On Friday, 16 September 2016, Ron Andrico <[1]praelu...@hotmail.com>

       >>, mainly via signature riffs (such as
        the Lachrimae motif) and cadential events<<

    Although I certainly 'feel' Dowland's signature  in many of the solos
   ascribed to him, I think the falling tears motif is not a good  example
   as it was  a stock phrase in the word painting language of the Italian
   madrigal (and much older, I believe, but  no quotes or sources, sorry),
   whose most direct influence on Dowland  can be found in the madrigals
   by  Marenzio, much admired by Dowland. And the cadential  doodles are
   typical of all English Renaissance music for lute.

   Quite another approach to identify Dowland as the composer of the solos
   ascribed to him would be to look at fingerings. As a player myself, I
   find some lute composers return to favored chords, fitting their hands
   comfortably, one presumes. As extension to that I find lute music by
   some composer-players easy to play, my hands are similar to their, I
   guess, and music by other composer-players quite difficult, sprinkled
   with chords or stretches that are uncomfortable for my hands.



   David van Ooijen



   1. mailto:praelu...@hotmail.com
   2. mailto:davidvanooi...@gmail.com
   3. http://www.davidvanooijen.nl/

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