Dowland Songs3

John Dowland Cances Elizabethanas

Volume 3

voz e violo

Data Msica Srie

Transcrio: Orlando Fraga

Nota Editorial

A presente edio em 3 volumes uma seleo entre as 38 canes contidas no The

First Booke of Songs or Ayres, de 1597 (1600, 1603, 1606, 1613) e no The Second

Booke of Songs or Ayres, de 1600, ambos de John Dowland.

Correntemente temos dois critrios de transcrio de msica de alade para violo:

por um lado, aquele que mantm a tonalidade original independente do mecanismo, e

por outro, que retm o movimento original dos dedos em detrimento da tonalidade.

Estes, por sua vez, aplicados msica para voz e alade nos possibilitam trs outras

abordagem: 1) a manuteno da tonalidade original tanto da voz quanto do violo; 2)

transposio tera menor abaixo de ambos, voz e violo; 3) um sistema hbrido onde

a voz permanece em sua tonalidade original e o violo transposto tera abaixo. O

segundo destes critrios o adotado nesta edio.

Nunca demais lembrar que a afinao do alade em sol, enquanto a do violo em

mi. Assim, para restabelecer a tonalidade original da cano, basta o violonista colocar

um capo-tasto na terceira casa. Outras transposies ou casas podem ser consideradas

para melhor acomodar tessitura da voz.

O texto preserva a ortografia original unicamente para fins musicolgicos e sua

modernizao pode ser bem vinda em situaes em que a clareza do texto seja

necessria.

A instrumentao , obviamente, para voz e violo/alade. Porm, seguindo os

critrios da poca, a voz pode ser substituda por um instrumento meldico, como a

flauta doce ou viola da gamba soprano, e o acompanhamento por outro instrumento

hamnico, como a harpa, espineta, virginal, rgo positivo, entre outros. A linha do

baixo pode ser dobrada por um instrumento grave, como a viola da gamba, flauta doce

baixo, violoncello, flageolet, e outros.

Finalmente, de suma importncia considerar uma ornamentao segundo os critrios

vigentes para a msica elisabethana. Consultas em tratados e mtodos contempo-

rneos, como os de Thomas Ford, Thomas Robinson e Thomas Mace, podem se revelar

difceis pela dificuldade de acesso. Porm pode-se apreender muito analisando os

procedimentos de ornamentao no restante da obra de Dowland, em particular nos

consorts onde aparecem verses de algumas das canes aqui contidas.

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The First Booke of Songs or Ayres (1597)

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Sleep, wayward thoughts Text by Anonymous Set by John Dowland (1562-1626) The First Booke of Ayres (1597) 1 Sleep, wayward thoughts, and rest you with my love: Let not my Love be with my love diseas'd. Touch not, proud hands, lest you her anger move, But pine you with my longings long displeas'd. Thus, while she sleeps, I sorrow for her sake: So sleeps my Love, and yet my love doth wake. 2 My love doth rage, and yet my Love doth rest: Fear in my love, and yet my Love secure: Peace in my Love, and yet my love oppress'd: Impatient, yet of perfect temp'rature. Sleep, dainty Love, while I sigh for thy sake: So sleeps my Love, and yet my love doth wake.

Thinkst thou then by thy feigning Text by Anonymous Set by John Dowland (1562-1626) The First Booke of Ayres (1597) 1 Thinkst thou then by thy feigning Sleep, with a proud disdaining, Or with thy crafty closing Thy cruel eyes reposing, To drive me from thy sight, When sleep yields more delight, Such harmless beauty gracing. And while sleep feigned is, May not I steal a kiss, Thy quiet arms embracing. 2 O that my sleep dissembled, Were to a trance resembled, Thy cruel eyes deceiving, Of lively sense bereaving: Then should my love requite Thy loves unkind despite, While fury triumphd boldly In beatys sweet disgrace: And livd in sweet embrace Of her that lovd so coldly. 3 Should then my love aspiring, Forbidden joys desiring, So far exceed the duty That virtue owes to beauty? No Love seek not thy bliss, Beyond a simple kiss: For such deceits are harmless, Yet kiss a thousand-fold. For kisses may be bold When lovely sleep is armless.

Unquiet thoughts Text by Anonymous Set by John Dowland (1562-1626) The First Booke of Ayres (1597) 1 Unquiet thoughts, your civil slaughter stint And wrap your wrongs within a pensive heart: And you, my tongue, that makes my mouth a mint And stamps my thoughts to coin them words by art, Be still, for if you ever do the like I'll cut the string that makes the hammer strike. 2 But what can stay my thoughts they may not start, Or put my tongue in durance for to die? Whenas these eyes, the keys of mouth and heart, Open the lock where all my love doth lie, I'll seal them up within their lids forever: So thoughts and words and looks shall die together. 3 How shall I then gaze on my mistress' eyes? My thoughts must have some vent: else heart will break. My tongues would rust as in my mouth it lies, If eyes and thoughts were free, and that not speak. Speak then, and tell the passions of desire, Which turns mine eyes to floods, my thoughts to fire.

Weep you no more, sad fountains Text by Anonymous Set by John Dowland (1562-1626), "Weep you no more, sad fountains". Ivor Gurney (1890-1937), "Tears", from Five Elizabethan Songs (The Elizas), no. 2. Sir Hubert Parry (1848-1918), "Weep you no more". Roger Quilter (1877-1953), "Weep you no more", op. 12, from Seven Elizabethan Lyrics, no. 1. 1 Weep you no more, sad fountains; What need you flow so fast? Look how the snowy mountains Heaven's sun doth gently waste! But my sun's heavenly eyes View not your weeping, That now lies sleeping, Softly now, softly lies Sleeping. 2 Sleep is a reconciling, A rest that peace begets; Doth not the sun rise smiling When fair at [e'en]* he sets? Rest you, then, rest, sad eyes! Melt not in weeping, While she lies sleeping, Softly now, softly lies Sleeping. * Parry: "eve"; Quilter: "even".

Who ever thinks or hopes of love Text by Baron Fulke Grenville Brooke (1554-1628) Set by John Dowland (1562-1626) The first Booke of Ayres (1597) 1 Who ever thinks or hopes of love for love: Or who, belov'd, in Cupid's laws doth glory: Who joys in vows, or vows not to remove: Who by this light god hath not been made sorry: Let him see me eclipsed from my sun With dark clouds of an earth quite overrun. 2 Who thinks that sorrows felt, desires hidd'n, Or humble faith in constant honour armed Can keep love from the fruit that is forbidd'n, Who thinks that change is by entreaty charmed, Looking on me let him know love's delights Are treasures hid in cave but kept by sprites.

Wilt thou, unkind, thus reave me? Text by Anonymous Set by John Dowland (1562-1626) The First Booke of Songs or Ayres (1597) 1 Wilt thou, unkind, thus reave me Of my heart, of my heart, and so leave me? Farewell: Farewell, But yet or e'er I part (O cruel) Kiss me, sweet, sweet my jewel. 2 Hope by disdain grows cheerless, Fear doth love, love doth fear beauty peerless. Farewell: Farewell, But yet or e'er I part (O cruel) Kiss me, sweet, sweet my jewel. 3 If no delay can move thee, Life shall die, death shall live still to love thee. Farewell: Farewell, But yet or e'er I part (O cruel) Kiss me, sweet, sweet my jewel. 4 Yet be thou mindful ever, Heat from fire, fire from heat none can sever. Farewell: Farewell, But yet or e'er I part (O cruel) Kiss me, sweet, sweet my jewel. 5 True love cannot be changed, Though delight from desert be estranged. Farewell: Farewell, But yet or e'er I part (O cruel) Kiss me, sweet, sweet my jewel.

Would My Conceit Text by Anonymous Set by John Dowland (1562-1626) The First Booke of Songs or Ayres (1597) 1 Would my conceit, that first enfored my woe, Or else mine eyes which still the same increase, Might be extinct, to end my sorrows so, Which now are such as nothing can release: Whose life is death, whose sweet each change of sour, And eke whose renewth evry hour. 2 Each hour amidst the deep of hell I fry, Each hour I waste and wither where I sit: But that sweet hour wherein I wish to die, My hope alas may not enjoy it yet, Whose hope is such, bereaved of the bliss, Which unto all save me allotted is. 3 To all save me is free to live or die, To all save me remaineth hap or hope: But all perforce I must abandon, I, Sith Fortune still directs my hap a-slope. Wherefore to neither hap nor hope I trust, But to my thralls I yield, for so I must.

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