and Coridon and signed in the name of N. Breton, demonstrating a notable adaptability to different texts.

Cf. Poulton, Dowland, p. 141.

Respectively nos. 28 and 100 in Poulton, The collected music, transcribed the first in 3\4, the rhythm typical of the galliard, and 6\8, proper to the faster ternary dances. The hypothesis according to which the rhythm of the piece may be likened to a coranto (corrente) is signalled in Dent and Fortune’s introduction to the Fellowes edition, p. XIII.

The aria presents most notable affinities with the famous Aria di Fiorenza studied by Kirkendale (L’Aria di Fiorenza, p. 19, Ex. 1a), of Italian origin, although in reality our case appears similar to the result of a fusion between the prototype of the aria proposed by Kirkendale and the aria di Ruggiero signalled by Bukofzer (La musica barocca, p. 58), framed however in a ternary rhythmic scheme. What urges us to consider the possibility of this fusion is the leaning, in the last bar of the first phrase of the piece, on mi, an exclusive characteristic of the Aria di Ruggiero, although the linearity of the harmonic course is proper to the Aria di Fiorenza.

See Part One.

See the present work, Would my conceit, no. 16.

Wing, Relationship, p. 94.

Massive textual repetition in the last section is a rhetorical-musical device unusual in the work; it appears with similar expressive demands also in nos. 14, 15 and 20 of the collection.

Wing, Relationship, p. 100.

Poulton, Dowland, p. 231.

Cf. Teo, Cromaticism, pp. 143-144. The madrigal is at pp. 96-97 of the Einstein edition (P.A.M. 6).

We become aware of it if we observe the cadential schemes of the First Booke, where in the great majority of cases the numerous Phrygian cadences proceed from the tetrachord of the same name.

Galilei, Discorso, p. 159.

See, for the use of the octave leap, the analysis of the preceding piece.

Cf. Campion, Observations, p.293.

Cf. the analysis of the preceding piece, with particular reference to Galilei’s words.

This piece, like the preceding one, shows notable affinities with the rhythm of the allemande.

Cf. the cadence at the end of the first line of the refrain of the following piece, in which the same insistence on the fifth in the Tenor is visible.

The cadence between bars 4 and 5 does not fall within the models codified so far and described in the Glossary. Its irregularity consists in the descending motion of the semitone (Alto) and of the tone (Bass). It is therefore convenient to define it as a fusion of a Half-cadence and a Perfect cadence. There is moreover an error in Fellowes’s edition, as we shall have occasion to observe later.

The first stanza is generally the most correct, since it is directly underlaid to the musical text and therefore compels the editor to greater attention.

It suffices, in this regard, to compare the behaviour of the fundamental Bass part in the first and last phrases, cadences on sol, and in the second and third phrases, cadences on re, organised according to the customary melodic and formal scheme: a-b-b-a.

Cf. the concluding chapter.

Not by chance this piece, together with a few others, was to remain famous up to the threshold of the eighteenth century. Cf. D. Poulton, Dowland, p. 233.

I refer to the practical-interpretative edition based on the transcription of E. H. Fellowes, but revised by T. Dart, London, Stainer & Bell, 1965 (English Lute Song 1). For the bibliographical references see the relevant chapter.

G. Reese, La musica nel Rinascimento, p. 881.

See e.g. certain madrigals of Gesualdo.

The only two cases of final cadences in which the final chord is not lacking its fifth are nos. 16 and 19.

The first part of the second stanza is, in this sense, emblematic at least as much as the use of the word sicknes in 2:4. Compare also the text of no. 16, and precisely 1:4 and 3:4.

Cf. Klibansky, Panofsky, Saxl, Saturno e la malinconia, in particular pp. 205-240.

Cf. Part One.

This subject offers a literature as boundless as it is vague, at least in the musical field; in particular, the reading of Rooley, New Lights, and Wells, John Dowland is advisable. In the first study the hypothesis is interesting according to which chromatic subjects are vehicles of mystical-philosophical symbolisms dear to European Renaissance culture.

Cf. the original text in the appendix; Fellowes prefers instead to repeat the word Farewell twice, in any case in an independent line.

The rhythmic aspect of the piece betrays a vague influence of the canzonetta, to which the composers closest to the Italian style devoted themselves. Cf., for example, Morley’s The First Booke of Canzonets (1595).

Poulton, Dowland, p. 235.

The use of expressive means typical of the Italian madrigal is due to the direct influence of a madrigal by Marenzio. Cf. below.

The cadence is avoided, at the end of the line (bars 11-12), by means of the progression, which ‘distances’ the principal tonal pole and generates a strong expressive dynamism.

To be noted is the recurrence, owing to the imitation, of the ascending interval of a fourth at the key words, in the first stanza, death and hell.

Cf. line 3:6. Meier devotes an entire chapter to the problem of irregular finals and to the conceptual classes to which they are applied, in The Modes, pp. 330-353. In this case, however, the term ‘irregular’ is to be understood with reference to the harmonic behaviour of the other pieces of the book.

Cf. also Kerman, The Elizabethan Madrigal.

Cf. Poulton, Dowland, pp. 236-237.

Music and Poetry, p. 154.

The scheme corresponds to that of the first two stanzas; moreover, Wing’s suggestion (Relationship, p. 128) has been adopted, considering the opening invocation as an independent line in order to bring out the rhyme with the third line.

Wells, The Ladder of Love, p. 183.

It recalls, indeed, certain techniques of Caccinian monody. Cf. Tinnell, Italian Influence, pp. 13-14. The emblematic interval of a third in the Cantus, at the opening of a piece, seems to be an even more recurrent technique in Dowland’s œuvre, although its rhythmic configuration is variable owing to the variable expressive demands of the pieces in which it is found. Cf., in this book alone, nos. 12, 13, 20; and again, in the Fellowes edition of the Ayres for four voices (Musica Britannica 8), nos. 27, 56, 60.

Cf., in this regard, bars 10-11 of no. 13 of the collection.

The most faithful reconstruction of these delicate questions is in Poulton, Dowland, p. 239.

Cf., for example, line 1:6, but more generally we may affirm that the lyric portrays an absolute example of the devotion, of the cult of the queen’s courtiers, as Yates underlines, Astrea, p. 123 and pp. 94-95. The presence of this lyric, together with the one in the Second Booke (1600), When others sings Venite Exultemus (no. 8), in which the probable author (Sir Henry Lee, precisely) assimilates the cult of the Queen to that of the Virgin, may give an idea of the importance of the subject in the composer’s œuvre.

Cf. Chapter I, p. 11.

Poulton identifies this Galliard as number 24 of her edition, surely earlier than the publication of the First Booke by about ten years. Cf. Poulton, Dowland, pp. 143-144.

The Bass presents, in this piece, a rather wide compass (octave + fifth).

From this point of view, a possible metaphysical interpretation of death is not out of place, equivalent therefore to the death of the soul, as the second part of line 1:6 lets us understand, whose subject is precisely the soul, although the exegesis of the last couplet of the stanza is rather complex. Cf., in this regard, Fellowes, English Madrigal Verse, p. 615, and the edition of the text edited by the same, reproduced in the appendix. Cf. also Poulton, Dowland, pp. 241-244.

I believe it sufficient to mention the second line, Allied to death, child to this black fast [faced, in Fellowes] night. The rhymes of the first section of the first stanza are, moreover, assonant with those in the same position in the second stanza, a (rare) circumstance which contributes to rendering the lyric unitary.

It is not irrelevant to note the fact that the word come is used in total 9 times in the course of the entire lyric, concentrated chiefly in the last stanza. The rhymes of the first section of the first stanza are, moreover, assonant with those in the same position in the second stanza, which contributes to rendering the poetic text more strongly unitary.

Secondo libro de madregali a cinque voci, Venezia, Gardano, 1557.

La Via, «Natura delle cadenze», p. 35.

La Via, «Natura delle cadenze», pp. 33-37. Cf. the Glossary, CADENCE.

Cf. Part Two.

Wing, Relationship, p. 141.

The subject used for the imitation in bars 26-29 takes up the beginning of the fourth phrase, at bar 18. It is significant to note how Dowland preferred to repropose three times the beginning of the line (that living dies, the key oxymoron of the lyric) in a progression (a symbol of harmonic uncertainty) which concludes once again on Mi.

Cf. analysis no. 17

It is no. 4 of the Lachrimae (1604), Lachrimae Tristes, bars 9-11. Another example of self-quotation?

Some critics, cited for example in Wing, Realtionships, p. 142, see in this piece a typical example of an Ayre for solo voice and lute, reducing the other voices to a pure harmonic support. Cf. above all the lute part and the Tenor voice.

This difference also involves the duration of the sounds, greater, clearly, in the sonorities with open strings. I believe that the questions relating to the use of lute techniques in the vocal pieces have yet to be fully investigated, certainly not only in the Englishman’s œuvre.

Cit. in Poulton, Dowland, p. 244. Greville’s collection of sonnets represents one of the most intense homages to the royal crown and to the peace it represents, and was published posthumously in Certaine Learned and Elegant Workes of […] Fulke Lord Brooke (1633). Cf. also Yates, Astrea, p. 63.

Cf., for example, lines 2:5-6, What fooles are they that have not knowne / What love likes not lawes but his owne.

Cf. the second and, above all, the third section of no. 12.

The presence of a ‘name’ such as Greville’s is glaring proof of it. This poet (philosopher and politician), the well-known biographer of Philip Sidney, contributed to Elizabethan literary activity from within certain poetic circles largely founded by himself. Cf. Duncan-Jones, ‘Melancholie Times’.

The superscript number indicates the syllables of which each line is composed; where not specified, this number corresponds to 10. If it is inserted in parentheses and associated with the last line, it indicates the isosyllabism of the preceding ones. The asterisk indicates the stanza of Venus and Adonis. The authorship of the texts is discussed in the analyses of Part Two. For a general introduction to the problem see The Prefation to the First Edition in Fellowes, English Madrigal Verse 1588-1632, and Poulton, Dowland, pp. 181-244.

Cf. Walker, Le chant orphique.

Even in some of the most serene lyrics, indeed, certain shadows persist: present joy is never entirely enjoyed because it is overshadowed by the memory of an unhappy past or by the fear of an equally unhappy future.

Note, for example, the image of beauty that needs no ornament, like snow, or lilies just come into bloom (21, but recall also the White as lilies (15) of the Second Booke).

Petrarchan images are scattered everywhere: …O viva morte, o dilettoso male (CXXXII)→20, …dagli occhi vostri uscio ‘l colpo mortale (CXXXIII)→12, …e i cape’ d’oro fin farsi d’argento (XII)→18, Ite, caldi sospiri, al freddo core (CLIII)→9, 12, Datemi pace, o duri miei pensieri (CCLXXIV)→1, 12, etc.

A complete and effective survey of the literary affinity between the dramatist’s works and those of the Song-writers would prove exceedingly complex on account of its vastness (and of my personal limits), but a rapid glance at works such as The Tempest, As you like it, Romeo and Juliet, etc. reveals a common fundamental inspiration.

Such is the case of no. 18.

Cf. Powers, Tonal Types, p. 436, with reference to the collections of Lasso.

Known above all for his The Complete Gentleman (1622), a treatise devoted, as its title says, to the education of the gentleman. Cf. Toft, Musicke a sister to Poetrie. One of the first authors to concern himself with rhetoric in England was Henry Peacham (The Elder, father of the former) in the Garden of Eloquence (1593). Gregory Butler offers an overall picture of the subject in question in Music and Rhetoric, while the essay by Ferruccio Civra, Musica Poetica, has a more general slant.

I refer the reader to the analyses of Part Two, where I have sought to signal them systematically. On the other hand, it is not by chance that Peacham considers Dowland among the greatest masters of eloquence.

Cf. the section devoted to the music a little further on.

In parentheses are indicated the terms associated with the corresponding figure by Peacham the younger. Cf. Toft, Musicke, pp. 194-195.

Cf., in Part One, Dowland’s words on the matter.

This situation recurs unchanged in the modern ‘light’ strophic song, as may be observed, for example, by reading and listening to the fundamental works of the well-known singer-songwriter Fabrizio De André.

The distance of the note of the Cantus from the Bass (octave, third or fifth), on which the cadence concludes, is inversely proportional to its degree of ‘conclusiveness’. The repertory of the Ayre, performable at pleasure by voice and lute alone, is the most evident proof of this; it would suffice, indeed, to observe on which note of the chord the Cantus rests in the final cadence of each piece.

Cf. Bianconi, Il Seicento, pp. 70-71.

Musicological criticism has not yet dealt, as far as I am aware, with the relationship between the lower voices and the tablature from the technical-compositional point of view in this repertory; it would be extremely useful and interesting to investigate according to what principles the composer adapts the voices to the lute (if that is the case, since the contrary is not unthinkable), and to observe the possible relations with the instrumental œuvre.

There is no need to stress once more the commonplace of the deep ‘characterial’ affinity between Dowland and the melancholy Phrygian tetrachord which, as is known, is the melodic nucleus at the basis of the most famous theme of the Lachrimae.

Or, better said, physically virtuosic, since there exists a virtuosity entirely directed towards the expression of the affect, which has no need of the more properly technical-musical means such as rapid diminutions and arduous intervals.

In these two pieces the use of the syncope as an element of great affective agitation is practically systematic; in 7 (bars 16-7) and 14 (second section) it is more limited but equally functional.

Cf. Part One.

Compare with pieces 3-4-5-13-18. Pieces 4 and 5 present combinations of different metres owing to reasons already set out in the relevant analyses.

The concept of tonal polarisation is set out in Part One and in the Glossary, to which I refer.

Brown, Sui madrigali ariosi, p. 46.

Galilei, Il Fronimo, pp. 89-90.

The cadences observed in this case are exclusively those which close the lines, the section and the piece, that is, median and final cadences.

The table is to be understood in this sense, taking the first line as an example: the first piece presents a tonal type constituted by the mollis system, ‘low’ clefs and finalis Sol; this particular combination represents, with good probability deduced from the observation of the modally ordered collections of the mid-sixteenth century (VIII modes), the transposed mode II and not the first, because the low clefs suggest a relatively low compass of the voices, more suited, therefore, to the plagal. The table of the Fronimo, in which Galilei establishes the mode from the final chord (expressed, however, in the various positions of the lute), seems to confirm this indication, although it refers, unlike Powers, to the system of the XII modes. In the following cell are indicated the chords identified by cadences at the close of lines (for 1=final note); the sign ‘<’ indicates the end of a section. We can thus deduce the number of sections of each piece. The asterisk is meant to signal a sort of contrast between the apparent simplicity of the tonal plan and the extreme complexity of the internal harmonic development. There follows, finally, the degree of tonal polarisation, which indicates, let us recall, how far the composer moves away from the ‘dynamic tonal centre’.

The proof consists in the translation of the Micrologus.

Cf. Part One. The case of the pieces in which both categories ( and ) are present, like the last of the collection, seems to me emblematic from this point of view: the dichotomy of flat and natural (almost major and minor) becomes evident in them.

Reading of the scheme: in the pieces in Sol with sib (modes I and II), to the basic polarisation (I) are added, chiefly in the first section and rarely in the second, cadences on Sib (pol. II) and on Mib (pol. III), while in the pieces in Sol with si the pol. I is enriched by pol. IV, exclusively at the beginning of the second section. The possibility of effecting cadences on the chords indicated above naturally requires the passage to hexachords compatible with the necessities of the cadences themselves. The sections are indicated by the repeat signs and by the apex.

Cf. on this point also Lowinsky, Tonality, pp. 54-61 and Part One, note 82.

It has not been possible to trace the titles marked with an asterisk, but they have nonetheless been included to provide the reader with further assistance.