Il Permesso (Capolavori contemporanei) (Italian Edition)
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Nel muore John Johnson, uno dei liutisti al servizio della regina.
Le prime tappe del suo viaggio sono le corti di Henry Julius, duca di Braunschweig e in seguito di Maurice, langravio di Hesse-Kassel. Preceduto dalla sua fama, viene trattato con eccezionale favore e amicizia.
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Dowland visita successivamente Kassel, per poi proseguire il suo viaggio verso Roma. Sempre accolto con entusiasmo, lascia tracce del suo passaggio tra i musicisti italiani. Spaventato dalla piega che prendono gli eventi, Dowland rinuncia a visitare Roma e a incontrare Luca Marenzio. In quegli anni inoltre i suoi 6. Il 28 ottobre del John Dowland riceve finalmente il tanto desiderato incarico di liutista alla corte reale, prendendo il posto di Richard Pyke, vacante addirittura dal Il 20 febbraio John Dowland viene se-polto nel cimitero di St.
Ann Blackfriars a Londra.source site
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Suo figlio Robert prende il suo posto a corte il 26 aprile dello stesso anno. Si tratta di appena nove brani in Varietie ofLute-Lessons e quattro brani in appendice ai libri di canzoni. Nondimeno possiamo con ragionevole certezza attribuirgli un corpus di circa un centinaio di brani per liuto solo, la maggior parte dei quali provenienti dalle fonti manoscritte. Il complesso campo delle attribuzioni si basa sul lavoro di musicologi e musicisti che confrontano le fonti mettendole in relazione tra loro, alla ricerca di concordanze e divergenze anche minime nei dettagli.
Che volesse in qualche modo serbare le sue musiche originali e le sue tecniche per se stesso, inarrivabile esempio di virtuoso del liuto per i suoi contemporanei? Intendeva sostenere la carriera del figlio Robert, nelle cui pubblicazioni infonde la sua esperienza e il suo repertorio? Che non abbia fatto in tempo, nel tentativo di perfezionare a oltranza la sua arte? Forse non sapremo mai con esattezza cosa ci ha resi orfani di questo tesoro.
Anche Go From My Window tratta un tema popolare, riproponendolo in sette differenti variazioni. Duca diMantua. Si tratta di due brani che non hanno niente in comune a parte la dedicataria nel titolo. Qui la trattazione del tema da parte di Dowland lascia sempre intendere chiaramente le melodie originali e non tocca la forma A-A'-B-B' che si ripete interamente tre volte. There are no reliable documents attesting to the exact place of his birth, although Thomas Fuller in his The History of the Worthies ofEngland, published posthumously in , claims that he was born in the city of Westminster.
Also as regards his family and his formative years we can only speculate, in the hope that future research and further documents will be able to shed some light on what is not yet known about him. The first date in his life of which we can be sure is , when Dowland travelled to France in the service of Sir Henry Cobham, the English ambassador to the French court, and while in France we know that he converted to Catholicism.
In the Apologia Musices, written by John Case in the same year, Dowland is mentioned as one of the most famous musicians of his time, which clearly shows that his talent was already widely recognized. There is no definite information as to the date of his marriage, which presumably took place in or a little later, or as to the identity of his wife. Their son Robert was almost certainly born in , as his marriage certificate, dated , states that he was about thirty-five years old in that year.
The first contemporary reference to a performance by John Dowland dates to , when he played for Queen Elizabeth, on the occa-sion of her visit to Sudeley Castle, in Gloucestershire, where an entertainment entitled Daphne and Apollo was held in her honour, during which he played his song My Heart and Tongue were Twinnes.
John Johnson, a lutenist in the service of the queen, died in and following an unsuccessful application for this position Dowland obtained permission to travel abroad with the aim of further perfecting his music, especially intending to visit the famed madrigal composer Luca Marenzio in Rome.
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Preceded by his reputation, Dowland was treated with exceptional goodwill and kindness. He went on to visit Kassel, and then continued on his journey to Rome. He was greeted enthusiastically everywhere he went and he had some very rewarding encounters with various Italian musicians. In Dowland was approached by English exiles in the city of the Medici, who attempted to engage him in seditious activities against Elizabeth I. He was even offered the opportunity to settle in Rome in the pay of the Pope, where he would be joi-ned produced by the master printer Peter Short.
Also a brief letter of friendship and esteem written to Dowland by Luca Marenzio was included, in addition to an epigram dedicated to him by Thomas Campion. In he finished the manuscript of The Second Booke ofSongs and sent it to his wife, who sold it to George Eastland for 20 pounds, with the promise of half the expected donation from the dedicatee, the Countess of Bedford. Between and the following year Dowland returned to England with the task of buying musical instruments and recruiting performers for the Danish court.
In early he completed the drafting of The Third and Last Booke of Songs and sent it to 13 later by his family. Alarmed by the turn that events had taken, Dowland decided not to visit Rome to meet Luca Marenzio. Instead he headed back to England, passing through Bologna and stopping at Nuremberg, where he wrote a long letter to Sir Robert Cecil, dated November 10th , in which he denounced the traitors who had tried to suborn him, re-nounced Catholicism and professed his absolute loyalty to his sovereign and country.
The following year he arrived at the court of the Landgrave of Hesse, where he remained until the end of the year. In Dowland published some of his music for the first time, although a number of his pieces for the lute had already been printed without his consent and, to his considerable vexation, in a rather inaccurate and inade-quate form. The First Booke of Songes was London, although it was only published after a delay of several months, perhaps because of an epidemic of plague that ravaged the city in that year.
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In July Dowland received permission to return to England where, due to the death of Elizabeth I and the coronation of James I, he was able to repeat his request for employment at the English court. The next year, however, there are some irregularities in the payments of his salary and Dowland evidently started to have some financial problems. He resorted to taking out loans and requesting advances on his pay, until he resigned from the post of court lutenist, probably in February Upon his return from Denmark, the composer was actually at the height of his popularity, which continued for a long time, as evidenced by the reproduction of his music, in both published and handwritten form, for many decades after his death.
On the 28th of October in that year Dowland was awarded the coveted position of lutenist to the royal court, finally taking the 14 On February 20th John Dowland was buried in the cemetery of St. Ann Blackfriars in London and his son Robert took his place as royal lutenist on April 26th of the same year. It consists of just nine pieces in A Varietie of Lute-Lessons and four pieces in the appendices to the three books of songs that he published. Nevertheless, we can with some certainty attribute a corpus of about one hundred pieces for the solo lute to Dowland, most of them known from manuscript sources.
The complex task of attributing pieces to a composer is based on the work of musicologists and musicians who compare the sources, searching for concordances and divergences in the details, no matter how small.
This is similar to the procedure in other artistic domains, in which making attributions involves a combination of objective evidence with the subjective discernment of scholars. Dowland repeatedly expressed his desire to have his instrumental music properly printed, together with a treatise on the right procedure for playing the lute, but he then let the matter drop, just when the position he had attained as lutenist of the royal court could have given him the peace ofmind for drawing up such a work.
On the basis of his biography and his rather uneven career it is not entirely clear what obstacles may have prevented him from completing this project. He certainly did not lack the necessary knowledge and competence for dealing with the field of publishing. Perhaps in the end he decided to keep his original music and his techniques for himself, so that he would remain a virtuoso lutenist whose skills were unattainable by his contemporaries. Or did he simply not have time to finish the task, while attempting to perfect his art right up until the end of his life? We may never know exactly why we have been unable to enjoy this treasure.
Among the compositions performed on this CD, the large number of illustrious persona-ges to whom the pieces are dedicated is certainly conspicuous. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :.
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