R ichard Barnfield We know nothing of the ancestry of John Dowland, nor his date of birth or baptism. Claims made at various times that he was born in either Westminster, London or Dalkey in County Dublin, Ireland are both based on unreliable testimony or evidence so flimsy that it has been largely discounted by modern scholars. It is likely that had Dowland showed particular promise as a musician he would have served an apprenticeship with a noble patron, according to the custom of the day.

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No files submitted. PDF scanned by R. Many tablature manuscripts of this work are extant from English and continental sources but it seems impossible to determine which is or are by Dowland. Modern editions of lute music by Lumsden Schott, and Poulton and Lam Faber, , reprinted are the most reliable sources. Genre Categories Pavans ; For lute ; Scores featuring the lute ; For 1 player ; For 4 recorders arr ; Scores featuring the recorder arr ; For 4 players arr ; For harpsichord arr ; Scores featuring the harpsichord arr ; For 1 player arr.


Lachrimae Pavan for Lute (Dowland, John)

The widespread dissemination of this piece is unsurprising for two reasons; firstly, Dowland travelled extensively as one of the most sought-after lute virtuosi of his age, holding various posts in Germany and Denmark and, secondly, the vogue for English dance music spread rapidly throughout the German-speaking courts of Northern Europe during the later years of the sixteenth century. The aim of this study, then, is to collate as much of this material as possible and present some preliminary hypotheses regarding in particular the transmission of this piece across mainland Europe. These can be subdivided according to their tonality and warrant a brief summary. Although it is by no means a certainty, there is circumstantial evidence to suggest that a G minor setting preserved in a number of English manuscript sources may have originally emanated from Dowland himself. The earliest sources for this setting are Dd. See Example 1. For instance, rhythms are often dotted in later sources especially throughout bars 11aa , cadential formulae slightly varied, and pitch inflections and chord voicings are occasionally the subject of minor alterations.

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