Any theories about why, if the song was written this early, Dowland
didn't include it in any of his first three books of songs (1597, 1600,
1603), but held it back until the Musical Banquet of 1610?
Peter
2009/12/3 David Tayler <[1]vidan...@sbcglobal.net>
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'? ;-)
>
--
References
1. mailto:vidan...@sbcglobal.net
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