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Come Again (Dowland)
"Come Again, sweet love doth now invite" is a song by John Dowland. The lyrics are anonymous. The song is bitter-sweet, typical of Dowland who cultivated a melancholy style. It was included in Dowland's ''The First Book of Songs (1597), First Booke of Songes or Ayres'', which appeared in 1597. The piece is often performed as a lute song by soloist and lute, but, like other songs in the ''First Booke'', it is printed in a format that can also be performed as a madrigal by a small vocal group (typically SATB). The first two verses are addressed to the lover. The later verses speak to the reader about the lover, and the singer's thoughts. In the first verse, the words "to touch, to kiss, to die, with thee again in sweetest sympathy" use the Elizabeth euphemism of "dying" for experiencing orgasm, literally, "come again! sweet love". But the poet's later thoughts shift to ideas of actual death, dying "in deadly pain". His love is unrequited, so he asks "Love", that is "Eros" or "Cupid" ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dowland First Booke Of Ayres
John Dowland ( – buried 20 February 1626) was an English Renaissance music, Renaissance composer, lutenist, and singer. He is best known today for his melancholia, melancholy songs such as "Come, heavy sleep", "Come Again (Dowland), Come again", "Flow my tears", "I saw my Lady weepe", "Now o now I needs must part", and "In darkness let me dwell". His instrumental music has undergone a major revival, and with the 20th century's early music revival, has been a continuing source of repertoire for lutenists and classical guitarists. Career and compositions Very little is known of Dowland's early life, but it is generally thought he was born in London; some sources even put his birth year as 1563. Irish historian W. H. Grattan Flood claimed that he was born in Dalkey, near Dublin, but no corroborating evidence has been found either for that or for Thomas Fuller's claim that he was born in Westminster. One piece of evidence points to Dublin as his place of origin: he dedicated the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Dowland
John Dowland ( – 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", " Come again", " Flow my tears", " I saw my Lady weepe", " Now o now I needs must part", and " In darkness let me dwell". His instrumental music has undergone a major revival, and with the 20th century's early music revival, has been a continuing source of repertoire for lutenists and classical guitarists. Career and compositions Very little is known of Dowland's early life, but it is generally thought he was born in London; some sources even put his birth year as 1563. Irish historian W. H. Grattan Flood claimed that he was born in Dalkey, near Dublin, but no corroborating evidence has been found either for that or for Thomas Fuller's claim that he was born in Westminster. One piece of evidence points to Dublin as his place of origin: he dedicated the song "From Silent Night" to 'my loving cou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Early Music (journal)
''Early Music'' is a peer-reviewed academic journal specialising in the study of early music. It was established in 1973 by John M. Thomson during the early music revival, and is published quarterly by Oxford University Press. The co-editors are Alan Howard, Elizabeth Eva Leach and Stephen Rose. The journal has been described as "successfully disseminat ngvaluable information to all members of the early music community: scholars, performers, informed amateurs, and instrument makers and collectors". Overview ''Early Music'' broadly covers topics relating to its namesake period, namely the medieval, Renaissance and Baroque periods. Less often, topics from the Classical and Romantic periods are including as well. The journal publishes quarterly, featuring 5–10 articles, alongside reviews of books, music and recordings. The librarian Alan Karass notes that the "articles are scholarly but not academic in nature". He further remarks that "a distinguishing feature of ''Early Mu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The First Book Of Songs (1597)
The First Book of Songs (title in Early Modern English: ''First Booke of Songes or Ayres'') is a collection of songs by John Dowland which includes one instrumental piece. The book was published in London in 1597 and was reprinted four times during the composer's lifetime. The first edition was printed by Peter Short. It contains a dedication to the Lord Chamberlain, Sir George Carey, Baron Hunsdon, and his wife Elizabeth, Lady Hunsdon (née Elizabeth Spencer). Music The vocal writing is often described as lute songs, implying that it is written for solo voice and accompaniment. The music is set out this way in the Stainer & Bell edition, for example. However, the editions printed in the composer's lifetime give a different picture of the composer's intentions, because he offered more than one way of performing his music. All the songs in the ''First Book of Songs'' can be performed in a four-part version (as the title page suggests) and they thus come into the category of ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lute Song
The term lute song is given to a music style from the late 16th century to early 17th century, late Renaissance music, Renaissance to early Baroque music, Baroque, that was predominantly in England and France. Lute songs were generally in strophic form or verse repeating with a homophony, homophonic texture. The composition was written for a solo voice with an accompaniment, usually the lute. It was not uncommon for other forms of accompaniments such as bass viol or other string instruments, and could also be written for more voices. The composition could be performed either solo or with a small group of instruments. The basic style of lute songs is light and serious, with poetic lyrics that usually followed word-setting to composed music. In England, the songs tended to range from extended contrapuntal compositions to short harmonized tunes. The text could be written by the composer or most often borrowed from a poem, set in verse form. These songs were composed for professional ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lute
A lute ( or ) is any plucked string instrument with a neck (music), neck and a deep round back enclosing a hollow cavity, usually with a sound hole or opening in the body. It may be either fretted or unfretted. More specifically, the term "lute" commonly refers to an instrument from the Family (musical instruments), family of History of lute-family instruments, European lutes which were themselves influenced by India, Indian short-necked lutes in Gandhara which became the predecessor of the Islamic music, Islamic, the Sino-Japanese and the Early music, European lute families. The term also refers generally to any necked string instrument having the strings running in a plane parallel to the Sound board (music), sound table (in the Hornbostel–Sachs system). The strings are attached to pegs or posts at the end of the neck, which have some type of turning mechanism to enable the player to tighten the tension on the string or loosen the tension before playing (which respectively ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madrigal
A madrigal is a form of secular vocal music most typical of the Renaissance (15th–16th centuries) and early Baroque (1580–1650) periods, although revisited by some later European composers. The polyphonic madrigal is unaccompanied, and the number of voices varies from two to eight, but the form usually features three to six voices, whilst the metre of the madrigal varies between two or three tercets, followed by one or two couplets. Unlike verse-repeating strophic forms sung to the same music, most madrigals are through-composed, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the poem being sung. Madrigals written by Italianized Franco–Flemish composers in the 1520s partly originated from the three-to-four voice frottola (1470–1530); partly from composers' renewed interest in poetry written in vernacular Italian; partly from the stylistic influence of the French chanson; ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
SATB
In music, SATB is a scoring of compositions for choirs or consorts of instruments consisting of four voice types: soprano, alto, tenor and bass. Choral music Four-part harmony using soprano, alto, tenor and bass is a common scoring in classical music, including chorales and most Bach cantatas.Shrock, DennisChoral Repertoire''Oxford University Press'', 2009, p. 298, The letters of the abbreviation are also used by publishers to describe different scorings for soloists and choirs other than four-part harmony. For example, the listing "STB solos, SATB choir" of Bach's ''Wachet auf, ruft uns die Stimme'', BWV 140, indicates that a performance needs three soloists: soprano, tenor and bass, and a four-part choir. "SATB/SATB" is used when a double choir is required, as in Penderecki's '' Polish Requiem''. or SSATB, with divided sopranos, is a typical scoring in English church music. A listing for Bach's '' Mass in B minor'' includes the maximum of SSATB soloists and SSAATTBB eight ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The First Book Of Songs
''The'' is a grammatical article in English, denoting nouns that are already or about to be mentioned, under discussion, implied or otherwise presumed familiar to listeners, readers, or speakers. It is the definite article in English. ''The'' is the most frequently used word in the English language; studies and analyses of texts have found it to account for seven percent of all printed English-language words. It is derived from gendered articles in Old English which combined in Middle English and now has a single form used with nouns of any gender. The word can be used with both singular and plural nouns, and with a noun that starts with any letter. This is different from many other languages, which have different forms of the definite article for different genders or numbers. Pronunciation In most dialects, "the" is pronounced as (with the voiced dental fricative followed by a schwa) when followed by a consonant sound, and as (homophone of the archaic pronoun ''thee' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lute Songs
The term lute song is given to a music style from the late 16th century to early 17th century, late Renaissance to early Baroque, that was predominantly in England and France. Lute songs were generally in strophic form or verse repeating with a homophonic texture. The composition was written for a solo voice with an accompaniment, usually the lute. It was not uncommon for other forms of accompaniments such as bass viol or other string instruments, and could also be written for more voices. The composition could be performed either solo or with a small group of instruments. The basic style of lute songs is light and serious, with poetic lyrics that usually followed word-setting to composed music. In England, the songs tended to range from extended contrapuntal compositions to short harmonized tunes. The text could be written by the composer or most often borrowed from a poem, set in verse form. These songs were composed for professional and amateur performers, which had variations ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Art Songs
An art song is a Western vocal music composition, usually written for one voice with piano accompaniment, and usually in the classical art music tradition. By extension, the term "art song" is used to refer to the collective genre of such songs (e.g., the "art song repertoire").Meister, ''An Introduction to the Art Song'', pp. 11–17. An art song is most often a musical setting of an independent poem or text, "intended for the concert repertory" "as part of a recital or other relatively formal social occasion". While many vocal music pieces are easily recognized as art songs, others are more difficult to categorize. For example, a wordless vocalise written by a classical composer is sometimes considered an art song and sometimes not. Other factors help define art songs: *Songs that are part of a staged work (such as an aria from an opera or a song from a musical) are not usually considered art songs.Kimball, p. xiv However, some Baroque arias that "appear with great freque ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
