If you use iTunes or an iPod, get these. It appears that Jane worked on her collection fairly intensively, stopped for a period, then returned to it briefly some time later, for her distinctive tablature hand is remarkably uniform until folio 35, whereupon it changes abruptly. Work Title Jane Pickering's lute book Alt ernative. This is the same format as High Definition audio provided by the iTunes store. Recorded into a Zoom H4N. John Johnson -- The Queen's dump Bergamask ground ; The short almain.
A Pavin by Rossetters 09. A country dance ; A galliard ;? Ennemond Gaultier, The Nightingale 48v. Title Composer I-Catalogue Number I-Cat. John Dowland, Loth to Depart 33v My lord willoughbies welcom home by Mr byrde William Byrd arr. Almaine by francis Cuttinge 05.
Anthony Holborne, Almain 29 A Toy Anonymous 29 A Toy Anonymous 29v Go from my window by Mr Dowland John Dowland 30 A Galyard by Mr Daniell Bachler Daniel Bacheler 30 The Maids in Constrite 31. Some scribes copied the divisions from their exemplar, some wrote their own into their manuscripts, others copied only the plain unadorned pieces and probably improvised embellishments afresh with each performance. Contents: Drewry's accords ; De la tromba pavan, also known as The Lady Frances Sidney's goodmorrow ; Le rossignol ; The quadro galliard ; The quadro pavan ;? Anonymous, Toy 16 the scottish Huntsupe John Johnson, The Scottish Hunt's Up 17 Lacrime by dowlande John Dowland, Lachrimae Pavan 17 Strogers galyerd Nicholas Strogers, In Nomine Galliard 18 the battell galyerd by mr. The next pieces jump a generation, and are part of this second layer of copying. Lynn Clayton added further verses, and I rearranged it further. The third is 'Curranta For Mrs. The composer is not known.
The keyboard original survives in the Fitzwilliam Virginal Book: here it is transposed down a fourth, the better to fit the compass of the lute, but the figurations are preserved surprisingly exactly. Rosseter, as we have seen, was fully capable of writing such intricate, challenging works. Robert Ballard, La Courant Sarabande 43 Coranto Jo: Lawrence Harpe way John Lawrence, Courant 43 A Ballat Jo: Lawrence John Lawrence, Ballet 44 Gautier Gaultier, Courante 44 Sarabrande Jo: Lawrence John Lawrence, Sarabande 44v Coranto Gautier Ennemond Gaultier, Courante 45. However, Jane's manuscript still conveys a vivid impression of her musical taste, technical attainment, and even the type of instrument she owned. Johnson, Pavan 24 A Fantasia? Murcott', composed by Francis Pilkington.
In two sources it is attributed to the Parisian Charles de Lespine, who was in England in 1610-11, and its form and texture are certainly typical of French taste. This is the standard format provided by the iTunes music store. However their characteristic timbres were peculiarly well suited to English folk tunes, such as we hear in tracks 15-17. Most of the great English lute composers of the day - Dowland, Rosseter, Bacheler, Johnson - are represented in this collection, but Jane did not scorn simple, artless trifles, which are sprinkled liberally throughout the manuscript. Most people download these: they are audiophile files that play everywhere.
The first repeating theme is 'A Scots Tune' from Jane Pickering's Lute Book, ca. This gives unparalleled resonance, but a very limited range of convenient keys, hence the plethora of slightly different tunings, each lending its particular sound to one or two keys. This is a characteristic of many didactic anthologies compiled under the guidance of a teacher, but if Jane was learning to play the lute as she filled her book she was precocious indeed, for the very first pieces reveal the hand of a practised scribe, and require some considerable technique in performance. If 1616 marked the beginning of Jane's copying, both her musical tastes and her lute were quite conservative. Much of her chosen repertory is late Elizabethan or early Jacobean, and most of it requires a lute with only 6 courses: some 20 pieces require a 7-course lute, and a single piece requires a fashionable 9-course instrument. Lute transcriptions from keyboard originals are uncommon, simply because most keyboard solos have too wide a compass and are too complex to transfer idiomatically to the lute.
Daniel Bacheler was apprenticed in the household of Sir Francis Walsingham, and later appointed a Groom of the Privy Chamber to Queen Anne in 1603. We know nothing of the life of its original owner: indeed it is pure serendipity that we know her name, for the first section of the manuscript has been lost, the damage narrowly missing the folio containing her signature and a date 1616. Only 3 pieces are added in this later writing style, one of them a duplicate of an earlier entry. Jane Pickeringe was not the only lutenist to leave a legacy in Egerton 2046; after the manuscript left her hands it was used by three other musicians, two of whom added several pieces. This marriage of a simple ballad tune and masterly handling of the lute's sonority, encapsulates the very quintessence of the Jacobean lute repertory.
Tracks 18 and 19 use yet different tunings, which illustrate the extremes of this confusing period in the lute's history. A pauin by Mr Daniell Bachler 27. The different sections of the present work have the flavour of popular tunes, though no specific ones can be identified; they are here provided with divisions on the repeats, in the style of an embellished pavan or galliard. By the standards of the day Dowland's variations are quite restrained, complementing the poignant melody with effective counterpoint, but adding few divisions which might obscure it. If Jane and scribes like her had not seized the opportunity offered by a few inches of blank stave, many of these appealing little tunes, drawn from a largely oral tradition, would have been lost for ever.
Anonymous, frgmt 51 Gauteir: Tuneinge Hornespipe Anonymous, Hornpipe 51v a Corranto Gau: Anonymous, Patientia Courant 51v Besse Bell Gau. Album art and artist and artist info is unfortunately not possible with this format. My lord willoughbies welcom home by Mr byrde 11. He was held in high esteem by his contemporaries, with both his solos and his duets being widely copied. Responsibility: with an introductory study and guide to concordances by Robert Spencer.
Initially these tunings were used for a repertory which was wholly French in origin, including new French dance forms such as the Sarabande and the Courante. Instruments used: eight-course lute after Venere, Martin Haycock, 1997, and ten-course lute by Michael Lowe, 1991. This is an open source audio format. Did Jane give up her lute playing, perhaps upon marriage, and return to it later in life? We shall probably never know. A pavin by mr Johnson 21. The pieces performed here are as Jane Pickeringe or her successors copied them, with only obvious errors corrected. Recorded February 6-8, 2001 at the National Centre for Early Music, St.