Data Msica Srie

Transcrio:
Orlando Fraga

John Dowland

Cances Elizabethanas
Volume 3
voz e violo

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:
um que mantm a tonalidade original independente do mecanismo, e outro que
mantm 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 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 por vrias razes, entre elas: o
resgate de um repertrio que em seu estado original, ou seja, em tablatura, sempre
esteve fora do alcance de tericos, musiclogos e historiadores por conta do aspecto
hermtico que a tablatura oferece a todos aqueles que no so iniciados nos instrumentos de corda dedilhada; temos, tambm, uma viso acurada do funcionamento
mecnico da obra do ponto de vista do violonista.
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 colocar um capotasto 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, etc. A linha do baixo pode
ser dobrada por um instrumento grave, como a viola da gamba, flauta doce baixo,
violoncello, flageolet, entre outros.
Finalmente, de suma importncia considerar uma ornamentao segundo os critrios
vigentes para a msica elisabethana. Consultas em tratados e mtodos contemporneos, como os de Thomas Ford, Thomas Robinson e Thomas Mace, podem ser
difceis por causa do acesso a essas obras. 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.

Orlando Fraga

Sleep, Wayward Thoughts

Transcrio: Orlando Fraga

John Dowland
The First Booke of Ayres (1597)

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Think'st Thou Then by Thy Feigning?

Transcrio: Orlando Fraga

John Dowland
The First Booke of Ayres (1597)

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Unquiet Thoughts
Transcrio: Orlando Fraga

John Dowland
The First Booke of Ayres (1597)

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Weepe You No More

Transcrio: Orlando Fraga

John Dowland
The Third and Last Booke
of Songs or Ayres (1603)

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Who Ever Thinks or Hopes

Transcrio: Orlando Fraga

John Dowland
The First Booke of Ayres (1597)

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Witl Thou, Unkind, hua Reave Me?

Transcrio: Orlando Fraga

John Dowland
The First Booke of Songs or Ayres (1597)

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Wilt
thou, un - kind,
thus
reave
me
Of
my heart,
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of my heart,
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and
so leave
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me?
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fare - well,
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part
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Kiss ne, sweet, kiss me, sweet, sweet
my
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Fare jew - el.
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10

Would my Conceit
Transcrio: Orlando Fraga

John Dowland
The First Booke of Ayres (1597)

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Would
my
con
ceit,
that
first
en
- fore'd
my
woe,
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else
mine
eyes
which
still
the
same
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be
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to
end
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my sor
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12

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.