Are you saying that Dowland was familiar with Coprario's setting and adapted it, or can it be either that they both used the same poem --with some important changes--or is it also possible that the extra verses were added later? I don't see a convincing timeline as far as the composition of the poem, the verses and the settings. Stylistically, I think Dowland's version was composed first, but that would be difficult to prove as there are no mss. I would imagine Dowlands song to be from around 1597 to 1600, and Coprario at least 4 years later. Changing the important words such as "dying live" to "living die" seems to indicate either different versions were in circulation or the composers changed the poem. dt
At 03:09 AM 12/3/2009, you wrote: >It's one of the Funeral Teares, a series of seven poems, set for >soprano, alto and lute by Coprario, to commemorate the death of >Charles Blount, Baron Mountjoy. It has two verses, Dowland only used >the first verse, and apart from the obvious advice to read the second >verse to understand the first one better, one should also read all >seven poems to get an idea how this poems fits in. > >David - did I mention recorded some of Coprario's Funeral Teares on my >latest CD 'Songs of Life and Death'? ;-) > >On Thu, Dec 3, 2009 at 5:58 AM, Tom Draughon <t...@heartistrymusic.com> wrot= >e: > > A music student at my local college wants me to play lute > > for her senior capstone recital, and one of her choices of > > song is Dowland's "In Darkness Let Me Dwell". =A0I have > > pondered these words for some years now, and it seems > > obvious to me that "The ground, the ground shall sorrow > > be..." has multiple connotations - physically ground as in > > the foundation of a building, and musically ground as in > > variations on a ground. =A0"The roof despair..." and "...walls > > of marble black..." are obvious comparisons to a room or > > building, but could they have musical connotations as > > well?? =A0Could the roof be the highest note in the range of > > the song? =A0Following this line of thought, what would > > "The walls of marble, black" mean? =A0Am I just pulling this > > out of my hat, or did the Elizabethans talk about their > > music in terms like these, other than ground? > > =A0BTW, I love Ellen Hargis' recording of this with Jacob > > Heringman, lute and Mary Springfels, Viol on "A Candle > > In The Dark". =A0What are some of your favorite recordings > > of "Darkness"? > > =A0Thanks, > > =A0Tom > > Tom Draughon > > Heartistry Music > > http://www.heartistry.com/artists/tom.html > > 714 =A09th Avenue West > > Ashland, WI =A054806 > > 715-682-9362 > > > > > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > >--=20 >******************************* >David van Ooijen >davidvanooi...@gmail.com >www.davidvanooijen.nl >*******************************
