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Imagine being Lord Willoughby and having the power to commission a "welcome home" song to be played every time to get back to your countryside home after a long period of snoozing in the House of Lords
Imagine being Lady Willoughby and having to wear a corset with laces and pieces of whalebones in it (😝) that constrict your breathing and movement, and bloomers AND numerous slips or petticoats and dresses down to your ankles no matter what the temperature was? 😝😝😝
It would indeed--but in fact Peregrine Bertie, Baron Willoughby de Eresby (1555-1601) was no such slug. A diplomat and soldier, he spent a good deal of his career on the Continent, mostly in the Netherlands, commanding English forces for the Protestant cause against the Spanish. His "Welcome Home" was a popular song, in honour of Willoughby's valour. Here Dowland has turned it into this gallant, vivacious duet.
@@jameslouder Please just remember "commanding English forces for the protestant cause against the Spanish" meant murdering mudéjar and moor in the name of god. Something otherwise grand and valiant sounding is on of the ways of masking sheer brutality and discrimination.
@@poli.f.0nia In the Low Countries there was plenty of murder to go around on both sides. No one, Spanish, English, French, Dutch...I repeat, no one, emerged from the wars of religion with anything but dishonour and damnation--from *our* point of view. But I was writing of how Lord Willoughby was viewed in England, where most were 'parti pris' for Protestantism.
The Brave Lord Willoughby referred to in this piece is one of my ancestors and I am very proud of all he did in his time. This music is a testimony to how others felt about him too.
One of the very best things in my life right now is this piece, which I play with my guitar duet partner at the end of almost every rehearsal. It sounds really nice on lutes too, not surprisingly, although it's one of those pieces that's always going to be more satisfying for the players, I think.
Exacto, era un standart de su época, como" go from my Window" "what if a day" *greensleeves" y otras. En España,"conde Claros*,"guárdame las vacas". Algunos temas incluso trascendieron las fronteras de su pais
People should know that this was a popular song of which several composers wrote their own variations of, not something that is purely an original of dowland
Hey Brandon. Thank you for making all these lute videos. Very informative and enjoyable to watch. Could I trouble you to tell me the source for this duet? I've seen the Folger Dowland manuscript mentioned, but don't see a duet version there. Thank you.
@@poli.f.0nia people did bathe, i seem to remember a saying from the time that had the effect of saying bathing was one of the fundamental needs to live
Hey Brandon, I hope you can get back to me, I have a question for someone of your experience and wisdom, I’m am switching from electric to classical guitar. I’d like to know what classical guitars you think are the best for around $1000? Thank you!
That is an inaccurate attack based on a misunderstanding of history and how the lute was played overtime.... Both of us are playing on lutes without nails and with historical techniques from around 1600 (when this piece was written). It is a common myth that the lute was only played thumb under (the person on the right's position) when in fact that position was only used in the early Renaissance and gradually the thumb out position (the left) became dominant by 1600 and stayed dominant even until today. Please learn your history...
@@brandonacker Believe me, I definitely know a lot more about history. I know that too, but you can see that you think like a guitarist! Everything looks like a guitar, except you're holding a lute in your hands. But that's about all. The technical idea of the Renaissance lute comes from the gravity of the downward swing of the thumb or hand, which is based on the root joint of the "Stützfinger". The lute players who gradually pushed their thumb further forward in terms of range (more bass strings) were still spiritually rooted in the Renaissance and had no idea of guitar technique, either technically or spiritually. Your technique is a slight variation of Tarrega's new guitar technique, which you still adhere to when trying to play the lute. Musically, this cannot be achieved with your guitar technique. That's the difference I see immediately. But from a technical point of view, I also have serious doubts as to whether you really always play the double choir. If you play your single-string theorbo this might work well, but not so much on a Renaissance lute. As you can see.
Renaissance lute technique is as follows: pinky down, no nail (probably, this is speculative), alternating thumb and index OR middle and index (when the thumb is busy for late music) for the strong/weak effect (good and bad notes), and thumb-in or thumb-out around 1600. Dowland himself played like this at the end of his life and we are indeed playing his composition. I'm doing all of these things. Bringing up Tárrega really exposes your bias. Tárrega is on a completely different planet from what I'm doing here and only shares the thumb-out concept with what I listed above. He used constant apoyando in the melody, no pinky down, no good and bad notes with p and i or m and i. It seems you belong to the group of close-minded lute players I frequently encounter who think the lute can only be played thumb-under. If you saw Dowland himself playing in 1600, you'd call him a guitarist derogatorily! The only valid historical criticism you can send my way is the fact that I am not always hitting both strings and that is something I'm working on. Though I am without a doubt playing both string most of time. By the way do you have a source that says you have to hit both strings every single time you pluck a note? I'd love to see that source because I don't think it exists... I'm aware I'm not perfect but do you plan on sharing your recording displaying your flawless and correct historical technique so we can all admire your perfection? I didn't think so.
@@brandonacker This is a typical American attitude. Everything is only external! Everything is just a show. Las Vegas. Potemkin villages. You actually didn't understand what I said. It doesn't matter whether Thumb is played away from 1600 or not. But the attitude is important. If you play the guitar, theorbo, chitarrone, baroque guitar, baroque lute, renaissance lute and whatever the hell else, you will never play any of them properly with the soul within. The violinists don't play the viola either. (99%). The mental attitude is crucial! And then it's not enough to say that Dowland would have played like that! As I said, Dowland and his contemporaries came "spiritually" - that is, polyphonic melody and the resulting technique - from the thumb in technique. That is the big difference between our view. It's not enough to just say that back in 1600 people would have played like you. No! Definitely not that! Always the same problem with you Americans. You always want to be the smartest, but you cut off your roots in European advanced culture 300 years ago. You're talking about pizza and you've never tasted a real, original pizza in Italy. ETC. You're just as much of a smartass as the American painters who demonstrate on RUclips how Carravaggio painted. When I asked if he had ever seen an original Carravaggio, he admitted that he had never seen one. But his photos are very good. That's exactly how you seem to me too. Everything is just a show or a copy of a copy. But want to know everything better.
Let's remember what happened here: I posted a free performance of music I love for others to perhaps enjoy, if it's their cup of tea. I worked for many years studying historical treatises, manuscripts and techniques (my teacher is European, by the way). You decide to personally attack me to make yourself feel better. I point out that your comment is historically innacurate and now that you can't actually point to a historical source to critique me (Because I'm playing according to those sizes sources, to the best of my ability) you are now reduced to ambiguous speculations about the "spiritual" (whatever that means) meaning of lute playing at the time. I'll ignore your cliches about Americans and just honestly point out that I don't find any substance to your argument. I have real substance. I can point you to the treatises, paintings, and manuscripts that justify my approach and validate it. You just called that copying as if that is a valid criticism? That is exactly what the entire early music movement is. What a bizarre critique. How dare I use historical techniques as they described them at the time? Give me a source to back up your critique or just move on to the next person to insult to satisfy your ego. Oh and I'm still looking forward to your recording. I honestly think if you can't produce a recording better than mine you have no right speaking on this issue which I take very seriously.
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💥My new online guitar course is open! classicalguitar-pro.com
Sign-up for lifetime access to this 6-hour course and start playing elegant classical music today!
"Nothing is more beautiful than a guitar, except, possibly two."
- Frédéric Chopin
Imagine being Lord Willoughby and having the power to commission a "welcome home" song to be played every time to get back to your countryside home after a long period of snoozing in the House of Lords
Imagine being Lady Willoughby and having to wear a corset with laces and pieces of whalebones in it (😝) that constrict your breathing and movement, and bloomers AND numerous slips or petticoats and dresses down to your ankles no matter what the temperature was? 😝😝😝
It would indeed--but in fact Peregrine Bertie, Baron Willoughby de Eresby (1555-1601) was no such slug. A diplomat and soldier, he spent a good deal of his career on the Continent, mostly in the Netherlands, commanding English forces for the Protestant cause against the Spanish. His "Welcome Home" was a popular song, in honour of Willoughby's valour. Here Dowland has turned it into this gallant, vivacious duet.
@@jameslouder Please just remember "commanding English forces for the protestant cause against the Spanish" meant murdering mudéjar and moor in the name of god. Something otherwise grand and valiant sounding is on of the ways of masking sheer brutality and discrimination.
@@poli.f.0nia In the Low Countries there was plenty of murder to go around on both sides. No one, Spanish, English, French, Dutch...I repeat, no one, emerged from the wars of religion with anything but dishonour and damnation--from *our* point of view. But I was writing of how Lord Willoughby was viewed in England, where most were 'parti pris' for Protestantism.
The Brave Lord Willoughby referred to in this piece is one of my ancestors and I am very proud of all he did in his time. This music is a testimony to how others felt about him too.
Thanks, for making my day! A favorite from renaissance "rock star" John Dowland.
Beautifully played, gentlemen! 🙏
Oh my, I remember when I learned this way back. Such good memories. Thank you for the beautiful interpretation.
One of the very best things in my life right now is this piece, which I play with my guitar duet partner at the end of almost every rehearsal. It sounds really nice on lutes too, not surprisingly, although it's one of those pieces that's always going to be more satisfying for the players, I think.
Just beautiful
Brandon's trills are perfectly smooth. Great duet.
Oh how I love this beautiful peaceful music on a wistful Thanksgiving morning!
It brings such a treasured feeling of joy and FREEDOM. You go Brandon!💕
Always looking forward to the next upload, keep up the wonderful flow of music, cheers!
It is really beautiful
Soooo beautiful music
Great playing. Love the sound of the lute.
Great mic setup….sounds amazing through headphones 👍🏻
I can already imagine this being played as I go back home
great - good vid, etc.
Wunderschön, vielen, vielen Dank ❤.
I just love this piece--and great playing, as always. Many thanks, gents.
Lovely!
Exacto, era un standart de su época, como" go from my Window" "what if a day" *greensleeves" y otras. En España,"conde Claros*,"guárdame las vacas". Algunos temas incluso trascendieron las fronteras de su pais
touching
Beautiful!
You guys are so accurate !!!
Wonderful!!
So beautiful ❤️
Great!
I know this tune, I would play it on guitar quite frequently
People should know that this was a popular song of which several composers wrote their own variations of, not something that is purely an original of dowland
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Natural tuning that is.
I humbly ask thou to make a video about the Afghan Rabab.
Hey Brandon. Thank you for making all these lute videos. Very informative and enjoyable to watch. Could I trouble you to tell me the source for this duet? I've seen the Folger Dowland manuscript mentioned, but don't see a duet version there. Thank you.
Lovely. :-)
wow I can smell the unbathed filth from the Renaissance in your sound, so cool!
Thank you for remembering what no one seems to remember about the medieval times.
@@poli.f.0nia people did bathe, i seem to remember a saying from the time that had the effect of saying bathing was one of the fundamental needs to live
What source is this duet version from?
Can anyone tell me the source for this duet? Marsh, Pickering lute books etc?
Plz tell us what to buy in iTunes?
Hey Brandon, I hope you can get back to me, I have a question for someone of your experience and wisdom, I’m am switching from electric to classical guitar. I’d like to know what classical guitars you think are the best for around $1000? Thank you!
I like Cordoba and Saers guitars in that price range.
No love for Fernando Sor on this channel!
I've been waiting for my new 19th century guitar to arrive first:)
^^☆☆☆☆☆^^
yes, you can clearly see the difference. One is a guitarist, the other plays the lute!
That is an inaccurate attack based on a misunderstanding of history and how the lute was played overtime....
Both of us are playing on lutes without nails and with historical techniques from around 1600 (when this piece was written).
It is a common myth that the lute was only played thumb under (the person on the right's position) when in fact that position was only used in the early Renaissance and gradually the thumb out position (the left) became dominant by 1600 and stayed dominant even until today.
Please learn your history...
@@brandonacker Believe me, I definitely know a lot more about history. I know that too, but you can see that you think like a guitarist! Everything looks like a guitar, except you're holding a lute in your hands. But that's about all. The technical idea of the Renaissance lute comes from the gravity of the downward swing of the thumb or hand, which is based on the root joint of the "Stützfinger". The lute players who gradually pushed their thumb further forward in terms of range (more bass strings) were still spiritually rooted in the Renaissance and had no idea of guitar technique, either technically or spiritually. Your technique is a slight variation of Tarrega's new guitar technique, which you still adhere to when trying to play the lute. Musically, this cannot be achieved with your guitar technique. That's the difference I see immediately.
But from a technical point of view, I also have serious doubts as to whether you really always play the double choir. If you play your single-string theorbo this might work well, but not so much on a Renaissance lute. As you can see.
Renaissance lute technique is as follows: pinky down, no nail (probably, this is speculative), alternating thumb and index OR middle and index (when the thumb is busy for late music) for the strong/weak effect (good and bad notes), and thumb-in or thumb-out around 1600. Dowland himself played like this at the end of his life and we are indeed playing his composition. I'm doing all of these things.
Bringing up Tárrega really exposes your bias. Tárrega is on a completely different planet from what I'm doing here and only shares the thumb-out concept with what I listed above. He used constant apoyando in the melody, no pinky down, no good and bad notes with p and i or m and i. It seems you belong to the group of close-minded lute players I frequently encounter who think the lute can only be played thumb-under. If you saw Dowland himself playing in 1600, you'd call him a guitarist derogatorily!
The only valid historical criticism you can send my way is the fact that I am not always hitting both strings and that is something I'm working on. Though I am without a doubt playing both string most of time. By the way do you have a source that says you have to hit both strings every single time you pluck a note? I'd love to see that source because I don't think it exists...
I'm aware I'm not perfect but do you plan on sharing your recording displaying your flawless and correct historical technique so we can all admire your perfection? I didn't think so.
@@brandonacker This is a typical American attitude. Everything is only external! Everything is just a show. Las Vegas. Potemkin villages. You actually didn't understand what I said. It doesn't matter whether Thumb is played away from 1600 or not.
But the attitude is important. If you play the guitar, theorbo, chitarrone, baroque guitar, baroque lute, renaissance lute and whatever the hell else, you will never play any of them properly with the soul within. The violinists don't play the viola either. (99%). The mental attitude is crucial! And then it's not enough to say that Dowland would have played like that! As I said, Dowland and his contemporaries came "spiritually" - that is, polyphonic melody and the resulting technique - from the thumb in technique. That is the big difference between our view. It's not enough to just say that back in 1600 people would have played like you. No! Definitely not that! Always the same problem with you Americans.
You always want to be the smartest, but you cut off your roots in European advanced culture 300 years ago. You're talking about pizza and you've never tasted a real, original pizza in Italy. ETC. You're just as much of a smartass as the American painters who demonstrate on RUclips how Carravaggio painted. When I asked if he had ever seen an original Carravaggio, he admitted that he had never seen one. But his photos are very good. That's exactly how you seem to me too. Everything is just a show or a copy of a copy.
But want to know everything better.
Let's remember what happened here: I posted a free performance of music I love for others to perhaps enjoy, if it's their cup of tea. I worked for many years studying historical treatises, manuscripts and techniques (my teacher is European, by the way). You decide to personally attack me to make yourself feel better. I point out that your comment is historically innacurate and now that you can't actually point to a historical source to critique me (Because I'm playing according to those sizes sources, to the best of my ability) you are now reduced to ambiguous speculations about the "spiritual" (whatever that means) meaning of lute playing at the time.
I'll ignore your cliches about Americans and just honestly point out that I don't find any substance to your argument.
I have real substance. I can point you to the treatises, paintings, and manuscripts that justify my approach and validate it. You just called that copying as if that is a valid criticism? That is exactly what the entire early music movement is. What a bizarre critique. How dare I use historical techniques as they described them at the time?
Give me a source to back up your critique or just move on to the next person to insult to satisfy your ego.
Oh and I'm still looking forward to your recording. I honestly think if you can't produce a recording better than mine you have no right speaking on this issue which I take very seriously.