Collected vocal music. Part 1, Solo songs / William Lawes ; edited by Gordon J. Callon.

Format:

Musical score

Author/Creator:

Lawes, William, 1602-1645, composer.

Contributor:

Callon, Gordon J., editor.

Series:

Recent researches in the music of the Baroque Era ; 120.

Recent researches in Music Online. 2577-4573.

Recent researches in the music of the Baroque Era ; 120

Recent researches in Music Online, 2577-4573

Standardized Title:

Songs

Language:

English

Subjects (All):

Songs with continuo--England--17th century--Scores.

Songs with continuo.

Genre:

Songs.

Scores.

Physical Description:

1 online resource (1 score (xxxvi, 91 pages)) : facsimiles.

Other Title:

Solo songs

Place of Publication:

Middleton, Wisconsin : A-R Editions, Inc., 2019.

Language Note:

English words; also printed as text on pages xxvi-xxxvi.

Summary:

"Lawes's autograph songbook, Lbl Add. MS 31,432 (1639-41), is the most complete source of his vocal music. Most of Lawes's solo songs can be referred to as court songs or cavalier songs. Several are theater songs; indeed, more theater songs by Lawes survive than by any other composer of this period. English songs composed during the reign of Charles I have a distinct character, a unique amalgam of English tunefulness, Italian declamation, and French lyricism. This blend is quite unlike the more sophisticated gentility of the earlier English lute song, exemplified in the songs and ayres of John Dowland and John Danyel. Cavalier songs are more direct, more robust, less contrapuntal, and simpler in harmonic design. Lawes's solo songs may be divided into three main types: declamatory songs, tuneful airs, and dance songs. To these may be added declamatory-ballad forms and theater songs." -- Provided by publisher.

Contents:

Songs from the autograph songbook: Now in the sad declension of thy time ; Virgins as I advise forbear ; Dost see how unregarded now ; If you a wrinkle on the sea have seen [fragment] ; Ask me no more where love bestows ; Oh, think not Phoebe ; Up ladies up ; Faith, be no longer coy ; Cupid's weary of the court ; It is her voice ; Where did you borrow that last sigh ; Why should great beauty ; Pleasures, beauty, youth attend ye ; Whiles I this standing lake ; To whom shall I complain ; Had you but heard her sing ; Farewell fair saint ; Love's a child ; Early in the morn ; Thou that excellest ; Perfect and endless circles are ; Can beauty's spring ; Tell me no more ; God of winds ; I would the god of love would die ; Ah, cruel love ; He that will not love : persuasions not to love ; I burn, I burn : to the Dews ; White though ye be : on the Lilies ; Gather ye rosebuds ; I'm sick of love : to the Sycamore ; Lovers, rejoice ; That flame is born of earthly fire ; Dearest, all fair ; Be not proud, pretty one ; Love, I obey ; Oh, draw your curtains and appear ; O love, are all those arrows gone ; Ye fiends and furies ; Hence flatt'ring hopes ; Stay, Phoebus, stay ; Cloris, I wish that envy were as just ; Doris, see the am'rous flame ; Those lovers only happy are ; Amarilis tear thy hair

Songs from other sources: Why so pale and wan ; No, no, fair heretic ; Come, shepherds, come ; Fair as unshaded light ; Hark, hark how in ev'ry grove ; I can love for an hour : be not proud, pretty one ; I keep my horse, I keep my whore : the cutpurse song ; O my Clarissa ; Somnus, the 'umble god ; Still to be neat, still to be dressed ; Sullen care, why dost thou keep ; We show no monstrous crocodile ; When I by thy fair shape

Doubtful, lost, and wrongly attributed works: Clorinda, when I go away ; Suppose her fair; suppose I know't.

Notes:

Continuo accompaniment, probably lute or theorbo.

Biographical and historical notes on pages ix-xxv; critical notes on pages 71-83.

Appendix includes doubtful, lost, and wrongly attributed works.

Includes bibliographical references.

Online resource (A-R Editions, viewed October 28, 2019).

OCLC:

1125963107

Publisher Number:

B120 A-R Editions, Inc.