Album art and artist and artist info is unfortunately not possible with this format. 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. This is an open source audio format. Recorded February 6-8, 2001 at the National Centre for Early Music, St. 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. The composer is not known.
The second is 'Se Io M'Accorgo', another anonymous Renaissance piece for lute. The third is 'Curranta For Mrs. The individual nuances of Jane's versions are thus preserved, a grateful tribute to a woman who unwittingly left us this priceless musical legacy and a window into her long-vanished world. A Pavin by Rossetters 09. Tracks 18 and 19 use yet different tunings, which illustrate the extremes of this confusing period in the lute's history. If you use iTunes or an iPod, get these.
Jane Pickeringe's lute book, technically known as British Library manuscript Egerton 2046, is one of the finest sources of the English lute repertory, but it is also an intensely personal and poignantly evocative document. 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. On the basis of its similarity to some of John Dowland's chromatic fantasias, it was included in the Poulton and Lam edition of Dowland's lute works, and has long been regarded as part of his oeuvre, but there is no reason to doubt Mylius's attribution. 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. 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.
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. Lynn Clayton added further verses, and I rearranged it further. John Dowland needs no introduction. A pavin by mr Johnson 21. However their characteristic timbres were peculiarly well suited to English folk tunes, such as we hear in tracks 15-17.
Anonymous, Prelude, unmeasured 47 Madamoiselle de beau Anonymous, Branle de Metz 47v. 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. The result is an exhilarating tour de force resembling a dance suite in miniature. Bessy Bell ; Trenchmore ; A hornpipe ;? Instruments used: eight-course lute after Venere, Martin Haycock, 1997, and ten-course lute by Michael Lowe, 1991. The pieces performed here are as Jane Pickeringe or her successors copied them, with only obvious errors corrected.
Her precise and elegant hand fills the first 36 folios, beginning with a selection of duets. However, Jane's manuscript still conveys a vivid impression of her musical taste, technical attainment, and even the type of instrument she owned. If 1616 marked the beginning of Jane's copying, both her musical tastes and her lute were quite conservative. These are characterized by narrow intervals between courses - mostly major and minor thirds instead of the fourths of the old Renaissance lute tuning used by Jane , and thus a narrower compass overall. Demonstrable musical accomplishment was a skill much prized in young unmarried women, and it is likely that Jane would have been expected to play for her family, friends and potential suitors, as well as, one hopes, for her own enjoyment. 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.
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. 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. Almaine by francis Cuttinge 05.
Anonymous, frgmt 51 Gauteir: Tuneinge Hornespipe Anonymous, Hornpipe 51v a Corranto Gau: Anonymous, Patientia Courant 51v Besse Bell Gau. A Toye up tails all 07. Work Title Jane Pickering's lute book Alt ernative. Most people download these: they are audiophile files that play everywhere. These files are intended for cases where you want to conserve disk space. Only 3 pieces are added in this later writing style, one of them a duplicate of an earlier entry.
The reassuringly straightforward galliard serves as a welcome anchor for the Pavin's flights of fancy, and allows free rein to Rosseter's superb melodic gift. A country dance ; A galliard ;? And hyed unto the skyes somme fyner pointes to frame: And in the meane, for cunninge stoppes, gave Johnsonne all the fame. However such a situation could explain the conservative repertory, which would then be largely that of her teacher's generation. 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. With John Johnson's Pavin we return to Jane Pickeringe's work. Drawe neare me and lowe me 08.
Did Jane give up her lute playing, perhaps upon marriage, and return to it later in life? 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. Charles de L'Espine, Courante 39. These simple, melodious titbits serve admirably to warm up the fingers, test the tuning, and gently ease the listener into the subtle and intimate soundworld of the lute. It is not known which version came first, though the melodies have a distinctly English flavour. John Dowland 24 24 A Toye Anonymous 24 A Toye Anonymous, Bara Faustus's Dream 25 A Fantasi John Dowland 25 god be with the Francs 25 My lord willobes wellcome home by John dowland John Dowland 26 A Pavin by Rossetters Philip Rosseter, Pavan 26 A galyerd by Rossesters Philip Rosseter, Galliard 27 Mall Symes Johan Leo Hassler 27v A pauin by Mr Daniell Bachler Daniel Bacheler, Pavan 28 A Galyard by Mr Edmond Collarde Edmund Collard 28. Philip Rosseter is best known today for his beautifully wrought lute songs, but a number of his lute solos survive.