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John Dowland
Born: 1563; London, England
Died: February 20, 1626; London, England
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Melancholy was all the rage in Elizabethan England, and John Dowland was the most stylish composer of his time. "Semper Dowland, semper dolens" was his motto, and much of his music is indeed exquisitely dolorous. Although he was a talented singer, Dowland mainly followed a dual career as a composer and lutenist. He was the period's most renowned and significant composer of lute solos, and especially ayres (also called lute songs), and a gifted
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There are 383 recordings available.
Select a specific Work or Most Popular Work below.
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Works
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A coye joye, P 80 (5)
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A Fancy (22)
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A Fancy, P 5 (12)
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A Fancy, P 6 (10)
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A Fancy, P 7 (6)
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A Fancy, P 72 (5)
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A Fancy, P 73 (11)
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A Fancy, P 74 (2)
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A Fantasie (2)
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A Galliarde (2)
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A Galliarde on "Walsingham", P 31 (8)
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A Gallyard upon the Gallyard before (1)
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A Musical Banquet (1)
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A piece without title (5)
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A Pilgrimes Solace (2)
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A Pilgrimes Solace: no 1, Disdain me still (1)
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A Pilgrimes Solace: no 10, From silent night, true register of moanes (10)
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A Pilgrimes Solace: no 11, Lasso vita mia, mi fa morire (8)
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A Pilgrimes Solace: no 12, In this trembling shadow cast (2)
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A Pilgrimes Solace: no 13, If that a sinner sighes (6)
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A Pilgrimes Solace: no 14, Thou mightie God (8)
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A Pilgrimes Solace: no 15, When David's life (1)
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A Pilgrimes Solace: no 16, When the poor cripple (1)
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A Pilgrimes Solace: no 17, Where sin, sore-wounding (2)
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A Pilgrimes Solace: no 17, Where sinne sore wounding (1)
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A Pilgrimes Solace: no 18, My heart and tongue were twinnes (1)
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A Pilgrimes Solace: no 2, Sweet stay a while (7)
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A Pilgrimes Solace: no 3, To ask for all thy love (2)
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A Pilgrimes Solace: no 4, Love, those beams, that breed (1)
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A Pilgrimes Solace: no 5, Shall I strive with wordes to move (14)
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A Pilgrimes Solace: no 6, Were every thought an eye (2)
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A Pilgrimes Solace: no 7, Stay time a while thy flying (6)
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A Pilgrimes Solace: no 8, Tell me, true Love (9)
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A Pilgrimes Solace: no 9, Goe, nightly cares, the enemy to rest (10)
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A shepherd in a shade his plaining made, D 45 (1)
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Allemande (5)
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Almain for Lute, P 49 (7)
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Almain for Lute, P 51 (6)
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Almain for Lute, P 96 (5)
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Aloe, P 68 (6)
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Always Dowland, Always Doleful (1)
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Aria (1)
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As I went to Walsingham (3)
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Awake sweet love, P 92 (6)
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Can she excuse, P 42 (25)
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Captain Candish's Galliard (1)
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Come away, P 60 (8)
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Come when I call, or tarie till I come, D 79 (2)
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Complaint, P 63 (10)
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Coranto for Lute, P 100 (5)
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Courant (1)
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Doulands Rounde Battele Galyard, P 39 (7)
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Dowland's First Galliard (2)
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Dowland's Galliard (1)
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Dr. Cases Paven, P 12 (9)
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Dream, P 75 (10)
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Earl of Derby, his Galliard (3)
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Earl of Essex, his Galliard, P 42a (18)
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Earl of Essex, his Galliard, P 89 (2)
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Fantasia for Lute (15)
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Fantasia for Lute, P 1A (8)
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Fantasia for Lute, P 71 (4)
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Fantasia no 7 (3)
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Fantasia, for lute in G major, P 1 (2)
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Far from the triumphing court, for voice, lute & bass viol (A Musicall Banquet) (1)
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Farewell (1)
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Farewell (An In Nomine) (1)
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Farewell fantasia, P 3 (13)
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Farewell, P 4 (12)
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Farre from triumphing court (4)
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Ferdinando, Earle of Derby, his Galliard, P 44 (10)
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First Galliard, P 20 (8)
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Firste Booke of Songes or Ayres (4)
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Firste Booke of Songes or Ayres: no 1, Unquiet thoughts (3)
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Firste Booke of Songes or Ayres: no 10, Thinkst thou then by thy fayning (4)
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Firste Booke of Songes or Ayres: no 11, Come away, come sweet love (23)
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Firste Booke of Songes or Ayres: no 12, Rest awhile you cruell cares (4)
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Firste Booke of Songes or Ayres: no 13, Sleepe wayward thoughts (6)
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Firste Booke of Songes or Ayres: no 14, All ye whom love or fortune (8)
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Firste Booke of Songes or Ayres: no 15, Wilt thou unkind thus reave me of my hart (8)
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Firste Booke of Songes or Ayres: no 16, Would my conceit that first enforst my woe (1)
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Firste Booke of Songes or Ayres: no 17, Come againe, sweet love doth now envite (53)
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Firste Booke of Songes or Ayres: no 18, His golden locks time hath to silver turnd (11)
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Firste Booke of Songes or Ayres: no 19, Awake, sweet love (16)
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Firste Booke of Songes or Ayres: no 2, Who ever thinks or hopes of love for love (2)
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Firste Booke of Songes or Ayres: no 20, Come, heavy sleepe (23)
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Firste Booke of Songes or Ayres: no 21, Away with these self-loving lads (11)
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Firste Booke of Songes or Ayres: no 3, My thoughts are wingde with hopes (3)
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Firste Booke of Songes or Ayres: no 4, If my complaints could passions move (27)
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Firste Booke of Songes or Ayres: no 5, Can she excuse my wrongs? (47)
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Firste Booke of Songes or Ayres: no 6, Now, o now, I needs must part (25)
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Firste Booke of Songes or Ayres: no 7, Deare if you change Ill never chuse againe (9)
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Firste Booke of Songes or Ayres: no 8, Burst forth my teares (8)
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Firste Booke of Songes or Ayres: no 9, Go, crystall teares (16)
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Firste Booke of Songes: no 20, Come, heavy sleepe (2)
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Flow not so fast ye fountains, for 4 voices & lute (Third Book of Songs) (1)
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Forlorne Hope Fancye, P 2 (24)
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Fortune my foe (4)
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Fortune, P 62 (18)
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Frogg Galliard, P 23A (26)
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Galliard (7)
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Galliard after Daniel Bacheler, P 28 (6)
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Galliard to Lachrimae, P 46 (13)
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Galliard, P 104 (2)
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Galliard, P 22 (5)
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Galliard, P 24 (3)
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Galliard, P 26 (4)
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Galliard, P 27 (7)
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Galliard, P 30 (8)
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Galliard, P 35 (6)
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Galliard, P 76 (4)
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Galliard, P 82 (1)
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Galliarde a 5 (2)
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Go from my window, P 64 (20)
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Hey, jolly Robin (1)
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I must complain, yet do enjoy my love, for 4 voices & lute (Third Book of Songs) (1)
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I shame at mine unworthiness (2)
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In darkness let mee dwell (36)
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In this trembling, trembling shadow, D 96 (3)
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Jig for Lute, P 78 (4)
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John Dowland's Galliard, P 21 (8)
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King of Denmark, his Galliard, P 40 (26)
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La mia Barbara, P 95 (8)
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Lachrimae (13)
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Lachrimae coactae, for 5 viols/violins & lute (from "Lachrimae") (1)
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Lachrimae gementes, for 5 viols/violins & lute (from "Lachrimae") (1)
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Lachrimae or Seaven Teares (6)
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Lachrimae or Seaven Teares: Captaine Piper his Galiard (18)
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Lachrimae or Seaven Teares: Lachrimae amantis (10)
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Lachrimae or Seaven Teares: Lachrimae antiquae (20)
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Lachrimae or Seaven Teares: Lachrimae antiquae novae (10)
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Lachrimae or Seaven Teares: Lachrimae coactae (4)
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Lachrimae or Seaven Teares: Lachrimae gementes (5)
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Lachrimae or Seaven Teares: Lachrimae tristes (6)
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Lachrimae or Seaven Teares: Lachrimae verae (9)
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Lachrimae or Seaven Teares: M John Lantons Pavan (6)
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Lachrimae or Seaven Teares: M. Bucton his Galiard (10)
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Lachrimae or Seaven Teares: M. George Whitehead his Almand (6)
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Lachrimae or Seaven Teares: M. Giles Hoby his Galiard (4)
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Lachrimae or Seaven Teares: M. Henry Noell his Galiard (3)
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Lachrimae or Seaven Teares: M. Nicholas Gryffith his Galiard (4)
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Lachrimae or Seaven Teares: M. Thomas Collier his Galiard (5)
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Lachrimae or Seaven Teares: Mrs Nichols Almand (7)
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Lachrimae or Seaven Teares: Semper Dowland semper dolens (5)
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Lachrimae or Seaven Teares: Sir Henry Umptons Funerall (10)
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Lachrimae or Seaven Teares: Sir John Souch his Galiard (8)
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Lachrimae or Seaven Teares: The Earl of Essex Galiard (11)
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Lachrimae or Seaven Teares: The King of Denmarks Galiard (9)
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Lachrimae Pavan (5)
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Lachrimae Pavan, P 15 (37)
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Lachrimae tristes, for 5 viols/violins & lute (from "Lachrimae") (1)
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Lady Cliftons Spirit, P 45 (14)
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Lady if you so spight me (3)
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Lady if you so spite me, for voice, lute & bass viol (A Musical Banquet) (1)
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Lady Laiton's Almain, P 48 (13)
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Lady Rich, her Galliard, P 43 (12)
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Lend your eares to my sorrow good people, for 4 voices & lute (Third Book of Songs) (1)
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Lord Strang's March, P 65 (10)
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Loth to departe, P 69 (10)
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Mellancholy Galliard, P 25 (20)
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Mignarda, P 34 (11)
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Mistris Norrishis Delight, P 77 (4)
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Mistris Whittes Thinge, P 50 (8)
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Monsieur's Almain (4)
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Mr Dowland's Midnight, P 99 (16)
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Mr John Langton's Galliard, P 33 (10)
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Mr John Langton's Pavan, P 14 (11)
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Mr Knights Galliard, P 36 (7)
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Mr. Giles Hobie's Galliard, P 29 (8)
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Mr. Henry Noell his funerall Psalms (2)
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Mrs Brigide Fleetwoods Paven, P 11 "Solus sine sola" (8)
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Mrs Cliftons Allmaine, P 53 (6)
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Mrs Nichols Almand, P 52 (10)
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Mrs Vaux Galliard, P 32 (10)
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Mrs Vauxes Gigge, P 57 (12)
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Mrs Whittes Nothing, P 56 (13)
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My Lady Hunsdons Puffe, P 54 (28)
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My Lord Chamberlain his Galliard, P 37 (5)
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My Lord Willobes Wellcome Home, P 66 (25)
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Orlando sleepeth, P 61 (15)
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Paduan for 4 Vln/Viols and Basso Continuo, H 24 (1)
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Pavan (1)
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Pavan for Keyboard "Lachrymae" (3)
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Pavan for Lute, P 16 (7)
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Pavan in C major (2)
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Pavana for Lute (3)
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Pavana Johan Douland, P 94 (5)
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Pavana Lachrimae (3)
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Pavane for Lute, P 18 (8)
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Pipers Galliard, P 19 (12)
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Pipers Pavan, P 8 (18)
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Prelude, P 102 (2)
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Preludium, P 98 (19)
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Queene Elizabeth, her Galliard, P 41 (28)
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Queenes Galliard, P 97 (7)
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Resolution, P 13 "Dowland's Adieu for Master Oliver Cromwell" (11)
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Robin, P 70 (11)
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Say love if ever thou ditst find, D 58 (8)
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Second Booke of Songes or Ayres (3)
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Second Booke of Songes or Ayres: no 1, I saw my lady weepe (31)
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Second Booke of Songes or Ayres: no 10, O sweet woods, the delight of solitarinesse (3)
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Second Booke of Songes or Ayres: no 11, If fluds of teares (1)
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Second Booke of Songes or Ayres: no 12, Fine knacks for ladies (34)
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Second Booke of Songes or Ayres: no 13, Now cease my wandring eyes (2)
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Second Booke of Songes or Ayres: no 14, Come ye heavie states of night (2)
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Second Booke of Songes or Ayres: no 15, White as lillies was her face (1)
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Second Booke of Songes or Ayres: no 16, Wofull heart with griefe opressed (2)
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Second Booke of Songes or Ayres: no 17, A shepherd in a shade his plaining made (8)
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Second Booke of Songes or Ayres: no 19, Shall I sue, shall I seeke for grace? (13)
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Second Booke of Songes or Ayres: no 2, Flow, my teares (56)
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Second Booke of Songes or Ayres: no 20, Tosse not my soule (1)
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Second Booke of Songes or Ayres: no 21, Cleare or cloudie sweet as April showring (10)
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Second Booke of Songes or Ayres: no 22, Humour say what makst thou heere (2)
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Second Booke of Songes or Ayres: no 3, Sorrow sorrow stay, lend true repentant teares (34)
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Second Booke of Songes or Ayres: no 4, Dye not before thy day (3)
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Second Booke of Songes or Ayres: no 5, Mourne, mourne, day is with darkness fled (2)
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Second Booke of Songes or Ayres: no 6, Times eldest sonne (3)
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Second Booke of Songes or Ayres: no 9, Praise blindnesse eies, for seeing is deceipt (2)
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Semper Dowland semper dolens, P 9 (30)
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Shall I sue, shall I seek for grace?, for 4 voices & lute (Second Book of Songs) (1)
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Shoemaker's Wife, a Toy, P 58 (15)
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Sir Henry Guilford, his Almain (8)
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Sir Henry Umpton's Funerall, for lute (1)
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Sir John Smith, his Almaine, P 47 (20)
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Sir Robert Sydney, his Galliard (2)
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Solus cum sola, P 10 (12)
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Song(s) (1)
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Sorrow, come (8)
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Susanna Fair Galliard, P 91 (3)
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Tarleton's Jig, P 81 (6)
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Tarletones riserrectione, P 59 (23)
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Tell me, true Love, for voice, bass viol, 4 part chorus & lute (A Pilgrimes Solace) (1)
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The Battle Galliard (3)
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The Lady Russells Paven, P 17 (9)
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The Lord Viscount Lisle, his Galliard, P 38 (7)
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The lowest trees have tops, for 4 voices & lute (Third Book of Songs) (1)
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The poor soul sat sighing "Willow Song" (1)
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Think'st thou then by thy feigning, for 4 voices & lute (First Book of Songs) (1)
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Third and Last Booke of Songes or Aires (3)
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Third and Last Booke of Songes or Aires: no 1, Farewell too faire (2)
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Third and Last Booke of Songes or Aires: no 10, Love stood amaz'd (1)
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Third and Last Booke of Songes or Aires: no 11, Lend your eares to my sorrow good people (1)
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Third and Last Booke of Songes or Aires: no 12, By a fountain where I lay (1)
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Third and Last Booke of Songes or Aires: no 13, O what hath overwrought (1)
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Third and Last Booke of Songes or Aires: no 14, Farewell, unkind farewell (2)
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Third and Last Booke of Songes or Aires: no 15, Weep you no more, sad fountains (18)
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Third and Last Booke of Songes or Aires: no 16, Fie on this feigning (1)
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Third and Last Booke of Songes or Aires: no 18, It was a time when silly bees could speak (4)
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Third and Last Booke of Songes or Aires: no 19, The lowest trees have tops (8)
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Third and Last Booke of Songes or Aires: no 2, Time stands still (25)
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Third and Last Booke of Songes or Aires: no 20, What poor astonomers are they (2)
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Third and Last Booke of Songes or Aires: no 21, Come when I call (1)
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Third and Last Booke of Songes or Aires: no 3, Behold a wonder here (6)
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Third and Last Booke of Songes or Aires: no 4, Daphne was not so chaste as she was changing (2)
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Third and Last Booke of Songes or Aires: no 5, Me, me and none but me (15)
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Third and Last Booke of Songes or Aires: no 6, When Phoebus first did Daphne love (6)
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Third and Last Booke of Songes or Aires: no 7, Say love if ever thou didst find (15)
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Third and Last Booke of Songes or Aires: no 8, Flow not so fast yee fountaines (5)
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Third and Last Booke of Songes or Aires: no 9, What if I never speede (10)
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Une jeune filette, P 93 (2)
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Varietie of Lute-lessons: Excerpt(s) (1)
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Varietie of Lute-lessons: Fantasia (2)
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Varietie of Lute-lessons: Fantasia no 7 (2)
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Volta (3)
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Wallsingham, P 67 (11)
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What if a day, P 79 (12)
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When Phoebus first did Daphne love, for 4 voices & lute (Third Book of Songs) (1)
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Winters Jomps, P 55 (20)
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Work(s) (1)
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Work(s): In a grove most rich of shade (1)
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Work(s): O deere life when shall it be (1)
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Biography |
by James Reel
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Melancholy was all the rage in Elizabethan England, and John Dowland was the most stylish composer of his time. "Semper Dowland, semper dolens" was his motto, and much of his music is indeed exquisitely dolorous. Although he was a talented singer, Dowland mainly followed a dual career as a composer and lutenist. He was the period's most renowned and significant composer of lute solos, and especially ayres (also called lute songs), and a gifted writer of consort music.
Nothing is known of Dowland's youth; even his date and place of birth are uncertain. It is clear, though, that in 1580 he went to Paris in the service of the ambassador to the French court. Dowland converted to Catholicism during this time, and later claimed that this excluded him from employment at the Protestant court of Elizabeth I in 1594 (actually, the court was cutting costs and left the position unfilled for five years). In 1598, Dowland became lutenist to Christian IV of Denmark, but he was dismissed for unsatisfactory conduct in 1606. Between 1609 and 1612 he entered the service of Theophilus, Lord Howard de Walden, and finally in 1612, he was appointed one of the "musicians for the lutes" to James I of England.
Dowland managed to respect tradition while absorbing the trends he encountered on the Continent. Dominating Dowland's output is a form called the lute song or ayre. It was peculiar to English music, and was systematized somewhat by the 1597 publication of Dowland's First Booke of Songes or Ayres. These early songs are simple strophic settings, often in dance forms, with an almost complete absence of chromaticism. Continental influences come to the fore in such later songs as In darkness let me dwell (1610) and Lasso vita mia (1612), full of declamation, chromaticism, and dissonance.
Dowland also wrote a significant amount of instrumental music, much of it for solo lute and some for consort. There are some ninety works for solo lute; many are dances, often with highly embellished variations. Even here the Continental influence shows; such chromatic fantasies as Forlorne Hope fancye and Farewell are far more intense than the lute music of any other English (or, for that matter, Continental) composer of the time. Among the consort works, Dowland's Lachrimae, or Seaven Teares Figured in Seaven Passionate Pavans (1604), became one of the most celebrated compositions of the late Renaissance. |
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