Very beautiful ! As you say, it's difficult to figure out wether Dowland composed his songs first for 4 voices SATB to be sung or played by a consort of viols, or for one singer plus lute that resolves the other 3 voices. Both are lovely.
@@peterburandt4586having an isolated closeup shot helped (thanks to great camerawork from the video team) and I played the violin many, many years ago, so I tend to be more observant of technique.
I noticed something that questions me. As we know, Dowland's compositions are very syncretic with the 7 or 8-course renaissance lute. We also often see that publishers of the time sometimes took liberties to increase their sales volume. For example, adding Alfabeto chords for guitarists on a score by Monteverdi... with mistakes on the said chords. Back to Dowland, I noticed that the pieces written for solo lute are in G, in D, while the versions of the same pieces for voice (soprano) and lute, go to A or E... which is uncomfortable, and sounds less good. And when these pieces are sung by a countertenor (Andreas Scholl, James Bowman) they are often put back a tone lower. So, J. Dowland himself, or his publisher?
Dowland was a contrapuntalist, so many version favor keys that are in more difficult keys because of the voice leading. Nonetheless, it seems like in this case the G and A versions coexisted. But Dowland printed the version in A Minor..... As for countertenor, those are best I think with a larger lute, in the original keys, although my teacher transposed everything into horrible keys when he recorded the Dowland songs with Russell Oberlin a long long time ago.
This is quite lovely. I'm not sure where my mind drifted to it but I feel peaceful. Thank you.
Beautiful! Thank you.
Our pleasure!
Hello, Voices of Music. Thank you so much for video.
You are welcome
Thank you for this beautiful and peaceful music by Dowland wich i love Absolutely wonderful to listen to🍃😌🍃
Divine
Simply wonderful ❤❤❤
That is gorgeous music. Thank you so much!
I love the resonance these instruments create together.
We too!
Excellent performance! This tune reminds me of Dowland's song "Flow My Tears".
AFAIK, it is that very same song by another name.
Those lyrics are set to this music.
It's grand to have both.
Bravo, good performance.
Thank you!
@VoicesofMusic Welcome
Very beautiful ! As you say, it's difficult to figure out wether Dowland composed his songs first for 4 voices SATB to be sung or played by a consort of viols, or for one singer plus lute that resolves the other 3 voices. Both are lovely.
Very curious fingering by the Viol player 02:41 holding the long note with two fingers in tandem.
It's incredible of you to notice that! Perhaps her third finger is not as strong by itself as when supported by the second.
Temper G Sharp in meantone
@@peterburandt4586having an isolated closeup shot helped (thanks to great camerawork from the video team) and I played the violin many, many years ago, so I tend to be more observant of technique.
It's very common with Viola da Gamba (i.e. bass) players, but for a "dessus de viole" I agree it's a bit weird, tricky room for 2 fingers ;-)
🫶🫶🫶
I noticed something that questions me. As we know, Dowland's compositions are very syncretic with the 7 or 8-course renaissance lute. We also often see that publishers of the time sometimes took liberties to increase their sales volume. For example, adding Alfabeto chords for guitarists on a score by Monteverdi... with mistakes on the said chords. Back to Dowland, I noticed that the pieces written for solo lute are in G, in D, while the versions of the same pieces for voice (soprano) and lute, go to A or E... which is uncomfortable, and sounds less good. And when these pieces are sung by a countertenor (Andreas Scholl, James Bowman) they are often put back a tone lower. So, J. Dowland himself, or his publisher?
Dowland was a contrapuntalist, so many version favor keys that are in more difficult keys because of the voice leading. Nonetheless, it seems like in this case the G and A versions coexisted. But Dowland printed the version in A Minor.....
As for countertenor, those are best I think with a larger lute, in the original keys, although my teacher transposed everything into horrible keys when he recorded the Dowland songs with Russell Oberlin a long long time ago.
Beautiful! Thank you.
Our pleasure!